SPORTS

Week 1-2
Leonard Cushing Fight – 1894
This is the first ever filmed boxing match, from Edison and Co. They practiced it before with the movie "Men
Boxing" in 1891, which featured two Edison employees in a fake fight. In the background, five fans lean on the
ropes looking into the ring. The referee is to the left; like the fans, he hardly moves as two fighters swing
roundhouse blows at each other. Mike Leonard, in white trunks, is the aggressor; in black, Jack Cushing stands near
the edge of the ring, warily pawing the air as Leonard comes at him. A couple of punches land, but the fighters
maintain their upright postures. Country: USA Also Known As: Boxing Bout

The Derby – 1896

Director – Birt Acres

The Derby is an 1896 British short black-and-white silent documentary film, produced and directed by Birt Acres
for exhibition on Robert W. Paul's Kinetoscopes, featuring the end of the 29 May 1895 Epsom Derby viewed from a
raised position close to the finishing line with the main stand in the distance. A stationary camera looks diagonally
across a racetrack toward the infield showing the horses as they pass. Once the horses have passed the camera it
is clear that the race has come to an end and there is a close finish between three horses. Once the race is over
police officers run onto the field. The camera also displays various members of the audience moving around.

Football – 1897 – Lumiere Brothers

This black and white short film is the first known film about football match.

Arrival of Train La Ciotat – Lumiere Brothers

Contrary to myth, it was not shown at the Lumières' first public film screening on 28 December 1895 in Paris,
France: the programme of ten films shown that day makes no mention of it. Its first public showing took place in
January 1896

Harry The Footballer

Director – Lewin Fitzhamon

**First football themed film.

The Jazz Singer

The first sound film
Release – 1927
Director – Alan Crosland
Writers – Samson Raphaelson (play), Alfred A. Cohn (adaptation)
Stars – Al Jolson, May McAvoy, Warner Oland

Safety Last! (1923)

Directors – Fred C. Newmeyer (as Fred Neymeyer), Sam Taylor
Writers – Hal Roach (story), Sam Taylor (story) |
Stars – Harold Lloyd, Mildred Davis, Bill Strother

The Great Train Robbery

Director – Edwin S. Porter
Stars – Gilbert M. 'Broncho Billy' Anderson, A.C. Abadie, George Barnes

In 1903, the ten-minute-long “The Great Train Robbery,” was shown, and it was the first Western narrative with a
plot. Previously, films were just actions of mundane things like a short dance, a greeting or a kiss.

Dante’s Inferno
Directors: Francesco Bertolini, Adolfo Padovan
Writer: Dante Alighieri (poem)
Stars: Salvatore Papa, Arturo Pirovano, Giuseppe de Liguoro
Oliver Twist
Director:Thomas Bentley
Writer: Charles Dickens (novel)
Stars: Nat C. Goodwin, Vinnie Burns, Charley Rogers

Pulp Fiction
Director , Scenario – Quentin Tarantino
John Travolta – Vincent Vega
Samuel L Jackson

The lives of two mob hitmen, a boxer, a gangster and his wife, and a pair of diner bandits intertwine in four tales of
violence and redemption.

SHORT HISTORY OF CINEMA

For the goal of remarking the brief history of cinema, we may speak of the leading projection of a model of
Kinetoscope. Kinetoscope, forerunner of the motion-picture film projector, invented by Thomas A.
Edison and William Dickson of the United States in 1891. In it, a strip of film was passed rapidly between a lens and
an electric light bulb while the viewer peered through a peephole. Behind the peephole was a spinning wheel with
a narrow slit that acted as a shutter, permitting a momentary view of each of the 46 frames passing in front of the
shutter every second. The result was a lifelike representation of persons and objects in motion.

The Lumiere Brothers, inspired by the kinetoscope in 1892, took out the patent of the cinematograph on February
13, 1895. The Arrival of a Train at La Ciotat, shot by the Lumiere brothers, was recognized as the first motion
picture of the history of the cinema. This motion picture of 55 seconds, which was shot at 15 frame rate, engraved
the name of the Lumiere brothers as the first motion picture producers in the history. The motion pictures, which
were shot out at first only for mintues, were both colorless and silent.

Kinemacolor was invented by George Albert Smith in 1906. Such invention was filtering the images in green and
red and producing a two-stage coloring.
A Visit to the Seaside, produced in 1908 by George Albert Smith, was the first color film in the history of the
cinema.

However, such two-stage coloring was not capable of producing a consistent color spectrum. The Tecnicolor
company, which has created its own bi-colored filter in 1917, introduced the three filtered coloring in 1932.
Despite such filter was used first in the animation called Flowers and Trees produced by Walt Disney, its first
picturesque use was accomplished in motion picture called The Cat and the Fiddle in 1934

In 1950, coloring the cinema became a standard thanks to the single strip colonization developed by Eastman
Kodak.
Cinema met with the sound by means of the Vitaphone, invented by Warner Bros in 1925.

The Jazz Singer, the first sound film, was released in 1927.

Despite it has started to rise as of 1914, the cinema industry peaked up in 1930s. During the course of such period,
the films became capable of being eligible for sound recording. Concurrently, the Hollywood cinema emerged in
the USA. Thus, cinema has become the leader of the entertainment industry. The individuals started to go to the
movie theaters twice a week between 1930s and 1940s. 1946 was the topmost point of the cinema in the United
Kingdom. 31 million people visited the movie theaters on weekly basis in the United Kingdom.
At the present time, technology has advanced considerably, and such change has closely followed the cinema too.
INTRODUCTION TO THE HISTORY OF SPORTS FILM
The history of film reaches as far back as ancient Greece’s theatre and dance, which had many of the same
elements in today’s film world. But technological advances in film have occurred rapidly over the past 100 years.
Starting in the Victorian era (1837-1901) many camera devices, projectors and film sizes have been developed and
mastered, creating the film industry we know today.

From classical Greek plays performed live in ancient amphitheaters and five-cent machines at carnivals, flashing
images that created the illusion of a dancing nude, to our modern digital technology and special effects, the history
of film is a long and successful story.
Theatre and dance have been around for thousands of years. Many of the elements of theatre and dance are the
basis of the modern movie-making industry such as scripts, lighting, sound, costumes, actors and directors. Like
today’s technological inventions, the Greeks had to invent the perfect amphitheater in order for its large-scale
audiences, sometimes 1,400 people, to be able to hear the play. Mathematicians spend days creating a flawless
stage for acoustics.
----
In the Victorian era, inventions of cinema seemed to spring up rapidly, each one building off another, creating a
monumental era in the history of film. One of the first inventions involving still pictures which appeared to be
moving was the thaumatrope, in 1824. The thaumatrope may sound high-tech, but it was as trivial as a toy. In fact,
it was a toy! The thaumatrope was a disk or card with images on both sides and strings attached to the side. To
operate, one simply twisted the strings and the two images would blend together to create one.
----
Less than a decade after the invention of the thaumatrope, Joseph Plateau invented the fantascope, which was a
slotted disk with pictures situated around the perimeter of the disk. When the disk was spun the pictures
appeared to be moving.

Plateau, Joseph Antoine Ferdinand (1801–1883)

----
Shortly after, the zoetrope was created. It is an old optical toy invented in
1834 by William George Horner, which lets you see the animation of a
drawing through their slots. It was very similar to the fantascope, except
it consisted of a hollow drum with a crank.

