11/30/10  

1  

Giuseppe Tornatore, 1988

•  Collect Homework

•  View & Discuss Cinema ���Paradiso

•  Discuss Final Exam

11/30/10  

2  

•  Grand  Prize,  Cannes  Film  Fes6val  •  Best  Foreign  Film,  Golden  Globes  

•  5  Bri6sh  Academy  Film  Awards,  including  best  film,  actor,  screenplay  &  music  

•  On  numerous  Top  100  lists  

•  Generally  an  audience  favorite  

11/30/10  

3  

“The Past-time of Past Time”

“Let Go, Toto”

11/30/10  

4  

Or  seKling  …  

11/30/10  

5  

Is passion related to death?

•  Passionless-ness as a form of death – Elena

– Alfredo – The Cinema Paradiso

11/30/10  

6  

•  How can it be “good” ���that Toto & Elena ���couldn’t be together?

Self-discovery, Memories, and Ghosts

11/30/10  

7  

•  What crucial symbolic differences exist between being a “projectionist” and a “director”?

What do they represent to us?

11/30/10  

8  

– Places of discovery and transgression

–  Inner journeys

– Landscapes of the imagination

–  Illusion of magic

11/30/10  

9  

•  Bildungsroman: Coming of age story – Künstlerroman: Artist coming of age

•  Journey of discovery & remembrance •  Love story: thwarted, tragic, or mature? •  Melodrama

Any notable formal elements?

11/30/10  

10  

•  Flashbacks / Frame Narratives (reinforcing the theme of Salvatore’s disconnected nature)

•  Lots of self-reflexivity

•  Jump cuts (in edited films & between past/present)

•  Famous Kiss Montage

•  High-angle perspectives

11/30/10  

11  

•  International release •  Salvatore woos but loses ���

Elena when her father ���disapproves and they move

•  Letters are undelivered

•  Director’s Cut: original domestic/Italian release plus some earlier deleted scenes

•  Domestic Italian Release •  Late in film, the older Salvatore notices a young girl

who resembles Elena & follows her home •  She is Elena’s daughter … •  Salvatore tries to persuade Elena to give up

everything for him. She won’t. •  She tells him Alfredo told ���

her to stay away from him���— for his own good … and���because he would have ���given up everything for her

11/30/10  

12  

Monday,  December  6th,  4:30-­‐6:20,  CH  101  

•  Know-­‐it-­‐or-­‐you-­‐don’ts  – Defini6ons  –  Iden6fica6ons  – Screencaps  – Short  Answers  

•  One  theme-­‐and-­‐meaning  essay  (no  clip)  

•  One  form-­‐and-­‐meaning  essay  (clip)  

•  One  mystery  clip  essay  

11/30/10  

13  

•  30%  of  final  grade    •  …  invaluable  to  your    emo6onal,  intellectual,  and  spiritual  growth  

•  110  minutes  (4:30-­‐6:20  p.m.,  December  6)  

•  …  will  linger  much  longer,  perhaps  forever,  in  your  memory  and  soul—like  a  scar  

11/30/10  

14  

•  Con6nuity  Edi6ng  •  Discon6nuity/Disjunc6ve  

Edi6ng  •  Sta6onary  Shot  •  Establishing  Shot  •  Frame  Narra6ve  •  Iris  Edit  •  Mise  en  scene  •  Framing  •  Blocking  •  Shot/Reverse  Shot  •  Eyeline  Match  •  Nega6ve  vs.  Posi6ve  Space  

•  Tracking  Shot/Travelling  Shot  •  Long  take  •  Diege6c  sound    •  Non-­‐diege6c  sound  •  Low  angle  shot  (worm  view)  •  High  angle  shot    •  Pan  •  Dutch  or  “canted”  angles  •  Deep  Focus  •  Dissolve  •  Low-­‐key  ligh6ng  •  Backligh6ng  •  Montage  

 Analyze  the  mise  en  scene    of  the  following  clip.    Watch    the  clip  twice,  taking  notes    on  the  ways  its  visual    techniques  relate  to  its  themes  and  meaning.    Then,  using  appropriate  terminology,  discuss  these  technical  elements  as  specifically  as  possible.    Remember,  your  focus  should  be  on  the  ways  the  film’s  form  relates  to  (and  creates)  meaning.  

11/30/10  

15  

•  The  Transforma6ve  Powers  of  Film  •  Love  and  its  Humilia6ons  

•  Reality  and  Realism(s)  

•  Iden6ty  &  Self-­‐discovery  •  Family  

•  Time,  Memory,  and    Transforma6on  

Monday,  December  6th,  2:30-­‐4:15,  APS  210