Film Chapter 17 American Emergence

bob fosse

Damn Yankees, Sweet Charity, Cabaret, Dancin', All That Jazz, The Pajama Game,, Choreographed Chicago, unique jazz style, son of a vaudevillian and had his own act growing up, also had a burlesque act growing up, Became known for his sultry, seductive style, and he was the only choreographer to win the "triple crown") Oscar, Emmy and Tony Awards in the same year. He choreographed a number of musicals including The Pajama Game,Damn Yankees, Liza with a "Z", Sweet Charity, Cabaret, Chicago, All That Jazz, and Dancin'.

goodfellas

Martin Scorese, 1990, PRINCIPAL CAST Ray Liotta, Robert De Niro, Joe Pesce, Ganster Film, Film Noir, and Biopic, took place in a night club filmmaker, he "wanted lots of movement and I wanted it to be throughout the whole picture, and I wanted the style to kind of break down by the end, so that by [Henry's] last day as a wiseguy, it's as if the whole picture would be out of control, give the impression he's just going to spin off the edge and fly out."[2] He claims that the film's style comes from the first two or three minutes of Jules and Jim: extensive narration, quick edits, freeze frames, and multiple locale switches.[5] It was this reckless attitude towards convention that mirrored the attitude of many of the gangsters in the film. Scorsese remarked, "So if you do the movie, you say, 'I don't care if there's too much narration. Too many quick cuts?—That's too bad.' It's that kind of really punk attitude we're trying to show".[5] He adopted a frenetic style to almost overwhelm the audience with images and information.[1] He also put plenty of detail in every frame because the gangster life is so rich. The use of freeze frames was done because Scorsese wanted images that would stop "because a point was being reached" in Henry's life.[1] Joe Pesci did not judge his character but found the scene where he kills Spider for talking back to his character hard to do because he had trouble justifying the action until he forced himself to feel the way Tommy did.[4] Lorraine Bracco found the shoot to be an emotionally difficult one because it was such a male-dominated cast and realized that if she did not make her "work important, it would probably end up on the cutting room floor".[4] When it came to the relationship between Henry and Karen, Bracco saw no difference between an abused wife and her character.[4] According to Pesci, improvisation and ad-libbing came out of rehearsals where Scorsese let the actors do whatever they wanted. He made transcripts of these sessions, took the lines that the actors came up with that he liked best, and put them into a revised script that the cast worked from during principal photography.[10] For example, the scene where Tommy tells a story and Henry is responding to him — the "Funny how? Do I amuse you?" scene — is based on an actual event that happened to Pesci. It was worked on in rehearsals where he and Liotta improvised and Scorsese recorded 4-5 takes, rewrote their dialogue and inserted it into the script.[15] The cast did not meet Henry Hill during the film's shoot until a few weeks before it premiered. Liotta met him in an undisclosed city. Hill had seen the film and told the actor that he loved it.[4] The long tracking shot through the Copacabana nightclub came about because of a practical problem: the filmmakers could not get permission to go in the short way and this forced them to go round the back.[1] Scorsese decided to film the sequence in one unbroken shot in order to symbolize that Henry's entire life was ahead of him, commenting, "It's his seduction of her [Karen] and it's also the lifestyle seducing him."[1] This sequence was shot eight times.[15] Henry's last day as a wiseguy was the hardest part of the film for Scorsese to shoot because he wanted to properly show Henry's state of anxiety, paranoia and racing thoughts caused by cocaine and amphetamines intoxication, which is difficult for an actor (who had never been under their influence) to accurately portray.[1] Scorsese explains to movie critic Mark Cousins in an interview the reason for the Joe Pesci shooting at the screen shot at the end of the film, "well that's a reference right to the end of The Great Train Robbery, that's the way that ends, that film, and basically the plot of this picture is very similar to The Great Train Robbery. It hasn't changed, 90 years later, it's the same story, the gun shots will always be there, he's always going to look behind his back, he's gotta have eyes behind his back, because they're gonna get him someday." The director ended the film with Henry regretting that he is no longer a wiseguy and Scorsese said, "I think the audience should get angry at him and I would hope they do—and maybe with the system which allows this."[1] Scorsese wanted to depict the film's violence realistically, "cold, unfeeling and horrible. Almost incidental."[3] However, he had to remove ten frames of blood to ensure an R rating from the MPAA.[7] With a budget of $25 million, Goodfellas was Scorsese's most expensive film to date but still only a medium budget by Hollywood standards. It was also the first time he was obliged by Warner Bros. to preview the film.first ten minutes.[15] One of the favorite scenes for test audiences was the one where Tommy tells the story and where the dead bodies are discovered in the car, dumpster, and the meat-truck. Sometimes, the lyrics of songs were put between lines of dialogue to comment on the action.[1] Some of the music Scorsese had written into the script while other songs he discovered during the editing phase.[15] recent film history."[22] Awards[edit] Award Category Nominee Result Academy Award Best Picture[26] Martin Scorsese and Irwin Winkler Nominated Best Director[26] Martin Scorsese Nominated Best Film Editing[26] Thelma Schoonmaker Nominated Best Adapted Screenplay[26] Martin Scorsese and Nicholas Pileggi Nominated Best Supporting Actor[26] Joe Pesci Won Best Supporting Actress[26] Lorraine Bracco Nominated Golden Globe Award Best Motion Picture - Drama[27] Martin Scorsese and Irwin Winkler Nominated Best Director[27] Martin Scorsese Nominated Best Supporting Actor[27] Joe Pesci Nominated Best Supporting Actress[27] Lorraine Bracco Nominated Best Screenplay[27] Martin Scorsese and Nicholas Pileggi Nominated British Academy Film Award Best Film Martin Scorsese and Irwin Winkler Won Best Director Martin Scorsese Won Best Adapted Screenplay Martin Scorsese and Nicholas Pileggi Won Best Actor Robert De Niro Nominated Best Editing Thelma Schoonmaker Won Best Cinematography Michael Ballhaus Nominated Best Costume Design Richard Bruno Won Directors Guild of America Award Outstanding Directing - Feature Martin Scorsese Nominated Writers Guild of America Award Best Adapted Screenplay Martin Scorsese and Nicholas Pileggi Nominated César Award Best Non-French Film Martin Scorsese and Irwin Winkler Nominated Venice Film Festival Silver Lion for Best Director[28] Martin Scorsese Won Audience Award Martin Scorsese Won Filmcritica "Bastone Bianco" Award Martin Scorsese Won New York Film Critics Circle Award Best Film Martin Scorsese and Irwin Winkler Won Best Director Martin Scorsese Won Best Actor Robert De Niro Won Los Angeles Film Critics Association Award Best Film Martin Scorsese and Irwin Winkler Won Best Director Martin Scorsese Won Best Supporting Actor Joe Pesci Won Best Supporting Actress Lorraine Bracco Won Best Cinematography Michael Ballhaus Won National Board of Review Award Best Supporting Actor Joe Pesci Won Boston Society of Film Critics Award Best Film Martin Scorsese and Irwin Winkler Won Best Director Martin Scorsese Won Best Supporting Actor Joe Pesci Won Chicago Film Critics Association Award Best Film Martin Scorsese and Irwin Winkler Won Best Director Martin Scorsese Won Best Supporting Actor Joe Pesci Won Best Supporting Actress Lorraine Bracco Won Best Screenplay Martin Scorsese and Nicholas Pileggi Won Kansas City Film Critics Circle Award Best Film Martin Scorsese and Irwin Winkler Won Best Director Martin Scorsese Won Best Supporting Actor Joe Pesci Won National Society of Film Critics Award Best Film Martin Scorsese and Irwin Winkler Won Best Director Martin Scorsese Won Bodil Award Best American Film Martin Scorsese and Irwin Winkler Won Legacy[edit] Goodfellas is #94 on the American Film Institute's "100 Years, 100 Movies" list and moved up to #92 on its AFI's 100 Years... 100 Movies (10th Anniversary Edition) from 2007. In June 2008, the AFI put Goodfellas at #2 on their AFI's 10 Top 10—the best ten films in ten "classic" American film genres—after polling over 1,500 people from the creative community. Goodfellas was acknowledged as the second best in the gangster film genre (after The Godfather).[29] In 2000, the United States Library of Congress deemed the film "culturally significant" and selected it for preservation in the National Film Registry. Roger Ebert named Goodfellas the "best mob movie ever" and placed it among the best films of the 1990s.[30] In December 2002, a UK film critics poll in Sight and Sound ranked the film #4 on their list of the 10 Best Films of the Last 25 Years.[31] Time included Goodfellas in their list of Time's All-TIME 100 Movies.[32] Channel 4 placed Goodfellas at #10 in their 2002 poll The 100 Greatest Films. Empire listed Goodfellas at #6 on their "500 Greatest Movies Of All Time".[33] Total Film voted Goodfellas #1 as the greatest film of all time.[34] Premiere listed Joe Pesci's Tommy DeVito as #96 on its list of "The 100 Greatest Movie Characters of All Time," calling him "perhaps the single most irredeemable character ever put on film."[35] Empire ranked Tommy DeVito #59 in their "The 100 Greatest Movie Characters" poll.[36] Goodfellas inspired director David Chase to make the HBO television series The Sopranos. Chase said "Goodfellas is the Koran for me." He also told Peter Bogdanovich: "Goodfellas is a very important movie to me and Goodfellas really plowed that ... I found that movie very funny and brutal and it felt very real. And yet that was the first mob movie that Scorsese ever dealt with a mob crew. ... as opposed to say The Godfather ... which there's something operatic about it, classical, even the clothing and the cars. You know I mean I always think about Goodfellas when they go to their mother's house that night when they're eating, you know when she brings out her painting, that stuff is great. I mean The Sopranos learned a lot from that."[37] Indeed, numerous actors from Goodfellas, such as Tony Sirico, Michael Imperioli, Frank Pellegrino, Tony Lip, Frank Vincent and Lorraine Bracco, would later be cast in major roles on The Sopranos.

