Murphy, Me and You…: 220-237.
1. Despite its use of improvisation, how is Gummo different from “execution dependent” screenplays such as Stranger than Paradise?
Gummo is different than "execution dependent" screenplays such as Stranger than Paradise because it "succeeds on the page as well as the screen." A movie such as Stranger than Paradise is a financiers nightmare, because upon looking at the script, it looks like a disaster. There are scenes with no dialogue, non-sense ramblings, sometimes only imagery and action, etc... and it takes a filmmaker as talented as Jarmusch to "execute" it properly, to make the script into a good, solid movie. An independent like Gummo, on the other hand, reads well off the page, which, among other things, increases the ability to get financed.
2. According to Murphy, what function does the “nonsense” included in the dialogue serve in the film as a whole?
Murphy proposes that the nonsensical dialogue in this film functions in a few ways, the main one being to capture the "slice of life" feel that Korine so perfers in his films. Life is weird, and people say and do weird things. So to translate that onto the page, and thusly onto the screen, is an idea of "realism" almost too advanced for some. Other inclusions of dialogue that seem nonsensical are, in actuality, references to other times and places. For instance, Korine's enthusiasm for vaudeville led him to include a voice over for Solomon that was actually a vaudeville joke. Again, Korine's unique style of filmmaking leads him to include "inside jokes" of his own.
3. What specific connections does Murphy make between Gummo and New American Cinema (including Beat films)? How did Korine respond to associations made between his work and underground film?
The specific connections that Murphy makes between Gummo and some New American Cinema/Beat films are "improvisational aspects...the tension between spontaneity and scripted action...nonlinear story...mixture of documentary and fiction...plotless cinema..." Concerning all of this, Korine says that he has no idea. He cannot and does not distinguish between "underground," "avant-garde," and "commercial," or rather, "studio cinema," but instead only considers himself a commercial filmmaker, financed by studios, with the freedom to make his movies how he pleases. Although, as Murphy points out, his films are still a bit too 'avant-garde' for the mainstream public.
4. Besides as a filmmaker, how has Korine participated in alternative urban youth culture?
Outside of being a filmmaker, Korine has been involved in other alternative urban youth culture activities, most notably art installments in Aaron Roses' Alleged Gallery which is on the Lower East Side of New York City. This houses many different types of artistic mediums, most involving the urban youth subculture. He has also written a novel, and produced fanzines.
Lance Weiler, “Navigating the Digital Divide”
6. What are the current platforms and delivery systems for digital distribution?
Current platforms and delivery systems for digital distribution include a range of things, including downloading files (under DRM or DRM-free files), and streaming files (like Netflix's Watch Now, Amazon's Unbox, and Joost's P2P), as well as distributing ports such as Video on Demand and gaming consoles, that connect to the internet to access the selected movie to be watched.
Michael Goldman, “Digitally Independent Cinema”
12. What is the Digital Cinema Initiative (DCI), and why is it important for both the studios and independent filmmakers?
The Digital Cinema Initiative (DCI) is a consortium of seven major Hollywood studio systems, essentially creating spec standards to propel and navigate the upcoming transition to fully digital cinema. This includes installing digital screens in new large multiplexes, and replacing older outdated methods with newer, digitized ones, such as projection methods. It is important to both studios and independent filmmakers because it will allow for both sides of the coin to be as efficient as possible. The major studios must have it because they must be concurrent with the industry standard. Even independent filmmakers and production companies are leaning towards the switch now because they recognize the convenience of time and trouble saving technology such as the new digital technology.
Sunday, November 23, 2008
Monday, November 17, 2008
week fourteen -
CHC, Schamus
3. What are some of the expenses associated with the Cannes Film Festival (or any festival, for that matter)?
When attending Cannes Film Festival, or really any renowned festival, there are many hidden expenses that add up quickly, just by being a filmmaker. These might include (but are certainly not limited to): making extra prints of the film subtitled in French (includes paying for the translator, the subtitling service, the extra prints, and shipping to France), air fare for everyone except the director, hotel for all of you, typical travel costs (food, drink, tips, etc.), press packets and stills and slides for tons of people, a publicist, and of course, and after-screening party. Moderately this can be done on budget of $150,000.
