The Art of Watching Films

by Petrie, Dennis; Boggs, Joe

• ISBN13: 9780073386171
• ISBN10: 0073386170
• Edition: 8th
• Format: Paperback
• Copyright: 2011-04-13
• Publisher: McGraw-Hill Education

Summary

With an emphasis on the narrative film, The Art of Watching Filmschallenges students to take their film experience further by sharpening their powers of observation, developing the skills and habits of perceptive watching, and discovering complex aspects of Film art that they might otherwise overlook.The first chapter offers a rationale for film analysis while providing suggestions for deepening film appreciation from day one of the course. Following Chapter One, the text presents a foundation for understanding theme and story, key aspects of understanding narrative films (Chapters 2 and 3), before moving on to discussions of dramatic and cinematic elements (Chapters 4 to 11). A framework for integration and application of these elements into an analysis of the whole film is set forth in Chapter 12. Subsequent chapters explore special topics including adaptations, genre films, re-makes, and sequels. The Art of Watching Filmsintroduces the formal elements and production process of films, and helps students analytically view and understand films within their historical, cultural and social contexts. The text presents an analytical framework that can be applied to all movies, as distinctly different as Avatar, The Girl with the Dragon Tattoo, Vertigo, Iron-Man, Man on Wire, and The Hurt Locker.

Table of Contents

PREFACE

1. The Art of Watching Films

THE UNIQUENESS OF FILM

Increasing Realism as Technology Evolves

THE CHALLENGES OF FILM ANALYSIS

THE VALUE OF FILM ANALYSIS

Either/Or Positions About Film Analysis

The Two Sides Can Coexist: This Book’s Position

Analysis Enhances Our Love of Films

BECOMING A RECEPTIVE VIEWER

Be Aware of Personal Biases

Watch the Film

Consider Your Expectations

THE FILM-VIEWING ENVIRONMENT

PREPARING TO SEE A FILM

DEEPENING OUR RESPONSES TO FILMS

Analyzing Your Responses to a Film

2. Thematic Elements

THEME AND FOCUS

Focus on Plot

Focus on Emotional Effect or Mood

Focus on Character

Focus on Style or Texture or Structure

Focus on Ideas

IDENTIFYING THE THEME

EVALUATING THE THEME

Analyzing Theme

Watching for Theme

Films for Study

3. Fictional and Dramatic Elements

FILM ANALYSIS AND LITERARY ANALYSIS

THE ELEMENTS OF A GOOD STORY

A Good Story Is Unified in Plot

A Good Story Is Credible

A Good Story Is Interesting

A Good Story Is Both Simple and Complex

A Good Story Handles Emotional Material with Restraint

THE SIGNIFICANCE OF THE TITLE

DRAMATIC STRUCTURE

Linear, or Chronological, Structure

Nonlinear Structures

Endings: Fine-Tuning the Dénouement

CONFLICT

CHARACTERIZATION

Characterization Through Appearance

Characterization Through Dialogue

Characterization Through External Action

Characterization Through Internal Action

Characterization Through Reactions of Other Characters

Characterization Through Contrast: Dramatic Foils

Characterization Through Caricature and Leitmotif

Characterization Through Choice of Name

Varieties of Characters

ALLEGORY

SYMBOLISM

Universal and Natural Symbols

Creating Symbolic Meanings

Symbolic Patterns and Progressions

Symbolic Values in Conflict

Metaphors

Overreading Symbolism

IRONY

Dramatic Irony

Irony of Situation

Irony of Character

Irony of Setting

Irony of Tone

Cosmic Irony

Analyzing Fictional and Dramatic Elements

Watching for Fictional and Dramatic Elements

Mini-Movie Exercise: The Graduate

DVD Filmmaking Extras

Films for Study

4. Visual Design

COLOR VERSUS BLACK AND WHITE

SCREEN FORMAT (ASPECT RATIO)

