Looking at movies 4th edition chapter 1

5TH EDITION

LOOKING AT MOVIES

5TH EDITION

LOOKING AT MOVIES RICHARD BARSAM & DAVE MONAHAN

AN INTRODUCTION TO FILM

W.W. NORTON & COMPANY B

RICHARD BARSAM (Ph.D., University of Southern California) is Professor Emeritus of Film Studies at Hunter College, City Univer- sity of New York. He is the author of Nonfiction Film: A Critical History (rev. and exp. ed., 1992), The Vision of Rob- ert Flaherty: The Artist as Myth and Filmmaker (1988), In the Dark: A Primer for the Movies (1977), and Filmguide to Triumph of the Will (1975); editor of Nonfiction Film: Theory and Criticism (1976); and contributing author to Paul Monaco’s The Sixties: 1960–1969 (Vol. 8 in the History of the American Cinema series, 2001) and Filming Robert Flaherty’s Louisiana Story: The Helen van Dongen Diary (ed. Eva Orbanz, 1998). His articles and book reviews have appeared in Cinema Journal, Quarterly Review of Film Studies, Film Comment, Studies in Visual Com- munication, and Harper’s. He has been a member of the Executive Council of the Society for Cinema and Media Studies and the Editorial Board of Cinema Journal, and he cofounded the journal Persistence of Vision.

DAVE MONAHAN (M.F.A., Columbia University) is an Associate Professor and Department Chair of Film Studies at the University of North Carolina, Wilmington. His work as a writer, director, and editor includes Things Grow (2010), Ringo (2005), Monkey Junction (2004), Prime Time (1996), and Angels Watching Over Me (1993). His work has been screened internationally in over fifty film festivals and has earned numerous awards, including the New Line Cinema Award for Most Original Film (Prime Time) and the Seattle International Film Festival Grand Jury Prize for Best Animated Short Film (Ringo).

ABOUT THE AUTHORS

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To Students xvii Preface xix Acknowledgments xxiii

CHAPTER 1 Looking at Movies 1 Learning Objectives 2

Looking at Movies 2 What Is a Movie? 3 The Movie Director 5

Ways of Looking at Movies 6 Invisibility and Cinematic Language 6 Cultural Invisibility 10 Implicit and Explicit Meaning 11 Viewer Expectations 13 Formal Analysis 14 Alternative Approaches to Analysis 19 Cultural and Formal Analysis in The Hunger Games 22 Analyzing Looking at Movies 32 Screening Checklist: Looking at Movies 33 Questions for Review 34 Student Resources Online 34

CHAPTER 2 Principles of Film Form 35 Learning Objectives 36

Film Form 36 Form and Content 36

Form and Expectations 39 Patterns 41 Fundamentals of Film Form 45 Movies Depend on Light 45 Movies Provide an Illusion of Movement 46 Movies Manipulate Space and Time in Unique Ways 48

Realism and Antirealism 55 Verisimilitude 58

CONTENTS

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Cinematic Language 59

Looking at Film Form: Donnie Darko 61 Content 61 Expectations 61 Patterns 62 Manipulating Space 63 Manipulating Time 64 Realism, Antirealism, and Verisimilitude 64 Analyzing Principles of Film Form 65 Screening Checklist: Principles of Film Form 65 Questions for Review 66 Student Resources Online 66

CHAPTER 3 Types of Movies 67 Learning Objectives 68

The Idea of Narrative 68

Types of Movies 71 Narrative Movies 72 Documentary Movies 73 Experimental Movies 77

Hybrid Movies 83

Genre 85 Genre Conventions 88

Story Formulas 88 Theme 89 Character Types 89 Setting 89 Presentation 89 Stars 90

Six Major American Genres 91 Gangster 91 Film Noir 93 Science Fiction 96 Horror 99 The Western 102 The Musical 105

Evolution and Transformation of Genre 108

What about Animation? 111

Looking at the Types of Movies in The Lego Movie 115 Analyzing Types of Movies 119 Screening Checklist: Types of Movies 119 Questions for Review 120 Student Resources Online 120

