Intro to film studies Weeks 1-8

Three Act Structure

The way films are set up. Consists of 3 acts.

Act one.

The setup. Starts with context to orient the viewer, then there is a catalyst to set the story in motion. After the catalyst, there is a little more development and then Act 1 ends with the first turning point.

Catalyst

Sets the story in motion. A problem, need, or disturbance. Sets up main question of the film.

Context

Orients the viewer in the world, introduces characters, and sets the tone and style.

Act 2

The longest act. Develops story, conflict, explores the theme, and builds relationships. Contains the midpoint scene, and ends on turning point 2.

Midpoint scene

Halfway through the script. Splits act 2 into two halves, one half can be worse than the other for the characters. midpoint is another turning point sort of. 

Turning point #2

End of act two, sets up act three. Can be 2 parts, the dark moment and new stimulus.

Turning point #1

Leads from Act one into Act two. Unpredictable and intriguing, turns action into new direction. Raises cental question, forces characters to make a decision or commitment, raises the stakes, pushes story forward, introduces a new arena.

Act 3

The consequences of Act 2. Urgent, more tension. Lesson is revealed. Contains the climax, the big moment of tension where the problem is solved. 

Resolution

Ties up all the loose ends. Short. “The End”

Credits

Can be at the beginning, but usually at end. can be a tool for introducing certain images at the beginning.

Narrative

A cinematic cause and effect sequence of events occurring over time “The story”

Narration

The act of telling the story

Narrator

Who or what tells the story. The primary narrator of a film is the camera.

Birth of cinema?

1895

Classical hollywood

1. Active protagonist

2. Romances

3. Struggle against external forces of antagonism

4. Pusues their desires (goal oriented)

5. Typically has a linear timeline (A-B-C)

6. Cause and effect related events

7. unambiguous endings, not a lot of resolution.

8. Usually 90 minutes.

Story

The chronological events in the narrative. Expressed and inferred

Plot

More specific. Specific actions and events and the order they’re arranged.

What do characters do for a film?

Their actions, behaviors and desires drive the logic of the film.

Character coherance

Things link up about the characters. (Them doing certain actions make sense)

Character depth:

deep layered characters, personal mysteries, etc.

Round characters

More “Well rounded” and developed. 3-dimensional.

Flat characters

Underdeveloped. 2-d.

Archetype

A reflection of an abstract state or process. (A certain character that represents good, love, hate, etc.) 

Stereotype

A set of consistent traits which define. a character in terms of a social, physical, or cultural thing.

Character development

patterns in which characters change throughout a film mentally, physically, socially, or emotionally.

Internal change (Character development)

Change of heart or moral compass.

Progressive development

Character “improves” or “advances” themselves. (doesn’t mean it’s good for everyone else. Ex. Voldemort)

Regressive development:

“return to” “deterioration” could be good for everyone else.

Diagetic

What we see/hear on screen describing the world of the story from inside.

Non-Diagetic

What. we see/hear that comes from outside the world of the story.

Direct Address narration

When the narrator directly addresses the audience (breaking the 4th wall)

Restricted Narration

Limits the information provided to audience. This approach really melds you with characters.

What does every film require a character to have/pursue?

A goal. Mission. Desire. Fixing a problem, etc. The goal inspires the character to act, which drives plot and reveals characteristics of the character.

Protagonist

Main character w/goal. 

Antihero

Unsympathetic protagonist (for example, Kane from Citizen Kane.)

How much screen time is one script page typically?

1 minute

Screenwriters are sometimes hired by producers or studios, but most are…

freelance, trying to sell their scripts “on spec”

TV shows can be complicated because

they have plots within plots. It can get messy so they’ll often have teams of writers in a writer-room. 

Screen doctor

Hired to check screenplays and edit them.

Order (in relation to narrative)

Order of plot points. Can vary but mainly chronological.

Events

Crucial to the plot. Crucial plot points basically.

Story duration

Story length (ex.One week)

Plot duration

shown story event length (ex. 4 days out of one week)

Screen duration

Screen run time. (Ex. one day takes 10 minutes of film time)

Summary relation

screen time is shorter than plot duration

Real time relationship 

Screen time is same as plot duration

Stretch relationship

screen time is longer than plot duration

Surprise vs. Suspense

Surprise is a moment/twist, suspense is something the audience knows that the character doesn’t.

Repetition

a repeating object, act, or phrase that makes certain things more important.

Scope

Relative expansiveness. 

