Return to Intro to Film syllabus

Updated 1/31/07

Week 3, January 29, 2007

See updates on class website, D2L (Notes, Links)

http://english2.mnsu.edu/larsson/introfilm/114syllsp07.htm

Film Basics: A Quick Review

Basic Machinery

1. The camera: Records images as individual photographs (1/24 of a second each) with light admitted into the camera through the lens and shutter from an outside source

2. The printer: two types

a. Contact printer: runs two strips of film together, negative image is processed as positive image, or vice-vera (each new negative-positive processing is called a “print generation”; quality tends to degrage with each new generation

b. Optical printer: can be used for negative-positive processing but also with other images to create various kinds of “special effects”

3. The projector: Light source inside the projector shines through the strip of film through the shutter and lens onto a viewing surface (screen)

The film strip: celluloid base + photographic emulsion

· Chemicals in photographic emulsion react to light, produce negative image when developed

· Film comes in standardized gauges (widths), measured in millimeters

o 70 mm.: used for wide-screen effects in some “epic” films, required special projector, now used mainly in shooting some scenes because of higher quality of image

o 35 mm.: standard gauge for most mainstream, theatrical films

o 16 mm.; far less expensive and cumbersome than 35 mm., often used by film students, documentary filmmakers, and independent and experimental filmmakers

o 8 mm.: cheapest format, was once often used by film students and experimental filmmakers, largely displaced by video production now

For a good comparison of the differences between film and video production, see http://www.internetcampus.com/filmtap.htmf

Basic Units of the Film in Time:

Frame:      a single photographic image on the strip of film

§ The standardized speed of film in cameras and projectors is 24 frames per second.  (Silent films were less standardized and could vary drastically since both the camera and projector were usually hand-cranked.  Speed could vary from about 18 frames per second to 24 or more.)

Shot:                   one uninterrupted exposure of a strip of film for a particular period

                   of time—1 frame to infinity (in theory).  Most films are made up of
                   hundreds or thousands of individual shots.

Scene:       a set of shots that forms a coherent unit within the film (set at a particular time and place, for example)

Sequence:         a set of scenes that forms a larger unit within the film as a whole, similar to an “Act” in a play

Film:          The completed, unified movie as a whole, with a beginning, middle, and end (“but not necessarily in that order”  --Jean-Luc Godard)

Example from A Star Is Born, opening sequence:

1. Outside shot of Blodgett farm in distance

2. Interior scene in living room, composed of a number of shots

3. Interior scene in Esther’s bedroom, composed of a number of shots

4. Scene at train station (several days later?), composed of a number of shots

Basic Steps of Film Production

1. Pre-Production (preparation)

· Idea for film is generated or bought/adapted by the producer

· The producer finds financing for the film, sets a budget and schedule, hires the personnel needed to make the film

· The writer generates the film idea, eventually resulting in a complete shooting script

· Some “production” work may begin at this stage (art design, etc.)

2. Production (shooting)

· The making of the film is overseen by the director, working with production designer/art director, a cinematography crew, and many others, including the cast of actors

· Elements needed for making the film (sets, costumes, etc.) are found or created

3. Post-Production (editing)

· The final film is assembled from shots created in the production stage by the the editor and sound editor, usually with the collaboration of the director and/or producer

· The film is marketed and distributed to theaters or other viewing venues, usually the responsibility of the producer

Types of Production

· Individual: one person does most or all of the work, often self-financed, done for film classes, artistic purposes of self-expression, or documentary nonfiction (even home movies/videos)

· Collective: involves collaboration of small group of filmmakers who share decision-making (often by consensus), production tasks, etc.  Often takes form of nonfiction film with social or political goals

· Studio: company in the business of making movies, usually for a profit; may be on large or small scale.  Modern studios now primarily serve to finance, produce, market and distribute the film.  Actual film production is usually contracted to particular production companies or groups.

“Independent” production means that the film has been made outside of the normal channels of production, distribution, and/or exhibition.  It may be the product of individual, collective or even studio production, but it is usually on a smaller scale than typical studio productions.

A Star Is Born

· made during the “golden age” of the classic Hollywood studio system

· produced by David O Selznick, an independent producer who made a smaller number of films than the studios

· like the studios, this production involved the hierarchical division of labor:

PRODUCTION (for more complete details, see the Internet Movie Database):

· Producer: David O. Selznick

· Director: William Wellman

· Script: Dorothy Parker and Alan Campbell, with Robert Carson, based on a story by Wellman and Carson

· Art Direction: Lyle Wheeler

· Cinematography: W. Howard Greene

· Editor: James E. Newcome

· Music: Max Steiner 

Plus many other named and unnamed individuals working in areas of costuming, set construction, lighting, special effects, etc.

CAST

· Janet Gaynor (Esther Blodgett/Vicki Lester)

· Fredric March (Norman Maine)

· Adolph Menjou (Oliver Niles, the producer)

· Lionel Stander (Libby)

· Andy Devine (Danny)

· May Robson (Granny)

· Edgar Kennedy (boarding house landlord)

Plus other minor characters and extras.

Steps and Roles in Studio Film Production Displayed in A Star Is Born:

· Final film script of A Star Is Born (at beginning and end of film)—highly unusual!

