Summer Film Journals

City of God

Movie:  2002, color, 130 min.

• Director:  Fernando Meirelles, Katia Lund
• Actors:  Alexandre Rodrigues, Matheus Nachtergaele, Leandro Firmino

The City of God is a place no one wants to live in.  There are gangs, hoodlums, hold ups, drug trades, and rivalries.  Lil Ze owns the city, but is soon countered by his rival, Carrot.  Will there ever be peace in the City of God?   

Q:            How do the directors demonstrate Rocket’s love for photography?

A:            Throughout the movie, it becomes apparent that Rocket wants to become a great photographer.  He first encounters a camera and takes pictures of whatever he can.  He later begins taking pictures of Lil Ze and sells them to the local newspapers.

            However, the directors decide to show his love through specific shots.  Each time Rocket, the narrator, changes his story, the directors take a picture of the upcoming event and leave the picture rolling for a few seconds.  In a nutshell, the directors insert freeze frames, which are the pictures Rocket takes, to show the importance of pictures on his life.  In addition, these freeze frames emphasize the events and show how important the events are that take place.

            Not only do the directors explain Rocket’s love for cameras and photography, but they also insert important pictures into the film in order to show its importance on the movie itself. 

Q:              How do the directors use different shots throughout City of God?

A:            Meirelles and Lund use specific shots throughout the movie for specific reasons.  In the beginning, they choose to use tracking shots.  When the chicken is on the loose and the kids are trying to catch it, the camera tracks the chicken down the stairs, through doors, and through many other obstacles.  The directors choose to use this shot to show the City how it is and also to show where the chicken is going. 

            When they change from scene to scene, the directors often use a specific type of transition.  A vertical black line comes from the right side of the scene and slowly wipes away the old scene, bringing in a new scene. 

            When two gang members are hiding in the woods, some police come to find them.  The directors show a close up of the leaves on the tree, with water dripping.  We see the close up and see the water slowly, very slowly, dripping down.  This adds to the suspense and gives the scene a very nervous feeling.

            Throughout the movie, Meirelles and Lund use specific shots to create different feelings. 

Cinema Paradiso

Movie:  1988, color, 155 min.

• Director:  Giuseppe Tornatore
• Actors:  Philippe Noiret, Enzo Cannavale, Antonella Attili

Salvatore Di Vita is a famous filmmaker.  He tells the story of how he grew to love the film industry and is true friendship with Alfredo, the local theater projectionist.  

Q:            How does Tornatore use transitions throughout the film?

A:            Tornatore uses a specific style of transitions throughout the film.  When a character is doing one thing, he changes the scene, but continues the noise or action through another character. 

            For example, at the beginning, the priest is watching a movie and editing it for pornography.  Every time he sees something that he disapproves of, he rings a bell.  After a few instances, he begins to ring his bell.  However, the shot transitions to large town bells.  The bell noise continues from one scene to the next.  Although there is a change of scene, the noise and bells ringing stay constant.

            Likewise, later in the film, Toto is in the classroom.  The teacher asks a student a question, who gets the answer wrong.  In turn, the teacher hits the student.  After a few instances of this, the teacher hits the student only to have a scene change.  To stay constant, Tornatore changes the scene to Alfredo, who is hitting the film reel.  We see someone hitting something, and hear the sound, but then see someone else hitting something else, but still hear the sound.

            Tornatore uses this transition to add continuity to his movie as well as a very intriguing transitional technique. 

Q:              How does the Cinema Paradiso become a symbol for Alfredo’s life?

A:            The Cinema Paradiso becomes a symbol for Alfredo’s life.  When one thing happens to one, something similar happens to the other.  In the beginning, Alfredo’s life is at its peak.  Likewise, the theater is doing extremely well and has full houses every night.

            When there is a fire in the theater, and the theater nearly burns down, Alfredo is hurt, and nearly dies.  Luckily the two are saved and when the theater is built back up, Alfredo reenters the theater, healthy enough to walk again.

            Finally, towards the end of the movie, Alfredo dies.  The Cinema Paradiso dies with him, as it is destroyed once Alfredo passes.  Throughout the movie, there is a distinct connection between Alfredo and the Cinema Paradiso, and the theater truly becomes a symbol for Alfredo.

           

Breathless

Movie:  1960, black and white, 90 min.

• Director:  Jean-Luc Godard
• Actors:  Jean-Paul Belmondo, Jean Seberg, and Henri-Jazques Huet

Breathless is a French foreign film about a man who steals cars.  When he takes these cars to Paris to sell, he finds his old lover who he rejoins. 

Q:            How does Godard use shots throughout the movie?

A:            Godard uses different shots throughout his movie.  Most of his shots are lengthy shots in the sense that they last for long periods of time.  He tends to have periods where there aren’t many cuts, in order to keep the scene realistic and keep the scene true. 

            Additionally, he often shows one event for an extended period of time.  He shows a woman going up an escalator.  We see her from the moment she steps on until she reaches the top, a lengthy trip.  He does this to show that she is doing something and as she is going higher, she is getting closer to her goal (of helping steal a car).  Likewise, Godard shows a shot from the front of a car.  We can see the front of the car but not the people in the car.  He does this to show where the car is headed and how long the trip is.  These extended shots show that a lot of time is passing in between where they are coming from and going to.

