The ART of Watching FILMSEighth Edition

DENNIS W. PETRIETrine University

JOSEPH M. BOGGSLate ofUTestern Kentucky University

ConnectLearnSucceed'"

contents

PREFACE x

Star Trek (2009)

1The Art of Watching Films 2

THE UNIQUENESS OF FILM 3

What Makes Film Unique 3Increasing Realism as Technology Evolves 4

THE CHALLENGES OF FILM ANALYSIS 5

THE VALUE OF FILM ANALYSIS 6

Either/Or Positions About Analysis 6The Two Sides Can Coexist: This Book's Position 6Analysis Enhances Our Love of Films 8

BECOMING A RECEPTIVE VIEWER 8

Be Aware of Personal Biases 9Watch the Whole Film 10Consider Your Expectations 10

THE FILM-VIEWING ENVIRONMENT 10

PREPARING TO SEE A FILM 14

DEEPENING OUR RESPONSES TO FILMS 16

Analyzing Your Responses to a Film 16

Precious

2Thematic Elements 17

THEME AND FOCUS 18

iv

Focus on Plot 18Focus on Emotional Effect or Mood 18Focus on Character 20Focus on Style or Texture or Structure 20Focus on Ideas 22

IDENTIFYING THE THEME 27

EVALUATING THE THEME 28

Analyzing Theme 30Watching for Theme 31Films for Study 31

S/umdog Millionaire

3Fictional and Dramatic Elements 33

FILM ANALYSIS AND LITERARY ANALYSIS 34

THE ELEMENTS OF A GOOD STORY 34

A Good Story Is Unified in Plot 34A Good Story Is Credible 35A Good Story Is Interesting 37A Good Story Is Both Simple and Complex 40A Good Story Handles Emotional Material WithRestraint 41

THE SIGNIFICANCE OF THE TITLE 43

DRAMATIC STRUCTURE 44

Linear, or Chronological, Structure 44Nonlinear Structures 44Endings: Fine- Tuning the Denouement 45

CONFLICT 47

CHARACTERIZATION 49

Characterization Through Appearance 50Characterization Through Dialogue 50Characterization Through External Action 51

Characterization Through Internal Action 52Characterization Through Reactions of Other

Characters 52Characterization Through Contrast: Dramatic Foils 53Characterization Through Caricature and Leitmotif 54Characterization Through Choice of Name 54Varieties of Characters 55

ALLEGORY 58

SYMBOLISM 59Universal and Natural Symbols 59Creating Symbolic Meanings 60Symbolic Patterns and Progressions 63Symbolic Values in Conflict 64Metaphors 64Overreading Symbolism 65

IRONY 66Dramatic Irony 66Irony of Situation 66Irony of Character 67Irony of Setting 68Irony of Tone 68Cosmic Irony 69

Analyzing Fictional and Dramatic Elements 69Watching for Fictional and Dramatic Elements 71Mini-Movie Exercise: The Graduate 72DVD Filmmaking Extras 73Films for Study 73

The Diving Bell and the Butterfly

4Visual Design 74

COLOR VERSUS BLACK AND WHITE 75

SCREEN FORMAT (ASPECT RATIO) 76

FILM STOCK AND HIGH-DEFINITION VIDEOGRAPHY 79

PRODUCTION DESIGN/ART DIRECTION 80

The Script: The Starting Point 81Setting and Its Effects 82Studio Versus Location Shooting 87Period Pieces 89Living Spaces and Offices 89Fantasy Worlds 90

COSTUME AND MAKEUP DESIGN 91

LIGHTING 94

THE BUDGET'S EFFECT ON THE FILM'S LOOK 98Analyzing Visual Design 98Watching for Visual Design 100Mini-Movie Exercise I: Dressed to Kill 100Mini-Movie Exercise 1/:Fantastic Mr. Fox 100DVD Filmmaking Extras 101Films for Study 102

Avatar

5Cinematographyand Special Visual Effects 103

THE IMPORTANCE OF THE VISUAL IMAGE 104

THE CINEMATIC FILM 104

CINEMATIC POINTS OF VIEW 105

Objective Point of View 106Subjective Point of View 107Indirect-Subjective Point of View 108Director's Interpretive Point of View 110

