2. Broadly speaking, what characteristics define mumblecore?
--The are slacker-like youth, "twentysomething," centered narratives on life and love, with realistic stories. With improvisational scripts, and the use of non-actors. They use long takes and handheld cameras,
3. What have been the most common charges against mumblecore?
--People have complained that they are pretentious, and the problems presented in the films are "trite" and "so-everyday" that people get upset and question why someone would make a film about basically "nothing."
4. How has the internet affected the DIY distribution of mumblecore films?
--Filmmakers started selling their films directly to websites who could distribute their films from the internet, and DVD sales are rising quickly. This gives these filmmakers a place to distribute their films, when distribution companies dont want to distribute their films.
5. What have been some of the negative consequences of the mumblecore label?
--Corporate companies are trying to get in on the action of the movement and there is and "unnofficial brand" of Mumblecore that they are marketing. Things seem to be headed to the mainstream.
6. IFC Films picked up Hannah Takes the Stairs for “day-and-date” distribution. What does this mean?
--They are not only theatrically being exhibited, but on the same day they are offering distribution for download from their website. So if people like the film they see, they can immediately purchase it.
Tuesday, December 2, 2008
Tuesday, November 25, 2008
1. Despite its use of improvisation, how is Gummo different from “execution dependent” screenplays such as Stranger than Paradise?
--It plays out well in the screenplay and on the screen, which execution dependent films do not play out well in the screenplay. Gummo "relies heavily on the screenplay."
2. According to Murphy, what function does the “nonsense” included in the dialogue serve in the film as a whole?
--It creates a sense of realism, a sort of "slice of life", things that people would actually say. While also "creating collage of different bits of information, thus establishing weird juxtapositions." (To tell you the truth, I'd kind of like to have this explained a little better. I'm not sure to exactly what Murphy is getting at?)
3. What specific connections does Murphy make between Gummo and New American Cinema (including Beat films)? How did Korine respond to associations made between his work and underground film?
He connects the nonlinear story and lack of plot to the New American Cinema, specifically Jonas Mekas' pursuit of the plotless cinema that would be the only way to the "rebirth" of American cinema. Korine argues that he is entirely a commercial filmmaker. He denies that an alternative cinema such as underground exists. He claims that he makes Harmony cinema, which is "a cinema of obsession and passion." Yet Murphy argues that his filmmaking style has kept his films from becoming successful in mainstream audiences, despite that they have been financed by major studios.
4. Besides as a filmmaker, how has Korine participated in alternative urban youth culture?
--"he's written a novel, produced fanzines, and done installations in major art galleries." He has contributed to an alternative urban youth culture in the form of art, which has been named "Modern Gothic" which is from artists who are obsessed with death and such.
5. If Gummo uses “collage techniques” instead of a traditional plot, what techniques are used on the image and soundtrack to make connections and associations across the course of the film? How are these techniques similar or different than the “narrational tactics” described by Bordwell? (Look at your Week Nine response, TWHTI, “Tightening the Plot,” starting on p. 43.)
--It doesnt follow the narrational tactics claimed in Bordwell because the continuity is thrown off by the constant change in format (photographs, home-movie, etc); It also does not connect scenes in the same continuous manner, through causal or temporal rationality. The soundtrack goes along with the images in the way that it is a sampling of many different formats, such as different genres of music, the reading of suicide notes, etc. (But I'm still not quite sure how the connections are made, other than the connections and allusions to things outside of the film?)
--It plays out well in the screenplay and on the screen, which execution dependent films do not play out well in the screenplay. Gummo "relies heavily on the screenplay."
2. According to Murphy, what function does the “nonsense” included in the dialogue serve in the film as a whole?
--It creates a sense of realism, a sort of "slice of life", things that people would actually say. While also "creating collage of different bits of information, thus establishing weird juxtapositions." (To tell you the truth, I'd kind of like to have this explained a little better. I'm not sure to exactly what Murphy is getting at?)
3. What specific connections does Murphy make between Gummo and New American Cinema (including Beat films)? How did Korine respond to associations made between his work and underground film?
He connects the nonlinear story and lack of plot to the New American Cinema, specifically Jonas Mekas' pursuit of the plotless cinema that would be the only way to the "rebirth" of American cinema. Korine argues that he is entirely a commercial filmmaker. He denies that an alternative cinema such as underground exists. He claims that he makes Harmony cinema, which is "a cinema of obsession and passion." Yet Murphy argues that his filmmaking style has kept his films from becoming successful in mainstream audiences, despite that they have been financed by major studios.