Back in the '60s part 2

We could spend a whole semester on this period of American filmmaking. Most directors who have achieved god-like status (Coppola, George Lucas, Spielberg, Scorsese, Altman, and even Clint Eastwood*) began in this new wave and devised their personal styles based on many of the premises of the French auteur theorists. *Eastwood was an actor in this period, but has developed into a world-class director with similar sensibilities. More on him in later units! In the 1960s there emerged another strain of filmmakers, those not so much interested in making "movies" as making "art." In other words, many artists of the day, like Andy Warhol, made short, idiosyncratic films that stand as miniature, moving visual art pieces. Even John Lennon made a few such shorts. One filmmaker that sort of defies lumping in with others is Sam Peckinpah, known primarily for his use of ultra-violence. Look on YouTube for the end of his The Wild Bunch to see the kind of choreographed, bad-ass violence that influenced people like Quentin Tarantino.

american new wave

When a new prominence of filmmakers came to prominence in American and influenced types of films produced, production and marketing, impacted ways major studios appraoched filmmaking, also gave the movies a young freshness, energy, sexuality. Able to reach young audiences this is refered to as,author penn martin scores john cassavetes

auteurist

a model of film theory that studies the work of a film maker auteur (author). Directors are generally considered to be the prime auteurs in cinema., o Auteur = Author of film, a model of film theory that studies the work of a film auteur. directors are generally considered to be the prime auteurs in cinema. auteurist theory studies the films of a cinema auteur as works of personal expression

andrew sarris

coined the term the auteur theory and was a proponent of it. auteurist manifesto imported auteurism into US, sparked main film critical debate of the 1960s, , popularized the auteur theory of criticism in the USA, introduced hierarchy in Cinema, , an American critic who, in 1962, wrote an essay called "Notes on the Auteur Theory

left camera angle

bottom frame to left to top frame right

right camera angle

...

