introtocinemaround2

introtocinemaround2 - Genre & Backstreet What the fuck are...

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23:54 What the fuck are we discussing today? Content determines genre. Content is what goes inside the movie, and form is how the content is shaped. Form includes: Visual design Temporal design Sound design Literary design Performance styles etc. Determining Genre Myth/story Conventions: musicals use “song and dance”, gangster films use certain lingo Iconography: series of images and sounds that recur in the genre Genres of Film Tragedy is about man going beyond the bounds; being true to himself; being heroic. Not a contemporary viable form in film, literature, theatre, etc.
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o This is not the age of the hero: This is the age of the anti-hero, etc. o Tragedy is a theological genre; it implies a significant universe (cosmos) and religion, but we live in a secular and absurd universe. o Arouses fear and pity. Comedy is about man being fallible, limited, bounded. o Plot and character must be stylized so the audience can look at the characters from outside. o Importance of dialogue. o Viable contemporary genre. o Parody, farce, social satire, gross-out, romantic. Melodrama deals with typical lives, situations. o Familiar and easily recognizable concerns. o Family, romantic, male, female. o Adventure, suspense thriller, westerns. o Emphasis on emotion . o Heightens form to externalize the interiors of the characters. 1918 : Oscar-winning film “Gandhi.” Between 1895 and 1928 1929 and 1945, “The Classic Era”: Genres crystallized. 1946-1962: Post-classical, Genres begin to break up. 1963-1976: Modernist
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1977-present: Genres come together, postmodernism. Monetary determinations of genre. Genre enables producers to advertise. Genre makes film “same, but different.” Movies are big business; quantity leads to formulation. Genre helps the audience know what they are buying. Costs are reduced through the repetition of form and genre. OH DAMN, this is where Leah tells Casper off. Aesthetic reasons for genre Life isn’t long and life isn’t slow: As a result, if you want to be good at whatever you choose to do, you must do it again and again. Must devote entire life to whatever you choose to do. For example, Alfred Hitchcock only made suspense thrillers. When people work according to formula or type, they know the audience will presume things (and they can get on with the stories faster). Clarity, simplicity, conclusion, directness, repetition.
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This note was uploaded on 12/06/2010 for the course CTCS 190 taught by Professor Casper during the Fall '07 term at USC.

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introtocinemaround2 - Genre & Backstreet What the fuck are...

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