The Last Week
1. What has been the ongoing relationship between so-called mumblecore filmmakers and the South By Southwest (SXSW) Festival in Austin?
Matt Dentler, is the producer of the South by Southwest Film Conference and Festival and is one of the main shakers of the Mumblecore movement. Under 30 filmmakers Kentucker Audley, Andrew Bujalski, Joe Swanberg, Aaron Katz, Frank V. Ross, Mark and Jay Duplass, have contributed to each other's projects. They are the core elements of the festival in that they submit films to SXSW.
2. Broadly speaking, what characteristics define mumblecore?
Bad sound.
They are all associated with SXSW. Very non traditional filmmaking with non mainstream distribution concepts.
They are also very young filmmakers that know each other and shoot their movies with digital cameras. These are very cheap productions. They use whats available to make their movies, especially each other for whatever anyone can do, similar to film students in film school.
One quote is; “'These are films made cheaply about young white people talking to each other.' And of course it sounds excruciating.”
3. What have been the most common charges against mumblecore?
“The directors are all male middle-class Caucasians, and they make movies exclusively about young adults who are involved in heterosexual relationships and who have jobs (when they have them) in workplaces populated almost exclusively by SWMs and SWFs.”
They are very cheaply made with non-actors and are weird stories made on video.
"The media," Dentler said, "to a certain degree, couldn't help but say, 'What's going on here?' when some of the most unique American indies we're seeing right now on the festival circuit are coming from a bunch of friends, who A) none of them had received a conventional distribution deal, and B) they all live in separate parts of the country."
6. IFC Films picked up Hannah Takes the Stairs for “day-and-date” distribution. What does this mean?
Thru its First Take arm that’s the day-and-date of distribution; the film opens on IFC Center series and is available for download from IFC on Demand.
7. What is Ray Privett’s objection to Aaron Katz’s statement that the IFC Center is a “legitimizing force”? [See response posted at the bottom of the article.]
“I'm not convinced that is the best way to respond to art.”
“if legitimacy means disavowing works I love and in which I and others find value, I'd rather be a bastard. As I suppose I am.”
He's railing against the machine and elite snobs of the film world. Nothing can legitimize art. Art justifies itself.
10. Breakout talents according to Taubin:
“Bujalski and Katz, are breakout talents, and their differences are far more interesting than their similarities. Bujalski, whose Funny Ha Ha and Mutual Appreciation (05) is a subtle writer and a fine director of actors who understands how to stage a scene so that body language speaks as strongly as words.”
“Katz’s sound design is as expressive as both his cityscape images and his ambient-light close-ups of characters lost in their own heads or engaged in tentative tête-à-têtes.”
Monday, December 1, 2008
Tuesday, November 25, 2008
Week 15
Week 15
Answers taken from Lance Weiler's Article “Navigating the Digital Divide”
6. What are the current platforms and delivery systems for digital distribution?
"The market is currently divided into two types of platforms: PCs (personal computers) and living room devices (set-top boxes, gateways and gaming consoles). The main delivery methods for both are downloads and streaming. Downloads can be DRM (digital rights management) protected files or DRM-free. "
7. What were the advantages and disadvantages of releasing Ed Burns’s Purple Violets on i-Tunes?
"The point of purchase presentation on Apple and iTunes helped it stand out from the hundreds of films being released. While the headline-generating iTunes release provided awareness for Purple Violets, the reality is that download services like iTunes have limited marketplace penetration. So similar to the strategy behind a theatrical release, Lubin and Burns are hoping that a national promotion within Apple Stores and placement within iTunes will help drive DVD sales when the movie arrives in video stores in the first quarter of next year. This fall Purple Violets climbed to number three on the most downloaded list behind Ratatouille and Pirates of the Caribbean, giving the film a wider reach than it would have gained from a limited theatrical release."The biggest disadvantage is that there is very little buzz outside of the WWW net.
8. What is a digital media aggregator, and what is its equivalent in the traditional home video chain between the filmmaker and the consumer?
"The equivalent would be the distributor and/or sub-distributor.
Purple Violets could not go directly to iTunes. The filmmakers needed to first go through a digital aggregator/distributor (in their case, New Video).
