Film 201 uofc final 201 part 2

SOVIET MONTAGE

●Focus on montage: the juxtaposition of shots to produce ideas not present in either shot by itself
●Pioneered by Soviet filmmakers of the 1920s (historical, intellectual background)
● Address philosophical questions about the nature of cinema

Soviet Formalism

●Body of cinema that emerged after the Bolshevik revolutions of 1917
●The state called for a cinema that would be revolutionary in subject matter, theme, and style

Montage as unifying principle

●autonomous segments re-assembled to produce a new conceptual reality
● meaning not present in either shot but resides with the spectator

pudovkin model

shots are like "bricks" that build a sequence when joined together

eisentein model

Shots are "cells" in a "dialectical" collision
○ Shot A is the hypothesis, Shot B is the antithesis, and together they form a synthesis

futurism

●valorized speed, machinic forms of perception, industry, and youthful energy

loss of aura

reproducibility built into media, 1) reflects the desire of masses to bring the world closer (see beyond eye);
2)put the original in foreign situations

Newsreels

● Kino-Pravda•Films shot in streets projected back to public
● Cine-trains across the country. Cinema of the people

Observational Documentary

● Capture the unrehearsed details of daily life:"we seek our own rhythm, one lifted from nowhere else, and we find it in the movement of things.

Kino-eye

●Pure, international cinematic language
●Filming world with entire apparatus: from angles to motion, to montage. "optical unconscious"
●Tactile model of spectatorship

Aftermath

● Alienated by Soviet Film Industry
● Incalculable influence on film movements: the new wave, experimental cinema, Hollywood
● Wanted art/technology to fuse as an extension of human

● Film sound

is created and manipulated independently of the images and has rich formal possibilities

Narrative Functions of Sound

●Guides the eye within and beyond the frame
●Smooths over continuity editing through dialogue and sound
"overlaps"
●Creates distance and perspective in space
●Gives us access to character interiority
●Music highlights the emotional resonances of a scene (often through a musical phrase or motif)

Fundamentals of Film Sound

●Most narrative films create a careful distinction between speech, music, and noise
●This distinction is based on managing the perceptual qualities of loudness, pitch, and timbre Loudness

Volume positions us in space

louder sounds seem closer, and quieter sounds seem further away

Pitch

the highness or lowness of a sound

Loudness

The sounds we hear the result from vibrations in the air. The amplitude, or breadth, of the vibrations, produces our sense of loudness or volume

low pitch

produces bass-heavy, rumbling atmospheres

High-pitch

creates squeaky sound with a rapid oscillation

Timbre

quality of sound, example someone's voice nasal.

Rhythm

A strong or weak, regular, repeated pattern of movement or sound.

Fidelity

Whether or not a sound is faithful to its source in the film world

Diegesis

the world of the film's story

diegetic sound

any voice, musical passage, or sound effect that originates from a source within the film's world

non-diegetic

music outside the film