Thinking Analytically About Film and Television

Lecture

What is Film (and television?)

• “a series of still photographs on film, projected into rapid succession onto a screen by means of light” (Britannica)

Film as a business

• While films can be seen as an art, it is a commercial product

• Art has always been intertwined with commerce

• “we shouldn’t think about films as being incorruptible pure ‘art’, but neither should we consider them hopelessly corrupted by their place in a commercial system”

Film as a technology

• Filmmaking is extremely dependent on technology

• A photograph captures the world ‘as it is’

• New possibilities for the artform emerge as new technologies are invented

Film as an art form

• Production choices become artistic choices, artistic choices become production choices — they are inherently interdependent

FILM AS ART: CREATIVITY, TECHNOLOGY, AND BUSINESS

Introduction: The Unique Nature of Film

• Film is a relatively young art form, having existed for just over a century, compared to older arts like painting, literature, theater, and dance.

• Despite its youth, film has developed into a powerful medium that tells stories, expresses emotions, and conveys ideas.

• The book’s approach to studying film:

  • Examines how creative people use moving images to shape experiences.

  • Analyzes principles and techniques that make films emotionally and intellectually compelling.

  • Recognizes that technology, collaboration, and economics shape film as much as artistic vision.

What Makes Film Unique?

1. Technological Dependence

   • Film requires machines: cameras, projectors, lighting equipment, sound recorders, editing software, etc.

   • Unlike a novelist (who only needs a pen) or a musician (who needs an instrument), filmmakers rely on technology at every stage.

2. Collaboration

   • Film is a collective effort requiring multiple specialists:

     • Directors guide artistic vision.

     • Cinematographers control lighting and framing.

     • Screenwriters develop narratives.

     • Actors embody characters.

     • Editors construct the final structure.

   • Each decision impacts the final experience.

3. Economic Factors

   • Film is both artistic expression and commercial enterprise.

   • A film must be funded, produced, distributed, marketed, and exhibited to reach an audience.

   • Financial constraints influence artistic choices (e.g., using CGI instead of practical effects to reduce costs).

FILM AS AN ART FORM

The Creative Choices Behind Film

• Films are deliberately designed to create particular responses from viewers.

• Filmmakers make decisions at every stage:

  • Storytelling Choices → Plot structure, pacing, character arcs.

  • Visual Composition → Shot angles, lighting, mise-en-scène.

  • Sound Design → Dialogue, music, sound effects.

  • Editing → How scenes transition, rhythm, continuity.

• Key question for analysis: Why is a film designed the way it is?

  • Example: If an ending makes us cry or feel inspired, what decisions led to that effect?

  • Thinking like a filmmaker helps us understand and appreciate films more deeply.

The Intersection of Art and Commerce

1. Art vs. Entertainment

• Some believe that blockbusters are "just entertainment", while independent or experimental films qualify as "true art."

• However, this distinction is not clear-cut:

  • Hollywood directors have pushed artistic boundaries (e.g., Stanley Kubrick, Christopher Nolan).

  • Films made purely for entertainment can still be aesthetically rich (Mad Max: Fury Road has stunning cinematography).

  • Many artistic innovations (editing, sound design) emerged from commercial cinema.

2. Art vs. Business

• Some argue that film art is compromised by commercial pressures.

• However, all art requires funding:

  • Renaissance painters like Michelangelo and da Vinci worked on commissioned projects.

  • Musicians depend on record sales, streaming, and concerts.

  • Authors write books for publishing houses that aim to sell copies.

• Film is no different—financial success enables artistic ambition.

CASE STUDY: CREATIVE DECISIONS IN LA LA LAND

To illustrate how filmmakers make creative choices, the book examines Damien Chazelle’s La La Land (2016).

1. Mise-en-Scène (Visual Design)

• Inspired by classic musicals (Singin’ in the Rain, The Umbrellas of Cherbourg).

• Bold, saturated colors evoke a dreamlike atmosphere.

• Use of costume, set design, and lighting:

  • Early scenes have bright colors (representing optimism).

  • Later scenes become muted and naturalistic (as reality sets in).

  • The final fantasy sequence returns to vibrant colors, symbolizing an idealized "what could have been."

2. Cinematography

• Shot in CinemaScope (2.55:1 widescreen) to mimic 1950s musicals.

• 35mm film chosen over digital to capture rich, nostalgic visuals.

• Camera moves fluidly, like a dancer, using:

  • Steadicam shots to follow performers.

  • Crane shots for sweeping movements.

  • Oculus remote mount to move dynamically during musical sequences.

