Difference between pages "JCM412512/Analytical Exercise (Discussion)" and "Howard Hawks as Auteur (Discussion)"

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''Ball of Fire'''s "Second Kiss" Scene: Mise-en-scene, Editing, Sound Perspective
 
 
<gallery mode="packed" heights=200px>
 
File:BallOfFire001.jpg|alt=''Ball of Fire'' screen shot.|First shot.
 
File:BallOfFire003.jpg|alt=''Ball of Fire'' screen shot.|
 
File:BallOfFire004.jpg|alt=''Ball of Fire'' screen shot.|
 
File:BallOfFire006.jpg|alt=''Ball of Fire'' screen shot.|Last shot begins.
 
File:BallOfFire028.jpg|alt=''Ball of Fire'' screen shot.|Last shot ends.
 
</gallery>
 
 
#''Briefly'' describe the mise-en-scene of the scene in which Sugarpuss kisses Bertram the ''second'' time (see illustrations above and [http://www.tcf.ua.edu/EO/DV/BallOfFire02big.php this online clip]).  How does mise-en-scene function in term of the narrative? That is, how does it help to build the characters and their relationship?  Be sure to discuss setting, costume, lighting, and the positioning of the actors. (15 points)
 
#Based on [http://www.tcf.ua.edu/EO/DV/BallOfFire02big.php the "second kiss" scene] from question #1, draw a single diagram of the professors' work room from an overhead, "bird's eye" view.  Indicate the main camera and actor positions. Label the camera positions for shot "1," "2," etc.--similar to ''Television'''s 180-degree diagram, but do ''not'' include the side-view frames of the people (below). Be sure to account for all 14 shots. Does the editing adhere to the 180 degree system?  Explain.
 
#Explain in your own words what the concept of "sound perspective" means. How would you describe the sound perspective in the "second kiss" scene? Judging from how it sounds, what conventional position of the microphone was used? Explain.
 
#What is the central narrative enigma of ''Ball of Fire''? Comparing the film's beginning and ending, how is that enigma posed to the viewer and is it resolved or not at the end?
 
#How do the story time and the screen time of ''Ball of Fire'' differ in order and duration?
 
#Does ''Ball of Fire'' follow the narrative conventions of classical cinema—its narrative form, as the ''Television'' textbook explains it? Refer to  individual scenes to discuss these aspects of classical cinema:
 
#*Single protagonist
 
#*Exposition
 
#*Motivation
 
#*Narrative enigma
 
#*Cause-effect chain
 
#*Climax
 
#*Resolution/Denouement
 
#In one shot (below), Bertram speaks with Sugarpuss. Note: This shot is ''not'' from the scene of the second kiss, which is to be used in the mise-en-scene and editing questions. Discuss the cinematography (especially camera angle, framing and depth of field) of this shot in terms of how it supports the narrative.
 
 
<gallery mode="packed" heights=200px>
 
File:Fig09-05 180 Degree.jpg|alt=180-Degree Diagram from ''Television''.|180-Degree Diagram from ''Television''.
 
File:BallOfFire035.jpg|alt=''Ball of Fire'' screen shot.|Sugarpuss and Bertram's ''first'' encounter in the professors' work room. Click image to enlarge.
 
</gallery>
 
 
 
== Bibliography ==
 
== Bibliography ==
#Jeremy G. Butler, ''Television: Critical Methods and Applications'' (New York: Routledge, 2012).
+
#Andrew Sarris, ''The American Cinema'', 52-56.
 
+
#From ''Theories of Authorship'', John Caughie, ed. (Boston: Routledge & Kegan Paul, 1981):
==External links==
+
##Peter Wollen, "The Auteur Theory," 138-151.
#[http://www.tcf.ua.edu/Classes/Jbutler/T440/AnalExIllustrations.htm Analytical Exercise examples]
+
#From ''Howard Hawks American Artist'', Jim Hillier and Peter Wollen, eds., (London: British Film Institute, 1996):
#*[http://www.tcf.ua.edu/EO/DV/BallOfFire02big.php Sugarpuss and Bertram's second kiss (video clip).]
+
##Jacques Rivette, "The Genius of Howard Hawks," 26-31.
 +
##André Bazin, "How Could You Possibly be a Hitchcocko-Hawksian," 32-34.
 +
##V. F. Perkins, "Hawks's Comedies," 68-71.
 +
##Lee Russell (Peter Wollen), "Howard Hawks," 83-86.
 +
##Naomi Wise, "The Hawksian Woman," 111-119.
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##*'''Sample "Works Cited" citation according to [http://libdata.lib.ua.edu/login?url=http://www.chicagomanualofstyle.org/ ''The Chicago Manual of Style'']:'''
 +
##**Author-Date format (or you may use the "Notes and Bibliography" format):
 +
##***In the works cited: Wise, Naomi. 1996. "The Hawksian Woman." In ''Howard Hawks: American Artist'', edited by Jim Hillier and Peter Wollen, 111-119. London: British Film Institute.
 +
##***In the body of the essay: (Wise 1996, 112)
  
 
[[Category:JCM412/512 Discussion]]
 
[[Category:JCM412/512 Discussion]]

Revision as of 16:32, 23 February 2020

Bibliography

  1. Andrew Sarris, The American Cinema, 52-56.
  2. From Theories of Authorship, John Caughie, ed. (Boston: Routledge & Kegan Paul, 1981):
    1. Peter Wollen, "The Auteur Theory," 138-151.
  3. From Howard Hawks American Artist, Jim Hillier and Peter Wollen, eds., (London: British Film Institute, 1996):
    1. Jacques Rivette, "The Genius of Howard Hawks," 26-31.
    2. André Bazin, "How Could You Possibly be a Hitchcocko-Hawksian," 32-34.
    3. V. F. Perkins, "Hawks's Comedies," 68-71.
    4. Lee Russell (Peter Wollen), "Howard Hawks," 83-86.
    5. Naomi Wise, "The Hawksian Woman," 111-119.
      • Sample "Works Cited" citation according to The Chicago Manual of Style:
        • Author-Date format (or you may use the "Notes and Bibliography" format):
          • In the works cited: Wise, Naomi. 1996. "The Hawksian Woman." In Howard Hawks: American Artist, edited by Jim Hillier and Peter Wollen, 111-119. London: British Film Institute.
          • In the body of the essay: (Wise 1996, 112)