----
Film is synonymous for motion picture, so you can’t have a movie without a picture! That’s where the
daguerreotype comes in. The daguerreotype, invented in 1839 by French painter Louis-Jacques-Mande Daguerre,
was the first commercially successful photographic process. It worked by capturing still images on silvered copper
plates.
Louis Jacques Mande DAGUERRE (1787-1851)

----
Before the daguerreotype, as early as 470 BCE, there was the camera obscura. It was a primitive contraption
where a box with a hole in one side allowed light to pass through, striking a surface inside which created an upside
down colored image.

----
In 1878, Eadweard Muybridge conducted an experiment to determine if a running horse ever had all four legs
lifted off the ground. Taking pictures at one-thousandth of a second, cameras were arranged alongside the horses
track, being tripped by a wire when the horse’s hooves came in contact with it. It was a success for film
development. Incidentally, Mr. Muybridge was able to prove that the horse’s legs did lift off the ground all at once.
Eadweard Muybridge, Man
Performing Long Jump, 1887

A man standing on his hands from a

lying down position. Collotype after
Eadweard Muybridge, 1887.

Étienne-Jules Marey (1830-1904) French physiologist

All these inventions were tricking the eye into believing

that stills were moving. A true motion picture needed to
have split-second pictures on transparent film. Etienne-
Jules Marey invented the chronophotographic gun in
1882, which took 12 frames per second on the same picture. This was a huge step for cinema and a landmark in
the history of film.
Techniques he invented was essential for the development of the cinematographic art.
He dedicated his life to study of movement.
in 1882 he Built a center for research about physipology of movement, and established more profound relations
with a character who would have majör importance for his research. This characters name is George Dimıni. He is
a right hand man. He studied phsics, bşology, medicine and he was fan of gymnastic, he was one of the leaders of
development of principles of phsical education, and part of the group that is concerned about systematization of
French gymnastic method.
They together invented the first chronophotographic camera. They produced first films in history.

Étienne-Jules Marey, Movements in Pole

Vaulting
----
Charles Francis Jenkins (1867-1934) invented the first
patented film projector, called the phantoscope, in the early
1890s. Charles Francis Jenkins was an American pioneer of
early cinema and one of the inventors of television, though
he used mechanical rather than electronic technologies. His
businesses included Charles Jenkins Laboratories and
Jenkins Television Corporation (the corporation being
founded in 1928, the year the Laboratories were granted
the first commercial television license in the United States).
Over 400 patents were issued to Jenkins, many for his
inventions related to motion pictures and television .
----
Auguste and Louis Lumière, «The Lumiere Brothers» in France invented the cinematographe around the same
time, which was a portable, hand-held projector. The word cinema
was born from this invention and the brothers showed ten short
films on their projector in the world’s first movie theatre, the Salon
Indien du Grand Cafe

Thomas Edison
He followe the same dynamics aas before with his device Kinetoscope that almost solved the problem of
projecting captured images which would be solved little later by Lumiere brothers.
first ever filmed boxing match, from Edison and Co. They practiced it before with the movie "Men Boxing" in 1891,
which featured two Edison employees in a fake fight. Boxing match between James corbat and peter cognate.
Exhibiton of moving images become popular entertainment.
Edison zamanında insanlar new inventionlara açtı demiş Eric Hobsbawn.
Edison set up first industrial development laboratory 1876, ve public hero oldu americada.
Bu invention ile başk afirmalar da ortaya çıkmaya başlamış bu aleti kullanmaya başlayan.
Othway and Grey Letham tarafından yönetilen company specializd in boxing films.
Ve 20. yüzyıl ile sinema aşırı yaygınlaşmaya başlamış.
Sinema röntgenin keşfi ile aynı sıralarda develop edilmiş.
Tıp bu keşfin öncesinde tamamen kişikerin anlattıkları üzeinden yapılan tedavilere dayanoyordu, ama bu
gelişmelerle doktorların daha iyi vücut gözlemi yapabildikleri bir ortam oluşmuş ve medicine de gelişmiş. Ve
objectivity daha etkin hale gelmiş.
Aynı zamanda müsbakalarla ilgili bazı karışıklıklar da oluyormuş, kim kazandı kim hile yaptı vs vs. fotoğraflama,
video kaydı gibi şeylerle bunların somut kanıtları ortaya konmuş ve bu problemler kanıtlarla ortadan kalkmaya
başlamış.
-----
For thirty years, the silent era reigned until 1923. Until then narration and dialogue were presented in intertitles

Safety Last! (1923)

Directors: Fred C. Newmeyer (as Fred Neymeyer), Sam Taylor
Writers: Hal Roach (story), Sam Taylor (story) |
Stars: Harold Lloyd, Mildred Davis, Bill Strother
----
Director: Edwin S. Porter
Stars: Gilbert M. 'Broncho Billy' Anderson, A.C. Abadie, George Barnes

In 1903, the ten-minute-long “The Great Train Robbery,” was shown, and it was the first Western narrative with a
plot. Previously, films were just actions of mundane things like a short dance, a greeting or a kiss.
----
In the early 1900s, nickelodeons became an escape for the middle class, staying open from morning to midnight.
But they often got a bad reputation for their shows, which involved crimes, violence and sexual conduct. And so
they were transformed into nicer, lavish movie houses that charged higher admission.
---
A decade later, the industry decided to override their fears that the American public would not sit through an
hour-long show, and begin releasing longer films such as Dante’s Inferno (1991), Oliver Twist (1912) and Queen
Elizabeth (1912)

Dante’s Inferno
Directors: Francesco Bertolini, Adolfo Padovan
Writer: Dante Alighieri (poem)
Stars: Salvatore Papa, Arturo Pirovano, Giuseppe de Liguoro

Oliver Twist
Director:Thomas Bentley
Writer: Charles Dickens (novel)
Stars: Nat C. Goodwin, Vinnie Burns, Charley Rogers

----
In the 1920s, film stars were being made, their face recognized and praised. Also in the 1920s, sound made its
appearance in “The Jazz Singer,” which used the vitaphone system. “Talkies” were the movies of the future and
sound-on-film methods were developed including the movietone, phonofilm and photophone. With the
introduction of sound, the Golden Age had begun.
-----
During the 1940s, a rise of propaganda and patriotic films appeared. “Woman’s pictures” also reached their peak
during this time.
During the 1950s, television caused many film theatres to close.
In the 1960s, many films were being shot in foreign countries on location and there was an increase in popularity
among foreign films.
The 1970s saw a revival of traits of the Golden Age films. Called the “post-classical” era, films from this decade
were characterized by shady protagonists, endings with a twist and flashbacks. Adult cinemas also begin to take
root. They died out in the 1980s when the VCR allowed home viewing.
----
The 1990s saw the success of independent films, such as “Pulp Fiction.” Special effects films wowed audiences.
DVDs replaced VCRs for home viewing media.
In the early 21st century, documentary films and 3D films have become widely popular. IMAX technology also has
been increasingly used. Now we enjoy watching movies in many different forms, such as on the computer or on a
mobile phone. With the inventions of online streaming, handheld, portable cameras and file sharing, copyright
infringement of films has run rampant.

—— WEEK 2 ——
Since the inception of the cinematic medium in the late 18- beginning of 19 century , sport and film become closely
linked. Infact the desire to capture sporting events draw early developments in cinema.
Sport is everywhere in everyday life.
particiapiton of athletes in advertisements and fashion shows, pictures of the most distinctive aspects of sport in
newspapers and magazines reports with multiple approaches in television, inspiration of product design video and
computer games, thousands of references in websites and blogs on the internet.