Temporality

The narrative patterns of time (ex. Linear or chronological) The logic and direction of plot follows the protagonist and their goals.

Flashbacks

shift to earlier time in story

Flashforward

Leaps ahead to show later time in story.

deadline structure

Some central event that needs to be completed before time runs out

Parallel plots

Connection between 2 different plot lines that could intersect. Ex. Stranger things. Very common in action films.

Narrative frequency

Motifs, repetitive ideas or things within the narrative

unreliable narrator

What is the truth?

multiple narrators

uses several different narrations to tell a story.

Dramatic Irony

We know something the character doesn’t (creates suspense)

Restricted narration

Focuses on 1-2 characters. 

Reflexive narration

Unreliable, knows it’s telling you the story

Key characteristics of Art cinema

1. More ambiguous.

2. Shoots for realism. (shooting on location, sexual realism, etc)

3. lacks defined desires and goals

4. Physcological affects and the search of their causes.

5. almost always at the edge of a breakdown

6. intrusion of other realities

7. stylistic over plot

8. endings have psychological breakthroughs

9. no clear cut resolution. Pensive + humble endings

More key characteristics to art films

1. self-doubt in characters

2. episodic wandering

3. more focus on psychology and thoughts

4. reaction over action

5. super sensitive.

6. film director has creative freedoms/liberties.

Where did the Auter theory originate?

postwar there were many debates on whether the screen/script writer or director was the true “author” of the film. In 1951 a guy named Truffaut wrote an essay which created the auteur theory

What is Aeteur theory

Basically the theory that the film directors are the main creative voices/writers of a film.

Impact of Aeteur theory

created film studies as an art form. Made it studiable in universities. Pop-culture today still sees the director as the creative voice/author.

Mutual Vs. Ohio

Film is not protected under the 1st amendment, and is subject to censorship.

Burstyn Vs. Wilson

Reversed mutual v ohio. Constitutional basis to appeal local censorship. 

Road showing

Traveling movies (like the way a circus travels)

Mise-en-scene

The combination of elements within. the frame which gives the shot or scene its overall meaning.

What are the 4 components of Mise-en-scene

Design, lighting, composition, and movement

Design (in relation to Mise-en-scene)

process by which the look of settings objects and actors is determined. Includes set design, decor, costumes, makeup, and hairstyle. 

Who is responsible for the design of a shot?

Production designer. The process starts with previsualisation (planning). The cinematography also plays an important role.

Shooting on location vs soundstage

on location can create authenticity but also is unpredictable. A soundstage can be difficult to replicate real life and expensive.

Backlots

sets that can be used again and again

Props vs Set dressing

props are any object handled by an actor. The set dressing is anything used to create the look of the environment. 

What is the goal of makeup + costume designers

use prosthetics, makeup, or CGI Makeup to make actors attractive and orient them within the world.

Lighting aspects

Cinematographer determines the lighting

Hard light

Direct, sharp, bright, HIGH CONTRASTS

Soft light

Diffused,low contrast, shadows less distinct, details less defined. 

Light ratio

level of illumination vs. Depth of corresponding shadows.

3-point system lighting

The most common way to light a scene. Consists of 3 lights, the key, back/rim, and fill lights.

Key light

“key” source. Primary source of light. Creates deep shadows

Fill light

secondary. Fills in shadows. Adjusts the depth.

Rim/backlight

highlights, illuminates the back of the subjects.

Low-Key lighting

When there’s little to-no fill light, meaning a higher contrast. (more shadows) think horrors.

High-key lighting

little to no contrasts. Very bright. Think musicals.

Backlighting

Throws subject into silhouette

Halloween lighting (beneath lighting)

lighting beneath a character, distorts facial features. Makes them appear spooky.

Top lighting

natural, casts shadows, shows purity

Composition

Organization, distribution, balance, and relationship of objects and figures in a scene.

Rule of thirds

Splits the screen into 9 squares and three dimensions. Foreground, middle group, background, top, middle, bottom, left, right, and center. Creates balance (or inbalance if desired)

Instrumental props

used for their common function in a scene

metaphorical props

not used for instrumental purpose

Cultural props

carry meaning associated with place in society

contextualized props

objects that acquire meaning through changing place in narrative

Performance (of actors)

actors using language, physical expression, and gestures to bring characters to life

Voice

Sound of actors with various intonations they may create for a role

Body movements

physical gestures, expressions, and movements of an actor