Difference between pages "Concept of Authorship (Discussion)" and "Editing: Single Camera Mode (Discussion)"

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==Readings==
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{{Gallery
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===Introduction, by John Caughie===
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|title=Single-Camera Production
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|width=400
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|lines=1
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|align=center
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|File:Addams Family Still.jpg|alt1=Circa 1960.|''The Addams Family''
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}}
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'''Basic definitions'''
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Provide a definition of these terms and describe how/if it is used in this [http://www.tcf.ua.edu/EO/DV/NorthernExposureDinner.php ''Northern Exposure'' excerpt].
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''' Group 2 '''
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#Establishing shot
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#*Re-establishing shot
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'''Group 3'''
 
'''Group 3'''
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#What are the basic assumptions of auteurist critics?
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#The shot-counter shot editing pattern (also known as "shot-reverse shot")
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#How did auteurism differ from previous film criticism?
 
  
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=== Edward Buscombe ===
 
 
'''Group 4'''
 
'''Group 4'''
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#What elements of romanticism underpin auteurism?
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#Match cut
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#What is the difference between Hawks and "Hawks"?
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#*Match-on-action
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#*Eyeline match
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#Jump cut
  
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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'' ===
 
 
'''Group 1'''
 
'''Group 1'''
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#What was ''Movie''?
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#180° rule (see [http://tvcrit.com/find/180degreerule Peter John Ross example])
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#How did ''Movie'''s approach to auteurism differ from that of ''Cahiers du Cinéma''?
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#*Screen direction
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#*How/when might this rule be broken in a TV program?
  
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=== Andrew Sarris ===
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'''Decoupage exercise'''
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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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*Do a sample ''decoupage''--as explained with a ''Grey's Anatomy'' scene (299-308)--of shots 33-44 from [http://tvcrit.com/find/chevroletvideo this Chevrolet commercial]. <!-- http://www.tcf.ua.edu/Classes/Jbutler/T311/ChevroletAd/CameraDiagram.html -->
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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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**''Each student'' should start by drawing an overhead view similar to [http://www.routledge.com/cw/butler-9780415883283/s1/gallery-09/  Figure 9.24].
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#*And how does this image (below) illustrate it?
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**Each student should be prepared to answer the following decoupage questions from the textbook (p. 311), although you may talk about them in your group:
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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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*#How is the scene’s space, the area in which the action takes place (i.e., the car), introduced to the viewer? Does an establishing shot occur at the start of the scene (or later in it)?
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<br style="clear: both;">
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*#Skip.
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*#Do these angles adhere to the 180° rule? Is screen direction maintained? If not, why is the viewer not disoriented? Or if the space is ambiguous, what narrative purpose does that serve?
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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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*#Skip.
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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.
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*#Is an alternating editing pattern used? Is shot-reverse shot used?
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*#How does the camera relate to the character’s perspective? Are there point-of-view or subjective shots? If so, how are those shots cued or marked? That is, what tells us that they are subjective or point-of-view shots?
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*#Is match-on-action used? Are there jump cuts?
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*#How does the last shot of the scene bring it to a conclusion?
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*#Skip.
  
 
== 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''. New York: Routledge, 2012.
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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.routledge.com/cw/butler-9780415883283/s1/gallery-09/ ''Television'', chapter 9 illustrations]
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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://www.tvstylebook.com/video/ ''Television Style'' video examples]
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#[http://www.tcf.ua.edu/Classes/Jbutler/T112/classicism/index.php#editing Classical Editing Examples]
  
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[[Category:TCF440/540 Discussion]]
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[[Category:TCF311]]
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[[Category:TCF311 Discussion]]

Revision as of 23:39, 24 September 2014

Template:Gallery

Basic definitions

Provide a definition of these terms and describe how/if it is used in this Northern Exposure excerpt.

Group 2

  1. Establishing shot
    • Re-establishing shot

Group 3

  1. The shot-counter shot editing pattern (also known as "shot-reverse shot")

Group 4

  1. Match cut
    • Match-on-action
    • Eyeline match
  2. Jump cut

Group 1

  1. 180° rule (see Peter John Ross example)
    • Screen direction
    • How/when might this rule be broken in a TV program?

Decoupage exercise

  • Do a sample decoupage--as explained with a Grey's Anatomy scene (299-308)--of shots 33-44 from this Chevrolet commercial.
    • Each student should start by drawing an overhead view similar to Figure 9.24.
    • Each student should be prepared to answer the following decoupage questions from the textbook (p. 311), although you may talk about them in your group:
    1. How is the scene’s space, the area in which the action takes place (i.e., the car), introduced to the viewer? Does an establishing shot occur at the start of the scene (or later in it)?
    2. Skip.
    3. Do these angles adhere to the 180° rule? Is screen direction maintained? If not, why is the viewer not disoriented? Or if the space is ambiguous, what narrative purpose does that serve?
    4. Skip.
    5. Is an alternating editing pattern used? Is shot-reverse shot used?
    6. How does the camera relate to the character’s perspective? Are there point-of-view or subjective shots? If so, how are those shots cued or marked? That is, what tells us that they are subjective or point-of-view shots?
    7. Is match-on-action used? Are there jump cuts?
    8. How does the last shot of the scene bring it to a conclusion?
    9. Skip.

Bibliography

  1. Butler, Jeremy G. Television: Critical Methods and Applications. New York: Routledge, 2012.

External links

  1. Television, chapter 9 illustrations
  2. Television Style video examples
  3. Classical Editing Examples
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