For those looking to break into online distribution through iTunes, living room boxes like Vudu and TiVo or traditional VOD providers such as cable, satellite and telcos, deals with aggregators are common. Aggregators assist with the vetting of titles similar to the way in which retail and rental outlets require producers to deal with a distributor. In fact in many cases an aggregator is a distributor or sales agent. Much of the industry has become risk adverse to dealing with single titles from producers. They prefer to work with distributors, aggregators, or sales agents who have a volume of titles that are properly cleared and vetted for release." The media aggregator is an entity that collects product and has a track record that is known to a buyer. This is important in picking a film for specific genres and audiences. There is less of an unknown factor to deal with in the business model geared for profit.
9. What are the parallels between Radiohead’s In Rainbows experiment and the digital distribution of the documentary 10 MPH? Why did the 10 MPH filmmakers choose the .m4v format?
"The .m4v files can be played on Quicktime player, iTunes or on an iPod device.
pick-your-own-price model the cash, this has helped DVD sales, opened up opportunities and given us instant reach all over the world.”
Radiohead sell direct to its own audience, but it allowed them to set their own price.
When it came time for Hunter Weeks to sell his doc 10 MPH, he and co-director Josh Caldwell took a DIY approach with the goal of reaching as many people as possible. In addition to DVDs, the team decided to offer digital downloads of the film in the iTunes .m4v format directly from their site. In effect, they created the same exact model that Radiohead employed for their release. the concept of selling multiple versions directly to one‘s audience offers independent filmmakers some interesting possibilities of their own." In both cases they are trying to eliminate the big companies or middle men. They are exploring the artist to buyer direct path so as to maximize their own profits.
10. Why did “giving it away for free” end up working better than a traditional $15,000 distribution offer for the filmmakers of Four Eyed Monsters?
"The free versions of the film assisted with sales of not only the movie but also merchandise. To date Four Eyed Monsters has sold 1,479 DVDs, 85 iPod downloads, 146 DVD downloads and the collaboration with spout.com has yielded more than $50,000 in sponsorship monies." Giving it away made it famous. They parlayed this into other sales that were connected to the film. Any kind of PR is good PR in regards to film sales.
Answers taken from Lance Weiler's Article “Navigating the Digital Divide”
6. What are the current platforms and delivery systems for digital distribution?
"The market is currently divided into two types of platforms: PCs (personal computers) and living room devices (set-top boxes, gateways and gaming consoles). The main delivery methods for both are downloads and streaming. Downloads can be DRM (digital rights management) protected files or DRM-free. "
7. What were the advantages and disadvantages of releasing Ed Burns’s Purple Violets on i-Tunes?
"The point of purchase presentation on Apple and iTunes helped it stand out from the hundreds of films being released. While the headline-generating iTunes release provided awareness for Purple Violets, the reality is that download services like iTunes have limited marketplace penetration. So similar to the strategy behind a theatrical release, Lubin and Burns are hoping that a national promotion within Apple Stores and placement within iTunes will help drive DVD sales when the movie arrives in video stores in the first quarter of next year. This fall Purple Violets climbed to number three on the most downloaded list behind Ratatouille and Pirates of the Caribbean, giving the film a wider reach than it would have gained from a limited theatrical release."The biggest disadvantage is that there is very little buzz outside of the WWW net.
8. What is a digital media aggregator, and what is its equivalent in the traditional home video chain between the filmmaker and the consumer?
"The equivalent would be the distributor and/or sub-distributor.
Purple Violets could not go directly to iTunes. The filmmakers needed to first go through a digital aggregator/distributor (in their case, New Video).
For those looking to break into online distribution through iTunes, living room boxes like Vudu and TiVo or traditional VOD providers such as cable, satellite and telcos, deals with aggregators are common. Aggregators assist with the vetting of titles similar to the way in which retail and rental outlets require producers to deal with a distributor. In fact in many cases an aggregator is a distributor or sales agent. Much of the industry has become risk adverse to dealing with single titles from producers. They prefer to work with distributors, aggregators, or sales agents who have a volume of titles that are properly cleared and vetted for release." The media aggregator is an entity that collects product and has a track record that is known to a buyer. This is important in picking a film for specific genres and audiences. There is less of an unknown factor to deal with in the business model geared for profit.
9. What are the parallels between Radiohead’s In Rainbows experiment and the digital distribution of the documentary 10 MPH? Why did the 10 MPH filmmakers choose the .m4v format?
