Film, the medium and the maker:
Saved in:
| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
New York u.a.
Holt, Rinehart and Winston
1975
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Physical Description: | XII, 340 S. Ill. |
| ISBN: | 0030794455 |
Staff View
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| adam_text | 1
AN APPROACH TO FILM
Auteur Criticism and its Limitations 2
Preeminence of the director in current critical theory. Anal-
ysis of Peter Wollen, Signs and Meaning in the Cinema. Auteur ap-
proach to Howard Hawks and John Ford. Approach of Andrew Sarris.
Some omissions and unanswered questions. Disturbing exclusion of
film technology. Effect of evolving technology upon film history.
Filmmaking as a Cooperative Art 9
Importance of interaction in creative filmmaking. Relationship
of director to cameraman. Case of Ingmar Bergman and Sven Nykvist.
Comparable involvement of the director with the scenarist and the
actors. Role of the film editor. Collaboration of Arthur Penn and Aram
Avakian. Further complexities of interaction: Marion Brando s enlarge-
ment of The Godfather.
2
COMPOSITION 21
Composing with the Camera 24
The Moving Image 24
Invention of cinematography. Enthrallment with physical mo-
tion. Early strategies for simulating motion: Irising and undercrank-
ing. Applications in The Joyless Street, The Wild Child, The Rink, City
Lights, Tom Jones, A Clockwork Orange. Development of slow-motion
photography. Applications in Bonnie and Clyde, Ski the Outer Limits.
The Moving Camera 32
Camera movements and their significance. The pan: The
Lower Depths. Tracking: Viridiana. Booming: Ugetsu. Tilting: The
World of Apa, The Loneliness of the Long Distance Runner. Conjunc-
CONTEN1S
tion of camera and subject movement: The Gospel According to St.
Matthew, Umberto D. Significance of stasis: The Seven Samurai.
Composing with Lenses 37
Basic Lens Variables: Focal Length and Aperture 38
Definition of focal length. Its relationship to framing. Normal,
wide-angle, and telephoto lenses. Definition of aperture. Concept of
lens speed. Use of f/stops. Relationship of lens variables to composi-
tion: their effect upon perspective and depth of field.
Wide-Angle, Deep-Field Composition 43
Pioneering work of Soviet cinematography with wide-angle
lenses. Sergei Eisenstein s analysis of wide-angle effects. Eisenstein and
Edouard Tisse: Strike and Potemkin. Vogue of wide-angle composition
in the U.S.A. Concomitant interest in reduced apertures and expanded
depth of field. Contribution of Gregg Toland. Collaboration of Toland
and Orson Welles: Citizen Kane. Persistence of this approach: Odds
against Tomorrow.
Soft-Textured and Long-Lens Composition 52
Preference for open apertures. Concomitant softness of
texture. Strategies of open-aperture composition. Spatial arrangement:
The Iron Horse. Following focus: The Last Command. Motivated soft¬
ness: The Bank Dick. The turn to longer lenses. Characteristics of tele-
photos. Softness and selective focus: Elvira Madigan and Adalen 31.
Compression of space and retardation of motion: Battle of Algiers,
The Graduate, The Confession.
New Lenses, New Optical Systems 61
Cinerama, Todd-A-O, and Cinemascope 61
New wide-field Systems. Image qualities and production costs.
Emergence of CinemaScope: Leon Shamroy s photography in The Robe.
Other approaches to the scope System: Max Ophuls and Christian
Matras in Lola Montes; Federico Fellini and Otello Martelli in La Dolce
Vita.
Zoom Lenses and Special-Effects Lenses 66
Introduction of the zoom lens to cinematography. New optical
effects: Crash effects: Who s Afraid of Virginia Woolf? Perspective
disturbance: Medium Cool. Probing and distancing: Psycho and The
Beast Must Die. Subjective effects: Adrift. Fish-eye lenses: Seconds.
3
LIGHTING 73
Lighting in the Era of Orthochrome 77
The Daylight School of American Cinematography 79 .
Tendency toward naturalism in American photography of the J
1910s. Extension of this orientation to cinema. Billy Bitzer and D. W. I
Griffith, Birth of a Nation. William Daniels and Erich von Stroheim,
Greed.
The Are Lights of Germany 83
Hostility to naturalism in German art and drama. Impact of
Robert Wiene s Dr. Caligari. Expressionistic lighting effects in Nesferatu.
