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UPSIDE-DOWN CINEMA: (DIS)SIMULATION OF THE BODY IN THE FILM EXPERIENCE

The word genre comes from the French meaning type or category. Its roots are in the Latin word genus, a word which is now used to describe classification in biology. Using the concept of genre in relation to the moving image serves much the same purpose. Approaching films in relation to genre inevitably means treating individual films not as unique works of art but as members of different categories or groupings. There are two major approaches to film genre: The Descriptive Approach and The Functional Approach. ...

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“And I felt quite posh!” Art-house cinema and the absent audience – the exclusions of choice

The aim of the descriptive approach is to place a large number of films into a small set of groups based on common characteristics such as theme or visual style. This means concentrating on the formal and stylistic qualities of films. Try the following introductory exercise to familiarise yourself with this approach: The functional approach to genre, focuses instead on the role genre plays in society itself. The Functional approach examines film and the viewing of films as a shared, social ritual, with different audiences sharing common expectations and experiences. In relation to genre in particular, try the following...

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CONFLICTS OF INTEREST IN THE HOLLYWOOD FILM INDUSTRY: COMING TO AMERICA - TALES FROM THE CASTING COUCH, GROSS AND NET, IN A RISKY BUSINESS

Despite often clearly definable characteristics, however, it is important to remember that genres are not fixed entities, but are instead constantly evolving. Often the boundaries between genres become blurred. In most cases films represent a “genre hybrid” – or a combination of attributes from several different genre backgrounds. Studying genre reveals a pattern of repetition and difference. In other words, some films do have identifiable similarities, but they also contain new elements or similar elements used in new ways. Try the following exercise to find out more about the fluid and complex nature of genre classification. ...

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TAJAN AFFICHES DE CINEMA

Of course Genre isn’t just a useful tool for classifying and criticising films. Genre acts as both a gauge of shared target audience expectations and preferences and as a useful guide for film producers. In their ongoing attempts to find “formulae” which will bring guaranteed box office success, producers frequently play on audience familiarity with genre characteristics, both in the making and promotion of their films. The rationale behind this approach, is the belief that product recognition makes it easier to sell a product. (see Film Industry). Film producers are obviously interested in what characteristics make a film successful....

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‘‘Praise the Lord’’: Popular cinema and pentecostalite style in Ghana’s new public sphere

Tham khảo tài liệu '‘‘praise the lord’’: popular cinema and pentecostalite style in ghana’s new public sphere', văn hoá - nghệ thuật, sân khấu điện ảnh phục vụ nhu cầu học tập, nghiên cứu và làm việc hiệu quả

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A CERTAIN TENDENCY OF THE FRENCH CINEMA FRANCOIS TRUFFAUT

Tham khảo tài liệu 'a certain tendency of the french cinema francois truffaut', văn hoá - nghệ thuật, sân khấu điện ảnh phục vụ nhu cầu học tập, nghiên cứu và làm việc hiệu quả

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FILM LESSON PLANS: MIA AS

The introductory section of the BFI DVD ‘A Personal Journey through American Movies with Martin Scorsese’ provides a useful starting point for the study of genre. Beginning with the section ‘The Director as Storyteller’, Scorsese discusses how the genre system developed in the earliest days of the Hollywood Studio System. He then proceeds to explore three of the principal genres of Hollywood filmmaking: the Gangster film; the Western and the Musical.

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TECHNICAL BULLETIN Understanding Aspect Ratios

Some genres have specific stylistic characteristics or employ techniques that are a key way of generating suspense or fear. Point-of-view is one of the principal techniques of the horror genre (for example, the sequence of the serial killer stalking Jodie Foster in Silence of the Lambs in Lesson 1). This extract from Halloween is one of the most famous examples of the use of point-of-view in film with the movie beginning with the point-of-view of an anonymous murderer as he stalks and kills a victim and then the camera draws back at the end of the scene to deliver...

