Writing about movies gocsik pdf

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

vii

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

viii Contents

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

ixContents

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

x Contents

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