Collaboration of F. W. Murnau with Fritz Wagner.
Lighting with Panchromatic Film 86
The Studio Look 88
Panchrome in the Studios. Introduction of tungsten lamps.
Migration of German cameramen to Hollywood. Concept of formula
lighting. Theory and practice of cameraman John Alton. Collaboration
of Lee Garmes and Josef von Sternberg: Shanghai Express.
Persistence of Motif Lighting and Emergence of the Avail-
able-Light School 94
Motif lighting of Robert Krasker for Carol Reed in Odd Man
Out. Haskell Wexler and Mike Nichols, Who s Afraid of Virginia Woolf?
Raoul Coutard and available-light cinematography. Coutard and Jean-
Luc Godard. Coutard and Francois Truffaut: Shoot the Piano Player.
Flexibility of panchrome stock.
Lighting with Color Film 103
From Technicolor to Tripack 104
Evolution of color cinematography. The role of the Kaimuses.
Bert Glennon and Natalie Kalmus: Drums along the Mohawk. More
ambitious expressiveness of Black Narcissus. introduction of Eastman-
color. Work of Teinosuke Kinugasa and Kohei Sagiyama in Gate of Hell.
Further innovations of Black Orpheus.
Contemporary Innovations in Color 112
The available-light approach to color photography. Robert
Surtees prefogging in The Graduate. Expressionistic color filtration
in 2001: A Space Odyssey. Subjectivist uses of color: Red Desert. Vari-
ous Special color effects: King Murray, Butch Cassidy, Alluros.
4
SOUND 119
Basic Technology 120
The concept of a sound score. Integration and orchestration
of noise. Systems of sound recording, Disc sound. Optical sound. Mag-
netic sound. Sound mixing.
The Sounds of Silence 124
Role of the organ in silent cinema. Efforts to re-create live
sound. Stan Kann s organ concerts for The Hunchback of Notre Dame
and Phantom of the Opera. Implicit sound notation in silent film:
Greed, October, Strike. Rene Clair and Two Timid People.
The Age of Optical Sound 129
The Musical Dimension 131
The musical idiom as an extension of silent-film technique.
Interest of various composers in the sound film. Vogue of musical
comedy. Collaboration of Georges Auric and Rene Clair: A Nous, la
Liberte. The Symphonie film. Collaboration of Eisenstein and Sergei
Prokofiev: /A/exander Nevsky.
The Voice-Music-Effects Mix 140
Unimaginative use of voiee in the early sound film. Some ex-
ceptions: the Marx brothers, Chaplin. Orson Welles and the impact of
radio. Sound without image: Welles panic broadeast. Sound mix of
Citizen Kane. Extensions of technique: The Lady from Shanghai, The
Stranger.
The Advent of Magnetic Sound 145
The Wild-Sound Movement 147
Economy and portability of magnetic tape. Market for au-
thentic documentary in the television industry. New documentary
teams: Richard Leacock and D. A. Pennebaker. Automatic sound syn-
chronization: Primary and Don t Look Back. Frederick Wiseman: High
School.
Word and Image: Experiments in Counterpoint 154
Other applications of magnetic recording. Ficticious sound:
Divorce Italian Style. Ironie and allusive sounds: Contempt. Sound and
the moving camera: Targets. Sound as voiee-over commentary: Diary
of a Mad Housewife.
Tricky Mixes, New Noises: Distorted and Electronic Sound 159
The mix and the moving camera; mixing in voiee collage
Possibility of creatively reshaping everyday sound. The effect of off-
speed recording: Throne of Blood. Filtered sound: The Long Day s
Dying. Electronic noise: One Day in the Life of Ivan Denisovitch. A
new dimension in sound: The Conversation.
5
STORY AND SCRIPT 167
Rhetorical Structures 170
The Argumentative Approach to Script 170
Jean Renoir and the problem-oriented scenario. The October
Group. Renoir and Jacques Prevert: The Crime of Monsieur Lange.
Prevert s capacity for consolidation. His poetic and allegorical ten-
dency. Renoir and Charles Spaak: Grand Illusion. Primacy of the spoken
t
i
word and the complete scene. Persistent interest in argurrrent and social
analysis.
Symbolic and Associative Structures 179
Alternative conceptions of structure. Ingmar Bergman as sce-
narist. His symbolic and subjectivist orientation. Symbolic language in
The Seventh Seal. Associative structure in Wild Strawberries.