"The .m4v files can be played on Quicktime player, iTunes or on an iPod device.
pick-your-own-price model the cash, this has helped DVD sales, opened up opportunities and given us instant reach all over the world.”
Radiohead sell direct to its own audience, but it allowed them to set their own price.
When it came time for Hunter Weeks to sell his doc 10 MPH, he and co-director Josh Caldwell took a DIY approach with the goal of reaching as many people as possible. In addition to DVDs, the team decided to offer digital downloads of the film in the iTunes .m4v format directly from their site. In effect, they created the same exact model that Radiohead employed for their release. the concept of selling multiple versions directly to one‘s audience offers independent filmmakers some interesting possibilities of their own." In both cases they are trying to eliminate the big companies or middle men. They are exploring the artist to buyer direct path so as to maximize their own profits.
10. Why did “giving it away for free” end up working better than a traditional $15,000 distribution offer for the filmmakers of Four Eyed Monsters?
"The free versions of the film assisted with sales of not only the movie but also merchandise. To date Four Eyed Monsters has sold 1,479 DVDs, 85 iPod downloads, 146 DVD downloads and the collaboration with spout.com has yielded more than $50,000 in sponsorship monies." Giving it away made it famous. They parlayed this into other sales that were connected to the film. Any kind of PR is good PR in regards to film sales.
Monday, November 17, 2008
Week 14
1. What does Flo Liebowitz mean by “dialogue as behavior”?
It’s the behavior of the speaker that’s talking in a film, which acts as a basis for one’s inference or take/understanding of the characters speaking the dialog. This dialog colors the fictional characters with textures of temperament and behaviors that repeat which are identifiable to them. Each character speaks in a specific manner that is part of their behavior and this conveys who they are in regards to each other. It’s the how/why they speak in the tones they use that is integrated to the overall mood/meaning of the film.
2. What are some of the connections between Stranger than Paradise with the New American Cinema, including Shadows?
Cassavetes and the New American Cinema conceived of narrative not in terms of contrivances of plot, but as a character-centered process that closely resembles real life. Relationships keeps changing and there is a lot of ambivalence between characters. The protagonists don’t have an arc and aren’t goal oriented.
3. In what specific ways does Jarmusch’s script deviate from standard scriptwriting structure and format?
The script doesn’t fit the one page one-minute rule.
The script is only 55 pages, which is unusual for a full-length movie. The film functions/relies on a more visual/stylistic level than a plot driven narrative. It is “execution dependent.” The film uses mise-en-scene and the characters performances as emphasis to move the narrative along to an unpredictable conclusion. The script has 3 segments that are almost equal in length; the middle is not the biggest but smallest.
4. What is an "execution dependent" screenplay?
According to Christine Vacon, “There is no way to for the average Joe to tell what’s going to happen between script and screen-the financiers have to take a leap of faith.” It may mean when making the film you have to finish some of it to be able to show to investors who will then take the chance on you finishing the movie. You have to show what it’s about and what you have done stylistically and visually in order to complete financing. It’s very dependent on the director and his/her vision, of making the film in a very specific way to convey the meaning of the film.
5. What are the similarities and differences between Stranger than Paradise and punk films?
The characters in STP and punk films are the antithesis of characters that are goal motivated and action driven. There is no arc of improvement for the main protagonist, no happy ending. They suggest real life that has no meaning or purpose except that the characters are very engaging/interesting. They hold our interest thru out the film.
There’s no real violence/sex or anti-establishment aspect to STP as there would be in a punk film. They don’t have criminal vices and are not senseless punk rebels. We like these characters and can believe in them.
It’s the behavior of the speaker that’s talking in a film, which acts as a basis for one’s inference or take/understanding of the characters speaking the dialog. This dialog colors the fictional characters with textures of temperament and behaviors that repeat which are identifiable to them. Each character speaks in a specific manner that is part of their behavior and this conveys who they are in regards to each other. It’s the how/why they speak in the tones they use that is integrated to the overall mood/meaning of the film.
2. What are some of the connections between Stranger than Paradise with the New American Cinema, including Shadows?
Cassavetes and the New American Cinema conceived of narrative not in terms of contrivances of plot, but as a character-centered process that closely resembles real life. Relationships keeps changing and there is a lot of ambivalence between characters. The protagonists don’t have an arc and aren’t goal oriented.
3. In what specific ways does Jarmusch’s script deviate from standard scriptwriting structure and format?
The script doesn’t fit the one page one-minute rule.