Both sport and cinema are related to scientific development characteristic of the time.

The emotions unchained by sport competitions have been captured by the camera lenses since the early ages of
the cinema.
Jon clots stretescope represented boxers in 1865. Representations of boxers in 1865 learn koymuş hoca.
 Week 3
The Knockout
Starring – Fatty Arbuckle
1914
Charlie Chaplin is only in one scene on movie
Boxing movie

The Champion
Starring – Charlie Chaplin
1915

College
Director – Buster Keaton, James W. Horne
1927
Starring – Buster Keaton, Anne Cornwall, Harold Goodwin

Comedy/Drama silent film

Ronald's high-school valedictory address praises books and condemns sports. His girlfriend Mary condemns his
attitude. Fearing to lose her to rival Jeff, he decides to go to college and pay more attention to sports.

In Southern California, Ronald graduates high school as its "most brilliant scholar". At his graduation, Ronald
speaks on "the Curse of the Athlete", arguing that books are more important than athletics. His speech offends
most of the student body, especially the popular athlete Jeff, and causes Ronald's sweetheart Mary to reject him.
Ronald decides to follow Mary to Clayton, which the dean describes as an "athlete-infested college". Hoping to
impress Mary, Ronald tries out for the baseball and track and field teams, but proves to be totally inept. At the
same time, he attempts to work as a soda jerk and as a waiter in blackface while trying to keep these jobs a secret
from Mary, who has started dating Jeff.
Eventually the dean asks Ronald why his grades are suffering. After Ronald explains the situation, the dean
empathizes with him and orders the rowing coach to make Ronald the coxswain in the upcoming competition. The
coach tries to sabotage Ronald by slipping him a sleeping potion so he cannot compete, but the potion is
accidentally consumed by the team's other coxswain instead. Despite Ronald capsizing the boat, pulling the rudder
off mid-race, and causing collisions with other boats, the Clayton team wins the race anyway.
Meanwhile, Mary starts to appreciate Ronald’s futile efforts to impress her. However, on the day of the boat race,
Jeff gets kicked out of college and takes her hostage in her room, locking them in an effort to get her expelled so
she will marry him. In the end, she manages to contact Ronald by telephone, who in a sudden show of athleticism
sprints to her dormitory, pole vaults into her window, and fights off Jeff by throwing household objects at him and
demonstrating skills in javelin shot put and tackle football. Mary agrees to marry Ronald and they live the rest of
their lives together, ending with a shot of side-by-side gravestones.

-------------

Charlıe Chaplın - life, political view

Charlie Chaplin’s sympathy for the working class defines all his most famous silent films.
In September 1952, Charlie Chaplin (1889-1977) looked back at New York on board the Queen Elizabeth. He was
bound for Europe, to introduce the continent to his latest film Mousieur Verdoux. On the ship, Chaplin learned
that the US government would only let him return to the US – where he had lived for the past three decades – if he
subjected himself to an immigration and naturalisation inquiry into his moral and political character. “Goodbye,”
Chaplin said from the deck of the ship. He refused to submit to the inquiry. He would not return to the US until
1972, when the Academy of Motion Pictures gave him an Oscar for Lifetime Achievement.
- I am a citizen of the world. - Charlie Chaplın –
Why did the US government exile Chaplin? The Federal Bureau of Investigations (FBI) – the country’s political
police – investigated Chaplin from 1922 onwards for his alleged ties to the Communist Party of the United States
(CPUSA). Chaplin’s file – 1,900 pages long – is filled with innuendo and slander, as agents exhausted themselves
talking to his co-workers and adversaries to find any hint of communist association. They found none. In December
1949, for instance, the agent in Los Angeles wrote, “No witnesses available to testify affirmatively that Chaplin has
been member of Communist Party in past, that he is now a member or that he has contributed funds to
Communist Party.”
- The saddest thing I can imagine is to get used to luxury. - Charlie Chaplin –
Beside the charge that he was a communist, Chaplin faced the accusation that he was ‘an unsavoury character’
who violated the Mann Act – the White Slave Traffic Act of 1910. Chaplin had paid for the travel of Joan Barry – his
girlfriend – across state lines. Chaplin was found not guilt of these charges in 1944. It has subsequently been
shown in a number of memoirs and studies that Chaplin was cruel to his many wives (many of them teenagers)
and ruthless in his relations with women (Peter Ackroyd’s 2014 book has the details). In 1943, Chaplin married the
playwright Eugene O’Neill’s daughter – Oona. She was 18. Chaplin was 54. They would have eight children. Oona
Chaplin left the US with her husband and was with him when he died in 1977. There was much about Chaplin’s life
that was creepy – particularly the way he preyed on young girls (his second wife – Lita Grey – was 15 when they
had an affair and then married; he was then 35). FBI director J. Edgar Hoover had considerable evidence to sift
through here, but none of it was found to be sufficient to deport Chaplin.
- What a sad business, being funny. - Charlie Chaplın –
What was the smoke that got into Hoover’s nose from the fire of Chaplin’s politics? From 1920 onwards, it was
clear that Chaplin had sympathies for the Left. That year, Chaplin sat with Buster Keaton – the famous silent film
actor – to drink a beer in Keaton’s kitchen in Los Angeles. Chaplin was at the height of his success. With Douglas
Fairbanks, Mary Pickford and D.W. Griffith, Chaplin created United Artists, a company that broke with the studio
system to give these four actors and directors control over their work. Chaplin was then working on The Kid (1921),
one of his finest films and based almost certainly on his childhood. Keaton recounted that Chaplin talked “about
something called communism which he just heard about”. “Communism,” Chaplin told him, according to Keaton,
“was going to change everything, abolish poverty.” Chaplin banged on the table and said, “What I want is that
every child should have enough to eat, shoes on his feet and a roof over his head”. Keaton’s response is casually
insincere, “But Charlie, do you know anyone who doesn’t want that?”
- One murder makes a villain, millions a hero. Numbers sanctify. - Charlıe chaplın –
Chaplin came to the US just after the Russian Revolution. He saw the growing lines of unemployment and distress
in the US – an unemployed population that grew from 950,000 (1919) to five million (1921). This was a time of
great class struggle – the Palmer Raids conducted by the government against the communists, on the one side, and
the general strike in Seattle as well as the Battle of Blair Mountain by the mineworkers of Logan County, West
Virginia, on the other side.
Chaplin’s silent films were anchored by the figure of the Tramp, the iconic poor man in a modern capitalist society.
“I am like a man who is ever haunted by a spirit, the spirit of poverty, the spirit of privation,” Chaplin said. That is
precisely what one sees in his films – from The Tramp (1915) to Modern Times (1936). “The whole point of the
Little Fellow,” Chaplin said in 1925 of the tramp figure, “is that no matter how down on his ass he is, no matter
how well the jackals succeed in tearing him apart, he’s still a man of dignity.” The working class, the working poor,
are people of great resourcefulness and dignity – not beaten down, not to be mocked. Chaplin’s sympathy for the
working class defines all his most famous silent films.
- In this world there is room for everyone, and the good earth is rich and can provide for everyone. The way
of life can be free and beautiful, but we have lost the way. Greed has poisoned men’s souls, has barricaded
the world with hate, has goose-stepped us into misery and bloodshed.
- Charlıe chaplın –
It was Chaplin’s popularity and his message that disturbed the FBI. “There are men and women in far corners of
the world who never have heard of Jesus Christ; yet they know and love Charlie Chaplin,” noted an article that an
FBI agent clipped and highlighted in Chaplin’s file. Chaplin’s plainly-depicted criticism of capitalism did not fail to
impress the world’s peoples nor disturb the FBI. “I don’t want the old rugged individualism,” Chaplin said in
November 1942, “rugged for the few and ragged for the many.”
 - We all want to help one another. Human beings are like that.
- Charlıe chaplın –
The great limitation in his films is the depiction of women. They are always damsels in distress or rich women who
are desired by poor men. There are few ‘women of dignity’, women who – at that time – were in pitched battles
for their own rights. In fact, many silent films in both the UK and the US disparaged the Suffragette movement of
their time – from A Day in the Life of a Suffragette (1908) to A Busy Day (1914, which was originally titled A
Militant Suffragette). In this latter film, only six minutes long, Chaplin plays a suffragette who is boorish and then
dies by drowning.
- I am an individual and a believer in liberty.
- Charlıe chaplın –
The film was released the same year as Sylvia Pankhurst (1882-1960) founded the East London Federation of
Suffragettes to unite suffragette politics with socialism. Pankhurst, unlike Chaplin, would join the Communist Party
and – in 1920 – would author A Constitution for British Soviets. She would leave the Communist Party, but
remained a devoted communist and anti-fascist for the rest of her life. If only Chaplin’s sexism had not blocked him
from celebrating his contemporaries such as Pankhurst, Joan Beauchamp (another Suffragette and founder of the
British Communist Party) as well as her sister Kay Beauchamp (co-founder of The Daily Worker, now Morning Star)
and Fanny Deakin.
What drew Chaplin directly into the orbit of institutional left-wing politics was the rise of fascism. He was greatly
troubled by the Nazi sweep across Europe. Chaplin’s film The Great Dictator (1940) was his satire of fascism – a
film that should be watched by all in our times.
Two years after that film was out, Chaplin flew to New York City to be the main speaker at a Communist-backed
Artists Front to Win the War event. Chaplin took the stage at Carnegie Hall on 16 October 1942, addressed the
crowd as ‘comrades’ and said that Communists are “ordinary people like ourselves who love beauty, who love
life”. Then, Chaplin offered his clearest statement on communism – “They say communism may spread out all over
the world. And I say – so what?” (Daily Worker, October 19, 1942). In December 1942, Chaplin said, “I am not a
Communist, but I am proud to say that I feel pretty pro-Communist”.
- “I am not a Communist, but I am proud to say that I feel pretty pro-Communist”.
- Charlıe chaplın -
Chaplin was impressed by the principled and unyielding stand taken by the communists against fascism – whether
during the Spanish Civil War or in the Eastern Front against the Nazi invasion of the USSR. In 1943, Chaplin called
the USSR “a brave new world” that gave “hope and aspiration to the common man”. He hoped that the USSR
would “grow more glorious year by year. Now that the agony of birth is at an end, may the beauty of its growth
endure forever”. When asked a decade later why he was so vocal about his support for the USSR – including with
appearances at the communist fronts such as the National Council for American-Soviet Friendship and the Russian
War Relief – Chaplin said, “during the war I sympathised much with Russia because I believe that she was holding
the front”. This sympathy remained through the remainder of his life.
Chaplin had not calculated the toxicity of the Cold War era in the US. In 1947, he told reporters, “These days if you
step off the curb with your left foot, they accuse you being a communist”. Chaplin did not back off from his beliefs
or betrayed his friends. At that same press conference he was asked if he knew the Austrian musician Hanns Eisler,
who was a communist and who wrote the music for many of Bertolt Brecht’s plays. He had fled Nazi Germany for
the US to work in Hollywood. Eisler had composed songs for the Communist Party (he would write music for the
anthem of the German Democratic Republic – Auferstanden Aus Ruinen). Chaplin came to his defence. When
asked about his association with Eisler at that 1947 press conference, Chaplin said that Eisler “is a personal friend
and I am proud of the fact…I don’t know whether he is a communist or not. I know he is a fine artist and a great
musician and a very sympathetic friend”. When asked directly if it would make any difference to Chaplin if Eisler
was a communist, he said, “No it wouldn’t”. It took a lot of courage to defend Eisler, who would be deported from
the US a few months later.
When Chaplin died in Switzerland in December 1977, he was mourned far and wide.
 Week 4
Chariots of Fire
1981 British historical drama sports film