            At the beginning of the movie, Godard fades out from one shot to the next.  Instead of fading through a color, or doing a transition, he decides to slowly fade one shot out and bring the new shot in.  This process takes almost 30 seconds, to dramatize what is occurring.  Throughout the movie, Godard uses lengthy shots and transitions to help give his movie meaning.

Q:              How do Godard’s cuts influence the movie?

A:            Godard’s specific cuts influence Breathless.  He often uses choppy cuts to change from one scene to the next.  For example, he will cut from Michel to his lover, back to Michel, and back again.  He does this all in a quick, short period of time.  This influences the movie because it makes the viewer more confused.  It is difficult to conclude what is occurring.

            Godard also often cuts from one shot to the exact same shot.  When this occurs, it almost looks like the movie is stuttering.  Although I don’t exactly know why he does this, I believe it adds suspense to the movie.  It adds suspense to Michel stealing cars and his illegal activities.   

M

Movie:  1931, black and white, 117 min.

• Director:  Fritz Lang
• Actors:  Peter Lorre, Ellen Widmann, Inge Landgut

M is a thriller about a child-murderer who cannot be caught.  Other criminals join in the hunt to catch the child murderer. 

Q:            How does sound play an important role in M?

A:            Music and sound play an important role throughout M.  However, the use of sound is much different than most other movies.  Normally, in a film, music or noise plays in between scenes and when nobody is talking.  However, Lang chooses to not have any music during the off time.  Instead, there is complete silence. 

            This silence gives the movie a suspenseful feeling.  When there is no sound, yet the detectives are looking around for the murderer, we, as the audience, feel nervous and apprehensive that the killer is going to jump out at us at any minute. 

Additionally, people will sometimes be talking and are abruptly stopped for no reason.  These stops add to the suspense, as we think something is going to happen due to the abrupt stop.  The criminal, who whistles the same song all the time, adds a scary aspect to the film.

            Although there is no music and oftentimes no sound, this style is crucial to the outcome of the film.

Q:              How does Lang use specific shots throughout his movie?

A:            Lang uses specific shots throughout his movie for a variety of reasons.  In the last scene, Lang uses pans, zoom ins and zoom outs.  The criminals are all in the basement and are interrogating the child-murderer.  The pans are used to show the amount of people, the fact that they are all angry at him, and that they are all the same in their hatred towards the murderer.  We see their straight faces one on next to the other, showing their disapproval.

            In earlier scenes, Lang uses close ups.  When we first learn of the killer, Lang inserts a close up of a poster, which tells about the killer.  Throughout the upcoming scenes, these posters and signs are recurrent, as we continuously learn new data about the killer.  These close ups are used to show their importance, as well as deliver the information.

            Lang uses pans, zoom ins, zoom outs, and close ups all throughout the film for essential reasons.

Rashomon

Movie:  1950, black and white, 88 min.

• Director:  Akira Kurosawa
• Actors:  Toshiro Mifune, Machiko Kyo, Masayuki Mori

Rashomon is a film about a terrible crime that is committed.  Different witnesses tell different stories about what exactly happened. 

Q:            How does Kurosawa use shots throughout the film?

A:            Throughout Rashomon, Kurosawa uses specific shots to portray his ideas.  When the murderer is walking through the forest, the camera turns up and looks at the sky.  For an extended period of time, all we see is the trees passing by and the sky above.  Kurosawa inserts this shot multiple times to show the sky and heaven above.  Heaven and the sky above represent the murderer’s free range and the idea that he can do whatever he wants. 

            In addition, throughout the different interpretations of the murder, we see the murderer from multiple angles.  When he walks through the forest, the camera changes from a head on view, to a behind view, to a bird’s eye view, and constantly changes between these angles.  Kurosawa does this to give all angles of the murderer, as well as show what is going through his head.  He has so much going on and therefore, we see so many different angles.

            Throughout Rashomon, Kurosawa uses a variety of shots to portray free range and the murderer.

Q:              How does Kurosawa tell the same story four different times?

A:            Kurosawa must tell the same murder story four times with four different people and four different viewpoints.  By changing shots, he makes one each a little bit different.

            In each different viewpoint, Kurosawa uses different shots.  For instance, in one he shows the murder from a long shot, to show the viewer’s perspective.  However, in the next viewpoint, he shows the murder from a closer shot to show the different perspective. 

            Aside from the distance Kurosawa changes, he also changes the angles.  Depending on where the viewer was standing, the angle changes from an eye-level shot, to a higher angle, to a lower angle.  Every different angle, once again, gives a different perspective.

            Kurosawa tells the same murder story four different times by using different shots and angles to give each story its own definition. 

Film Blogs- Second Semester

North by Northwest

Movie:  1959, color, 131 min.

• Director:  Alfred Hitchcock
• Actors:  Cary Grant, Eva Marie Saint, James Marson

North by Northwest is an adventure-mystery about Roger Thornhill who is mistaken for a secret government agent by a group of spies.  He becomes involved with this spies and is pursued across the United States.  Once the government becomes involved, Thornhill has two groups searching for him.  He is mistaken for a CIA agent George Kaplan, who in reality, does not exist

Q:            How does Hitchcock show an entire movie through one person’s point of view?

A:            For the most part, North by Northwest is a movie shown through Roger O. Thornhill’s point of view.  Hitchcock shows this by using several camera techniques.  Hitchcock uses principles of classical cutting and continuity editing to align the viewer with Thornhill in regards to what he sees and what he knows.

