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Read about the history of film to learn some of the fascinating facts and anecdotes you will learn as an international student studying film in the US.
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On more objective grounds, I suggest that Scorsese has floated another distinction. Art, on this understanding, can be considered something more. Many, like Kareem Abdul-Jabbar , would add that art induces reflection on ourselves and the world, making us wiser and deepening our humanity. In response, the MCU advocates would need to show that the films go beyond craft. For example, some advocates find in these films the kind of character complexity Scorsese attributes to Hitchcock. Scorsese might reply that these are not complex characters.

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Yet for many years people said the same about the work of Hitchcock and other Hollywood auteurs. When people started to study them, we saw things differently. Silent crime serials and installment films featuring Dr.

Gar el-Hama and Judex had the same reliance on secret identities and world-threatening master villains. Hollywood owes Asian action cinema more than we usually admit.


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But the silent policiers and the fantasy wuxia are flagrantly unrealistic. And Scorsese, more than many of his colleagues, is committed to realism. Superhero dramaturgy, I hazard, rubs him the wrong way, and not just because it lacks psychological depth. His commitment to realism may make it hard for him to engage with the more outrageous narrative conventions of the superhero film. Here another classic dichotomy suggests itself. If you have to choose between basing your story on plot or character, Scorsese will choose character. In fantasy films, though, character motive and reaction are based on elaborate plot machinations.

These films depend a lot on elaborate fake identities, as well as recognitions of hidden kinship. Such devices serve to provide intricate genealogies and networks of relationships for fan homework. Likewise, theatrical melodrama and adventure fiction from the nineteenth century supply superhero sagas with orphans of mysterious parentage, duels, hairbreadth escapes, family secrets, coded documents, precious but mysterious objects, and other franchise conventions.

These are woven into complex schemes and counter-schemes of the sort found in the silent crime serials. These films rely on courtship and romantic rivalries throughout, of course, as well as friendships forged and broken. These are standard for most American genres. The Marvel Universe relies heavily on kinship to sustain its plots, as well as its pathos. Nebula and Gamora are pressured to be dutiful daughters to Thanos.

111 monumental movies from film history and why you need to see them

Thor and Loki share a mother, Frigga. You can argue that Tony Stark becomes a father-figure for Peter Parker. Other characters are more isolated, but for some of them, notably Natasha and Bucky, the Avengers team constitutes a surrogate family. In fantasy and SF, nobody need really die. Hero, villain, love interest, and sidekick can return in a parallel world, or they can be resuscitated through a new gadget. Plot mechanics again. Despite all the assurances that Tony Stark is really, really gone, we could find a way to bring him back if Downey wanted to sign on again.

Black Widow is being resurrected for a prequel adventure. This is grown-up drama. In general, I think that plot is as underrated as character is overrated. He finds enough magic in a sinuous tracking shot, or a carefully synced doo-wop song, or an unexpected angle, or a wiseguy shouting match. That is Cinema. For instance, when he celebrates the thrill of communal moviegoing as a central feature of Cinema, he seems to ignore the fact that the franchise pictures are our prime multiplex attractions.

Since I wrote this, though, something much more draconian than superhero pictures may threaten non-franchise pictures. See here and here. The implications of this are staggering. We may see the return of block and blind booking, the prospect that a studio could own a theatre chain and give favored place to its own pictures , and the decline of independent producers and art houses that favor smaller films.

Thanks as well to Colin Burnett for discussion of the Bond saga. And just before I posted this, the Russo brothers weighed in. Here are other Scorsese comments made before the New York Times piece appeared. Theatres have become amusement parks. That is fine and good for those who enjoy that type of film and, by the way, knowing what goes into them now, I admire what they do. If you have a child and the child wants to see the picture, what are you going to do? The audience that sees them now, the fans that see those pictures now, they were raised on pictures like that.

Something can play as a hologram, something can play as virtual reality, maybe there is going to be an extraordinary epic in virtual reality at some point. We have to start expanding what we think of as narrative, music, literature, art and particularly the visual image. Granted, this whole passage is a bit baffling. The relevant section starts at Strange defends the need for auteurs.

David and I started this blog way back in largely as a way to offer teachers who use Film Art: An Introduction supplementary material that might tie in with the book. It immediately became something more informal, as we wrote about topics that interested us and events in our lives, like campus visits by filmmakers and festivals we attended.

Every year shortly before the autumn semester begins, we offer this list of suggestions of posts that might be useful in classes, either as assignments or recommendations. After all, we have posted well over entries, and despite our excellent search engine and many categories of tags, a little guidance through this flood of texts and images might be useful. For past lists, see , , , , , , , , , , and Every month Jeff Smith also our collaborator on Film Art , David, and I had contributed a visual essay that applied concepts from Film Art: An Introduction to a film or films streaming on FilmStruck, which began in November of and ended in November of Fortunately in April, , that platform was replaced by The Criterion Channel , which had been a major attraction as part of FilmStruck.

The essays that we had contributed to FilmStruck have all been reposted on the new service, and we have continued to contribute monthly essays. As of now there are 29 essays online. For information on the changeover of services, see here. In Chapter 1 we briefly deal with the concept of the author or auteur of a film. This entry considers some evidence.

No year on the blog is complete, it seems, without something on Hitchcock.

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This time David considered Notorious , preparing the way for a video essay for the Criterion release of this masterpiece. Narrative options both old the s and new Happy Death Day 2U are considered in an entry on how incidents can be repeated and varied, within a film and from film to film.

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Can the tools of narrative analysis shed light on The Narrative of contemporary US politics? Telling tales on Trump. Dissolves provide a way to join shot to shot. Reporting from the Vancouver festival, David discusses two documentaries that might be useful to show if you program films by either of these directors for your class: The Eyes of Orson Welles and Bergman: A Year in the Life. We were lucky enough to return to the Venice International Film Festival last year, again offering analyses of some of the films we saw.


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These are much shorter than the ones in Chapter 11, but they show how even a brief report of the type students might be assigned to write can go beyond description and quick evaluation. We plan to carry on this tradition of comments on new films when we attend the Venice International Film Festival next month. Our annual visit to the Vancouver International Film Festival yielded more brief analyses of new films. Looking back on these two festivals makes it clear that was an extraordinary year for the cinema!

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