Ngozi Onyema
Film 3000
Final Exam Part 2: Essay Section. Essay Question # 1: Film Glossary and Desperately Seeking Susan
Professor Kristine Mirrer
December 18, 2011
The five terms that I chose to explain in my own words are: Follow Shot, Focus, Pan, Eyeline Matching and Rack Focusing.
A follow shot is when the camera is following the subject while it is moving. An example of a follow shot in the film “Desperately Seeking Susan” is when the character Roberta Glass is in Manhattan and walks down the path by the benches near the water on the peer where she is hoping to catch Jim and Susan meeting. The camera follows her as she walks down the path then stops to have a seat on one of the benches.
Focus is when the camera is shooting an object that starts off dull/blurry and unclear to see and then increases the sharpness of the image, making it clearer to see. An example of focus in the film “Desperately Seeking Susan” is when Dez sees Roberta topless and getting dressed. First the focus is on the cat which Dez is trying to take but then in the distance is a blurry image of Roberta topless getting dressed. The focus on Roberta goes from blurry to sharp.
Pan is when the camera pivots from left to right or right to left filming parts of objects that are next to each other on the same vertical plane. An example of pan in the film “Desperately Seeking Susan” is in the scene at the movie theater that Dez works at when the camera pivots from focusing on the movie screen in the theater to Dez in the back controlling the film. This is Dez’s introduction to the film.
Eyeline matching is when the camera acts as the eyes of the subject and focuses on what the subject is looking at in the same position that the subject is in. It also shoots back at the subject to let the viewers of the film know that the view at the moment is the view of the subject. An example of eyeline matching in the film “Desperately Seeking Susan” is when Roberta Glass is watching Jim and Susan meet through the standing binoculars at the peer in NYC. The shot cuts back to Roberta Glass to show that when the camera is focused on Jim and Susan it is the view that Roberta Glass is seeing.
Rack focusing is when the focus is shifted from one of the two main objects in the shot to the other main object in the shot. An example of rack focusing in the film “Desperately Seeking Susan” is when Roberta is following Susan secretly down the streets of NYC. The focus goes from Susan to Roberta who is in the back trying to keep up with Susan. It’s almost as if Roberta pops in to the scene and the focus of the camera is put on her. It is done several times switching from Susan to Roberta trying to keep up behind.
Sunday, December 18, 2011
Monday, December 12, 2011
Essay of Jean Cocteau's Beauty and the Beast (1946)
Ngozi Onyema
Film 3000
December 12, 2011
Film: Beauty and the Beast. La belle et la bête (original title)
TRT: 96 minutes
Language: French with English subtitles.
Date of film: 1946
Director: Jean Cocteau
Award: 1946 Won Prix Louis Delluc. Recipient: Jean Cocteau
The topic in film theory that this film “Beauty and the Beast” relates to is the surrealist theory. Surrealist cinema is a modernist film theory launched in Paris in the 1920s. Related to an earlier tradition of Dada cinema, surrealist cinema is characterized by juxtaposition, the rejection of reality, and a frequent use of shocking imagery. Developed in the early twentieth century, surrealism is an artistic and literary style which draws upon irrational imagery and the subconscious mind. Surrealist artists approach both art and life with aims to review and redefine accepted parameters of reality. Surrealists should not, however, be mistaken as whimsical or incapable of logical thought, rather, most surrealists promote themselves as revolutionaries. Surrealism opposes compartmentalization of experiences; surrealists often synthesize life with dreams. Surrealism can be defined as an ever-shifting art form. In his film Beauty and the Beast, Jean Cocteau uses the illusion of film to create magic, while the camera itself gives validity to what appears on the screen. The combination of orchestrated effects and the immediate presence of the filmed image creates just the type of atmosphere Cocteau desires: Belief in the reality of miracles, a fairy tale dimension in which anything can happen.
