Final Analysis THINGS HE SAID IN CLASS PDF

Test on your knowledge of the specific meanings of terms and concepts (especially those in italics or boldface) discussed in Film Art (chapter 3, pp. 100-109, chapters 8-9, chapter 10, pp. 371-400, chapter 11, pp. 432-436 and chapter 12, pp. 483-486 and pp. 492-496), assigned articles and books (Lau...

Test on your knowledge of the specific meanings of terms and concepts (especially those in italics or boldface) discussed in Film Art (chapter 3, pp. 100-109, chapters 8-9, chapter 10, pp. 371-400, chapter 11, pp. 432-436 and chapter 12, pp. 483-486 and pp. 492-496), assigned articles and books (Laura Mulvey, Thomas Schatz, Steven Schneider, Andrew Sarris, Peter Wollen, Richard Dyer, Jill Forbes, Kelley Conway, Gina Marchetti, and Noriko Reider), all the films from Citizen Kane to Koyaanisqatsi, and course lectures. Part I: terms, concepts, and scene/shot analysis (72%) Answer 18 of the following 20 questions. Each question is worth 4 points (72 points total). Be sure to define terms and discuss their significance. For the questions you do not select, please cross them out. If you answer more than 18 questions, only the first 18 will be graded. 1. According to Film Art, a genre’s iconography consists of recurring symbolic images that carry meaning from film to film. Iconography can be analyzed in terms of three categories. What are they? Please use Psycho as an example to explain the three categories of iconography for the Horror genre. Film Stars: Example: Anthony Perkins in Psycho as Norman Bates, embodying the psychologically complex character archetype. Settings: Example: Bates Motel and gothic house, iconic isolated locations in horror. Objects: Example: Shower, knife, and taxidermied animals, symbolizing danger and violence 2. In Gina Marcheti’s article on Chungking Express, she argues that the commodity can be deceptive. What does she mean when she says, “The commodity actually hides its history”? (2 points). Please provide two examples from Chungking Express to explain how the commodity can be deceptive. Commodities hide their history by masking the labor, stories, and cultural significance behind them. Example 1: Canned pineapples represent Cop 223's fixation on his breakup, hiding emotional depth behind a commercial product. Example 2: Fast food at Midnight Express conceals the personal narratives and human emotions of characters like Faye and Cop 663. 3. Analyze the following two consecutive shots in terms of specific location, cinematography, editing strategy, and sound techniques used in the scene of Antoine Doinel’s interview with a female psychiatrist in The 400 Blows Location: Stark, clinical room emphasizes Antoine's isolation. Cinematography: Medium close-ups highlight Antoine's facial expressions and discomfort. Editing: Shot-reverse-shot and straight cuts maintain conversational flow, focusing on Antoine’s reactions. Sound: Sparse diegetic dialogue and minimal ambient noise enhance tension and realism. 4. According to Film Art, in contrast to the categorical form and rhetorical form used in documentary films, what are two other types of form that are characteristic of experimental films? What is the meaning of Koyaanisqasti’s film title? Which language does the word “koyaanisqatsi” derive from? 1. Two types of form characteristic of experimental films (according to Film Art): ○ Abstract Form: Focuses on visual and auditory elements like shape, color, rhythm, and texture, often arranged in patterns to evoke aesthetic or emotional responses. ○ Associational Form: Relies on juxtaposition, where images and sounds are placed together to suggest symbolic or thematic connections, creating meaning through associations rather than narrative. 2. Meaning of "Koyaanisqatsi": ○ The title Koyaanisqatsi translates to "life out of balance." 3. Language of the word "Koyaanisqatsi": ○ The word "koyaanisqatsi" comes from the Hopi language, a Native American language spoken by the Hopi people. 