            Hitchock takes long shots of Thornhill looking at a scene.  By staying on Thornhill for a few seconds, we know that he is observing something important and is in deep thought.  The camera than cuts to what he is looking at and shows this scene in a long shot.  By doing this, we see exactly what Thornhill sees and know exactly what Thornhill knows.  Additionally, Hitchcock uses close-ups of Thornhill to show expression.  Although Hitchcock sometimes momentarily shifts the camera away from Thornhill, the movie is primarily shot through Roger Thornhill’s point of view. 

Q:              How does Hitchcock create a sense of suspense?

A:            North by Northwest proves to be a suspenseful film.  Hitchcock uses a number of techniques to generate this suspense.  Primarely, he uses long shots and quick changes  to create suspense.

            For example, in the scene when Thornhill goes to meet Mr. Kaplan, we see Thornhill standing on the road.  The camera switches to one side of the road and stays put for a few seconds.  The camera returns to Thornhill where we see his nervous and anxious expression.  He fidgits and moves his hands around.  The camera switches to the other direction of the road and stays on that side for a few seconds.  By continuously switching from road, to Thornhill, and back to the road, we are anxious, along with Thornhill, which ultimately creates suspense.  The music helps play a role as suspenseful scenes are accompanied by suspenseful and intense music.

Forrest Gump

Movie:  1994, color, 142 min.

• Director:  Robert Emesis
• Actors:  Tom Hanks, Robin Wright, Gary Sinise

Forrest Gump is a movie about a simple man who is not exactly the brightest man.  Although he is not intelligent, he has good intentions.  He has a difficult childhood, joins the army, and somehow intertwines with most of the most important events throughout his time.  He falls in love with a girl named Jenny and followers her for the rest of his life

Q:              How does Emesis portray the events without Hanks actually being there?

A:            Emesis portrays important events throughout Forrest Gump’s life without Hanks actually being at the actual events.  He depicts events from the past and makes them look like present-day events.

            Emesis uses false actors.  He has false presidents of the United States, false war veterans, and fake football stars.  Some are just in the situation while others are specific as in Presidents of the US. 

            Sometimes, Emesis, uses television shots of the scenes.  TO show the event at Watergate, Emesis shows a CNN news report of the actual day, as in to show the event like it was during Forrest’s time.

            Oftentimes, Emesis puts these two in the same scene.  Forrest is often in the same scene as the Presidents and important figures, as to show them together.  Emesis portrays many important events and places Forrest in these scenes by using special false actors and using shows and clips from prior events.

Q:            How does Emesis portray Forrest’s life with the use of shots?

A:            Emesis portrays Forrest’s daily life with the use of close up shots.  At the beginning, when Forrest begins to run, Emesis shows a close up of Forrest’s shoes.  Because he shows a close up, and stays with the shot for a few seconds, he demonstrates its importance.  Running plays a big role in Forrest’s life and its significance is shown through the slow close ups of the shoes.

            Later in the movie, Forrest receives a medal of honor after spending time in Vietnam.  When he gives the medal to Jenny, Emesis shows a close up of the medal.  This demonstrates the importance of the medal on Forrest’s life, as the war was a significant part of his life.

            Towards the end of the movie, he becomes a shrimp boat captain.  On the boat, Forrest has a hat that says Bubba Gump.  Emesis shows a close up of the hat to show the importance of the shrimp company and the importance of his friendship with Bubba.  Throughout the movie, Emesis portrays the important events of Forrest’s life through long takes of close up shots.

High Noon

Movie:  1952, black and white, 85 min.

• Director:  Fred Zinnemann
• Actors:  Gary Cooper, Grace Kelly, Thomas Mitchell

High Noon is a dramatic western film about a small town, which encounters the danger of a villain.  The Marshall has to battle his old enemy the day he gets married.  He realizes the importance of this enemy and does not go on his honeymoon.  He waits as noon approaches, the time the villain and his followers will arrive. 

Q:            How does Zinnemann create suspense in High Noon?

A:            Zinnemann makes High Noon a very suspenseful film.  To create this suspense, he uses a number of different techniques.  First, Zinnemann plays a specific type of music.  The music progressively gets faster, creating a nervous sensation.  

            Additionally, Zinnemann switches from shot to shot rapidly.  By switching back and forth between different locations we feel the tension.  We live life through the Marshall.  As High Noon approaches, the Marshall gets more and more scared.  As the movie is shot through his point-of-view, we feel his tension and stress.

            By putting progressively faster music in the background, rapidly switching shots between locations, and using a specific point of view, Zinnemann creates a suspenseful movie.   

Q:              How does Zinnemann give a single, inanimate object, significance.?

A:            Throughout the movie, Zinnemann gives the clock great importance.  The whole movie is leading up to noon.  Throughout the movie, he returns the camera to the clock, as to give it importance.

            When the clock is in the shot, Zinneman uses a close up.  He makes this the only object in the shot.  This shows its dominance and thus, its significance. 

            When the clock is shown, there is a time-passing-like music in the background.  This is to demonstrate its significance in time passing between scenes and time passing getting closer and closer to noon.  He uses the clock as a transition between scenes, not only to use as a transition, but also to give him an object to return to after every scene.  All of these various techniques help Zinnemann give the clock, a single, inanimate object, significance.  

Duck Soup

Movie:  1933, black and white, 68 min.

• Director:  Leo McCarey
• Actors:  Groucho Marx, Harpo Marx, Chico Marx

Duck Soup is a slapstick comedy about Rufus Firefly, who is named the new president of Freedonia when the old president could not complete his duties.  Freedonia is in a financial mess and Firefly tries to fix this problem.   Neighboring countries send spies in to obtain secret information.  Each scene has something to make you the audience laugh about.

