week eleven - plot and premises

(from pages 104-114)
Summarize the answers Bordwell gives to the question, “Why do filmmakers bother with classical construction if ardent viewers consider it dispensable, even distracting?”

The first reason is that when "plot sinks to a level of minimal awareness" it becomes quietly unnoticeable and viewers are able to concentrate on different things (unlike a twisted, convoluted plot, wherein it takes almost all of your energy to even begin to understand it.) Classical construction also allows you to hit all audiences with one film (like a movie like Shrek) that has plenty of elements that will suit all of the audience, children and adults alike. To further this (the action) the components of the story can be blended up with other ingredients to create an interesting and appealing story. And since "spectacle" is very expensive, and would actually get a bit boring after a while on its own, goals, obstacles, conflicts, resolutions, deadlines, motifs, and closure are all necessary to keep attention. Finally, as with any craft, there is an expected level of "professionalism" that should be respected, so by acting within these parameters, in addition to a personalized and unique flair, filmmakers will garner more respect from their colleagues.



(from pages 51-72)

What does Bordwell mean by “genre ecology,” and how does he characterize the current range of genres in Hollywood.
By "genre ecology" Bordwell means the waxing and waning of lesser-popular (often times, popularly thought of as B-movie) genres of film, including crime films, horror films, science-fiction, fantasy, and comic-book movies. He characterizes the current range of genres as becoming almost all equals, sharing in success over the past years due to the "younger" generations of Hollywood filmmakers (i.e. the film brats).

What does Bordwell mean by “worldmaking,” and how does it affect the narrative design of individual films?
"Worldmaking" means the making of universality throughout the film, by controlling the mise-en-scene to a degree that it is realistic by all audiences. For example, in Kubrick's 2001: A Space Odyssey, even real astronauts should look at that movie and agree that from top to bottom, the film portrays world-view realism. This kind of attention to detail affects every aspect of the narrative design, including but not limited to: lighting, set dressing/props, costumes, locations, etc...

What do Bordwell and Thompson mean by the claim that some films are “maximally classical”? What films do they have in mind?
By calling some films "maximally classical," Bordwell and Thompson mean that it is possible for a film to be so classically constructed, that it lacks in flair, and becomes internally damaging to itself (although they didn't explain it quite to that degree, as some of the films they consider "maximally classical" are superb films) Some of these films are: Groundhog Day, Tootsie, Back to the Future, and The Hunt for Red October.