Classical and Post-Classical Hollywood Cinema INTRODUCTION During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
________________________________________ ________________________________________ Concepts for Reading a Film • Try applying the following concepts to the film. Answer and consider the questions in each section and apply those ideas to the particular film you are studying. 1. The Concept of Absence. Cinema is about illusion and therefore what is missing from the screen is ‘present’ in some ways in the viewer’s mind.
Summary of Robert Brent Toplin’s “History by Hollywood” (2009) In “History by Hollywood”, historian Robert Toplin acknowledges the different issues and consequences of different movies portraying history. In his book, Toplin asks the million dollar question “What happens to history when Hollywood’s moviemakers get their hands on it?” This question as well as the four approaches and challenges in portraying cinematic history made up the framework and foundation of his book. Toplin mentions the use of eight different case studies that would allow audiences to take a step “behind” and around” the movies, which would essentially reveal cinematic history in greater depth and complexity. He insists that the method of using eight different and detailed case studies would provide a greater insight rather than merely going through a quick overview of numerous films. These films provoked different heated arguments and was shrouded by controversy ever since the release date.
The meanings were presented by Mise-en-scene, montage and story plot. This essay would discuss among Rear Window (1954), Vertigo (1958), Psycho (1960) and North by Northwest (1959). Auteur Theory Auteur theory was introduced Alexandre Astruc, Francois Truffaut and Andrew Sarris. In the article The Birth of a New Avant-Barde: La Camera-Stylo, Astruc invent a terminology La camera au stylo. It means that camera is pen and the director is the author of the film.
Compare and Contrast the styles of two films, each from a different decade. Breathless 1960 Dir. Jean Luc Godard Amores Perros 2000 Dir. Alejandro Gonzalez Inarittu “This is why I would like to call this new age of cinema the age of the camera-stylo. ” Alexandre Astruc In 1948 Alexandre Astruc wrote an article “The birth of a new Avant-Garde: Le Camera Stylo”, in which he expressed the future of cinema will adopt a more personal touch from the film maker, in that, he/ she will “express his thoughts no matter how abstract they can be“ through cinematic language.
One specific scene, out of 19 scenes, which is called “The revenge”, is going to be discussed in this forthcoming essay. This results out of the scene’s consistence of many interesting filming techniques that create emotional and controversial feelings among the audience while watching it. The screen duration of this movie is approximately 113 min / 115 minutes. (Director’s cut) The filming locations were Germany and the USA. SCENE NAME:
Victor Beaulieu Segmentation and Essay 3-25-12 Donnie Darko Segmentation and Essay I went through the entire motion picture as instructed and scene for scene, jotted down what was happening as far as linearity and important story arches go. I’m not sure if I’m suppose to recount every part that I wrote down in my notebook segmentation because that seems like over kill, so I’ll simply attempt to sum it up. In paragraph form and then transition into the essay portion. At about the 8:06 mark, Frank’s voice i.e. the parallel reality involving Donnie’s either elaborate schizophrenia or mission to save the coming future by talking to a dead rabbit, begins.
I am going to look at if a film portrayal can be a truthful representation of a historical period in time using Pride And Prejudice as an example. When looking at the text in comparison to the 1995 mini series by the BBC it is apparent that the 2005 film has taken a very different approach and represents the lifestyles and environments extremely differently. I am going to attempt to prove or disprove that a film can or cannot give an accurate historical representation of the period and form some sort of conclusion from it. I firstly began by looking closely at the opening scenes of each of the films and the differences in the representations. Reviewing the opening sequence of Pride And Prejudice (BBC 1995) we begin with a ‘misted’ camera shot panning over elegant embroidery and refined materials to a classic piano soundtrack, connoting elegance and class as the camera slowly pans through an array of pinks and creams, the materials are lavish and very expensive looking, again connoting class and elegance and establishing ideals for the opening scene.
Film Theory debates the essence of cinematic value and provides conceptual frameworks for understanding a film’s relationship to reality, the other arts, individual viewers, and society at large. In order to successfully approach film criticism it is important to examine several theories. It is important to keep in mind that, “no critical approach can tell us everything about a film but, rather, different approaches can teach us different things about a film” (Luhr, Lehman 80). First and foremost, films are perceived in terms of their narrative structure. When discussing a film, audiences will recall its story line or characters to exemplify what the film was about.
Through the lengthy voyages of such explorers as Magellan, Columbus and Cortez whose excursions lasted months if not years, humans have been expanding the boundaries of our collective knowledge. Today's journeys, however, do not remove the individual physically from his surroundings, and instead, thrusts him into a virtual land, where the discoveries of other cultures are mere moments away. Humans are a diverse group, and the meeting and sharing of one's culture and customs helps to foster a form of brotherhood and unity. While communications has helped to unite the human race as a whole, it also helps strengthen familial bonds. During America’s early days, communication was slow and often unreliable.