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

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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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'''Group 3'''
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  <LI>Explain what <strong>focal length</strong> is -- using the textbook illustrations.</LI>
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#What are the basic assumptions of auteurist critics?
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  <LI>How does a zoom in/out look different from a track in/out?</LI>
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#How did auteurism differ from previous film criticism?
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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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'''Group 4'''
 
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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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'''All Groups'''
 
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#What is "formalism" and how did it relate to ''Cahiers''-style auteurism?
 
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#What is "personalism"?
 
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=== ''Movie'' ===
 
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'''Group 1'''
 
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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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'''Group 2'''
 
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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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'''All Groups'''
 
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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|thumb|left|Jean Renoir in ''Rules of the Game'' (French title: ''La Règle du jeu'').]]
 
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<br style="clear: both;">
 
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Pauline Kael, "Circles and Squares," ''Film Quarterly'' (reprinted in ''I Lost It at the Movies''), response to Sarris:
 
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:Sarris believes that what makes an auteur is "an élan of the soul." (This critical language is barbarous. Where else should élan come from? It's like saying "a digestion of the stomach." A film critic need not be a theoretician, but it is necessary that he know how to use words. This might, indeed, be a first premise for a theory.) Those who have this élan presumably have it forever and their films reveal the "organic unity" of the directors' careers; and those who don't have it - well, they can only make "actors' classics." It's ironic that a critic trying to establish simple "objective" rules as a guide for critics who he thinks aren't gifted enough to use taste and intelligence, ends up - where, actually, he began - with a theory based on mystical insight.
 
  
 
== 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 Discussion]]
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[[Category:TCF311]]
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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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