YOUTUBE SOURCE
David Gordon Green Speaks at No-Budget Film School about the budgeting and inspiration for Geroge Washington.
JOURNAL SOURCE
Lucia, Cynthia. "A TOUCH OF THE NEOREALIST" Cineaste, v. 26 no4 (Fall 2001) p. 13-17.
http://0-search.ebscohost.com.uncclc.coast.uncwil.edu/login.aspx?direct=true&db=ach&AN=BART01036735&site=ehost-live
This interview with David Gordon Green about Geroge Washington reveals some of his methods for directing acting in the film, as well as budgeting solutions.
JOURNAL SOURCE
Daryl Chin and Larry Qualls. "Open Circuts, Closed Markets: Festivals and Expositions of Film and Video." PAJ: A Journal of Performance and Art, Vol. 23, No. 1 (Jan., 2001), pp. 33-47
http://0-www.jstor.org.uncclc.coast.uncwil.edu/stable/3246488
This article reiterates the difficulties independent films are faced with as far as distribution, and explores the film festivals and the temperal accptance process of Geroge Washington.
ARTICLE SOURCE
David Thomson. "Film & Music: David Thomson's Biographical Dictionary of Film #47: David Gordon Green made stylish, searching films in defiance of Hollywood methods. Then he teamed up with Seth Rogen - and had a hit" GUARDIAN FILM AND MUSIC PAGES; Pg. 14
http://0-www.lexisnexis.com.uncclc.coast.uncwil.edu/us/lnacademic/results/docview/docview.do?docLinkInd=true&risb=21_T4971692135&format=GNBFI&sort=RELEVANCE&startDocNo=1&resultsUrlKey=29_T4971692142&cisb=22_T4971692141&treeMax=true&treeWidth=0&csi=138620&docNo=2
This article reflects on the phenomenal, and unprecedented success of George Washington and how the young director moved into larger projects, and different ones at that.
QUESTION:
What techniques were used to enable this film to be made on such a small budget, and be able to be exhibited on such a large scale.
Wednesday, October 29, 2008
Monday, October 27, 2008
Week ELEVEN
The first and second waves of mergers
the mergers in the 1960's when studios were bought by bigger corporations that had their hands in other, way other, things than film, or film related things. As the article gives an example; Gulf and Western bought Paramount Pictures, but also had investments in a variety of other things.
the first wave of mergers happened by the studios testing the limits of the law, and purchasing and controlling aspects of the films exhibition and distribution. Something that had been outlawed during the Hollywood studio era. The article calls it a vertical integration; like Columbia, buying theaters and making profits off of their films showing.
the second wave involved the companies expanding their involvement,investment,ownership into the TV side of things. purchasing channels, and Pay TV stations.
International Partnerships
for the opening of the European Union to foreign trade of movies and television programs, thehollywood studios began investing in, and forming partnerships with European companies. Time Warner for example invested in things from satellite broadcasting in Scandinavia to Pay-TV in Germany and Hungary.
DOmestic Partnerships.
This consited of the major companies interacting with the smaller companies and investing in them, risking money but also acting as a saftey net for the bigger budget films.
How were production companies such as Carolco, Castle Rock, Morgan’s Creek, and Imagine Entertainment in the 1990s different from the failed “mini-majors” such as Orion, DeLaurentis, and Cannon in the 1980s?
THe main difference was that the minors of the 1990s were involved with the majors.
the article states 5 reasons the minors of the 1990s didnt fail like the 1980s minors.
1- less staff. not a big company, so dont act like one
2 - mainly concentrated on film entertainment
3 - less productions per year
4 - use major's distributors and only domestic
5 - didnt depend on home video deals.
the mergers in the 1960's when studios were bought by bigger corporations that had their hands in other, way other, things than film, or film related things. As the article gives an example; Gulf and Western bought Paramount Pictures, but also had investments in a variety of other things.
the first wave of mergers happened by the studios testing the limits of the law, and purchasing and controlling aspects of the films exhibition and distribution. Something that had been outlawed during the Hollywood studio era. The article calls it a vertical integration; like Columbia, buying theaters and making profits off of their films showing.
the second wave involved the companies expanding their involvement,investment,ownership into the TV side of things. purchasing channels, and Pay TV stations.
International Partnerships
for the opening of the European Union to foreign trade of movies and television programs, thehollywood studios began investing in, and forming partnerships with European companies. Time Warner for example invested in things from satellite broadcasting in Scandinavia to Pay-TV in Germany and Hungary.
DOmestic Partnerships.
This consited of the major companies interacting with the smaller companies and investing in them, risking money but also acting as a saftey net for the bigger budget films.
How were production companies such as Carolco, Castle Rock, Morgan’s Creek, and Imagine Entertainment in the 1990s different from the failed “mini-majors” such as Orion, DeLaurentis, and Cannon in the 1980s?
THe main difference was that the minors of the 1990s were involved with the majors.
the article states 5 reasons the minors of the 1990s didnt fail like the 1980s minors.
1- less staff. not a big company, so dont act like one
2 - mainly concentrated on film entertainment
3 - less productions per year
4 - use major's distributors and only domestic
5 - didnt depend on home video deals.
Monday, October 20, 2008
WEEK TEN
too much to handle.
the reading is located not in my reach or sight, the full post will not be possible tonight.
the reading is located not in my reach or sight, the full post will not be possible tonight.