Director – Hugh Hudson

Production Studios: Twentieth Century–Fox Film Corporation, Allied Stars Ltd., and Enigma Productions
Writer: Colin Welland
Music: Vangelis Papathanassiou – Evangelos Odysseas Papathanassiou

*1924 – Olympic Games in Paris

*Academy Awards for Best Picture – 1982
Won 4 academy rewards – Best Picture – Original Music
(Vangelis dedicated the score to his father Ulysses Papathanassiou who had been a sprinter)

Ben Cross – Harold Abrahams

Ian Charleson – Eric Liddell
Ian Holm – Sam Mussabini
Alice Krige – Sybil

Starts with the athletes death and then tell his story in flashbacks.

Chariots of Fire, British dramatic film, released in 1981, that tells the true story of two British runners who brought
glory to their country in the Olympic Games of 1924 in Paris.
It tells the fact-based story of two athletes in the 1924 Olympics: Eric Liddell, a devout Scottish Christian who runs
for the glory of God, and Harold Abrahams, an English Jew who runs to overcome prejudice. Ben Cross and Ian
Charleson star as Abrahams and Liddell, respectively, alongside Nigel Havers, Ian Holm, Lindsay Anderson, John
Gielgud, Cheryl Campbell, and Alice Krige in supporting roles.
The film's title was inspired by the line, "Bring me my chariot of fire," from the William Blake poem adapted into
the popular British hymn "Jerusalem"; the hymn is heard at the end of the film. The original phrase "chariot(s) of
fire" is from 2 Kings 2:11 and 6:17 in the Bible.

Critical reception
Since its release, Chariots of Fire has received generally positive reviews from critics. As of 2019, the film holds an
84% "Certified Fresh" rating on review aggregator website Rotten Tomatoes based on 68 reviews, with a weighted
average of 7.66/10. The site's consensus reads: "Decidedly slower and less limber than the Olympic runners at the
center of its story, the film nevertheless manages to make effectively stirring use of its spiritual and patriotic
themes." ("Chariots of Fire". Rotten Tomatoes. Fandango. Retrieved 15 September 2019.)
For its 2012 re-release, Kate Muir of The Times gave the film five stars, writing: "In a time when drug tests and
synthetic fibres have replaced gumption and moral fibre, the tale of two runners competing against each other in
the 1924 Olympics has a simple, undiminished power. From the opening scene of pale young men racing barefoot
along the beach, full of hope and elation, backed by Vangelis's now famous anthem, the film is utterly
compelling.(https://www.thetimes.co.uk/article/chariots-of-fire-6gd5vlm00hm)
In 2000, and again in 2006, the album was relaunched on CD, on both occasions remastered by Vangelis.
Tracks from the album have been included in the following official Vangelis compilations: Themes (1989), Best Of
Vangelis (1992), Portraits {So Long Ago, So Clear} (1996), and Odyssey - The Definitive Collection (2003).[10]
Some pieces of Vangelis's music in the film did not end up on the film's soundtrack album. One of them is the
background music to the race Eric Liddell runs in the Scottish highlands. The title of this piece is "Hymn," and it is
from Vangelis's 1979 album, Opéra sauvage. It is also included on Vangelis's compilation albums Themes, Portraits,
and Odyssey: The Definitive Collection.
Director Hugh Hudson's original choice for the famous slow-motion running sequences on the beach was the track
"L'Enfant" from Opéra sauvage. Vangelis had to persuade Hudson to let him create something original for the
scene, using the same tempo as "L'Enfant." The result was the "Chariots of Fire" title track.
HOW TO ANALYZE A SPORTS MOVIE
Films are similar to novels or short stories in that they tell a story. They include the same genres: romantic,
historical, detective, thriller, adventure, horror, and science fiction. Sports film is the one of these genres. The
methods we use to analyze a sports films are closely related to those used to analyze literature; nevertheless, films
are multimedial. They are visual media made for viewers. Films take command of more of our senses to create
special atmospheres, feelings or to bring out emotions.