Q:            How does McCarey portray a comedy in his specific style?

A:            McCarey’s Duck Soup proves to be a slapstick comedy.  McCarey portrays this style through a variety of different techniques.  First, his shots are long and continuous.  He wants to show the sequence of events and does this by rarely cutting from shot to shot.  The only time he cuts is to transition and change scenes.  The shots are always medium shots, to show the entire body of the characters, nothing more, nothing less.

His continuous shots show every movement of the actors, which is what makes the movie funny.  For example, the scene with the lemonade seller seems like a never-ending shot.  One of the Marx brothers takes the lemonade seller’s hat and quickly hands it to the other brother.  The seller looks at the first brother, unable to find the hat, and the second brother places the hat back on the seller’s head.  Although these scenes seem so simple, they truly portray the comedy the way McCarey desired.  The continuous shots help McCarey portray his own stylistic comedy.      

Q:              How does McCarey create suspense in his comedy?

A:            McCarey creates a sense of suspense in his comedy.  He does this in numerous scenes by having his actors make specific movements.  Oftentimes, the actors make quick movements in order to keep the scene alive and create suspense in what is ultimately going to outcome.

            In the same scene with the lemonade seller, the hat is passed from the seller, to one brother, back to the other, back to the seller, to the second brother, and so on.  The hat never stops moving and therefore, the characters never stop moving.  As an audience, McCarey wants us to be on the edge of our seats waiting to see what will occur next. 

            Sometimes, McCarey zooms in to show exactly what is going on.  He wants us to see each and every little movement and makes this apparent by showing us what he wants us to see.  Throughout Duck Soup, McCarey uses specific movements and close ups to help aid in his attempt to portray a comedy.

The Graduate

Movie:  1967, color, 106 min.

• Director:  Mike Nichols
• Actors:  Dustin Hoffman, Anne Bancroft, Katharine Ross

The Graduate is an award-winning movie about a recent college graduate, Benjamin Braddock.  He has an affair with his neighbor, Mrs. Robinson, but soon falls in love with her daughter, Elaine.  He must handle his parents, the reality of life, Mrs. Robinson, and Elaine without losing his mind.       

Q:            How does Nichols use specific shots to depict a meaning?

A:            Throughout The Graduate, Nichols uses specific shots to depict different meanings. Specifically, he depicts a trapped feeling. In the beginning, when Mrs. Robinson is seducing him, Ben feels trapped. In order to convey this, Nichols shoots a shot where Mrs. Robinson's legs are the frame. Because he is so enclosed, he feels like he is trapped with no way out. Her legs make him seem small and insignificant, to a point where he must succumb to her demands. He feels like she is controlling him and he has to listen to her, as he is trapped and has no way out.                                                                                                           

In another scene, Nichols makes Ben feel trapped once more. When Ben and Mrs. Robinson are at the hotel, he goes to the counter in order to rent a room for the evening. There is a specific shot where Ben is caught between the canister and he seems trapped once more. He is nervous for the upcoming affair and to him, it seems like there is no way out. As he is trapped between both sides/pegs of the canister, he feels as if there is no way out of his current predicament. Throughout the movie, Nichols creates a trapped sensation by placing Ben in specific shots, trapped by other objects.

Q:              How does Nichols create a deeper meaning with certain shots?

A:            Throughout The Graduate, Nichols creates a deeper meaning by shooting specific shots in a specific way. One day, Ben is in the pool. His father comes up to him and begins to discuss his future. When Ben looks up at his father, the sun is right behind him. The shining, bright sun portrays the idea that he has bright ideas and a bright future, if he will only listen to his father. The sun shows that there is something, that beam of light, beyond where he is now. If he would only take the time to go after it, he could be successful.

In another scene, Ben is looking at Elaine through his rear view mirror. He begins to stalk her a bi, as he can no longer have her due to his previous actions. Nichols shoots this shot through the rearview mirror in order to show that she is in the past, that she is behind him. This frame within the frame (the mirror within the shot) creates the effect demonstrating that he cannot be with her, as she is behind him and he has missed his opportunity. Throughout the movie, Nichols gives shots a deeper meaning by personifying the sun as his future and the rearview mirror as his past.

On the Waterfront

Movie:  1954, black and white, 108 min.

• Director:  Elia Kazan
• Actors:  Marlon Brando, Karl Malden, and Lee J. Cobb

On the Waterfront starts with an ex-fighter, Terry Malloy, who struggles to stand up to his corrupt boss, Johnny Friendly.  Terry witnesses multiple murders and soon encounters one of the dead men’s sister.  Terry soon meets Father Berry who tries to bring justice to the court once and for all. 

Q:            Why does Kazan place specific objects where he does?

A:            Kazan places specific objects in specific places throughout the movie, all for a purpose.  Nothing is placed somewhere just for the sake of it.  The placement of different objects adds analysis to the movie and gives the movie significance.  For example, when Terry is talking to Joey’s sister, there is a steamboat in the background making noise.  While standing on a pile of rocks, the woman puts her hands in her face and begins to cry.  The loud steamboat is there to signify that everyrhing is loud and emotional.  It seems as if only she can hear what Terry is saying, but whatever it is is a truly an emotional thing.  The noise of the steamboat only adds to the “loudness” of the scene, making everything seem more dramatic as arm movements are important when the audience cannot hear.