The script is only 55 pages, which is unusual for a full-length movie. The film functions/relies on a more visual/stylistic level than a plot driven narrative. It is “execution dependent.” The film uses mise-en-scene and the characters performances as emphasis to move the narrative along to an unpredictable conclusion. The script has 3 segments that are almost equal in length; the middle is not the biggest but smallest.
4. What is an "execution dependent" screenplay?
According to Christine Vacon, “There is no way to for the average Joe to tell what’s going to happen between script and screen-the financiers have to take a leap of faith.” It may mean when making the film you have to finish some of it to be able to show to investors who will then take the chance on you finishing the movie. You have to show what it’s about and what you have done stylistically and visually in order to complete financing. It’s very dependent on the director and his/her vision, of making the film in a very specific way to convey the meaning of the film.
5. What are the similarities and differences between Stranger than Paradise and punk films?
The characters in STP and punk films are the antithesis of characters that are goal motivated and action driven. There is no arc of improvement for the main protagonist, no happy ending. They suggest real life that has no meaning or purpose except that the characters are very engaging/interesting. They hold our interest thru out the film.
There’s no real violence/sex or anti-establishment aspect to STP as there would be in a punk film. They don’t have criminal vices and are not senseless punk rebels. We like these characters and can believe in them.
Wednesday, November 12, 2008
Murphy
1. According to Murphy, what are the two major faults of the traditional screenwriting manuals in their treatment of independent cinema?
They emphasize the 3 act structure but ignore the alternative storytelling pattern.They favor plot over dialog. And the dialog has to be concise and serve a purpose. The manuel writers discourage the use of dialog.
They are formulaic and too inflexible for most indie scripts.
They don’t appreciate the innovations in indie films.
Many independent films are shorter than 120 mins. and don’t have an antagonist which the manuels stress. The behavior of characters are expected to be motivated and the endings have to be unambiguous. They also suggest that the protagonist undergo a transformation but many Independents don’t rely on the strong goal driven protagonist.
2. How are Murphy's claims about act structures in independent films different than McKee's model or Thompson's model?
Murphy’s – 3 acts for most independent films.
Thompson - four acts or 4 large scale parts of 20-30 mins. for feature length Hollywood films but for some 100 mins. features it may break down to 3 acts.
Mckee - 3 major reversals are necessary to reach the end of the line in a full script.
Five steps : inciting incident, progressive complication, crisis, climax, and resolution.
There can be more than 3-4 acts but his most basic structure involves 3 acts and the inciting incident.
5. Why did the filmmakers of the "LA Rebellion / Los Angeles School" (including Charles Burnett) reject traditional Hollywood production values?
They could be completely independent from the white establishment control. To politicize the question of technical competence. They opposed Hollywood
6. What are the two distinct notions of "guerrilla cinema" exemplified by Spike Lee and Bill Gunn?
Gunn made socially subversive films with Hollywood money.
Lee uses Guerilla tactics to finance & to get deals in Hollywood.
They emphasize the 3 act structure but ignore the alternative storytelling pattern.They favor plot over dialog. And the dialog has to be concise and serve a purpose. The manuel writers discourage the use of dialog.
They are formulaic and too inflexible for most indie scripts.
They don’t appreciate the innovations in indie films.
Many independent films are shorter than 120 mins. and don’t have an antagonist which the manuels stress. The behavior of characters are expected to be motivated and the endings have to be unambiguous. They also suggest that the protagonist undergo a transformation but many Independents don’t rely on the strong goal driven protagonist.
2. How are Murphy's claims about act structures in independent films different than McKee's model or Thompson's model?
Murphy’s – 3 acts for most independent films.
Thompson - four acts or 4 large scale parts of 20-30 mins. for feature length Hollywood films but for some 100 mins. features it may break down to 3 acts.
Mckee - 3 major reversals are necessary to reach the end of the line in a full script.
Five steps : inciting incident, progressive complication, crisis, climax, and resolution.
There can be more than 3-4 acts but his most basic structure involves 3 acts and the inciting incident.
5. Why did the filmmakers of the "LA Rebellion / Los Angeles School" (including Charles Burnett) reject traditional Hollywood production values?
They could be completely independent from the white establishment control. To politicize the question of technical competence. They opposed Hollywood
6. What are the two distinct notions of "guerrilla cinema" exemplified by Spike Lee and Bill Gunn?
Gunn made socially subversive films with Hollywood money.