Along with the literary elements such as plot, setting, characterization, structure, and theme, which make up the
text or screenplay, there are many different film techniques used to tell the story or narrative. Attention is paid to
sound, music, lighting, camera angles, and editing. What is important is to focus on how all the elements are used
together in making a good film.

Introduction
The introductory part of a film analysis essay contains some fundamental information about the movie, like the
film title, release date, and director’s name. In other words, the reader should get familiar with some background
information about the film. It would be good to research the filmmaker because it can reveal significant insights
related to the movie which we can use in our analysis.
Also, we should point out the central theme or ideas in the movie, explaining the reason why it was made. We do
not hesitate to say what do we think; it’s quite desirable to express our point of view.
The last thing our introduction should include is our thesis statement and basically, we should explain what our
focus will be.

Summary
After presenting the main facts about the film, it’s time to go deeper into analysis and summarize it.
The best way to make sure we’ve covered everything in our summary is to answer great five: – who, what, when,
where, why, and how, as well.
Likewise, we can discuss anything related to our opinion, structure or style. Just we should remember that we
need to support anything we say with examples or quotes from the film itself. Otherwise, it wouldn’t be a viable
comment.

Analysis
This is the core of our essay that involves our critical analysis of the film and impressions about it but supported by
claims from the movie or any other relevant material.
Also, films are complex artwork that include many creative elements which are all connected and have their
reason of existence. That’s why we should pay attention closely to these elements and analyze them too.

Scenario
A good script has a logical sequence of events, completion of scenes, characters development, and dialogs. So,
these are the elements we should analyze when it comes to the scenario.
After watching the film, we try to reproduce the plot mentally and see if we understood the logic of events and the
motives of the actors. If it’s difficult to explain or find reasons for some scene, then it isn’t such a great scenario.
Plot is what happens in the narrative. Every story, from books, plays and films to newspaper articles and television
programs, is based around plot. Without a plot, the characters would have nothing to do. It is what engages us as
spectators and keeps us interested; however, plot is not just a series of random events. What turns a story into a
plot is how the events unfold in a casual manner.
What was the movie about? Was it believable? Interesting? Thought-provoking? How was the climax revealed?
How did the setting affect the story?
It´s a huge question and lots of people are confused about these terms. The reason for this confusion is that
people who don’t work with stories on a professional, writing level (critics, reporters, and the average movie goer)
use those terms in one way, while professionals use them in a different way. On top of that , even in professional
use, there are quite a few different definitions and they all do different things. So for clarity, let’s go through
them;
One, very commonly known difference between Plot and Story is this;
Story describes the content; what goes on in the story, who does what and what happens.
Plot, however describes the order or sequence in which these things happen. But it does more than that; Plot (the
way a story is told) also deals with which things that are included and which things are left out of the plot. Lastly,
the concept of plot also deals with Time span,- The period of time in which the story takes place.

Plot is actually 3 things;

1. The sequence of events
2. Which events that are included
3. Time span

For instance, if you think about the complete life story of someone from birth to death, that would constitute what
we call, ‘the story’
The plot, however, describe in which order you tell the story. Do you start with the persons birth end tell it
chronologically or do you start with his death and then tell his story in flashbacks? and which events do you
include and which things do you leave out? Lastly there is the time frame to consider. Do you follow the whole
characters life or do you focus on one major event in his life? all these considerations are what makes up a plot.

DIRECTION-DIRECTING
The director is responsible for every aspect of the movie process, such as scenario execution, selection of the
plans, and even tasks for actors.
In this part of the analysis, we can focus on the fact how the director realized the script or compare this film to his
other films. It will help us understand better his way of directing and come up to some conclusions relevant to our
thesis and analysis.

Direction: Did you like how the director chose to tell the story? Was the pacing and speed of the movie too fast or
too slow? Was the direction comparable to other movies this director has created? Was the storytelling complex
or straightforward? Was there a certain amount of suspense or tension that worked? Did the director create a
captivating conflict?

ACTING AND CHARACTERS

Casting is another significant element to take into consideration in our film analysis essay. Actors bring the script
and director’s idea into reality.
Therefore, after watching the movie, we should think if the actors are realistic and if they portray the role of their
character effectively? More importantly, we should consider how their acting corresponds to the main idea of the
film and our thesis statement.

Acting and Characters: Did you like how the characters were portrayed? Did the acting support the characters, and
help them come to life? Did the characters display complex personalities or were they stereotypes? Were there
characters that embodied certain archetypes to enhance or diminish the film?

Musical Elements
Music represents an important element of every movie. It sets the mood and enhances some actions or sceneries
of the film.
That’s why we should try to evaluate how music reflects the mood of the film or the impact it has on what is
happening on the screen. Is it supportive or distracting?

THEMES-TONES-PRESENTATION
Themes and Tones: What was the central goal of the movie? Was it made to entertain, educate, or bring
awareness to an issue? Was there any strong impression the movie made on us? Did any symbolism come into
play?
A theme is the overall message or argument that a film is trying to make.
Movies (and all other works of art) are about something. Even bad movies are about something.
Screenwriter Paul Schrader says, “When you write, you have to know in some way what you are about to do…
There has to be some sense of why you are doing this.”
So, a theme is the message or moral of a story.
Tone, on the other hand is the overall mood or feeling of a film. To figure out the tone, we should think to
ourselves “How does it make me feel?” Tone is easy to notice in music.
Presentation is how the work of art is made. In music, the presentation would be the instruments, the sound
effects, the notes and chords.
These are things we need to think about when watching movies. What is the theme? What is it trying to say? What
is the tone or mood? How does the director feel and how is he trying to make us feel? What is the presentation?
How was it made? What did they do with acting, movement, lighting, editing, music and all that, and why?

VISUAL ELEMENTS
Visual elements, like special effects, costumes, and make-up, also have a considerable role in the overall movie
impact. They need to reflect the atmosphere of the film. It is especially important for historical movies because
visual elements need to evoke a specific era.
Therefore, attention should be paid to costumes and special effects and be analyzed their impact on the film.
However, we should make sure we analyze only the elements that are related to our thesis statement, that can
support it or help us make our point. Otherwise, we risk drifting away from the main argument.

