How was the film I'm Not There received in the U.S. and what aspects of the film most influenced the reviews it received?
Works Cited
Crisafulli, Chuck, Michael Paoletta, and Jonathan Cohen. "Musical Family." Billboard 3 Nov. 2007: 27-29. 29 Oct. 2008. Academic Search Premier. EBSCOhost. Randall Library, Wilmington, NC. 29 Oct. 2008. Path: "i'm not there" and (film* or movie or cinema* or "motion picture").
The article is about how a new wave of musical films takes an unconventional approach to the genre.
(link to the article through ebscohost: http://0-search.ebscohost.com.uncclc.coast.uncwil.edu/login.aspx?direct=true&db=buh&AN=27328889&site=ehost-live)
"I'm Not There." Variety. Variety Magazine. 29 Oct. 2008. http://www.variety.com/profiles/film/main/166265/i.
The Variety Magazine profile for the film.
Lane, Anthony. "I'm Not There." Review. New Yorker 3 Dec. 2007: 27-27. 30 Oct. 2008. Academic Search Premier. EBSCOhost. Randall Library, Wilmington, NC. 30 Oct. 2008. Keyword: DE "I'M Not There (Film)"
A review of the film in the New Yorker
(link through ebscohost: http://0-search.ebscohost.com.uncclc.coast.uncwil.edu/login.aspx?direct=true&db=aph&AN=27645498&site=ehost-live)
Male, Andrew. "Dylan Director Comes Clean." MOJO. 12 June 2007. MOJO: The Music Magazine. 29 Oct. 2008 http://www.mojo4music.com/blog/2007/12/dylan_director_comes_clean.html.
An Interview with Todd Haynes about the film.
Porton, Richard. "I'm Not There." Review. Cineaste Winter 2007: 56-57. 30 Oct. 2008. Academic Search Premier. EBSCOhost. Randall Library, Wilmington, NC. 30 Oct. 2008. Keyword: DE "I'M Not There (Film)"
A review of the film.
(link through ebscohost: http://0-search.ebscohost.com.uncclc.coast.uncwil.edu/login.aspx?direct=true&db=aph&AN=27976299&site=ehost-live)
Wednesday, October 29, 2008
Monday, October 13, 2008
week 9 questions
How do films with multiple protagonists work within the model?
Sometimes the films have all the characters heading for the same goal. Other times, the characters' stories don't have much influence on one another. In this case, the film usually focuses more on 2 of the protagonists' stories.
List and briefly describe the narrational tactics discussed in the section "Tightening the Plot" (starting on p. 43).
two plotlines - one being a romance, normally heterosexual. romance may or may not be the main plotline.
"dangling cause" - each scene ends with something left unresolved leading into the next scene.
"dialogue hook" - line at the end of a scene that links directly to the next action
ticking clock - something that drives the plot forward, like a bomb or a deadline, or an appointment or some sort.
appointments - something unapparent planted early in the plot that becomes a key causal agent later on. like the first chest arc reactor piece that Pepper Potts has engraved for Tony Stark in Iron Man.
repeated object/line (motifs)- something that is repeated throughout the film
limited omniscience - the audience is shuttled from one character to the next, always knowing more than the characters, but never knowing everything.
credits/ addressing the audience - at the beginning and end of a film. used to introduce the setting and cue the film's conclusion (walk off into the sunset, etc).
montage - used to condense time and summarise a plot section, like training sequences in Rocky.
What does Bordwell mean by his claim that Hollywood narratives have "passages of overtness balanced with less self-conscious ones" (p. 50)?
Hollywood narratives have passages that almost directly confront the audience and make the movie's presence known. Like with title sequences, montages, or motifs. Anytime there's a scene that calls attention to the fact that you're watching a movie and not real life. Some scenes in movies have to address the audience, like with text scrolling across the screen for any reason.
-------------------
just a note, Bordwell's book is a LOT easier to read than anything else we've read so far. I am able to read it, retain it, and want to keep reading. as opposed to everything else, when it feels like i'm being forced to eat a giant bowl of plain oatmeal when i'm full.
Sometimes the films have all the characters heading for the same goal. Other times, the characters' stories don't have much influence on one another. In this case, the film usually focuses more on 2 of the protagonists' stories.
List and briefly describe the narrational tactics discussed in the section "Tightening the Plot" (starting on p. 43).
two plotlines - one being a romance, normally heterosexual. romance may or may not be the main plotline.
"dangling cause" - each scene ends with something left unresolved leading into the next scene.
"dialogue hook" - line at the end of a scene that links directly to the next action
ticking clock - something that drives the plot forward, like a bomb or a deadline, or an appointment or some sort.
appointments - something unapparent planted early in the plot that becomes a key causal agent later on. like the first chest arc reactor piece that Pepper Potts has engraved for Tony Stark in Iron Man.
repeated object/line (motifs)- something that is repeated throughout the film
limited omniscience - the audience is shuttled from one character to the next, always knowing more than the characters, but never knowing everything.
credits/ addressing the audience - at the beginning and end of a film. used to introduce the setting and cue the film's conclusion (walk off into the sunset, etc).
montage - used to condense time and summarise a plot section, like training sequences in Rocky.
What does Bordwell mean by his claim that Hollywood narratives have "passages of overtness balanced with less self-conscious ones" (p. 50)?
Hollywood narratives have passages that almost directly confront the audience and make the movie's presence known. Like with title sequences, montages, or motifs. Anytime there's a scene that calls attention to the fact that you're watching a movie and not real life. Some scenes in movies have to address the audience, like with text scrolling across the screen for any reason.
-------------------
just a note, Bordwell's book is a LOT easier to read than anything else we've read so far. I am able to read it, retain it, and want to keep reading. as opposed to everything else, when it feels like i'm being forced to eat a giant bowl of plain oatmeal when i'm full.
Friday, October 10, 2008
week 8 questions
what does murray smith mean by "semi-independant" pictures?
Is he talking about subsidiary companies like Focus Features and Paramount Vantage? Or does he mean independent films with big budgets? or films with a star in them? what is the difference between an independent film and a semi-indie one?
or is he arguing that there can be no successful truly independent films in the U.S. today?
Does "Classical Hollywood" refer to the fordist mode of production, or the style of movies that are produced. Or does it encompass both? If so, is it considered classical hollywood if a film is made with an undifferentiated mass market in mind, but also made outside the ford system? if it is still considered classical hollywood, does this mean that a classical hollywood film could still be made in an era of post-classical hollywood? or would it be considered neoclassicism? maybe i just don't understand the difference between classical and neoclassical.
sorry it's late...
i was feeling horrible yesterday and didn't know if i had something contagious or not, so i just stayed in bed all day.
Is he talking about subsidiary companies like Focus Features and Paramount Vantage? Or does he mean independent films with big budgets? or films with a star in them? what is the difference between an independent film and a semi-indie one?
or is he arguing that there can be no successful truly independent films in the U.S. today?
Does "Classical Hollywood" refer to the fordist mode of production, or the style of movies that are produced. Or does it encompass both? If so, is it considered classical hollywood if a film is made with an undifferentiated mass market in mind, but also made outside the ford system? if it is still considered classical hollywood, does this mean that a classical hollywood film could still be made in an era of post-classical hollywood? or would it be considered neoclassicism? maybe i just don't understand the difference between classical and neoclassical.
sorry it's late...
i was feeling horrible yesterday and didn't know if i had something contagious or not, so i just stayed in bed all day.
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