5. Analyze the following two shots in terms of cinematography, mise-en-scene, and how they contribute to the overall meaning of the film. Cinematography 1. Shot Composition: ○ Both shots employ symmetrical framing, directing attention towards the central figure or the architecture in the background. Creating a sense of balance and order ○ In the left shot, the figure is framooled by an archway, emphasizing isolation. The distance between the subject and the viewer evokes detachment or mystery. ○ The right shot places the viewer in a corridor, creating depth through repeating patterns and leading lines 2. Lighting: ○ The lighting in both images emphasizes contrast between light and shadow. This contributes to a dramatic and suspenseful tone ○ The left shot uses strong backlighting on the central figure creating a silhouette effect that may symbolize power or transcendence ○ The right shot diffused light illuminates the intricate details of the architecture, drawing attention to the environment 3. Camera angles: ○ The shots appear to be from an eye-level perspective, immersing the viewer while maintaining neutrality and objectivity Mise-en-Scène 1. Setting: ○ The ornate architectural elements in both shots suggest a location of opulence and tradition, which may reflect themes of legacy, authority, or cultural identity ○ The arches and patterns in the right shot create a labyrinthine effect, potentially symbolizing entrapment or a journey 2. Costume and Props: ○ In the left shot, the lone figure’s attire contrasts starkly with the surroundings, suggesting they are either an outsider or central to the narrative ○ The lack of additional characters or objects in both shots emphasizes solitude and focus on the environment 3. Blocking: ○ In the left shot, the subject is framed at a distance, emphasizing their vulnerability or isolation ○ In the right shot, the subject is barely visible at the end of the corridor, amplifying a sense of distance, mystery, or longing  4. Overall Contribution to the Film’s Meaning: ○ Themes of Isolation and Power: i. The use of symmetrical framing and distant subjects highlights themes of isolation, surveillance, or control. The ornate settings may point to the weight of tradition or authority ○ Visual storytelling: i. The contrast in lighting and the use of leading lines direct the viewer’s focus, contributing to tension or a sense of foreboding. The characters; small size relative to the grand architecture emphasizes their vulnerability or insignificance in the face of larger forces ○ Atmospheric tone: i. The dramatic use of lighting and composition enhances the film’s mood, weather it be one of suspense, melancholy or reverence Part II: short essays. Answer 2 of the following 3 questions (each question is worth 14 points). Be sure to bring in analyses and arguments from the readings. Write coherent, focused, and well-organized essay. Use the space allotted (one and a half pages for each essay). Define and discuss Thomas Schatz’s definition of genre. What does Schatz mean by saying that "a film genre is both a static and dynamic system”? Use The Searchers AND The Psycho as examples to elaborate on how genre theory is useful in understanding both films. Thomas Schatz’s Definition of Genre: Static System: Genre follows conventions (narrative formulas, character archetypes, settings, visual motifs) that audiences expect. Dynamic System: Genre evolves with societal norms and audience expectations, staying relevant over time. The Searchers: Static—Western elements like frontier setting, individualism, and civilization vs. savagery. Dynamic—Explores racial tension and obsession, pushing the genre’s boundaries. Psycho: Static—Horror features like suspense and fear. Dynamic—Revolutionizes horror with psychological depth and unconventional storytelling. Thomas Schatz’s Definition of Genre Thomas Schatz defines a film genre as a formalized narrative system that provides a framework for storytelling, shaped by the repetition of conventions, themes, and iconography. According to Schatz, genres function as a “static and dynamic system”, meaning they are: Static: Genres have consistent and identifiable conventions (e.g., character types, narrative tropes, settings) that audiences recognize and expect. Dynamic: Genres evolve over time, responding to cultural shifts, audience expectations, and creative innovations, thus staying relevant. Static and Dynamic System in Genres Schatz argues that genres are both static and dynamic because they balance familiarity and innovation: Static: A genre relies on familiar elements to create audience expectations. For example, in the Western genre, we expect rugged landscapes, conflicts between civilization and wilderness, and moral dilemmas about justice. Dynamic: Genres adapt to reflect changing