            In addition, Kazan makes a jacket represent death.  Joey, the character who dies first, owns a black leather jacket.  The jacket is black and not any other color, as black typically symbolizes death.  After Joey dies, Doukin aquires the jacket.  In turn, he is the one who is murdered.  As the movie goes on, Joey’s sister finally aquires the jacket.  Terry aquires the jacket.  Although he doesn’t die, he is brutally beaten.  The jacket symbolizes death and is passed from one misfortunate to another.    

Q:              Why is this movie on the AFI Top 100?

A:            On the Waterfront is number 19 on the AFI Top 100 movie list.  It stays atop this list for many reasons.  According to IMDb.com, Brando improvised part of the famous taxicab scene because he didn’t think the initial script was convincing enough.  He was one of the first to do this and changed acting forever.

            The famous taxicab scene had two brothers talking in the back seat of a cab.  This is one of many scenes that like together “so many beautifully structures sequences, each its own tiny movie” (Hagopian). 

            Additionally, the setting of On the Waterfront proves vital to its success.  It has a gloomy, simple setting that signifies the decade.  Although simple, it portrays the time period as it was, as religious aspects, cultural aspects, and brotherly aspects are all brought into play.  Without a doubt, this movie belongs on the AFI Top 100 movie list, and belongs towards the top.

http://www.albany.edu/writers-inst/webpages4/filmnotes/fnf05n6.html

Singin’ in the Rain

Movie:  1952, color, 103 min.

• Director:  Stanley Donen, Gene Kelly
• Actors:  Gene Kelly, Donald O’Connor, Debbie Reynolds

Singin’ in the Rain is a comedy, musical, romance about a silent film company that experiences the difficulties of upgrading to a film company with sound in their movies.  Don Lockwood and Lina Lamont are silent-movie stars.  However, once sound comes into play, and Lina cannot exactly speak elegantly, problems arise.  Will Kathy Selden be able to help?    

Q:            How and why do Donen and Kelly use special effects?

A:            Throughout Singin’ in the Rain, Donen and Kelly implement special effects to show a new era.  As most of my research demonstrates, this was one of the first movies to implement special effects.  Donen and Kelly don’t just show one special effect one time, but rather implement their effects throughout many of the musical numbers.

                 During the musicals, glitter backgrounds come and go, as people are floating in mid-air without a ground.  Mid-song, the backgrounds change showing some new, fancy backdrop.  As these changes are mid-song, it is not as if the scenery changed after a scene change, and thus demonstrates the new era.  These effets add to the musical, as they portray something that hadn’t ever been done before.

Q:              What is the significance of the music numbers, especially the song Singin’ in the Rain?

A:            Donen and Kelly portray musical numbers like Singin’ in the Rain by not cutting their shots often.  Most shots have excessive panning and zooming.  At this time in the movie industry, when a shot was cut, the words had to be cut as well.  So if the directors wanted a song to not be cut, they could not cut the shots either.  Therefore, Donen and Kelly panned around the scene and shot a lot of zoom ins and outs frequently.

            Singin’ in the Rain has a special significance among the musical numbers.  Although rain is often associated with negativity and sadness, the rain in this movie shows happiness.  Lockwood is finally with his lover Kathy, something that he has been trying to do for quite some time.  In addition from Lockwood being ecstatic, during the musical number, he knows his movie will finally be successful.  This new idea for success gives Lockwood a “high” and he ecstatically runs through the rain.  This scene shows him with no worries, and shows the significance of Singin’ in the Rain.

Casablanca

Movie:  1942, black and white, 102 min.

• Director:  Michael Curtiz
• Actors:  Humphrey Bogart, Ingrid Bergman, Paul Henreid

Casablanca is a classic drama-romance film about an American expatriate who meets his former lover.  Rick Blaine, the fighter, meets Isla in Casablanca years after they were lovers.  Casablanca is a Moroccan city controlled by the Nazis.  Blaine must choose between his love and escaping the city.       

Q:            How does Curtiz portray Casablanca and how does he do it?

A:            Curtiz portrays Casablanca as the dark city it is.  The Germans occupy it and the citizens desire exile, but cannot escape.  Because of this dark theme, Curtiz gives the city a dark overtone.  Every shot has a dark element due to poor lighting.  This poor lighting was on purpose though, as to give the city a darker element.  Even in the dance, a place that is thought to be livelier, the lighting is till poor.

            Facial features of the actors are not easy to see due to the lighting. Quotes like “nobody is supposed to sleep well in Casablanca” prove the gloominess of the city.  The constant rain and poor air quality adds to the negativity.  Everyone has long shadows to portray a bit of evil, almost like a dual dimension.  The shadows are casted to produce a shady effect.  Curtiz portrays Casablanca as the dark city it is by using poor lighting and adding a dark overtone to each and every scene.    

Q:              What kind of film elements does Curtiz use throughout his movie?

A:            Throughout Casablanca, Curtiz uses specific types of film elements.  First, he uses quick cuts.  The cuts are to create a nervous sensation, as everyone is nervous in Casablanca.  The characters are nervous about being safe in the town, and also wondering if they will ever get out or not.  Because every cut is quick and the scenes jump, as an audience, we don’t know where Curtiz is going to go next, which gives us the same nervous sensation that the characters feel. 

            In addition, he uses minimal transitions.  At this time in 1942, the transitions were limited.  He uses the same fade-out transition to go from scene to scene.  Although this was probably something very new at the time, now it just looks like he did not use a variety. 

