THE SHORT GUIDE SERIES FROM PEARSON LONGMAN Sores Balitors SWAN BARNET AND Manca Stuns A Short Guide to Writing about Art ‘SruvAx BARNET A Short Guide to Ws ws? about Biology A Short Guide to Writing about Chemistry rene Beats avp Jon Tawaun A Short Guide to Writ Timor Comnscan A Short Guide to Writing about History iciian Manis AND MEUIN Pact 4 Short Guide to Writing about Li Srivay Bane AND Witttat E, CaDe Guido w Writing about Music JONATIAN BELL WAN A Short Guide to Writing about Poychology dana S. DUNN A Short Guide to Writing about the Socal Sciences Le. J. Cums 2 Guide to Writing obout Theater “Mancis L. BERGUSON A Short Guide to Writing about Film TIMOTHY CORRIGAN ‘The University of PonnaylcaniaContents ‘Goce Degn Mame J i ce Basa Senor are Deni). a | ie os 1WRITING ABOUT THE MOVIES 1 ny Write about the Movies? 1 org Tt ‘Your Audience and the Alms of Film en pl ti Ty The ws Jess rl rence adie The Movie Review 9 Enineorome ‘The Theoretical Essoy 11 ‘The Critical Essay 13 opini 7 ‘and Evaluation 15 a pemison ow epi store gel aan cea he copa on as ehh bert prt a epi gs q Subject Mater and Meaning 23 ‘etal stom, sete npc a ‘Taking Notes 27 Visual Memory and Reflection st Longman AND WRITING. 38, isan imprint 1 ns4s46ra9i0-cxv-1911 1908 “vnemes 30 san moa lm and the Ofer Arts 44 eon pesoabigeedan ISEN-I-0205.05801 7Navratice 4 Characters 47 Point of View 40 Comparatoe Easays 50 Mise-ensScene and Realism 61 Realism 52 Elements of Mienen-Soine 54 ‘Composition and the image 61 The Shot 62 ‘The Elted Imoge 69 Sound 76 Sample Essay 81 4-S1X APPROACHES TO WRITING ABOUT FILM. 87 Fil History 88 Cinemas 90 Kinds of Formalism 96 Hdeotony 97 Sample Essays 101 xerelses 113 “the Right Words 117 Concrete Language 17 Denotation and Connotation 118 Tone 118 Repetitions and Cliché 119 Effective Sentences 120 Economy 120 Varied Sentence Structures 121 ‘Coherent Paragraphs 123 Introductory Paragraphs 126 Concluding Paragraphs 128 Revisions and Proofreading 129 checklist for Writing an Effective Essay 130 Bxercises 132 ING THE MOVIES 132 How to Begin Research 137 “The Materials of Research 199 Primary Sources 139 Video, DVDs, and Digital Downloads 159 Scripts 141 Secondary Sources: Boks, Indete, Journals, ‘ond Electronie Sources 141 ‘aking Notes on Secondary Sources 152 iting the Paper 152 Sample Essays 156 exercises 163,Manuscript Copy 16+ Quotations 167 Acknowledging Sources 169 Common Knowledge 171 Documenting Sources 172 [Notes for Documentation 172 Works Cited 174 Notes Supplying Additional Commentary 178 ‘Common Conventions of Usage 175 Tiller 179 Foreign Words and Quotation Marks 180 Seat Language 180 Spelling 181 APPENDIX: SYMBOLS COMMON! USED IN MARKING PAPERS. 182 GLOSSARY OF FILA TERMS. 163 WORKS CITED 187 erepITs 159 INDEX 190 Preface This book demonstrite-—uniquly 1 belewo—how thinking about and ‘writing about fina intetaly bound together ually inert {sw on and develops the fat that students write etter abu ub ject they know and lke and that fow subjects today ave enjoyed ad tiderstod more universally then the moves. the ne hand A Shore Guide Writing about Fl was stadeats through the process of on citing the fan and pleasure of watching a movie nto the station of teulating ideas about that save, With numerous student and profes Sona examples along the way. moves from note taking and fis drafts ‘o polished eras an esearch projects, demanstrting bow sn ana oft lm becomes more subtle und rigorous as put ofa eompontion process At the same time, the book astumes that we write better and more willingly about subjects with which we engage confidently ‘nl comfortably. For most slots tod, the movie ro tht subjoe tel A Short Gude to Writing about Fin draws on that ove and kcal ‘ge of films—ranging from movies tht students easly recognize to nes they may only have read or hed about—ae& way of encrarging, and developing wring sl “Those of 1s who teach ln rarely have te to cas weting about fin, Most of usar bury presenting ns snd various Books aboat those fms, and the usual presumption we ate feed to mak is ha sides Thum hwo put wh they see and tiki «comprehensible we form, As common and forgable as tha presumption tay be lest relate taday tha ever befor. Instructors must increasingly puzle ‘over and bemoaa thee enthustste students who seem to kiow suc flare ring th things to any aboot the monies bat wo write con Fised and lappoiting papers ‘One way tae this problem i to rely on exaninaton that eft short ans. Ye. 2 seul and as neces this metho, especally in large lecture courses on film history sidesteps several beneficial lemmas of the etal ey, dence tat nae tal dienes athe ‘qality ofa stadent’s thinking. An esa frees a student to use special Sli: o gonerte and fc orgtal det; to oguize, stn, snd up or those ese tl they are uly developed to ine-tneperooptons by rvs the language used to desire thn to exp peper gramsod syntax apt of the conic presentation of an argument and o takes ofthe opinions of eters hea inet researc, Wing esas about fs iin shor, one ofthe met sophtieted ways to respond to them, Toi spe, oval, an goin at ‘lets thnk. an instructor, I believe, neo to vide that stdent through the mechanic of the exay form. Filing the gap between writing aol an li tai etbooks by dtiing wring leseone a hey apply specially flm cites, ths bok hopes to be tat guide. su ofthis bok theta: o save time for instructor ofl who, in presenting te compete ofthe ar and industry of lm, ze hap tn deal withthe writing robles often; to lesen aden ney about wrtg by laniying pont tht many strato risky presume stents already kon and, in doing this, to enonurage more nj nd aicaltecommunietion between the to. UPDATES AND ENHANCEMENTS, FOR THE SEVENTH EDITION The challenge of «new elton ofthis hooks that changes and adios rs not I Bebe, male eh book become too cumbersome. In order to Keep this book up to date ares, this seventh edition Features ix 1 New material on vrting aout docomantary and ooan-gorde fd noe fm courses or ote hate in ae poating dcmentary or saat-gnde cinema. While rst the guidelines in hs book ena certaly be applied to. these eer fin practic tis ae eton underlines some of the distinctive qoetion ond tues that can point a Sade © rote ciel thakingand writing about documentaries or ‘sperma ns. + Expndad rst for Interetesarch, During the pat for yes the quality nl quantity of rere material avalable on {he Interet hs grown exponent. Not only can stents now access fms and DVDs through one sures, bt the ‘expanding marberof st atejourmals and aor resaarch ngs ar made the Internet key sree fr Sli and erica ‘formation about he, While continuing to expt the pitills aint ofreying too mach on these letonic ours, ‘his new edtion powdes bas siguicantly updated and expanded iterecommendaton for howe eae + Now infomation ana guidelines fring aout digi td ns mia The pst ew yas have confrmed tha the ‘iit revotion and the related "igh convergence” win the lim industry hve en reshaping the production and rcepon| ‘ffl. The new edition acordngy iterates au highlights ome ofthe important change fs tecnologia shit such a nonlin digital editing and new moda races, important ‘ew dimension in howe aoe to dn and wit about fl, + More coverage off sound und ts ertcl terminology, Whe this bok does not ai to provide an extn i of ecb sl nil ters, the dein of sound in the een centy ‘deserved more expansive coverage This meen thas a ‘develops both th dsusion and vocabulary invoduetng ne terms, sich a sound brie sound dole, onde sound, rerlopping diloge, to ely prepace a dec stent inte: ‘ted In wniting bout fln sound + More opeciobrotetes for sing eel prfieading Since revising ad proofeading ate ws portant a very ther tage in ‘rtng tis edition has further developed and calla tention to ‘is eri stage of wring + Uplate expe ene dations of rcent flrs, One ofthe most gaficantejstnents in every ne odio f this book hs ben nerf recent ls nto the dacusons and statins. Whi {ery mpetant to presente ins frig ns aay ‘of piqung usados usc and terest x ls they may not Ino irae prs o provide examples of contornporaty ocr that a student wl eagpize an vet. Healy hs ll ngage students more nthe ewson of entrap and tas to eter wring “This new eiton sao features smaller chunges designed to refine and dat questions and problems tht consstenty appear inn cases + Thisedton cootinues to ean attention to nportan sand Biker tctonally considered ats the rl ma stream, nla erty loners sch as Oscar Mich and Aco (Gay Blache. Whe this ks not comprehensive istry offlcs i to rmind stats ofthe vst aay of materials, people, sue tops eal for wring od sys aati, « Forclanty and emphasis, thi new edition crests the bted Uhstrtone ef tnportant pots within the et ‘+ Asmall bot crucial adjurtment in Chapter so emphasin ow ‘urdents ould engage reserch and awed using tht research Aldnough the emphasis is on the anal writing done in mot lm conse, the book ean bo usod in many was, witha vara of eter test Thala any pfesvor who blives that writing about ln pst of learning about fim. Ths i a conse and flexble book that can be adapted to 3 wide variety of wing courses o ln couees ae «supple ‘neat or contra tnt nll case te gol i fo promote good thinking and god writing about lm ACKNOWLEDGMENTS During the ist stages of this book, Maria Stubs snd Syvan Barnet ‘were consistently hepfil ad demanding in reading the mansserigt and vreing chang. ‘Soe then, Lam grateful tothe cnanycevewers of the various dios, inching Jeltey Batloy, Pac Univers, Avtin Bigs. Hamilton allege, Jim Colling, University of Notte Dame; Daid Cook, Eanry University; Denise K Csmings, Universty of Merids, Tathy Lye, Emerson Calle JR, Dea, Kate State Univers Pamela Demy Univenity of Cabri, Davis Cyndy Hendersot, Arkansas State Unversity Wehard MeGhac,Arkanss Stat Univers Tay Mir, New York University, Betty Jo Fetes, Morchesd State Unversty- Clay Reynols. The Unversity of Tas at Dallas: Deborah Rogers, University of Maine: Jas Schwoch, Nerhwestem University: Chu Wistrburg, Nowthwestern Univer Barbara Wea, lod International University Enmett Win, Asbum Univer and Tom Zana, Norther Keatuey ‘Unieraty. Tn addin, the suggestions and advice of Lyn Tribble and Jeremy Butler hee beon nispnsabloin conse Internet esearch Fer the sventh eto, Iam grateful tothe lowing rovicwers for Amaya, Florida their useful comments and suggestions: Cus International University, Betty Bettaech, Colin College, Wheeler ‘Winston Dito, Vniverty Nebrath, Lins, Tay Kinsey, Unive of Tuledo, Ales Kraslovshy,Calomia Sate University, Norridge, Kell, Marshal Texas Christan University Joba MeCowaa-Hartousn University af New Orleans and Shelley Rodrigo, Mesa Comunity College, Jones Fiamars continues to bey xeepsonaly elle eset, ‘on matrs elated to ths book and many Other mates in dhe chang, wr of in tics. wish spot to thank for their ations, sistance, and encour agement throvgh the ong feof dhs boak~Coalla, Graham, and Amma (Corgi a, oat fal, Marla Ferguson. “Tiwari ComnscanWRITING ABOUT THE MOVIES WHY WRITE ABOUT THE MOVIES? Commenting se years go a is perience atthe movies, the French ter Christan Mets desrbed a challage tht stl faces the student of moves today Weall understand the ovis, but how doe expan dean? ‘As a moasur ofthat common understanding. neice the extent 0 which movie are apart of eatural life that we generally ake for {ganted. We all treasure and Wdentfy with certain movies—for their Teughs their hil, or their haunting images of errand movies sd thet stars regulaly ecome part of our daly ives and conversations. “Two fins mace in 2007, for example, rated ise that resonated well beyond the movie ther: tale of elgn and clas in Aighanita, ‘The Kite Runner generate dcbates around the world bout the sharp ferences a wells corinon ground in Ilazic and Wester cates, while Michael Moore's Sicko explo aod intentionally returned the problems with the US. health care systom to the frontpage of many Iewspapers. The following year The Derk Knight seta reeoed far Cpmnlngany wi $004 sal gros ly x eeu ofthe Sid mich pullin death of Heath Lager the actor who pleys the Joker. In 2004, Mel Gibson’ story of Christ's rucfison, The Pasion of the Christ, sired heated discussions about the relationship of (Christianity and ant-Semitism, In 1997, Sar Wars len its mame fo controversial military project, and in 1091, JPR eased gan unsettled {questions about President John F. Kennedys assassination that Sppetre on television and in newspapers for months before and ater the movie else, la «senso, Erwin Panay’ 1034 words ure probs ‘ly rer today than ever befor i al the sero i pets composes, ptr andsealpors were Faced by lwo he thts rahe sl econ ofthe gonerH ter ration wou ‘ions reget th ne hing wre ppm with he mov, he Sel comenses woul beep (2) Publ and privately curves have boome so permeated by the movies that we rarely bother to think earful aboot thom --and las often, at ‘ll do we thitkof wating sbout them ‘Normally, ve night argue that there i Tle reason to tga to cexplaio—andcortany notin wniting—what wo understand primary 28 Cntertsioment: Whether na movie healer or watching late-night tel ‘ison, we usually watch fils because we expet the ind of plearre feldom associat with an inclination to pick up pen and paper. ARer Sceing Jason Reitan's un (2007), oe tlght chat belly about certain ‘characters or scones we partelarly enjoyed or dss, bat we rarely ‘want to offer lengthy sna of hw tho ses, he construction of the “Rowand the chruetrs worked together Tere i offen an wspoken ‘sumption that any kind oF analy might interfere wit oar enjoyment ofthe movies. ‘Were fess reactant otink analy abot ter forms of enter. ‘sie for nt, we watch a danoo performance ora basketball no, we may cx and happy dens some ofthe intricacies and em plies of thowe performance, realng that our commentary ad Father then subtracts fom our enjoyment ofthe vet. A thse ne cat Undastandg of and plewsre tn experiencing the event are product the eal awerenes tht our dseusoa refine and elaborate on, The person who has n inclination ora eo refect onc enalyae basketball Er dince nay be entertained on some level but the pers wh sable to ‘evita real intligance about the rues and posits i ‘Sprrisncs amore ities id f plane Taf, our aby to respond with ome anata sence to urenjonent And we sorpsngy the sae is tue of eur enjoyment of the moves Informed sciences fen tom to rendareviowa show they Tame son the ight before many fw enjoy ean about cer we a sot even soe Analyte holga reading aboot an entrainment invigorate an enc tad, pera, make te event sel more entra Ing” Anabytiealweting about Sr offers the sume promises and rar Foreumple hen pressed to explain cael wy she Eke Jace tudes dsvered hat her understanding of sd pprecltion Fr the fn store more comples an subtle han she ad ist reine (Fur), Whe ‘re was no sing the offbeat humor of the fm, she Began to think more about ot oly hat kes the so enoyable at also what ges «serous undercurrent. She bn er expanded reponse: Maden 2007, Junobo a spun arempary fm ancy Front carne 1-year covers tbe = pest Trouser looks aonapaprto ndx oople apn ase ane? bam te Desperasy Seon Span ai, se qpe aot pet i) an ure uly fren echoed yep cre, Vanes theugh iy. edgy lpg in fino smn anuar the posi ar soma of prestncy baron becuz a open it the meetngestanty. ese soa ro andes rou ‘xchange that iy tothe inteligence, amor, at social els ofbothagg tha ay my De wood shou neta whe bi ete, "Nat. ean, Im ey proga, 0whs ther knot ‘henmgenr cog ao” Vay, Elen Page as no a ce as ‘Sn tars comments map 2 cous perspec ave [Riering love lang wht preniny andariao coo, the moves inform many part a curves, we shox beable enjoy them in any vay, incuding the calling psu of tying tink Shout expan and ve bout ou experince ontching tem. Weg to the ic for many reason think or ol thin ose them, oF wre shout ther, We may gy oa mvt cose th ttn ean we may fp toa ln when tht andy bcomes food forte mid. As the fan of Jun Fron oulyzingcar respon toa nate dos norm ourexjoment of 1 Wing aetna lew ue to enya ls ways we erence bei ating on understandings oe of he ple Tet us keep in mind that writing sur the movie snot 30 far fom what os of ws do area: When we lave a movie theater afer woh of enforced lence, ost fw dss or are about the Althongh the ference betwean lng and writing about a subject tnd meastred kn of eonmantetion, ths ime wid zeader Our com nents can be about the perfomance of an actor, tbe extementeliited Dpspeatle soon or jst cinon questions aout what bappenod why ‘Frequent thse conversations evolve frum searching for the ig wor or fndng a sation desexpion of how a sequence develops “Tprefer Keston to Chapin boos Keston’ fanaler Wel T mea, he tell Fanner more complicated stress "T hatet—no, [found auch too predictable ending of Gorden Stte(2008.