4. What costs are associated with the “delivery” of the film to a distributor?
Here are some major costs included in "delivering" an independent film to the distributor: converting the original film negative to the check-print stage: $45,000; blowing it up from 16mm to 35mm: $35,000; paying for 'music and effects' re-mixing and master tapes: $40,000; transferring the film to a master video: $25,000; plus, b&w and colour publicity stills and slides, a final script, hires to take care of all the legal work, and errors & omissions insurance. All of this can run you easily between $300,000 - $500,000, before sales and festival costs.
MAYAMAF, pg, 25-45
1. What does Flo Liebowitz mean by “dialogue as behavior”?
When speaking of "dialogue as behavior" in the movie Stranger Than Paradise, Flo Liebowitz is talking about the fact that since [pro]action is lacking within the characters, their dialogue becomes a type of action to propel the story forward. Unlike many other characters that can be determined by their words and their actions (thusly creating "character"), the characters in Stranger Than Paradise are contextualized much more by what they are saying (or not saying), how they are saying it (speed, tone), and when they are saying it (choice to speak, or not). I believe this gets to a much deeper level of psychologically driven writing and directing that is much more rare.
2. What are some of the connections between Stranger than Paradise with the New American Cinema, including Shadows?
One major connection between Jarmusch's Stranger Than Paradise and other New American Cinema films, including Shadows, and Elephant, Gummo, Slacker and Mulholland Drive are they are much more narratively concerned with character-centered psychosocial processes rather than typical narrative plot structures. This actually coincides much closer with the regular drama and situations of everyday life, yet cinematically, the general public has become so used to seeing a "story" laid out in front of them (often times used to "whisk them away" from their personal drama), that independents like the ones listed above are too "jarring" and "confusing" for the general audience.
3. In what specific ways does Jarmusch’s script deviate from standard scriptwriting structure and format?
Unspecifically, Jarmusch's script deviates from standard form in every way possible. Specifically, it was considerably shorter than most conventional screenplays, only running about 55 pages; was called by Jarmusch himself a "film proposal," and viewed potentially as a blueprint; and a number of scenes contained no dialogue and/or were simply short descriptions of actions. And these are only the ways in which the script deviated, much less the production, exhibition, and delivery of the film, which was shot and shown sectionalized, in order to raise money for the financing; as well as being comprised of only 67 single-take shots, interspersed with black leader; he uses a static camera, mainly wide-angles keeping the viewer a good distance from the action, and has no real discernible structure. All in all, this film is uniquely unconventional and successful in its own right.
3. What are some of the expenses associated with the Cannes Film Festival (or any festival, for that matter)?
When attending Cannes Film Festival, or really any renowned festival, there are many hidden expenses that add up quickly, just by being a filmmaker. These might include (but are certainly not limited to): making extra prints of the film subtitled in French (includes paying for the translator, the subtitling service, the extra prints, and shipping to France), air fare for everyone except the director, hotel for all of you, typical travel costs (food, drink, tips, etc.), press packets and stills and slides for tons of people, a publicist, and of course, and after-screening party. Moderately this can be done on budget of $150,000.
4. What costs are associated with the “delivery” of the film to a distributor?
Here are some major costs included in "delivering" an independent film to the distributor: converting the original film negative to the check-print stage: $45,000; blowing it up from 16mm to 35mm: $35,000; paying for 'music and effects' re-mixing and master tapes: $40,000; transferring the film to a master video: $25,000; plus, b&w and colour publicity stills and slides, a final script, hires to take care of all the legal work, and errors & omissions insurance. All of this can run you easily between $300,000 - $500,000, before sales and festival costs.
MAYAMAF, pg, 25-45
1. What does Flo Liebowitz mean by “dialogue as behavior”?
When speaking of "dialogue as behavior" in the movie Stranger Than Paradise, Flo Liebowitz is talking about the fact that since [pro]action is lacking within the characters, their dialogue becomes a type of action to propel the story forward. Unlike many other characters that can be determined by their words and their actions (thusly creating "character"), the characters in Stranger Than Paradise are contextualized much more by what they are saying (or not saying), how they are saying it (speed, tone), and when they are saying it (choice to speak, or not). I believe this gets to a much deeper level of psychologically driven writing and directing that is much more rare.
2. What are some of the connections between Stranger than Paradise with the New American Cinema, including Shadows?
One major connection between Jarmusch's Stranger Than Paradise and other New American Cinema films, including Shadows, and Elephant, Gummo, Slacker and Mulholland Drive are they are much more narratively concerned with character-centered psychosocial processes rather than typical narrative plot structures. This actually coincides much closer with the regular drama and situations of everyday life, yet cinematically, the general public has become so used to seeing a "story" laid out in front of them (often times used to "whisk them away" from their personal drama), that independents like the ones listed above are too "jarring" and "confusing" for the general audience.