Picaresque Structures 184
Action Genres: Scripts for Spies and Cowboys 184
Collaboration of Dudley Nichols and John Ford. Nichols con-
ception of Script. His Scripting of The Informer. Primacy of the Visual.
Ford, Nichols, and Stagecoach. Relatedness of language to the action
structure.
The Neorealist Scenario 189
Redefinition of structure in neorealism. Role of Cesare Zavat-
tini. His collaboration with Vittorio De Sica. Harmony of speech and
movement in The Bicycle Thief.
The Anti-Story 195
The Rejection of Plot 195
Michelangelo Antonioni as disciple of Zavattini. Deliberate
violation of expectations as to structure. L Avventura as inversion of
motifs in the adventure story. Rejection of the climactic. Substitution
of alternative values.
Reconceptions of Speech and Action 202
Jean-Luc Godard as scenarist. Renewal of interest in the verbal.
Dependence upon improvisation. The Brechtian use of dialogue in La
Chinoise. Interest in extended monologue. Verbal dimension of Week¬
end.
6
ACTING AND STAGING 209
The Actor as Icon 210
Special nature of film acting. Effects of framing upon perfor-
mance. Interaction of the actor with decor and ensemble. Bergman s
treatment of the actor: The Passion of Anna. Alternative approach to
framing in Antonioni. Antonioni and Monica Vitti. Variation in the
iconography of the film frame: Glenn Ford and Sidney Poitier in
Blackboard Jungle.
Foundations of Film Acting: Gestural Style 217
The Style of Physical Comedy 217
The art of Charles Chaplin. Centrality of body gesture: The
Idle Class, The Immigrant. Ingenuity with costume: The Gold Rush,
Shoulder Arms. Increasing importance of decor: City Lights. Involve-
ment of both decor and ensemble: Modern Times. Alternative orienta-
tion of Buster Keaton. Keaton s more elaborate gymnastic skills. Ca-
pacity to extend and modify a routine: College, The General.
Biomechanics and Constructivism 226
Theories of Vsevolod Meyerhold. Interest in Chaplin. Promo¬
tion of the acting ensemble above the individual performer. Innova-
tions in stagecraft and design. Meyerhold s influence upon Eisenstein.
Potemkin and Strike. Eisenstein s demands upon the actor. Testimony
of Nicolai Cherkasov. Cherkasov s Performance in Alexander Nevsky
and Ivan the Terrible.
Expressionism and its Derivatives 232
The school of Max Reinhardt. His sensitivity to lighting, cos-
tume, decor. His disciples in the cinema: Paul Wegener, F. W. Murnau,
Fritz Lang. Expressionist impact upon Josef von Sternberg. Stemberg s
work with Emil Jannings and Marlene Dietrich. Reinhardtesque perfor-
mance and choreography in The Blue Angel.
Styles in Transition 239
The Hollywood Studio Style 240
Functional and pragmatic tendencies of Hollywood Studio
style. Testimony of Henry Fonda. Personalization of Stereotypie roles:
Humphrey Bogart. Possibility of greater theatricalism: George Cukor s
handling of Greta Garbo in Camille. Alfred Hitchcock s emphasis upon
minimal Performance: Joseph Cotten in Shadow of a Doubt. Changes
wrought in the 1950s. Contrast of acting styles in The Tin Star.
The Impact of Stanislavsky 247
New sources of theatrical talent. Elia Kazan and Lee Strasberg
at the New York Actors Studio. Their indebtedness to Konstantin
Stanislavsky. Their emphasis upon the interiorization of a role. Kazan,
Marion Brando, and On the Waterfront. Rod Steiger as Actors Studio
performer. His role in The Pawnbroker. His personal testimony.
Improvisation, Formalism, and Continuing Experiment 254
Other coneeptions of naturalism : Stanislavsky and V. I.
Pudovkin. Handling the nonprofessional actor: Deserter. Pudovkin and
Italian neorealism: Roberto Rossellini and Paisan. Fellini and Francois
Perier in The Nights of Cabiria. Continuing interest in formalistic ap-
proaches to acting: Peter Brook, Ken Russell, and Glenda Jackson.
Marat/Sade and Women in Love.
7
EDITING AND ASSEMBLY 261
Basic Principles of Editing 262
Editing as a source of motion and metaphor. Cuts and dis-
solves. Superimposition: Psycho, The Birds. Editing in conjunetion with
composition, lighting, color: Easy Rider, Last Year at Marienbad, War
and Peace. Editing with respect to sound: Topkapi. Putting together a
sequence: High Noon. Editing in its historical context.