martin scorese

..., Mean Streets, Taxi Driver, Raging Bull. New Hollywood.born 1942, visual style edgy and kinetic, pegs him as new yorker, crime films dark and gritty, goodfella mean streets , hand held camera

medium angle

Camera is at eye-level with subject, camera is positioned at viewer's eye level (things appear "straight" in front of an object or character), medium power objective

godfather

1972; Francis Ford Coppola film, His movies reflect the large levels of insecurity the US had in their leadership. Films like this led americans to jeer corrupt politicians and cheer on the mobsters. Usual villains become heroes (mobsters->hero, politicians->villains)., Francis Coppola, Puzo, won three oscarsCast[edit] A screenshot of Michael and Vito Corleone during The Godfather. Al Pacino (left) as Michael Corleone, Vito Corleone portrayed by Marlon Brando. Marlon Brando as Vito Corleone, formerly known as Vito Andolini, who is the Don (the "boss") of the Corleone family. He is a native Sicilian married to Carmela Corleone. Vito is the father of Sonny, Fredo, Michael, and Connie. Al Pacino as Michael Corleone, the Don's youngest son, recently returned from World War II. The only college-educated member of the family, Michael initially wants nothing to do with the "family business". He is the main protagonist of the story and his evolution from doe-eyed outsider to ruthless boss is the key plotline of the film. James Caan as Santino "Sonny" Corleone, Don Corleone's hot-headed eldest son. As underboss, he is being groomed to succeed his father as head of the Corleone family. Richard S. Castellano as Peter Clemenza, a caporegime for the Corleone family. He is also an old friend of Vito Corleone and Salvatore Tessio. Robert Duvall as Tom Hagen, Don Corleone's informally adopted son, he is the family lawyer and consigliere (counselor). Unlike the Corleones, he is of German-Irish descent, not Sicilian. Diane Keaton as Kay Adams-Corleone, initially Michael's non-Italian girlfriend and then his second wife and the mother of his two children. John Cazale as Frederico "Fredo" Corleone, the middle son of the Corleone family. Deeply insecure and not very bright, he is considered the weakest of the Corleone brothers. Talia Shire as Constanzia "Connie" Corleone, the youngest child and only daughter of the Corleone family. She marries Carlo Rizzi at the beginning of the film. Abe Vigoda as Salvatore Tessio, a caporegime for the family. He is also an old friend of Vito Corleone and Peter Clemenza. Al Lettieri as Virgil "The Turk" Sollozzo, a heroin dealer associated with the Tattaglia family. He asks Don Corleone to protect the Tattaglia family's heroin business through his political connections. Gianni Russo as Carlo Rizzi, introduced to the Corleone family by Sonny; became Connie's husband. Ultimately he betrays Sonny to the Barzini family. Sterling Hayden as Captain McCluskey, a corrupt police captain on Sollozzo's payroll. Lenny Montana as Luca Brasi, a loyal enforcer utilized by Vito Corleone. Richard Conte as Emilio Barzini, Don of the Barzini family. Al Martino as Johnny Fontane, a world-famous popular singer and godson of Vito, loosely based on Frank Sinatra. John Marley as Jack Woltz, a powerful Hollywood producer. Alex Rocco as Moe Greene, a longtime associate of the Corleone family who owns a Las Vegas hotel, based on Bugsy Siegel. Morgana King as Carmela Corleone, Vito's wife and mother of Sonny, Fredo, Michael, and Connie, and adoptive mother to Tom Hagen. Corrado Gaipa as Don Tommasino, an old friend of Vito Corleone, who shelters Michael during his exile in Sicily. Franco Citti as Calò, Michael's loyal bodyguard in Sicily. Johnny Martino as Paulie Gatto, a soldier under Peter Clemenza and Vito's driver. Victor Rendina as Philip Tattaglia, Don of the Tattaglia family. Tony Giorgio as Bruno Tattaglia, son and underboss. Sonny Corleone has him assassinated in retaliation for the shooting of Vito Corleone. Simonetta Stefanelli as Apollonia Vitelli-Corleone, a young girl Michael meets and marries while in Sicily. Louis Guss as Don Zaluchi, Don of the Zaluchi family of Detroit. Tom Rosqui as Rocco Lampone, a soldier under Clemenza who eventually becomes a caporegime in the Corleone family. Joe Spinell as Willi Cicci, a soldier in the Corleone family. Richard Bright as Al Neri, Michael Corleone's personal bodyguard who eventually becomes a caporegime. Julie Gregg as Sandra Corleone, the wife and, later, widow of Sonny. Jeannie Linero as Lucy Mancini, Sonny's mistress. Sofia Coppola (uncredited) as Michael Francis Rizzi, godchild of Michael Corleone. The film is based on Mario Puzo's novel The Godfather, a 67 week New York Times Best Seller that sold over 10 million copies.[7][8][9] The work first came to the attention of Paramount Pictures in 1967 as an unfinished sixty-page manuscript. Par

high camera angle

A camera angle which looks down on its subject making it look small, weak or unimportant, makes a subject seems small, vulnerable or weak, but not always, looking down, makes audiance feel superior bird's eye view extreme high angle

low camera angle

A camera angle which looks up at its subject; it makes the subject seem important and powerful., a shot in which to camera is evidently below eye level., puts the viewer in a position of looking up to , increases tension, someone/something. associates power with person or product, puts the viewer in a position of looking up to someone/something. associates power with person or product , puts the viewer in a position of looking up to someone/something. associates power with person or product, looking up, often intemidation, often sense of voyerism, A camera angle which looks up at its subject; it makes the subject seem important and powerful.