4. Besides as a filmmaker, how has Korine participated in alternative urban youth culture?
--"he's written a novel, produced fanzines, and done installations in major art galleries." He has contributed to an alternative urban youth culture in the form of art, which has been named "Modern Gothic" which is from artists who are obsessed with death and such.
5. If Gummo uses “collage techniques” instead of a traditional plot, what techniques are used on the image and soundtrack to make connections and associations across the course of the film? How are these techniques similar or different than the “narrational tactics” described by Bordwell? (Look at your Week Nine response, TWHTI, “Tightening the Plot,” starting on p. 43.)
--It doesnt follow the narrational tactics claimed in Bordwell because the continuity is thrown off by the constant change in format (photographs, home-movie, etc); It also does not connect scenes in the same continuous manner, through causal or temporal rationality. The soundtrack goes along with the images in the way that it is a sampling of many different formats, such as different genres of music, the reading of suicide notes, etc. (But I'm still not quite sure how the connections are made, other than the connections and allusions to things outside of the film?)
Tuesday, November 18, 2008
2. What are some of the connections between Stranger than Paradise with the New American Cinema, including Shadows?
--the ambiguity of the characters from shadows are alot like the characters in Stranger, leaving their motivations and actions unpredictable.
3. In what specific ways does Jarmusch’s script deviate from standard scriptwriting structure and format?
--The script was much shorter than an ordinary script that has 1 page per minute of screen time and the film is much longer than 50 min/50 pages. Many of the scenes don't contain dialogue in the script, it was used as more of a blueprint than a script. The film "operates on a purely visual and stylistic level." It is more like a brief description of each scene. It has three sections, but they dont do what most three section screenplay structures would do--Introduce characters, conflict, resolution.
4. What is an "execution dependent" screenplay?
-- They refer to this sort of ambiguous screenplay structure as "execution dependent," so financers would be unable to efficiently predict how the film might do because the entire thing is left to the creativity of the director while on set rather than a planned out process. So all faith has to be put into the filmmakers.
4. What are the similarities and differences between Stranger than Paradise and punk films?
--He was trying to avoid using characters that were stereotypes or a part of a trend. He says, he "wasn't trying to make a statement about a generation." Therefore Murphy writes that the film is "less punk than neo-beat." It has the attitude, but not the obsession with violence like the stereotypical punk film does.
1. What does Flo Liebowitz mean by “dialogue as behavior”?
--she rights that we learn much about the characters through their "conventional habits." WE learn more about them through when they choose to talk and not, their tones, and other characteristics like this.
--the ambiguity of the characters from shadows are alot like the characters in Stranger, leaving their motivations and actions unpredictable.
3. In what specific ways does Jarmusch’s script deviate from standard scriptwriting structure and format?
--The script was much shorter than an ordinary script that has 1 page per minute of screen time and the film is much longer than 50 min/50 pages. Many of the scenes don't contain dialogue in the script, it was used as more of a blueprint than a script. The film "operates on a purely visual and stylistic level." It is more like a brief description of each scene. It has three sections, but they dont do what most three section screenplay structures would do--Introduce characters, conflict, resolution.
4. What is an "execution dependent" screenplay?
-- They refer to this sort of ambiguous screenplay structure as "execution dependent," so financers would be unable to efficiently predict how the film might do because the entire thing is left to the creativity of the director while on set rather than a planned out process. So all faith has to be put into the filmmakers.
4. What are the similarities and differences between Stranger than Paradise and punk films?
--He was trying to avoid using characters that were stereotypes or a part of a trend. He says, he "wasn't trying to make a statement about a generation." Therefore Murphy writes that the film is "less punk than neo-beat." It has the attitude, but not the obsession with violence like the stereotypical punk film does.
1. What does Flo Liebowitz mean by “dialogue as behavior”?
--she rights that we learn much about the characters through their "conventional habits." WE learn more about them through when they choose to talk and not, their tones, and other characteristics like this.
Tuesday, November 11, 2008
1. According to Murphy, what are the two major faults of the traditional screenwriting manuals in their treatment of independent cinema?
--They rely on formulas that are targeted to writers who are interested in writing screenplays that would be typical of the Hollywood norms and successful only in the mainstream standards.