            In many scenes, Curtiz makes us, the audience, feel like we are in the scene.  For instance, when Rick and his lover are at a table having a drink, the camera is placed like it was the third seat at the table.  We feel as if we are sitting with them, and thus feel more connected.

            Curtiz uses minimal transitions throughout Casablanca but also uses quick cuts and special camera placements in order to give the flick a nervous but connected element. 

One Flew Over the Cuckoo’s Nest

Movie:  1975, color, 133 min.

• Director:  Milos Forman
• Actors:  Jack Nicholson, Louise Fletcher, Danny DeVito

One Flew Over the Cuckoo’s Nest is based on Ken Kesey’s novel.  Randall Patrick McMurphy is brought to an insane asylum after pretending to be mad in prison.  He rallies the patients together to overtake the evil Nurse Ratched, who will not stand for anything out of order. 

Q:            How does Forman portray the insane asylum?

A:            Forman portrays the insane asylum in One Flew Over the Cuckoo’s Nest by using natural light and actual settings.  He wants to show that it is not much different from the rest of the world, and the two truly intertwine.  When McMurphy escapes with the others, he is showing how close they are to the real world.           

            He shoots close ups of wire screens and bars to show how they are oppressed, and especially to signify the oppression from Nurse Ratched.  Additionally, the inside of the asylum is all white.  The walls, ceilings, even the attire worn by the patients.  This demonstrates the contrast between the institution and the pateients that inhabit it.

            Finally, Forman uses close ups of each and every patient to show their life stories.  Some look older, others have scars from battles, while others look like they have never been out.  Regardless, Forman portrays the insane asylum in a very specific way.

Q:              How does Forman portray Nurse Ratched?

A:            Forman portrays Nurse Ratched as the controlling dictator that she was made to be in the novel.  When we first see her, we see that her hair has two points on either side.  She maintains this hairdo throughout the movie.  The two points signify horns, as she is supposed to portray the devil. 

            Throughout the movie, Forman includes many timeless shots of her glaring at McMurphy and the others.  By showing these unending shots, we develop a hatred for her, as she is a very controlling character. 

            When she gives the medicine, we see close ups of her with the microphone.  By having the microphone, she has all of the power and all of the characters listen to her.  In contrast, when McMurphy overtakes the microphone, he attains the power.  But for the majority, she has the microphone and thus, she has the power with her controlling nature.

            Finally, on multiple occasions, we see her walking up the long hallway towards the institution.  I believe this to be the devil’s descent into Hell, as she is made to portray the devil.  Forman portrays Nurse Ratched as the evil, controlling, devil that she was made out to be.

http://www.sparknotes.com/film/cuckoo/section2.rhtml

The Shawshank Redemption

Movie:  1994, color, 142 min.

• Director:  Frank Darabont
• Actors:  Tim Robbins, Morgan Freeman, Bob Gunton

The Shawshank Redemption is an award-winning movie about two imprisoned men who bond over the years in prison.  Andy Dufresne, an imprisoned banker, begins to help out the warden.  He and his friend Red fight through the struggles of prison and try to stay sane with the little things in life. 

Q:            Why does Darabont shoot the prison and portray it?

A:            Darabont establishes Shawshank Prison at the beginning of the movie.  He pans around the prison, showing all of the prisoners walking across the courtyard.  All of the prisoners look extremely small, to show just how insignificant they are in the prison.  There are so many prisoners, and they all look the same, demonstrating the insignifcance of each and every prisoner at Shawshank.

            A few shots lataer, Darabont shows a shot of the entry to the prison.  The shot looks up at the door, with a worm’s eye view, showing the door, the rest of the building above it, and the sky.  This shows the domincance the prison has over the prisoners.  The prison overpowers Andy as he walks in the doorway.

            Finally, when Andy and the other new prisoners enter, they all stand on a yellow line.  Darabont chose to show a close up of all their feet on the dominant yellow line.  This shows the order that the prison requires and shows that Andy nor anyone else will be able to break this line.

Q:              How does Darabont parallel the bird with the life of Brooks?

A:            Darabont parallels a bird with the life of Brooks.  When Andy first enters the prison, he meets Brooks, who is feeding a tiny bird a worm.  He says the bird lost its home and he is going to raise it.  Both Brooks and the bird are held captive for most of their life, the bird in Brooks’ possession and Brooks in the prison.

            Finally, Brooks sets the bird free.  The bird flies away never to be seen again.  We do not know what happened to it, but soon after, Brooks is set free.  After a short while, Brooks does not know what to do with himself and soon commits suicide.  I believe that because Brooks could not cope with the reality of the real world, he had no other way but to commit suicide.  I believe the same for the bird. 

The bird was always given everything it needed throughout its life.  When it was finally set free, it probably did not know how to live and thus, committed suicide.  Darabont parallels the life of the crow with the life of Brooks in The Shawshank Redemption.