andy Warhol

An American commercial illustrator and artist famous for his Campbell's soup painting. He was the founder of the pop-art movement, which like all other art movements in history reflected something back on the present society., 1928-1987) US painter, graphic artist, and filmmaker; born Andrew Warhola. A major exponent of pop art, he achieved fame for a series of silkscreen prints and acrylic paintings of familiar objects (such as Campbell's soup cans) and famous people (such as Marilyn Monroe), that are treated with objectivity and precision., the six hour sleep, empire,From Wikipedia, the free encyclopedia The following are the films directed or produced by Andy Warhol. Fifty of the films have been preserved by the Museum of Modern Art.[1] avant grade films Year Film Cast Notes 1963 Sleep John Giorno Running time of 320+ minutes 1963 Andy Warhol Films Jack Smith Filming "Normal Love" Jack Smith 1963 Sarah-Soap Sarah Dalton 1963 Denis Deegan Denis Deegan 1963 Kiss Rufus Collins, Johnny Dodd, Fred Herko, Jane Holzer, Naomi Levine 1963 Rollerskate/Dance Movie Fred Herko 1963 Jill and Freddy Dancing Fred Herko, Jill Johnston 1963 Elvis at Ferus Irving Blum 1963 Taylor and Me Taylor Mead 1963 Tarzan and Jane Regained... Sort of Taylor Mead, Dennis Hopper, Naomi Levine, 1963 Duchamp Opening Irving Blum, Gerard Malanga 1963 Salome and Delilah Fred Herko, Deborah Lee 1963 Haircut No. 1 Billy Name, Fred Herko, John Daley, James Waring 1963 Haircut No. 2 Billy Name, Fred Herko, Deborah Lee 1963 Haircut No. 3 Johnny Dodd, Billy Name 1963 Henry in Bathroom Henry Geldzahler 1963 Taylor and John John Giorno, Taylor Mead 1963 Bob Indiana, Etc. John Giorno 1963 Billy Klüver John Giorno 1963 John Washing John Giorno 1963 Naomi and John John Giorno 1964 Screen Tests 1964 Naomi and Rufus Kiss Naomi Levin, Rufus Collins 1964 **** *** DeVeren Bookwalter, Willard Maas (offscreen) Shot at 24 frame/s, projected at 16 frame/s 1964 Jill Johnston Dancing Jill Johnston 1964 Shoulder Lucinda Childs 1964 Eat Robert Indiana 1964 Dinner At Daley's 1964 Soap Opera Jane Holzer, Rufus Collins, Gerard Malanga. Sam Green, Ivy Nicholson 1964 Batman Dracula Gregory Battcock, Rufus Collins, Henry Geldzahler, Jane Holzer, Naomi Levine, Ivy Nicholson, Gerard Malanga, Taylor Mead, Mario Montez 1964 Three Walter Dainwood, Gerard Malanga, Ondine 1964 Jane and Darius Jane Holzer 1964 Couch Gregory Corso, Allen Ginsberg, Gerard Malanga, Naomi Levin, Henry Geldzahler, Taylor Mead 1964 Empire Runtime of 8 hours 5 minutes 1964 Henry Geldzahler Henry Geldzahler 1964 Taylor Mead's Ass Taylor Mead 1964 Six Months 1964 Mario Banana Mario Montez 1964 Harlot Gerard Malanga, Mario Montez 1964 Mario Montez Dances Mario Montez 1964 Isabel Wrist Isabel Eberstadt 1964 Imu and Son Imu 1964 Allen Gerard Malanga, Taylor Mead 1964 Philip and Gerard Phillip Fagan, Gerard Malanga 1964 13 Most Beautiful Women assembled from Screen Tests 1964 13 Most Beautiful Boys assembled from Screen Tests 1964 50 Fantastics and 50 Personalities assembled from Screen Tests 1964 Pause 1964 Messy Lives 1964 Lips 1964 Apple 1964 The End of Dawn 1965 John and Ivy Ivy Nicholson, John Palmer 1965 Screen Test #1 Philip Fagan 1965 Screen Test #2 Mario Montez 1965 The Life of Juanita Castro Marie Menken, Mercedes Ospina, Ronald Tavel 1965 Drink Gregory Battcock,[2]Emile de Antonio 1965 Suicide 1965 Horse Gregory Battcock,[2] Larry Letreille 1965 Vinyl Gerard Malanga, Ondine, Edie Sedgwick 1965 Bitch Gerard Malanga, Marie Menken, Edie Sedgwick 1965 Poor Little Rich Girl Edie Sedgwick 1965 Face Edie Sedgwick 1965 Restaurant Bibbe Hansen, Donald Lyons, Ondine, Edie Sedgwick 1965 Kitchen Donald Lyons, René Ricard, Edie Sedgwick, Roger Trudeau 1965 Afternoon Dorothy Dean, Donald Lyons, Ondine, Edie Sedgwick 1965 Beauty No. 1 Edie Sedgwick 1965 Beauty No. 2 Gerard Malanga, Gino Piserchio, Edie Sedgwick, Chuck Wein 1965 Space Edie Sedgwick 1965 Factory Diaries Paul America, Billy Name, Ondine, Edie Sedgwick 1965 Outer and Inner Space Edie Sedgwick 1965 Prison Bibbe Hansen, Marie Menken, Edie Sedgwick 1965 The Fugs and The Holy Modal Rounders The Fugs, The Holy Modal Rounders 1965 Paul Swan Paul Swan 1965 My Hustler Paul America, Ed Hood 1965 My Hustler II Paul America, Pat Hartley, Gerard Malanga, Billy Name, Ingrid Superstar 1965 Camp Jane Holzer, Gerard Malanga, Mario Montez, Paul Swan 1965 More Milk, Yvette Mario Montez 1965 Lupe Billy Name, Edie Sedgwick 1965 The Closet Nico 1966 Ari and Mario Mario Montez, Nico 1966 3 Min. Mary Might 1966 Eating Too Fast Gregory Battcock[2] 1966 The Velvet Underground and Nico: A Symphony of Sound The Velvet Underground, Nico 1966 The Velvet Underground A.K.A. Moe in Bondage Moe Tucker, John Cale, Sterling Morrison, Lou Reed 1966 Hedy Gerard Malanga, Mario Montez, Ingrid Superstar, Ronald Tavel, Mary Woronov 1966 Rick Roderick Clayton Unreleased 1966 Withering Heights Charles Aberg, Ingrid Superstar Unreleased 1966 Paraphernalia Susan Bottomly 1966 Whips 1966 Salvador Dalí Salvador Dalí, Gerard Malanga 1966 The Beard Gerard Malanga, Mary Woronov 1966 Superboy Susan Bottomly, Ed Hood, Mary Woronov 1966 Patrick Patrick Fleming 1966 Chelsea Girls Brigid Berlin, Susan Bottomly, Eric Emerson, Gerard Malanga, Marie Menken, Nico, Ondine, Ingrid Superstar, Mary Woronov 1966 Bufferin Gerard Malanga 1966 Bufferin Commercial Jane Holzer, Gerard Malanga, Mario Montez 1966 Susan-Space Susan Bottomly 1966 The Velvet Underground Tarot Cards Susan Bottomly 1966 Nico/Antoine Susan Bottomly, Nico 1966 Marcel Duchamp 1966 Dentist: Nico Denis Deegan 1966 Ivy Denis Deegan 1966 Denis Denis Deegan 1966 Ivy and Denis I 1966 Ivy and Denis II 1966 Tiger Hop 1966 The Andy Warhol Story Edie Sedgwick, René Ricard 1966 Since Ondine, Ingrid Superstar, Susan Bottomly, Mary Woronov, Richard Rheem, Gerard Malanga, Ronnie Cutrone, Ivy Nicolson 1966 The Bob Dylan Story Susan Bottomly, John Cale 1966 Mrs. Warhol Richard Rheem, Julia Warhola 1966 Kiss the Boot Gerard Malanga, Mary Woronov 1966 Nancy Fish and Rodney Nancy Fish 1966 Courtroom 1966 Jail 1966 Alien in Jail 1966 A Christmas Carol Ondine 1966 Four Stars aka **** runtime of 25 hours 1967 Imitation of Christ Tom Baker, Brigid Berlin, Pat Close, Andrea Feldman, Taylor Mead, Nico, Ondine 1967 Ed Hood Ed Hood 1967 Donyale Luna Donyale Luna 1967 I, a Man Tom Baker, Valerie Solanas, Ingrid Superstar, Ultra Violet, Viva 1967 The Loves of Ondine Ondine, Brigid Berlin, Viva 1967 Bike Boy Viva, Brigid Berlin, Ingrid Superstar 1967 Tub Girls Viva, Brigid Berlin, Taylor Mead 1967 The Nude Restaurant Taylor Mead, Allen Midgette, Ingrid Superstar, Viva, Louis Waldon 1967 Construction-Destruction-Construction Taylor Mead, Viva 1967 Sunset Nico 1967 Withering Sighs 1967 Vibrations 1968 Lonesome Cowboys Joe Dallessandro, Eric Emerson, Viva, Taylor Mead, Louis Waldon 1968 San Diego Surf Joe Dallessandro, Eric Emerson, Taylor Mead, Ingrid Superstar, Viva, 1968 Flesh Jackie Curtis, Patti D'Arbanville, Candy Darling, Joe Dallessandro, Geraldine Smith 1969 Blue Movie Viva, Louis Waldon 1969 Trash Joe Dallessandro, Andrea Feldman, Jane Forth, Geri Miller, Holly Woodlawn 1970 Women in Revolt Penny Arcade, Jackie Curtis, Candy Darling, Jane Forth, Geri Miller, Holly Woodlawn 1971 Water 1971 Factory Diaries 1972 Heat Joe Dallesandro, Pat Ast, Eric Emerson, Andrea Feldman, Sylvia Miles, Lester Persky 1973 L'Amour Jane Forth, Donna Jordan, Karl Lagerfeld 1973 Flesh for Frankenstein Joe Dallesandro 1974 Blood for Dracula Joe Dallesandro 1973 Vivian's Girls Brigid Berlin, Candy Darling Phoney Candy Darling, Maxime de la Falaise 1975 Nothing Special footage Brigid Berlin, Angelica Huston, Paloma Picasso 1975 Fight Brigid Berlin 1977 Andy Warhol's Bad Carroll Baker, Perry King, Susan Tyrrell

