FILM1000
FALL-WINTER 2015-16
FINAL EXAM – STUDY SHEET
The Final Exam will consist of short-answer
questions for a 30% of the Final Grade:
The material covered includes the readings, class
lectures and films discussed in class (including the film clips shown) during
the full course with a special emphasis on UNIT IV.
Examples
of Short-Answer Questions:
-
Definition of terms (Glossary)
-
Use Citizen Kane to explain what is
Story and what is Plot?
-
Name five main techniques used in Continuity
Editing.
-
Define Genre Evolution and briefly explain each
cycle.
-
How does the Auteur Theory work? Use examples
from films seen in class.
-
Explain the differences between Isabel Pinedo’s
and Carol Clover’s analysis of “The Final Girl” theory. Give specific examples
from films seen in class.
-
What is the main difference in
narrative focus between the commitment and the reaffirmation comedies?
-
Discuss ALL the thematic
concerns of Canadian cinema using examples from Quebecois films seen in class.
-
Discuss ALL the formal concerns
of Canadian cinema using examples from Quebecois
films seen in class.
-
Discuss the socio-cultural representation of Quebec in its Horror films.
-
Discuss the socio-cultural representation of Quebec in its Romantic Comedies.
-
Explain Stuart Hall’s concept of
Cultural Identity and its two approaches.
-
Discuss the understanding of Canadian
National Identity and use examples from Quebecois films seen in class
-
Explain Benedict Anderson’s
definition of Nation as an Imagined Community.
Film1000 Final Exam Review:
Montage Style Editing: an editing technique that stresses the dynamic
relations between shots, often associated with the Soviet filmmakers of the
1920s and seen as an alternative to continuity editing. In Europe montage is
often used as a synonym for editing.
Mise-en-scene: the
arrangement of visual weights and movements within a given space. Everything that
effects what is going on in a scene ( physical setting, décor, staging,
framing, actors etc)
Story: all the
events that we see, hear
about, or infer in a fiction film in the order in which they are
supposed to have happened. The filmmaker constructs the plot from these events; the spectator reconstructs the story on the
basis of the information supplied by the plot. All the events (seen, heard, inferred) of the films
narrative in chronological sequence.
Plot: the
arrangements of the story events in the
order in which they appear in the film. For example, events that occurred in
the past might be introduced at any point through flashbacks or dialogue. All the events (seen, heard) in the same order that are presented to
us including formal events.
In Citizen Kane: (Orson Welles)
Multimillionaire newspaper tycoon Charles Foster Kane dies alone
in his extravagant mansion, Xanadu, speaking a single word: "Rosebud". In an attempt to figure out the meaning
of this word, a reporter (Thompson) tracks down the people who worked and lived
with Kane; they tell their stories in a series of flashbacks that reveal much
about Kane's life but not enough to unlock the riddle of his dying breath.[AF1]
Five main techniques used
in Continuity Editing:
Continuity Editing: a system of editing to maintain continuous and clear narrative
action by matching screen direction, position, and temporal relations from shot
to shot.
1) To produce Spatial and Temporal
Continuity
2) To produce continuity of action between shots
3) To maintain audience Orientation and Involvement
4) To create
a rhythm appropriate to the action and dramatic conflict
5) To produce a Transparent Form and Style
Genre
Evolution: a way of grouping genre films
according to variations of formula plots, conventions and iconography. Genre/Subgenre:
horror/slasher, horror/zombie, horror/monster
Formula plots: basic conflict familiar to viewers
Conventions: specific ways in which the formula
plot is translated into visual action, plot- episodes the recur from film to
film, form- stylistic elements which are part of the mise- en- scene,
characterization, performance.
Iconography:
images and
objects that are significant elements of the formula plot, visual motifs,
emotional weight
Transgeneric: Combine the formula plot,
conventions, and iconology of two or more specific genres. Example: Shaun of the Dead: ZOMROMCOM
Auteur
Theory: relationship between the text (film) and
the reader (spectator)
·
Binary oppositions
that Hollywood filmmakers explore tend to be “universal” (for global audience)
·
Filmmakers
from minor cinemas, although they also deal with “universal” themes, tend to
include much more specific topics appealing to their local audience. (Polytechnique-
black and white film to avoid the presence of blood on screen), Bon Cop, Bad
Cop) both films shot in Montreal Quebec.
Differences
between Isabel Pinedo and Carol Clovers analysis of “the Final Girl” theory and
give examples from films seen in class:
Isabel
Pinedo: (Surviving Female)
“And then she killed him: woman and violence in the
slasher film”. Pinedo points to several
critics who believe that the majority of slasher films are gendered masculine.