Genre, Sub-genre, Minor Sub-genres

Andy Turk
Mr. Shipley
IB Film
3 December 2010

Comedy Film Genre
       There are many different genres of film.  These genres have a vast range including action, adventure, and romance films.  One of the most prevalent film genres of the past hundred years is comedy.  Comedic films are films which place their main emphasis on making the audience laugh.  These humor films are a favorite because the subject usually has a theme in which the audience can relate to.  Oftentimes, comedies exaggerate the situation, leading to funny and entertaining results.  Most comedies end in happy endings with the typical good guys prevailing and the antagonistic villains are subdued.  Additionally, unlike most film genres, comedies put a lot of emphasis on individual characters and actors, rather than the story in general, in order to please the audience.  Therefore, comedic films are usually a favorite from young children seeing their first movies to avid film watchers who see the new releases weekly.
    Comedies normally come in one of two formats:  comedies led by a comedian or situational comedies.  Situational comedies are more typical of movies, because the situations create the scene which in turn, makes the movie funny.  However, some movies have a narrator throughout, or are even similar to stand up comedy.  Because the comedic genre is so vast, there is room for infinite subgenres including romantic comedies, sports comedies, or crime comedy.  Aside from these different subgenres, there are different types of genres which include slapstick comedies, screwball comedies, verbal comedies, dark comedies, parodies, and spoofs.  Slapstick comedies are the earliest of comedies, predominant in silent films.  These films usually use aggressive, physical, and visual action because they do not require the use of words and are easy to portray through actions.  Slapstick comedies required precise timing and adroit performance skills.  Slapstick films were reborn in the 30’s with the Three Stooges and were even present in the 90’s with Jim Carrey films Ace Ventura and The Mask.   Screwball comedies were predominant in the 30’s and 40’s.  These films involve lunacy, craziness, and erratic behavior.  Wacky characters, gags, and on-going relationship problems usually constitute screwball comedies.  An example was Leo McCarey’s The Awful Truth.  Verbal comedies are comedies that are solely based on dialogue between characters.  These are often stand up comedies or comedies where the background scene does not matter as much as in other movies, because the entire plot is made up of the character conversations.  Dark comedies are usually sarcastic films that have a serious, pessimistic subject matter.  A few examples of dark comedies are Robert Altman’s M*A*S*H and Lewis Collin’s Fargo.  Parodies and spoofs are humorous films that ridicule, impersonate, and poke fun at previously made films, performers, or genres.  The Marx Brothers were known for these films, as well as Mel Brooks’ films and Austin Powers movies.  All of these different types of genre make the genre so vast and thus, so popular because the movies appeal to every type of movie lover.
    The Silent Era was the perfect era for comedy.  Because comedies are oftentimes made funny through actions and movements, actors during the Silent Era could get their points across while being comedic.  Charlie Chaplin and Buster Keaton were two actors famous for their comedy during the Silent Era.  These two actors made use of many acrobatic, visual gags and physical action.  
    In 1978, a series of rude, humorous films came out with National Lampoon’s Animal House.  This film, as well as all of the National Lampoons to follow, make use of real life situations and draw events out of proportion.  These are comedic because the audience can easily relate to action through real life experiences or through previous knowledge.
    The 21st Century is home to low-brow and raunchy comedies.  Many of these comedies, which are designed for teens and adults, use bodily function, toilet humor, and humuliation to attract audiences.  Some of these films, like Superbad and Knocked Up make use of sexual jokes, rude humor, and racial slurs in an attempt to make the audience laugh. 
    Out of all film genres, comedic films are enjoyed by audiences across the world.  Since the first comedic film in 1895, comedic films have been a favorite genre.  With their ability to make the audience laugh as well as relate to real life situations while drawing the situations out of proportion, comedies are approved by all.  In conclusion, I believe the comedy films to be one of the most popular and best film genres.

http://www.filmsite.org/comedyfilms.html



Andy Turk
Mr. Shipley
IB Film
9 December 2010

Chick Flicks Sub Genre
       Chick flick films, or “gal films” are films that bring out emotion in the audience.  These films are called “chick flicks” because girls are usually more likely to enjoy a romantic comedy with female relationships, tearjerkers, or movies about emotional crisis.  These films are oftentimes from the female point of view and involve female bonding with a friend, family, animal, or issue.  Chick flicks are countered by Guy films, which are films that are stereotypically more manly and appreciated more by the male gender.  Some actresses associated with these chick flick films are Barbara Streisand, Reese Witherspoon, Julia Roberts, and many more.  Chick flicks generally have woman concerns and sensibilities as the main focus.   
    Chick Flick films became popular in the mid 1980’s and have been popular ever since.  Although there were forms of chick flicks before the 80’s, these films did not deliver the same message as the new chick flicks.  The newer films, according to film critic Molly Haskell, deliver messages that are “chirrupy, upbeat, sing a different tune, and are more defiant and ironic”.  These films bring out the theme of girl power.  Woman can often feel subservient and enjoy Chick Flicks, which often have woman portrayed as dominant, self motivated protagonists.  Although typically enjoyed more by females, males often enjoy Chick Flicks as well.  Chick Flicks normally have attractice women as the main characters and give an interesting view into the woman’s world, which men want to see.  Some films can even help males understand the female mind, a topic most men cannot accomplish. 
One example of a Chick Flick is The Notebook.  The Notebook is a classic chick flick, directed by Nick Cassavetes, that implements a true love story.  Because the main woman in the film is distraught between her fiancé and her teenage sweetheart, many women feel her pain and feelings and feel they can relate to her feelings.  Another example of a Chick Flick is Legally Blonde and the following movies in the series.  Robert Luketic, the director, portrays Elle Woods (Reese Witherspoon) as the perfect female: president of her sorority, Miss June, and a beautiful blonde who gets the guy.  Woman love these movies because they enjoy seeing the woman as the “girl in charge” and with so much power.  A third example of a Chick Flick is 50 First Dates.  This movie gives a different example of a Chick Flick.  The main character in this movie is Henry Roth (Adam Sandler).  Although not a woman, Roth is the perfect man for every woman, and thus makes it a chick flick.  Women love this film because they want to be the one with this Mr. Right.   
Chick Flicks are an interesting film genre.  Although they typically appeal to the female gender, males can often enjoy these films.  Since 1980, Chick Flicks have been enjoyed by all.   