oblique angel

Angled shot, resulting in lopsided image off balance.

Back in the '60s

Back in the '60s America in the 1960s was growing into a youth culture: kids moving out of the family house before marriage, hippies and Vietnam War protests, Drug culture, and that evil Rock-and-Roll. It is no wonder, then, that many of the most cutting-edge and memorable films of the period benefitted from the auteur-led production of a movie slanted toward young people's interests. In fact, the movie we're watching for this unit, Mike Nichols' The Graduate, is everything and more—a true satire of the "Generation Gap" that emerged in the '60s and threatened to make parents more than a little uncomfortable. More on that film later. New Wave films tend to incorporate odd technique to tell a smallish, personal story. Many films by Arthur Penn, such as the brilliant Alice's Restaurant, represent this point well. Robert Altman (best known early in his career for the movies M*A*S*H and Nashville) used an ensemble of actors who improvised scenes and played along with Altman's finger-in-the-eye of authority.

john cassavetes

Director of Shadows, show in 1960 on 16mm film for $40,000. Was an actor, but unhappy with bit parts in film and TV, so he began an acting workshop in NYC, improvising scenarios that led to his first feature., Director of "Shadows" (1961); Cinema Vertite=style of filmmaking, combining naturalistic techniques with stylized cinematic devices of editing and camerawork, staged set-ups, and the use of the camera to provoke subjects. It is also known for taking a provocative stance toward its topics, American actor most notably in Rosemary's Baby, and The Dirty Dozen., (1961); Cinema Vertite=style of filmmaking, combining naturalistic techniques with stylized cinematic devices of editing and camerawork, staged set-ups, and the use of the camera to provoke subjects. It is also known for taking a provocative stance toward its topics, he was born in NYC of Greek immigrant parents, he was a popular actor in t.v. during the 1950s, specializing in ethnic juvenile deliquents usually in Italian, Greek, or some other Mediterranean variant. he directed isfirst feature Shadows, which was shot in NYS w/ lightweingt 16mm equipment. He directed Husbands. women under the influnancefilms., New Hollywood director; "A Woman Under The Influence". Off-Hollywood director.committe to method acting, faces, minnie and moskowitz, gloria

francis ford coppola

Director of the Godfather and Apocalypse Now, The Godfather Trilogy, 1. The Godfathers I-III (1974-90) 2. Apocalypse Now (1979) 3. Jack (1996) 4. Dracula (1992) RETIRED, Attended UCLA; Considered to be the most adventurous of film school generation. American Zoetrope: privately run film studio, centred in San Francisco and founded by him and George Lucas., director, producer and co-writer, The Godfather (1972), he used a lot of symbolic lighting in his movies with contrast between light and dark.

