[1]
24 Frames (2017)
Kristin here:
David and I started this blog way back in 2006 largely as a way to offer teachers who use Film Art: An Introduction supplementary material that might tie in with the book. It immediately became something more informal, as we wrote about topics that interested us and events in our lives, like campus visits by filmmakers and festivals we attended. Few of the entries actually relate explicitly to the content of Film Art, and yet many of them might be relevant.
Every year shortly before the autumn semester begins, we offer this list of suggestions of posts that might be useful in classes, either as assignments or recommendations. Those who aren’t teaching or being taught might find the following round-up a handy way of catching up with entries they might have missed. After all, we are pushing 900 posts, and despite our excellent search engine and many categories of tags, a little guidance through this flood of texts and images might be useful to some.
This list starts after last August’s post. For past lists, see 2007 [2], 2008 [3], 2009 [4], 2010 [5], 2011 [6], 2012 [7], 2013 [8], 2014 [9], 2015 [10], 2016 [11], and 2017 [12].
This year for the first time I’ll be including the video pieces that our collaborator Jeff Smith and we have since November, 2016, been posting monthly on the Criterion Channel [13] of the streaming service FilmStruck [14]. In them we briefly discuss (most run around 10 to 14 minutes) topics relating to movies streaming on FilmStruck. For teachers whose school subscribes to FilmStruck there is the possibility of showing them in classes. The series of videos is also called “Observations on Film Art,” because it was in a way conceived as an extension of this blog, though it’s more closely keyed to topics discussed in Film Art. As of now there are 21 videos available, with more in the can. I won’t put in a link for each individual entry, but you can find a complete index of our videos here. [15] Since I didn’t include our early entries in my 2017 round-up, I’ll do so here.
As always, I’ll go chapter by chapter, with a few items at the end that don’t fit in but might be useful.
[July 21, 2019: In late November, 2018, the Filmstruck streaming service ceased operation. On April 8, 2019, it was replaced by The Criterion Channel [16], the streaming service of The Criterion Collection. All the Filmstruck videos listed below appear, with the same titles and numbers, in the “Observations on Film Art” series on the new service. Teachers are welcome to stream these for their classes with a subscription.]
Chapter 3 Narrative Form
David writes on the persistence of classical Hollywood storytelling in contemporary films: “Everything new is old again: Stories from 2017 [17].”
In FilmStruck #5, I look at the effects of using a child as one of the main point-of-view figures in Victor Erice’s masterpiece: “The Spirit of the Beehive–A Child’s Point of View”
In FilmStruck #13, I deal with “Flashbacks in The Phantom Carriage.”
FilmStruck #14 features David discussing classical narrative structure in “Girl Shy—Harold Lloyd Meets Classical Hollywood.” His blog entry, “The Boy’s life: Harold Lloyd’s GIRL SHY on the Criterion Channel” [18] elaborates on Lloyd’s move from simple slapstick into classical filmmaking in his early features. (It could also be used in relation to acting in Chapter 4.)
In FilmStruck #17, David examines “Narrative Symmetry in Chungking Express.”
Chapter 4 The Shot: Mise-en-Scene
In choosing films for our FilmStruck videos, we try occasionally to highlight little-known titles that deserve a lot more attention. In FilmStruck #16 I looks at the unusual lighting in Raymond Bernard’s early 1930s classic: “The Darkness of War in Wooden Crosses.”
FilmStruck #3: Abbas Kiarostami is noted for his expressive use of landscapes. I examine that aspect of his style in Where Is My Friend’s Home? and The Taste of Cherry: “Abbas Kiarostami–The Character of Landscape, the Landscape of Character.”
Teachers often request more on acting. Performances are difficult to analyze, but being able to use multiple clips helps lot. David has taken advantage of that three times so far.
In FilmStruck #4, “The Restrain of L’avventura,” he looks at how staging helps create the enigmatic quality of Antonionni’s narrative.
In FilmStruck #7, I deal with Renoir’s complex orchestration of action in depth: “Staging in The Rules of the Game.”
FilmStruck #10, features David on details of acting: “Performance in Brute Force.”
In Filmstruck #18, David analyses performance style: “Staging and Performance in Ivan the Terrible Part II.” He expands on it in “Eisenstein makes a scene: IVAN THE TERRIBLE Part 2 on the Criterion Channel [19].”
FilmStruck #19, by me, examines the narrative functions of “Color Motifs in Black Narcissus.”
Chapter 5 The Shot: Cinematography
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A basic function of cinematography is framing–choosing a camera setup, deciding what to include or exclude from the shot. David discusses Lubitsch’s cunning play with framing in Rosita and Lady Windermere’s Fan in “Lubitsch redoes Lubitsch.” [21]
In FilmStruck #6, Jeff shows how cinematography creates parallelism: “Camera Movement in Three Colors: Red.”
In FilmStruck 21 Jeff looks at a very different use of the camera: “The Restless Cinematography of Breaking the Waves.”
Chapter 6 The Relation of Shot to Shot: Editing
David on multiple-camera shooting and its effects on editing in an early Frank Capra sound film: “The quietest talkie: THE DONOVAN AFFAIR (1929) [22].”