~ While aking about ow we ected te Wing about fin a cell and mor caeulated Stop yond ths is ple to dacs what we have seen. Gea this vor imple, we can een enoy talking and wing aot a move hat sre dit like A Tied ofthe writer who praised Jano ths Degas his ‘say more negitivey than the ssdent quoted previously Coe, tre, and goo, ao (200 ema rien cn ecp wih teenage prope) Fos ‘soi canon Canis es soso tcsaze tem hl hy become meena bckouide {er }no's anc. conady. juno dunisesabrion as ance, ‘Sppateny bsomas he wasn rom ae uncer, ols evectmotat rns baby annus a shor ma Whace ipo meson loon vigoote si gage (moe arcs o's changing body ante socal renee logue aac vrualy ‘ery ino sould bo quotsion mas The resus asl catoon Asthose two fend dcnered, when wo understand the same movi very Aeron, yingto esl tht understanding canbe charged wih athe nergy ofa ged convertion. quently eat «rong envio oriole reaton. Often however Ine hd the oppo hiner sbont ad acute what im ate, Join Dot (141) might i gil nos dels ‘nt of sep wth ys pola! complet. gry viewers of Te Crying Carne 1950 may Bie theses tracey te honest depletion othe ‘Sree wig ot sto Wnty ut rye onerentblewih the Background plot abot the Ish Repobian Army mont audencs of Petia 14 (108) wl probably ecogaize the importance of te opening Sequence in which man Hoa fom his car above ata am, but they sy be ard preset enplan qh wat means ners ofthe soy dt ell, Analyzing out reactions fo themes, curses, ong ik ese can bu away at only of ndetndingw move beter ts of derstanding better how we ew te work and the eure we vei, the following thee paragraphs, we ean see how Geofey Newel Sth tured his nil exement aboot «seme Sean Antonin lm ito an oo ie cnc in Azer, ton thei ey tant oom wih set sto ptorie pect everything tater Suro lai ari y char al lag omens arse to undated eaopmontof espa somounng al Ieee of Shy The lee strangely gut They nl oun ‘with Anat deappnrice eee thet suoundiogs anon fo fon Feral el oat Nosep ung Gradua neon tha the village tery sre nabbed, pape never wilted Ther nn the wig at hme tte alone Dire, hy tit tne ay: For nat he Bn ens the veel ic topo, uel fr wo sem erage one he {den thf page weet chp Sod and Cin ligne “aon ofthe mo eotte momenta ey of the ern, ad ene fr which here ba en appareaty no Fer Trot the cn ht Saco snd Cle are sey len eas snyder ttt rent th hy have en lov AM sing Not tthe her eteme thar pane retin 25a den fu of detonate, Nor agin i quo o the i nf telson the ut aoe woren ot ho er grt urn lat es pasta The Elie ‘eto haps oment i dug that micas save at Veron ‘then her suden sone somo be ile on these Sidhe ed sds th sport un, the wnat the done of teroplns 4 kebow At sock moments eer poopie ae ony ding et the oo for then ext The diet gat ay om. ‘ows ny fom ater peopl, ad th acon ths es ae nitro he prac oscesty fr most ofthe tine of bang aver of cece and af lolol dre elstens wth ther peo ‘le And the elatrip toca be sur of lls, No angle fete or abt fru ean cath te ving enc of Antero ‘ern of he an oma (5,35) In this example, a single scene becomes the stimu for the est “The suthor probes and questions ths seme: What excl hs happened, tnd what does it mean? His obvious satisfaction sea writer comes an analyzing thi scene sift were a mystery tobe soled. Inthe proces of iis analysis, is original curio leads to broader readings of other ‘Antonioni moves und aly to hs dsover fa consolation i the di turing proticament that rst cag i ee. Forth wets the pleasure of allowing his euros lead tothe larger pleasure of understanding ‘more abut life ad appinen ia oder nes, Iorer to secs be, ack of he eparaton conus a pec ath tat, but the who tth mre completed nd ote capes as What prey happened in tht moment the pect ter mes, eal he charters eal ow fo wih hin tothe lg se he lod moe ort commte hel ht he ctl tlds ees rr. I ns, when the stile nic po {Ske the apni the felngof emptiness nd ped ered byte Raa ayeg ser pa deo rpc Se YOUR AUDIENCE AND THE AIMS OF FILM CRITICISM, sh col rly hare std cere Wing shunt la en serv one of several funtion. can hap you do ‘Where this pees yea ard social evizoment do the the flowing: characte find any sug? How an thay break oa of he byrndh ‘hich tr and other nen alt sent have lwp + Undorstand your ou response toa movie better ithere + Comince others why you tke ard a len frou them? Property pking thar 0 rap mr ah te Man dota t ning the west ony no moet hth doooed to exit. ut he san ot ope, The are tmeneat pins nthe nih nme, hen hey ome. ar bring at pase ih the psa cvroumant, orth ter, onthe lan, sent of, ely frm doer peopl ae ad hes plan or introduce something about a movie, filmmaker, or group of mae hat your readers nay a0 + Male comprone and contrast betwen one monn others tsa way of understanding them better ‘+ Make connections between uni ad ober aes of culture to Alpminate both the culture andthe moves producesThe purposes that become part of or ental to you wsting will somes depend entry on our idence: Anes inrodocg ew ‘Rone Tor exsnplusaleton for an alone that his ot ser {he fim, However, even when tha psrpse it decided on indepen ‘deny perhage out ofa personal intrest in th relaion between Spun Bn at Sparsh culture ou say wlalwaysbe shaped by stor soto of yor audience a epeialyby what you preva tne “Radas know owt to knoe ‘Tyoutink of wring sae wy, resembling convertion, sul 0, how te nation ean audience hep shape What you wy for Nase (1075, wth a notr-Amerscan, bt the way You mals you OME ‘Mout ln and, psa, he pot all be daterand by what ‘Serbo at nda ans nwa to know about Amescan cl ‘Mcand tout the mentite (A aomAmeren, or exp may ed tobe tld what th cy Nase an sie meant Ameren we American slneed very tl explanation) Salary, mdse a fa wth somenae who ny no ave seen iT would probably fist tlronbe dat fg wath a gonerl aver, sommarzing the plot and theme way to consis pion to ee he lo ot tose onthe str hand Lam aking bout a movie that fiend and 1 have itaSoon sera ines suchas Prats ofthe Corian: t Word Bd {Sons don me ovoid that pesto ofthe plot o wen of which to played ich parts, Just soo conversations about mores diler “Seow te nda we are peaking wth, te way we wt sbout issn the tion che ry Serdg on te ah “One semate and traditional way to nda the dferest aud center might envson sto ding betwen the allowing +A serening repent Acta essay Areata wsting sot fl oy 20 apeas on the Inte sn hind topo des ted oar che stein, as a Fear sone thee scene diferent kind of ring he or completly rcs of eng While these four oder of weting are bard exba Uitint consequent hey shoul indict the im Sour andionce in mind 4 vay of deteraning yor syle and goals ‘The Screening Report ‘A sreeniog opr i sh pice a wring that acts as preparation fr ‘hss dace and canine. Prins deserve spent ht genizos note ona lin ep 24-97), the rept shuld estan boat threo or pga cbt one ow age osteo 0 to oe prints elit to th opis ofthe cous oe see questions povided Uys tp er i a fing) ale partnlr aut Inte tins tobe a objetie ad concrete ening uo sl a vss le, Far vc nthe sed sos, ones! hen hi srening opt of Fence Rinks Ballons (197) th wy ™ «Tennent nomi eee ete eg tees ea Since this ie irs sketch ofthe report, more ype details must be added later Precise desertion of several shots an scenes wl then pr vide compelling support fo discussions in ls and for preparation for The Movie Review Te pico the pe of am wth ch of ae holy familar since appears in almost every newspaper Nowy review ams athe brosdest posable auton, he general public withti spect knowledge of in, Acsordngy, 3 fantion st introduce ted he tne, she atin the fot sat bese Kit pling ot Uroknown fins and to recommend or not rozommend them. Because it Complete sentences wh er tongue on the ea eh, presumes thot an audience bas not seen the movie it discusses, much Mr Malik tes wt to mance is les, ad he sucesso EShe eay ts devoted to summarizing the pot or placing the film cet frone quo whch Kita Halide ot ne hme tnother cone (te directo’ other wos, ns ofthe same genre, and ‘ sluborate a ating the MGM art department ever aig for Soon) thet night help the retder adorstand t Here, Vincent Cay’ ‘Taman and ane ie Stoen and Mn Spee ten a tho le feview intrloces the readers of The New York Tomes to Malick url ol poy pci eden flour ae, arte nem Badlands (1973) tere the mppoing cts inkling Wires Oats as Hel ite ‘ne ay ently debe In Tenence Nal col sometime rant, abs Fooly parents A i Dato ih ats Mae de 0 dion ‘stg ttn 0) tnd lla an all-American jade sexs the upper Mil ‘Nesra theta of whch mare thal «dre pope he on Shots doth by Kits sual pn range. Bolin” the it fate by i al, Sear fonner Redes Sehr td pnp ston whee i ee 5 th or Srey on a ent Pekt Moy” Bula nl by te. ody gh of Cher Sesh ho Se ay, 1 th he porn copter Tpit, Gr Fog wet fons mrderspre hatred TO-Scons theater wc ater ese nh ete Gi and “Ms Papen Me inp tut Ameren neath Pet “Bone snd Ce” and Fete Tang Py nd "You Only Use Once a vey eect ‘The Theoretical Essay ‘hn oflonc so ith Me Malena ret noone Inn eu cpa bho td Holy oor ey Depron fo be he utaely pone Society ang valoda by Holi the At. asl cents of the ‘Mie We ann th a: of tryin Tre Rares," i eae se lst he gong tel, "ta what ep in thea and bs th al tw eo i te Ba of Montana to cn te a done marr sb eke eer againto "og snd witht bln ‘and ily th ah Bos Ch natin st ir co peas coven th th origi ne Te whl weld ws be alii of Me ale von, bt “Badan mot gran od ‘We ean tently ore tha one Fanction a this eg Canby as to oovnce his reader that Badlands an important sore tat is wort ee Inga ne does this by otrodcing Malek and bi credentials, dese ing th plot and the historical background of tht plot, by evaluating ‘he acting, and by placing Malek mone nthe content of other in ie ie ispectealy, Bone and Clyde (1087) ad the two Pte Lang movies), Eagnlly important, however. his clear sense of his alent: readers who probably naw the popular Boonie and Clo bt le abot Mick ‘the baeground of Badlands. These are readers who bave nate seen {he fl and would ke to know the outline of the story and «lite about the characters ane ets Figure elton he pola or desloge andatons of the ae das ty, oron how fcr naive sue ierary nave th other cod oft spcrum. Such an nye uppnes hat he reaps Stee gis del of awe out sete ns mason and othr weing abs, np uence cen abancd soto peopl who tach im ste, ual wey nowdgeable abou the the eto ean some ofthe ange and move compe soe toc he cnene an bow we understndthe, Nte te hangs a ‘hs hoc of wrda nad samen abot he ede’ heed at toh were 1385 conception of ber adn: Toko se ly Sor en wwe Kt wea ste at" ert new a. For ew deed tere le noting or at lak atone den Eom he gay desperados of ew tech devin the spre of ra new eyo presen ‘he iin Tm the nd a a tb ard aly al ws se 2d ealing drum performances. Bot today doveepment asely bled thi asp, The son a tage, and treed inthe coneon sl elation oi tp 10 rising stato Herbs ute Beyond yd ton erat Cay sald ren tio ov ch fl the hres might scout of plc in sea by he plosper Sine Lang Ts not hit aes noe correct han fhe other iSaply cation of nc. Aiton sade might fos some shat a in Lange’ compartnedy scene ey on nH The moans unalone wth experience nh std of itory, sti, fo hop alae desonding oa eaten ae inn wros ov. The perpen of er eny eat dies oa Snvines her reer of he sgacance of ln an), Bt ow she rs ber pnts undestandaewh we tai that hencrensing, oe stato ofthe ovis 8 ‘The Critical Essay ‘The cstel essay usually expected in film courses falls between the theoreti ey andthe movie review. The writer ofthis kind of esty resus that his or her seer ha soon or i at at fra ith tbe Fim under discussion, hough that reader ay noe have thought exe sively about it. This snter might therefore remind the reader of key themes and elements ofthe lt but a Tlenghy retling ofthe sry of the Bln neither needed nor aceptbl. The fas ofthe essay fr mare spect than that ofa ree betase the wniterbopes to reveal sults Cr compleses that may have exosped viewers on the Fistor even the socond viewing, Thus, the esey might foc ona short sequnc ginning ofthe lm oron camera ng that becomes ssid ith specie character Inthe falling excerpt, Brian Henderson also di uses Badlands, but whereas Canby’ audience was the reader ofa large tewspaper Henderson’ audience is more ae, snd f the one'a ‘tlie might adres nin cos rie of Toren Macks Bande (1073) Wiieve tht ih ve foe dav it pole i hve fede again the wcll ts are when i rt appre and gue thre who ve gre sine dan Te has been ether cmpated, td polemics resewe, by the ease (78 of Males Dp of Hone "Thi nt fre ck wort open-enel eon 1S the serous of any ted work invites, 1 Gere Balan so ere eth out hae noes here nes Uhoargument ast sane, tanya, tthe ll ee tnd steed fr along tine ome ‘Whats attend hero esig smbof Balan por haps srl beeing tks a ovo poo depres efor nua by Holly deed oly fs et.al Ye Bn Bet untoen nutes Thi senha jt oe spoon tothe dn ec prvoged na A content of Hele pens up oer oles and lad to ther ayes, bt wy prec dst ‘hig ahane st th dramas ting syle we ie dees, eles ler ented {hat ny prftry emarks proarate undeisly moder. Kl and eles nd lid wth mo oullon approach Holy ce bth nd ot ake tin bios thei a ad et peer, ote to the sb ware lansing th mal Thy re ey hence rity il cheyaeves op th sles objet, owen, nove : forthe ad gene ip they pov tet fo nko, hte ad role Tir (ean tod eas to contacto by conventional san ‘hs Thus it nd Holy ae nove ng aly fr the moments they [pond oper Bt thy ly an with Hoedan in the cows 2d nd ex boring, Holy ie with bere and (ln) weeps ‘when he dis, tru away