Film-watching Assignment

Film-watching Assignment As I noted before, I could go on and on about these filmmakers. Suffice to say that the majority of their films are worth watching and are memorable. I'll include a list of my personal favorites at the end of the unit. •Read the chapter and take names! •Then watch the Barsam DVD dealing with "Camera Angles." •Once you've taken the pre-quiz, then it's time for •The Graduate...

the shining extreme camera angel

Stephen King, Kubrick2. Extreme camera angles I remember watching the scene in "The Shining" in which Shelley Duvall locks Jack Nicholson in the pantry and he does his best to persuade her to let him out. At one point he is framed from directly below, in a camera angle that is almost perfectly vertical, and I felt so disorientated that it took me several seconds to work out precisely what I was seeing. It is not self-indulgent: this particular extreme angle in this scene really works, being fully consistent with the character and the tone of the scene.

The Graduate

The Graduate The Graduate is one of my favorite films, and it was a hard choice between programming this film or The Godfather. Ideally, we'd get to watch both, but this is a limited summer schedule. Most of you have seen The Godfather, and I consider both The Graduate and The Godfather to be nearly perfect films, each in its own way. The Graduate is very funny. It becomes funnier as one grows older than the age of Benjamin in the film. So, it may hit close to home for some of you. Just pretend you're watching someone other than a possible you, and it becomes hilarious! Mike Nichols made only one film before this one—Who's Afraid of Virginia Woolf? He is a natural director, and began his career as part of a very famous improv team called Nichols and (Elaine) May. Look for some of their stuff on YouTube. He went on to direct on Broadway, then to films. In The Graduate, he pulls all the pieces together: • design (lots of black-and-white clothing and furnishings for the "older" generation, •camera work (really phenomenal rack focus and zoom use), •and even music (Simon and Garfunkel tunes).

bonnie and clyde

The fictional account of a pair of historical robbers and their careers that eventually lead to both characters' brutal deaths. warren beatty and faye dunaway violence upbeat musical banjo score, , this 1967 film caused a lot of controversy over violent film content, eventually let to the ratings of films,

Unit Five American Reemergence

Unit Five American Reemergence Introduction Most everything we've encountered in this class so far (even India) has in some way borne the stamp of the "new wave" and the theory of the auteur. Not surprisingly, then, the decline of Hollywood's studio system (contract actors in a "stable" ready to act for a director with a few day's notice) created a vacuum into which auteurism flowed through the likes of Arthur Penn, Robert Altman, and John Cassavetes. A number of other talented and accomplished directors of the period seemed to be more "Hollywood" than the three mentioned above: Mike Nichols, Francis Ford Coppola, and Martin Scorsese to name some of the most famous. So, in America, there's the tug-o-war between the director's power and the Hollywood production behemoth. Someone like Steven Spielberg seems to have merged the two into what would come to be called the "blockbuster mentality."

George lucas

United States screenwriter and filmmaker, Directed "American Graffiti" and "Star Wars"

camera angles

Various positions of the camera (high, medium, or low; and left, right, or straight on) with respect to the subject, each giving a different viewpoint or effect., with respect to the subject, each giving a different viewpoint or effect, The viewpoints or angles from which the camera films the subject, 1.) POV shot= represents what character is looking at, High angle, low angle, depth of field, POV: taken from the level of an actors eyes (represents what the character is looking at, the angle at which an object or event is viewed. An aerial view can provide the sweeping panorama needed to convey the enormity of a battle, while a low camera angle can provide an expansive view of the skyCamera Shots A camera shot is the amount of space that is seen in one shot or frame. Camera shots are used to demonstrate different aspects of a film's setting, characters and themes. As a result, camera shots are very important in shaping meaning in a film. Reviewing the examples on the right hand side of this page should make the different camera shots clearer. Camera angles viewer identifies with the camera's point of view. It is important that you do not confuse camera angles and camera shots. Camera shots are used to demonstrate different aspects of setting, themes and characters. Camera angles are used to position the viewer so that they can understand the relationships between the characters. These are very important for shaping meaning in film as well as in other visual texts A bird's eye angle (animation on right) is an angle that looks directly down upon a scene. This angle is often used as an establishing angle, along with an extreme long shot, to establish setting. A high angle (animation on right) is a camera angle that looks down upon a subject. A character shot with a high angle will look vulnerable or small. These angles are often used to demonstrate to the audience a perspective of a particular character. The example above demonstrates to us the perspective or point of view of a vampire. As a viewer we can understand that the vampire feels powerful. An eye-level angle (animation on right) puts the audience on an equal footing with the character/s. This is the most commonly used angle in most films as it allows the viewers to feel comfortable with the characters. Viewer identifies with the lens. A low angle (animation on right) is a camera angle that looks up at a character. This is the opposite of a high angle and makes a character look more powerful. This can make the audience feel vulnerable and small by looking up at the character. This can help the responder feel empathy if they are viewing the frame from another character's point of view. extreme low angles- character's confusion e.g. shining wendy's vulnerable terrier, Another camera angle that you might come across is a Dutch angle. low angle increases suspense A Dutch angle ( is used to demonstrate the confusion of a character. The example above should disorientate you A tracking shot and a dolly shot (animation on right) ha

bird's eye camera angle

an extremely high camera position (around 1 o'clock) that simulates the view from a plane or high building