3. In what specific ways does Jarmusch’s script deviate from standard scriptwriting structure and format?
Unspecifically, Jarmusch's script deviates from standard form in every way possible. Specifically, it was considerably shorter than most conventional screenplays, only running about 55 pages; was called by Jarmusch himself a "film proposal," and viewed potentially as a blueprint; and a number of scenes contained no dialogue and/or were simply short descriptions of actions. And these are only the ways in which the script deviated, much less the production, exhibition, and delivery of the film, which was shot and shown sectionalized, in order to raise money for the financing; as well as being comprised of only 67 single-take shots, interspersed with black leader; he uses a static camera, mainly wide-angles keeping the viewer a good distance from the action, and has no real discernible structure. All in all, this film is uniquely unconventional and successful in its own right.
Monday, November 10, 2008
week thirteen - independent cinema
1. According to Murphy, what are the two major faults of the traditional screenwriting manuals in their treatment of independent cinema?
According to Murphy, the two major faults of the traditional screenwriting manuals in their treament of independent cinema are their reliance on formulaic principles to produce a "good" Hollywood script, and their non-understanding (and thusly, unappreciation) of this type of film. Murphy says that the "three-act paradigm" proposed by many of the screenwriting manuals is both too rigid and too traditional to work for many independent, "art cinema" influenced films, and by trying to fit these movies into that structure, it is thereby negating their purpose. He also says that since many of these authors were not "well-versed in the historical tradition of independent cinema" there is a confusion that comes along with trying to write about them, and their "explanations" are often times inept, misguided, or simply wrong.
2. How are Murphy's claims about act structures in independent films different than McKee's model or Thompson's model?
McKee sticks to the three-act structure, but when it comes to independent films, uses phrases such as "miniplot," and "antiplot" (as opposed to "archplot" in classical design) to describe their non-linear, non-causal, and coincedental style. Although he does concede that certain films (namely Raiders of the Lost Ark and The Cook, the Thief, His Wife & Her Lover ) may have up to eight acts and be successful, he doesn't spend much time giving them credit. Thompson's model is, of course, the four-act structure, in which each of the four acts lasts approximately 20-30 minutes. Only one of Murphy's noted independent films, Mulholland Drive, seems to fit that model. Murphy's claims about act structures in independent films are different than both of these models, claiming that acts need not necessarily be defined, and although many independent films have a definable number of acts (often times fitting into either a three- or four-act structure), they are often time causally opposite and/or flexible and asymmetric.
3. According to Murphy, how are independent films different than classical Hollywood in the following areas? Protagonists / Antagonists; Dual plotlines (romance); Character Motivation (goals); Dialogue; Closure
According to Murphy, independent films are different than classical Hollywood films in most ways. In classical Hollywood cinema, protagonists are often times individuals, with clearly defined goals who undergo some sort of character arc. In independent films, however, protagonists are often times passive and ambivalent, undergoing little to no change, and many times there are more than one. Antagonists in classical Hollywood oppose the protagonist to create tension and conflict. In independent cinema, the antagonist may be something as broad as an idea ("fate" for instance), or may be non-existent, adhering to the non-cause/effect relationship of these films. The romance plotline is typically one of the two in most classical Hollywood movies, and typically have a happy ending. Independent cinema, on the other hand, holds no causal connections for romance, and doesn't often times end up being "upbeat." Whereas in most movies, characters have clearly-defined goals, and their behavior is motivated for any number of reasons, the art-cinema model (which independent films draw largely from) often times have aimless characters simply meandering through life, and much of the drama is spurned through psychological complexity. Dialogue in classical Hollywood cinema is taught to be purposeful and propelling, whereas independent cinema will include "everyday chitchat" meandering and sometimes even non-sensical lines. Closure is perhaps one of the biggest distinctions, with classical movies always tying up loose ends, and often times in an upbeat fashion. Independent cinema prides itself on open-ended ambiguity as a cornerstone of it's style, with its meaning being left up to the viewer.
4. According to Ed Guerrero, what were the three phases of the black image in Hollywood films?
According to Ed Guerrero, the three phases of the black image in Hollywood films are: a pre-blaxploitation era (in which a mainstream image of black submissiveness prevailed), followed by a blaxploitation era of resistance and co-optation (largely dominated by black action films employing strategic reversals of mainstream ideology), and then finally the new black cinema (which was more of a cooperation between the Hollywood studio systems and black filmmakers).
