Atomic Learning

Here's the link for Atomic Learning:

http://www.atomiclearning.com

Username: buffalo

Password: bps

Interesting short films...

Watch these cool (very) short films on the New York Times web site...

http://www.nytimes.com/interactive/2010/12/12/magazine/14actors.html?ex=1307422800&en=836c4281e8b27e85&ei=5087&WT.mc_id=GN-D-I-NYT-MOD-MOD-M179-ROS-1210-PH&WT.mc_ev=click#7

Thoughts, anyone?

Movie on TV Alert

For those of you fans of Casablanca, it is on at 9pm on Monday, November 29, on TCM.

For those of you who are Tim Burton fans, he'll be in Toronto next week:

http://tiff.net/press/pressreleases/2010/tim-burton-in-person-at-tiff-bell-lightbox

Also, here's John's web site:

http://www.firstglimpseproductions.com/First_Glimpse_Productions/FIRST_GLIMPSE_PRODUCTIONS.html

Be sure to thank him because he's volunteering his time so generously...

Film Forum

As I mentioned in class today, the Film Forum in New York City is a great place to spend a few hours. If you go to NYC regularly, make your way to Chelsea and spend some time with some real cinema geeks!

http://www.filmforum.org/

An Interesting Career Possibility...

Check out this great article in the New York Times about combining biology with filmmaking (animation)...

http://www.nytimes.com/2010/11/16/science/16animate.html?_r=1&hpw

Looks like a wide open field for those of you interested in the sciences and film.

Blog Response #8--Man With a Movie Camera

First, be sure you finish watching the film...

http://www.archive.org/details/ChelovekskinoapparatomManWithAMovieCamera

We ended at 42:37 in class.

Your Looking at Movies textbook has a nice quote about Vertov and his film on page 428.

Vertov shows us how to frame reality and movement: through the human eye and the camera eye, or through windows and shutters. But to confound us, he also shows us--through such devices as the freeze-frame, split screen, stop-action, slow motion, and fast motion--how the cinematographer and editor can transform the movements of life into something that is unpredictable. He not only proves that the camera has a life of its own, but also reminds us of the editor, who is putting all of this footage together. Reality may be in the control of the artist, his camera, and its tricks, but it also finds definition within the editor's presentation and, ultimately, the viewer's perception.

In your first well-developed paragraph, please discuss this quote in relation to a five minute piece of Man With a Movie Camera. Be sure to describe shots cinematically, as if I've never seen the film before. Discuss elements of editing, such as the juxtaposition of shots, rhythm, montage, etc.

In your second well-developed paragraph, discuss this quote in relation to a film of your choice. Try to be as specific as possible in your descriptions and speak cinematically when you discuss the film. If you'd like to come into the library during a free period to watch a clip of a film I have that you've seen, please see me. Remember: the earlier the better.

Blog Response #7

I hope you got a lot out of Battleship Potemkin. I highly suggest watching it again:

http://www.archive.org/details/BattleshipPotemkin

Re-read the Ebert essay I handed out to you on Monday. Please discuss the following in at least two well-developed paragraphs:

"The Battleship Potemkin is conceived as a class-conscious revolutionary propaganda, and Eisenstein deliberately avoids creating any three-dimensional individuals (even Vakulinchuk is seen largely as a symbol). Instead, masses of men move in unison, as in the many shots looking down at Potemkin's foredeck. The people of Odessa, too, are seen as a mass made up of many briefly glimpsed but starkly seen faces. The dialogue (in title cards) is limited mostly to outrage and exhortation. There is no personal drama to counterbalance the larger political drama."

Do you agree with Ebert? If so, why do you think Eisenstein chose this format for his film? Explain how the editing and the shots give meaning to the Marxist, revolutionary propaganda in the film and whether or not you think three-dimensional characters would have added to or subtracted from the message. In addition, analyze a 5 minute scene or sequence to show the power of Eisenstein's editing style. Be sure to use specific examples and speak cinematically in your paragraphs.

Here is another article that may be helpful to you:

http://go.galegroup.com/ps/i.do?&id=GALE%7CCX3406800145&v=2.1&u=nysl_we_bcsd&it=r&p=GVRL&sw=w

Enjoy the weather and take a couple of hours to watch a good film this weekend.

Oh, to be in NYC!

Playing at my favorite movie house...

http://www.filmforum.org/films/psycho.html

Too bad we couldn't do a field trip next week.