It is typically assumed that a slasher audience is predominantly male. Female
deaths are usually much more visually glorified than male death. Typically in
the first half of the film the spectator is aligned with the look of the
monster (often through POV shots); however in the second half of the film, this
alignment shift and the spectator begins to identify with the look of the final
girl, through the use of closeups and
subjective camera. Thus the monster becomes the object of aggression and
the final girl becomes the agent of violence.
Carol
Clovers: (The Final Girl)
advances the idea that the primary pleasure for male viewers of the genre is a masochistic rather than a
sadistic one. The
list of traits associated with this concept is she is usually positioned as
sexually unavailable (most often a virgin), she is more watchful, bordering
paranoid, as she sees danger long before anyone else in the film( hence is why
she is able to outlive the others); she is often characterized as both
intelligent and resourceful, able to fight and potentially destroy the monster. You’re Next
Laura
Mulvey: The Male Gaze, Mulvey
argues that cinema constructs its female characters as passive objects to be
looked at by the active male subjects. The female characters have no agency,
they are literally there to be eye-candy. That is, to be looked or gazed at.
These films take delight in showing us
the terror of female victims, showing them running upstairs, downstairs,
outside, banging on doors that are destined to never open, etc. They usually
scream, cry, and plead for their lives. Many death scenes take place in private
spaces like bedrooms, bathrooms, showers, bathtubs. 1. Sexual tease, 2. The
encounter ( attack) and finally the climax ( the death). When men die it is
often very quick and offscreen.
Differences
in narrative focus between commitment and reaffirmation comedies?
The narrative focus on commitment comedies:
is the establishment of the couple and focus on courtship.
The narrative focus on reaffirmation comedies: is
the remarriage, winning back to affections of a former
partner, more interested if feelings than courtship.
Thematic
concerns of Canadian Cinema:
·
History: How, who, all levels (national,
cultural, personal)[AF2]
·
Landscape: Rural vs Urban, landscape and cultural
expression[AF4]
·
Technology: relationship between individual and
society, notion of nation[AF5]
·
Identity: to be Canadian, self conscious/self
reflective[AF6]
·
Epistemology: philosophy of knowledge[AF7]
·
Alienation: uncertainty in identity: outsiders,
alienated, torn by cultural influence[AF8]
Formal
concerns of Canadian Cinema:
·
Diversity
in film practice (feature and shorts)
·
Narrative:
transgeneric and mixture of practices
·
Create own
kind of cinematic forms
·
Different endings
·
“Invisible
Camera”= aesthetic freedom
·
Bilingualism:
Language French: Industry in Montreal, English in Toronto and Vancouver
Socio-cultural
representation of Quebec in it’s Horror Films:
National
cinema as a thriving industry when genre films are flourishing.
There is room
in Quebec for auteur-driven features as well as genre films.
To encourage
diversity in feature film production, Telefilm supports a wide range of genres
and budgets. (Telefilm Canada)
Quebec horror
films reflect 4 simultaneous factors:
1.
Diversification
of the industry in the province
2.
Rise of
filmic adaptations of popular literature as a viable practice
3.
A critical
perspective towards traditional themes of Quebec culture
4.
Creative
potential of co-production
Most horror
films produced in Quebec since 2000 have been based on popular novels that
reflect cultural concerns, like most horror films normality is threatened by
the monster.
Film: Sur Le Seuil
Socio-cultural
representation of Quebec in it’s Romantic Comedies:
·
Since 2011,
wide international success
·
3 Oscar
nods in 3 years: Monsieur Lazhar, Incendies, Rebelle
·
Quebec
films losing appeal for local audiences
·
2012: only
4.5% of local box office
·
Use of
genre filmmaking, especially comedy and horror
·
Casting of
well-known local actors from film and TV: Patrick Huard, Michele Cote
·
Canadian
cinema= Mainstream vs. Auteurism
·
Quebec
favorite genre: Quebec cinema can always rely on comedies to be successful
·
Simple
stories built around amusing vignettes
·
An
offensive sexual topic (such as the sperm bank in Starbuck- romantic comedy)
·
Deux femmes
en or follows the typical formula very closely. It is somewhat unique in its
focus on woman.
·
Quebec
comedy is a very masculinist genre, focusing on likeable but ineffectual men:
o
Who are
clinging to their idea of a perfect heterosexual relationship
o
Who are
trying to be good fathers
o
Who just
want to get laid
The whole
plot of Starbuck results from David’s initial irresponsibility , which then
turned around when he decides to become a good father to his 533 children. From
then on, he is fixated on re-establishing the “stability of the heterosexual
couple”, through devotion to his children and a monogamous commitment to his
girlfriend through traditional marriage. David’s “search for self-identity” eventually
crystallizes in the person of “Starbuck.”