cultural contexts. For instance, Westerns like The Searchers challenge simplistic portrayals of heroism, and thrillers like Psycho incorporate psychological depth and narrative subversion. How Genre Theory Applies to The Searchers Genre: Western Static Elements: ○ Iconography: Monument Valley’s sweeping landscapes epitomize the rugged terrain of the Western frontier. ○ Themes: The tension between civilization and savagery, exemplified by Ethan Edwards’s quest to rescue Debbie from the Comanches. ○ Characters: Ethan as the anti-hero and the archetypal cowboy embodying rugged individualism. Dynamic Elements: ○ Complex Protagonist: Ethan Edwards is morally ambiguous, driven by both love for his family and deep-seated racism. This complexity reflects the 1950s’ growing discomfort with uncritical portrayals of Manifest Destiny.  ○ Subversion of Heroic Tropes: Ethan’s obsessive and violent nature questions the traditional heroism associated with Western protagonists. Genre Theory Utility: Genre theory helps us understand how The Searchers adheres to and challenges the Western genre, reflecting mid-20th-century anxieties about race, identity, and America’s imperialist past. How Genre Theory Applies to Psycho Genre: Psychological Thriller (with roots in Horror) Static Elements: ○ Suspenseful Atmosphere: Hitchcock uses chiaroscuro lighting, eerie music, and isolated settings (e.g., the Bates Motel) to create tension. ○ Themes: The breakdown of the human psyche and the consequences of repressed desires. ○ Character Archetypes: Norman Bates as the troubled villain, Marion Crane as the victim. Dynamic Elements: ○ Narrative Subversion: Psycho breaks genre conventions by killing its apparent protagonist early and shifting the focus to Norman Bates, a psychologically complex antagonist. ○ Psychological Depth: Unlike traditional horror films focusing on external monsters, Psycho explores internal psychological horrors, reflecting 1960s interest in Freudian psychology and societal anxieties. Genre Theory Utility: Genre theory explains how Psycho innovates the thriller and horror genres by prioritizing psychological complexity and narrative unpredictability. It also reflects cultural shifts toward exploring human behavior and morality. Comparison of The Searchers and Psycho Static Similarities:  ○ Both films rely on established genre conventions to draw in audiences (e.g., familiar Western tropes in The Searchers and suspense-building techniques in Psycho). Dynamic Differences: ○ The Searchers reflects an evolution within the Western genre, adding moral ambiguity and cultural critique. ○ Psycho challenges the boundaries of the thriller and horror genres by incorporating psychological realism and narrative experimentation. Conclusion Schatz’s definition of genre as both a static and dynamic system highlights how films like The Searchers and Psychooperate within established conventions while adapting to reflect changing cultural and artistic contexts. Genre theory is invaluable in analyzing how these films both conform to and transform their respective genres, ensuring their lasting relevance. 2. In her book on Citizen Kane, Laura Mulvey demonstrates how psychoanalysis can be used to explain the rise and fall of Charles Foster Kane. First choose one scene in Citizen Kane to explain how Laura Mulvey uses “Oedipal complex” to analyze multiple father figures in Kane’s life. Then choose one scene in Cleo from 5 to 7 to discuss how Agnes Varda’s film challenges the male gaze as theorized by Laura Mulvey in seminal article “Visual Pleasure and Narrative Cinema.” 1. Oedipal Complex in Citizen Kane Laura Mulvey applies Freudian psychoanalysis, particularly the Oedipal complex, to analyze the relationships Charles Foster Kane has with the various father figures in his life. According to the Oedipal complex, a child develops a desire to assert independence from the father figure, often seen as a figure of authority or control. Scene Selection: The Boarding House Scene (Kane’s Childhood) In this scene, Kane’s mother, Mary, signs the contract to transfer young Kane to the care of Walter Thatcher, a wealthy banker, symbolically severing Kane’s bond with his biological parents. Thatcher becomes a surrogate father, representing authority, control, and capitalist values. Mulvey’s Analysis:  ○ Kane’s later rebellion against Thatcher (e.g., rejecting his financial discipline, running his newspaper in defiance of Thatcher’s capitalist ideals) can be seen as Kane's attempt to assert autonomy, mirroring the Freudian desire to challenge the "father figure." ○ However, Kane's inability to form lasting relationships or find true happiness reflects his unresolved Oedipal struggle, where the absence of a nurturing maternal figure leaves him emotionally incomplete. 