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CHAPTER 4 Elements of Narrative 121 Learning Objectives 122

What Is Narrative? 122 Characters 126 Narrative Structure 130

The Screenwriter 135

Elements of Narrative 136 Story and Plot 136 Order 141 Events 142 Duration 143 Suspense versus Surprise 147 Repetition 148 Setting 148 Scope 149

Looking at Narrative: John Ford’s Stagecoach 150 Story, Screenwriter, and Screenplay 150 Narration and Narrator 152 Characters 153 Narrative Structure 153 Plot 154

Order 154 Diegetic and Nondiegetic Elements 154 Events 155 Duration 155 Repetition 155

Suspense 155 Setting 157 Scope 159 Analyzing Elements of Narrative 161 Screening Checklist: Elements of Narrative 161 Questions for Review 162 Student Resources Online 162

CHAPTER 5 Mise-en-Scène 163 Learning Objectives 164

What Is Mise-en-Scène? 164

Design 173 The Production Designer 173 Elements of Design 176

Setting, Decor, and Properties 177 Lighting 179 Costume, Makeup, and Hairstyle 181

International Styles of Design 188

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Composition 196 Framing: What We See on the Screen 197

On-screen and Offscreen Space 197 Open and Closed Framing 199

Kinesis: What Moves on the Screen 202 Movement of Figures within the Frame 203

Looking at Mise-en-Scène 204 Tim Burton’s Sleepy Hollow 204 Analyzing Mise-en-Scène 209 Screening Checklist: Mise-en-Scène 209 Questions for Review 210 Student Resources Online 210

CHAPTER 6 Cinematography 211 Learning Objectives 212

What Is Cinematography? 212

The Director of Photography 212

Cinematographic Properties of the Shot 215 Film Stock 215

Black and White 217 Color 219

Lighting 222 Source 222 Quality 223 Direction 223 Color 227

Lenses 229

Framing of the Shot 233 Implied Proximity to the Camera 235

Shot Types 236 Depth 238 Camera Angle and Height 242

Eye Level 243 High Angle 243 Low Angle 245 Dutch Angle 246 Aerial View 247

Scale 247 Camera Movement 248

Pan Shot 249 Tilt Shot 249 Dolly Shot 249 Zoom 251 Crane Shot 251 Handheld Camera 254 Steadicam 254

Framing and Point of View 255

Speed and Length of the Shot 258

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Special Effects 261 In-Camera, Mechanical, and Laboratory Effects 262 Computer-Generated Imagery 263

Looking at Cinematography: Richard Linklater's Boyhood 265 Analyzing Cinematography 269 Screening Checklist: Cinematography 269 Questions for Review 270 Student Resources Online 270

CHAPTER 7 Acting 271 Learning Objectives 272

What Is Acting? 272 Movie Actors 273

The Evolution of Screen Acting 279 Early Screen-Acting Styles 279 D. W. Griffith and Lillian Gish 279 The Influence of Sound 281 Acting in the Classical Studio Era 282 Method Acting 286 Screen Acting Today 287 Technology and Acting 292

Casting Actors 293 Factors Involved in Casting 294

Aspects of Performance 295 Types of Roles 295 Preparing for Roles 297 Naturalistic and Nonnaturalistic Styles 299 Improvisational Acting 301 Directors and Actors 302

How Filmmaking Affects Acting 303 Framing, Composition, Lighting, and the Long Take 304 The Camera and the Close-Up 307 Acting and Editing 308

Looking at Acting 309 Looking at Acting: Michelle Williams 311 Analyzing Acting 315 Screening Checklist: Acting 315 Questions for Review 316 Student Resources Online 316

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CHAPTER 8 Editing 317 Learning Objectives 318

What Is Editing? 318

The Film Editor 320 The Editor’s Responsibilities 323

Spatial Relationships between Shots 323 Temporal Relationships between Shots 324 Rhythm 329

Major Approaches to Editing: Continuity and Discontinuity 333 Conventions of Continuity Editing 336

Master Scene Technique 337 Screen Direction 337

Editing Techniques That Maintain Continuity 342 Shot/Reverse Shot 342 Match Cuts 342 Parallel Editing 345 Point-of-View Editing 347