wit his llr afr very mode of cna ond of eens distin: titan honing dtntive ating or peace ye. Ballons Sich ny eps enema de mead of oh rogues spe Tht nat acing to the te plac itn, bt ep, ery dale fle of ieee, save ese mast We stb {lot lokat tnd oly and rg how sresine ler aon. This ogra ning se 00 th thetic Or ayes rat boon te to ce ngs, Ove ton them Sheen ith hr inven unde nd in smting, weer subrntiiing desig or "eco Perhaps nae coil tho eri of poss reales ly tris Sort crates A in Bes el song tbe etgajicefthe pelonner fom thereof he characters (8-40) Canby and Henderson’ esays are both postive responses to ade sare rst Tie fer gat, bow aril sod aon Aleut Hendon dcr the pares Satta coms renter too he Bn fetal the unewtaning i He snes tht render al “Seto to sean sty the moan pap ooh caer fbn Me tas for rid tha hs sons Koo the Story nos the casas, and i fami ith toms ‘Strain he ean choose very specifi parts of Se Ml Holy marr Tn and the ating shle~to demonstrates pont that here to Imper tant innovations in Badlands. Final, even his soetion ofthe es, on | sees an organization tpl of gu ciel angment; The wrter begins by placing the fl a the conte of ether etal and sholry ews, toes his ai, and then rues roan analysis of charter aad a ingstyo some general cnehaons shot bw to understand the ye or the student writer, the question of audience, highlighted In these three ests, eqully contr to wing about fn, Someines, instructor may ge you an sngnment sued at speci audience en ‘esingyour eit taddvess tht adie: "Wet ave of A Bonf Mn (2001 for the reer of Tome agin,” More often, your inte tor wl simply ask you lo write eve essey. Keep in mid that yo audience ia these ces inher yo Instructor ame (no. you might imagine, an learn aobing ros you nor some large and una be Inthe streets (to ehom ou might be prone to tell the most oben acts shout a move). Rather, envision your audonce in mast staaons a et Fel stedens indole wh ae seen the movie nny know some ‘hing about it bu who hve not edt oe. This acne wl prob ably not need to be told tat "The Wierd of Ox xan old Arriah that has bacome a chldens lassi thy may, however, be interested if yon nat that “he Wierd of = was dred by Vicor Fleing wo the Sama year (1930) made one wth dhe Win” Likewise, ew of yor fellow ‘mes neo to bo told that “Opbuls The Soro andthe Py 170) i ‘voy langFreach movie about World War I” but they maybe fascinate ‘bya dete deeripton ofthe pening shots, OPINION AND EVALUATION Whoo you write shout fl, personal opinion and ate will neceseiy acome pat of your argument Se ei, for example have sous prejudice aguint foreign fs, Others forthe work ofa singe directo, suchas John Huson or Wes Arderon. ill ehers annoyed Jn tera adsptatons ves they are Butt the egal dsike Sos sch athe contemporary version of Shakespeare's Ohl ella’ (001) but dnd tho Shakespeare fl of Kennth Bean. Even those ess thar appear to be choy dase or anytis!—bograpical or histor cal wings ores that nim aan objective nals uf a sequence of| Shots inte aera antnat of peonal choice and evn In some say, fica dereripton may be tore promient than rote jl ents but the difleences are of degre, pot Kind, Most wing bt in Ivaes some personal opinion nd evan.No ccader, of course, wil be satisfied with awrite who wses his personal opinions to oid oF digulse a solid cecal positon. After watching Lanrene Olver’ adaptation of Shakespeare’ Henry V (1948), atough have otro ht ny Saapaae plays hs ithe fet tne tote kot The opting. thnk the mot erecting part end ‘Joa rcs fel ade ay oan ecg na ie eae tina, comments fhe aifarence bere ama a fn the opening ate most nce part of Henry V4, becase penny images, Ole rknowiedges eo (daa sd dow ow he movies can bansced hoe an Somewhere in between, the writer Bds tho proper balance of sonal experience a objective otseation, judicious interating those fersondleuperiences a lelingsabont the ex that are probaly also ‘a ven the viewer unaoy wth a Sbakespsare play. Ces Henry V {tpg epee Frnt cpt tno Py ino an expe flat be sae tno compensa the fhe viewers ‘yao, Sbalsepearesuenly comes elie The wseful rue of thu hare to try to be aware of when an how your personal perspective and feelings ester your eric and to what degree they avaiable onot—vhen, shor, tote dgmens som 0 Sey someting true ony for yore bu froth aswel A personal distaste fraction lin os, for low-paced romantic tories could become ich prt of an esay hen the rer carats though ad offers rons for that cstuste. Or my expectations, someone whe lay sees sid Holpwd lng,could becca snalying my sg confsion yet cation with by the Mex fume Guero el Toro—suech a Fan’ Labyrinth 300T)—beease cher ewers have fen sued that confson Tn the examples used euler, both Canby and Henderson openly introduce thelr own opinions and personales Int their argument Neither bulls at using fo underline the presence of his perspective: ‘One may legtimately debe the vay of Mr Malis mune, but not 1 think his immense talent” (Cay “take an obvious ott of dopa ture the ns vikeover narration by Holy. This i= emphatel, just one approach to the li and ot» pvieged ona” (Henderson. Canby’ 1 perhaps a more opinionated Z; Henderson ts more detached stud cations, Yet both Canby and Henderson wsethl personal psitions {help form and energie thee dierent responses to Mali ln, One night ay tha these aes of Tare only the moat forthright and ret nh Gaton of the many other evaluation and jugnent that enter the esa ‘Canby’ etic ofthe romantic, nll sting whee the fo ott lays Hide and Henderson’ interest araive and thoretal question above “performance "When you write boot the moves, personal fekngs, expecta v1 eactons may bo the begining ofan ntelignt equ bot the Imus be belanced with rigorous rellcion on where thos felis and expectations and reactions come fo and ow they relat to moe ebjec {ve fico concern the movin qucston spc a Sin Nistor tulral background, ands formal states, Fangs Tut, bth inteligent nmaber anda perceptive crt, has cbserved that stead of indulging pasion in nto, ene must Teast ty to be eel wah some purpose... Whats interesting not pronaacing wm god or Bad, bt xpning why” (20) ‘Witing bout fi, hon, adnate comple, Itcan alo beeing avd rewadg Tn 1908, Leo Tosoy remarked abot the moves, “You See that ths ite cikng contraption wth the revosing han wl male ‘remlon in ur ein th i of wits (410) Ty to prac ns withthe sume interest mtd shrewdness. Ty to cone of yourself ta verter with an equally purposeful and dynamic relationship with theroves you watch and enjoy: Or i the words af Aamahee Sally Peter ‘Brot of rer (1970), Orland (1092), The Tango Leson (1097), and Yer (abot, member that there S4“pleasre fn nabs, a unraveling, in thinking” (arm Cook 27, Exercises Take oppose sites in «debut out asin Se. Wet one or two partgrphscriczing the lm and then one rt peragras ‘sefeing 2. White sree report on single lm and then a review of tres or four pargrphie Thea reunite tas eile pai bly the ferences and whet rgned and lon xc. 2 BEGINNING TO THINK, PREPARING TO WATCH, AND STARTING TO WRITE Of che several dcales in writing about fm, one ofthe most promi ents geting abandon an experience that asso many diferent ly 5. Put simpy what shold yu chooee to analyze undo wie abo “The ston? Tho acting? The eng? Watching Am involves everything from the plas where we se it and the price we pay tothe sz of the sereen, the pico ofthe story, an the kind of muse used asthe back {ound for hat story in fan Cocteau words, “Th cinema muse i 09 ic" As the fist step to an iteligent viewing, spectators need o break the habit of watching flns out othe comers of her eyes” as Cot putt (217). This is where analysis begin Certainly oo primary expetince of «ove the singular en, pe haps. private on a watching forthe Fit Sine—involved and enjoying sane hopes, bt poe anyed ye stl somehat involved As the in Joan-Lie Godard 108 Sl Fist Name: Core (played by a hissel) writes, “Badly se, bays Seing a movi with all ‘your aention the any ay 1 Dein wntig about fte—even ne ou ont ke. Ethers preertion before the seen o shorty aera however, yoo, athe wt, need to sort nt that persona and pry eerience along manageable Ines, nd thi sot nt should become the grondvork for your analy ofthe mone Should you tlk about the acters? Aboat technological nontions? About the fin’ fl on an audienc Where should you start to dirt our fenton an your analy Sis that you do not give yoursel the impel sof wtng about he ‘hole novia? Because te movies you soe onthe rem ae pnd of ny diferent forees—writers, production Jomands, the cot of toca oy, and hundreds of oters—tht in a sense pres the lnages yon are watching tis necessary to ppeaach thwe mover th sensi fo sone ‘ofthese base questions, influences, snd probes In the sowie, noc ‘exergy and time goes Into “propreducion” acy, when decors tdsxhyer outine an prep serps and ning steps: your nai iy sper last soe tne on some general, fal be beter i you sah Dreliminay questions, AS fr gs powabl, prepare yourself fr a movie mele starts ask question abot and aso your on potential Asa frm the moves ioe erst, the petra and pie tic arts, muse dance, thee, and ven arcitoctre The tent iter seed in arhiocture might hus respond Brenly to an Boren or Antonio’ ef horse cin det ut interest to bow hese ma us artetural space tad tn the drama they ar presenting A mie ent stent might be dr to cetin at or expeientl ns such as erin Symphony fa Cy (1927), ot the msi or artist features of nose (Pure 3) Ask youre which rt forms terest you most and which sow kw the most ant Coo yu ase your knowledge of printing a «guide to part la? What night be hind the lng umber of recent adaptations of fas novels, Ike Mire Nai veson of Willan Thacker novel, Vanity Fat (2004) he Coben brothos ap tation f Coa Cay No Cony for OX Men (2007? Might yor interest popular or classi masie suggest that yo ook fra tape in ovis ike Holidey Inn (1942), WestSide Story {L061}, Moulin Rowse 2101), oe Dreomgs (30067? The len dary depen on ane vepond ikl to changes in technology. Having grown used (0 contemporary Hollywood mows, ‘ost of ws Bnd tet we rac ifeenty fos slnt movie o to one in ‘ack and white—an obvious example of how the eary technology that produced these movies determines how we view them, Many other tools ff tho tade—various sound technologies, color stocks, or special tflets—can iow beoome the starting pot for «reveling als, ther amo wdfn screen fora television Stenson say a great deal sbout the story inte how eple moves Ike The Ten (Commandos [10565] jart dont seem the sat eleva). Ar soxne commentators have suggested, the computer tchnalogy used in The ar (190) my he the most interesting topic conceming that mote F you are interented in tachaology, prep to ate Tatars of the rcxie fd ts story that might depend on technology Does the decor ake Speci seo baceand-vite fin stocks? Why? Does sound technology sem tophy ge part inthe movi? Is the ovement or ack of move rent ofthe camera elated tothe kind of camera sed (ike the handel ‘amen the French New Wave, which commeyed sense of on realm)? Espectly in recent yeas, what kw at dig conve as had an anes pact onthe Bim md: More and more fms se shot with digtl exneras, the majo of vies are nw ted th {gtd nooner editing programs (see pp. 73-14), computergeneated lnages have allowed liners to nt ony ad to the spe an cars of recorded realities bt alo create entirely new realities, ad, nly, the ‘cuter aulene twat may pens 9 10, Btwe st ‘atallow oar apts obseire or oan etal jue he seme theme mites Galt Ande Aeron we ist er “verte pny hat hit fr ar ot nt ete to {its cm ex semen ihn oa at egy chert! sons boat outs 7), Like Cook curious and perceptive student night even fl up this thinking about race, Grifiths lm, ands histor conte by vestige. ing avery different response to hore quits and ues a ha Moat notably, African American filmmaker Oscar Michestrs 1920 Wiasun Our Gates assumosa vor ferent audience, has fever tech, lageal ant economic sosouren, and presents a massively ferent view ‘frac enone m the ery brett century an he result i a at provokes son sto compeling ution forthe perceptive wit ‘SUBJECT MATTER AND MEANING The prevonly mentioned peliminaty questions shoud eid you tht the tages you se are the prac of eetaininfloences and cottons, ot just the word seen through frame, The mes aw not just sat Subject de rerlton ofthat subject fr particular reasons al toe atcertain meusigs. Flnsaze no st dhout a story. a character, place, ta way of ie they are lo what John Berger ha calle "a ay a ee Ing’ these olomonts in our les. Any ln a any point in istry might Ja lowangl the point of view low ited upward) ha Ighangle the pint of ews aoe, hed dooms the ear ange can be made clearer hy sing arows Uhimately each indica develops a personal shorthand nd other abbreviation to record accriely the dete of «scene or sequence {These and other terms ae more filly define in Chapter 3) Oe, fo sanolations on sound or dslogue, a ey pase or word may bo whet alls you to ie a more precise deserption ofthe soene or sequence later Sometiee, these atottions may even tak the form of qlee Sketch as with his student attempt fo note ow ith thee ive sas (Figures 48) from the "Odessa Steps” sequence In The Batlship Pekin (1925), Bisentens eng ofthe solders tack ons mother tt hl work ocreate confcts nte navement within exch sha. Noone mil existe annorste an entire. Anping a spe cil argument acest, everyone wil focus on diffrent Kinds of infor Imation from themes and characters to technical slements and ein Structures. If a wets Wiss wo ana th famous shor Sequence in Aled Hicheacks Paycho (1980), fr insti, some primi nes right look something ike this (2) ms Marion and Norman, erampod ‘pecs, "rapped irs, eyes, sex tnson (2) else pantnglperp Hoey (2) OU cu then ow N at undreaing M; (4) shower tight space (5) murder: quick ets cs kil, ae, es, Ms po (6) Mi clawing tan, cx drain eye. This quick etch that neds to be led in ater Is second viewing i posible, more dslogue ordeals can be sed = notes, # write ould develop 3 Ely sph Yet, bognning with th cated ud gos reading of ths key scene, inary ootes and sketches wil aan the basis fra good angen, however, ony the wt elaborates on them shorty ater ecg the move by ling nthe shorthand with more carefully sheasured dese ‘sons Joan Mir the renowned French fn historian, once sid his mort Important ase as an unasaly precise visual meray. The best writers shoot fm ether eome equipped with or ar ble to develop a sharps tory and sual memory bi allows then to femnember Geta shout 3 mae. (Remember & memory ean be tsined and developed, no one ‘Boul sec to jot caress wing ad snactation by ean ed ‘meron The soner ae can go bac to thowe preliminary ate, the beter for then the memory can Be tgesred to ald move specs and ce images nthe contest ofthe nga try another nrativ sue. Returing to his notes on Peycho, that wrt might recall oer images that empliasie eye inthe movoand ike connections between the ble inthe wall and the close-up of the shiwer dain or between te eragespace of Norman den and tht ofthe shower. He or she might that the sequences email balineed and frightetogy Ting een a st the Bl los-ape ofthe darkens