In the article “A Sense of Magic: Reality and Illusion in Cocteau’s Beauty and the Beast” by David Galet, David Galet talks about the surrealism in the film “Beauty and the Beast’. The simplest form of magic in the film is all trompe l’oeil: dematerialization, animation of inanimate objects, and transformation, as, for example, a magic necklace which turns in to burned rope in the hands of the wrong person. These tricks may merely grace a scene, though they usually add powerfully to the atmosphere. A second type of magic comprises the ordinary effects of the cinema: a breeze’s blowing leaves when there is no real breeze or an eerie glare from an arc lamp. A picture-book air hovers around even the house of the merchant, showing what period clothing and sedan chairs can do to enhance belief in a certain time, a certain place. The third sense of magic is a vague middle ground of cinematic effects and cinematic tricks, scenes that might be staged theatrically but would then lose most of their presence. The Beast himself is a good example of this form of magic: on stage, he would be a man in a beast suit, whereas in Cocteau’s film, he is huge, fearsome and believable. By extension, the magic functions as metaphor: man as a beast, man’s beastly nature. Many of the effects in the Beast’s castle are also semimagical, wherein the reality of the film creates belief in, for example, a human-arm candelabra. For the most part, these various effects are intermingled, though the film does exhibit a subtle progression. The article goes on to describe the esthetics of the film “Beauty and the Beast”. In the article “Cocteau’s Beauty and the Beast: The Poet as Monster.” By Michael Popkin, Michael Popkin talks about how the film was put together and the roles of the characters, the beauty and the beast. Michael Popkin compares Beauty and the Beast to the King Kong film. He also compares The Beauty and the Beast film to the written story and explains the differences. He seems to prefer the written story of Beauty and the Beast to the film.
The articles especially the one titled “A Sense of Magic: Reality and Illusion in Cocteau’s Beauty and the Beast.” By David Galef describes how this film “Beauty and the Beast” displays the surrealist theory. The article by David Galet talks about the magic in the film for instance when the merchant sits down to drink, a disembodied arm pours the carafe for him “close-up front of the dumbfounded Merchant as he looks, then drinks” (Script, p. 86). Just as the character on-screen is amazed, so is the audience, caught up in the close-up view. The appearance of the Beast, after the merchant has plucked a rose, is the next instance of magic. In this instance, the magic represents that intermediate area where film heightens an effect to a scene approaching the unreal. A disjointed arm moving of its own accord is magic; a swirl of leaves, where in real life there is no wind, is a weaker illusion. The Beast, in all his fearsome makeup, is close to a visual lie. An erect, talking Beast is magic, if only by the grace of film. In the article titled “Cocteau’s Beauty and the Beast: The Poet as Monster by Michael Popkin, Michael Popkin mentions how director Cocteau identifies with his monster. During the filming of Beauty and the Beast Cocteau suffered painful boils “in those places where the film compels me to torment an actor with hair and spirit-gum. Even physically Corteau’s favorite theme of the poet cursed with magic powers, and who is not appreciated until those powers have been destroyed. This film exhibits many instances of surrealism.
I can appreciate the film “Beauty and the Beast” and it’s special effects for the time it was released in 1946 but comparing the special effects in the 1946 film to films of today make the “Beauty and the Beast’s” special effects pail in comparison. But I can understand that in the same way some people hold a film like Avatar by Carl Cameron in such high esteem, I can see why this version of “Beauty and the Beast” is held so high. The film was more dark than fairy tale for me, almost to the point of horror. But I like the story and the surrealism. In reading the articles reviewing this film I also like the metaphors and symbolism that is present in this film and story. I appreciate this film for adding and improving on the surrealist film genre.
Bibliography:
Galef, David. (1984). “A sense of Magic: Reality and Illusion in Cocteau’s Beauty and the Beast” Literature Film Quarterly, Vol. 12 Issue 2, p96, 11p. Retrieved December 11, 2011, from Academic Search Premier
Popkin, Michael. (1982). “ Cocteau’s Beauty and the Beast: The Poet as Monster.” Literature film Quarterly, Vol. 10 Issue 2, p100, 10p. Retrieved December 11, 2011, from Academic Search Premier
Film 3000
December 12, 2011
Film: Beauty and the Beast. La belle et la bête (original title)
TRT: 96 minutes
Language: French with English subtitles.