--There are too many rules and direct formulas that make it difficult to teach writers to follow and learn the formulas and also tell them to break from the formulas to write an experimental screenplay.
2. How are Murphy's claims about act structures in independent films different than McKee's model or Thompson's model?
Bordwell claims that art cinema films "lack clear-cut traits, motives, and goals" of classical narration, but Murphy argues that "character subjectivity plays" a larger role "in art cinema and, as a result the ensuing narratives tend to be much more ambiguous and open-ended."
I know I always right "to be continued..." and sometimes don't get back to it, but this time I plan to go back and do a lot of the questions, especially this weeks questions!
--They rely on formulas that are targeted to writers who are interested in writing screenplays that would be typical of the Hollywood norms and successful only in the mainstream standards.
--There are too many rules and direct formulas that make it difficult to teach writers to follow and learn the formulas and also tell them to break from the formulas to write an experimental screenplay.
2. How are Murphy's claims about act structures in independent films different than McKee's model or Thompson's model?
Bordwell claims that art cinema films "lack clear-cut traits, motives, and goals" of classical narration, but Murphy argues that "character subjectivity plays" a larger role "in art cinema and, as a result the ensuing narratives tend to be much more ambiguous and open-ended."
I know I always right "to be continued..." and sometimes don't get back to it, but this time I plan to go back and do a lot of the questions, especially this weeks questions!
Monday, November 3, 2008
--What were the average shot lengths (ASLs) for the following periods?
1920s- 4 to 6 seconds per shot
1930-1960- 8 to 11 seconds
Mid-1960s- 6 to 8 seconds
1980s- 5 to 8 seconds (musicals, action, romances, and comedies tended towards ASL's of 4 to 5 second range)
2000 (“by century’s end”)- no more double digit ASL's.
--How has faster editing in Hollywood affected the other elements of film style?
There has been less focus on the clear cut edits, with the use of cutting on moving shots, "vehicles whiz through the foreground," cut on bursts of light, rack focusing, in general, a less "steady progression toward a revelation" creating an intensified continuity.
--Why are establishing shots less necessary in intensified continuity?
With this style, there are constant cuts within a conversation, even during the middle of a sentence, that allows the shot-reverse-shots and character positions and eyelines help orient the viewer with the information needed to understand where and what is going on, which leaves little room for the establishing shot that provides the same information while seeming redundant.
--How were wide angle (short) lenses used after 1970?
They were used to give good focus in "several planes or full shots of a cramped setting", also for "looming close-ups, expansive establishing shots,...and medium shots with strong foreground-background interplay."
--How were telephoto (long) lenses used after 1970?
They were used in exterior scenes and locations, which enabled the camera to be setup a good distance away from the subject allowing more versatility. On interior sets, they helped save time and they allowed for multiple cameras to be set up out of each one's view. They were also utilized for the" close-ups, medium shots, over-the shoulder shots, and establishing shots."
--Why did filmmakers start mixing long and short lenses within scenes?
They wanted to utilize the long lens advantages while also keeping with the "1940's tradition of deep-space shooting" (because the long lens flattened planes).
--Why have filmmakers moved away from plan americain staging and lengthy two-shots?
They claim that it is boring, and much like minimalism. By using singles and over-the-shoulder shots, the filmmaker is able to pick and choose from the best "bits of each actor's performance."
--What options do filmmakers have for emphasizing moments in a scene if most of the shots are already close-ups?
They can "pick the best bits of each actor's performance" and allow the editor to vary the pace of a scene. They have to work between the medium two shot to the extreme close-ups. The shots of emphasis have now become those "orienting long shots" because they are used less than the repetitive close-ups. They also have to rely less on the actor's body, because the close ups don't contain them, mouths, brows, and eyes have become the focus.
--Describe three moving camera techniques that have become common in intensified continuity.
Lengthy and intricate traveling shots, "the prolonged following shot"--with the use of lighter cameras and steadicams, the prolonged following shot has been over-exagerrated by new filmmakers. Even following one or two characters through crowded places and such. Another is the prowling of the camera "even if nothing else budges"--such as randomly zooming in on a character's face during a conversation or "a forward tracking shot." These movements enable the building tension, intensity of a scene, or emphasize a moment. Or even the arc around a single character which provides detailed information.
1920s- 4 to 6 seconds per shot
1930-1960- 8 to 11 seconds
Mid-1960s- 6 to 8 seconds
1980s- 5 to 8 seconds (musicals, action, romances, and comedies tended towards ASL's of 4 to 5 second range)
2000 (“by century’s end”)- no more double digit ASL's.
