Film studies

1. A. Describe the concept and characteristics of so called film noir. Elaborate as to how the subject matter of a film noir is realized in terms of the film styles we have covered in the course: story, cinematography, editing, sound design and music. B. As to the film Double Indemnity (1944), Dir. Billy Wilder. Elaborate in terms of the requirements stated in 1A. as to whether you think this film is a film noir and, if so or if not, why or why not? C. Are there such things as neo noir films. If so, name one or two such films. What, if anything, do these films have in common with the classic films noir of the 40s and early 50s? If not, fully justify your answer. In your answer make reference to specific films as support. 2. What plot elements, if any, do the films "Double Indemnity," 'The Postman Always Rings Twice" and Treasure Of The Sierra Madre" have in common. Note: "Indemnity" and "Postman" are based on novels by the same author. 3. As early as 1922 (sync) sound on film had been invented, but little commercial or public attention was paid to the "Fox Phonofilm" process eventually adopted by the industry. Why do you think 'The Jazz Singer" (1927), a silent film with sync sound sequences involving then very popular Al Jolson singing, so captured the attention of the public, despite broad industry skepticism and the fact that the superior Fox sound-on-film system had been available for 5 years? 4. Is/are there any type or types of stories, other than musicals, that benefit from sync sound? Elaborate with the examples of two films of your choice, as to what sync sound contributes to the impact of the film/story. 5. During and for some years after World War H there was a movement of sorts, especially in Italy, that has been often characterized as neo realism. Such Italian films as Open City, The Bicycle Thief and Umberto D are generally considered as exemplary of this movement. Notable directors include Rossellini, Fellini, de Sica, Antonioni and Visconti. Your instructor likes to view this movement as It's A Hard Life movies. Articulate: What distinguishes films of this period that qualifies them as neo realism? Discuss story concept, plot, production values, etc., and sociaVcultural influence/ context that bear on your answer. Answer by reference to particular films, if you can. b. By 1966, Vittorio de Sica was doing comedy and a pretty good one, namely After The Fox with Peter Sellers. In 1960, Fellini poked pungent satire at Italian society in La Dolce Vita. What happened in Italy that films started having a sense of humor, do you think? c. Does this classic neo realism movement pertain today to a recent film you can name? Discuss how the neo realism label applies. 6. Name two films of your choice that include scenes in which commentary sound, or sound not native to or actually in the film story environment, is added to the soundtrack and elaborate in each case the impact positive or negative this commentary sound has on the impact of the scene and/or film. 7. Describe any danger a filmmaker faces in making a film with a so called Mixed Genre story? [Examples are the recent "Cowboys & Aliens" (2011) and "Abraham Lincoln, Vampire Hunter' (2010), both of which bombed) If you think there is or is not any danger, elaborate your answer with references to at least one such mixed genre film that succeeds and (other) one that fails. Fully explain why in either case. 8. John Ford directed "The Grapes Of Wrath." Along with this film "Gone With The Wind" and 'Wizard Of Oz" are Depression stories. Why do you think that in 1940-41 British and American producers suddenly dropped Depression stories and made stories about the glorious past of England and America? 9. Classify the 1943 film, "The Ox-Bow Incident," as to genre and to the extent it is an example of character drama or melodrama. Comment on the styles/techniques used in the film, quality of script, acting and direction. Lastly, is this film or is it not "film noir'? Why? We saw excerpts of this film in class. 10. " Henry V," directed by and starring Laurence Olivier was made in 1944, despite wartime shortages of silver for civilian use in England, for 3-strip Technicolor. Why do you think the British Government permitted the film to be shot in Technicolor? Does the film justify the extra expense and magnitude of the color and production values? Evaluate the film aesthetically for story, performances, color, sound, editing, etc. 11. We saw excerpts of the following films in class: a. Reap The Wild Wind (1942) b. The City (1939) c. Northwest Passage (1940) d. The Grapes Of Wrath (1940) e. Nosferatu (1922) f. Forbidden Planet (1956) Classify each of these films according to the artistic movement you think they each represent. Examples of artistic movements include, among others, poetic realism, poetic patriotism, neo realism, expressionism, abstract expressionism . Elaborate your answer in each case by discussion. 12. What is the type/are the types of film story or stories that were prominent during WWII? Cite examples of films to support your answer. Why do you think the film stories you describe were appropriate during this first half of the 1940s decade? 13. Recall that in the early 1950s theater attendance declined by almost half due mainly to the advent of network television. At this time, Cinerama appeared (along with 3-D and other widescreen processes, such as VistaVision). Describe both the strengths of the Cinerama process, as well as its limitations, in terms of the motion picture art. 14. Name two production difficulties filmmakers encountered with the classic 3-strip 1B-Technicolor (1932-1955). Can you think of a film story/concept that would benefit from the classic IB-Technicolor effect? Name a film made within the past 20 years that actually used the process in whole or in part. In either case, explain what IB-Technicolor would or, in the case of an actual film, did contribute to the creative impact of the film. [Note that the imbibition Technicolor process was used in the United States until about 2000. The IB Tech prints were made using color separations from Eastmancolor negative] 15. In the 1920s, 30s and 40s, movie theatres were large, palatial auditorium affairs accommodating thousands of people. In the 1950s many theaters closed due to competition from network television. The theatrical film industry fought back with technology. In the 50s and 60s there were large scale reserved seat roadshow epics in numerous widescreen processes. In the 70s, 80s and 90s large theaters were subdivided into mini theaters and such complexes were built anew. Competition from home theatres seems to have disposed of the office sized theater. Questions: a. What is the future of the movie theater? What size of theater will survive? What services, in addition to showing films will it offer? Why? b. What manner of film—story, production value, etc., will be shown in these theaters? Why?