Other Transitions between Shots 348 The Jump Cut 348 Fade 349 Dissolve 349 Wipe 350 Iris Shot 351 Freeze-Frame 351 Split Screen 352

Looking at Editing 353 Fernando Meirelles and Kátia Lund’s City of God 357 Analyzing Editing 361 Screening Checklist: Editing 361 Questions for Review 362 Student Resources Online 362

CHAPTER 9 Sound 363 Learning Objectives 364

What Is Sound? 364

Sound Production 366 Design 366 Recording 367 Editing 368 Mixing 368

Describing Film Sound 369 Pitch, Loudness, Quality 369 Fidelity 370

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Sources of Film Sound 371 Diegetic versus Nondiegetic 371 On-screen versus Offscreen 372 Internal versus External 373

Types of Film Sound 374 Vocal Sounds 374 Environmental Sounds 376 Music 378 Silence 383 Types of Sound in Steven Spielberg’s War of the Worlds 385

Functions of Film Sound 389 Audience Awareness 389 Audience Expectations 390 Expression of Point of View 391 Rhythm 392 Characterization 394 Continuity 394 Emphasis 395

Looking at (and Listening to) Sound in Orson Welles’s Citizen Kane 397 Sources and Types 398 Functions 398 Characterization 400 Themes 401 Analyzing Sound 402 Screening Checklist: Sound 402 Questions for Review 403 Student Resources Online 403

CHAPTER 10 Film History 405 Learning Objectives 406

What Is Film History? 406

Basic Approaches to Studying Film History 407 The Aesthetic Approach 407 The Technological Approach 407 The Economic Approach 408 The Social History Approach 408

A Short Overview of Film History 409 Precinema 409

Photography 409 Series Photography 410

1891–1903: The First Movies 411 1908–1927: Origins of the Classical Hollywood Style—The Silent Period 414 1919–1931: German Expressionism 418 1918–1930: French Avant-Garde Filmmaking 420 1924–1930: The Soviet Montage Movement 421

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1927–1947: Classical Hollywood Style in Hollywood’s Golden Age 424 1942–1951: Italian Neorealism 428 1959–1964: French New Wave 430

1947–Present: New Cinemas in Great Britain, Europe, and Asia 433 England and the Free Cinema Movement 434 Denmark and the Dogme 95 Movement 435 Germany and Austria 436 Japan 437 China 440

The People’s Republic 440 Hong Kong 441 Taiwan 442

India 442 Contemporary Middle Eastern and North African Cinema 444

Algeria 444 Egypt 444 Iraq 444 Iran 444 Israel 445 Lebanon 445 Palestine 445

Latin American Filmmaking 445 Argentina 445 Brazil 445 Cuba 446 Mexico 446

1965–1995: The New American Cinema 447

Looking at Citizen Kane and Its Place in Film History 452 Analyzing Film History 454 Screening Checklist: Film History 454 Questions for Review 455

CHAPTER 11 How the Movies Are Made 457 Learning Objectives 458

Money, Methods, and Materials: The Whole Equation 458

Film and Digital Technologies: An Overview 460 Film Technology 460 Digital Technology 463 Film versus Digital Technology 464

How a Movie Is Made 466 Preproduction 466 Production 467 Postproduction 468

The Studio System 468 Organization before 1931 468 Organization after 1931 469 Organization during the Golden Age 471 The Decline of the Studio System 473

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The Independent System 474 Labor and Unions 476 Professional Organizations and Standardization 476

Financing in the Industry 477

Marketing and Distribution 479

Production in Hollywood Today 483 Audience Demographics 485 Franchises 485 LGBT Movies 486 African American Movies 487 Foreign Influences on Hollywood Films 487 Looking at the Future of the Film Industry 487 Thinking about How the Movies Are Made 490 Screening Checklist: How the Movies Are Made 490 Questions for Review 491