FILM STOCK

PRODUCTION DESIGN/ART DIRECTION

The Script: The Starting Point

Setting and Its Effects

Studio Versus Location Shooting

Period Pieces

Living Spaces and Offices

Fantasy Worlds

COSTUME AND MAKEUP DESIGN

LIGHTING

THE BUDGET’S EFFECT ON THE FILM’S LOOK

Analyzing Visual Design

Watching for Visual Design: Dressed to Kill

Mini-Movie Exercise: Dressed to Kill

Mini-Movie Exercise: Fantastic Mr. Fox

DVD Filmmaking Extras

Films for Study

5. Cinematography and Special Visual Effects

THE IMPORTANCE OF THE VISUAL IMAGE

THE CINEMATIC FILM

CINEMATIC POINTS OF VIEW

Objective Point of View

Subjective Point of View

Indirect-Subjective Point of View

Director’s Interpretive Point of View

ELEMENTS OF CINEMATIC COMPOSITION

Focusing Attention on the Most Significant Object

Keeping the Image in Motion

Creating an Illusion of Depth

SPECIALIZED CINEMATIC TECHNIQUES

Handheld Camera

Camera Angles

Color, Diffusion, and Soft Focus

Special Lenses

Fast Motion

Special Lighting Effects

MOVIE MAGIC: VISUAL EFFECTS IN THE MODERN FILM

THE F/X OF ANIMATED FEATURE FILMS . . . ESPECIALLY FOR ADULTS

FLASHBACK: ANIMATION: ONCE AN OPENING ACT, NOW A MAIN EVENT

Analyzing Cinematography and Special Visual Effects

Watching for Cinematography and Special Visual Effects

Mini-Movie Exercise: Cinematography

Mini-Movie Exercise: Animated FX

DVD Filmmaking Extras

Films for Study

6. Editing

SELECTIVITY

FLASHBACK: FILM EDITORS: A HISTORY BEHIND THE SCENES

COHERENCE, CONTINUITY, AND RHYTHM

TRANSITIONS

RHYTHMS, TEMPO, AND TIME CONTROL

EXPANSION AND COMPRESSION OF TIME

SLOW MOTION

THE FREEZE FRAME, THE THAWED FRAME, AND STILLS

The Freeze Frame

The Thawed Frame

Stills

CREATIVE JUXTAPOSITION: MONTAGE

Analyzing Editing

Watching for Editing

Mini-Movie Exercise: The New York Stories

Mini-Movie Exercise: Lord of War

DVD Filmmaking Extras

Films for Study

7. Color

COLOR IN THE MODERN FILM

Effects of Color on the Viewer

FLASHBACK: DISCOVERING COLOR AT THE MOVIIES

Color as a Transitional Device

Expressionistic Use of Color

Color as Symbol

Surrealistic Use of Color

Leitmotifs in Color

Color to Enhance Mood

Comic Book Color

Comic Strip Color

Painterly Effects in Color

Ironic Use of Color

Special Color Effects

COLOR VERSUS BLACK AND WHITE

Analyzing Color

Watching for Color

Mini-Movie Exercise: Akira Kurosawa’s Dreams

DVD Filmmaking Extras

Films for Study

8. Sound Effects and Dialogue

SOUND AND THE MODERN FILM

DIALOGUE

THREE-DIMENSIONALITY IN SOUND

VISIBLE AND INVISIBLE SOUND

POINTS OF VIEW IN SOUND

SPECIAL USES OF SOUND EFFECTS AND DIALOGUE

Sound Effects to Tell an Inner Story

Distortion of Sound to Suggest Subjective States

The “Personality” of Mechanical Sounds

Slow-Motion Sound

Ironic Juxtaposition of Sound and Image

Placing Unusual Emphasis on Sound

Using Sound for Texture, Time, and Temperature

SOUND AS A PLOT DEVICE

SOUND AS A TRANSITIONAL ELEMENT

VOICE-OVER NARRATION

SILENCE AS A SOUND EFFECT

RHYTHMIC QUALITIES OF DIALOGUE AND SOUND EFFECTS

THE “SOUNDS” OF FOREIGN LANGUAGE OR INTERNATIONAL FILMS

Voice Dubbing

Subtitles

Analyzing Sound Effects and Dialogue

Watching for Sound Effects and Dialogue

Mini-Movie Exercise: “An Occurrence at Owl Creek Bridge”