3. Editing

• Many scenes were filmed as single continuous takes.

• Instead of traditional "coverage" (filming multiple angles and cutting between them), Chazelle planned each shot meticulously.

• Example: The opening freeway sequence was staged as a long take but had hidden cuts through whip pans.

4. Sound & Music

• The songs were composed before lyrics to integrate them naturally into the narrative.

• Most musical numbers used pre-recorded playback, except for "Audition (The Fools Who Dream)," which was recorded live for emotional authenticity.

• Composer Justin Hurwitz’s score reinforces themes of nostalgia and ambition.

Overall Impact

• La La Land reimagines classic Hollywood musicals in a modern setting.

• Blends fantasy and reality, capturing the idealism and heartbreak of artistic ambition.

THE TECHNOLOGY OF CINEMA

How Film Creates Motion

• The illusion of movement relies on two visual phenomena:

  1. Critical Flicker Fusion – When a light flashes faster than 50 times per second, it appears continuous.

  2. Apparent Motion – If images change rapidly, our brain perceives them as continuous motion.

Photochemical Film vs. Digital

• Traditional Film:

  • Uses physical film stock (35mm, 16mm, 70mm).

  • Film stock is expensive and requires chemical processing.

  • Higher resolution and dynamic range than many digital formats.

• Digital Filmmaking:

  • Uses sensors instead of film reels.

  • Resolutions range from HD (1080p) to 4K, 6K, and beyond.

  • Digital cameras store footage on hard drives rather than physical reels.

  • Editing and color correction are done digitally.

FILM PRODUCTION: THE BUSINESS OF MAKING MOVIES

The Three Phases of the Film Industry

1. Production – Creating the film.

2. Distribution – Getting the film to cinemas, streaming platforms, physical media.

3. Exhibition – Showing the film to audiences.

The Four Stages of Production

1. Scriptwriting & Funding

   • Developing the idea, screenplay, and securing financial backing.

   • Producers handle budgeting, hiring directors & actors.

2. Pre-Production

   • Storyboarding, location scouting, set design.

   • Casting and hiring the crew.

3. Shooting (Principal Photography)

   • The actual filming process.

   • Scenes rarely shot in order (due to scheduling, locations, etc.).

4. Post-Production

   • Editing, sound mixing, CGI, color grading.

   • Marketing and preparing for distribution.

   
   

FACES PLACES (VISAGES VILLAGES) – AN IN-DEPTH ANALYSIS

Faces Place

The Legacy of Agnes Varda

• One of the few women who directed films as part of the French New Wave

  • a French art film movement that emerged in the late 1950s

• Directed what is considered to be the first film of the New Wave, La Pointe Courte

• Famous films: Cleo from 5 to 7, Vagabond, The Gleaners and I

Artistic Choices

• No traditional narrative within the film

• It is very self-reflective, with meditations on filmmaking, photography, and art

• Handheld camera, speaking to a camera and not a shotgun mic or the likes

• It’s a documentary

• Making artistic choices within the film itself, constantly reflecting “should i paste this here? “move the parasol closer—no, further away!”

Production

• Overt recognition of production in the film

  • the conscious recognition of something that is open to view. For example, you might overtly recognise someone's face

• The production is the art of the film itself—the plot and action is based around the ways that producing art leads to interactions with others

• Used crowdfunding

Distribution and Exhibition

• Exhibited at festivals including Cannes—won award for best documentary

• Nominated for an Academy Award for Best Documentary

• Social media helped distribute it

1. Introduction: What is Faces Places?

Faces Places (Visages Villages) is a 2017 documentary film that blends elements of personal storytelling, travelogue, and visual art. It follows an unlikely collaboration between two artists:

• Agnès Varda (1928–2019) – A pioneering filmmaker of the French New Wave, known for her poetic, humanistic approach (Cleo from 5 to 7, The Gleaners and I).

• JR (born 1983) – A contemporary street artist and photographer famous for his large-scale public murals.

The film documents their journey across rural France, where they engage with everyday people, taking their photographs and transforming them into massive murals pasted onto buildings, walls, and other structures. This journey is both a celebration of human connection and a meditation on memory, time, and art's impact on society.

2. The Direction & Filmmaking Approach

A Hybrid of Documentary and Art Film

• Faces Places defies conventional documentary structure; it is both a road movie and a visual art experiment.

• Instead of following a rigid narrative, it feels organic and free-flowing, shaped by spontaneous encounters.

• This approach mirrors Agnès Varda’s cinematic philosophy—a mix of observation, participation, and self-reflection.