According to Murphy, the two major faults of the traditional screenwriting manuals in their treament of independent cinema are their reliance on formulaic principles to produce a "good" Hollywood script, and their non-understanding (and thusly, unappreciation) of this type of film. Murphy says that the "three-act paradigm" proposed by many of the screenwriting manuals is both too rigid and too traditional to work for many independent, "art cinema" influenced films, and by trying to fit these movies into that structure, it is thereby negating their purpose. He also says that since many of these authors were not "well-versed in the historical tradition of independent cinema" there is a confusion that comes along with trying to write about them, and their "explanations" are often times inept, misguided, or simply wrong.
2. How are Murphy's claims about act structures in independent films different than McKee's model or Thompson's model?
McKee sticks to the three-act structure, but when it comes to independent films, uses phrases such as "miniplot," and "antiplot" (as opposed to "archplot" in classical design) to describe their non-linear, non-causal, and coincedental style. Although he does concede that certain films (namely Raiders of the Lost Ark and The Cook, the Thief, His Wife & Her Lover ) may have up to eight acts and be successful, he doesn't spend much time giving them credit. Thompson's model is, of course, the four-act structure, in which each of the four acts lasts approximately 20-30 minutes. Only one of Murphy's noted independent films, Mulholland Drive, seems to fit that model. Murphy's claims about act structures in independent films are different than both of these models, claiming that acts need not necessarily be defined, and although many independent films have a definable number of acts (often times fitting into either a three- or four-act structure), they are often time causally opposite and/or flexible and asymmetric.
3. According to Murphy, how are independent films different than classical Hollywood in the following areas? Protagonists / Antagonists; Dual plotlines (romance); Character Motivation (goals); Dialogue; Closure
According to Murphy, independent films are different than classical Hollywood films in most ways. In classical Hollywood cinema, protagonists are often times individuals, with clearly defined goals who undergo some sort of character arc. In independent films, however, protagonists are often times passive and ambivalent, undergoing little to no change, and many times there are more than one. Antagonists in classical Hollywood oppose the protagonist to create tension and conflict. In independent cinema, the antagonist may be something as broad as an idea ("fate" for instance), or may be non-existent, adhering to the non-cause/effect relationship of these films. The romance plotline is typically one of the two in most classical Hollywood movies, and typically have a happy ending. Independent cinema, on the other hand, holds no causal connections for romance, and doesn't often times end up being "upbeat." Whereas in most movies, characters have clearly-defined goals, and their behavior is motivated for any number of reasons, the art-cinema model (which independent films draw largely from) often times have aimless characters simply meandering through life, and much of the drama is spurned through psychological complexity. Dialogue in classical Hollywood cinema is taught to be purposeful and propelling, whereas independent cinema will include "everyday chitchat" meandering and sometimes even non-sensical lines. Closure is perhaps one of the biggest distinctions, with classical movies always tying up loose ends, and often times in an upbeat fashion. Independent cinema prides itself on open-ended ambiguity as a cornerstone of it's style, with its meaning being left up to the viewer.
4. According to Ed Guerrero, what were the three phases of the black image in Hollywood films?
According to Ed Guerrero, the three phases of the black image in Hollywood films are: a pre-blaxploitation era (in which a mainstream image of black submissiveness prevailed), followed by a blaxploitation era of resistance and co-optation (largely dominated by black action films employing strategic reversals of mainstream ideology), and then finally the new black cinema (which was more of a cooperation between the Hollywood studio systems and black filmmakers).
Monday, November 3, 2008
week twelve - intensified continuity
Average shot lengths (ASLs) throughout American cinema:
In the 1920's, the average shot length was about 4 to 6 seconds per shot. From 1930-1960, that average lengthened to about 8 to 11 seconds per shot. In the mid 1960's, a new trend took place that significantly cut that length, to about 6 to 8 seconds, although certain movies ASLs were considerably shorter: 4 seconds, 3.8 seconds, and even 2.7 seconds. The pace accelerated over time, hitting 5 to 8 seconds in the 1970's, and continued to quicken, with double-digit ASLs all but vanishing in the 1980's, and averaging about 5 to 7 seconds, although many films averaged only 3 to 4. Keeping with the trend, this pace quickened over time, and by the end of the century, 3 to 4 seconds was common, although many still reached to 6.