--How has faster editing in Hollywood affected the other elements of film style?
There has been less focus on the clear cut edits, with the use of cutting on moving shots, "vehicles whiz through the foreground," cut on bursts of light, rack focusing, in general, a less "steady progression toward a revelation" creating an intensified continuity.
--Why are establishing shots less necessary in intensified continuity?
With this style, there are constant cuts within a conversation, even during the middle of a sentence, that allows the shot-reverse-shots and character positions and eyelines help orient the viewer with the information needed to understand where and what is going on, which leaves little room for the establishing shot that provides the same information while seeming redundant.
--How were wide angle (short) lenses used after 1970?
They were used to give good focus in "several planes or full shots of a cramped setting", also for "looming close-ups, expansive establishing shots,...and medium shots with strong foreground-background interplay."
--How were telephoto (long) lenses used after 1970?
They were used in exterior scenes and locations, which enabled the camera to be setup a good distance away from the subject allowing more versatility. On interior sets, they helped save time and they allowed for multiple cameras to be set up out of each one's view. They were also utilized for the" close-ups, medium shots, over-the shoulder shots, and establishing shots."
--Why did filmmakers start mixing long and short lenses within scenes?
They wanted to utilize the long lens advantages while also keeping with the "1940's tradition of deep-space shooting" (because the long lens flattened planes).
--Why have filmmakers moved away from plan americain staging and lengthy two-shots?
They claim that it is boring, and much like minimalism. By using singles and over-the-shoulder shots, the filmmaker is able to pick and choose from the best "bits of each actor's performance."
--What options do filmmakers have for emphasizing moments in a scene if most of the shots are already close-ups?
They can "pick the best bits of each actor's performance" and allow the editor to vary the pace of a scene. They have to work between the medium two shot to the extreme close-ups. The shots of emphasis have now become those "orienting long shots" because they are used less than the repetitive close-ups. They also have to rely less on the actor's body, because the close ups don't contain them, mouths, brows, and eyes have become the focus.
--Describe three moving camera techniques that have become common in intensified continuity.
Lengthy and intricate traveling shots, "the prolonged following shot"--with the use of lighter cameras and steadicams, the prolonged following shot has been over-exagerrated by new filmmakers. Even following one or two characters through crowded places and such. Another is the prowling of the camera "even if nothing else budges"--such as randomly zooming in on a character's face during a conversation or "a forward tracking shot." These movements enable the building tension, intensity of a scene, or emphasize a moment. Or even the arc around a single character which provides detailed information.
Thursday, October 30, 2008
What sort of distribution and marketing strategies were utilized for Tony Scott's film Domino in order to appeal to audiences? And how successful were they?
Dempsey, John. “Courting ‘Violence.’” Variety.com. 23 Aug. 2005. 27 Oct. 2008..
New Line Cinema and the use of the Red Carpet Treatment.
“Domino.” Variety.com. 6 Oct. 2005. 27 Oct. 2008..
Tony Scotts use of extreme techniques, film stocks etc.
Gleiberman, Owen. “EW review: ‘Domino’ Lethally Numb.” CNN.com. 14 Oct. 2005.
Entertainment Weekly. 27 Oct. 2008. < http://www.cnn.com/2005/SHOWBIZ/Movies/10/14/ew.mov.domino/index.html>.
The stylistic features used to drive the film for audiences.
Turan, Kenneth. “Tony Scott’s Action Drama Can’t Bail Itself Out.” ChicagoTribune.com. 14 Oct. 2005. Chicago Tribune. 27 Oct. 2008. < http://www.chicagotribune.com/topic/cl-et-domino14oct14,0,4967987.story>.
How complex and confusing the film is for audiences and even the filmmakers, and how it is star-driven.
Dargis, Manohla. “The Strange But Somewhat True Story of a Bounty Hunter.” NYTimes.com. 14 Oct. 2005. The New York Times. 27 Oct 2008. < http://movies.nytimes.com/2005/10/14/movies/14domi.html>.
The extraordinary stylistic choices used to sell Domino, and the disapproval of their use.
Kelly, Brendan. “’Domino’ Decamps, Dealing Blow Fest.” Variety.com. 19 Sept. 2005. 27 Oct. 2008..