Date of film: 1946
Director: Jean Cocteau
Award: 1946 Won Prix Louis Delluc. Recipient: Jean Cocteau
The topic in film theory that this film “Beauty and the Beast” relates to is the surrealist theory. Surrealist cinema is a modernist film theory launched in Paris in the 1920s. Related to an earlier tradition of Dada cinema, surrealist cinema is characterized by juxtaposition, the rejection of reality, and a frequent use of shocking imagery. Developed in the early twentieth century, surrealism is an artistic and literary style which draws upon irrational imagery and the subconscious mind. Surrealist artists approach both art and life with aims to review and redefine accepted parameters of reality. Surrealists should not, however, be mistaken as whimsical or incapable of logical thought, rather, most surrealists promote themselves as revolutionaries. Surrealism opposes compartmentalization of experiences; surrealists often synthesize life with dreams. Surrealism can be defined as an ever-shifting art form. In his film Beauty and the Beast, Jean Cocteau uses the illusion of film to create magic, while the camera itself gives validity to what appears on the screen. The combination of orchestrated effects and the immediate presence of the filmed image creates just the type of atmosphere Cocteau desires: Belief in the reality of miracles, a fairy tale dimension in which anything can happen.
In the article “A Sense of Magic: Reality and Illusion in Cocteau’s Beauty and the Beast” by David Galet, David Galet talks about the surrealism in the film “Beauty and the Beast’. The simplest form of magic in the film is all trompe l’oeil: dematerialization, animation of inanimate objects, and transformation, as, for example, a magic necklace which turns in to burned rope in the hands of the wrong person. These tricks may merely grace a scene, though they usually add powerfully to the atmosphere. A second type of magic comprises the ordinary effects of the cinema: a breeze’s blowing leaves when there is no real breeze or an eerie glare from an arc lamp. A picture-book air hovers around even the house of the merchant, showing what period clothing and sedan chairs can do to enhance belief in a certain time, a certain place. The third sense of magic is a vague middle ground of cinematic effects and cinematic tricks, scenes that might be staged theatrically but would then lose most of their presence. The Beast himself is a good example of this form of magic: on stage, he would be a man in a beast suit, whereas in Cocteau’s film, he is huge, fearsome and believable. By extension, the magic functions as metaphor: man as a beast, man’s beastly nature. Many of the effects in the Beast’s castle are also semimagical, wherein the reality of the film creates belief in, for example, a human-arm candelabra. For the most part, these various effects are intermingled, though the film does exhibit a subtle progression. The article goes on to describe the esthetics of the film “Beauty and the Beast”. In the article “Cocteau’s Beauty and the Beast: The Poet as Monster.” By Michael Popkin, Michael Popkin talks about how the film was put together and the roles of the characters, the beauty and the beast. Michael Popkin compares Beauty and the Beast to the King Kong film. He also compares The Beauty and the Beast film to the written story and explains the differences. He seems to prefer the written story of Beauty and the Beast to the film.
The articles especially the one titled “A Sense of Magic: Reality and Illusion in Cocteau’s Beauty and the Beast.” By David Galef describes how this film “Beauty and the Beast” displays the surrealist theory. The article by David Galet talks about the magic in the film for instance when the merchant sits down to drink, a disembodied arm pours the carafe for him “close-up front of the dumbfounded Merchant as he looks, then drinks” (Script, p. 86). Just as the character on-screen is amazed, so is the audience, caught up in the close-up view. The appearance of the Beast, after the merchant has plucked a rose, is the next instance of magic. In this instance, the magic represents that intermediate area where film heightens an effect to a scene approaching the unreal. A disjointed arm moving of its own accord is magic; a swirl of leaves, where in real life there is no wind, is a weaker illusion. The Beast, in all his fearsome makeup, is close to a visual lie. An erect, talking Beast is magic, if only by the grace of film. In the article titled “Cocteau’s Beauty and the Beast: The Poet as Monster by Michael Popkin, Michael Popkin mentions how director Cocteau identifies with his monster. During the filming of Beauty and the Beast Cocteau suffered painful boils “in those places where the film compels me to torment an actor with hair and spirit-gum. Even physically Corteau’s favorite theme of the poet cursed with magic powers, and who is not appreciated until those powers have been destroyed. This film exhibits many instances of surrealism.
I can appreciate the film “Beauty and the Beast” and it’s special effects for the time it was released in 1946 but comparing the special effects in the 1946 film to films of today make the “Beauty and the Beast’s” special effects pail in comparison. But I can understand that in the same way some people hold a film like Avatar by Carl Cameron in such high esteem, I can see why this version of “Beauty and the Beast” is held so high. The film was more dark than fairy tale for me, almost to the point of horror. But I like the story and the surrealism. In reading the articles reviewing this film I also like the metaphors and symbolism that is present in this film and story. I appreciate this film for adding and improving on the surrealist film genre.