ELEMENTS OF CINEMATIC COMPOSITION 111

Focusing Attention on the Most Significant Object 112Keeping the Image in Motion 116Creating an Illusion of Depth 120

SPECIALIZED CINEMATIC TECHNIQUES 127

Handheld Camera 127Camera Angles 128Color, Diffusion, and Soft Focus 129Special Lenses 131Fast Motion 132Special Lighting Effect~ 133

MOVIE MAGIC: SPECIAL VISUAL EFFECTSIN THE MODERN FILM 133

THE FIX OF ANIMATED FEATUREFILMS ... ESPECIALLY FOR ADULTS 141

FLASHBACK: ANIMATION: ONCE AN OPENING ACT,NOW A MAIN EVENT 142

Analyzing Cinematography and Special Visual Effects 149Watching for Cinematography and Special

Visual Effects 150

Contents v

Mini-Movie Exercise: Cinematography 150

Mini-Movie Exercise: Animated FIX 151

DVD Filmmaking Extras 151

Films for Study 153

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6Editing 155

SELECTIVITY 157

FLASHBACK: FILM EDITORS: A HISTORYBEHIND THE SCENES 158

COHERENCE, CONTINUITY, AND RHYTHM 160

TRANSITIONS 160

RHYTHMS, TEMPO, AND TIME CONTROL 170

EXPANSION AND COMPRESSION OF TIME 171

SLOW MOTION 172

THE FREEZE FRAME, THE THAWED FRAME,AND STILLS 181

The Freeze Frame 181The Thawed Frame 182Stills 183

CREATIVE JUXTAPOSITION: MONTAGE 183

Analyzing Editing 184

Watching for Editing 187

Mini-Movie Exercise I: New York Stories 187

Mini-Movie Exercise 1/: Lord of War 188

DVD Filmmaking Extras 188

Films for Study 189

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7Color 190

FLASHBACK: DISCOVERING COLORAT THE MOVIES 194

vi Contents

COLOR IN THE MODERN FILM 196

Effects of Color on the Viewer 196Color as a Transitional Device 199Expressionistic Use of Color 202Color as Symbol 203Surrealistic Use of Color 204Leitmotifs in Color 205Color to Enhance Mood 205Comic Book Color 206Comic Strip Color 207Painterly Effects in Color 207Ironic Use of Color 209Special Color Effects 210

COLOR VERSUS BLACK AND WHITE 210

Analyzing Color 215

Watching for Color 216

Mini-Movie Exercise: Akira Kurosawa's Dreams 216DVD Filmmaking Extras 217

Films for Study 217

The Hurt Locker

8Sound Effects and Dialogue 219

SOUND AND THE MODERN FILM 220

DIALOGUE 221

THREE-DIMENSIONALITY IN SOUND 222

VISIBLE AND INVISIBLE SOUND 224

POINTS OF VIEW IN SOUND 226

SPECIAL USES OF SOUND EFFECTSAND DIALOGUE 228

Sound Effects to Tell an Inner Story 228Distortion of Sound to Suggest Subjective States 230The "Personality" of Mechanical Sounds 230Slow-Motion Sound 230Ironic Juxtaposition of Sound and Image 231Placing Unusual Emphasis on Sound '232Using Sound for Texture, Time, and Temperature 233

SOUND AS A PLOT DEVICE 234

SOUND AS A TRANSITIONAL ELEMENT 235

VOICE-OVER NARRATION 236

SILENCE AS A SOUND EFFECT 240

RHYTHMIC QUALITIES OF DIALOGUEAND SOUND EFFECTS 241

THE "SOUNDS" OF FOREIGN LANGUAGEOR INTERNATIONAL FILMS 241

Voice Dubbing 241Subtitles 243

Analyzing Sound Effects and Dialogue 244Watching for Sound Eff*:cts and Dialogue 245Mini-Movie Exercise:

"An Occurrence at Owl Creek Bridge" 245DVD Filmmaking Extras 246Films for Study 247

