FMS 311 midterm
Terms in this set (69)
Emerged around 1917, coalesced with sound film
Paramount, MGM, 20th Century Fox, Warner Brothers, RKO
Universal, Columbia, United Artists
Poverty Row studios
Republic, Tiffany, Monogram and PRC
Emerged around 1917, coalesced with sound film
Three elements of studio system
Production, distribution and exhibition
Unit art director at Warner Bros from 1927 to 1948.
Influenced by Art Deco and Art Nouveau but in a more restrained (economical) manner than his contemporaries. Pioneer in use of storyboarding.
MGM, Supervising Art director for whole studio. He designed Wizard of Oz, Style Moderne.
Darryl F. Zanuck
Joined WB in 1923 as a screenwriter. Co-formed 20th Century Pictures, also Head of production 1929-1933 at WB.
Erich von Stroheim
MGM director, Films were too long (GREED, 1924), goes over budget, has falling out with studio.
BIG TIME Producer of MGM. Got sick and died in 1936.
Associate producer for WB, "The Thin Man" (1934) and other prestige films.
associate producer who worked on prestige biopics for WB. also a unit producer
Head of animation at MGM.
WB Looney Tunes producer.
Biopic Director, "The Story of Louis Pasteur" (1935).
Directed Gold Diggers of (1933) (WB) also I Am a Fugitive from a Chain Gang (1932) (WB)
Main character- Disraeli (first biographical talkie) (1929)
The Story of Louis Pasteur - 1936
I Am a Fugitive from a Chain Gang (1933)
Olivia de Havilland
Sued Warner Bros & Studio System; Won landmark decision over studio-player contracts
Headed B-unit pictures at WB. "Keeper of the B's."
Regarded as one of the greatest actresses in Hollywood history
WB director and producer, Jezebel (1938), often involved with films starring Bette Davis.
David O. Selznick
MGM producer, Dinner at Eight (1933), headed his own production unit.
Joseph Breen (1934-1954)
Enforced the Hays Code, headed the PCA in 1933.
Associate executive producer at WB
5 determinants of narrative structure
One or two protagonists, desire catalyzes the story, antagonist, cause and effect chain, closure
108º rule, axis of action, match-on-action
United States lawyer and politician who formulated a production code that prescribed the moral content of United states films from 1930 to 1966 (1879-1954)
Some actors were "typecast" as a certain character, where they would then branch out. Ex: Errol Flynn in "Captain Blood;" James Cagney as a gangster
An agreement where studios would lock down a star for a certain number of years/films, then decide to pick up the option and keep them with the studio.
Screen Actors Guild
Actors decided to represent themselves in order to get better treatment, representation, pay, etc.
Four Classes of Performers
Supporting players, Stock players, Featured players, Stars
Actor would be loaned out to another studio for a film
"De Havilland Law" (1943)
The informal name of California Labor Code Section 2855. Olivia de Havilland wanted out of her contract after WB extended it six times after she rejected their roles. The law disallows studios from bullying stars with suspensions and one-sided extensions of contracts.
Sound-on-film process developed for newsreels by Fox in 1927.
Developed by W.K.L. Dickinson and Thomas Edison in 1895. Used for non-sync musical and background noise only
Using a phonograph or other disc to record or play back sound to help synchronize it with a motion picture
A-list films designated by production values, talent involved and promotion treatment. Got the lion's share of the production budget. Small percentage of the studio's output
"The slip-over effect"
Actors appearing in radio, vaudeville, Broadway, etc. Cross-promotion
Recording/synchronization process where the sound is physically recorded on film. Usually recorded on the same film strip as the movie itself
Developed by Leon Gaumont in 1902. One of the first attempts at synchronized sound. Linked two phonographs to a film projector by a series of cables. A dial adjusted the speed and synchronization of the film.
Kansas Board of Review
Local board that would enforce the Hays code in Kansas
A method for developing and producing sound electronically on disc. Superior amplification and fidelity on film. Developed by Western Electric and Lee DeForest
Production Code Administration
The Production Code Administration (PCA) was established by the Motion Picture Producers and Distributors of America (MPPDA) in 1934 to enforce the Motion Picture Production Code.
Formal Elements of Classical Biopics
Title Card, Film Title, Voice-Over Narration (Omniscient), Emphasis on Truth
Production Code of 1930
Code adopted by the MPAA in 1930, but not enforced until 1934. Governed what films could include and what would be censored by the government. Sometimes referred to as the "Hays Code" after William Hays
Pictorial Event Films
Produced filmstrips of selected WB films for classroom and other showings
Included maps and charts used to illustrate key background points with a pre-written lecture for the teacher
Also info on the film's stars
How the masses consume media and news. Biopics would declare through production and distribution what is an acceptable lifestyle
The social escalator where actors would move up the ladder to appear in higher quality films with the studio
Actors associated with certain studios that appeared in numerous roles with either WB or MGM. Kept a certain image on and off screen
Studio art departments had the greatest impact on the look of a picture, typically consisted of 50 to 80 people: art directors, architects, illustrators, model makers and set directors
Streamlined geometric shapes and patterns, metallic materials, minimal use of contrasting colors
Central Producer system
Part of Thomas Ince's legacy; vertical integration and project-based organization
How will the studio system be managed in such a way to deliver a stream of quality feature films at predictable intervals at the lowest cost possible?
Key to central producer system. Think of the automobile industry
A musical film in which each song and dance number is narratively motivated by a plot that situates characters in performance contexts
System from 1909-1914 under Griffith, Mack Sennett
Management organization in which a group of men supervised six to eight films per year; introduced greater specialization
System under early filmmakers such as Lumiere Brothers and Edwin S. Porter
System from 1907 to 1909 under figures such as D.W. Griffith
Present in work of Anton Grot; instead of trying to be realist like realism or naturalism plays, expressionism stage design was abstract, bizarre, and tried to resemble the state of mind of the protagonist
Two-tier structure of studio art departments
Supervising art director (department head): visualized the script; unit art director: did the actual design and oversaw its construction
Paris Art Exhibition of 1925
Showed the latest in commercial design: Art Nouveau, Moderne, Futurism, etc
The Big White Set
Favorite set type of Cedric Gibbons at MGM
Preferred style of Cedric Gibbons, part of Art Deco movement
Continuity editing system
Action unfolds as a smooth and continuous flow across shots, unobtrusive camera
Filming subjects from the waist up
Classical narrative structure
Equilibrium, disruption, equilibrium reestablished —linear sequence of events
Classical Hollywood Cinema
Coined by Bordwell, Steiger and Thompson: over 40 years from 1917 to 1960s there was a distinctive collection of films that had a similar way of storytelling
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