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ANDRE BAZIN FROM WHAT IS CINEMA? THE ONTOLOGY OF THE PHOTOGRAPHIC IMAGE

One problem with this teaching demonstration, however, was the fact that the 16mm print of Caligari had no musical soundtrack, something that the stu- dents had become accustomed to having with their silent films during the semes- ter. This factor would ultimately lead to subsequent demonstrations testing the notion of whether modern electronic music could be used to enhance student engagement with silent films in the classroom. I decided to fill the silence of the Caligari print by synching up a CD during the screening (a senior colleague at another institution occasionally played jazz albums in such a situation). ...

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SOFT CINEMA navigating the database

Teaching silent film courses on a regular basis, I’m one of the first to admit that the advent of DVDs has made my job easier. Trying to con- vince students that the film they are watching is not only a cinema clas- sic, but also as sophisticated and modern as any film made in the sound era, is a particularly hard sell when the print in question is a ‘dupey, ’ fifth-generation 16mm reduction from the 35mm nitrate original, and dead silent to boot. When shown DVDs produced from restored master materials, and including a full orchestral score or at least piano accom- paniment, students are much more...

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DAVID BORDWELL ON PROPP AND FILM NARRATOLOGY LEA JACOBS ON BLONDE VENUS AND CENSORSHIP ROBERT LANG ON KISS ME DEADLY

Here the issue is that students will respond differently to a silent film depending on a variety of factors, such as the quality of the print selected. Instructors make numerous choices concerning the way in which the class is conducted and mate- rials are integrated. Many of these choices, such as which print of a film to use, may seem relatively simple, but they can often have larger, unforeseen implica- tions. One illustration of this involves Edward T. Hall’s notion of proxemics—the relationship of social space to culture. In The Hidden Dimension, Hall defines proxemics as the “use of space as a specialized elaboration of culture,”5 noting for...

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The Cinema in the Teaching of Medicine: Palliative Care and Bioethics

Since viewers regularly respond to films emotionally as well as cognitively, it is only natural that a student’s emotional response can occasionally overwhelm their interpretations of a film. As an instructor , I have noticed that those students who describe being bored by a given film often cannot offer much in the way of interpretation of that film during group discussions, and that consequently they often perform poorly when writing about the film. Torben Grodal argues in Moving Pictures: A New Theory of Film, Genres, Feeling and Cognition that “cog- nitive and perceptual processes are intimately linked with emotional processes within a functionally unified psychosomatic whole.” He sees...

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Cinema in the Age of Globalization

Dominique Russell argues that film music currently exists within a changing “soundscape,” whereby “there has been a change in our sound envi- ronment through the proliferation of ‘private sound bubbles, ’ created through compact music players. Headphone technology creates private soundtracks to common images.... Insulated from room tone and ambient noises, two head- phone wearers become spectators to two very different scenes, depending on what they are listening to.”1 1 Students have become accustomed to recontextu- alizing visual phenomenon by selecting alternative auditory cues to experience privately via iPods, mp3 players and other such devices. As Russell suggests, when the spectator changes the soundtrack that accompanies visual stimulus, the very...

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EDITING HOLLYWOOD’S EDITORS: CLEANING FLICKS FOR FAMILIES

It was the desire to create such a shift that led Anna Siomopoulos, Patricia Zimmermann and their colleagues at Ithaca College in New York to commission a new score by Fe Nunn in 2004 for a screening of Within Our Gates (USA, 1920, Oscar Michaeux) as a part of Black History Month. Combining a jazz quartet, African drumming and spoken-word performance, Siomopoulos and Zimmermann describe this new score as an attempt to “destabilize the film text, reanimate film reception, and complicate film spectatorship through music, spo- ken word, and multiple voices.” The project was motivated by the need to “rethink the exhibition of politically significant silent films” in...

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Cinema Solutions

The act of incorporating modern music into silent film screenings is also not without precedent outside of academia. Since 1982, Pordenone Italy has hosted Le Giornate Del Cinema Muto, a silent film festival that has regularly featured contemporary scores written and performed by such composers as Wim Mertens and John Cale. 13 In 1984, Giorgio Moroder compiled a modern rock score for a theatrical re-release of Metropolis (Germany, 1928, Fritz Lang).