the deal Marion's open eye Oa further flection, that writer sigh decide that, base on the opening shes the lm, ayo is about Toking” and semua gendered iplcatons of looking, ‘When youve reviewel your notes, the shape and direction of your ergument ay begin to appear an ide of what you wich to ay about this move, Whether or ot you are prepared befor a fit viewing pos be anguments and tps shold begin fo preset herslves a you begin toad tound develop thor preliminary notes. Wl gong over notes on The Marriage of Mora Broan, one sent sve ht hee tial per epson ofthe movie 4 soesy madame was complicated by those Strange temic maneuvers with the snd track that she had record In har notes, hor essay then dlscusted the wy in whic the sound track signaled the spits and division between the main character’ private, ‘iotend ie and he pe, socal fe (Figre 8). Using the shorthand notes on Eisesteins The Battleship Peter shown eat that student ‘uted shoty-shor ans tht move rom those noes oa lea ve bal desertion of thowe images, Not how a proce desertion f thie sorta union lone a the Foundation For tcl als ‘aa Peco ou per. | wl igh eta te comer tis therein sot tte cle lagejs hag he “pris tht soe aw ese mages. stetepice the viewer athe cpt ieteractin wher tho tines clan implacable mechanical ore cole wit he ine omen aly the wre. ses wih He ental the violence impli th ‘women Joking teach other, and Manors {Tuma esmple of people trapped in sen, Ox 8 Donald Spo oined is ote, nce and horor of ieeee tera ates ona we, Now sexing hr it gt hr hand sony sting een the erin alt stent "rate nd ela = Nea asp, ent ofthis severed, Ste wy ah wth her lat breath slides dow nto dent She stare with gly hg i, the ean ut foro Bug poll ack he gb the shane tal rol oper int ro ks te law ae over the e he oh ‘ne mor ln at the sensing ve roma pie wer hs ser tole te noe of et bia ges ay re Tow th Bw water spaing down th n,n an extn cto drtnao the dsn ot rt bei nthe det the iy ba In nae, neg fe er ej, oon and sted in dh The en shared ther and ot) pet Ad the cs ofthe ens 1s by ascion wth Nonna’ ee ding the ppg sete el, Al the charter sd with ur on rl througout 8 poping Te ‘Fs ln teed oe cher ed hoop these of dering cnet camer cng charters the dal viewer Few of sare inctned o work bck throngh ts neatly er 0 ing move Yet a prompt ew of ons nts i extremely wee and ould maketh diference bowen a ulland bay sexponse tow lm and SCompeing and sts one, Method aos llow a viewer map Scracly what happens ne novo ycor dt soe the bjs St aning tet would otherwise soon ade fom memory. Urlew ‘eas contnal cea tothe sora seri tio rela thas tacts and without thom, bing you have fo uy wl probably appear tmuck too impressoste: Whon you go over the Bln andthe ey “Syecncsnyour notes Meng fo tke shapes Whea oo spp thine tous with concrete desorption frm the movi, an argent scones dant more soning. Exercises Before you have se a purticua fli, we oe of to pars raphe plnpointing your expocttions about st What ao you ‘Sey ow about t? The eounty and Notre period tHe Crigin® About the recor? What wil probably be the moet imporant atures ofthe ln? Spec characters? The sound? Do these expecttion esd yow to look for cesta themes oF ‘ypesof stone? Choose a singe, short sequence om afl and annotate it 2s precely you can. Deve ore annotation in clas, precise [rose Are there any condone yw can dor interpretations or would ake about3 “FILM TERMS AND TOPICS | FOR FILM ANALYSIS AND WRITING Developing sense of ow to question movie images and take nots on tern pe ain ath lity to det thos qusons tom spe (ds tops or ani Queens se nots sul kd co moe questions ‘2 poll rfl anny Ths ph ead oa essay fused on patil ‘Recker tecngics nase A major pur ofthis process i developing Toeabulary with which to ask have questins prope, to dase what ous and ik, nd oa you foes ad ope your ana. Being ihc atic aml then comment nasiem shavevene sheeting ton in Mfchad Clayton (2007 o fo describe te “predainance of polis Mark Anta (2008) no ony ad for to nae ln within the lcimintons Sheep in Sophia ‘kesoon eamerston at allows a good ingen of ln hist ane amas These Kids {2 ogi to pint eu tw opi fr «ape. Torey scpne asi own specal language or we of words that wif so sje wah pron and subtly. A ony ior ornple neds dtingush brween «metaphor and asin because these twine dence diferent tetrad Figres tht ar, refr to di ferent sort of preps My ove Hk ed re oe” mil) ferent fem "My tore these ose of if" (ceaphon), andthe person ‘the appre at dfrence wl ed and nerpret thos ns bt ter Siar» knowledgeable basketball fan wl be abl o summa ‘cy and cate the acon of ome ihe o he lows specie Teta that incdes rs sch mp sot, pick, ar fit Brea ‘Wi ln, to ea ocbulty lows youve « moe mort sceumtely and orl your perceptions mare casi, Coste the ter Fone twenty, fom frst he rectangle that conta the fre: the fame ofthe mos sereen el, which doesnt change dri, cmv, and, mote importantly, She camera fame, which repiashy changes ts rlatonsip tothe obj being lined. Being aware of this fermand i ases means yor wal be more sensitive to how the carers Frame controls whit you se and ow you se it You wl beable to note for instance, thatthe exmera ame may ince certain actions and ‘Sears and that ye ange at whi ts plaod rs datance om Spero adds considerably to ft hefner tying to sy As one Stident obser of a recent move, Alough te sone ses tobe & ‘ype arly gathering the viewer becomes avave that something s Wong or unset becuse the camer ame sight ed and unis iy coded with character and furiure” What say sometimes go ‘tances browght tight through ee acurte use of term, ‘THEMES Ging over your notes. your is step nay be trying o tent the malor themes of th movie, whe often comes downto topping back nd ask Ing hat thin about the rump of god omer esl in Star Wars [HBT for eampl, or reluctant econ Beare uataginale brutality In Schindors List (1992), These themes, m enany cases, become the foundation for an analysis Because they point the main iden ina movie They are nt sey speaking, the “orl” or message ofthe ‘howiesthey ate the large and the small dens that Belp to explain the tons and vein it Ale for sample llowng + Who ae the eats carster? {What do they represent i themes aod in ration to each (her The porance of day or ate? Stength or human compassion? + How do ther atone create a story with a mening or censtllation of rennin? + Dow the sory empharo the benefits of change or endurance? {What kind fe or what ations does the film wis you to valve nici and why? «+ there sat a eoherent message or stor hy nt 1 How docs the nove oko yoo fel at che end? Happy? Depressed? Confined? Wha? ving sketched oie major and minor homes na fs, the weiter ces to teline these in teams of the specie station snd els ofthe novi The mor seasive writers wxabully the more refined sorlee poeeption and argument wil be. Tho, lenation say very wel dserbe the bast thematic nes of Chase Chaps City Lights {U891), Frank Capra ou Con’ Tate f wth You (1908) Berard elas The Confort (1970), ad Mia Nis The Name 5 This maybe a goo sta, ut asharp ands demands thatthe writer inet or, perape, even desnble? Does ea to new knowlege or ise date tht cond have boo wold? Is trend ar tor t comic problem nthe movie? Writing about The Conforms, dent Int tne the theme of senaton By ond at here relates to the protagonists sexo an the fet per nly acd ht, wale thelist two mds (ado some ent the out) the mv never relly resis thi alenation He or se might frther spo and day that ergument by desenbing bow the vain charactor ely seems trapped and ated bythe rigorous framing ofthe camers (igre 10) andy the many Kes within the age whole (door Eames, win ow ame, 0). Noe, however ta ths nd OF refinement senaton i The Confrmit dost tempt to fshon an eseesiph fed and inmppltable moral One eanot sla The Confort ton sane whi dooms the charac "Whi lenttyng Bemes providers pert foundation or your thew help you to ogee ned ly your tpt The emer of ths hap dseases th mon important 0 thee terms why re se 1 The eonneetions between the muss and ater artic trad tis, sucha erature a painting 2. The theateal dimension of the Hi image, or oft mise-en 3. The comporons ofthe move, aieved through camera past tion and eting 4. The we of snd inthe Bln Dependingon your tpl, any rll ofthese dimensows and their woeab- olny maybe ental ey your ess FILM AND THE OTHER ARTS Although the movies are one ofthe youngest othe a hey have abso the structures at forms of many ol ar. Not surg thereon seins fim rete some of he eal langage el tee ter er ‘yan sul ate: We pel of plot and character a oth Rw and owe, teva sain pute pa oF Gaal oad a ane re andthe mvs. Bored termina alee a ete mak important onnctons whofe lds als derands thats writer be sen Here we wil okt three rel ert ln suds the wah he crarytn ls atic, an po ofa Narrative When mos of us reer to the movies, eae refering to narrative macs alone, not documentaries or experimental fills A naratice can be vid no diferent components 1+ the sory ial the vents tht ae presente tows or that we an ‘afer bare happened+The plots the arrangement or constuction of thos event in & “Ths al ns that seth the life of Napoleon woul tell he sae ton: is ath, his to power, the French Revelation, ts aftermath, and hs tale to la. The lt in these diffrent movie may, however bo steve sre and arsnged in various way: One could ogi th Napoleon’ ast tdgy at Elby ad tell istry through series of lsbbacks(ahowing ‘rents that aourred eather han the ones jst sho); anotho ould tart ‘ih bis bith and move chronology though hi ie ‘Alyse yourset how he narrative ofthe ln you are watching is constructed I rst of alla moni with a story fe? I nt, hy not? Is the story told chronologically or does the plat rearrange events Ian unusual temporal oder? there reason for that parton pot Structure? What tthe sons let oat nthe acta ple construction? Ave thote resons for inliding some material and omitting other Inara? Does the way the try sald become a prominent feature of the an and thus, «central fat nan analysis oft? How do you ree- nse the narrative structure Ts there «solee-oner, im which a charac ters vice heard desenbing vent and, Sus, makes it lear tat he oF She is organizing the plot? Are there technical elements tht give da ‘patie nations about how the storys trctared, suchas the change From black and shite to color in The Word af O= (1988) o- Abel ance’ use of thie ellfeentseeons in his Nepolaon (1927)? Is the movie especially concerned with questions of time snd histor, which i fur, iluence how the plot is contracted, as in Back 10 the 1065)? What propel the vagy Amyetary anim The Rig Sey 63? Aesite toteecha goa tin The Winard of O=? Or iit tall sy, a some nde moves in which the plot seems to have no definite direction? “The various relationships betooo aston its pol and a narrative sie ate aumorons, When most of ik af a nazeatvo fl, bowees, wwe probably ame in ind what i often called a clasice narrate ign 1) Todacus any kindof ln nara, swf to ve some Sense of this important nacrtve frm. Usual, a casiel narrative hs the illwing +A plo developent in which there log elation been ‘om event and snoter + Reet sett nd ahora ening cenmple) {A etrtve ye thr step to be more ores abject ‘Noa chs nartves are the same, of ene, and many ie ea are about the vations ad inovations within th del One sent, for example, began his paper on Hemard Haws The Big Slep by cbnerving the flowing "Tas asc mpsery soy dosent make coma ace snd vy. Nonteles The Bg Segp remain a mod flifimiplig the way nce ath acon che mach tet, Bogart ni Boal tbe lois coisa thee characters rake you tet at contain antes a ie day out a, In the follwing paragraphs, Gerd Mas oka the narrative struc te ui applies to many Hats ls (sveh 26 To Have and Hove Not [94H and is Got Friday (1040). Not ow Mast Bet places his analy ssn he terry tation of naraive and then moves tea dcasson of lots constricted roo he notion of surpass itty ‘What god str? Fi, there the constaeton ofan aton—oot enumerating ing vet boning toe eves to 4 ‘Shera nd powel se, The cron oat nin tees oma very mrtg pron, f whieh Hawks we wel var (nh oe hand the et rane mt aeons ows, ata, upraigh nothing mt be expected, wahing Ince On the eer band, he sent nara mst he pre pare for, motte foreshadowed bing unempeced very {ing foreseen. Ondo oe and everything da pens King Larisa tpt On the other everyting pay poco rom en command inthe being Sec ete, Lea Wearing She Banna Woodbe dscns ht hs Mi ghey wr se rly mst mary yo eveyhing in Ena pois the way th Inet nd nepal deer. The par of marie com ‘ation thatthe he len fateh sem Itndoms_nd he pte flesh ech mee of vets silane ineeable et serpraing ote oder oF ‘ve when the evtbl acu The marae tat souls “ponte and serps i aay condemned a contend Replat wot and sled th ne tha inlay pater family condonned random, wandering, array. Stoo Hw der En sry mr rato thi pro tng nota? Inver ty ero malig cola vth erase mater Hwan! Hav bul ey yn nen ‘al onrgar str The put plage ta eer (0) tb ie tcf ns pt or paet lv ration ofthe major charters nth ol pater of en Heche ep for is) or (a) nes «cont bythe else of to appetyeppote aracters upon their unt) meeting (hit is the usual ‘urtha-Fatkerpters. The snd ad thi pts develop th ‘earl confle eae i efter iy Linge ot ce Ating chases o i yes tat nt seen pa, then te ‘tern he ho by letiig one fhe carers wrk aloe the second put hen both of tes together in the hd. Ande th Destio esc the entra one, ete by a ear athe ona Del sein fhe pcg, btn which ting th wig cr ‘eter ose themes and one ether now it nena vk ae very be plague o tg rey he atte al. lett begining Whueter ce one ean say about his rave structure tos Hass sory th free of sbpo the gan cmon nd ymmey ht lle sping eens np he ‘him loge and strstr fact pate, (90-31) Not al movies are casi marae or even neve lage natn ber of independent and fori line rete nates tht ee outs the ase traition or that may intentionally confront that tration to tell theirstoris distin such ss Kar Wal Won’ 197 Flay Tage end ts wandering tale of v0 young ne who lee Hong Kel dt through the bacstieets of Buenos Ares, Whoo you watch snos tat sero vol tational story lige o ott story In usual or, pera, onfsing wi, ask youl how the move ogg ts pot sd nae ‘io aa what is tying to achieve. Do the characters ee unformed ‘nected in away that’s impott to the meaning of tho fn? Wy ihe the naive lok forsan near pres? Dor the nore se tobe tei two or more stores at are diffe to sane an Miode ‘Mon Ano (195), in which the story of womans her Nai lover ‘old alongide the story of the bombing of Hecht? Does the movie he ‘confusing begnnng ora unresolved csclsion? Why? How do these ther nut strategies relat othe stores ling fold? About Hirai ‘Mon Amon ier might for sme thought gi by chservng tha both tries concern Weld War I and re tld by to nel met vers the dieu in che narrative structure might then be related tothe ‘woman pn in organizing and comming her memos someone froma completely diferent culture but wth sar historical es Once youve letre to recone clases] nara forms, you shold bs are ‘ove of th varity fs in which res an tld. Many other fils ae nonnareative: They donot tll series, or