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Eduqas a Level Film Studies Knowledge Organiser

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Eduqas a Level Film Studies Knowledge Organiser COMPONENT 1A: HOLLYWOOD 1930- COMPONENT 1B: HOLLYWOOD COMPONENT 1C: BRITISH FILM 1990 (VERTIGO & ONE FLEW OVER THE AFTER 2005 (INCEPTION & AFTER 1995 (TRAINSPOTTING & CUCKOO’S NEST) FRANCES HA) THIS IS ENGLAND) Auteur (Bazin) Auteur (Bazin) Spectatorship Spectatorship Narrative Narrative Studio System New Hollywood Ideology Ideology Ideology Ideology Art of blocking a scene Social realism Postmodernism Mumblecore Performance Performance ‘The Hitchcock Blonde’ Anti-authoritarian Simulation Persona Social Realism Social Realism Fetishism & necrophilia Psychoanalysis Mise-en-abyme B/W cinematography Britpop Nationalism Voyeurism Dystopia Demographics Spectatorship Character arc Thatcherism Femme fatale Analogy – Vietnam Alignment Indie Hollywood Aesthetic Character arc Patriarchy Distinctive stylistic Allegiance Demographics Feminist critique Aesthetic Hays Code features Audience positioning Feminist critique Auteur Auteur Vertigo/Acrophobia Binary oppositions (Levi- Passive/active Mass/niche Cult fandom Political context Aesthetic Strauss) Preferred, negotiated, Preferred, negotiated, Adaptation – Irvin Welsh Franchise? Classical Formalism Ideology oppositional oppositional Counter-culture Far Left vs Far Right Hitchcock Blonde Subvert/challenge Auteur Auteur - dialogue Franchise? Open/closed ending Zolly shoot (dolly zoom) Postcolonial (Gilroy) Spectacle Dystopia Dramatic irony Intertextuality Composition Psychoanalytic Male gaze (Mulvey) Vertigo One Flew Over The Inception Frances Ha Trainspotting This is England (1958, dir: Alfred Hitchcock, Cuckoo’s Nest (2010, dir: Christopher Nolan, (2012, dir: Noah (1996, dir: Danny Boyle, (2007, dir: Shane Meadows, Paramount) (1975, dir: Milos Forman, Legendary/Warner Bros) Baumbach, Pine District Channel Four Films) Warp Films/FilmFour) Fantasy Films) Pictures) Renton (Ewan McGregor) Shaun (Thomas Turgoose) Studio System Era New Hollywood Era Cobb (Leonardo DiCaprio) Frances (Greta Gerwig) Spud (Ewen Bremner) Combo (Stephen Graham) Sick Boy (Jonny Lee Miller) Lol (Vicky McClure) (1930-60) (1960-90) Arthur (Joseph Gordon-Levitt) Sophie (Mickey Sumner) Begbie (Robert Carlyle) Milky (Andrew Shim) John ‘Scottie’ Ferguson Randle McMurphy (Jack Ariadne (Ellen Page) Dan (Michael Esper) Eames (Tom Hardy) Lev (Adam Driver) Diane (Kelly Macdonald) Woody (Joseph Gilgun) (James Stewart) Nicholson) Saito (Ken Watanabe) Benji (Michael Zegen) Tommy (Kevin McKidd) Cynthia (Jo Hartley) Madeleine Elster (Kim Candy Starr (Mews Small) Yusuf (Dileep Rao) Rachel (Grace Gummer) Smell (Rosamund Hanson) Novak) Nurse Ratched (Louise Robert Fischer (Cillian Patch (Patrick Heusinger) Judy Barton (Kim Novak) Fletcher) Murphy) Midge Wood (Barbara Bel Billy Bibbit (Brad Dourif) Mal (Marion Cotillard) Geddes) Turkle (Scatman Crothers) Miles (Michael Caine) Gavin Elster (Tom Helmore) EDUQAS A LEVEL FILM STUDIES KNOWLEDGE ORGANISER COMPONENT 2A: WORLD CINEMA COMPONENT 2B: DOCUMENTARY COMPONENT 2C: SILENT FILM COMPONENT 2D: EXPERIMENTAL (PAN’S LABYRINTH & CITY OF GOD) (STORIES WE TELL) (BUSTER KEATON COMPILATION) (PULP FICTION) Critical debates: The Auteur Formalism Critical debates: The realist significance of digital Non-linear narrative Historical/political context and the expressive. technology in film. Postmodernism Composition Vaudeville Filmmaker’s theories Indie Hollywood Production design Auteur Grierson – actuality. Composition Ideology Slapstick Kim Longinotto – invisible role Audience positioning Auteur Persona of documentarian. Intertextual reference Context Aesthetic Nick Broomfield – Houdini – ‘Buster’ Vintage soundtrack participatory and Femme fatale Pan’s Labyrinth0 Chaplin/Laurel & Hardy/Lloyd performative. Fatty Arbuckle/Virginia Rappe Film noir (2006, dir: Guillermo Del Toro, Wild Dialogue / screenplay Bunch/New Line, Spain) Peter Watkins – docu-dramas Long shot vs close up Ofelia/Princess Moanna (Ivana Baquero) and faux-documentaries. Cue cards vs gesture Mass/niche Vidal (Sergi Lopez) Michael Moore – participatory Stereotypes Ensemble cast - star persona Mercedes (Maribel Verdu) and performative. Two-reelers Director Persona Fauno/Pale Man (Doug Jones) Cult fandom Doctor Ferreiro (Alex Angulo) Metanarrative Dramatic irony Garces (Manolo Solo) Truth as merely a concept Pedro (Roger Casamejor) Subjectivities of Buster Keaton Pulp Fiction Carmen (Ariadne Gil) representation One Week (1920) (1994, dir: Quentin Tarantino, The Scarecrow (1920) Miramax, US) Stories We Tell Vincent Vega (John Travolta) City of God The High Sign (1921) (2012, dir: Sarah Polley, US) Jules Winnfield (Samuel L. Jackson) (2002, dir: Fernando Meirelles, O2 Cops (1922) Michael Polley (Himself/Peter Evans) Mia Wallace (Uma Thurman) Filmes, Brazil) Sarah