Flashcards
Film Flashcards
Cards in this deck (25)
- 1—The Great Train Robbery
Edwin S. Porter
1903
- Cinematography - no pan shots, camera fixed for each shot
- Narrative - very theatrical and emphasised/ silent film - 2—Borrum Sarret
Ousmane Sembeene
1966
- Modernity vs Traditional
- Music changes due to the horse trot or where we are in the narrative
- mostly non-diabetic sound
- 3—Chungking Express
Wong Kar-wai
1994
- Various camera angles - imitates the rush of Hong Kong
- Two different storylines which focus on themselves and are connected by a takeaway
- Film is concerned with identity and no being able to show who we really are.
- 4—A Trip to the Moon
Georges Melies
1902
- Silent film/science fiction
- Mise-en-Scene - theatrical stages, allows Melies to create an 'imaginary' version of the moon.
- 5—Darkness Light Darkness
Jan Svankmejer
1989
- Mise-en-Scene - makes viewer uncomfortable/enclosed.
- Light hanging above - focal point?
- clay a metaphor?
- makes you question yourself and how you're feeling.
- 6—L'Avventura
Michelangelo Antonioni
1961
- Mise-en- Scene - makes viewer uncomfortable = characters look both mentally and physically lost
- no easy cuts in editing
- symbolism throughout including dress, broken vase.
- 7—Lumiere and Company
1995
Collection of Different Directors
- celebrate the invention of cinema by the Lumiere brothers.
- had to use the same camera.
- had certain rules to follow but showed the hardship and struggles which original Lumber brothers would have went through.
- Cinematography - narrative is there even if it was taken in one take! Rotating platform?
- 8—Wasp
Andrea Arnold
2003
Cinematography - camera work looks handheld emphasising the determination within each step on the women.
Long, cuts during fight scene.
- 9—Suzhou River
Lou Ye
2000
- Social, Political and Urban Context
- Embodied use of cinematography
- close zoom shots/ fast pans
- gives spectator many angles and viewpoints
- 10—La Jetee
Chris Marker
1962
- film made out of still photographs
- emphasises every individual shot
- very stripped back/ shards of time
- spectator is able to view every shot in great detail which in any other film would come and go too quickly.
- 11—4 Vertigo
2000
Les Leveque
- shows Vertigo speed up and mirrored twice
- emphasises the plot within vertigo and the different truths and viewpoints.
- makes us feel like Scotty who, as a character, has to keep repeating things, going over it again and again in his mind.
- The speed helps us see patterns and distorts it (dreamlike).
- 12—Vertigo
Alfred Hitchcock
1958
- various shots focusing on suspense
- shots help spectator out together a story just as Scotty is.
- Vertigo effect - zooming in while pulling away
- visual of vertigo - psychedelic, nightmarish
- 13—Alone: Life Wastes Andy Hardy
Martin Arnold
1998
- Repetitious back and forth looping
-spectator uncomfortable / not present in original film
- highlights something by repeating and reversing continuously.
- 14—Removed
1999
Naomi Uman
- Avante Garde
- Use of bleach and nail polish to remove female figures
-shows partials of 70s soft porn
- feminist critique / forbidden viewing
- rely on the sounds rather than the images to make the narrative clear.
- focuses on male perspective
- as an art piece? experimental? no sounds?
- 15—Singin' in the Rain
Gene Kelly and Stanley Donen
1952
- Narrative questions the relationship between sound and image.
- Montage present, score
- opening scene is uses the crowds sounds to give the spectator a clue to the different characters
- 16—Now!
Santiago Alvarez
1965
- Music directly relates to images which intensifies montage
- Repetition of the word Now! - forcing you to view certain details of the problem
- demanding and dynamic
- 17—Battleship Potemkin
Sergei Eisenstein
1925
- Murder on film
- Soliders/Murders have no face
- Victims have many closeups, showing us their shock/terror/urgency.
- plays on imaginations as no 'gory' scenes are shown till near the end. Power of suggestion
- feet shots add to the urgency
- 18—10 on Ten
2004
Abbas Kiarostami
- women in same car with different passengers.
- Personal/ Social Problems within Iranian Society (especially to do with women)
- open script- director sculpted rather than directed
- metaphorical/physical unveiling of the women
- 19—The Wind Will Carry Us
1999
Abbas Kiarostami
- cinematic unveiling of the world
- narration is structured around a repetitive pattern/lack of motion (communicate with people outside the village)
- Director signature: opening with long takes of a car.
- 20—Moth light
1962
Stan Brakhage
- close up shots of a moth/ wings on lightbulb
- no narrative or spoken information
- repetition/ flash of images
- no sound
- documentary - recording of visual information
- embodies mummification process (cannot truly preserve living aspect of nature)
- was made without camera, objects placed on light sensitive material.
Film Documentary which records nature directly onto photographic paper.
- 21—Slaves: An Animated Documentary
2008
David Aronowitsch and Hanna Holborn
- unusual due to animation being associated with children/ protect their identity/seems to be more brutal.
- directors did not want to reconstruct events so used animation to retell the story.
- allows the voices of the children to come to the foreground
- expands vocabulary of documentary filmaking
- 22—Bus 174
2002
Padilha
-makes claims about social inequalities with Rio, hijacking, police.
- gathers evidence from variety of sources: Tv, archival footage, testimony, police records - Monstrative tendency.
Cinematography - opening scene is one full shot which shows us the filmmakers thesis (shows all the different classes and inequalities)
- 23—Ballet Mécanique
1924
Legar
- Experimental film/ Abstract
- Close up/ repetitive shots
- Film about experimentation of movement
- geometric objects, women of swings, suspending balls, bodily movements
-playful experiment
- comparison of human and mechanical movements. Turns human action into mechanical gestures.
- Abstract films are rarely associated with human figures but there are exceptions.
- 24—A Study in Choreography for the Camera
1945
Maya Deren
- represent the body to the camera
- disjunctive editing
- fluidity
- Director was a dancer/choreographer/poet/director
- slow pan shots with slow moving bodies to go with it.
- quiet/no sound makes you concentrate on movements and shape making
-made to overcome the limits of the frame.
- revolving motion/ camera itself becomes a performer!
- 25—Weekend
1967
Jean-Luc-Godard
- intensity/ aggression and violence
- violence is both real and fake
-has harsh edits, jump cuts, repetitions, wanderings.
- uses graphics and sounds to interrupt are viewing (almost a reminder that you are watching a film)
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- Film and Visual Culture Flashcards on Film Flashcards, created by Sophie Fulton on 26/04/2017.
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- Sophie Fulton
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