stan brackhage

black ice (director), Used cinema as poetry and aspect art autobiographicalStan Brakhage From Wikipedia, the free encyclopedia Stan Brakhage Stan Brakhage.jpg Born Robert Sanders January 14, 1933 Kansas City, Missouri Died March 9, 2003 (aged 70) Victoria, British Columbia Nationality United States Known for Experimental film James Stanley Brakhage (/ˈbrækədʒ/ brak-əj; January 14, 1933 - March 9, 2003), better known as Stan Brakhage, was an American non-narrative filmmaker. He is considered to be one of the most important figures in 20th-century experimental film. Over the course of five decades, Brakhage created a large and diverse body of work, exploring a variety of formats, approaches and techniques that included handheld camerawork, painting directly onto celluloid, fast cutting, in-camera editing, scratching on film, collage film and the use of multiple exposures. Interested in mythology and inspired by music, poetry, and visual phenomena, Brakhage sought to reveal the universal in the particular, exploring themes of birth, mortality,[1] sexuality,[2] and innocence.[2] Brakhage's films are often noted for their expressiveness[2][3] and lyricism.[2][4] Contents [hide] 1 Biography 1.1 The 1960s and beginning of recognition 1.2 1970s and 1980s 1.3 1990s - 2000s and death 2 Influence 3 Filmography 4 Writings 5 References 6 External links Biography[edit] Born Robert Sanders in Kansas City, Missouri on January 14, 1933, Brakhage was adopted and renamed three weeks after his birth by Ludwig and Clara Brakhage. As a child, Brakhage was featured on radio as a boy soprano and sang in church choirs and as a soloist at other events. He was raised in Denver, Colorado, where he attended high school with the filmmaker Larry Jordan and the musicians Morton Subotnick and James Tenney.[4] Together, Brakhage, Jordan, Tenney and Subotnick formed a drama group called the Gadflies. Brakhage briefly attended Dartmouth College on a scholarship[4] before dropping out to make films. He completed his first film, Interim, at the age of 19; the music for the film was composed by his school friend James Tenney. In 1953, Brakhage moved to San Francisco to attend the San Francisco Art Institute, then called the California School of the Arts. He found the atmosphere in San Francisco more rewarding,[4] associating with poets Robert Duncan and Kenneth Rexroth, but did not complete his education, instead moving to New York City in 1954. There he met a number of notable artists, including Maya Deren (in whose apartment he briefly lived[4]), Willard Maas, Jonas Mekas, Marie Menken, Joseph Cornell, and John Cage. Brakhage would collaborate with the latter two, making two films with Cornell (Gnir Rednow and Centuries of June) and using Cage's music for the soundtrack of his first color film, In Between. Brakhage spent the next few years living in near poverty,[4] depressed about what he saw as the failure of his work. He briefly considered suicide.[4] While living in Denver, Brakhage met Mary Jane Collom, whom he married in late 1957. Known as Jane Brakhage, she became his first wife. Brakhage tried to make money on his films, but had to take a job making industrial shorts to support his family. In 1958, Jane gave birth to the first of the five children they would have together, an event Brakhage recorded for his 1959 film Window Water Baby Moving. The 1960s and beginning of recognition[edit] When Brakhage's early films had been exhibited in the 1950s, they had often been met with derision,[4] but in the early 1960s Brakhage began to receive recognition in exhibitions and film publications, including Film Culture, which gave awards to several of his films, including The Dead, in 1962. The award statement, written by Jonas Mekas, a critic who would later become an influential experimental filmmaker in his own right, cited Brakhage for bringing to cinema "an intelligence and subtlety that is usually the province of the older arts."[ From 1961 to 1964, Brakhage worked on a series of 5 films known as the Dog Star Man cycle. The Brakhages moved to Lump Gulch, Colorado in 1964, though Brakhage continued to make regular visits to New York. During one of those visits, the 16mm film equipment he had been using was stolen. Brakhage couldn't afford to replace it, instead opting to buy cheaper 8mm film equipment. He soon began working in the format, producing a 30-part cycle of 8mm films known as the Songs from 1964 to 1969. The Songs include one of Brakhage's most acclaimed films, 23rd Psalm Branch, a response to the Vietnam War and its presentation in the mass media.

arthur penn

directed Bonnie and Clyde - turning point in violence in movies, influence by French New Wave, alice restaurant, 69, four friends 81, left handed gun 58, little big man 70, missouri breaks 76, micky one 65 bonnie and clyde 67, night moves 75

robert altman

directed MASH, , he was the elder statesman of the directors who came to prominence during this era. A failed writer as a young man, he became a busy television director in the 190s. he repeatedly attempted to break into movies during preminger offered him the job of directing M*A*S*H. He was Preminger's 15th choise. Most of his films are in a revisionist mode. he did throw away style of acting, based on improvisation. he did documentary styles. he did overlapping dialogue. he was also a pessimistic view of the human condition, though often expressed in comic form. his movies explored characters in groups that are in a state of flux, where human affections are transitory, provisional. he was fascinated by the element of chance in his films. his scripts were rarely written out in advance, and he encouraged hs actors to improvise much of their dialogue. he sometimes used multiple cameras to capture a variety of view-points of the same scene. he also directed Nashville in 1975, which made him averaged better than a movie a year., an American film director and screenwriter known for making films that are highly naturalistic, but with a stylized perspective. Career survived the "New Hollywood Phase", MASH, He rebelled against Hollywood standards challenging genre conventions, using improvisation, and specializing in ensemble storytelling, mccabe and mrs miller, he was the elder statesman of the directors who came to prominence during this era. A failed writer as a young man, he became a busy television director in the 190s. he repeatedly attempted to break into movies during preminger offered him the job of directing M*A*S*H. He was Preminger's 15th choise. Most of his films are in a revisionist mode. he did throw away style of acting, based on improvisation. he did documentary styles. he did overlapping dialogue. he was also a pessimistic view of the human condition, though often expressed in comic form. his movies explored characters in groups that are in a state of flux, where human affections are transitory, provisional. he was fascinated by the element of chance in his films. his scripts were rarely written out in advance, and he encouraged hs actors to improvise much of their dialogue. he sometimes used multiple cameras to capture a variety of view-points of the same scene. he also directed Nashville in 1975, which made him averaged better than a movie a year. actors elliot gould, shelly duvall keith carridine, sissy spacek.

