Terms in this set (121)

1. The Aesthetic Approach:

- Sometimes called the masterpiece approach or the great man approach.

- Seeks to evaluate individual movies and/or directors using criteria that access their artistic significance and influence.

- Don't only want it to be a work of Art but also a Masterpiece.

2. The Technological Approach:

- All art forms have technological history

- Cinema seems to rely most heavily on technology out of all of the arts.

- How the materials have changed.

- By studying how the major developments (including the introduction to sound, the moving camera, deep-focus cinematography, colour film stock, and digital cinematography, processing, and projection) occurred, historians show us how the production of movies has changed and can also evaluate whether that change was significant (like widescreen processes) or transitory (like smell-o-vision).

- This approach cuts across artists, studios, movements, and genres to focus on the interaction of technology with aesthetics, modes of production and economic factors.

3. The Economic Approach:

- The motion-picture industry is a major part of the global economy.

- They try to place significant movies within the nation's economy as well as within the output of the industry in general and the producing studio in particular.

4. The Social History Approach:

- Society and culture influence the movies and vice versa, the movies serve as primary sources for studying society.

- Writing about the movies as social history continues to be a major preoccupation of journalists, scholars, and students alike.

- Those interested in social history consider such factors as religion, politics, and cultural trends and taboos.

- They ask to what extent, if any, a particular movie was produced to sway public opinion, or effect social change.

- They are also interested in audience composition, marketing, and critical writing and reviewing in the media, from gossip magazines to scholarly books.

- Overall, they study the complex interaction between the movies - as a social institution - and other social institutions, including government, religion and labour.
- As the Title credits roll, three bamboo shades rise, as if they were curtains to reveal the stage beyond - an almost completely enclosed backyard space. The mise-en-scène is tightly controlled, and everything is photographed from the stationary point of view of L. B. Jefferies (James Stewart), a photographer with a broken leg who is sidelined in a wheelchair. As the camera next pans across the back yard in the early morning, we see the back of the various structures that surround the open space: a glass-walled studio, a couple of brick apartment houses, a small two-story house. An alley next to the house leads to the street beyond. It's located in the middle of New York City and, except for the alley, is isolated from the hubbub of the traffic. Within the first minutes, we have learned that this enclosed space embodies a world of differences: different structures, different tenants, and different lives. The tenants perceive that they live in a world of privacy, acting as if no one were watching; but (through Jefferies's eyes) we see them engaged in such private activities as shaving, getting out of bed, and dressing. Jefferies sees that in this enclosed space there are hidden, subtle clues that help him to solve the murder mystery at the heart of Hickcock's narrative. Italian director Luchino Visconti's "The Leopard" (1963; production designer Mario Garbuglia) is an example of a film whose mise-en-scène perfectly compliments it's narrative and themes.The movie explores the gradual submergence and transformation of the aristocracy in Sicily after the unification of Italy, in 1861. More than anyone else in his family, Prince Don Fabrizio Salina (Burt Lancaster) makes sincere efforts to adjust to the emerging middle class, but at the same time he continues to enjoy the rituals he has always loved - masses in the family chapel, lavish banquets, travel to his other houses, and fancy balls. The 45 - minute ball sequence (out of 185 minutes total), in fact, is the movie's set piece. It's length makes it more or less extraneous to the overall sequence of events in the movie, but its gorgeous surface beautifully reveals the social change beneath.