Tuesday, October 14, 2008
Week Nine
How do films with multiple protagonists work within the model?
they mostly follow the same 4 part structure. some films the protagonists have the exact same goals and turning points, others are bent a little to fit, and some end up dominating.
List and briefly describe the narrational tactics discussed in the section “Tightening the Plot” (starting on p. 43).
Ticking Clock - appointments, deadlines and things to rush. Motifs - creating theme.
What does Bordwell mean by his claim that Hollywood narratives have “passages of overtness balanced with less self-conscious ones”
about the ways in which hollywood films work, and how the scenes are linked together. The plot elements that make up films.
they mostly follow the same 4 part structure. some films the protagonists have the exact same goals and turning points, others are bent a little to fit, and some end up dominating.
List and briefly describe the narrational tactics discussed in the section “Tightening the Plot” (starting on p. 43).
Ticking Clock - appointments, deadlines and things to rush. Motifs - creating theme.
What does Bordwell mean by his claim that Hollywood narratives have “passages of overtness balanced with less self-conscious ones”
about the ways in which hollywood films work, and how the scenes are linked together. The plot elements that make up films.
Monday, October 13, 2008
Week Six make-up
Which of Altman’s stylistic techniques does Sawhill associate with "inclusiveness"?
Sawhill says that Altman's audio recording techniques and cinematography techniques were "inclussive" capturing sounds that we usually wouldnt hear, and shooting with multiple cameras to get a lot of coverage and more natural acting.
What does Sawhill mean when he suggests that Altman “was making nonlinear multimedia before the form existed,” and that Nashville “doesn't suffer from the fragmenting effects of stop-and-start, at-home viewing”?
he says that Nashville is just a compiation of a bunch of little scenes taking place in Nashville. and that the non-linear story structure is ok for stopping and starting. because you can understand/appreciate each small segment on its own in some way.
Sawhill was an NYU film student in 1975, thus a product of the film culture that emerged in the late 1960s / early 1970s. Respond to his opinion of post-1975 American film culture (part 3, "A Cinema of Information.") Do you agree or disagree with his assumptions, observations, and conclusions?
It seems like he thinks that the times after Jaws was when the hollywood films lost the Art and became focused on, he says, "Despite the occasional good movie, the news since has all been about technology, effects, gender, race and business. "
Sawhill says that Altman's audio recording techniques and cinematography techniques were "inclussive" capturing sounds that we usually wouldnt hear, and shooting with multiple cameras to get a lot of coverage and more natural acting.
What does Sawhill mean when he suggests that Altman “was making nonlinear multimedia before the form existed,” and that Nashville “doesn't suffer from the fragmenting effects of stop-and-start, at-home viewing”?
he says that Nashville is just a compiation of a bunch of little scenes taking place in Nashville. and that the non-linear story structure is ok for stopping and starting. because you can understand/appreciate each small segment on its own in some way.
Sawhill was an NYU film student in 1975, thus a product of the film culture that emerged in the late 1960s / early 1970s. Respond to his opinion of post-1975 American film culture (part 3, "A Cinema of Information.") Do you agree or disagree with his assumptions, observations, and conclusions?
It seems like he thinks that the times after Jaws was when the hollywood films lost the Art and became focused on, he says, "Despite the occasional good movie, the news since has all been about technology, effects, gender, race and business. "
Wednesday, October 8, 2008
Questions on theses on the philosophy of Hollywood history
They quote Matthew Bernstein talking about independent production units during the Classical Hollywood period that give rise to the thought that the unanimous shift to postfordism occurred when there were already and all along non-fordist films being made.
What films is this talking about?
Can the shift be clear when and where it started? because it seems like so many lines are blurred and crossed by earlier films acheiveing things that the latter films were called "new" for, and latter films doing what older films were classified as older for.
they note that the classical period not only refers to aesthetic qualities but the Historic role of Hollywood as a template for worldwide filmmaking.
Shouldnt we take into account the impact of hollywood on other countries? Maybe not too much for this class, but it is maybe still a bit relative to see how influencial a film like jaws was on other countrie's films?
Question for the Timeline drawn in Class.
Do Bordwell and Thompson (if thats what that last timeline was refering to) say that there has been no post-modernist films. well, they dont call it modernist films, its just Calssical style with innovations. But do they not think that films have changed since 1960 in a more drastic way? what do they say for the whole Film, video-game, books, and other merchandising strategery that is used for films now days?
What films is this talking about?
Can the shift be clear when and where it started? because it seems like so many lines are blurred and crossed by earlier films acheiveing things that the latter films were called "new" for, and latter films doing what older films were classified as older for.
they note that the classical period not only refers to aesthetic qualities but the Historic role of Hollywood as a template for worldwide filmmaking.
Shouldnt we take into account the impact of hollywood on other countries? Maybe not too much for this class, but it is maybe still a bit relative to see how influencial a film like jaws was on other countrie's films?
Question for the Timeline drawn in Class.
Do Bordwell and Thompson (if thats what that last timeline was refering to) say that there has been no post-modernist films. well, they dont call it modernist films, its just Calssical style with innovations. But do they not think that films have changed since 1960 in a more drastic way? what do they say for the whole Film, video-game, books, and other merchandising strategery that is used for films now days?
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