CONCLUSION
In the end, we re-state our thesis and offer a summary of the previously mentioned concepts in a new and more
decisive way, making a case for our analysis.
Besides, we can recommend to our reader to watch this film or to avoid it completely.
 Week 5
Genre(film türü) has played a crucial role in the history of film. It is, however, a classification mechanism
associated first and foremost with mainstream films and particularly those emanating from Hollywood. This is not
to say that these characteristics are not found in films emerging from other societies; indeed, the influence of
Hollywood cinema has been so significant that non-Hollywood sports films, often exhibit similar characteristics to
films associated with Hollywood. The commercial popularity internationally of Hollywood film is such that its
influence in various forms, including in sports films, is hardly surprising. As noted by Scott Robert Olson,
‘Worldwide, audiences are 100 times more likely to see a Hollywood film than see a European film … Hollywood
satisfies 70% of international demand for television narrative and 80% of demand for feature films’.

Films that have a sports setting, event, or athlete that are central and predominant in the story. Sports films may
be fictional or non- fictional; and they are a hybrid sub-genre category, they often tend to be dramas or comedy
films and occasionally documentaries. A Sport Film revolves around a sport setting, event, or an athlete. Often,
these films will center on a single sporting event that carries significant importance. Sports films traditionally have
a simple plot that builds up to the significant sporting event. This genre is known for incorporating film techniques
to build anticipation and intensity. Sport films have a large range of sub-genres, from comedies to dramas, and are
more likely than other genres to be based true-life events.

Since the start of motion pictures Sports films have been a vital part to the success and survival of the filming
industry. They have created huge amounts of money for media companies. This has allowed other genres to be
created and succeed. The first Sports films were actually boxing fights, these were news films.
The first was The Corbett-Fitzsimmons fight in 1897.
In 1911 the first non news film sports film was created. This was Harry the footballer, this was black and white as
well as silent. The advances in technology such as color filming and high definition sound has allowed sports films
to again boom and succeed. This is because sports films conventionally go into deep detail portraying every
emotion available.

SPORTS FILMS
• Contain sporting event.
• Contain sporting athelete.
• Contain sporting narrative.
• Constant state of emotion.
• Equilibrium.
• Disruption.
• Resolution.
• Success
• Failure Relationships between characters.

Going Vertical
Director – Anton Megerdichev
Editors – Anton Megerdichev, Vazgen Kagramanyan, Pyotr Zelenov
Book – Aleksandr Konovalov, Sergey Belov

Stars: Vladimir Mashkov, John Savage, Marat Basharov

Vladimir Maşkov – Vladimir Garanzhin (head coach) (in movie Vladimir Kondrashin)

Going Vertical is exactly that for the Russian audience, especially regarding the heroic win over the USA in the 1972
Munich Olympic.
Upon its release on December 28, 2017, Going Vertical achieved critical and commercial success. With a worldwide
gross of $60 million, Going Vertical is the highest-grossing modern Russian film of all time.
Plot
The year was 1970. The senior men's Soviet Union national basketball team had changed its head coach. The
team's new head coach, Vladimir Garanzhin (Vladimir Kondrashin), who was also the head coach of the Leningrad
based BC Spartak basketball club, of the USSR Premier League; said at a press conference that at the Munich
Summer Olympic Games, the Soviet Union was going to beat the U.S. men's national basketball team. The
statements of the coach frightened Soviet sports officials, for whom their main goal was to perform strongly at the
world's biggest sporting stage, in the year of the 50th anniversary of the Soviet Union, and keep their posts.
Vladimir Garanzhin completely changed the composition of the Soviet team, and it was no longer dominated by
CSKA Moscow players, but instead the players from several different clubs of the country. Garanzhin also began
training the team with new coaching techniques; he needed to inspire the team, and convince the players that
they could beat the American team.
It was the night of 9 to 10 September 1972. The city of Munich, which had survived a terrorist attack three days
earlier, had continued to host sports arrived. The two final teams, as had been predicted by Garanzhin, were the
USSR and U.S. teams. Up to the decisive game, bot competitions at the Summer Olympic Games. The long-awaited
finale of the XX Olympic Summer Basketball Tournament had finally h teams were unbeaten. And the outcome of
the dramatic final match was decided in the last three seconds of the game...

Much of the film does not really have dramatic moments like we are accustomed to in Hollywood sports drama
film. In the movie we are shown through an ordinary person’s perspective of the events. Aside from the few key
moments and the finale, none of the rest are exaggerated with any dramas. This makes the film feels real, and
almost like a documentary film instead.
The premise covers much of the happenings, including some real-life events of the terrorist attacks on the Israeli
team by a group of terrorists during the Munich Olympic. What I love to see is also the appropriate screen times
given to some of the players, which lets us delve into their lives and make them feel relatable to us. The whole
premise is of course bias to the Russian side, but at least much of the story is showing what truly happened then.

------
Characters are the main stars here, with the head coach and assistant head coach showing their convictions to win
the Olympic, which have been laughed at by the Americans and the Russians. The actors did their great acting for
the parts, showing enough emotions yet also the manliness of the Russian men in dealing with stuff.
We are shown each of their reasons for wanting to win, from the coach’s desire to get enough prize money for his
son’s operation, to the assistant coach’s desire to not disappoint the team and disobey order to continue to match.
Then, we have other players such as Alexander Belov, who discovered he had a rare heart disease that will kill him
in a year and his heartbreak to break up with long-time girlfriend. Yet, he perseveres to last through the match to
win over the Americans.
------

MESSAGE
There are clear political overtones to this film that suggest it is every bit about the present as it is the past. Overall,
the film leans towards nostalgia for the Soviet Union. In addition to the glory of the victory in the gold medal
match, the film casts the Soviet Union in a positive light and suggests that the only difficulty for the players was
getting all of the goods they purchased abroad through Soviet customs. This nostalgic sentiment hints to people in
the Baltic nations and the Caucasus that the correct orientation today is towards Russia rather than the West. It
also suggests to a Russian domestic audience that it is natural for Russia to have a greater influence than the West
in these regions. This message gets communicated through the integration of the Lithuanian and Georgian
characters into the team. In addition to evoking nostalgia, three fissure points in this state-sponsored film reveal
an attitude towards the present despite the fact that the film is set in 1970-72. They concern representations of
ethnic relations, victimhood, and regional loyalty. With each of these issues, the storytelling of the film deviates
from the recorded history of the event. Going Vertical resurrects a Soviet narrative that the United States is
fraught with ethnic tensions while the Soviet Union is a model for ethnic harmony. The white player Doug Collins
(played by Oliver Morton) on the United States’ team talks down to his African-American teammates, whereas the
mix of ethnicities (Russian, Belarusian, Georgian, Lithuanian) on the Soviet team exemplifies the “friendship of
nations” mantra of the Soviet Union. The film goes to lengths to show how progressive the Soviets really are.
When in the United States, the team tests their skills in a back alley in Harlem, New York by accepting a challenge
from a group of local African-Americans to a game of pick-up basketball. The Soviets comically bet cans of caviar
against American dollars, and although they lose, they learn how to play better. In perhaps the most humorous
episode in the film, the African Americans are later shown watching the gold medal game. After the Soviets win,
the African Americans claim that they themselves are the best in the world since they previously won against the
Olympic champion Soviets. The only problem with this clever subplot is that it most likely never happened. It was
recorded in no memoirs (Somov 2018). It is a plot device to drive home a point about the difference in ethnic
tolerance of the two nations in the 1970s and by extension to today’s United States and Russia.

