Tài liệu miễn phí Sân khấu điện ảnh
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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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