Montage in the Silent Film 267
The Continuity Principle 268
Lev Kuleshov as analyst of the editing process. Results of his
experiments. Pudovkin as disciple of Kuleshov. Conception of montage
in Mother. Matching of motion. Contrasts of size. Interaction of ob-
jects. Complex intellectual montage.
The Collision Principle 272
Eisenstein s differences with Pudovkin. Emphasis upon maxi-
mum conflict: Old and New. Use of superimposition: Strike. The mov-
ing figure and the moving object: October, Strike, and Potemkin.
Montage in the Sound Film 278
Studio Specialization and its Consequences 278
Shifts of directorial emphasis. Introduction of the montage
sequence. Formulaic versus imaginative montage. Contribution of
Slavko Vorkapitch: Viva Villa and The Good Earth. Use of the symbolic
dissolve in Sternberg and John Huston. The Special case of Fantasia.
Editing within the Genres: The Thriller 281
Susceptibility of the thriller to dynamic cutting. The example
of M. Hitchcock s interest in editing. Collaboration with Alma Reville.
Pace and rhythm in North by Northwest. Continuity of movement:
Foreign Correspondent. Dissolves and superimpositions: Shadow of a
Doubt, The Wrong Man. Treatment of sound: Notorious. Mood and
suspense: Psycho.
Editing Beyond the Genres 291
Relationship of editing to the Conventions of the genre film.
New approaches to cutting by Fellini: / Vitelloni. Subjective and dis-
junctive editing in the French New Wave. Collaboration of Henri
Colpi and Alain Resnais. From Guernica to Hiroshima, Mon Amour.
Interweaving of past and present; interrelated montage of sight and
sound. Influence of Resnais-Colpi upon Truffaut and Godard.
The Short Film 297
The Compilation Film 298
Nature of the compilation film. Compilation as documentary
and Propaganda: Frank Capra. New turn in the compilation film: Night
and Fog. Short compilation film in America: Charles Braverman. Brav-
erman s editorial innovations: American Time Capsule, The World of
68, The Sixties. The compilation film as parody: Bruce Connor and
A Movie. As jazz improvisation: Cosmic Ray.
The Lyrical Film 303
Transcendence of narrative form. Lyricism of the straight cut:
Hilary Harris, Nine Variations on a Dance Theme. Lyricism with more
sophisticated opticals: Francis Thompson, N.Y., N.Y. Ed Emshwiller,
Totem; Norman McLaren, Pas de Deux.
8
CONCLUSION 309
Integration of functions in filmmaking. Levels of collaborative
achievement. Mechanical Integration: Mission Impossible. Failure of
integration: The Misfits. Technical and thematic Integration: The
Searchers. Some suggestions for the reorientation of film criticism.
Suggested Further Reading 319
Suggested Further Viewing 324
Film Distributors Code 329
Index 333
|
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| spelling | Scott, James F. 1942-2020 Verfasser (DE-588)121472183 aut Film, the medium and the maker James F. Scott New York u.a. Holt, Rinehart and Winston 1975 XII, 340 S. Ill. txt rdacontent n rdamedia nc rdacarrier Cinéma - Esthétique Film Ästhetik Motion pictures Aesthetics Filmtheorie (DE-588)4071216-3 gnd rswk-swf Filmtheorie (DE-588)4071216-3 s DE-604 HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=003264943&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Scott, James F. 1942-2020 Film, the medium and the maker Cinéma - Esthétique Film Ästhetik Motion pictures Aesthetics Filmtheorie (DE-588)4071216-3 gnd |
| subject_GND | (DE-588)4071216-3 |
| title | Film, the medium and the maker |
| title_auth | Film, the medium and the maker |
| title_exact_search | Film, the medium and the maker |
| title_full | Film, the medium and the maker James F. Scott |
| title_fullStr | Film, the medium and the maker James F. Scott |
| title_full_unstemmed | Film, the medium and the maker James F. Scott |
| title_short | Film, the medium and the maker |
| title_sort | film the medium and the maker |
| topic | Cinéma - Esthétique Film Ästhetik Motion pictures Aesthetics Filmtheorie (DE-588)4071216-3 gnd |
| topic_facet | Cinéma - Esthétique Film Ästhetik Motion pictures Aesthetics Filmtheorie |
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