they ‘subsuave stories within ongnastonl structures other thn arene: Forthat acdsee nme inv fate questions or aesthetic eonerns unrated to narra, such asthe astra patterns of light and shadow on film, Avant-garde filmmaker Maye, Devens Meshes ofthe Afercon (1043), fo example, epents nage «| Sronded women walking wal unesplsined Sages of «Rey ada Ee to {cea fil that seems mow He ream thn sory A ferent kd o Somaraie fin, documentary’ cinoma my presont real evens seh sil of « Native Ameren tbe, ory A Inconceient Trt (2008 presents former ice president Al Gore a8 moderator who guides us Through a preseason of documentary footage graphs, end expet opin ions argument about the dangers of global waraing (igure 12) When viewing expeimental or dacmentary eine, bogin sith sone base questions = the im des not sem ogame as a story, what sent be PA news the ode or te ongeszaion A drain? Ana report? Or some other Form? How dos tht del sugges way (olusdeestand the fm? ‘What are the formal features or organizations that standout A sores of contre? Repttion? Disconnected fgets? (some other pattern? Why that pater important othe meaning ofthe a? {In yoent yous and part f the age gal revolution inthe cn ema and media indstres, ew medi line abo have become ajo pt of fl and modia elares tha extend a ers the borders of tra onal narrative cinema, Not oaly are people watching more moves through the Inter, CD-ROM, or tPods but more and iore at aa Information is being erated to be seeu and understood speetically through these new media vehicles, Ifyou have the desire or opportunity townte about these kind of new mel products, consider these quer pot + How do the image, tories or sounds emphasize ore than traditional lis or videos «unique interaey between them andthe viewer? Hew does thet lp explain tei sims an goals? + Hows the tecinology of the partir media part of ke nesage? Characters (Characters ar another commen tpi for anal neste dean an fm. They aro the indus who populate narrative and nonnaratve ims Whether ty ae the main curator or minor character, they no rally feu the ation aa often the theses fe movie Figure 19) On, asco of lm concentrates excel on wha ispens tothe chara ters or hw thay change ty Dinner with André (MBI), whch ns the inner conversation betwoun 640 men, cond more accutely be deere ‘sbomng about to characters telling stores thas as being story boat sharcters. Both wadtional move, ike The Quen (206), and untae ‘onal ones, tke Crab (1994), focus thee eaten almost echelon the biography of thar main character, Queen Elia Ua her ree tionship th prime miter Tony Bll the Bis eae) ane undergrad ‘nroonist Rober Crumb nthe second), Keep anil hat nana of harcters na move canbe borg or seem smpleminded ify pve ‘hem a thoy are merely elections of el pepe ce you bla the dif ference between the real storia person, eh ator paying the ol rdeo th han ey re tu asin hte pt strsins you ea begin to aesubttios ened complications in how ad wha they men in dierent fins. Asan exercise, hoose three ferent characters these portrayed by Lillian Gish i ‘Broken Blosos (1919, Lane Bacal in The Big Sep, and Halle Bey in Monsters Bal (2001), for example—and ty 9 deseibe how and wh ‘dutacers funtion thse characters are 0 different ‘You can beggn an analysis of characters by aking yvorslf f hose character sem or ate meus sem rahi, What ales thom rel [8c Ate they defined by thee cathe their convertion, or something tse they are uot reli, why not and wy are they maa o soem Strange or fatate? De the characters seem to the setting ofthe stony? Does the movie focus rainy an ano or two characters (as in The Big Steep) crm maty (a in Nhl 1975, n which thre do ihe central character}? othe characters change und, 5, n what tea? What vals da the charters soom to represent? Wht do hey sy tnt such matters a independence, sexoaty, and pola hei Fu wOTROMIERARTS 49 "Normally we tae charactors for granted, ad these area samplingof the Kinds of questions you can boyin to det at characters t ke more sense of thom and determine why they ae npotant. Point of View Luke nant, pin of ono i tec tha ln shares with the berry and vil rs fate badet seit efrse he psn fom wh Semathing sen and by spain, th way nt pot fv deter tines what you soc eth mpl sem, the pot iow purely Physic My point of view ratings house ats the sec wl or ‘xp, bo ery diferent an leg om tn rtp of yhoo trom he bnsomet window Ins more sophisticated sense punt f vow "be psyeologial or era For snap, » hilly pout of view about a dent owl pray not be he sane esha Inthe sameway we can alk aout he point of vow ta he camera San lato fs porton or acton or even hep of view ta nova drce tr bee (igure 14) Wool, ors us an ej {or pint of view so that mest ot show tone tony oe erseas ponpetv. In Gone sath the Win (1900) or andht (082). the andone see scones end eens tbe at of Atlant pe tes Ind) tht re suppnely objet in hl scope and sexu, beyond the hnowiedge or perspective of any one pean To spectic scenes however that iene any bo svar tht tyes other arater only trough Ret or Gani eer, tse ess the fameras recreating that individ ore suhjtin pot enw Some movie exerinent with the poses of put of ew Ta Apoclype Now (WTB), seen tose the we sey fom Capea ‘Wills (Mara Shee’) pinto esr; itrodaces sty as ene thing that already happened hin, bt despite this ntn os tok abet my ofthe scenes r-teate ispemonas nar ‘emptor itn cisco tem a wring about las becase fms ae basal bout sing the world in crtain way. Pay attention to point of ew using those So general eines Observe ow and when the emer creates the post of vw fa character 2 Notice if the storys tld meetly fom an objective pt of view rom the subjective perspective a ene personAsk yourelin wht ways the pint of we is dotonining what yous, ‘Dost lt orcont! your on iany way. Wht an you tellaoot the Caractrs whose ej yu soe trong? Ave dey aggresive? Suspicious? {lore lake? Comparative Essays Because mvs npn th edn fot pen Sculptor and punting terme stchesnarrtie, character nd poi of Sho arent aly woul but accestry in analysing lm, Oe, these terms provide the has fora compartiveesty that examines «book ‘andi adaptation asa Bln. Other kind of compartve ety yom pire difforent versions ofthe saane shave vr group of films bythe Same doctor. When jou wit «comparative esa ofthis Kad be en Site to and eaefal not only sbov how these ters comect iferent at forms but also about how they highlight differences, Bo sacs of hhow the Bim mediom may change tho message ofthe orginal book or ply Tok at how alteray or attic tropes translated sucess into “movie as well sa hat may be lost. Final, a it cons Tow other socal and storie ators tay play an important ‘compurson and contrat of diferent works, The popular lan adapt tion of Je Austen novel Pride and Prejudice (1819) as Bride ond Price (2004), for instance, festures etrorainry textual changes including the adition of musieal wambers), and smare compari analysis wold ley need to examin the South Asia cultural en bis Toren conta that inflcoees that adaptation, Les obiowaly perhaps ‘would be # comparison of Jane Campion alaation (1806) of Henry James’ The Portrat of ¢ Lady (1851), where the gender dferene the female mmr and the male autor may wery wel bes oF moe Important ehan te bistorsal distance in comparing ead understand ing the two works. Whatever ine of arguments comparative assy tikes, detailed for imal evidence is ential. To compare Apacrlypre Now and Joseph CGonrads novel Hart of Darkness (1598) a writer may ths chose 0 begin with «comparison ofthe subjective pt of view tat describes me Marlow's Captain Willard’s—journey through Vietnath a the bother Marlow’s journey into Afric, That comparison vill be much Sharper and ise reveal, nowever, sth wer ea show how cr tain iteraytechniqes (long sentences fl of repetitions, or example) reate one point of view atl how certain film technigoes (the use of light and show or exaggerated mise-en-sces, fr tstance) create the other, These film techniques are the abject ofthe rest of this chapter, MISE-EN-SCENE AND REALISM ris-en-scne, French term roughly translated a “what pt nto the scene (put before the cuer)relers tall hoe properties oc muio nage that ext indopendenty of eaters potion aera mre ‘ment and edting (laugh viewer val ce thew diffrent dimensionsnied in one image), Mite-n-scne eles Iightng, costumes, ss, the cuit ofthe acting, an ter sbapes and characters inthe cone, Many Write mistake ellove cat thee thea features ae a somewhat ‘sophisticated top fo analyse Bocas they appear to be wore apart cfs dramatic tration than of cinexatetrdinon. Evalatng th Po Foneanoe ofan etor may fr sone, seem mich les important than ana Tying the rare or the camera wo Yet, fr many other perceptive tes, the tol and terns of mise-en-sedne are Ge keys to some of the tot important estes of any mi “The major teason that we tonto ovedok or undenalemise-en tne Inthe movies isthe powerful llason of real ha a the heart ofthe Finn medusa In many movies, we often presume that “what i pot into the scone” simply what there consequent canot be analy swe woul analy the consctian of plot We sept the Phladelph cating of Jonathan Dernes 1999 movie Paladapha as merely the brckground that was chosen forthe bate otweon a prestigions wfrm tn young asec dseonered to be HIV postive. But comparing the liven setting ofthat Bm oth, ay he mas on-stno of Phldelpa in the 1876 movie locky (et in the etbnic neighborhoods of South Philadelphia) rn the 1905 movie Tee Moneys (ot in «Pld ‘futban squalor and eay) should make i lear tht the realism of place very saleable, Thelin of reals, in sor, sand of mise sro et males believe thatthe images ae ofan everyday word that is stply there™—one we know and are Tailor with. Or 8 Allndyce Ni ol deseribed tho problem, In necinema ve dems someting eet. Probably wo cry the pletureiansepretees deep gaed nour big. The tate tet thatthe camera cat he” het bor pened by alin of {tein ports andy den of pint pater which per port Spc aes bt ih oy tr at ob ty ised Petes taller dances o epoao gres in abertemants of Highs, Yet nour heat eae re he ah o hat ate neat. Apctore, a peo of sexta a sge-play-—these we know sree ceed by mame hve wae th seer Bing car in Tecktage nw how sal ae he ctr up boing tthe covchson fhe performance. Ln every Way the ey” thts pod orne oonw,2 at wee repr dard ting se wet ah eres aw ‘Set or een i oy tient Soe prod oes tv enhredts tw nt te eee eva ns cy tas fr ere seats have bea period oma the rt to at fr ninety perce none et ‘anc emplyedin th peat ean rand ly “The rang pra, th, eis ot sug he ce no For eample ste ey {red wget? Do alms ees scons hats ea they doin Chaplin wove?) Although most good fms give the sting ends objects nearly as sh meaning a the character, ls ier gel in how eye ee setting elation to charters and tai, Sets and settings my sags historical elsm, an Flos of Our Fats (200) (Figure 1 pode mages ofa characters mind, an The Cabinet of Dr Caligr, deserve the central theme ofthe il, as des the ental ofthe bousehone in ext ein St. Los (4) oF become as complex and important as he stor or characters themselves, a, perhaps in The Trumen Show (1908), 'nwhich the main charactor (in Carrey dave that i ie a telew slon show and that he ives and works om teens set (Figure 16) wit about sting, however, ome must do tore than jst descr ‘One mst sek io discovers sipticance in rltion to the major theres, ‘ofthe film ort other aspect ofthe in ts ystom of proton ora historical period, or instance). Such foe wil help expan why te et ting ad the way constructed ae hnprtant ‘Use the same rule of thumb in discussing ote alomentsof the Iise-enscéne: Whether your intorest is sting ses, costumes, OF lighuing, precise description must be coupled with «senso of wy they se important and how thay add tothe steaning ofthe mowte~ that how they can become pat of «topic fr analysts, We al! know that atlg of Oe Fer 0 actor ithe individ who plays the part fa character ina movie. But tcting vge-how an ato play a pat—iflers considerably rom film fon and om ono Obed to the nese, Whe Joke a oughly cing se ia challenging top to sles arget for focasing an oasis of «specie move, Arter ght, fr instance, compare the Sctng spe in an Halian neovealist movie sich ae The Biyele Tlf (1948), in which some of the actors were people chosen precisely hecanse they hat no acing experience, withthe mannered style of Bis or American actor ke Mauae Sith, whose notion ofa realise perfonmneeinclades a great dal of studied wtfis. The Danish dire tor Gal Dreyer sid, “The ner experienc nad than to twtoess the expression of sensitive face under the mysterious power of Inspiration,” and tls precisely that kind of performance that he sallated from René Paleoneti inthe famons closeups of his The Passion of foun of Are (1028), In the allowing paragraph, James NNaremore describes with exemplary sense of deta, he romatiable Sting style of Sandra Berahard as Marsha in The King of Comey toss Boris ft lb comb dn many vy sh rhe on ho ‘eat dv of won She ak the ymca i rhe Fonds Secs he pues a etre nt gree tenes—polng ether ips oc bom ppt et ng rosa orleting brow hang ix Whe she ravens allan angling stick ge who leas Han aor bbe spel ber ie pies opt tl She verge of tena. Nerinles nes her canted bee See invay qe dient om oi tind es He Fay Broo Mata ge, Hest comedy muro, gig ay a laut and se bi athe we wight fan Onl so ‘wren er ho 38)sues 8 we ll tthe clothes the charters wear Like her aspect ofthe mise-eena, they vary long aspetrum fom ral ite des to exraaant costumes offen, they provide awe withthe tors chorater’ identity. James Bond often wear a tuxedo, but Syhestor Stalls Rocky prefers o wear ax litle as possible. In both fuse learn something about the character from the cstume. Some ims lke Tootsie (1082) and edig and the Angry Inch (20%), ae lout costuning el changing appearances through ess and nd bth las ave sbout how men des ke women to onfont forded wth conventionl ates sbout sexta roles White hats no Tenger necesito good character, bt you shoul continue fqvesion wy characters look and dres the way they do. Do the cos thes suggest ow they ew themselves or how they wish to be viewed Iyrethers? Does character cbange clothing in Saturday Night Fever ((oPT, when Job Travla becomes a ferent person by donning his Jancng clothes a aight? Do those changes ell You anything sbout the petonaliy or the soeey? Is there spec fentro ofa costue, suck as the baseball glove tat identifies Steve McQueen in The Great Escape {1960} that eps you ana that character? Again, do ak tak tho cee tumes ofthe econo for granted Tighting describes the vstou ways a character or an objector a scone an he iluninaed either by natural sulight or from arial Soures (sch as lamps}. Wallowa Blnmaker to deta viowar ttn tion ina certain way oto crete» certain atmosphere, We all recog. nae large distinctions, suchas the ference betwoen dhe right ight Jngof un outdonr scene na western andthe shadowy darkness wed in {he alleyways of gatestor fl. We probably nee that, he fest ‘ae, the lighting erates foeking of ear and ops and in the Seconda fecing of oppresion and gloom. A more demanding tase “vould be