Collaboration as a Key Directorial Choice

• Varda’s background in cinema and JR’s experience in street art merge into an unusual but complementary partnership.

• The film emphasizes the interplay between youth and age, modern technology and classic film techniques.

• Varda’s humanistic storytelling guides the film’s emotional core, while JR’s photographic eye shapes its bold visual aesthetic.

Spontaneity & Improvisation

• Unlike a traditional documentary, which might have a pre-planned script, Faces Places embraces serendipity.

• Varda and JR frequently make on-the-spot creative decisions, influenced by the people they meet.

• This aligns with the idea of film as an evolving art form—decisions about framing, mise-en-scène, and editing are made in the moment.

3. Key Cinematic Techniques & Visual Features

Cinematography & Framing

• The cinematography balances two visual perspectives:

  1. JR’s large-scale, high-contrast black-and-white portraits (which dominate the physical space).

  2. Varda’s close-up, intimate framing of people’s emotions and reactions.

• The film frequently shifts between wide shots of JR’s murals and tight close-ups of Varda’s personal reflections.

• Example: The trainyard sequence, where JR and Varda paste a massive image of Varda’s late friend Guy Bourdin on a train car, which then moves into the distance—a powerful metaphor for memory and time passing.

Editing & Structure

• The film is structured as a journey rather than a traditional three-act narrative.

• Each village or town acts as a new chapter, introducing new subjects and artistic projects.

• The editing maintains a gentle, reflective pace, allowing time for audience contemplation.

• Unlike fast-paced, quick-cut documentaries, Faces Places employs longer, observational shots that let conversations and reactions breathe.

Use of Color & Contrast

• JR’s murals are always in black and white, creating a striking contrast against colorful environments.

• This technique draws attention to the faces of ordinary people, making them seem monumental.

• The film’s natural color palette of rural France contrasts with JR’s high-contrast images, reinforcing the theme of blending the past with the present.

4. Major Themes & Symbolism

1. The Power of Art in Everyday Life

• Varda and JR’s mission is to bring art to communities that rarely experience it.

• By turning ordinary people into monumental portraits, they elevate the beauty of everyday life.

• The villagers’ reactions—ranging from joy to tears—underscore how art has a profound emotional impact.

2. Memory, Mortality, and Time

• Varda, who was in her late 80s at the time, frequently contemplates her own aging and mortality.

• Her failing eyesight becomes a recurring motif, making the film a meditation on how vision (both literal and metaphorical) changes with time.

• The film ends with Varda’s emotional disappointment when Jean-Luc Godard, an old friend from the French New Wave, refuses to meet her—highlighting the pain of fading connections.

3. Faces as a Reflection of Identity

• The title itself—Faces Places—suggests a deep link between people and their environments.

• The large-scale portraits emphasize how faces carry histories, emotions, and experiences.

• Example: The miners’ wives sequence, where Varda and JR paste giant portraits of women onto old miners’ houses—symbolizing their overlooked contributions to history.

4. The Tension Between Past and Present

• Varda represents the past of cinema, while JR represents modern digital photography.

• The contrast is also evident in Varda’s nostalgia for old friends (Godard, Bourdin) versus JR’s forward-looking artistic approach.

• The ending scene, where JR finally removes his sunglasses (something he avoided throughout the film), symbolizes mutual understanding between generations.

5. Connecting Faces Places to Film Art Concepts

This documentary aligns with several key ideas from Film Art: An Introduction:

1. Film as a Collaborative Art Form

• Like La La Land’s fusion of classic and modern techniques, Faces Places blends old and new artistic traditions.

• Varda and JR’s creative partnership mirrors the interdisciplinary nature of filmmaking, where different artistic skills contribute to a unified vision.

2. Film as a Medium of Visual Expression

• The film emphasizes mise-en-scène, especially through JR’s murals, which shape how we perceive landscapes and characters.

• The interplay of color, contrast, and framing shows how visual choices impact meaning—just as filmmakers use cinematography to craft emotions.

3. The Role of Editing in Storytelling

• Instead of a traditional linear narrative, the film’s episodic structure reflects Varda’s poetic approach to filmmaking (akin to The Gleaners and I).

• It proves that editing shapes audience experience, guiding emotional responses even without a conventional plot.

4. Thematic Connection: The Art vs. Commerce Debate

• Unlike commercial Hollywood films, Faces Places is an example of pure artistic expression—made without financial motives.

• However, it still reached a global audience, proving that art-driven films can be widely appreciated despite not being conventional "entertainment."