Stuart
Hall’s concept of Cultural Identity and it’s two approaches:
a production that
is never complete, always in process.
Homogenous identity:
·
one, shared
culture
·
collective “one true-self”
·
Important in post-colonial struggles
Heterogeneous identity:
·
points of
similarity and critical points of significant differneces
·
differences
constitute “what we really are” or rather “what we have become”
·
A matter of
“being” (past) as well as of “becoming” (future)
Discuss
the understanding of Canadian National Identity and use examples from Quebecois
films seen in class:
Films reflect
traditions and culture of the nation, national myths grow out of peoples shared
experience of history and geography in the national culture. We are all
influenced by those myths whether in favour or against. Emergence of
multinational corporations and multi-alliances between nations ( EU, NAFTA).
Minority ethnic groups vindicating their cultures. National cinemas need the support
of Government to survive. (subsidies & tax incentives)- investment of
public money, quotas- Canadian film in theatres for 3 days. An example of
National Identity was displayed in Bon cop, bad cop through objects and symbols
like a Canadian Flag on the house in the opening scene, the bilingual title of
the film Bon cop, bad cop language in both English and French, the victim of
the body was found on the Ontario/Quebec border so both police forces were
involved the OPP and Quebec police. The weapons that were used in the movie
were a hockey stick and skate, and the story was based around hockey which is a
well known Canadian sport. Quebec flag was present in the office of the Quebec
police department. The French police officer was rough around the edges, heavy
smoker, and drove like a maniac like he was above the law. The other officer
was from TO and was very professional and clean cut. Others landmarks to prove
it was a Canadian film was the view of TO and the CN tower. Bon cop- English cop (Martin) from TO, and
bad cop- French cop (David)from Quebec, Montreal. Tatoo of fleur de les on QC
actor. Ontario and Quebec plates on vehicles. Beaver Mascot for hockey team.
Credits show funded by the Government of Canada. Polytechnique is based on the
Montreal Massicure which took place in Montreal at a French school in Quebec-
true story of 14 woman shot and killed by a gunman.
Films: Bon Cop, Bad Cop & Polytechnique
Explain
Benedict Anderson’s definition of Nation as an Imagined Community:
Nation is an
imagined political community; and imagined as both inherently limited and
sovereign” (Imagined Communities)
Imagined:
“because the members of even the smallest nation will never know most of their
fellow-members, meet them or even hear of them, yet in the minds of each lives
the image of their communion.”
Limited: “because even the largest of them has
finite, if elastic boundaries, beyond which lie other nations.”
Sovereign:
“because the concept of nation was born in an age where the legitimacy of
devine dynasties (endorsed by god and the church) was substituted by
man-decided governments.”
Community: “ because regardless of the actual inequality and
exploitation that may prevail in each, the nation is always conceived as a
deep, horizontal comradeship.
Films viewed in class:
Unit
1- Style and Technique
1. Classic Narrative Cinema I (Story
& Plot): Citizen Kane
2. Classic Narrative Cinema II
(Continuity Editing): To be or not to be
3. Classic Narrative Cinema III (Cinematography):
Hero
4. Classic Narrative Cinema IV (
Mise-en-scene): Pan’s Labyrith
5. Classic Narrative Cinema IV (Long
Take): REC
6. Alternatives to
Classic Narrative Cinema I (Narrative Construction): Rashomon
7. Alternatives to Classic
Narrative Cinema II (Intellectual Montage and Discontinuity Editing): Vivre sa vie
8. Alternatives to Classic
Narrative Cinema III (Post Classical Narrative): Y Tu Mama Tambien
Unit
2- Film Genres
9. Romantic Comedy I (The Classic
Period): Adam’s Rib
10. Romantic Comedy II ( The Nervous
Romance): Annie Hall
11. Romantic Comedy III ( The New
Romance): Moonstruck
12. Horror I (The Return of the
Repressed): Shivers
13. Horror II ( Gendered Horror): You’re
Next
14. Horror III (Transgeneric Horror): The
Cabin in the Woods
Unit
3- The Filmmaker
15. The Director as Auteur I:
Psycho ( Alfred Hitchcock)
16. The Director as Auteur II:
Psycho( Gus Van Sant)
Unit
4- A Period in Film History
17. Contemporary Quebec Cinema I:
National Cinema: Bon Cop, Bad Cop
18. Contemporary Quebec Cinema II: The
Director as Auteur I: Polytechnique
19. Contemporary Quebec Cinema III:
The Director as Auteur II: Monsieur Lazhar
20. Contemporary Quebec Cinema IV:
Horror: Sur le seuil
21. Contemporary Quebec Cinema V:
Romantic Comedy: Starbuck
No comments:
Post a Comment