Bibliography:
Galef, David. (1984). “A sense of Magic: Reality and Illusion in Cocteau’s Beauty and the Beast” Literature Film Quarterly, Vol. 12 Issue 2, p96, 11p. Retrieved December 11, 2011, from Academic Search Premier
Popkin, Michael. (1982). “ Cocteau’s Beauty and the Beast: The Poet as Monster.” Literature film Quarterly, Vol. 10 Issue 2, p100, 10p. Retrieved December 11, 2011, from Academic Search Premier
Wednesday, December 7, 2011
Rear Window Film Response
Ngozi Onyema
Film 3000
December 7, 2011
Film: Rear Window
TRT: 112 minutes
Language: English.
Date of film: 1954
Director: Alfred Hitchcock
Award: 1955 Oscar for Best Cinematography, Color: Rober Burks. Best Director: Alfred Hitchcock. Best Sound, Recording: Loren L. Ryder (Paramount). Best Writing, Screenplay: John Michael Hayes.
The topic in film theory that this film “Rear Window” relates to is Psychoanalytical Film Theory. Psychoanalytical film theory is a school of academic film criticism that developed in the 1970s and ‘80s, is closely allied with critical theory, and that analyzes films from the perspective of psychoanalysis, generally the works of Jacques Lacar. The film viewer is seen as the subject of a “gaze” that is largely “constructed” by the film itself, where what is on screen becomes the object of that subject’s desire. The viewing subject may be offered particular identifications (usually with a leading male character) from which to watch. The theory stresses the subject’s longing for a completeness which the film may appear to offer through identification with an image; in fact according to Lacanian theory, identification with the image is never anything but an illusion and the subject is always split simply by virtue of coming in to existence. In this film the character L.B. Jeffries played by James Stewart is the subject of psychoanalysis. L.B. Jeffries has suspicions and the audience has to wonder if his suspicions are valid or if it’s all in his head.
The article titled “Alfred Hitchcock’s Rear Window as Critical Allegory” by George E. Toles breaks down the film “Rear Window” in a way many different critics may see the film. It captures the film from many different angles but is mainly focused on the question of if it was ethical for the main character L.B. Jeffries to jump to the conclusion he did so quickly about the murder. It brings to question the psychoanalytical aspect of the main character in the film. This article goes in to questioning how the audience should view the film during the changes that occur with identifying with the main character. This article is more of a defense against Hitchcock’s critics. In the article titled “Rear Window (1954)” by Roger Ebert, Roger Ebert explains the film “Rear Window”. The article goes in to the audience’s identification with the main character L.B. Jeffries played by James Stewart. The article goes in to the background of the actor who played the main character: James Stewart. The article also goes in to details about how the film was put together by Hitchcock.
The article especially the one titled “Alfred Hitchcock’s Rear Window as Critical Allegory” by George E. Toles delves deeply in to details that make the “Rear Window” film characteristic of Psychoanalytical Film Theory. The fact that the film expresses the complex that the main character and his neighbors live in as seemingly normal and while a murder is suspected to have occurred has the audience critical which is part of the psychoanalytical film theory. The article by George E. Toles goes on to say: “Rear Window whose protagonist, in addition to being a voyeur and a prototype of the movie-goer, is also a critic of sorts. Returning to the question with which this paper began, the ethical question of the precise nature of Jeffries’s transgression, one might reasonably argue that as a critic Jeffries is guilty, at the very least of arriving at judgment without understanding. At no point does he feel the pressure to arrive at a more difficult self-knowledge’. The article also says: “Rear Window shows us how tempting it is for us not to change subject or terms once they have been established, at the risk of confusion or exposing our own slippery, irresolute ground….One must be willing to reexamine the suspect ways in which the self constantly exchanges its confusions for fantasies of settled order and out of this order contrives a limited world to inhabit.” All of these statements are points to how this film is characteristic of psychoanalytical film theory.
Personally I enjoyed this film especially Jimmy Stewarts acting. He’s a fine actor. I learned through the film and critics writings of the film how films draw the audience in to be identified with the main character. This film displayed that well especially since most of what the main character was doing was spectating and watching others just as we the viewers of the film watched the characters in the film. We formed a bond with the main character but the film involved critical thinking and when the main character came out with his suspicions we applied the psychoanalytical film theory.