sam peckinpah

editor that stylized screen violence through slow motion and montage editing to give it a seductive aesthetic beauty while emphasizing its physical brutality and moral and emotional horror., The Wild Bunch (1969). Made slo-mo popular. There was a scene of violence portrayed in slow-motion. Peckinpah wanted to show how horrific it was, but it had the opposite effect. To viewers it was sought as glorifying violence., reinvented the Hollywood Western with The Wild Bunch; greatest western characteristically like Hollywood classical auteurs like John Ford than auteur brats like Francis Ford Coppola and Martin Scorsese; director of Billy the Kid,, The Director's Chair: "Straw Dogs", "The Killer Elite", "The Wild Bunch"

blaxploitation

film genre that made films for a black audience. kicked of by the runaway success of van peeples independent feature sweetbsweetback baadaasss Often take place in the south, would use racial slurs against whites like "cracker",, An action film cycle of the late 1960s and 1970s that featured bold, rebellious African American characters., a film genre that emerged in the United States in the early 1970s when many exploitation films were made that targeted the urban black audience, , An action film cycle of the late 1960s and early 1970s that featured bold, rebellious African American characters., the cycle of films that emerged in the early 1970s aimed at African-American audiences. most of the "blaxploitation" films were crime and action thrillers, a combination of the terms "black" and "exploitation"; refers mainly to sensational, low-budget films in the 1970's featuring mostly African-American casts (and directors), that broke the mold of black characterization in feature films; usually emphasized fads of the time in hairstyles, music and costuming, and also brutality, street-life, racist and militant attitudes, etc.

youth films

films about young peoples lifestyle, the graduate and bonnie and clyde. hollywood in the 60 and 70 were dismissal, cleopatra and pant your wagon bombed

dutch camera angle

nother camera angle that you might come across is a Dutch angle. low angle increases suspense A Dutch angle ( is used to demonstrate the confusion of a character. The example above should disorientate you.

yvonne Rainer

one of the founding members of the Judson Dance theatre, professor at the University of California. dancer, choregrapher, film maker; No Manifesto avant grade feminist, early 1970's, , an American dancer, choreographer and filmmaker, whose work in these disciplines is frequently challenging and experimental. Her work is classified as minimalist art. She was one of the organizers of the Judson Dance Theater, a focal point for vanguard activity in the dance world throughout the 1960s, and she formed her own company for a brief time after the Judson performances ended. She is noted for an approach to dance that treats the body more as the source of an infinite variety of movements than as the purveyor of emotion or drama. Many of the elements she employed—such as repetition, patterning, tasks, and games—later became standard features of modern dance. lives of performers grew of dance performances, abstract, films about a woman who, 'No' Manifesto and "Trio A", Trio A. based ideas off of ordinary motions and actions. No Manifesto. pedestrian movement. very big part of the Judson Dance Crew, privilege- about menopause This exploration in reducing dance to the essentials climaxed with one of Rainer's most famous pieces, Trio A (1966), initially part of a larger work entitled The Mind Is a Muscle. Something of a paradigmatic statement that questioned the aesthetic goals of postmodern dance, Trio A was a short dance that consisted of one long phrase. In Trio A, Rainer attempted to remove objects from the dance while simultaneously retaining a workmanlike approach of task-based performance. Not simple but certainly not fancy, it was a demanding piece of work, both to watch and to perform. She explored such dynamics as repetition, the distribution of energy, and phrasing. The movement consisted of task-oriented actions, emphasizing neutral performance and featuring no interaction with the audience. The dancer was to never make eye contact with her observers, and in the case that the movement required the dancer to face the audience, the eyes were to be averted from the audience or the head was to be involved in movement. As the Museum of Modern Art describes it: "It freed the dancer's body from the rigid fragmentation and artificiality of choreographed movement."[7] The first time the piece was performed it was entitled The Mind is a Muscle, Part 1, and was performed by a set of three simultaneous solos by Rainer, Steve Paxton, and David Gordon. Trio A has been widely adapted and interpreted by other choreographers. Rainer has choreographed more than 40 concert works. Three Seascapes (1961) a solo of Rainer's considered to be radical because the finale featured Rainer screaming wildly and thrashing around the space.[8] Terrain (1962) was Rainer's first evening length work. It had several sections, including two "Talking Solos," which were autobiographical stories recited to an unrelated movement phrase.[9] Continuous Project-Altered Daily (1969) was installed at the Castelli Warehouse in Harlem. It produced "spontaneous behavior within a formal setting." War an antiwar dance performed by thirty people at Douglass College protesting Vietnam in 1970. Street Action a performance to protest the Cambodian invasion in 1970. Visually, there were three columns of people wearing black armbands while walking with their heads down.[10] This is the story of a woman who... (1973) was one of Rainer's many works that used objects invested with strong meanings and attempted to strip them of that meaning. In this work she used a gun but instructed the dancers to never point or fire it at anyone.[11] Two People on Bed/Table (1974) was a 105 minute piece of performance art which told the story the violent breakup of a love relationship, through mime, slides, narration, and sound. The distinction between fantasy and reality is deliberately blurred. This piece was originally performed live and subsequently filmed.[12] Cinematic work[edit] I made the transition from choreography to filmmaking between 1972 and 1975. In a general sense my burgeoning feminist consciousness was an important factor. An equally urgent stimulus was the encroaching physical changes in my aging body.[13] Rainer sometimes included filmed sequences in her dances, and in the mid-1970s she began to turn her attention to film directing. Her early films do not follow narrative conventions, instead combining reality and fiction, sound and visuals, to address social and political issues. Rainer directed several experimental films about dance and performance, including Lives of Performers (1972), Film About a Woman Who (1974), and Kristina Talking Pictures (1976). Her later films include The Man Who Envied Women (1985), Privilege (1990), and MURDER and murder (1996). MURDER and murder, more conventional in its narrative structure, is a lesbian love story as well as a reflection on urban life and on breast cancer, and it features Rainer. Journeys From Berlin/1971 explores the ramifications of terrorism Kristina Talking Pictures looks at the contradictions between the private and public persona Lives of Performers is about a man who cannot decide between two women The Man Who Envied Women is a film about the breakup of a marriage MURDER and murder (see paragraph above) A Film About a Woman Who... is considered Rainer's landmark film, about a woman with sexual dissatisfaction Privilege a film about menopause.