DVD Filmmaking Extras

Films for Study

9. The Musical Score

THE REMARKABLE AFFINITY OF MUSIC AND FILM

THE IMPORTANCE OF THE MUSICAL SCORE

GENERAL FUNCTIONS OF THE MUSICAL SCORE

SPECIAL FUNCTIONS OF THE MUSICAL SCORE

Heightening the Dramatic Effect of Dialogue

Telling an Inner Story

Providing a Sense of Time and Place

Foreshadowing Events or Building Dramatic Tension

Adding Levels of Meaning to the Visual Image

Characterization Through Music

Triggering Conditioned Responses

Traveling Music

Providing Important Transitions

Setting an Initial Tone

Musical Sounds as Part of the Score

Music as Interior Monologue

Music as a Base for Choreographed Action

Covering Possible Weaknesses in the Film

SYNTHESIZER SCORING

BALANCING THE SCORE

Analyzing the Musical Score

Watching for the Musical Score

Mini-Movie Exercise: Diva

DVD Filmmaking Extras

Films for Study

10. Acting

THE IMPORTANCE OF ACTING

THE GOAL OF THE ACTOR

BECOMING THE CHARACTER

DIFFERENCES BETWEEN FILM ACTING AND STAGE ACTING

FLASHBACK: SILENT ACTING EVOLVES: THE SUBTLTIES OF EXAGGERATION

TYPES OF ACTORS

Impersonators

Interpreters and Commentators

Personality Actors

THE STAR SYSTEM

CASTING

Casting Problems

The Typecasting Trap

Supporting Players

Special Casting Challenges

Extras and Small Parts

ACTORS AS CREATIVE CONTRIBUTORS

SUBJECTIVE RESPONSES TO ACTORS

Analyzing Acting

Watching for Acting

Mini-Movie Exercise: Being There

Mini-Movie Exercise: Coffee and Cigarettes

DVD Filmmaking Extras

Films for Study

11. The Director’s Style

THE CONCEPT OF STYLE

SUBJECT MATTER

CINEMATOGRAPHY

EDITING

SETTING AND SET DESIGN

SOUND AND SCORE

CASTING AND ACTING PERFORMANCES

SCREENPLAYS AND NARRATIVE STRUCTURE

EVOLVING STYLES AND FLEXIBILITY

SPECIAL EDITION: THE DIRECTOR’S CUT

A PORTFOLIO OF FOUR DIRECTORS

Analyzing a Director’s Style

Mini-Movie Exercise: It Happened One Night

Mini-Movie Exercise: Paris, Je T’aime

DVD Filmmaking Extras

Films for Study

12. Analysis of the Whole Film

THE BASIC APPROACH: WATCHING, ANALYZING, AND EVALUATING THE FILM

Theme

The Relationship of the Parts to the Whole

The Film’s Level of Ambition

Objective Evaluation of the Film

Subjective Evaluation of the Film

OTHER APPROACHES TO ANALYSIS, EVALUATION, AND DISCUSSION

The Film as Technical Achievement

The Film as Showcase for the Actor: The Personality Cult

The Film as Product of a Single Creative Mind: The Auteur Approach

The Film as Moral, Philosophical, or Social Statement

The Film as Emotional or Sensual Experience

The Film as Repeated Form: The Genre Approach

The Film as Political Statement

The Film as Gender Statement

The Film as Insight to the Mind: The Psychoanalytical

Approach

The Eclectic Approach

REREADING THE REVIEWS

EVALUATING THE REVIEWER

DEVELOPING PERSONAL CRITERIA

Analyzing the Whole Film

Mini-Movie Exercise I: La Jetée

Mini-Movie Exercise II: Nine Lives

DVD Filmmaking Extras

Films for Study

13. Adaptations

THE PROBLEMS OF ADAPTATION

Change in Medium

Change in Creative Artists

Cinematic Potential of the Original Work

ADAPTATIONS OF PROSE FICTION

Literary Versus Cinematic Points of View

FLASHBACK: THE WRITER’S PLACE IN HOLLYWOOD

Third-Person Point of View: Challenges

First-Person Point of View: Challenges

The Problem of Length and Depth

Philosophical Reflections

Summarizing a Character’s Past

The Challenge of Summarizing Events

Literary Past Tense Versus Cinematic Present Tense

Other Factors Influencing Adaptations of Fiction

ADAPTATIONS OF PLAYS

Structural Divisions

Sense of Space

Film Language Versus Stage Language

Stage Conventions Versus Cinema Conventions

Other Changes

FROM FACT TO FILM: REALITY TO MYTH

Analyzing Adaptations

Mini-Movie Exercise: “Hills Like White Elephants”

DVD Filmmaking Extras

Films for Study

14. Genre Films, Remakes, and Sequels

GENRE FILMS

Values

The Strengths of Genre Films

Basic Genre Conventions—and Their Variations

REMAKES AND SEQUELS

Remakes

Sequels

Analyzing Genre Films, Remakes, and Sequels

Mini-Movie Exercise: Frankenweenie

DVD Filmmaking Extras

Films for Study

15. Film and Society

FILM FOREIGNNESS

“Strange Silents”

DOES AMERICAN FILM SHAPE OR REFLECT SOCIAL AND CULTURAL VALUES?

THE MOTION PICTURE PRODUCTION CODE, 1930–1960

Excerpts from the Motion Picture Production Code

CENSORSHIP IN TRANSITION, 1948–1968

THE MPAA RATING SYSTEM

Motion Picture Association of American Voluntary Movie Rating System

CENSORSHIP AND FILMS ON TELEVISION

BEYOND THE CODE AND RATING SYSTEM

CHANGING FORMULAS FOR THE TREATMENT OF SEX, VIOLENCE, AND LANGUAGE

SOCIAL PROBLEM FILMS AND DOCUMENTARY FILMMAKING

FLASHBACK: FILMING LIFE: A HISTORY OF THE DOCUMENTARY

Analyzing Films in Society

Mini-Movie Exercise: Me La Debes

DVD Filmmaking Extras

Films for Study

NOTES

GLOSSARY

INDEX

CREDITS