The Classical Hollywood Cinema Film Style and Mode of Production to 1960 Show Part One The classical Hollywood style, 1917-60 An excessively obvious cinema Norms, paradigms, and standards 1 Devices. Many isolated technical elements are characteristic of classical Hollywood cinema: three-point lighting, continuity editing, 'movie music, ' centered framings, dissolves, etc. Such devices are often what we think of as the 'Hollywood style' itself. Yet we cannot stop with simply inventorying these devices. 2 Systems. As members of a paradigm, technical devices achieve significance only when we understand their functions. A dissolve between scenes can convey the passage of time; but so can a cut. To say that the classical Hollywood style ceased to exist when most scenes were linked by cuts is to presume that a style is only the sum of its devices. A style consists not only of recurrent elements but of a
set of functions and relations defined for them. These functions and relations are established by a system. For example, one cinematic system involves the construction of represented space. In classical filmmaking, lighting, sound, image composition, and editing all take as one task the articulation of space according to specific principles. It is this systematic quality that makes it possible for one device to do duty for another, or to repeat information conveyed by another. Thus employing a
cut to link scenes conforms to one function defined by classical premises; within this paradigm, there must be some cue for a time lapse between scenes, and a cut may do duty for a dissolve (or a swish-pan, or a shot of a clock's moving hands). The systematic quality of film style also sets limits upon the paradigm; in representing space, for instance, ambiguous camera positions and discontinuous cutting are unlikely to occur because they violate certain principles of the system. 3 Relations of systems.
If systems are relations among elements, the total style can be defined as the relation of those systems to each other. Narrative logic, time, and space interact with one another. Does one of them subordinate the others? Do all three operate independently? How are the principles of one justified or challenged by another? In the Hollywood style, the systems do not play equal roles: space and time are almost invariably made vehicles for narrative causality. Moreover, specific principles govern
that process. At this level, even irregularities in the various systems can be seen as purposeful. For instance, if we do find a passage of discontinuous cutting, we can ask whether it is still serving a narrative function (e.g., to convey a sudden, shocking event). In such a case, the relation among systems would remain consistent even if the individual device or system varied from normal usage. Viewers, schemata, and mental sets Style
in history The ordinary film What are the four main components of the miseThere are broadly 4 elements of mise en scene using which the director stages the scene for the film to provide his audience a visually delightful experience.. The Setting. ... . Costumes and Makeup. ... . Lighting. ... . Characters.. Which of the following terms is used to describe the elements of filmmaking?The word “cinematic” is often used to describe the specific stylistic elements of film, such as camera angles and lighting.
Which of the following are elements of a film's design elements of design?The elements of design are the fundamental aspects of any visual design which include shape, color, space, form, line, value, and texture.
What are the five main aspects of filmmaking select all that apply?Film Production is created in 5 phases: development, pre-production, production, post-production, and distribution. Each phase has a different purpose, with the overarching goal to get to the next one, and ultimately on to distribution.
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