to note and comment oa the more subtle gradations and pat- Terns of lighting that donot dramatically ell tention to themselves Tn Bestrand Taverner’ Sunday tthe Country (1984), For instance the softly it interiors and extern seem to re-create tho lighting Found fn impressionist puntings or, more exactly, the atmosphere lighting found inthe 1850s cin of Joan Reno thus re-creating a vision o the world thatthe painter grandfather a tat movie Knows is fadng In Stanley Kubrick Bory Layadon (1978), some senes use very low light {candlelight i fact) to emphasize the grotesquely isclated faces of characters oho ane eat a from each other and from the world that fxs inthe daviness around them. Whether you notice the lighting tely or nt, be prepared to look for patterns flight and shade ‘ows. Are there important grape pattern uch as sharp shadows), ‘reat to highlight «seene ors group of soens in movie? Does the lighting oreooring Seem totaly natural or unusualy aril? Seine caperimental fins make the entre subject of the film the artistic ‘mulation of ig any atligent trav mov oe ihn kt uch eas pred perpen pti doe Mae Wiens, th tot the eto pc as that pss constricted forth camer. Tass of spce-how i range sd hhow the actors and objects relate within it—can gen sciting topics commento i Thebans ee ioe ot con tn dus th a for nt, decanter a pote tioned above another? Is one svay in shadows? Likes, ncompring two ses reign hn, you ay der import tome ta ould ohense tbe seed Do extagen oo Inthe oy ovouyon nd omar migesnsttn eee fom aIno as compen as thesia ase-enractne, ada water about il, shou aim fr the ste aetenes nd sb demonstrated the fl lowing analyse of the mlseen scene (spetialy the setting) n Buster Kesto's Our Hop 1928) tnt yen fe eat Rm Oar Hayy, He to Baar Keaton’ fl, eseupliies bow mis-n-céne can economical shnnce the narative and creas patent, Ad ine th ln red sal i vse ho sree gay Our nt, ton exmpies what esl Ge in fey a techgue a dvd clement fl shnst aes he see ot jst one Canter for ecample,hwthe etings anton wt the ee tow of Our Menai. They elp ave the Hm nto seer and contr thw ens. The le begs wi a pelague sowing how the fan bets the MeKay andthe Cenfeli rese in he dete fhe young Cate and the Hand othe MKay fay We oe he McKay Tvingin ashok wr ln suspense sou the ae of ne bay, le lcs mater ee with he son re hi ot er om tothe North ction nate tos any by miter ‘The mai ation hein year ater wth he romp Wie ag teeth -contury lie inthe metropolis, contrasting sharply with the prologue ‘one ad oon Wile reeves word tht he hat thei is ‘ont ho othe Soith A soe of msg thot nme flee the tkee primitive tin Back tis tiple Here Keston es real landscapes buy ying te liad tacks ifarent ay he [Soot the sage for zp ad usual comic fet Tho ‘df the vil On the dy of his abe wander aod ed fons That wight he sys a the hepa ae the ony ‘Canfield house isl, sine the lw ‘ale place or hi, And, ally an ested che orcs the next Aa msng through the coun a ick a the Cael Bouse For the ea ofthe fed. Tho the ation ends bevy om sis of ‘etna exact jury, bay ado a od later he wanderings around to evapo bia every pars The narration elite unrest once Wile reaches the So novng between hit and ember ofthe Cal uly. We aly {how more sat where they are than Wile docs, and he neat enero sponse by showing them coming ward he plas where Specie stings Aisin arabe fection. The Mey ‘tt ich Wile sve ex ncn to bs ble doen shack. The Mek place paaiad ta entail) the (Canfield palatal plantation he a nar ons the Cal ene at ven more inet mpoaace wien he Cane er Gio ol Wie epee ode ooo ds ‘sto shouthim sho hois ages our bose" (Once Wile vere thi be deteriora, nly ts Ro ees bacore tons spt nt, many ene arog ‘bd rund the Can lé rote aero hae Wil out Un dof the film aoter sting tke on ion: dhe meadows int ver bank pd, od motel sero which the nfl pore Wale Final, te feud ens back othe Cand esse Wills now wooed a he augers kasd. The ptr of development lon rom the opens soot-oat a the Mey boas hat bea op Wile’ met the Bl seme nthe Conf home wth We becoming pt fe ai stich vas eee ay eee eve and eft ple ond contrat, ad nel Seveloprent, (Borde nd Toemguen 12-2) COMPOSITION AND THE IMAGE In any movie, its the camera that eventually lis & mise-on-scbne ‘When you wate a move, yu so not only the setting a uta thee elements they are rocorde sid hen projected. The con or ate iting aston oa seano thou theft image what distinguishes lm om Gran, ani soother important dimension ofthe savin tat 2 geod ‘writer shold beable to dicuts, When you watcha home video, yoo Trght Bist rongnie a party wh yo and your ends. Hawver, wih 4 esr look, you ight also coment on how the images, because ofthe {ngs eslng, make some of tho frend ok tale ar darker than "hey really ave Inthe sane wall age may isnot way you see scene ora character int scene ing, "The sone had thee characters "The student wo begin by wr wl soot les atentive andperceptive than the student who begins “the vis angle onthe scone Trade the three characters peat = Thi setion considers somo of the ermooogy you ean une to is these campestonal features. ‘The Shot The shot isthe sgl mage you see on the seven before the lm cuts ferent image Unie photogagh, «sng shot ean nlude awry ‘faction or ovement, nd the frame Hat contains tho mage may even Inowe Ove shot ray show a sboy «Bo and then may the Bure by moving the cam closer When the image suites to another pot tion and point of view on the cxbay—ay, rom the oppste sid of the bth fas eu toa sacond shot In wetng abot fn, you should Isensv tothe two primary denis of tho shot aograp properties is moving rae The photographie prperir ofa shat ae the qualities of the fin nage tot ate found in aby photograph, pls the speed at which the ‘eens i lined, These properties elude tove, ll speed, and he ar tus perspectives create by the image, Tone refers the range and treo the colar ma fm image, A oe suchas The Wize "Technolo scheme fl of rion ede and yellows to sughesta fantasy ‘roid very aiforen from the black-and-white 1S George Clocneys Goodnight, ad Good Laok (3005) use blak ‘cate tones fo suggest an older nave gene or ps historia prod, = ‘Coney cos in ln about Ewer Re Mero sblck-andwte tle Snon broadest ofthe 1650s, Woody Allen in Zl (1088 tll a toy ‘th intentionally gsiny blak-andavhe tones to make pasts of is mod- {rn move look ike an okd documentary, and in Scher Last, Steven Spilben occasional dupes hori sor in lackand white with he Aleesing types of hl right ed oat. Ask the coarse realistic oot not? sexe a pattern the wy a film wes a partcoar color tr group of colons? Does the fl use coors sino as Bergman ts fo in Crier anal Whisper (1973) o suggest both voknce andl ps Si? the vein blac white, how dns the blak and white ad tthe move, especially he finale cold have sed olor? How do oes elas to the themes of the ‘lim speed is the rates which the i sho os obvious in instances of slow of fst motion, Action in slow or fast motion usally ints ehange inte tre of what happening or how thea caceis mond fo pereive what sheppening Sometine dow mein isonet nate ht th atin is par of characters deat soe thoes fast motion say of cmnmenting coma ona ccm —hen, forimeance, ation on assembly ine deny moves spear spend Is ey to note when the spend a the Rane no longs, ‘peated to oxi wy thes neat ar singled a by thoi smoker I Nagin Ona Mery Christa, Laorence (088) David Bante cont is Japanese adversary with two Hes hat oe fle in slow motion, tis eta this Ochna way of ender, {hi sharing lain hi lationship: Kept ld, however hat Tneny older tent meres were led ad printed tthe rt of soon Trae per cond, and thar seton muy ok tr whoa shown athe moter standard of twentfnr mes pr second "The perpen oh nage reer othe Had fsa reaonbip sn nage esses berworn he diferent objects an gies pho ‘ogrphing These diferent slaonship ar he products of rent lids of lone id the way thon lense are se. Ths, one ove my consatlypreset scenes with » rent del of deh o dep fous the mudience can ne characters nthe background sary a ees ‘Barter inthe Soreground, Another mov (olen a done) ny ah tol ight nly crn carats or vet nthe nage Bod it omvoquenty wes a slow oct wl Censor only Hae nthe tage such the man ith gun who stands nh [ound spt fm the lay cod nthe bowed: Mh ey com Stonly seni the moment of rock oo, when the foes qulelly ‘Sng pull, oon gr or cope the wi sue shor when he age thes faa fromthe face ofan along to ao fling ot he window nthe background Sill other kins of perspective relatonshps can be wed in erst. ing og, but eve we you are lrg the ther techni terms you ean Bega to analy perspec reltindhipe By ange Taste uestione Who or what fx nan age, and why? Do the Soges erates word wth depth, or doe that word sem onisaly fat ow would you deverbe the space in parse image? Te «scnded? Open? Wie? Dito? When aspoiiwideserecn nage rows the characters in space, what does this say aboot them and thar world? Make the power af the image ul come ave i your sting Mate the sujet of your eseys nt jst what you so Buta ow tho ings you se poole ndings in acral ay and in& cers relationship to one sother Here ssn example in which the Student briefly looks at color, tone, and spatial relations tn Nicolas Roegs Don Laot Now (1973) 2 Sigerpana Dust Leak Now (973) ina movie sos rt wanting te sc bey une ot 60 The ory concern aman nd ‘woman nse young Sault etal by drowning. Later, got Vio, here he haa retrial arch iat sony aang. Tay ath weno ergot the rr sth fini date, ut in Veni, hab athe ih ‘2 wewers—are parased bya clr. to bright red glow ofthe rainout te nutter war waning whan she do renbfore har th the olor espe out oti Wha tha fae syngas ot church ie wl rp, the oe ae tent ft odin he image asin to vibe anthen oo ike lod Aft i premonition be cashes oui of bi che face own na pond or coatthe came color athe ed he 0 ‘nice arts aycymthis movi, bur Wherever to {ater uns te right shade oro ‘ca ie oft om ors beckoning tom ancher world For asec: cod longer. sine gla windows ever of oting. F 2 pase tnx car appease he abd of ed which we and be ave come to sent wh ne dead aug. Tht redisacomnen oon. if shocking ane. aly ae tthe mystery ad coats 3s fhe sap coor gros mere and mors hyp and highenig. seemsto conta wih tbo eraiay gray i of Vio, 9 ee ‘vot spo lem clautrepcic by theo, Wily scat the cy, te glimpses mane her cach ofan regu n te basiground booome momen oft 7" oath The grays of Venice an the mazolike spaces ois sects ake thie oor impossbe t inand more ectating ease sie awaye valent te opine The shook tthe tal sone, whan wean the fer rly comer the colar, eugoeae ‘at we avo been noel geduced byte power ofRoog’s snages ‘The frame ofthe move image forms ts border and conta the ‘miso-ensoene. Many movi, sich ms Joan Renoirs Grand urow (1037) urd Ae Hitchens Rao Window (154), thetrmiso-on seb wih {he intemal une of windws or dooney or stage sets to al teton tothe importance of frames and pint of view in th tory. Almost evry Al, though, most maintain «cet conscoumess about the frame of the movie serena the frame of the camera Fagus). A wide sree fume especialy sulted to catching the pen spices of awester o the vt tellar paces of so fl. The smaller standart rane, pertups, Theat suited to more person interior dramas or genres Uke the melo Arama to which «sal frame ean contribate sree of anything from ‘domestic comfort and closeness to caustrophobu, Through the course of ‘fl, there wl be numberof eer more priulr qvestions ask shot the feming “+ What isthe angle a which he aera erent the ‘eon? Doe eee a hgh ange omnes mn {bo era angling nao fo bl When “omvortion betwee wo pope eka trough x aro of ‘Bermaig igh angles and iow ses, cud nen that ‘Shurateristl pl th other str cold ln het one of the tw sth more driantprsanaiy + Does te hight of th fe corespond ta normal ssionship tothe people bjs bre the caera that ae hay ‘lve oe on? Ordos the camer som te pce t Sod eight, to igh ro low? tthe Bening OF Rebel Whoa Cause (1958), fortes corn petioned st rood level to captore jes Deis despre and patie bras ofa salty ae crumble tothe roundcy * Does the camer ae ever soem unbalanced in relation to the space and ation (ald canted frame}? Io, why ds tis ‘ecar whoa i doa? a8 receating the perspective of ‘Grater ooking tthe ation fon ax dangles thatthe tung appear agonal ater than vertical? ee neat create the perspective of drunk right it bea more subtle ‘vay of commenting, er nstane, on w commit tht ack Ihaemony and lance? ‘What nd of distance does the fame maintain fom ts subject? Does he ln uso many eoseps (lor natance, showing just the characters faces), medium shot (shoming most of ‘haratr’s bod), of log shots showing al bodies rom Alistance)? Perhaps a sone usa series ofthese shots, tginning with long shot of « man on the street, then showing almedium shot of hi foking na stove window, and ‘concluding with close-up of is surprie’ face she oes Something in the windows Does the mone develop aore borate combination of theve that might be Interpreted scoring to sme meaning pattern close-ups for love scenes ‘Tong shrs for bate seenes, for instance? + Besides dosebing nd containing the action, deste eae ‘ugg ther ation or space ont borders? Do nsprant ‘rents or unde occur ouside the borders ofthe frame—in oferoo space? What e the signficance of this ffreen space (eis elation to wai aon thin the frame? Isler pace hed fr com elect, a in Buster Kean snovie The General which we dscwor hat the wheel he iting om part Tested outside the frame and shout to move? Or ‘oes it ve a serious sang. fa Rober Bresso’ Bs 2 ‘nich offscreen space suggests a ype of sprtul realty bis ‘harcters are unable to gasp or understand because itis erally beyond the ame of thai wer? Within one sane, any ofthese compositions may change a theca era creates a mont ame by string ts postion aration tothe objet ‘being fed A romantic dose-up of two Ivers whispering, For example, nay sual change ts meaning the camera fame moves backward Sd makes dhe par of ong shot fl of spectators: What was a frst rowan as beta, through the movement of the fame, come This [end of framing ston, called reframing canbe done in ways that ey tenltely onthe movement ofthe fame, nt on the editing of images ‘hough ets sce pp 62-78) ‘When the frame moves to high, overhead crane shots, which look oven om the cto, eal rae there hasbeen dramatic change perspec: ‘The fin may be emphasing the sales ofthe cree Ferin relation to the eto is or hee spon, ot may be revealing ther tein, sch asthe approach of the cavalry on the other side of the Thountain range, When the fume moves up and down, ting om one piston, may amply bellowing the put of ew of a character who Feleoking up and den, ba it may also bo away of making a statement out high and lov objects (about, for instance, the tourist wh feels ‘ovenshelted by the skyscrapers of Now York City), Another kind of ‘noble rane & the pon, in which the Frame moves from side to side ‘thot a change in the poston ofthe camera or the pin rem which the soene i need: Surveying tho sect before him «character may look sy from left to right, and the camera may pan to secrate the ‘ontinocs movement of hi gue. In contrat tracking or dally aoe | ‘ot