The technique of manipulating historical facts in support of a narrative also occurs in the depiction of victimhood.
Aleksandr Belov is an established player in the team, but he finds out that he has a terminal heart condition. By the
end of the film, Belov’s condition seems to have improved after he plays in the final without physical
complications. Although this medical detail is based on his real life, Belov did not discover his heart condition until
several years later (Somov 2018). Within the political context in which the film was released, this characterization
is not arbitrary, especially since Aleksandr Belov is such a prominent character in the film. The message is that this
Russian athlete is a blameless victim of circumstances beyond his control. With a release date less than two
months before the PyeongChang Winter Olympic Games in South Korea from which several Russian athletes were
banned due to an alleged state-organized doping program, the “victim” narrative promoted by the film works
against the characterization of Russian athletes as cheaters.
The last element of the film in which a change of historical fact was important for the messaging of the film
concerned the planned defection of Paulaustus. In the film, he is shown as a dissident, a nationalist who sings the
Lithuanian anthem and does not integrate into the group collective despite the fact that he is the captain of the
team. In Munich, he plans to meet with family members and defect. At the last minute, however, he decides not to
defect, claiming that he cannot leave his family, his homeland, and his teammates. He rejoins the basketball team,
where he plays a key role in the Soviet victory. The only problem is that there is little evidence to support the
narrative that Paulaustus was a dissident with plans to defect (Sidorchik 2017). The film is invested, therefore, in
depicting doubt in a Lithuanian player who ultimately chooses East over West.

Production History
The organizing principle for understanding the production history of Going Vertical is that all signs point to the film
being a high priority for the Kremlin. It was funded by the state-funded Cinema Foundation of Russia and state-
controlled television channel Russia-1. It was released just before the New Year holiday season, the busiest time of
the year for cinema attendance in Russia. The production of the film was entrusted to Nikita Mikhalkov, who is the
head of the Russian Cinematographers’ Union, a loyalist to the current Putin government, and an internationally
recognized filmmaker himself. The director Anton Megerdichev has directed big budget films such as Metro
(2013). He is known as a director of action and horror genre films, but it would be difficult to pin him down to a
specific, immediately identifiable style. In this sense he is an ideal choice for director since he is both experienced
and, it seems, malleable.

Vladimir Mashkov, who plays coach Vladimir Garanzhin, leads the cast. Similar to Mikhalkov, Mashkov is an actor
with an art film pedigree—he played the lead role in Pavel Chukhrai’s The Thief (Vor, 1997)—who has become a
Putin loyalist. Sergei Garmash, who plays Chairman of the State Committee for Sport of the USSR Sergei Pavlov, is a
veteran Russian actor. Thus the older generation in the film is well known to the audience while the younger
actors are not necessarily top names. American actors were also recruited for the film. The most notable is the
Coach of the United States Team Henry Payne Iba, who is played by John Savage of The Deer Hunter (dir. Michael
Cimino, 1978). The American actors who play the Olympians for the U.S. team have film and television credits to
their names but they are not necessarily famous actors in the United States. In this way, the film showcases a high
production value to the audience without disrupting the suspension of disbelief with an exclusively all-star cast.
The film was heavily marketed before its release and promoted on Russian national television channels. Its two
official trailers have 2.3 million and 1.4 million views on YouTube, respectively (Anon. 2018c). The film was slated
for release in theaters in Estonia, Latvia, Lithuania, Austria, Germany, Belgium and Luxembourg (Anon. 2017).
Going Vertical was even shown in Washington, DC when the Russian embassy organized a screening for students
and invited the basketball team from Georgetown University (Anon. 2018b). Aleksandr Belov, the son of the
basketball star in the film of the same name, was scheduled to answer questions after the screening. This film
clearly has a stake in regional and international politics.
 Week 6
A documentary film is a nonfictional motion picture intended to document reality, primarily for the purposes of
instruction, education, or maintaining a historical record. "Documentary" has been described as a "filmmaking
practice, a cinematic tradition, and mode of audience reception" that is continually evolving and is without clear
boundaries. Documentary films were originally called 'actuality' films and were only a minute or less in length.
Over time documentaries have evolved to be longer in length and to include more categories, such as educational,
observational, and even 'docufiction'. Documentaries are also educational and often used in schools to teach
various principles. Social media platforms such as YouTube, have allowed documentary films to improve the ways
the films are distributed and able to educate and broaden the reach of people who receive the information.

Terminological confusion often results from various uses of the word « documentary» and the phrase «nonfiction
film». In it is most expansive sense, a nonfiction film is any film nonfictional, for example, instructional films,
advertisements, corporate films or historical , biographical documentaries.
The Scottish filmmaker and the theorist John Grierson called the documentary the « creative treatment of
actuality», a characterization that simultaneously distinguishes the documentary from the fiction film and the
nonfiction film.

GOOD DOCUMENTARY FILM

What makes a good documentary film? What will move a documentary film to the ranks of greatness? The
essential element of a good documentary is simply, ***the story (most important part of a documentary film).
The audience must have an intellectual and emotional tie to the film. The audience must have a “pull” to get to the
end of the film, not an excuse to get away from it.
The story must be found and that is not always easy. It’s the single component that the film hinges upon. Once the
story is identified, the filmmaker has to compose it accurately. It’s not as easy as it sounds.
Here are some components of a good documentary film.
The people who wield the power, influence and information are identified and become a part of the film. The
filmmaker must remain impartial and be open minded enough to present all sides of the story.
A well edited film allows for a more unprejudiced approach. Each person or subject that is identified brings a
unique focus to the film and requires a voice that is impartially heard.
A good documentary raises more questions than answers. There is a myth that a good documentary film serves
as proof or the ultimate explanation of something. Even if audience members are left pondering at the end of the
film credits, that can be an excellent outcome.
Film tells the truth even though the people in documentaries do not always do so. It is not necessary that they are
publicly called out during the film. Good documentaries can contrast content from many sources. The viewer
serves as the juror. In well-made documentaries the camera is the great truth teller. The viewer is able to easily
figure out who is telling the truth. And in serving as a juror the viewer is often spellbound to the screen.
Once the story, structure and interviews are set the filmmaking process must be considered. The technical
qualities of a film can move it from the great to the forgettable ranks.
There are a variety of elements which are required among the documentaries of greatness.
The filmmaker will need to have high quality technical equipment which includes microphones, video camera, and
editing equipment. Professional technicians are the best bet if a true film of quality is the desired outcome.
Live action shots are imperative to a good documentary. It shows scenes as they are actually happening in real
time. These shots will serve as evidence of truth or deceit for the film’s viewers.
Still shots serve as filler between scenes. They are important to good documentaries because they do serve as
credible transitions between live action and interviews. They are never to be considered “fluff” filler but should be
relevant people, information or places.
The soundtrack or music is very important. It sets the tone for a good documentary. The right music must be
chosen and then edited by musical editor. This moves the documentary film one step closer to greatness.
Finding the story, assembling the team, filming and editing are all part of the process that makes a documentary
successful. The devil can be in the details, so along the way these questions should always be asked, “Are we still
pulling on the viewer?” “Are they still sitting in their seats spellbound?” If the questions can be answered with a
yes; the documentary film is well on its way to excellence.

It is an interdisciplinary field includes; sociological, psychological, cultural historical approaches.

*Hoop Dreams
Director – Lee Davis, Steve James

It follows the story of two African American high school students, William Gates and Arthur Agee, in Chicago and
their dream of becoming professional basketball players.
A masterpiece in documentary sports movies

*When We Were Kings

Director – Leon Gast
Release – 1996
Best Documentary film Oscar – 1997
Boxing documentary on the 1974 world heavyweight championship bout between defending champion, George
Foreman, and the underdog challenger, Muhammad Ali. Match was in Zaire.

