Introduction to Film Introduction to Film Studies 1: Hollywood Studies 1: Hollywood

CinemaCinema

Lecture One:Lecture One:

A Vocabulary of Cinematic A Vocabulary of Cinematic TechniquesTechniques

The Birth of CinemaThe Birth of Cinema

The LumiThe Lumiére Brothers demonstrate their ére Brothers demonstrate their cinematograph: 28cinematograph: 28thth December 1895, December 1895, ParisParis

Culmination of scientific developments Culmination of scientific developments over the C19:over the C19:

The discovery of ‘persistence of vision’;The discovery of ‘persistence of vision’; The Zoetrope; flip booksThe Zoetrope; flip books The magic lantern;The magic lantern; The PraxinoscopeThe Praxinoscope

The Birth of CinemaThe Birth of Cinema

Kodak’s strip filmKodak’s strip film Edison’s KinetoscopeEdison’s Kinetoscope Cinema as a sideshow Cinema as a sideshow

attraction/novelty valueattraction/novelty value Camera trickery: Georges MCamera trickery: Georges Mélièséliès The birth of narrative: The birth of narrative: The Great The Great

Train RobberyTrain Robbery (USA 1903: Edwin S. (USA 1903: Edwin S. Porter)Porter)

D.W. Griffith: ‘Father of D.W. Griffith: ‘Father of Film’Film’

Combining narrative techniques: cross-Combining narrative techniques: cross-cutting, shot distancecutting, shot distance

““America had effected, within a few brief America had effected, within a few brief years, the artistic maturing of the cinema. years, the artistic maturing of the cinema. This was, practically speaking, the single-This was, practically speaking, the single-handed achievement of David Wark handed achievement of David Wark Griffith’ – David Robinson, Griffith’ – David Robinson, World CinemaWorld Cinema (London: Methuen, 1981), p.56.(London: Methuen, 1981), p.56.

““He put beauty and poetry into a cheap He put beauty and poetry into a cheap and tawdry sort of amusement”, Erich von and tawdry sort of amusement”, Erich von Stroheim in Robinson, Stroheim in Robinson, World CinemaWorld Cinema, p.56., p.56.

Cinematic Technique:Cinematic Technique:Camera PositionCamera Position

Static shot (tableaux)Static shot (tableaux) Panning (vertical or horizontal)Panning (vertical or horizontal) Angles (high/low/tilted)Angles (high/low/tilted) Distance (close-up, wide shot)Distance (close-up, wide shot) ZoomZoom Movement (tracking, crane, Movement (tracking, crane,

helicopter)helicopter) SteadicamSteadicam

Cinematic Technique:Cinematic Technique:The Photographic ImageThe Photographic Image

Framing and compositionFraming and composition Black and white, or colourBlack and white, or colour Lighting (chiaroscuro)Lighting (chiaroscuro) Depth of field (deep focus)Depth of field (deep focus)

Cinematic Technique:Cinematic Technique:Mise-en-sceneMise-en-scene

A theatrical termA theatrical term ‘‘What is in the scene’What is in the scene’ Figure compositionFigure composition Set design or locationSet design or location PropsProps CostumeCostume Make-upMake-up

Cinematic Technique:Cinematic Technique:EditingEditing

Linear editingLinear editing ContinuityContinuity Matching eye-linesMatching eye-lines PacePace Condensing or expanding timeCondensing or expanding time Non-linear editingNon-linear editing Jump cuts and shock editsJump cuts and shock edits

Cinematic Technique: Cinematic Technique: SoundSound

DiegeticDiegetic Displaced diegetic (voice-over)Displaced diegetic (voice-over) Non-diegeticNon-diegetic Music – underliningMusic – underlining Score vs. Recorded musicScore vs. Recorded music EffectsEffects

Cinematic Technique:Cinematic Technique:Special Effects (SFX)Special Effects (SFX)

Slow-motion or speeded-up motionSlow-motion or speeded-up motion Superimposition – blue screen, back Superimposition – blue screen, back

projection, matte shotsprojection, matte shots Digital imagingDigital imaging

Practical Film AnalysisPractical Film Analysis

Breaking a film into sequencesBreaking a film into sequences Close textual analysis – finger on the Close textual analysis – finger on the

pause button!pause button! How is technique used?How is technique used? What is the effect on the spectator?What is the effect on the spectator? What is the film-makers’ intention?What is the film-makers’ intention?

Citizen KaneCitizen Kane

Orson Welles: background in theatre and Orson Welles: background in theatre and radio; radio; War of the WorldsWar of the Worlds broadcast; RKO; broadcast; RKO; collaboration with Greg Tolland; learnt by collaboration with Greg Tolland; learnt by watching filmswatching films

The film’s reception: William Randolph The film’s reception: William Randolph Hearst; iconic critical status; Is this the Hearst; iconic critical status; Is this the best film ever made?best film ever made?

Style over substance? Just how many Style over substance? Just how many different techniques does Welles use in different techniques does Welles use in Citizen KaneCitizen Kane