Polley (Herself) Butch Coolidge (Bruce Willis) Rocket (Alexandre Rodriguez) Diane Polley (Herself/Rebecca Jenkins) Marsellus Wallace (Ving RhMES) Li’l Ze (Leandro Firmino) Susy Buchan (Herself/Lani Billard) Lance (Eric Stoltz) Li’l Dice (Douglas Silva) John Buchan (Himself/Justin Goodhand) Mark Polley (Himself/Seamus Morrison) The Wolf (Harvey Keitel) Bene (Phelipe Haagensen) Joanna Polley (Herself/Allie MacDonald) Jimmie (Quentin Tarantino) Shaggy (Jonathan Haagensen) Harry Gulkin (Himself/Alex Hatz) Fabienne (Maria de Madeiros) Knockout Ned (Seu Jorge) Pumpkin (Tim Roth) Carrot (Matheus Nachtergaele) Honey Bunny (Amanda Plummer) Angelica (Alice Braga) Comparing Hollywood Eras: Classical (1930-60) with New (1960-90) Classical Hollywood New Hollywood Context Context - period of US cinema production between 1930 and the 1960s • period of US cinema production between 1961 and 1990 dominated by five big studios who controlled film production and • the big studios were losing money - many had to be sold to larger distribution corporations ‘realistic’ film style, where style is subordinate to narrative (i.e. trying to • a period where new writers and directors could fund controversial or tell a simple story) challenging films because studios were ready to take risks film actors marketed as ‘stars’ - contracted to studios • film narratives dominated by character and realistic situations emergence of directors as auteurs who became like stars themselves. American auteurs, influenced by French New Wave; first generation of filmmakers who had attended film school, so formally educated in cinema • stylistic experimentation - more expressionistic use of camera, editing, etc. Classical Hollywood Style New Hollywood Style - Before cinema, the main visual narrative form for over a thousand • Just as the French New Wave of the 1960s were inspired by the years had been theatre. cinematic style of directors they celebrated as auteurs, so the directors - Early film tried to capture the power of live theatrical performance, so of New Hollywood, would take inspiration from Nouvelle vague films a film often felt like a play/musical etc performed to camera, with few like Breathless (Godard, 1960) and Jules and Jim (Truffaut, 1962). cuts or variation in camera angle/distance. • These films were populated by dissolute, morally ambiguous - This was known as the ‘Tableau Style’ - where the action was filmed in characters who embarked on casually sexual relationships with other static long-shot, with all elements crammed into the frame, and staging outsiders. to add depth and movement to the film. • They also utilised lighter, more mobile cameras to increase the range - In the early 20th-century filmmakers like DW Griffith, influenced by of camera movement and film on location. Russian cinema, began to experiment with close-ups, and medium • New Hollywood was also influenced by Italian Neo-Realism. shots, and with adventurous editing techniques. - These were films by directors like Rossellini and Visconti who - Classical Hollywood style continued to experiment with camera angle, portrayed a ruined Europe, devastated by two world wars, and the distance and movement, but use to ‘continuity’ editing to create an bleak lives of people scratching out an existence. easy-to-understand, fluid narrative. • Films like Bicycle Thieves (de Sica, 1948) used non-professional actors - David Bordwell identified two main areas of Classical Hollywood style: and actual locations around a bombed-out Rome to tell stories about devices and systems. These create an ‘invisible style’ that creates a poverty-stricken characters who try to retain their dignity. sense of realism. • Often the scenes would involve cool observation of the characters engaged in pedestrian or un-dramatic tasks that captured a sense of ‘real-life’. Classical Hollywood Devices New Hollywood Devices - continuity editing • ‘New Hollywood’ films also often display these, as well as other, - use of match-on-action, shot reverse-shot and 180 degree rule to stylistic traits. make action ‘flow’ between shots • frustration or challenge to ‘continuity’: unusual camera angles, jump- cross-cutting between action in different locations cuts, breaking 180-degree rule, breaking fourth wall, expressionistic - to expand ‘cinema space’ beyond the two dimensional screen montage. Deliberately tries to unsettle the spectator ‘objective’ cinematography. • lighter cameras means there is a greater range of camera movement - Use of establishing and master shots to establish space; and unusual angles - expressionistic cinematography. More CU and - lots of medium shots; over-the-shoulder POV. extreme C or sometimes events shot in ELS to add mystery/confusion - Functional rather than expressionistic cinematography • less use of match-on-action, shot reverse-shot or ‘invisible’
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