stationary but follows or intrades oo tho acon by moving theostion ofthe caer [often on sal acl) and, hus, taking the {Ee fread bclwrd or arom the sje. During coal pry Scone the im ony r-iete the rong itinay ofthe tring by {ling ly shot ttle + chacter through the cow ths ‘ction cached by handheld sot, nwo he comers cared by the camera operat th shor may flier and myn some ay, Since fame imply a perpcve o he world ron conan hae tor thir bt lc of can ptt the wry foundation of the srr you ae thot fames sta ate world you ar seg one Tht stone rig nd aie? The complies ofthat word are often reed the fer nove aod change andthe more ely you ca ‘ete theso fans the oe ine your aby wll be. Ty some rit tbat on tal a chameter ora sation exclasely n tho Fring action tht ene thers What puters can you see? Does his horn alway lak at the worl hoogh ase tat rack ah Crowe andstuton, without ver going lage pepedtv oh? oes tht content wy of fing the ction ogee Pte pact ples It ever elses tho whole ptr? ‘Remember hal anes sth acto ave no were ening Justa clr donate wachnging sym alu, camera ang nd Inovement do ot have ote the st hing in diferent mov Lae Inge shots donot aways ify denance nor do grange shots ‘Srey suggest pression (a sometimes tho. Although none trove lowangl shot muy rind he ver at we carson ‘ingle at by w tong more dengerovs person a anater muvie thera sik maybe od 0 dst the wonde of ch ok {pense oe ou gin hy nating ideals areal you an refet on ow ptr fang tions wrkin spe ms hd on few thy prove cata quion shot tow ng sod at hemes. ‘aren sones of elow ops means one thing ins move made fo ‘nr tion, wher ftmay nderne the portance of he nde Cidbal chars sad another thing rope a wae my Thggst the unknowable ualty ofthe Boman fac. In an Ons ln, the Tow height ofthe diector’ fame nay be meant to sugges the more ‘elas nedtive perspective of Japanese permon looking atthe wold From the floor ofa fatani oon, but tae Belgian finmaker Chantel ‘Arnon cn hat tho low beg of er frames occrs because she ‘hort The lesen should be clea: Don’ simpy deseo tectel deal aud expect them tobe slf-explanatony Rather, pt hem to work to om ‘ey a ides about the various ways la frares and their points of view porate and wit they mean tn specie line, i specie atures, and at specie tines ‘The Edited Image Inthe simplest sense, eiting i the inking of wo dierent pieces of ln two different shot). Usa the eting follows some loge of develop neat (an tage ofa woman an then the object she i ooking at, for ‘rample) or mesa! to make a statement of some sot (an imago of an fags errand thon one fa peacock) Recall the cowboy atthe bar ‘When long shot shows hi a the bar and en lowly tracks in closer to capture hs closeup hee reframing win a sing shot. But, after that fst image the caer stpe and moves to anther pton ayo Tow angle ont ther side of the bar}, that rlraed log shot has now town ted ito two shots Th Bek tween the to magn 8 a cet 1 shot cit be had onthe seren fr any length of tse, the result bang estan esing pov or yh. Because the pace of dhe eating ‘elt, we shold i to not why and how lm or part of flim seed "ecoding to cartin cyte. We espet a chase sone to be rapidly tated th leaf quck ex and briefs), butt ake us comically ‘Svae of ou epoctatons aboot etn, that case soee could edited ‘vith very slow sys snd few ents Aa an exer, observe exactly how Tonge sngl nage remains cn the exon tn any movie and then rect on ‘nhy the Riualr east another angle or ae at at pst. Des the “duteor vse mol fhe sts et eto objet for ‘an unusually lng time (a Terence Malik dd n The Thin Rd Line [igo0] when hehe the imag o grassy els or the branches of tees for np ug pers? Or doce the ln xt rap rom one image t Ihother sin chase sequnces in The Terminator (1084)? Does the pao of the editing change with he sen for example, by using quick cus onthe stress and slow ong takes isd the home? Tn the larger sso, ding refers to how sets ae bul nto age pects of move and, hence, ager uns of meaning, A seis of sets an thas be eaeflly fined to eee a sig cen, whic susan tion confined to ne pce and tne: for empl, in Jane Campos The Pana (198%), the coone ia wich Ada (Holly Hunter) artves on a tote boach in nineteenth-centusy Nev Zealand or, in The BateshipPoxankin (128) the cen in wich the les amos the ten met THe latter begins wah group of angry slr gathered on dock around pve of maggot infested mest the ship surgeon inspects the mod Uhh shown a wep ad annonnes atthe magups ae simply ead fis: the sone end a another ofr disposes the outraged ‘lor ‘Whe thes sos desc sigaienly more action and tine and more than one oeation, the fermen and ured gro of shots | scones that resi ofen called a sequence. In The Hana the beach ‘Cone becomes prt oa larer aval sequence wen Adais met and ed ting he ng to br fee howe In The Bly Poni the pt ofa complated sequence leading to thet ebalion- As pr ofthe Frovo exerts yu can nom mark off eatin fi that show Few sts canbe edited into complex relationship that cea nied ‘et of wy il cons tention to el beause we know un enjoy moat the contnntyatg of clase cine Tis ting, Sle b spprosate alld stnble dng Bocas tho fale, ot rte eting fo trac fw tho sto es tae anstons Torve ages at woul be fo bos, Hough vars ea he Anat atone toe the fl edigso dat we vow the ages 3 contin pte, Th, eventhough Fe Mase Fezon (94) i ery shflly and syshy etd movio—carefly alancig San Sys exrances and ute an his een sed of otking the dealin at contin ing depends on sme igus ech tht hen sabe, ove iporant pins about he eharaters and son: Evabahing sot fo tances ae the shots tha bp sen or soqunce a ay of iene cy {eva pce before ding tht sequence ito move dtl shoe Conder (1942) bis th res estabsting sot hat deeb thee onthe map te Hind people athe yen, Bal he oti of Tek cabana ten does the ln moved to Dog 57 shut Bis The sfothenerssot,o shower, palo so & {Rndamental part of contin cing With is techngoe ax exchange betwee rer (ora charcerandan objec seed to appear Tp and vata yeti fom the eon speaking o oko the ijt or perso beng addressed r sen, fo Instance sht shows hy crafted ding tec Hurnphoey Bogut sking Ings Bergman aqueation ad then cs oer responding, When considering lm that uss cont eng awiter an bog, as th reise, by questioning the base purposes of the techniques ese: ‘Are thare larger implications concerning the wold an soit the “continuity? Ithe movie ying ocreat a see of lage torso world? Do extabising shots, forrtance, seat that the characters and the audience) know where they ae and ‘Soul fel at heme? Does the contin Hap sabi an The Philadelphia Story (1940), a sons of loge inevitably, a feng Hat vent and elation ave to move toward natural conclusion, that Hepburn and Grant wil remarry? His the canny editing been adjusted to ta. genre oto tate certain emia responses? Do ond movies have ower ‘nts and more lng takes? In westerns do the shottevrs-sot ators iva people and thingy noe than people and ober people? ‘When the editing presents fendamnentllycontinaos and ned word ze there ties when that eo fs, wy? In The Lady rom Shonghet (1947) ‘Orson Welles roglay darupt the viewer’ sens of space nd time dough the questionable realty ofthe narrator O Har, tnd through visual tortins such sin the half wizors the fd ofthe movie. In tho ese, the dap mages and etn imply he claps ofa world incapable of maining old + Does the shobreverse-sot pater in a partial sequence tll yeu anthing aboa the characters volved orow they othe ‘world and eachother? Are considerably mote shots given one pessoa othe ater? Deas the editing erat a pater in wich One characters eyes never meet the others? + Haw would you distinguish betveen the contin edting ofan ler, clase movie ke Scarface (1082) and hat ofa more ‘modern Hellywood fl like Americon Gangster (207}> Docs tne ase more lng takes andthe ator more quick cuts? How would you cieretiate between the eotnty eng na "Bhropean movi such as The Rule of he Game (159) and an Amercan movie ofthe ame period such as The Grapes of Wrath (110)? Does the fist rely nore ox a ing fame ta sai‘he word agound the characters nd the second more on steoth tlting techniques that emphasinthe charactors threes? ‘Catt etn ca louse move notoable ad syed methods, “uhichare often ssocated wth ler mires. These nce the lowing + Paden or fade-out Aa bnagesdaened or lightened so that t anpears or apps + Ini orisivout. The now image appeas as an expanding circle int dale ofthe od Sage, tho old age Dsomes ‘Contacting circle that sspears nto the new age «Wipes lne moves ars a nage to gral clear one shot and introduce anther + Disole: Anew shot brie superimposed on he fling oil sho. ‘When these techniques ate usd na movi ak what they are meat to Thee Used n llr mie: they create lagi rato from one ove or place tants na. W Grit aad might be saying Tater at sun dy sth sot eves une Kenn the evening sip could segs la acter pr of on” hen then of be courthouse med ff ye ares th mage and Chines opium ti appes on fhe oe sof the ne. When watching an oe i, {St ifnc technique wed for one i of lnlage wpe connecting ‘Meron ples fr nape) and ster tebesqu roe stations ‘woe inating cheage sn tine) When saben odor moves, ‘Siwy the editor Soul choose thee older contnaty devo: Dos Woot Allen ase ite jus fora humors eft beease they ar 0 foray emi Ye Pr Coton Cl G80 ae the wipes simply aelrece ta the 102 when the tory thas pice, o are Theyre mens of enpbasng te pase of ine and story one ofthe man themes of the? sds rep the fokniqses of contin eng you should Shlege yn etpecaton soa ot ating Expect more {Sntempeiay ny beg toe when in reas wih he standards cont edting sgt ask gna Such flowing + Why aethereso fw establishing shots ina particular movie? Is ici to sy where an ation takes poe beease the sone bogs with clap of «charactor ois an unidentified rum? De the characters sent share ou cremation? Is this ‘Asrinttion related to the themes ofthe Rn? + Wy the tempor conta wi ln rae vp in sucha config cio? Doc he tng we enum afomp cu, iwbich continua shes suddenly rc andthe nage jmp tone Burs orate bcground or eve he sae background bt teen ne? Ass crc daewses bor lie, for inte, the nonlgse may be broken n place, wile the ligne rom change th cach peut ina the peu fein te nae tng lew me mre {fthe passage oti, os eo a conmentng wont {Biche boring ie ton? ae Wy thee op of iw wth which we can dant? Does hs hv omthing to do withthe ak shrek scones that wold allow sto deny wth he pespectie of a Charter? Does the ler, a Werner Herzog fen dos ia lists frei ninco vrai detached the “onary peopl and to dex ertond wth nly fais, ‘Svar? Does the Sn contain ages hat seen to ave no place inthe sry? A movie ht wer may inp et tan Heage chert te an tine ag. nis yb lst part ot ‘Barstrt nen? Wy sth contin of th eon ren ip tis wenn nage? nh ans hing tenon ond he ao tht obras isan al cof sit why teeing sop tho usual prwepion ofthe worl, When that cous leas o lang ution an eras nse) seat he thoes ed the Shrew ofthe he ner began sheds pape top ae ‘hing Hern moses ont at eed i opr ol Cos Hergeencmestonal citing atl eden ‘lashed chang, prt eat t ove ean outa loa ater it ne tonal pace han oct sth cetera hwo pro Herg ven tra ra ha ore ipo thas na! ena women Terme deafes eating etre igi, eing behind the older ore inbound mov eee proce of eng ‘geben Movs or ito feted engl Now ei ington ens anomie theghcompetes bed nonlet digesting ts hg vets sige ae str on the hard sof igheopty computers ste ed of wera dy can icky and eal sess Hk sound bs and lag ancombine and recombine those in diferent elaionshis,Digtal Blnmak- Ing theoretically allows shot ast sn sos valmted amount of me tal ea rete the King of nonstep immedi and andomoess see in lm sch eh 2008 Clvoyl ational movie about monster ne son of New York Giy recorded ana characters digital eamers, Besides theve fail obviow effects, consider other ways nonlinear dg eating ‘shape a fl. Mas digital editing ereted now relationships between mos aed img in sone contemporary fms? Has the longer duration of the digtl image encouraged more creative and dynamic compositions vith the rune str than between edited Frames? How has digital Hinuking nd ecting impacted recent documentaries? ‘When exuining both tudinal and contemporary eliog sates sand the relationships botven sts, begin wth some general gaielines aout what to Took fr bat aap ther 9 doa with concrete and spec ‘wer and variations a each lm Fist cbsore how the tng of the shots establishes cetai elation- ships betwen the abject and ations. Does he eting establish conn: tions or appostions among the people things and cons being shown? In ‘The Last Laugh (1900, the doorman i Fequenty Eo to the image of {he olin door ana the denteation of toto preditsthe reversal of the man’ gd ortane In 200: Space Ose (1868), preistore spe tases 1 one int the a, which then beens the image ofa space. “Ths famous mael-onation —two mage being eed together ss part |e cio or motions—ystalae Housans of years of human deep ‘ment propel by vlen and the need to congue peopl and teeta ‘Scand, acttom yourself te noticing mote abstract relationships ‘between ages This more teat rates, Du, asthe ctample ro Elsenstuint The Batthip Potemkin shows (se pp 81-0), hase mice alert apes felting can be briny we for cztalneffacts, Does {he diecton and overeat ofthe gue nthe diferent ages atch ‘hen these shots ze connected, cresting, for example, and of visual and ‘intel free diving in a siagh doco? Azo srphie contrat © sin- ints eretad rough the use of pace he eillerent shots, forex le ty slernstig lage and sal spaces? Doce the eting setup cet tytn by sty conto the lng of each shox? (Although most of treo best the sceelerted rhythms af chase sequence, the editing ean fashion many herd ofrythme) Remember, these foal paterns fave no Rial and unieral meaning ia themsehies, and their evoiton through fil history i net independent of other hitsial questions ‘Altagh eding can be seen a formal way of organizing iages in time sed spac, wore han jst rl or echnical oes ae sl Took pc tengo ti yo hak oes ht is mean Ine following dent ey the wer esined 9 {er shor aquensin Cir Kae (194) nated the eng the “Snmpaston a the imag to spe heme soc Ronda fg Beat in Coen Fane Sn or Che Fasor Kane is xy, he wan of ‘is creas whos rough naka Epes a fs es thi matiogo beg enkpe. The vee ety of the cage re copied ne w-ie spanc hich ‘erin on ofthe mest arn exams of Wola’ evcate and emai edeng i Cie om Te soqunce bogie wih sin woot ad Ey neatly war oh The comers tig ed lent vin rrced by amthewere sit ehange ot love ks lsat ard wien he copa sbeathis hag neve or ewe feb tse cendchange his ppm Ta exchogei lod 27 ‘ve ore ot coorevere ht ase neh he ye ‘ee cope grow nearby sepia enh, The coe Sats ar protest Ito an gpa cewepper ecumes bot a vlan vba ane othe rowing di ‘on-track, he apie Ch. et ts ou. What oyoudo on epg ‘nthe re oft gh” ei, Eisen iano ep acing tern. herein ie eepepe.By io tne watever oases ave Rely, Chis poopie ave aio capac. (Gass Wa caret ve ensting sn ciber aspect ot setae nate that te passage of sm somnncnsnedo ta usm ei Ti sting coe space to ancbstuctet pace cred wi plan, ower, td nespspere ‘mee atone oft ete ten powetly coded now both