COMM 3500

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  1. Visions of Light.
    Convenions other than color and sound.
    • M.O.S. meant light camera and more freedom of placement and movement.
    • Hand held camera to fit into tighter spaces
    • steadi-cams and pana-glides
    • Moving the camera with the use of a helicopter, dollies, and cranes.
    • Influences- star driven, studio system and "look"
    • Gloss of Paramount. Hard Edge of Warner Bros. Glamour of MGM.
  2. Narrative Conventions of Sunset Blvd.
    • Fem fatale- as black widows, powerful, and sexual
    • Iconography of tight clothes and claws
    • Weak or flawed characters in doomed love triangles

    • Money, sex, drugs, and crime
    • Underworld or demi-monde
    • Noir love is twisted passionate, obsessive, and dangerous
    • Bad luck, doom, and despair
    • Fate- why me
    • Unhappy and more realistic endings where people die.
  3. Touch of Evil
    Style of Film Noir
    • Characters in “real city” environments; undergrounds, rain soaked streets, sewers and subways as “city poetry” and as “visual correlative of hell”
    • No escape; isolation; alienation—lighting darkness alters the space psychologically by working on subconscious
    • Canted angles reflect subjective experience of characters
    • Single source lighting
    • Low wide angles
    • On location, small budgets, short schedules
    • Wet streets
    • Dark vs.light as more or less “primal”
    • Shadows; venetian blinds
    • Sparse, Throbbing neon- heighted jeapordy "free to leave?"
    • Tenebrism- walking in & out of light
    • Manichiist- light & dark = good & evil
    • Flagging- slashes of light
    • Hand held- Canted angles of the horizon so it's not flat. designed to disorient the audience,
    • Dutch angles in chase scenes
  4. Combat film Conventions
    • Myth-
    • Clear-cut right and wrong; good and evil, sacrifice made to “Liberty and freedom”
    • War, death and sacrifice has a politically correct, moral meaning, and satisfying, simplistic pay-off
    • Propoganda
    • Conflict/frame—foreign conquest or domestic “reintegration” to home front
    • Subject/treatment—gruesome realism, heroism. The “ideal” platoon—a racially integrated, well-led winner of war—fighting by Code, willing to sacrifice all for popular cause.
    • Theme—sacrifice of the platoon, service of duty, honor, country
    • Treatment—morale building, approved by OWI gov’t censors, films “by device
    • Patriotism vs. Realism
    • Disparate communities united around cause
    • “Heroism” equates with service; posited as reality, not “myth”
    • “Realism” equates with “truth”; nothing added, no effort at deception
    • Films which minister to a sometimes deceitful form of “truth” to reinforce public opinion
    • Treatment of the “enemy” as evil, vicious killing “machines” or “animals” without rules or humanity
    • Treatment of U.S. Soldier as “glad to die” for cause
    • Realism
    • The only legitimate movie about war would have a rifleman behind screen shooting at the audience who are wounded –Sam Fuller
    • Recreating the experience of death and combat, requires a “representation” of reality, once removed, sometimes heightened or made “surreal”.
    • verisimilitude \ver-uh-suh-MIL-uh-tood; -tyood\, noun:
    • 1. The appearance of truth; the quality of seeming to be true.
    • 2. Something that has the appearance of being true or real
  5. Platoon
    • TAG: the first casualty of war is innocence. The “heads” know more…”feed your head” G. Slick
    • “ARC- Taylor Ends his innocence “glory” of war to “realism” of survival…

    • Setting up the perimeter, bugs, Buddha, “fogged” blue light
    • Montage of daily life—drudgery, boredom punctuated by seconds of madness
    • Black jungle, shallow focus, blurred enemy, heart beat EXPLODES in “seconds of madness” smoke, flares, screaming and blood
    • MONTAGE: Don’t see the enemy, but feel them
    • Realism, hyper, surreal-
    • Jiggly stuff, panning fast, long lens, shifting POV making conflict and enemy unclear; a “worm’s eye view”
    • Frames of reference to John Wayne & Rambo
    • Visible techniques
    • Scar to help characterize Barnes
    • Colored flares
    • Editing in the fight scenes
    • Pyrotechniques
    • POV Rack focus of Taylor’s blurred vision when Barnes returns in bush
    • Copter aerial shots
    • MONTAGE use of Addagio (Geo. DeLerue) juxtaposed with slow motion control of Elias death scene
    • Sentiment vs. Professional Ethics
    • War as exciting or exactly as it was fought or both
    • The 2 “leaders” of 2 platoons contrasted as “exaggerated warriors”, representation of distinct father-figures
    • INTERCUT “stoners” vs. “drinkers” as world of extremes; amber and crimson “art” of the underworld—born again, Taylor’s life begins
  6. Hurt Locker
    • Tagline: you’ll know it when you’re in it…*
    • Realism
    • 1st hand account of imbedded journalist
    • Location Amman, Jordan for Baghdad; portions only 5km from Iraq (Casablanca rejected)
    • Real Talon Robot (Northrup Grumman) not able to fake or build; actual camera feed to Humvee used
    • Camera placement 4-5 “ninja cameras” used to achieve POV (bird’s eye; worm’s eye, etc)
    • 4-5 16mm “phantom” or “ninja” cameras were used to film scenes in documentary style.
    • 80 lb Kevlar suit
    • Real heat, real sweat, real immediacy
    • Sfx dept instructed to create real shock wave
    • Conventions and controversy
    • In calling this a genre-flick what is the implied criticism?
    • What conventions make this a classic combat film?
    • Gov’t cooperation?
    • Representations of the “Ideal platoon” and “heroism”?
    • Moral ambiguity? Rules of engagement?
    • Perception cultivated of “the enemy”?

Card Set:
COMM 3500
2012-06-01 13:20:24
COMM 3500 Final Exam Notes

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