Across the Universe

9The Musical Score 249

THE REMARKABLE AFFINITY OF MUSIC AND FILM 2S0

THE IMPORTANCE OF THE MUSICAL SCORE 2S0

GENERAL FUNCTIONS OF THE MUSICAL SCORE 251

SPECIAL FUNCTIONS OF THE MUSICAL SCORE 253

Heightening the Dramatic Effect of Dialogue 253Telling an Inner Story 253Providing a Sense of Time and Place 254Foreshadowing Events or Building Dramatic Tension 255Adding Levels of Meaning to the Visual Image 256Characterization Through Music 257Triggering Conditioned Responses 259Traveling Music 260Providing Important Transitions 260Setting an Initial Tone 261Musical Sounds as Part of the Score 261Music as Interior Monologue 261Music as a Base for Choreographed Action 262Covering Possible Weaknesses in the Film 264

SYNTHESIZER SCORING 265

BALANCING THE SCORE 265

Analyzing the Musical Score 267Watching for the Musical Score 268Mini-Movie Exercise: Diva 269DVD Filmmaking Extras 269Films for Study 272

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Crazy Heart

10Acting 273

THE IMPORTANCE OF ACTING 274

THE GOAL OF THE ACTOR 274

BECOMING THE CHARACTER 275

DIFFERENCES BETWEEN FILM ACTINGAND STAGE ACTING 276

FLASHBACK: SILENT ACTING EVOLVES:THE SUBTLETIES OF EXAGGERATION 280

TYPES OF ACTORS 284

Impersonators 284Interpreters and Commentators 284Personality Actors 285

THE STAR SYSTEM 285

CASTING 287

Casting Problems 290The Typecasting Trap 291Supporting Players 294Special Casting Challenges 296Extras and Small Parts 298

ACTORS AS CREATIVE CONTRIBUTORS 299

SUBJECTIVE RESPONSES TO ACTORS 302

Analyzing Acting 303Watching for Acting 304Mini-Movie Exercise I: Being There 305Mini-Movie Exercise II:Coffee and Cigarettes 305DVD Filmmaking Extras 306Films for Study 308

Shutter Island

11The Director's Style 309

THE CONCEPT OF STYLE 312

Contents vii

SUBJECT MADER 313

CINEMATOGRAPHY 316

EDITING 318

SEDING AND SET DESIGN 319

SOUND AND SCORE 319

CASTING AND ACTING PERFORMANCES 320

SCREENPLAYS AND NARRATIVE STRUCTURE 321

EVOLVING STYLES AND FLEXIBILITY 324

SPECIAL EDITION: THE DIRECTOR'S CUT 327

A PORTFOLIO OF FOUR DIRECTORS 329

Analyzing a Director's Style 338Mini-Movie Exercise I: It Happened One Night 340Mini-Movie Exercise 1/:Paris, Je T'Aime 340DVD Filmmaking Extras 342Films for Study 344

A Serious Man

12Analysis of the Whole Film 346

THE BASIC APPROACH: WATCHING, ANALYZING,AND EVALUATING THE FILM 347

Theme 347The Relationship of the Parts to the Whole 348The Film's "Level of Ambition" 349Objective Evaluation of the Film 349Subjective Evaluation of the Film 351

OTHER APPROACHES TO ANALYSIS, EVALUATION,AND DISCUSSION 351

The Film as Technical Achievement 351The Film as Showcase for the Actor:

The Personality Cult 351The Film as Product of a Single Creative Mind:

The Auteur Approach 352The Film as Moral, Philosophical, or Social Statement 353The Film as Emotional or Sensual Experience 354The Film as Repeated Form: The Genre Approach 354The Film as Political Statement 355The Film as Gender or Racial Statement 356The Film as Insight to the Mind:

The Psychoanalytical Approach 358The Eclectic Approach 360

viii Contents

REREADING THE REVIEWS 362

EVALUATING THE REVIEWER 362

DEVELOPING PERSONAL CRITERIA 363

Analyzing the Whole Film 36SMini-Movie Exercise I: La Jetee 367Mini-Movie Exercise 1/:Nine Lives 367DVD Filmmaking Extras 368Films for Study 369

