Difference between pages "Concept of Authorship (Discussion)" and "Style and the Camera (Discussion)"

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(New page: ==Readings== ===Introduction, by John Caughie=== #What are the basic assumptions of auteurist critics? #How did auteurism differ from previous film criticism? === Edward Buscombe === #Wha...)
 
 
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==Readings==
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<P>'''Group 3'''</P>
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===Introduction, by John Caughie===
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<UL>
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#What are the basic assumptions of auteurist critics?
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  <LI>Explain what <strong>focal length</strong> is -- using the textbook illustrations.</LI>
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#How did auteurism differ from previous film criticism?
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  <LI>How does a zoom in/out look different from a track in/out?</LI>
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</UL>
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<P>'''Group 4'''</P>
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<UL>
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  <LI>Explain what <strong>depth of field</strong> is -- using the textbook illustrations.</LI>
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  <LI>What is the difference between deep focus and deep space (as in mise-en-scene)?</LI>
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</UL>
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<P>'''Group 1'''</P>
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<UL>
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  <LI>Explain what <strong>aspect ratio</strong> is -- using the textbook illustrations.</LI>
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  <LI>Also explain letterbox and pan-and-scan. </LI>
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</UL>
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<P>'''Group 2'''</P>
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<UL>
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  <LI>Explain the significance of camera <strong>framing, height, and movement</strong> -- using the textbook illustrations.</LI>
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  <LI>When might movement be used that does <I>not</I> follow a character? How is a Steadicam shot different from a handheld shot? </LI>
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</UL>
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<P>If you were a cinematographer reshooting the <em>Northern Exposure</em> shot (below), from the scene we saw Tuesday, how might you change these cinematographic aspects? How would that change affect the scene's impact or the viewer's understanding of it? Each group should apply this exercise to its specific cinematographic aspect (above).</P>
  
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=== Edward Buscombe ===
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http://www.tcf.ua.edu/Classes/Jbutler/T311/NorthExp04.JPG
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#What elements of romanticism underpin auteurism?
 
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#What is the difference between Hawks and "Hawks"?
 
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=== ''Cahiers du Cinéma'' ===
 
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#What is "formalism" and how did it relate to ''Cahiers''-style auteurism?
 
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http://www.tcf.ua.edu/Classes/Jbutler/T340/CahiersDuCinema.jpg
 
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<br style="clear: both;">
 
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=== ''Movie'' ===
 
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#What was ''Movie''?
 
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#How did ''Movie'''s approach to auteurism differ from that of ''Cahiers du Cinéma''?
 
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=== Andrew Sarris ===
 
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#What, according to Sarris, are the three premises of the auteur theory?
 
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#*Explain, if you can, what Sarris means by "élan of the soul".
 
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#What does Sarris mean when he uses the term "mise-en-scene"? ('''Hint''': it's ''not'' how Bordwell and Thompson use it in ''Film Art''.)
 
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#*And how does this image (below) illustrate it?
 
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[[Image:Rules Moment07 jpg.jpg|thumb|left|Jean Renoir in ''Rules of the Game'' (French title: ''La Règle du jeu'').]]
 
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<br style="clear: both;">
 
  
 
== Bibliography ==
 
== Bibliography ==
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All from ''Theories of Authorship'', John Caughie, ed. (Boston: Routledge & Kegan Paul, 1981):
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#Butler, Jeremy G. ''Television: Critical Methods and Applications''. Mahweh, NJ: Lawrence Erlbaum Associates, 2007.
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#Introduction, John Caughie, 9-16.
 
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#Edward Buscombe, "Ideas of Authorship," 22-34.
 
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#''Cahiers du Cinéma'', 35-47.
 
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#''Movie'', 48-60.
 
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#Andrew Sarris, 61-67.
 
  
 
==External links==
 
==External links==
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#[http://www.tcf.ua.edu/Classes/Jbutler/T440/AuteurTheory.htm Auteur Theory Illustrations]
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*[http://www.tcf.ua.edu/tvcritgallery/index.php/chapter06 Illustrations from ''Television'' chapter 6.]
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#[http://www.tcf.ua.edu/Classes/Jbutler/T340/Bazin03.htm Auteurism's defining moment], according to Sarris.
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*[http://camerasim.com/camera-simulator.html CameraSim Camera Simulator]
  
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[[Category:TCF440/540]]
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[[Category:TCF311]]
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[[Category:TCF440/540 Discussion]]
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[[Category:TCF311 Discussion]]

Revision as of 14:52, 10 November 2011

Group 3

  • Explain what focal length is -- using the textbook illustrations.
  • How does a zoom in/out look different from a track in/out?

Group 4

  • Explain what depth of field is -- using the textbook illustrations.
  • What is the difference between deep focus and deep space (as in mise-en-scene)?

Group 1

  • Explain what aspect ratio is -- using the textbook illustrations.
  • Also explain letterbox and pan-and-scan.

Group 2

  • Explain the significance of camera framing, height, and movement -- using the textbook illustrations.
  • When might movement be used that does not follow a character? How is a Steadicam shot different from a handheld shot?

If you were a cinematographer reshooting the Northern Exposure shot (below), from the scene we saw Tuesday, how might you change these cinematographic aspects? How would that change affect the scene's impact or the viewer's understanding of it? Each group should apply this exercise to its specific cinematographic aspect (above).

http://www.tcf.ua.edu/Classes/Jbutler/T311/NorthExp04.JPG

Bibliography

  1. Butler, Jeremy G. Television: Critical Methods and Applications. Mahweh, NJ: Lawrence Erlbaum Associates, 2007.

External links

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