Lee uses Guerilla tactics to finance & to get deals in Hollywood.
Tuesday, November 4, 2008
Week 12
Week 12
The Way Hollywood Tells It, 117-157
Picking Up the Pace
What were the average shot lengths (ASLs) for the following periods?
1920s – 4-6 seconds
1930-1960 - 8-11 seconds
Mid-1960s - 6-8 seconds
1980’s – 8-7 seconds
2000 (“by century’s end”) - 3-6 seconds
How has faster editing in Hollywood affected the other elements of film style?
Certain techniques are no longer taboo Such as: Cutting on movement, Rack focusing,
Cutting on flashes of light, whiplash pans and jerky reframing. Editors can cut at every line in the dialog, sometimes even in the middle. They also include a lot more reaction shots. The acting is no longer what is most important to a films success.
Going to Extremes
How were wide angle (short) lenses used after 1970?
Could be used in tight CU, with packed compositions & tight camera movements. They used wide-angle lens also to distort/exaggerate distances between background and foreground as well as to create expansive establishing shots.
How were telephoto (long) lenses used after 1970?
Could be used in tight CU or as an establishing shot as in “Jerry Macquire.”
The loss of resolution with the many defocused planes created a look that was associated with lyrical romance. It was used for Westerns, Musicals
The longer lens were used to provide the squared off planimetric image.
P. 139-151 What does Bordwell mean when he says “Our movies are sixties movies, only more so”?
It means that directors like Sidney Lumet and Tony Richardson set the tone for the next generation of directors by using fresh techniques and styles of filmmaking in the 60’s that broke the ground for modern filmmaking. Such as intensified continuity and choices of lens for emotion and style. We have movies today that are built on these masters’ styles and others like them and now filmmakers have taken everything beyond anything that was done in the past.
The Way Hollywood Tells It, 117-157
Picking Up the Pace
What were the average shot lengths (ASLs) for the following periods?
1920s – 4-6 seconds
1930-1960 - 8-11 seconds
Mid-1960s - 6-8 seconds
1980’s – 8-7 seconds
2000 (“by century’s end”) - 3-6 seconds
How has faster editing in Hollywood affected the other elements of film style?
Certain techniques are no longer taboo Such as: Cutting on movement, Rack focusing,
Cutting on flashes of light, whiplash pans and jerky reframing. Editors can cut at every line in the dialog, sometimes even in the middle. They also include a lot more reaction shots. The acting is no longer what is most important to a films success.
Going to Extremes
How were wide angle (short) lenses used after 1970?
Could be used in tight CU, with packed compositions & tight camera movements. They used wide-angle lens also to distort/exaggerate distances between background and foreground as well as to create expansive establishing shots.
How were telephoto (long) lenses used after 1970?
Could be used in tight CU or as an establishing shot as in “Jerry Macquire.”
The loss of resolution with the many defocused planes created a look that was associated with lyrical romance. It was used for Westerns, Musicals
The longer lens were used to provide the squared off planimetric image.
P. 139-151 What does Bordwell mean when he says “Our movies are sixties movies, only more so”?
It means that directors like Sidney Lumet and Tony Richardson set the tone for the next generation of directors by using fresh techniques and styles of filmmaking in the 60’s that broke the ground for modern filmmaking. Such as intensified continuity and choices of lens for emotion and style. We have movies today that are built on these masters’ styles and others like them and now filmmakers have taken everything beyond anything that was done in the past.
Thursday, October 30, 2008
Question
Is David Gordon Green moving into mainstream Hollywood Film making?
Annotated Bibliography:
Pinkerton , Nick “David Gordon Green Moves to the Mainstream? And is that a bad thing? “ The Village Voice Tuesday, July 15th 2008
http://www.villagevoice.com/2008-07-16/film/david-gordon-green-moves-to-the-mainstream
The article examines David Gordon Green’s motives for making Pineapple Express and ask the question, “Has David Gordon Green gone pop?”
JONES, KIMBERLEY “Fighting Words“ The Austin Chronicle FEBRUARY 23, 2001: SCREENS David Gordon Green Slams Indie Filmmakers and Snubs Cannes. Who Is This Kid, Anyway?
http://www.austinchronicle.com/gyrobase/Issue/story?oid=oid%3A80645
This article discusses David Gordon Green’s influences, Terrence Malick and Robert Altman.