Leon Gast and David Sonenberg the Oscar® for Best Documentary Feature for "When We Were Kings" at the 69th
Academy Awards® in 1997.

9.79
*Director – Daniel Gordon
About Runner – Michael Johnson
Seoul Olympiad – 1988

The clock doesn’t lie. Or tell the truth.

Boston
Director – Jon Dunham

“BOSTON” is the first feature-length documentary film about the world's most legendary running race – the
Boston Marathon. The film chronicles the story of the iconic race from its humble origins 120 years ago, starting
with only 15 runners, to the present day.
The history of the Boston Marathon from its humble origins starting with only 15 runners, to the first female
runners, through the tragedy in 2013, and ultimately the triumph of 2014.
Icarus
2017
Director – Bryan Fogel
Presented in Sundance Film Festival
Best documentary film Oscar – 2018

It chronicles Fogel's exploration of the option of doping to win an amateur cycling race and happening upon a
major international doping scandal when he asks for the help of Grigory Rodchenkov, the head of the Russian anti-
doping laboratory.

*Olympia
It is a classic
1936 – Berlin Olympic Games
Director – Leni Riefenstahl (she) – Hitler’s film director

1936 Olympic games most controversial Olympic games in the history of sport. Nazi system, Hitler.
One of the most important documentary films. First Olympic story documentary film.

Tokyo Olympiad
Director – Kon Ichikava, Nobuko Shibuya, Eikoh Hosoe
Tokyo olimpiyat tarihi – 1964
Çıkış tarihi – 1965

Second Olympic story in the sport documentary history.

Afişte - The mans picture… every Women will love. / Love, cry, thrill
Slow motion techniques

Murderball
Director- Henry Alex Rubin, Dana Adam Shapiro
Release – 2005

Murderball, tekerlekli sandalye ragbisi oynayan bedensel engelli sporcular hakkında 2005 Amerikan belgesel
filmidir. 2004 Paralimpik Oyunlarına giden Kanada ve ABD takımları arasındaki rekabete odaklanıyor.

One Day in September

Director – Kevin Macdonald
Release – 1999
Best Documentary film Oscar in 2000
1972 – Munich Olympic Games

Münich olimpiyatlarında 11 israilli sporcunun öldürülmesi hakkında belgesel.

Terrorism and sports.

More Than a Game

Director – Kristopher Belman

This documentary follows NBA superstar LeBron James and four of his talented teammates through the trials and
tribulations of high school basketball in Ohio and James' journey to fame.
Tyson
Director – James Toback

A State of Mind
Director – Daniel Gordon

North Korean gymnastic athletes

A British documentary that follows two young North Korean girls as they prepare for the Mass Games, the world's
largest choreographed gymnastics performance.

Kareem Minority of One

Director – Aaron Cohen

Explore the complexity and genius of the NBA's all-time leading scorer: Kareem Abdul-Jabbar. This documentary
charts Kareem's legendary career, both on and off the court.

-----------------

Run Mama Run

Director – Daniele Anastasion

Maradona
Director – Emir Kusturica
Release – 2008

Featured Cuba’s legendary leader Fidel Castro

------------------
Bowling for Columbine
Director Scenario – Micheal Moore – 2002 USA

Fahrenheit 9/11
Director - Micheal Moore – 2004

*Pumping İron 1-2

Director – Robert Fiore, George Butler
1977 – USA
 Week 7
Raging Bull
Released in 1980 – American biographical sports drama
Director – Martin Scorsese (legendary film director)
Producer – Robert Chartoff and Irwin Winkler
Film Editor - Thelma Schoonmaker
Adapted by – Paul Schrader and Mardik Martin
Jake LaMotta’s diary “Raging Bull : My Story “– 1970 (bundan uyarlandı)

(The movie won Oscars for De Niro and editor Thelma Schoonmaker and also was nominated for best picture,
director)

Robert De Niro - Jake LaMotta – Best actor Oscar 1981

Joe Pesci – Joey (LaMotta’s brother)
Cathy Moriarty – Vickie LaMotta (wife)
Nicholas Colasanto – Tommy Como
Frank Vincent
Theresa Saldana – Lenore

This is a movie about psychological insanity, jealousy, self-destruction , obsession, ,ihuman situations of him
Jake LaMotta is a middle weight boxer
Director Martin Scorsese like brutality in cinema, like violence in cinema
Director Martin Scorsese çok sıkıntılı zamanlar yaşamış, robert De Niro onu cinema dünyasına geri kazandırmış
Robert De Niro çok sıkı çalışmış. Ilk bölüm için kilo vermis. Son bölüm için 20 kilo almış, LaMotta’nın kötü günlerini
gösterdikleri kısımlar için.
Psikoloji açısından bir inceleme alanı olmuş.

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“Raging Bull” is not a film about boxing but about a man with paralyzing jealousy and sexual insecurity, for whom
being punished in the ring serves as confession, penance, and absolution. It is no accident that the screenplay
never concerns itself with fight strategy. For Jake LaMotta, what happens during a fight is controlled not by tactics
but by his fears and drives.
For Scorsese, the life of LaMotta was like an illustration of a theme always present in his work, the inability of his
characters to trust and relate with women. The engine that drives the LaMotta character in the film is not boxing,
but a jealous obsession with his wife, Vickie, and a fear of sexuality.
Jake has an ambivalence toward women that Freud famously named the “Madonna-whore complex.” For LaMotta,
women are unapproachable, virginal ideals--until they are sullied by physical contact (with him), after which they
become suspect. During the film he tortures himself with fantasies that Vickie is cheating on him. Every word,
every glance, is twisted by his scrutiny. He never catches her, but he beats her as if he had; his suspicion is proof of
her guilt.
The fight scenes took Scorsese 10 weeks to shoot instead of the planned two. They use, in their way, as many
special effects as a science fiction film. The soundtrack subtly combines crowd noise with animal cries, bird shrieks
and the grating explosions of flashbulbs (actually panes of glass being smashed). We aren't consciously aware of all
we're listening to, but we feel it.
The fights are broken down into dozens of shots, edited by Schoonmaker into duels consisting not of strategy, but
simply of punishing blows.
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What is sports drama?
It is a type of drama whose source of conflict is the struggle of an athlete or team as they rise to the top of a
chosen sport.
Sporting events provided baseline for these films.
The resolution is usually one of two outcomes, protagonists either wins some sort of championship or large
individual sporting event. Ex: race, Olympics etc. Or loses resulting in depression or enlightment.
In raging bull there is a box hero and how he destroys his life by himself.
Include Romantic situations, physical, psychological injuries, social political obstacles, male friendship, action-
oriented climax.
Boxing en çok kullanılan alt dallardan biri bu sport filmlerinde.

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Rocky series – 1976

Directed by – John Avildsen
Music creator – Bill Conti
Music – Gonna Fly Now
Scenario – Sylvester Stallone
1-2-3-4-5

Creed
Director – Ryan Coogler
1-2-3

Million Dolar Baby

Best Director winning – Clint Eastwood
Academy Winner – 2005
Best picture winning sports drama
Clint Eastwood – Frankie Dunn
Hilary Swank – Maggie Fitzgerald – Best actress prize

Common think of all this movies is poverty

All boxers coming from Low SES, try to change their class, want to have fame and nice life
See how people struggle for their life, born in miserable part of big cities Loew SES, no education
How capitalist society is organized and how money and power exist on for some rich powerful people