2. Challenging the Male Gaze in Cléo from 5 to 7 Agnès Varda’s Cléo from 5 to 7 actively challenges the male gaze, as theorized by Laura Mulvey in her article “Visual Pleasure and Narrative Cinema.” Mulvey critiques traditional cinema for presenting women as objects of male desire, positioning the camera and narrative to reinforce male control over female representation. Scene Selection: Cléo Trying on Hats (Mirror Scene) In this scene, Cléo examines herself in the mirror while trying on different hats. At first, the scene might seem to align with Mulvey’s critique of women being displayed for visual pleasure. However, Varda undermines this dynamic by shifting the focus to Cléo’s internal experience. How Varda Challenges the Male Gaze: ○ Subjectivity over Objectification: Varda emphasizes Cléo’s self-perception and emotional vulnerability rather than presenting her as an object of desire. The camera lingers on Cléo’s expressions, reflecting her growing awareness of her identity beyond societal expectations. ○ Subverting Passive Female Roles: Rather than being defined by a man’s gaze or narrative control, Cléo’s journey is about reclaiming agency over her life, questioning superficial beauty, and facing existential fears. ○ Female Collaboration: Cléo’s relationships with other women in the film, such as her friend Dorothée, provide alternative perspectives, further decentering the male gaze and male-defined narratives. Key Comparison Citizen Kane uses psychoanalysis to highlight patriarchal control and Kane’s struggle to break free from the power of father figures, only to replicate that control in his relationships. Cléo from 5 to 7 actively critiques patriarchal structures by empowering its female protagonist, challenging how women are traditionally framed by the male gaze. These films represent two distinct uses of psychoanalysis and feminist critique in cinema. Review In Class: What is an experimental film trying to do? - Ballet Mecanique -human movement vs mechanical (machine) no logic connection, human become machine, machine become human Experimental Films Plot duration, story duration, screen duration **Two different type of forms: documentary vs experimental: abstract and assionational form Ballet Mecanique -No plot, or story duration - **Koyaanisqatsi -associational film: no logical connection open to all interpretation viewer has to find the message by association -movie was a special awakening movie gave an important message -he was a monk -movie gave a new perspective of human technological and industrialization, a lot of images about nature -nature vs. man made environment -use slo-mo, timelapse, fast motion, extreme take, highlight the beauty of nature What is experimental film? Nonconformist: challenge normal notions of what a movie can show and how it can show it The filmmaker may wish to express personal experiences or viewpoints in ways that would seem eccentric in a mainstream context The filmmaker may also wish to explore some possibilities of the medium itself Mechanical Ballet Use mundane objects (including machine parts) Use film techniques to highlight the geometric qualities of ordinary things Use the theme-and-variation approach ○ Animated Charlie Chaplin ○ Composed of eight segments and each segment introduces a new set of elements: motif woman’s eye and mouth, rhythmic movements, people vs machine  (objects), a series of prism images, shiny objects, comparing shapes, rhythms, or textures (especially circle and triangle), mechanized words and number We see circles and triangles in red and green in beginning types of blue and yellow in second half Triangle shape would represent the machines The circle would represent the spinning Ordinary objects image of head several types throughout the movie Associational Form: Assembling images and sounds that may not have any logical connection. The viewer needs to look for some connection- an association that binds them together. Bruce Conner’s Movie (1958): a 12-minute found-footage