Wood, Jennifer M. MovieMaker | Published February 3, 2007
Cinematography, Analyzing the Human Condition
All the Real Girls DP Tim Orr seeks emotional connection in his work
http://www.moviemaker.com/cinematography/article/analyzing_the_human_condition_2698/
This article has Jennifer Wood from MovieMaker interviewing Tim Orr.
Thompson, David “David Gordon Green “ The Guardian Sept. 5, 2008
http://www.guardian.co.uk/film/2008/sep/05/comedy1
David Gordon Green made stylish, searching films in defiance of Hollywood methods. Then he teamed up with Seth Rogen - and had a hit
David Thompson talks about David Gordon Green and why he may have made Pineapple Express, the opposite kind of movie from George Washington.
ROONEY , DAVID “Green's 'Undertow' catches pact with UA” Variety, May 15, 2003
Thriller stars Mulroney, Lucas, Bell
http://www.variety.com/article/VR1117886302.html?categoryid=1237&cs=1&query=David+Gordon+Green
This article covers how United Artists teamed with ContentFilm for distribution rights in North America for "The Undertow." helmed by David Gordon Green.
Fernandez , Jay A. Hollywood Reporter, David Gordon Green to helm 'Freaks'
Oct 21, 2008, 12:00 AM ET
Overture nabbed rights to the Dark Horse graphic novel
http://www.hollywoodreporter.com/hr/content_display/news/e3i9e2284979c0b8c782f723c65d816185e The article talks about how Overture Films has tapped David Gordon Green to direct the horror thriller "Freaks of the Heartland,"
Annotated Bibliography:
Pinkerton , Nick “David Gordon Green Moves to the Mainstream? And is that a bad thing? “ The Village Voice Tuesday, July 15th 2008
http://www.villagevoice.com/2008-07-16/film/david-gordon-green-moves-to-the-mainstream
The article examines David Gordon Green’s motives for making Pineapple Express and ask the question, “Has David Gordon Green gone pop?”
JONES, KIMBERLEY “Fighting Words“ The Austin Chronicle FEBRUARY 23, 2001: SCREENS David Gordon Green Slams Indie Filmmakers and Snubs Cannes. Who Is This Kid, Anyway?
http://www.austinchronicle.com/gyrobase/Issue/story?oid=oid%3A80645
This article discusses David Gordon Green’s influences, Terrence Malick and Robert Altman.
Wood, Jennifer M. MovieMaker | Published February 3, 2007
Cinematography, Analyzing the Human Condition
All the Real Girls DP Tim Orr seeks emotional connection in his work
http://www.moviemaker.com/cinematography/article/analyzing_the_human_condition_2698/
This article has Jennifer Wood from MovieMaker interviewing Tim Orr.
Thompson, David “David Gordon Green “ The Guardian Sept. 5, 2008
http://www.guardian.co.uk/film/2008/sep/05/comedy1
David Gordon Green made stylish, searching films in defiance of Hollywood methods. Then he teamed up with Seth Rogen - and had a hit
David Thompson talks about David Gordon Green and why he may have made Pineapple Express, the opposite kind of movie from George Washington.
ROONEY , DAVID “Green's 'Undertow' catches pact with UA” Variety, May 15, 2003
Thriller stars Mulroney, Lucas, Bell
http://www.variety.com/article/VR1117886302.html?categoryid=1237&cs=1&query=David+Gordon+Green
This article covers how United Artists teamed with ContentFilm for distribution rights in North America for "The Undertow." helmed by David Gordon Green.
Fernandez , Jay A. Hollywood Reporter, David Gordon Green to helm 'Freaks'
Oct 21, 2008, 12:00 AM ET
Overture nabbed rights to the Dark Horse graphic novel
http://www.hollywoodreporter.com/hr/content_display/news/e3i9e2284979c0b8c782f723c65d816185e The article talks about how Overture Films has tapped David Gordon Green to direct the horror thriller "Freaks of the Heartland,"
Wednesday, October 29, 2008
Week 11
Bordwell, TWHTI
“Why do filmmakers bother with classical construction if ardent viewers consider it dispensable, even distracting?”