reading separate newspapers bison (The nue) sho oe al (the Cone), Forma balaring ho opening othe eeqience he mem ong we-hothas mach rider and ss ang: Theo former lovee are pace con "To stan that thie sequence descbesis probably many Yeaxa Yo heagha igo acai eo ced pace rote ta athe api of fae manage inking te sx tee cinematic version lt nial of Cian Kane tow emt gests dose eve to tuna dit most mmecitaty ore astevee thems ofhow he consaqpnty bacon a rmanalways alate the reat space ta suround hi, SOUND Fev of us have learned to stn to the movies. What hs common faire Frew to nw and cris stents ofthe movie itt may tpl and ‘rablems having todo with im sound have only oeontlyBogun tbe izesed an are rating forgo east ake them op 1 dents wth tm interes in tase aid sound direc and eoncentte tht interest 2 movie ora specific group of moe, they wll tackle smn crignal and proncative materi Tn theory, sound ean be used au ete wth as much complet and Inteligence as images can. Certxiny ound has many dimetsions sed ‘wes in lin: ean be deseribod acoriag to pte, lode, o nei fan figure in lon as direct sound (ecorded when the mage ts being, shat or posted sound (sound sn dialog ede ater in thes) “Movie soond can take the form of logue. mate, o oie (thunder or car sereching toa bl), any oral of these sounds bel naturally ra ficialy produced. Film sound can have mullite of relations to the Innage en the narrate It can be background muse ts sowee may be sn object or action inthe age thus asonscren ound, ry source ay be cutie the fm frame as eferan sound I ean even precede oe fo low the ise to which tis ned a sound Bridge hn a character remark, fr example, forms bridge ito the nex image), As wit the oasis of visual details nfm, «proce vocabulary and teminalogy vay advance the analysis of film sound, and some useful technleal terms for dscssng fim sound icc the flloving * Ambien sound describes the backgroung noses or mesic hat surround the sin eon aed dive Ocerapping daogue x simultaneous niking nd overlapping of charters speech, Volo originates i a speaker who wit o il be yen onscreen butts neat the time the vices head Voiceover is he vlee of a naraor or comnetato who ‘ppl not part of the soy or det a anno be esa bythe characters In convention documeatae, this {uuscenden oie often refrred ta "the vice of Go: Narrative cueing isthe use of sound place of mass fo support amoment or motif i the sary sacha romani in noi when to characters meet When these cs are sudden tnd espectally drama, thoy are sometimes called stinger. Throughout film history. one can find mavdes in which the sound alone would make a major topic for enalys. A well-known exazpl,Jean Marie Strub and Daniele Hult The Chronic of Anno Mogdalona Bech (1068), st up complex oppasiion between the acetal aie of Bach on the sound tick ad the tomate sory of Bah financial woubles. Francis Gopplas The Convention (1978) rents the story of a man whe specializes in sound surveillance, who tes toscorer the tah dang sound alone, and who Bally ses al ath a the val world Some ofthe most fxcinting snd promote uses of Sune ae foul inf of the exly 1850, wen sound as st being itradaced into the movies one early sound fl, The Tisey-Nin Stop (1805), Hidchock employs sound ea contaleleront i he plot [Atel moment be rete danse sound mock by conaetog & “roman serena the whistle of locomotive oink disparate images Figures 19 and 2) To wit sboat sou, mst fist eae to attend to sound—tul to Toten This dos not mean that he nore cou or dramatic wesof sound ion mcr th he lsh and complex sound teks fund in Pa Thomas Andersons There Will Be Blood (9007) oi Rls orice zround most pesorancs bike Sine a Light (208), Marin Scorsese oncet fm abot The Rolin Sloner~canotiepte good essay. They ‘erty can. But bea ghd esa one that reveals tue, ar ful an icrimizating thong, ged say on Sound wll often tend to tight normally escape a teil vower and stent. A water about Sona in i sight theveone hop hy Blan asking the flowing ‘+ Whats the elation ofthe sound to the sage in specifi scenes frsequcnees? How might he ans to tht question be 2 gem as refined oroveal the sims, achieves, or even fiues of Sou in the morte? Bn sound nt inks eth nh the ‘conventional rol of begining ad terminating wit the iage? Dow sound er Dec norm tha he mage what the eso tor his unusual sategy? othe musical nubers in msl have any spc lation to tho narrative stereo instance, do they occ when he characters need to eseape int aay)? ‘Why does the dlogue of the chur velep o seem rambled in some fecent movie so that ti diet to understand the charactors? Does the dogue serv sme other pmpose han to help tellthe sory? What le dove sce playin this movie? Are there sound moti that dent the characters or actions? Dos the cht ofthe sound sepport or serve x counterpoint tothe rythm ofthe editing? aa Ifyou hd to pk th hy sound sequences fom his oni, vwich woud they be and wy?These questions are ony» snp of the any ingulstht move sound sd el hs onthe eso tens bt er fc ap Sl patcular movies tight inspire. Liston to all ln sound and waite fs ithe dadow of fda, ad ffm the atee, now ash, “Thctit th the sae curs aad spc edbited bythe charactors merger a ang sb in Cadards Beery Mon for Himself (190), ho continually hear back Ta thse fo stances the sondage moment hs found tie and yor where i coming from and why. Hare a replace sh 1s by hs economy of ean tthe ound in Eeeownod Preach filmmaker (and aly innovator with sound), René ot probaly cre rg edt (2-01), ‘Casi in 1928, doa one ofthe est sucess wth sound inthe In observing and wating sbowt sound or any frealestures, your | | {first goal should be as much provision as posssble. Developing & vocabu- | fa be ns aw showingn London, Brae Mla sving the lay of technical terms can be esremely help, but matt importants | ta ig ee evn Pr evclaping the sty to wits concrete deveigion of megs ad | Soaps ated nnd fea sep Te Srondin kway that bt lbws yon dro se sod hea espe | Sa eayuan ag Foenyoe voi so aii hc {nd sounds you ar desebing Someta coe ht dete ps jock of and cing hina man Hy ‘fon koe dia aoe tn toa ines When oe ‘Beaumont, the dcector ant his collaborators (of whom there are about “work with only sketchy notes, try to get as much out of those notes as {hen seat y nme in ths a. oe sa rom he rouble Ther sting ong wih wing abt general set ‘Econ digi ng tal he tic ou Bm predominance og shots an spied Sound aco secant mwa oes wee | “egy ital st slong an jour per ase fot ht Ses ‘thrones and wes aero wih fea whe | nately solely on generalities Others, aay ty to ategrte a och SEL ec od mete teow crete description post or grea, “pun fe many fer mies ate fr wn hs Bin, tc, descubeuthout anayrng™all the tcl features ofa open rue flr hae er wh pron os tno ning equece of w mois oa eet inosine of ee Minune slau tne wn el sg paudinesobe SECMIISE tn cep comin cron interpretation, ans nd natin ae, however, the penary a satan wring sont i ise dy, Your efecto ae ‘etsy ey. ing lof int tie nd ons ofa and Low hy work peor na toe pte, bona se sth sc oie tc aay in re ZI Theva ace alg Ss. bs ‘Whekeryutn th ciingta sean the ging gets ‘Sou Th cameras ml, the ler te ar ee in ed Inte of fimo how the mecenscac,Raming al wosed sek ‘Sete cng tra od Bee Lae cng mangs © tether nage see romeber ht emg bag and Ching someNc ae tebe oc lan ves tt Theo ‘ner anyon pu your percep ons Fr ech peated oe oe em Sips ous dere ecards npn rete ath ie sr ngs on ct ung face ne tom Bee Ltn fe tei SAMPLE ESSAY ‘edo th pare wich we on Thi shor sen rhe concord me to Thin tet ey 0 The Searcher (55) god example of ne a arid came wok fv otek in er a Jesatetng caer nner poms ado tee forests eveellence to the ony of place” achieved erature) and in the process, demonstrates how fh sot. anther scons we ee Bone Lav ing tool ‘chia sd formal sags to eres themes, aoe wer speife Fragen“he Davee Doorway ho Searchers ese cna 1854 navel by Ann Leda. joan Fores L856 adap fm adepations rire some acutentsto he pc (aay dee acer, than Eawatd wich tr ates thos ucanco oft exits ory, Ae past of Ford‘ tanstomaton of potion of dane drwy, sn nage peter hatindetes ‘ough most lo esnral plet slements rari set Me hei a fly tection wasters nero bo, svar. athe reruns home nie, bowers, hie characor grows mich emia pst Siete en ofthe Ce War, tan appresty umerinabiy dangerous vento Boga act, Secon, Ford's carey suggested by the cpetog seience wah Ethan and bit ‘brote's wie ata, than sha to repross his ove and pas sion or arta, presunuly know at pasion wou cate the deesati an amily code ves, Tie Sho fim, tan leary a rect Une nthe novel, have he makes sarcastic Aerie and, mote important, i zion a Debiea ke inthe novel motivate by ewer because be Deloves the as boc sual ose by essen cope. Avila rai an ses ted Ean thos motans socom the eaighforward plot ofthe novel n new ways ‘ped by the Coma tbe of Seer. Ta pote whatly esclvec ina clacl manner when thy fad her an abo is ‘etunachome A countercurrent wi isiner Seward ie however ia eric sparta seems to move backward moraine, avec Ethan's isc mind nd dre pt ‘te center othe paral plot, arty becomes more at ‘mor aware of han’ clos and act, increasingly con ‘tons tim, erectayatenping op im fem kilog Debise ‘Aft, Dhan does ct ppearto rence anyefthace demends for eitnowtadge, nai gests nothing about has changed He net nit tbe (Coma cist hut oan acto rte clnemiticBan asl st Search doa tarp inthe Dente bu does tt eth lm este, however, tere ‘hing as inden changin tun, ht his earch or Dobie ha reveal somonhing how abot a ohne Pepto ‘seping Sar, who mere antmare ners teflon of Bhan is ente estas, with bab of Mary, alone ose bis ‘rm bahar ae pine eit He dosisica wo epar Dei ie becomes thn aeastin part decent scoweige en oe| + evnttors isn le: drs ae ouod pat Deven bythe ant remating th ose benron Bae wo searches pater oft oosnd on dane cts At the opening, tices quarters sot fom bebo Nara shows he oot across he lal be anda ory The ‘ack ere ain oot sharply wt he bri it that te be doorway om ouside, Asada bo hen om tonarater nthe dtacce, Ah concn veal be ame sot recurs as Ean delvessDebbeto ter ew home wih he Ioegenena Aer Debbi and he orgnten ener the ack nrc, ey aed Maryan wi fon. Ean, ‘eough estates cathe posh abt tre back the spe nner hon ners acne Way ht ciogen dsr vay ans uy soc wih ho ise hatwide prt mi tat Shan st wander trough, whee intelosoome (ancl repseset for ion the sbadomy and dangeroue pain nw associated with is ‘eewesntose two toutes fctickanod doorways itd cosas hove ck space a th ung poiin Ea sory ‘evi ammeasre of wha bas changed betwosn fe begining nt oes mi, 3s we expec il ber but intents erp and says tats go hoe, Dati" Ae part ofaclinat repressed volance, When haeteasee Dobe tro se ever th lng tae becomes an ackromgert at Ean cami cate at mest word Bcauoe of wo e's athe wd ofa sond ate Nee a man ho mast contin och hie to tection in adapting te novel tothe Sm ne way. Exercises 1. Wte a threo-o four paragraph evaluation of a ln adapted from a work of Iterture. What are the most visible onions and aditions? Hew and where has the film mest elletvely hed so formal techniques? Has the film edgptaton simplyre-created the main themes sd plot elements ofthe Iiterary 4 ‘rork otha changed the meaning and themes n some way 2. For one fla, write three or fur paragraphs ona sgl element ce tecutguesuch wage Somporton, sing oF SIXAPPROACHES TO Seton tee WRITING ABOUT FILM ‘Sho, scene, or soqunce. | So tes ay bot be reetdn th ightingin Pte Langs Sor Stet (19), butte nay fern os et dae som Ate ng malt speach gt aye he pte ok 20 age othe vrs ofan son an the Bl eg ‘sighs ppoch ight show hw thw ing pat se linked to Langs Begining in the German Sepretaont feed Levis lifforent approaches et wed hen wre ces ae ints the Ane of Rene oo changes nthe masa te the Bt ese tho wer a, npn “ae ope ich Base onthe a ha so bee ough hott e to nthe second, he wr pacts gore nine, wich rosea cerainscrpted psf moves An sees sats gles 1 re toot a your wing hen ay captor ei sou five or even wh av). even wen yor ener ss ‘elo, ts portant nd stl udontand he spree "ig tease ths meen lly you to eae ao | tepnnch tent tyr mene nae pine ire | ‘> yo mtr ep or anes seh de lgae— oda you begin oie tht shop, eon oa sono | adore earampoach Arey erate ptela ates | tach aspera ey boone one ret ses eagle nes interes in xan seer of mags Deo hy ae the in ‘scl ae clu css Lote Erb wea she sap a the any salen in Caran fins fhe toute ese ode eee, {cambios ofthe sce of Winn Commas Bayona eaten low those of teciges chs Eset nosage,dciaged ‘5 ing nd dnl en wed an ths uggs on ae Shang nin form? No mater sia spac you cree ae ‘el avoys lat joor am lnm gt eee ees ‘sues When comping te ns or pars of en cee kagnthe terms ofthat comparison formal, tere o ther—ean bea Importntp in onan that comparison The following intexbacon to te major sppreaches o methods we sawing about lo does nt atest to eve the compas of any Sle approch o the may 0 oF more approaces may overap inane {huh Thee sketches and examples shoul however, belp you to enti spprinhes tht ean divest your wating bout Hn and give you sense of fom apiculate might rgasizn and use information, FILM HISTORY ‘A histoceal approach i ae ofthe most widely used methods i lm Crtcsm, It can bo employed with vying degres of emphasis or con Sesousness, but in genera the writer sing ths approach organizes and vetgates ils aceording to the place within ahistorical context and nigh of historia develeprents, Such an appreach might explore the follwing +The hs elatonsips af the lms themselves as when & rater compares ad contest the we of Sets in fom the thirst terse a ln fom the seen "The relation of ns to thei condstins of production, peas allowing wie to nae comnecins otwoen American Fins ofthe eighties andthe rend during those years toward the ‘oeeship of ses by age curporatins He GulfWestern ‘TnsAmerca orto neste he the wide pact of dg ‘nology toy has alered how mace are mu and watch + The relaonhip of moves to thelr weepton, demonstrated in i easy that eslores ban tlesion nthe ies changed the tnpectalion of ene ndienoes at that te Although tov ae ways to welt about film without emphasing fl An es that amines Bred Perey (104) i tho contest of post-World Warf Aseic and the hanging solo positon of Nomen wl be based on abseil tho, een thong to dition dn point ofthe eget nay be ems Sary an ey tint presents stghdorese ean of the tomes and se of The ‘Wit Bunch (198) nd develop Gat reali by claig thon joc tothe Vietnam War, the history of the werter in Attica moves | ‘novation in movi technology during th ssc, Many eneitng aud Informatie hiseria esas ve man topic tht have toning to do with the anus of specie feat, istend, concentrate almest ‘clsively on historical fess and completion econo esi, tr the pial pressures behind a instance uf censorship which only indie gure In what an audience sees on he sreen. ‘When axing + hiorical method to help explain fl, beware of assuming that aay pareular movie, even & documentary. gies an somedted pictre of society and a historic peiod. To be sure, Ovr Daily Bread (1994) tl vs reat deal about the early ties in America

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