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Be that as it may, we consider autonomous movies taking into account elaborate components, not method of creation ...
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American film is by all accounts a solid substance Seems to take after a genuinely unbending example However, space for assorted qualities, both inside & without the Hollywood business

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DIVERSITY WITHIN THE INDUSTRY Studio Era: musical shorts, toons, newsreels & short narrative pieces Different classifications, each with its own traditions (yet dependably inside CHC style) There are impacts from other film styles German Expressionism Italian Neorealism European Art Cinema

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The Cabinet of Dr Caligari (Robert Wiene, 1920)

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Frankenstein (James Whale, 1930)

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Double Indemnity (Billy Wilder, 1944)

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Rome, Open City (Roberto Rossellini, 1946)

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On the Waterfront (Elia Kazan, 1954)

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Last Year at Marienbad (Alain Resnais, 1961)

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Eraserhead (David Lynch, 1978)

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DIVERSITY WITHIN THE INDUSTRY Combinations of activity & live activity, and so forth. Sporadically a narrative Some identities sufficiently intense to "go their own particular manner"

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Who Framed Roger Rabbit? (Roger Zemeckis, 1988)

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Cool World (Ralph Bakshi, 1992)

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Roger & Me (Michael Moore, 1989)

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Bowling for Columbine (Michael Moore, 2002)

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D W Griffith

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King Vidor

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Woody Allen

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Francis Ford Coppola

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Oliver Stone

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Spike Lee

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David Lynch

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Eraserhead (David Lynch, 1978)

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OUTSIDE OF THE INDUSTRY Since quiet time, people have made more individual movies Most short, cutting edge movies Some documentaries, ethnographic movies A couple highlight movies, however more often than not excessively costly for an individual

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Meshes of the Afternoon (Maya Deren, 1943)

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PERSISTENCE OF THE MODE CHC holds on, to a great extent unaltered by choices The way that we allude to "option movies" demonstrates that they are not predominant Most movies, made anyplace, take after the essential traditions of the CHC Narrative structure (singular hero, cause & impact development, objectives, and so forth.) Stylistic traditions (congruity altering, esp.)

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PERSISTENCE OF THE MODE Even options restrain their "deviations" to particular elements They utilize CHC as a base, then go amiss from it in particular, & constrained, ways Ensures that group of onlookers can take after the account We all talk the dialect of Hollywood

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WHAT DO WE CONSIDER ALTERNATIVES TODAY? The expression "independents", in the business sense, applies to all movies made today But we consider autonomous movies taking into account elaborate elements, not method of generation Some are fun loving with worldly & spatial relations Others are more similar to European Art Cinema, with a feeling of equivocalness

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WHAT DO WE CONSIDER ALTERNATIVES TODAY? Some investigate the points of confinement of innovation & feel A look has been acknowledged as "great" for Hollywood movies Fairly delicate, warm lighting A reasonable picture Fine-grained film stock "Proficient" acting, attractive stars in thoughtful parts

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WHAT DO WE CONSIDER ALTERNATIVES TODAY? A few movies challenge acknowledged tasteful qualities May utilize regular lighting, paying little mind to coming about clarity of picture May utilize non-proficient on-screen characters, or not particularly gorgeous May utilize less expensive other options to costly film stock & cameras (computerized video)

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Natural Born Killers (Oliver Stone, 1994)

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The Blair Witch Project (Daniel Myrick & Eduardo Sánchez, 1999)

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Traffic (Steven Soderbergh, 1999)

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HOW DO ALTERNATIVES FIT IN THE HOLLYWOOD SYSTEM? Promoting "Autonomous" or elective movies share various traditions that sign "craftsmanship" to a few viewers, who then search out motion pictures with these traditions Tend to get recompenses at film celebrations & endorsement of pundits, both utilized as a part of showcasing Add assorted qualities of item to a studio\'s offerings

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HOW DO ALTERNATIVES FIT IN THE HOLLYWOOD SYSTEM? Have assumed control over a portion of the part of B motion pictures Many on-screen characters, executives & specialists start on these low-spending motion pictures before moving into standard Some never do, as an issue of decision Some incline toward the relative opportunity offered by littler spending plans Some just lean toward these sorts of movies

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HOW DO ALTERNATIVES FIT IN THE HOLLYWOOD SYSTEM? Some notable performing artists (& some of the time chiefs) make these motion pictures later in their vocations May attempt to demonstrate that they are genuine "on-screen characters" May attempt to "kick off" their professions amid a droop

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Sylvester Stallone in Cop Land (James Mangold, 1997)

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John Travolta in Pulp Fiction (Quentin Tarantino, 1994)

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Bruce Willis in Pulp Fiction (Quentin Tarantino, 1994)

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John Cusack & Cameron Diaz in Being John Malkovich (Spike Jonze, 1999)

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John Malkovich in Being John Malkovich (Spike Jonze, 1999)

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HOW DO ALTERNATIVES FIT IN THE HOLLYWOOD SYSTEM? New advances, particularly video & computerized innovation, can be investigated Doesn\'t imperil achievement of costly motion pictures Technologies then utilized as a part of more costly motion pictures Technologies are frequently utilized as stylish components, normally with story suggestions

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HOW DO ALTERNATIVES FIT IN THE HOLLYWOOD SYSTEM? Since they are quite often circulated by majors, will never go astray a lot from CHC style The most clearly distinctive movies have a tendency to be made without studio financing Studios would request changes before contributing &/or consenting to appropriation May concur after film is made & has had some presentation; a "negative get"

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HOW DO ALTERNATIVES FIT IN THE HOLLYWOOD SYSTEM? Most movies don\'t offer amazing options They are only sort of "idiosyncratic" Allow viewers to consider themselves diletantish & shrewd, without thinking an excessive amount of or get excessively confounded

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