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The future of cinema is smooth, crisp and amazing

My methodology consisted of multiple approaches towards determining student response to the various screenings. Immediately after each of the three screen- ings (Cabinet of Dr. Caligari, Man With a Movie Camera and Ballet Mechanique), the entire class of approximately ninety students became a large focus group. Students participated in dialogues with one another and myself about the posi- tive and negative effects of the use of electronic music and its implications for film spectatorship, and I documented their comments. In each case this large group dialogue was followed the next day by the use of a smaller focus group made up of the members of a class tutorial...

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The 30-inch Apple Cinema HD Display Productivity Benchmark

These focus groups were triangulated with the use of a survey (see Appendix A) conducted with the entire class at the end of the semester, allow- ing several weeks for reflection on the demonstration as a whole. The survey did not seek to document audience effects, but to record the self-reported effect of enhancement and/or distraction created by the total aural/visual experience dur- ing screenings. The survey was completed anonymously and consisted of nine questions, divided into three sections for each of the three respective screenings. Students were asked to indicate which of the given statements they felt best described their own viewing experience in each case by...

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CINEMA 300 Home theater speaker system

The survey then used the same five criteria to determine what effect an organ or piano score would have had on students’ engagement with the same film, and then also asked what effect a symphonic or string instrument score would have had. These three questions were asked for each of the three films. While the survey therefore asked respondents to imagine the use of organ/ piano/symphonic music with films they had not seen with such musical accom- paniments, students had been exposed to numerous other silent films featuring all of these different forms of instrumentation throughout the semester, and were therefore familiar with each musical variation asked by...

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CINEMA 500 Home theater speaker system

At the start of the survey, the word engagement was defined as “your atten- tion to/interaction with each film.” The term engagement was chosen because it signified the degree of student interest involved, and the ultimate goal of this demonstration was to determine strategies to increase students’ overall interest in silent films. This notion of “engagement” was reiterated before the survey was distributed, in order to remind students that they were to respond to each spe- cific act of classroom spectatorship and not just to their own general preferences about the various musical genres as a whole. While there is a risk that person- al musical tastes may...

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Cinema Lenses

The results of the survey (see Appendix C) were quantified in order to deter- mine how many students objected to a given score, and how many felt that a given score added to their experience of watching each film. The demonstration and survey were then repeated in a subsequent semester in another introducto- ry film course (see Appendix B and C), using a different group of students, a dif- ferent film and a different choice of electronic music in order to further test the validity of the hypothesis that an electronic score can enhance student engage- ment with silent cinema in a diverse set of circumstances. The...

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CINEMA SB200 powered soundbar speaker

In the initial demonstration using music by DJ Spooky to accompany Cabinet of Dr. Caligari, 72.2 percent of students felt that the music enhanced their engage- ment with the film. Additionally, 19.4 percent found that the music detracted from their viewing experience and 8.3 percent felt that it neither enhanced nor detracted. Alternatively, these statistics point out that 80.5 percent of students had no objections to the use of a modern score. In contrast, 47.8 percent of stu- dents felt that a symphonic or string instrument score would have enhanced their engagement, but only 9.8 percent believed it would detract, with 42.2 per- cent remaining neutral towards such...

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New Features in Cinema Tools 4

The subsequent survey in the second demonstration, regarding the use of electronic music in a screening of Haxan: Witchcraft Through the Ages, yielded similar results. The survey found that 78.1 percent of the new group saw the elec- tronic music as enhancing their engagement with the film. A further 18.7 percent found that the music detracted, while only 3.1 percent remained neutral. In con- trast, only 50 percent of these students would have found a piano or organ score beneficial, while only 46.8 percent would have benefited from a symphonic score....

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Apple Cinema Display

The survey results indicate that the majority of students in almost all of the scenarios preferred the modern electronic soundtrack. Furthermore, in each case, regardless of whether a majority was reached, the positive response to this music outweighed the negative response. Focus group comments for the Caligari screening, for example, noted that the DJ Spooky music was “more effective” and allowed for a “better experience” for students. At the Man With a Movie Camera screening, students made similar observations regarding the Cinematic Orchestra score: “It made the film feel more contemporary;” “It allowed me to connect with the film more;” “It gave the images more resonance.” Such state- ments...