Spine Chilling Films

Here is the correct link for Nosferatu:

http://www.archive.org/details/NosferatuVs.Ritsu

Please note that it is tinted to decipher when it is daylight and when it is night. Blue represents night. Apparently, they filmed the entire film in daytime and had to be able to distinguish between night and day and Murnau chose to tint the film. Here is a link to Roger Ebert's essay on the film:

http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19970928/REVIEWS08/401010345/1023

It is a very interesting article (easy to read!)...

Remember, don't watch this film at night by yourself!

Also, if you want to re-watch The Cabinet of Dr. Caligari, here is the link:

http://www.archive.org/details/DasKabinettdesDoktorCaligariTheCabinetofDrCaligari

And, if you want to read what Ebert had to say, here goes:

http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20090603/REVIEWS08/906039987/1023

Silent Sunday Nights

Not that you should be staying up late on Sunday nights, but perhaps record some of these films and watch them with the lights out, by yourself maybe the following Saturday night. Now that you've realized silent films are really pretty cool, check some of these out on TCM...

Click here for the link.

Blog Response #6

Think about a director whose movies you have seen. In at least 2 well-developed paragraphs, discuss the three premises of auteur theory. Refer to Mr. Sarris' article and:

1. The technical competence of the director.

2. The distinguishable personality of the director.

3. The interior meaning of the works.

Think cinematically, use plenty of examples, and have fun. Remember: I look forward to reading them.

Due: Monday, October 4, at 8:00 am.

Blog Response #5

Watch Chaplin's The Gold Rush and compare and contrast it with Keaton's The General. Think about everything you've learned thus far in terms of reading film. Discuss mise en scene, open/closed framing, kinesis, narrative, etc.

Both films are available at the Internet Archive:

The Gold Rush

The General

I look forward to reading your responses, which should be at least 2 well-developed paragraphs.

Due: by Friday, 10/1, 8:00 am

Blog Response #4

Now that you are getting used to watching motion pictures with no words...

I would like you to watch portions of Birth of a Nation (if you'd like, watch the whole thing!) and compare it with Falling Leaves. Look at both films and write two well-developed paragraphs that discuss mise en scene. Is the camera static? What kind of shots are used? What is the framing/composition of individual shots? Do the shots employ a lot of movement or not? Describe how the use of movement in the film/clips complement or detract from the development of the narrative. Note the type of movement (movement of figures within the frame or movement of the frame itself) in the shots and describe as accurately as possible the effect that the movement has on the relationships among the figures in the frame.

You can find Birth of a Nation here. Watch from 9:00-14:00 and 36:00-41:00. You should note certain techniques Griffith uses such as the 180-degree rule (right around 13:00) and his use of establishing shots and close ups.

If you want to re-watch Falling Leaves, go here.

Have fun!

Blog Response #3

Using your viewing(s) of Citizen Kane, discuss the following quote from your Bazin article in at least two well-developed paragraphs:

"Citizen Kane can never be too highly praised. Thanks to the depth of field, whole scenes are covered in one take, the camera remaining motionless. Dramatic effects for which we had formerly relied on montage were created out of the movements of the actors within a fixed framework. Of course Welles did not invent the in-depth shot any more than Griffith invented the close-up. All the pioneers used it and for a very good reason."

Turner Classic Movies

Here is a link to the TCM monthly schedule. It is a good idea to check it regularly and watch movies that pique your interest.

A Little Humor

I recently saw this on The Onion and thought it was pretty good (and appropriate).

Martin Scorsese Attends Free iMovie Demonstration at Apple Store

Enjoy!

Edison Films

As I promised, here's the link to the Library of Congress and the Edison films they have digitized. Have a little fun with this, guys. I'll also make it a permanent link on the right hand side of the blog in case you want to go back to the early cinema later in the course...

Here's the link.

Blog Response #2

Read about Edison, Lumiere Brothers, Melies, and Porter at EarlyCinema.com.

Watch at least 3 films from Edison, Lumiere Brothers, and Melies on your own. Go to the Internet Archive, select "Moving Images" from the drop down menu and search for each director. Be sure to use your screening sheets for each film you watch.

Blog Response #1--A little about you...

What are your expectations for this class and for yourself in this class? What do you think of when you hear the word movie? What is your favorite movie? Why? Required: 2 full, well-developed paragraphs. Due Friday, 9/10 8:00 am.