New Line’s decision to drop the film from the New Montreal FilmFest.
Farinella, David John. “Set Sounds Get Bandwith Boost.” Variety.com. 14 Feb. 2005. 27 Oct. 2008..
New sound recording technology that helped with production costs and time.
Rosenbaum, Ron. “The Scott Disorder: Of Brother Directors, Tony’s the Great One.” The New York Observer. 18 June 2006. 27 Oct. 2008. http://www.observer.com/node/39023.
Tony Scott’s stylistic features aimed for attracting audiences.
Dempsey, John. “Courting ‘Violence.’” Variety.com. 23 Aug. 2005. 27 Oct. 2008.
New Line Cinema and the use of the Red Carpet Treatment.
“Domino.” Variety.com. 6 Oct. 2005. 27 Oct. 2008.
Tony Scotts use of extreme techniques, film stocks etc.
Gleiberman, Owen. “EW review: ‘Domino’ Lethally Numb.” CNN.com. 14 Oct. 2005.
Entertainment Weekly. 27 Oct. 2008. < http://www.cnn.com/2005/SHOWBIZ/Movies/10/14/ew.mov.domino/index.html>.
The stylistic features used to drive the film for audiences.
Turan, Kenneth. “Tony Scott’s Action Drama Can’t Bail Itself Out.” ChicagoTribune.com. 14 Oct. 2005. Chicago Tribune. 27 Oct. 2008. < http://www.chicagotribune.com/topic/cl-et-domino14oct14,0,4967987.story>.
How complex and confusing the film is for audiences and even the filmmakers, and how it is star-driven.
Dargis, Manohla. “The Strange But Somewhat True Story of a Bounty Hunter.” NYTimes.com. 14 Oct. 2005. The New York Times. 27 Oct 2008. < http://movies.nytimes.com/2005/10/14/movies/14domi.html>.
The extraordinary stylistic choices used to sell Domino, and the disapproval of their use.
Kelly, Brendan. “’Domino’ Decamps, Dealing Blow Fest.” Variety.com. 19 Sept. 2005. 27 Oct. 2008.
New Line’s decision to drop the film from the New Montreal FilmFest.
Farinella, David John. “Set Sounds Get Bandwith Boost.” Variety.com. 14 Feb. 2005. 27 Oct. 2008.
New sound recording technology that helped with production costs and time.
Rosenbaum, Ron. “The Scott Disorder: Of Brother Directors, Tony’s the Great One.” The New York Observer. 18 June 2006. 27 Oct. 2008. http://www.observer.com/node/39023.
Tony Scott’s stylistic features aimed for attracting audiences.
Monday, October 27, 2008
--“It really is not necessary for everything in the movie to be understandable my every member in the audience. It’s only necessary to make sure that everything in the movie can be understood.”
- This means that the movie just needs to be understandable for each audience member, but the level of understanding doesn't have to be the same for each member. Such as, a kid could be able to follow a movie and understand the story, and at the same time an film educated spectator could not only understand the simplistic layer that the child understood, but also understand the less obvious layer of allusions, genre reworkings, and the mix of post classical and classical techniques.
--What does Bordwell mean by “worldmaking,” and how does it affect the narrative design of individual films?
- Worldmaking is in reference to the post-classical technique of using extensive details that are almost unimportant to the actual story line itself, but it creates an entire world in which the story takes place. These minute details have come to be appreciated while watching the film and even clues to even more of the story itself. In films such as the Matrix, the worldmaking made it so that to truly understand every single aspect of the film it has to be entered from many different media levels outside of the film itself. Worldmaking has only added to the intricacy and complexity of the narrative.
--What do Bordwell and Thompson mean by the claim that some films are “maximally classical”? What films do they have in mind?
- They utilize Hollywood's tradition of unity to the furthest extent. When "a film becomes more classical than it needs to be." They go beyond the "standard causal cohesion" by giving "every scene several purposes; lines of dialogue point foward in unexpected ways; visual and aural motifs" usually only noticeable after watching the film several times.
- ex) Back to the Future, The Hunt for Red October, Tootsie, Hannah and Her Sisters, Groundhog Day, Silence of the Lambs.
--What specific reasons does Bordwell propose for the rise and fall of contemporary genres?
- He says that once a specific genre has been done up to its current potential, and there seems to be nothing new they can add to it, it is better to go to the "road-less-traveled" genre. Because, "they offer more room for originality and ingenuity.
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