Actually the plot can sink to a level of minimal awareness and leads them to concentrate on other things. The audience isn’t homogeneous. The best way to reach a wide audience is thru an interesting story, which blends stars and physical action. Also, films are made for personal satisfaction and other filmmakers. Making smart pictures pays off in better jobs and the next film. One thing that Bordwell might not have mentioned is the fact that the crew on a set needs to have faith in the director’s vision. Not many top-flight crew people want to work on a set that doesn’t tell a good story.
What does Bordwell mean when he says, “Ironically, the genre considered most
Scattershot turns out to have the most widely recognized formulas of organization.”?
He refers to the action film which is far from being a noisy free for all but instead is as formally strict as a minuet. According to Martell’s manual many principals of unity have been laid out with great precision. Such as the villain having a master plan, which is well motivated or the hero being reactive in the first half and then takes charge in the second half of the film.
What does Bordwell mean by “genre ecology,” and how does he characterize the current range of genres in Hollywood.
I think he’s talking about the filmic environment of Hollywood and the relationship of directors to their audience that exist in that space and time for a particular film genre. Their attitudes and taste for one genre might have been /pushed developed due to the fact that there was very little left for them to explore/add so they went for the sparsely populated niches that have been ignored.
What does Bordwell mean by “worldmaking,” and how does it affect the narrative design of individual films?
Films can offer a rich fully furnished ambience for the action. The filmmaker creates the film world that is the backdrop and interactional space that the characters live in. 2001: A Space Odyssey was one such film where the trappings are as overwhelming as is the Star Gate optics. This is a world that is layered with props/textures no had ever seen before and is completely the filmmaker’s invention for this particular film. This enviroment was an element/character that enabled the audience to suspend their disbelief and enjoy the movie even more.
What specific reasons does Bordwell propose for the rise/fall of contemporary genres?
One reason is that it’s hard to improve on the past/present masters of any given genre. Sometimes a genre went thru a debunking, where as it was demeaned and parodied which took off its shine/credibility. A genre such as the Western was exposed as racist, like in the “Little Big Man.” Another big reason is that young directors just can’t find anything new to add to a genre that would be original so they look for unused genres, which are out of general use.
“Why do filmmakers bother with classical construction if ardent viewers consider it dispensable, even distracting?”
Actually the plot can sink to a level of minimal awareness and leads them to concentrate on other things. The audience isn’t homogeneous. The best way to reach a wide audience is thru an interesting story, which blends stars and physical action. Also, films are made for personal satisfaction and other filmmakers. Making smart pictures pays off in better jobs and the next film. One thing that Bordwell might not have mentioned is the fact that the crew on a set needs to have faith in the director’s vision. Not many top-flight crew people want to work on a set that doesn’t tell a good story.
What does Bordwell mean when he says, “Ironically, the genre considered most
Scattershot turns out to have the most widely recognized formulas of organization.”?
He refers to the action film which is far from being a noisy free for all but instead is as formally strict as a minuet. According to Martell’s manual many principals of unity have been laid out with great precision. Such as the villain having a master plan, which is well motivated or the hero being reactive in the first half and then takes charge in the second half of the film.
What does Bordwell mean by “genre ecology,” and how does he characterize the current range of genres in Hollywood.
I think he’s talking about the filmic environment of Hollywood and the relationship of directors to their audience that exist in that space and time for a particular film genre. Their attitudes and taste for one genre might have been /pushed developed due to the fact that there was very little left for them to explore/add so they went for the sparsely populated niches that have been ignored.
What does Bordwell mean by “worldmaking,” and how does it affect the narrative design of individual films?
Films can offer a rich fully furnished ambience for the action. The filmmaker creates the film world that is the backdrop and interactional space that the characters live in. 2001: A Space Odyssey was one such film where the trappings are as overwhelming as is the Star Gate optics. This is a world that is layered with props/textures no had ever seen before and is completely the filmmaker’s invention for this particular film. This enviroment was an element/character that enabled the audience to suspend their disbelief and enjoy the movie even more.
What specific reasons does Bordwell propose for the rise/fall of contemporary genres?
One reason is that it’s hard to improve on the past/present masters of any given genre. Sometimes a genre went thru a debunking, where as it was demeaned and parodied which took off its shine/credibility. A genre such as the Western was exposed as racist, like in the “Little Big Man.” Another big reason is that young directors just can’t find anything new to add to a genre that would be original so they look for unused genres, which are out of general use.
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