· Oliver Niles:  producer, apparently independent, similar to Selznick

· Casey Burke: director (relatively minor role)

· Central Casting Office: centralized source for supporting actors and extras

· Screen test for Esther: means of discovering if someone is right for a part or “camera friendly”

· Grooming the star: Esther’s lessons in walking and diction, makeup, publicity, etc.

· Audience preview: “focus group” pre-release to test public opinion, make changes before final print and distribution

Why are these elements in A Star Is Born?  How do they contribute toward its form?

Form (also see Barsam, Chapter 2):

The “shape” taken by a work of art

Because films move forward in viewing time and flow of images, form is largely determined by

· Audience expectation—film creates certain expectations; fulfills them, changes them, frustrates them; creates new expectations

· Form emerges through patterns of repetition, similarity, opposition—narrative events, specific objects or images, characters, dialogue, music, etc.  Patterns should contribute to the whole through

o coherence (everything relates in a consistent manner)

o progression (sense of beginning, middle and end)

o unity and balance (the parts do not overwhelm each other and dominate the whole)

Note: Some films and filmmakers deliberately work to violate one or more of the principles above

· Better reflection of reality, which is rarely coherent, balanced or unified

· Forces new ways of watching and listening

Form and Film Types:

· What expectations does each film set for the viewer?

· What patterns does the film display?

· Are the parts of the film coherent?

· Is there an overall progression to the film?

· Does the film display balance and unity?

Nonfiction (documentary): uses recorded and/or pre-existing images from reality.  Form has to bring coherence, progression and unity/balance to this material—narrative, argumentative, comparative, etc.

Example: Scenes from The Dreams of Sparrows (2005), directed by Hayder Mousa Daffar

Documentary by Iraqi filmmaker, working with friends and associates, documents events and reactions to American invasion and occupation of Iraq. Pattern of contrasting views of Iraqis toward Saddam Hussein, Americans, occupation, etc. Progression in increasing levels of violence in insurgency (made before latest escalation of Sunni vs. Shiite conflict), resulting in death of one of the filmmakers. Ends with contrast of pessimism of Daffar vs. optimism at beginning. Lack of full resolution because conflict is still in progess as film ends.

Animation: Can be in narrative or non-narrative form.  Defined by production demands (cel animation, model animation, digital animation)

Example:  Creature Comforts (1989), directed by Nick Park

Model animation uses “documentary” footage to pose clay model animals as interview subjects at zoo. Use of actual documentary soundtrack recording makes “animals” commenting on their own situation in zoo vs. elderly, immigrants, others in public housing. Forces comparison between the two.

Experimental (avant-garde): Uses real or abstract images in wide variety of ways but for artistic and/or psychological effects

Examples: Frank Film (1973), directed by Frank Mouris

Visual images are created by animated collages of images (mainly consumer goods), while dual soundtrack tells Frank’s own story of his life up to the making of this film and offers free-association of words associated with images and life stages. 

Narrative: Films that tell a story. Often grouped by genres (film types: Western, science fiction, action, romance, comedy, etc.)

Form in A Star Is Born

Expectations formed through questions raised by narrative:

· Will Esther get to Hollywood?

· Will Esther get to be a star?

· Will Esther meet Norman Maine?  Will they fall in love?

· Can Norman cope with his career downturn?  Will he continue drinking?

· Can Vicki cope with Norman’s drinking?

· Will Vicki abandon her career for Norman?

· Will Vicki leave Hollywood?

Patterns formed through repetition, similarity, contrast of individual elements:

· Thematic statement: “You may have to pay for success with your heart”

· Dialogue: “Do you mind if I take one more look?”

· Norman’s footprints at the Chinese Theatre:

o Part of pattern leading closer to Norman

o Esther “fills Norman’s shoes”

o “Good luck” foreshadows her success

o Sets up repeated shot of footprints at end of film

· Contrast of North Dakota (cold, dark) with Hollywood

· Parallel between Esther and Granny (both pioneers)

· Musical “Star Is Born” theme: variations in different emotional contexts

Coherence established by parallel narratives;

          The rise of Vicki Lester

          The fall of Norman Maine

Progression and Unity established through focus on Esther/Vicki’s character

          “Esther Blodget”—wants stardom, meets Norman

          “Vicki Lester”—has stardom and Norman, but the two conflict

          “Mrs. Norman Maine!”—resolution of problem, rebirth as star

Balance through relatively equal weight given to the two parts of the story

One major disunifying element: film script of A Star Is Born calls attention to the film itself (so does the use of Technicolor)

· Early version of Technicolor (“2-color” Technicolor) invented and used in a few films in 1920s

· “3-color” Technicolor invented by Herbet Kalmus in 1930s—gave full range of color values

· Originally used only by Walt Disney for cartoons. Becky Sharp (based on novel Vanity Fair) first Technicolor movie (1935)

· Technicolor not used often because of

o Expense (cameras had to be leased from Technicolor Corporation, Natalie Kalmus hired as “consultant”)

o Inconvenience (large, bulky camera held three strips of film later joined to create color image)

o Lack of “realism”—color associated with historical films, cartoons, fantasies. “Realistic” films in black-and-white until 1950s. By 1960s, “meaning” of color reverses—color now associated with “realism” (Wizard of Oz—Oz in Technicolor is dream/fantasy; black-and-white Kansas is “real”)

Script and Technicolor both suggest fantasy nature of Esther’s story; serve as caution that most people cannot expect her success, even with the heartbreak she encounters!

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