In Filmstruck #2, David discusses Kurosawa’s fast cutting in “Quicker Than the Eye—Editing in Sanjuro Sugata.”
In FilmStruck #20 Jeff lays out “Continuity Editing in The Devil and Daniel Webster.” He follows up on it with a blog entry: “FilmStruck goes to THE DEVIL [23]”,
Chapter 7 Sound in the Cinema
In 2017, we were lucky enough to see the premiere of the restored print of Ernst Lubitsch’s Rosita (1923) at the Venice International Film Festival in 2017. My entry “Lubitsch and Pickford, finally together again,” [24] gives some sense of the complexities of reconstructing the original musical score for the film.
In FilmStruck #1, Jeff Smith discusses “Musical Motifs in Foreign Correspondent.”
Filmstruck #8 features Jeff explaining Chabrol’s use of “Offscreen Sound in La cérémonie.”
In FilmStruck #11, I discuss Fritz Lang’s extraordinary facility with the new sound technology in his first talkie: “Mastering a New Medium—Sound in M.”
Chapter 8 Summary: Style and Film Form
David analyzes narrative patterning and lighting Casablanca in “You must remember this, even though I sort of didn’t [25].”
In FilmStruck #10, Jeff examines how Fassbender’s style helps accentuate social divisions: “The Stripped-Down Style of Ali Fear Eats the Soul.”
Chapter 9 Film Genres
David tackles a subset of the crime genre in “One last big job: How heist movies tell their stories [26].”
He also discusses a subset of the thriller genre in “The eyewitness plot and the drama of doubt [27].”
FilmStruck #9 has David exploring Chaplin’s departures from the conventions of his familiar comedies of the past to get serious in Monsieur Verdoux: “Chaplin’s Comedy of Murders.” He followed up with a blog entry, “MONSIEUR VERDOUX: Lethal Lothario [28].”
In Filmstruck entry #15, “Genre Play in The Player,” Jeff discusses the conventions of two genres, the crime thriller and movies about Hollywood filmmaking, in Robert Altman’s film. He elaborates on his analysis in his blog entry, “Who got played? [29]”
Chapter 10 Documentary, Experimental, and Animated Films
I analyse Bill Morrison’s documentary on the history of Dawson City, where a cache of lost silent films was discovered, in “Bill Morrison’s lyrical tale of loss, destruction and (sometimes) recovery [30].”
David takes a close look at Abbas Kiarostami’s experimental final film in “Barely moving pictures: Kiarostami’s 24 FRAMES [31].”
Chapter 11 Film Criticism: Sample Analyses
We blogged from the Venice International Film Festival [32] last year, offering analyses of some of the films we saw. These are much shorter than the ones in Chapter 11, but they show how even a brief report (of the type students might be assigned to write) can go beyond description and quick evaluation.
The first entry [33] deals with the world premieres of The Shape of Water and Three Billboards outside Ebbing, Missouri and is based on single viewings. The second [34] was based on two viewings of Argentine director Lucretia Martel’s marvelous and complex Zama. The third [35] covers films by three major Asian directors: Kore-eda Hirokazu, John Woo, and Takeshi Kitano.
Chapter 12 Historical Changes in Film Art: Conventions and Choices, Traditions and Trends
My usual list [36]of the ten best films of 90 years ago deals with great classics from 1927, some famous, some not so much so.
David discusses stylistic conventions and inventions in some rare 1910s American films in “Something familiar, something peculiar, something for everyone: The 1910s tonight [37].”
I give a rundown [38] on the restoration of a silent Hollywood classic long available only in a truncated version: The Lost World (1925).
In teaching modern Hollywood and especially superhero blockbusters like Thor Ragnarok, my “Taika Waititi: The very model of a modern movie-maker [39]” might prove useful.
Etc.
If you’re planning to show a film by Damien Chazelle in your class, for whatever chapter, David provides a run-down of his career and comments on his feature films in “New colors to sing: Damien Chazelle on films and filmmaking [40].” This complements entries from last year on La La Land: “How LA LA LAND is made” [41] and “Singin’ in the sun,” [42] a guest post featuring discussion by Kelley Conway, Eric Dienstfrey, and Amanda McQueen.
Our blog is not just of use for Film Art, of course. It contains a lot about film history that could be useful in teaching with our other textbook. In particular, this past year saw the publication of David’s Reinventing Hollywood: How 1940s Filmmakers Changed Hollywood Storytelling. His entry “REINVENTING HOLLYWOOD: Out of the past [43]” discusses how it was written, and several entries, recent and older, bear on the book’s arguments. See the category “1940s Hollywood.” [44]
Finally, we don’t deal with Virtual Reality artworks in Film Art, but if you include it in your class or are just interested in the subject, our entry “Venice 2017: Sensory Saturday; or what puts the Virtual in VR [45]” might be of interest. It reports on four VR pieces shown at the Venice International Film Festival, the first major film festival to include VR and award prizes.
[46]
Monsieur Verdoux (1947)