Bibliography:
Ebert, Roger (1983, October 7). Rear Window. Rogerebert.suntimes.com. Retrieved December 7, 2011 from http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19831007/REVIEWS/310070302/1023
Toles, George E. (Winter – Spring, 1989). “Alfred Hitchcock’s Rear Window as Critical Allegory” boundary 2, Vol. 16. No. 2/3 pp. 225-245. Retrieved December 7, 2011, from JSTOR
Film 3000
December 7, 2011
Film: Rear Window
TRT: 112 minutes
Language: English.
Date of film: 1954
Director: Alfred Hitchcock
Award: 1955 Oscar for Best Cinematography, Color: Rober Burks. Best Director: Alfred Hitchcock. Best Sound, Recording: Loren L. Ryder (Paramount). Best Writing, Screenplay: John Michael Hayes.
The topic in film theory that this film “Rear Window” relates to is Psychoanalytical Film Theory. Psychoanalytical film theory is a school of academic film criticism that developed in the 1970s and ‘80s, is closely allied with critical theory, and that analyzes films from the perspective of psychoanalysis, generally the works of Jacques Lacar. The film viewer is seen as the subject of a “gaze” that is largely “constructed” by the film itself, where what is on screen becomes the object of that subject’s desire. The viewing subject may be offered particular identifications (usually with a leading male character) from which to watch. The theory stresses the subject’s longing for a completeness which the film may appear to offer through identification with an image; in fact according to Lacanian theory, identification with the image is never anything but an illusion and the subject is always split simply by virtue of coming in to existence. In this film the character L.B. Jeffries played by James Stewart is the subject of psychoanalysis. L.B. Jeffries has suspicions and the audience has to wonder if his suspicions are valid or if it’s all in his head.
The article titled “Alfred Hitchcock’s Rear Window as Critical Allegory” by George E. Toles breaks down the film “Rear Window” in a way many different critics may see the film. It captures the film from many different angles but is mainly focused on the question of if it was ethical for the main character L.B. Jeffries to jump to the conclusion he did so quickly about the murder. It brings to question the psychoanalytical aspect of the main character in the film. This article goes in to questioning how the audience should view the film during the changes that occur with identifying with the main character. This article is more of a defense against Hitchcock’s critics. In the article titled “Rear Window (1954)” by Roger Ebert, Roger Ebert explains the film “Rear Window”. The article goes in to the audience’s identification with the main character L.B. Jeffries played by James Stewart. The article goes in to the background of the actor who played the main character: James Stewart. The article also goes in to details about how the film was put together by Hitchcock.
The article especially the one titled “Alfred Hitchcock’s Rear Window as Critical Allegory” by George E. Toles delves deeply in to details that make the “Rear Window” film characteristic of Psychoanalytical Film Theory. The fact that the film expresses the complex that the main character and his neighbors live in as seemingly normal and while a murder is suspected to have occurred has the audience critical which is part of the psychoanalytical film theory. The article by George E. Toles goes on to say: “Rear Window whose protagonist, in addition to being a voyeur and a prototype of the movie-goer, is also a critic of sorts. Returning to the question with which this paper began, the ethical question of the precise nature of Jeffries’s transgression, one might reasonably argue that as a critic Jeffries is guilty, at the very least of arriving at judgment without understanding. At no point does he feel the pressure to arrive at a more difficult self-knowledge’. The article also says: “Rear Window shows us how tempting it is for us not to change subject or terms once they have been established, at the risk of confusion or exposing our own slippery, irresolute ground….One must be willing to reexamine the suspect ways in which the self constantly exchanges its confusions for fantasies of settled order and out of this order contrives a limited world to inhabit.” All of these statements are points to how this film is characteristic of psychoanalytical film theory.
Personally I enjoyed this film especially Jimmy Stewarts acting. He’s a fine actor. I learned through the film and critics writings of the film how films draw the audience in to be identified with the main character. This film displayed that well especially since most of what the main character was doing was spectating and watching others just as we the viewers of the film watched the characters in the film. We formed a bond with the main character but the film involved critical thinking and when the main character came out with his suspicions we applied the psychoanalytical film theory.
Bibliography:
Ebert, Roger (1983, October 7). Rear Window. Rogerebert.suntimes.com. Retrieved December 7, 2011 from http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19831007/REVIEWS/310070302/1023
Toles, George E. (Winter – Spring, 1989). “Alfred Hitchcock’s Rear Window as Critical Allegory” boundary 2, Vol. 16. No. 2/3 pp. 225-245. Retrieved December 7, 2011, from JSTOR
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