Here, only Woody Allen and M. Night Shyamalan are credited with not jumping on that bandwagon, and sticking with their long-shot editing styles.
Why did filmmakers start mixing long and short lenses within scenes?
According to Bordwell, some filmmakers started mixing long and short lenses within scenes because they "appreciated the advantages of long lenses but also wanted to maintain the 1940s tradition of deep-space shooting." To force perspectivism and gain the advantage of free-range style, there was no other way.
Why have filmmakers moved away from plan americain staging and lengthy two-shots?
More recently (1960s and beyond) filmmakers have moved away from the plan americain
style staging in accordance with quicker editing styles. With 'singles' shots, and plenty of close-ups, editing was more heavily relied on, as scenes tend to rely more on over-the-shoulder shots and more medium shots. This allows the director to more greatly vary the pace during editing, as well as pick the best bits of each actor's performance, as opposed to relying on a longer two-shot with less variation.
Describe three moving camera techniques that have become common in intensified continuity.
The prolonged following shot: where the camera tracks a character[s] moving along a lengthy path. Often times accomplished with technology such as the Steadicam and lighter cameras, these shots are impressive and often lend itself to filmmaker envy, and the attempt to out do each other.
Inching track forward or sideways: often used as an orienting shot, this creates a "moving master."
The crane shot: previously used as a stylish addition, this is now a "casual embellishment," made possible by a new generation of aerial cameras mounted on mini remote-controlled helicopters.
also, the "creeping-zoom" and the "push-in"
How is the prowling camera related to other stylistic shifts in intensified continuity?
The prowling camera is seen to "boost the energy" of the scene, much like other stylistic shifts in intensified continuity, including rapid editing, bipolar extremes of lens lengths, and a reliance on tight singles shots. Each of these techniques serves the other: "Tighter framings permit faster cutting. Long lenses pick out figures for one-on-one editing," etc...
In the 1920's, the average shot length was about 4 to 6 seconds per shot. From 1930-1960, that average lengthened to about 8 to 11 seconds per shot. In the mid 1960's, a new trend took place that significantly cut that length, to about 6 to 8 seconds, although certain movies ASLs were considerably shorter: 4 seconds, 3.8 seconds, and even 2.7 seconds. The pace accelerated over time, hitting 5 to 8 seconds in the 1970's, and continued to quicken, with double-digit ASLs all but vanishing in the 1980's, and averaging about 5 to 7 seconds, although many films averaged only 3 to 4. Keeping with the trend, this pace quickened over time, and by the end of the century, 3 to 4 seconds was common, although many still reached to 6.
Here, only Woody Allen and M. Night Shyamalan are credited with not jumping on that bandwagon, and sticking with their long-shot editing styles.
Why did filmmakers start mixing long and short lenses within scenes?
According to Bordwell, some filmmakers started mixing long and short lenses within scenes because they "appreciated the advantages of long lenses but also wanted to maintain the 1940s tradition of deep-space shooting." To force perspectivism and gain the advantage of free-range style, there was no other way.
Why have filmmakers moved away from plan americain staging and lengthy two-shots?
More recently (1960s and beyond) filmmakers have moved away from the plan americain
style staging in accordance with quicker editing styles. With 'singles' shots, and plenty of close-ups, editing was more heavily relied on, as scenes tend to rely more on over-the-shoulder shots and more medium shots. This allows the director to more greatly vary the pace during editing, as well as pick the best bits of each actor's performance, as opposed to relying on a longer two-shot with less variation.
Describe three moving camera techniques that have become common in intensified continuity.
The prolonged following shot: where the camera tracks a character[s] moving along a lengthy path. Often times accomplished with technology such as the Steadicam and lighter cameras, these shots are impressive and often lend itself to filmmaker envy, and the attempt to out do each other.
Inching track forward or sideways: often used as an orienting shot, this creates a "moving master."
The crane shot: previously used as a stylish addition, this is now a "casual embellishment," made possible by a new generation of aerial cameras mounted on mini remote-controlled helicopters.
also, the "creeping-zoom" and the "push-in"
How is the prowling camera related to other stylistic shifts in intensified continuity?
The prowling camera is seen to "boost the energy" of the scene, much like other stylistic shifts in intensified continuity, including rapid editing, bipolar extremes of lens lengths, and a reliance on tight singles shots. Each of these techniques serves the other: "Tighter framings permit faster cutting. Long lenses pick out figures for one-on-one editing," etc...
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