film, using footage from Hollywood Westerns, B movies, travelogs, and newsreels to comment on human society (humans enjoy dangerous excitement and films encourage that result in the destruction) ○ Movie responsible for encouraging dangerous behavior Godfrey Reggio’s Koyaanisqasti ○ Meaning life out of balance 5 different meanings - hopi word ○ Juxtaposed launch of a rocket ○ Human technology all the infrastructure poverty is a big part of every society ○ Airplane long shot ○ Can be considered a documentary 2001, A space odyssey **Frankfurters vs. humans ○ Associational form: how we do we understand these two images ○ Shapes and patterns in terms of assionational form both the frankfurters and people are sectioned into lanes and divided ○ Based on the movement and shapes humans are like sausages, we are like sausages in factories ○ Reggio comments like that we are agency on the escalator we are only going in one direction, anyone who tries to go in a different direction is a rebel ○ Highways vs video games: one is real life and one is virtual reality, one day we will be controlled by AI Telephone vs everyday life Moon vs Building - movement of human 1. Symbolic Similarities Aspirations and Ambitions: ○ The moon symbolizes humanity’s quest for exploration and transcendence, while buildings represent human efforts to shape the environment and reach new heights (e.g., skyscrapers as "touching the sky").  ○ Both reflect humanity's drive to overcome limitations: reaching the moon mirrors humanity’s physical conquest of space, and towering buildings embody mastery over gravity and space on Earth. 2. Physical Movement Cyclic Patterns: ○ Human movement around buildings often follows structured, repetitive patterns, like commuting or navigating urban environments, akin to the moon's regular orbit around Earth. ○ The moon influences tides and cycles, while buildings, as part of urban ecosystems, organize and structure human movement in daily life. Interaction and Scale: ○ Just as humans have walked on the moon (as seen in the Apollo missions), they interact with buildings by scaling them (e.g., stairs, elevators, climbing) or altering them. ○ Skyscraper and Wallstreet **History of Six Theoretical Approaches Auteur Theory and Structuralism (1950s-60s): Andrew Sarris and Peter Wollen Poet (writer/artist): stamp/signature, soul, style, aesthetic, pattern Feminist Psychoanalysis (feminism) (1970-80s): Laura Mulvey Psychoanalyst (pseudo-science): unconscious, identity, gender/sexuality/desire, family, Oedipus complex, fetishim Genres and Structuralism (1960s-80s): Thomas Scatz, Paul Schrader, Place/Peterson, Schneider Sociologist: convention, expectation, experience, history, iconography, pattern/structure, system/change Laura Mulvey’s “Visual Pleasure and Narrative Cinema” Introduction 1. A Political Use of Psychoanalysis ○ Phallocentrism, phallogocentrism, the Name of the Father, the Law, language 2. Destruction of Pleasure as a Radical Weapon ○ Consciousness raising, dialectics, Marxism, critical thinking, classism, sexism and racism, heterosexism, environmentalism, post-colonialism, etc. 3. **Pleasure in Looking/Fascination with the Human Form Scopophilia Narcissism Question: According to Thomas Schatz Genre can fall into two different categories: Genre of determinate space (Western, gangster, detective  Genre of indeterminate space (musical, screwball, comedy, social melodrama) Two categories based on space and location Why is Psycho groundbreaking - Steven Schneider Suspended and surprise 3 scenes: marions murder shower scene, arbogast murder, lila found the body of the mother **What does it mean to call “invisible cloak of protection” **Characteristics of French New Wave Remember 4 of them Ambiguous ending Becoming self-reflective of filmmaking itself Casual humor and esoteric reference to other films Lack of goal-oriented protagonists and loose casual connections Auteur theory Andrew Sarris vs Peter Wollen Structure in western genre - John Ford maybe unconscious Jill Forbes “Gender and Space” Subjective documentary Image of paris vs image of cleo, female body vs city scale Kelley Conway Film culture in 1960s **Noriko Title of spirited away - hidden by kami, female protagonist kidnapped not negative is an opportunity for transformation Name sen and Chihiro what does it mean Yamuba is based on a japanese mountain witch very similar to alison wonderland