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    SP 472 American Film History, Week 9

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    Eileen White
    The document discusses key differences between drama on stage versus screen, including how films can use techniques like camera positioning, editing, and visual elements to enhance storytelling in ways not possible on stage. It also addresses how directors have more control over the filmmaking process than writers do for theater, and how elements like set design, costumes, makeup, and production design contribute to the overall movie.

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    SP 472 American Film History, Week 9

    Uploaded by

    Eileen White
    127 views23 pages
    The document discusses key differences between drama on stage versus screen, including how films can use techniques like camera positioning, editing, and visual elements to enhance storytelling in ways not possible on stage. It also addresses how directors have more control over the filmmaking process than writers do for theater, and how elements like set design, costumes, makeup, and production design contribute to the overall movie.

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    The document discusses key differences between drama on stage versus screen, including how films can use techniques like camera positioning, editing, and visual elements to enhance storytelling in ways not possible on stage. It also addresses how directors have more control over the filmmaking process than writers do for theater, and how elements like set design, costumes, makeup, and production design contribute to the overall movie.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PPT, PDF, TXT or read online from Scribd
    Download as ppt, pdf, or txt
    127 views23 pages

    SP 472 American Film History, Week 9

    Uploaded by

    Eileen White
    The document discusses key differences between drama on stage versus screen, including how films can use techniques like camera positioning, editing, and visual elements to enhance storytelling in ways not possible on stage. It also addresses how directors have more control over the filmmaking process than writers do for theater, and how elements like set design, costumes, makeup, and production design contribute to the overall movie.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PPT, PDF, TXT or read online from Scribd
    Download as ppt, pdf, or txt
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    Drama

    The function of the cinema is to bring to light certain details that the stage would have left untreated.

    Andre Bazin

    The Birds

    Drama
    Stage vs. Screen

    West Side Story

    Time, Space & Language


    Time
    Scene vs. Shot Theatrical continuous time Temporal dislocation in film

    Run Lola Run

    Time, Space & Language


    Space
    Limits of theatrical space means usually deals with closed forms Long and Medium Shots Film frame masks ask objects & people only temporarily Extreme close-ups to extreme long shots

    Touch of Evil

    Time, Space & Language


    Space
    Stage player interacts with viewers - audience is active Adjusts to audience Contemporize older material

    Alfie

    Time, Space & Language


    Space
    Film - audience is passive: The details have been provided by cinematography, mise en scne, movement, editing, sound, sets & costumes Plays are language based while film is visual Adaptation of plays to screen & vice versa Opening it up Close-ups & nonsynchronous visuals

    Romeo & Juliet 1996, 1936, 1968

    The Director
    Autuer theory
    Dominance of the director as opposed to theatre which the writer is dominant Precision of film is not doable on stage

    The Little Foxes

    The Director
    Autuer theory
    Dominance of the director as opposed to theatre which the writer is dominant

    Spike Lee, Quentin Tarantino, Stanley Kubrick

    The Director
    Film director has more control Camera can go anywhere Each shot is a different space Clarity in scenes as opposed to shots

    The Third Man

    Setting & Decor


    Set & Dcor is a part of mise en scne or an extension of theme & characterization Set is not constant as in a play

    Babel

    Setting & Decor


    Reality vs. Stylization
    Some genres require deliberate unreality i.e. musicals, horror Not a hard & fast rule

    Seinfeld vs. Midnight Cowboy

    Setting & Decor

    The Sound of Music & Mary Poppins

    Setting & Decor


    Realism & Formalism not absolute but most films tend to one or the other Kinds of realism - poetic & documentary

    The Last King of Scotland Barton Fink

    Setting & Decor


    Formalist treatment of a realistic set

    Amarcord

    Setting & Decor


    Production Designer: Responsible for designing the overall visual appearance of a movie. The Art Director: Oversees the artists and craftspeople who build the sets. Set Designer: Responsible for translating a production designer's vision of the movie's environment into a set which can be used for filming - The set designer reports to the art director. Set Decorator: A person who has total charge of decorating the set with all furnishings, drapery, interior plants, and anything seen on indoor or outdoor sets. Set Dresser: A person who maintains the set per the Set Decorator's requirements, placing elements such as curtains and paintings, and moves and resets the set decoration to accommodate camera, grip and lighting setups.

    Setting & Decor


    Checklist for Setting & Dcor Analysis
    Exterior or Interior Style Studio or Location Period Class Size Decoration Symbolic Function
    Drawing for Scarletts Bedroom in Gone with the Wind by William Cameron Menzie

    Setting & Decor

    Costumes & Makeup

    Costumes & Makeup


    Period Class Sex Age Silhouette Fabric Accessories Color Body Exposure Function Body Attitude Image

    Roxanne

    Cyrano de Bergerac x 2

    Costumes & Makeup


    Period Class Sex Age Silhouette Fabric Accessories Color Body Exposure Function Body Attitude Image

    Roxanne Cleopatra 1934

    Costumes & Makeup

    Cleopatra 1999 Cleopatra 1963 Caesar & Cleopatra 1945

    Writing
    Casablanca
    1942 Dir. Michael Curtiz Humphrey Bogart, Ingrid Bergman, Paul Henreid & Claude Rains Voted #2 film of all time by the American Film Institute Nominated for 7 Oscars - won 3 - Best Picture, Best Director & Best Screenplay Written by Murray Burnett and Joan Alison (play: Everybody Comes to Rick's), Julius J. Epstein, Philip G. Epstein and Howard Koch (screenplay)

    Writing
    Casablanca
    Here's looking at you, kid" was voted as the #5 movie quote by the American Film Institute "Louis, I think this is the beginning of a beautiful friendship." was voted as #20 "Round up the usual suspects." was voted as #32 "We'll always have Paris." was voted as #43

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