1. Chapter 5: Personal Expression and Studio Production

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Objectives
Create a portrait of a person or a place.
Compare and contrast who makes movies and why they are made.
Classify and evaluate ways that moving images communicate stories and ideas.
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3. The Motion Picture Business
Independent studios
Industrial model
Contractual power
Control of process from
equipment to distribution
Financing
Filmmaking corporation or outside investors?
Distribution
Studios and theaters
Independent and public venues
Courtesy Fort Lee Library
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4. Streamlining of Process
Pitch
Entrepreneurship
Conceptual and verbal skills
Development
Contracts
Who has creative control and final cut?
Preproduction
Production
Postproduction
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5. Reaching Theater Audiences
Nickelodeon: individual viewers
Movie theaters
Projected films for many viewers
Converted local spaces to luxurious venues
Cultural institutions
Museums and public
theaters
Film archives
Film festivals
Courtesy Laurent Carmé
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6. Reaching Viewers: Smaller Screens
Television: individual viewers & small groups
New forms & formats
Importance of commercials and advertising
Use of theatrical movies in home viewing formats: videocassette, DVD, BluRay
Industrial and educational productions
Internet and computer-specific uses
Games
© 2011 Delmar, Cengage Learning

7. Moviemakers – Historical Examples
Early pioneers
Alice Guy Blaché, Oscar Micheaux
Studio production
Alfred Hitchcock, Howard Hawks, John Ford
Yasujiro Ozu, Akira Kurosawa, Kenji Mizoguchi
Independent & international
Max Ophuls (see also Jean Renoir)
Director & writer
Billy Wilder
Delmer Daves
The filmmaking collaborative
Powell & Pressburger and The Archers
Courtesy Fort Lee Library
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8. Contemporary Filmmakers
Writer/directors working with independent production team
Woody Allen
John Sayles
Spike Lee
Jim Jarmusch
Nonmainstream production
Jon Jost
Development of in-house production or control of full process
Agnès Varda
Robert Rodriguez
Multiple-format directors
Michel Gondry
Spike Jonze
Jonathan Glazer
Courtesy Dimension Films/Photofest
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Formats
Narrative
Standard format for mainstream movies such as feature films and television shows, either fiction or documentary.
Broad category that consists of sequences of events linked by cause and effect following continuity of time and space.
Nonnarrative
Do not contain a narrative of events linked by cause and effect and typically include certain documentary, promotional, avant-garde, and educational motion pictures.
Four broad categories to classify standard patterns:
Categorical, rhetorical, associational, and abstract.
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Narrative Genres
Westerns
Comedies
Horror films
Musicals
Crime films
Science-fiction
photo by Louise Smith. (Courtesy Blue-Tongue Films)
© 2011 Delmar, Cengage Learning

11. Nonnarrative Techniques
Music, poetry, and abstraction
René Clair, Fernand Léger, Luis Buñuel, Dimitri Kirsanoff
Joris Ivens, Jean Vigo
Contemporary music videos and commercials
Montage
Soviet filmmakers, soon part of international filmmaking
Sometimes narrative, sometimes nonnarrative
Part of larger films or used for entire films
Nonfiction uses
To be explored in Chapter 6: categorization, association, rhetorical communication
© 2011 Delmar, Cengage Learning

12. © 2011 Delmar, Cengage Learning
Summary
In Chapter 5, you have investigated a number of essential questions about moving images: “Who makes motion pictures?” “Why are movies made?” “How do they get to us?” “What types of movies are there?”
As you have seen, motion picture sequences can be broadly categorized into narrative and nonnarrative formats.
Many expressive traditions exist within and between each type, and filmmakers use these forms to convey a vast range of ideas and imagery.
© 2011 Delmar, Cengage Learning