Glossary 493 Permissions Acknowledgments 507 Index 511

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The movies, born in 1891, have flourished for 124 years, yet there have always been those who believed that they were a passing fancy, or a poor cousin of the more tradi- tional arts like literature, painting, architecture, dance, and music. In 1996, shortly after cinema’s one hun- dredth birthday, cultural pundit Susan Sontag mused on the state of the art:

Cinema’s 100 years seem to have the shape of a life cycle: an inevitable birth, the steady accumulation of glories and the onset in the last decade of an ignominious, irre- versible decline. . . . the commercial cinema has settled for a policy of bloated, derivative film-making, a brazen combinatory or recombinatory art, in the hope of repro- ducing past successes. Cinema, once heralded as the art of the 20th century, seems now, as the century closes nu- merically, to be a decadent art.1

Yet, 60 years before that, the art historian Erwin Panofsky had a very different insight into the movies as a form of popular art:

If all the serious lyrical poets, composers, painters and sculptors were forced by law to stop their activities, a rather small fraction of the general public would become aware of the fact and a still smaller fraction would seri- ously regret it. If the same thing were to happen with the movies the social consequences would be catastrophic.2

Both, of course, were right. The commercial cinema, driven by the box office, has not fulfilled the promise of cinema’s potential, yet today, we would hardly know what to do without movies. They are a major presence in our lives, and an influential beneficiary of our techno- logical age. Since their invention more than a hundred years ago, movies have become one of the world’s largest industries and the most powerful art form of our time.

1. Susan Sontag, “The Decay of Cinema,” The New York Times, Feb. 25, 1996. 2. Erwin Panofsky, “Style and Medium in the Motion Pictures,” in Film Theory and Criticism: Introductory Readings, ed. Leo Braudy and Mar-

shall Cohen, 5th ed. (New York: Oxford University Press, 1999), p. 280.

With each new technological development—sound, color, widescreen projection, television, 3-D, computer- generated imagery, DVDs, internet streaming, and dig- itization of the filmmaking process—the movies have changed. Indeed, looking at movies (and the audience that looks at them) has changed as well. Traditionally, we saw movies in a theater, separated from the outside world—although it was a communal experience, sitting in the dark on seats fixed to the floor and a huge image screen. Today, we see movies wherever we happen to be; with whomever we want to be with (but usually alone); standing with a handheld device, curled up on a sofa, or sitting at a desk; and usually with the lights on. The image can be as large as a home theater or as small as a smartphone screen.

A source of entertainment that makes us see beyond the borders of our experiences, movies have always pos- sessed the power to amaze, frighten, and enlighten us. They challenge our senses, emotions, and sometimes, our intellect; pushing us to say, often passionately, that we love (or hate) them. It’s easy to get excited by movies because they arouse our most public and private feel- ings and can overwhelm us with their sights and sounds. The challenge is to combine that enthusiasm with un- derstanding, to be able to say why we feel so strongly about particular movies while others are easily forgot- ten. That’s one reason why this book encourages you to go beyond the stories, and to understand how these stories are told. After all, movies are not reality but only illusions of reality, and as with most works of art, their form and content work as an interrelated system, one that asks us to accept it as a given rather than as the product of a process. As you read this book devoted to looking at movies—that is, not passively watching them but actively considering the relation of their form and their content—remember that there is no one way to look at film, no one critical perspective that is inherently better than another, and no one meaning that you can insist on after a single viewing. Indeed, movies are so di- verse in their nature that no single approach could ever do them justice.

TO STUDENTS

xviii To Students

No other art form has had so many lives. The cinema is alive because it is constantly changing as it adapts to technological advances and audience expectations. Cin- ema evolves because everything we see on the movie screen—everything that engages our senses, emotions, and minds—results from hundreds of decisions affect- ing the interrelation of formal cinematic elements, such as narrative, composition, cinematography, editing, and sound, as well as the influence of film producers whose financial decisions determine which films are made and whose advertising decisions make audiences desire what’s new. Audiences in turn encourage new trends with their ticket purchases and habits of consumption. This book encourages you to look at movies with an un- derstanding and appreciation of how filmmakers make the decisions that help them tell a story and create the foundation for its meaning. After all, in the real life of the movies, it is not historians, theorists, or critics—