Presentation on theme: " Here are some main points from Richard Barsam’s textbook “Looking at Movies.” The opening chapters discuss: You already know some things about movies,"— Presentation transcript:
Here are some main points from Richard Barsam’s textbook “Looking at Movies.” The opening chapters discuss: You already know some things about movies, but Your knowledge is mostly instinctive You probably view movies primarily as entertainment Learning more about movies is likely to surprise you. From Professor Lisa Jadwin Ph.D. – St. John Fisher College, Rochester, NY
These are the two key elements of any narrative form, including film. FORM: the means through which a subject is expressed. CONTENT: the subject of an artwork
Movies manipulate space and time in unique ways. Movies depend on light. Movies create the illusion of movement.
Erwin Panofsky: “Movies give time to space and space to time” by creating the illusion of movement and the illusion of the passage of time. The audience remains fixed while the screen images move in a variety of directions. Film creates the illusion of time passing faster or slower.
Literally means ‘light’ ‘writing’ Began from 1800-1840; proceeded through Camera obscura Silhouettes Glass negatives Series photography (Edweard Muybridge)
Slow – intermediate - fast speed Film stock “speed” or “exposure index” indicates the degree to which the film is sensitive to light “Fast” film stock is used in low-light situations or to capture rapid motion that would otherwise just be a blur
Film comes in analog and digital formats. Traditional film is still used to shoot most movies. Increasingly, digital film is being used in both still and motion-picture photograph Barsam does not devote a lot of discussion to digital film technology, as it is still relatively new.
Gauge equals width of the film 8 mm to IMAX (210mm) in width Small-budget or intimate films are generally shot in smaller gauge stock (16-35 mm) Big-budget or blockbuster films are generally shot on wider gauge stock (70 mm widescreen or IMAX 210mm)
This website provides examples of a variety of optical illusions, such as motion aftereffect. http://www.michaelbach.de/ot/mot_adapt/inde x.html
Persistence of vision (our eyes’ tendency to “hold over” gapped images) Phi phenomenon (the illusion of movement between adjacent events) Critical flicker fusion helps create this Apparent motion (our eyes’ tendency to connect disparate images into a single smooth motion)
...at the movies, when you watch a character use a computer monitor, and the monitor seems constantly to flicker. Yet when you look at your own computer monitor, it doesn’t seem to flicker at all.
Realism is the creation of scenarios that seem plausible Anti-realism is the creation of scenarios that seem implausible (or defy the laws of physics) Verisimilitude is the illusion that a one- or two-dimensional surface is three-dimensional and actually real
A. Plausible (realism) B. Implausible (anti-realism) C. Three-dimensional or real (verisimilar)
Their 1895 film, “Exiting the Factory,” to which sound has been added, utilizes fixed cameras and tries to capture an everyday event. It is on our web site robfilm.org in the narrative video tutorials.
How can we determine what is a documentary, what is factual, and what is propaganda?
Animation is created through manipulating artificial characters – drawings, figures, etc. – to provide the illusion of movement and life. Puppet animation Clay animation (ClayMation) Pixilation Traditional cartoons (like a celluloid flip-book)
Avant-garde films: style becomes subject These films are often designed to shock or amaze viewers They can be deliberately anti-realistic Stream-of-consciousness is an avant-garde technique
Films are created not by individuals, but by large teams of individuals working on special issues: photography, acting, sound, direction, editing, special effects, etc. Traditionally the director is credited with the overall vision of a particular film. This view of film is called auteur theory (author theory).