http://filmsite.amctv.com/chickflicks.html
http://changingminds.org/disciplines/storytelling/plots/classic/chick-flick.htm

Andy Turk
Mr. Shipley
IB Film
14 December 2010

Minor Sub-Genre- Disaster/Doomsday Films

One minor sub-genre of films are disaster or doomsday films. These films are very popular because there are so many different variations that can occur. The disaster can be local or on a global scale, they can be man-made or natural, the crises can be ongoing or just beginning, and can be problematic for a specific group of people or for everyone. Some common disasters portrayed in these films are natural disasters such as earthquakes and hurricanes, accidents such as plane crashes and fires, alien invasions, and technology incidents. Most disaster films portray their themes through a series of chaotic events surrounding the disaster and showing the effects on the affected citizens. One common theme portrayed in these films are the “what if” situations. Characters often become carried away in the situations and begin to think of the impossible.

Most disaster/doomsday films were part of The Major Era of Disaster Films in the 70's. A few popular doomsday films are Jaws, Airplane, and I am Legend. Jaws, Steven Spielberg's popular film, portrays a town known for its beach, being infested with a shark. Because the whole town is in danger when in the water, this is a classic example of a disaster film. I am Legend, by Francis Lawrence, is about a man (Will Smith) as the only man alive. He cannot find anyone else due to an infection, and thus believes he is the last man on earth. This film is a typical example of a doomsday film.

Disaster/ doomsday films are a popular, well-liked minor sub-genre of films.

http://www.filmsite.org/disasterfilms.html


Andy Turk
Mr. Shipley
IB Film
16 December 2010

Minor Sub-Genre- High School Dramas

High school drama films are a minor sub-genre very popular among modern day films. They are well-liked by both children and adults, because they are easy to relate to. Although called “high school dramas”, these films are not necessarily about teenagers and their high school experiences. Although many are based around drama during a typical high school day, others are simply about high school students and a typical day in their lives. Some popular high school dramas are Grease, Ferris Bueller's Day Off, and High School Musical.

All three of these films are “high school dramas”, but all have very different story lines and settings. Grease revolves around a group of high school students who although they deny it, spend their time worrying about the opposite sex. This is clearly a high school drama because it deals with high school students and their daily lives. Ferris Bueller's Day Off is about a high school student, his girlfriend, and best friend and their adventures one day when they ditch school. This is an example of a high school drama because the focus point of the film are three students playing hookey. Finally, High School Musical is about students in high school and their daily affairs with boy/girl troubles, basketball, plays/performances, and hanging out with friends. This exemplifies a high school drama because it is essentially about teenagers and their daily high school lives.

High school dramas are extremely popular because their genres can range from comedies, to musicals, to science fiction films. In general, high school dramas are a typical minor sub-genre.

http://www.filmsite.org/50besthsfilms2.html

New Hollywood Film Era

New Hollywood Film Era

            The New Hollywood Era was a huge movement in the American film industry.  This era, sometimes referred to as the Post- Classical Hollywood Era or more commonly, the American New Wave, occurred from the mid 1960’s to the early 1980’s.  Films transitioned from being directed by independent filmmakers to the studio system.  Because films were beginning to decline, the studio system incorporated stereo sound, cinemascope, and sometimes even 3-D to keep their audiences entertained. 

New Hollywood films emphasized realism due to the new company, The Motion Picture Association of America.  A major change used in films during this period was location shooting.  Previously, the movies had been shot either behind a blue screen set (known today as the green screen) or in areas where the movie did not take place.  However, to create a better sense of realism, the films during this period were shot at the actual location of the scene and therefore, put the actors in the actual location resulting in more realistic acting and setting.  A few reoccurring themes included anti-political movies, films discussing sexual freedom, and heroism.  The 35mm camera made its breakthrough during this era.  Editing for artistic effect was initiated as well during this time period. 

The film Bonnie and Clyde proved to be a national landmark film and truly started the New Hollywood Film Era.  This film, which was an American crime film about notorious bank robbers, used the most modern filmmaking techniques.  In addition, this film was one of the first to be abrupt and clear on its sexual position.  It was one of the first films to use squibs, small explosive charges to simulate bullet shots.  Bonnie and Clyde received multiple Academy Awards and was one of the first 100 films selected for preservation in the United States National Film Registry.     

Another important film during this time period was Heaven’s Gate.  It was a 1980 American Western based on the Johnson County War.  This film was one of the last of the era and proved to have drastic effects.  It is considered one of the biggest box office bombs of all time and ultimately led to the collapse of the United Artists Studio.  The directors of this film were given large budgets with little studio control.  They tried to make great, elaborate scenes and eventually spent too much on certain scenes and had nothing left for the rest of their movie.  However, this film eventually led to the high concept feature, which is still present in films today.  The high concept feature is the idea of “what if _____ happened?” and led to the ideas and basis of many following films. 

The New Hollywood film era was a great period, which included many box office favorites such as Rocky, Star Wars, and Planet of the Apes.  This film era truly transformed films for the better.