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Apple Cinema Display User’s Guide

What became most striking about the survey results, however, was the pat- tern that emerged when comparing the preferences of individual respondents for one screening to that same respondent’s preferences in other screenings. In so doing it became evident that those who disliked or were neutral about one choice of electronic music were likely to be enthusiastic about another such choice. Ninety seven percent of respondents in the initial survey that were neu- tral towards one or more of the electronic choices were enthusiastic about at least one of the other electronic accompaniments. Similarly, 95.6 percent of respondents that disliked one or more of the electronic musical choices...

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CINEMA EOS LEAVE NO STORY UNTOLD

Many students in the surveys singled out organ music as being particularly detrimental to their viewing experiences. Overall, 43 percent of respondents in the initial survey were neutral towards a piano or organ score, with an addition- al 33.3 percent noting that such music detracted from their engagement with the films. The consensus of the large focus group for the Ballet Mechanique screen- ing was that there would have been diminished interest in the film if an organ score were used. “Organ music would be so distracting, esp.[sic] today, because we rarely hear that,” said one anonymous survey comment. This statement points to the fact that organ music...

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Cinema Therapy

A recurring notion among focus group participants was that using modern electronic music served to make silent films feel “more modern” or “contempo- rary.” At the same time, many noted that electronic music also allowed the silent films screened to feel more “artistic” or “avant-garde,” stating that the films seemed as if they could have been created fairly recently as opposed to being eight or nine decades old. Such comments are particularly encouraging for two reasons. Firstly, as Horak describes, they show that students can consider silent films to be as “sophisticated and modern as any film made in the sound era.” Secondly, these comments signify not only...

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ROOM-FOR-PLAY: BENJAMIN'S GAMBLE WITH CINEMA

However, some focus group participants also found the use of electronic music “distracting.” Several students who disliked the use of DJ Spooky’s music accompanying Caligari noted being distracted by the modern drum loops and electronic sounds, claiming that they didn’t “suit” the film. Another student anonymously described having seen the film before, and feeling “far more removed from the film” because of the electronic music: “the experiment created an unconscious focus on where the film and the contemporary DJ track ‘synched’ up. Every time the beat/tempo changed accordingly with the action on the screen there was an ‘ooohh!’ from the audience in reaction to the success of the experience.”...

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OLD FILMS, NEW SOUNDS: SCREENING SILENT CINEMA WITH ELECTRONIC MUSIC

From 2004 to 2006 I taught an introductory film history course in the School for the Contemporary Arts at Simon Fraser University covering cinema’s first five decades. While approximately twenty-five percent of the students taking this course were enrolled in the department’s film production major and were actively creating their own 16mm films, the remain- ing students were largely taking the course out of personal interest or to fulfill requirements for other degrees. As such, the majority of students were not nec- essarily familiar with the technical differences between film and video, nor their variability in image quality. In order to demonstrate this distinction, a compari- son was undertaken...

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Canadian Narrative Cinema from the Margins: The Nation and Masculinity in Goin' Down The Road

Dense, erudite and sometimes even esoteric, Bonfand’s book is written for the scholar rather than a more general audience. Nevertheless, one has to acknowledge the risk-taking and even the tour de force aspect of the book in which Bonfand ponders the relation between painting and cinema in a very new way. Finally, this work is very encouraging for further investigations of the phenomenology of film using the groundbreaking concepts of the French new wave in phenomenology. After a rather intense period of discussing the aesthetic relationship between cinema and painting in the early nineties, French research in Film...

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The Tutor-Code of Classical Cinema

Like the majority of the works addressing this topic, Le cinema saturé first appears arbitrarily composed of autonomous case studies. Bonfand claims for that his inductive method: each study comes from an ‘intuition induced from the still and moving images, and never from copying a conceptual position on these images’ (9). Indeed, his essay is far from being a history or even a genealogy of painting in cinema. Rather, it follows the moving path of the ‘sublation’ (Bonfand uses the German term Aufhebung) of painting by cinema. Considering the dual connotation of the Hegelian concept (both ‘to keep’...

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