The Girl With the Dragon Tattoo

13Adaptations 370

THE PROBLEMS OF ADAPTATION 371

Change in Medium 371Change in Creative Artists 372Cinematic Potential of the Original Work 373

ADAPTATIONS OF PROSE FICTION 374

Literary Versus Cinematic Points of View 374FLASHBACK: THE WRITER'S PLACEIN HOLLYWOOD 376

Third-Person Point of View: Challenges 378First-Person Point of View: Challenges 378The Problem of Length and Depth 380Philosophical Reflections 381Summarizing a Character's Past 382The Challenge of Summarizing Events 383Literary Past Tense Versus Cinematic

Present Tense 384Other Factors Influencing Adaptations

of Fiction 385ADAPTATIONS OF PLAYS 387

Structural Divisions 387Sense of Space 388Film Language Versus Stage Language 390Stage Conventions Versus Cinema Conventions 390Other Changes 392

FROM FACT TO FILM: REALITY TO MYTH 393

Analyzing Adaptations 397Mini-Movie Exercise: "Hills Like White Elephants" 399DVD Filmmaking Extras 400Films for Study 401

The Dark Knight

14Genre Films, Remakes, and Sequels 403

GENRE FILMS 404

Values 405The Strengths of Genre Films 405Basic Genre Conventions-And Their Variations 406

REMAKES AND SEQUELS 420

Remakes 422Sequels 424

Analyzing Genre Films, Remakes, and Sequels 430Mini-Movie Exercise: Frankenweenie 431

DVD Filmmaking Extras 432Films for Study 433

The Lives of Others

15Film and Society 437

FILM FOREIGNNESS 438

"Strange Silents" 440DOES AMERICAN FILM SHAPE OR REFLECT SOCIALAND CULTURAL VALUES? 440

THE MOTION PICTURE PRODUCTION CODE,1930-1960 442

EXCERPTS FROM THE MOTION PICTUREPRODUCTION CODE 443

CENSORSHIP IN TRANSITION, 1948-1968 447

THE MPAA RATING SYSTEM 449

MOTION PICTURE ASSOCIATION OF AMERICAVOLUNTARY MOVIE RATING SYSTEM 4S0

CENSORSHIP AND FILMS ON TELEVISION 454

BEYOND THE CODE AND RATING SYSTEM 454

CHANGING FORMULAS FOR THE TREATMENTOF SEX, VIOLENCE, AND LANGUAGE 457

SOCIAL PROBLEM FILMS AND DOCUMENTARYFILMMAKING 460

FLASHBACK: FILMING LIFE:A HISTORY OF THE DOCUMENTARY 464

Analyzing Films in Society 468Mini-Movie Exercise: Me La Debes 470DVD Filmmaking Extras 470Films for Study 472

NOTES N-1

GLOSSARY G-1

INDEX 1-1

CREDITS C-1

Online Appendixeswww.mhhe.com/petrie8e

Writing a Film AnalysisSELECTED BIBLIOGRAPHY AND STUDY MATERIALS

SAMPLE STUDENT PAPER 1: ANALYSIS OFA COMPLETE FILM

(John Ford's The Grapes of Wrath)

SAMPLE STUDENT PAPER 2: ANALYSIS OF SELECTEDFILM ELEMENTS

(Martin Scorsese's Taxi Driver)

SAMPLE STUDENT PAPER 3: ANALYSIS FOR STUDY(Martin Scorsese's The Age of Innocence)

Selected Bibliographyand Study MaterialsREFERENCE

FILM HISTORY AND CULTURE

SILENT FILM

DIRECTORS

FILM TYPES AND TOPICS

SPECIFIC FILMS

COLLECTIONS OF REVIEWS, ESSAYS, AND INTERVIEWS

FILM AESTHETICS AND THEORY

FILM PERIODICALS

MULTIMEDIA SOURCES

INTERNET SITES

DVDNlDEOCASSETTE SOURCES VIA MAIL

Contents ix