Critique Chapter 11 By: Mary Flynn, Rachel Taylor

Vocabulary Angles- The camera’s angle of view relative to the subject being photographed Auteur Theory- A theory of film popularized by the critics of the French journal Cahiers du Cinéma in the 1950’s. It emphasizes the director as the major creator of film art, stamping the material with his or her own personal vision, style, and thematic obsessions Classical Paradigm- A movie strong in story, star, and production values, with a high level of technical achievement, and edited according to conventions of classical cutting Close Up- a detailed view of a person or object, usually includes only the actor’s head Deep Focus Shot- A technique of photography that permits all distance planes to remain clearly in focus, from close up ranges to infinity

Dialectical- An analytical methodology that juxtaposes pairs of opposites—a thesis and antithesis—to arrive at a synthesis of ideas Editing- The joining of one shot to another Extreme Close Up- A minutely detailed view of an object or person, usually only includes eyes or mouth Extreme Long Shot- Panoramic view of en exterior location, photographed from a great distance Film Noir- A genre emphasizing a fatalistic, despairing universe where there is no escape from mean city streets, loneliness, and death Foregrounding- When a critic isolates and heightens one aspect of a work of art from its context to analyze that characteristic in greater depth

Formalism- Style of filmmaking in which aesthetic forms take precedence over the subject matter as content. Time and space as ordinarily deceived are distorted. Emphasis on symbolic characteristics of objects and people, not necessarily on their superficial appearance Frame- The dividing line between the edges of the screen image and the enclosing darkness of the theater Genre- A recognizable type of movie, characterized by certain pre-established conventions Iconography- the use of a well-known cultural symbol or complex of symbols in an artistic representation Kinetic- Pertaining to motion and movement

Long Shot- A shot that includes an area within the image roughly corresponds to the audience’s view of the area within the proscenium arch in the live theater Majors- The principal production studios of a given era (ex. MGM, Warner Brothers, Paramount Pictures, 20 th Century Fox) Medium Shot- A relatively close shot, revealing the human figure from the knees or waist up Mise en Scéne- The arrangement of visual weights and movements within a given space Motif- Any unobtrusive technique, object, or thematic idea that is systematically repeated throughout a film

Norealism- Emphasizes documentary aspects of film art, stressing loose episodic plots unextraordinary events and characters, natural lighting, actual location settings, nonprofessional actors, a preoccupation with poverty and social problems, and an emphasis on humanistic and democratic ideals Producer-director- A filmmaker who finances his or her projects independently, to allow maximum creative freedom Realism- Style of filmmaking that attempts to duplicate the look of objective reality as it’s commonly perceived, with emphasis on authentic locations and details, long shots, lengthy takes, and a minimum of distorting techniques

Norealism- Emphasizes documentary aspects of film art, stressing loose episodic plots unextraordinary events and characters, natural lighting, actual location settings, nonprofessional actors, a preoccupation with poverty and social problems, and an emphasis on humanistic and democratic ideals Producer-director- A filmmaker who finances his or her projects independently, to allow maximum creative freedom Realism- Style of filmmaking that attempts to duplicate the look of objective reality as it’s commonly perceived, with emphasis on authentic locations and details, long shots, lengthy takes, and a minimum of distorting techniques

Key Players Roberto Rossellini- started the neorealist movement with his movie Open City. Rudolf Arnheim- theorised that a cameras image of a fruit bowl was different then our preception of the fruit bowl in actual life. Francois Truffaut- came up with the idea of auteur theory and published it in the French Journal la politique des auteurs. Andrew Sarris- influential critic of the Village Voice, was the principal spokesman in the U.S. for the autuer theory.

Three Classes of critiques Reviewers- Journalists who describe the contents and general tone of the movie. Usually state if the movie is appropriate for children. Critics-Journalists who evaluate a film, can lead to failure or success of a movie. Theorists- Professional academics who dive into the hidden meaning behind a film.

Film Theories Realism- Movies are evaluated on how closely and accurately they reflect external reality. Formalist- Focuses in on the background of the movie, and how the filmmaker exploits the limitations of the camera. Auteur- The theory that a filmmaker’s opinions and views show through the film.

Eclecticism- Movies are evaluated by whatever context seems most appropriate. Structuralism- Structuralist film theory emphasizes how films convey meaning through codes. Historiography- deals with the history of film itself. Aesthetic- film as art Technological-motion pictures as inventions and machines Economic-film as industry Social-movies as reflections of other views and opinions.

History/Timeline 1930’s- The Theory of Realism in Films 1950’s –Auteur Theory 1970’s- Structuralism and Semiology