analysis, compare the realist aesthetics of Fyre: The Greatest Party that Never Happened (US, 2019) to the formalist aesthetics of Pan’s Labyrinth (Mexico / Spain, 2006). Using at least 4 elements from the provided lists (2 from each), explore precisely how the films use these aesthetics. Why does each film use these specific aesthetics to address a similar subject? What meaning is offered?
ture part 1
A. Form and content
B. Nonfiction film origins
i. Lumière brothers and “actualities”
ii. John Grierson and “the creative treatment of actuality”
C. Tendencies of realist films
i. foregrounding of objectivity
ii. content over form (aesthetics at the service of narrative / theme)
iii. transparency (less often reflexive)
3. March of the Penguins – omniscient voiceover
4. Parks and Rec – on-camera interview
5. Bowling for Columbine – stock footage
6. Lecture part 2: The Aesthetics of Realism
A. omniscient voiceover (“voice of God”)
B. direct address to camera
C. on-camera interview
D. text / data on screen (a display of facts)
E. available (real) mise-en-scene
F. available (natural) lighting
G. handheld camera
H. deep focus cinematography
I. limited editing and the long take
J. existing footage (stock / old footage)
K. real people (non actors)
L. diegetic sound only (or limited nondiegetic)
QWatch Fyre: The Greatest Party that Never Happened (US, 2019) on Netflix
1. La Lune a Un Metre (The Astronomer’s Dream) (1898)
2. L’Homme a la Tete en Cahoutchouc (The Man with the Rubber Head) (1901)
3. Lecture part 1
A. Fiction film origins
i. Méliès and magic(al) film
ii. Tom Gunning and “the Cinema of Attractions”
iii. avant-garde films
B. Tendencies of formalist films
i. foregrounding of subjectivity
ii. form is as important as content (if not more important)
iii. reflexivity (more than transparency)
4. Hangover Square (1945) – subjective narration
5. Taxi Driver (1976) – expressive camera movement
6. The Graduate (1966) – shallow depth of field and rack focus
7. Poltergeist (1982) – expressive cinematography
8. Lecture part 2: The aesthetics of formalism
A. subjective narration (“I”)
i. lighting
ii. German Expressionism
iii. melodrama
iv. animation
C. expressive cinematography
i. fast or slow motion
ii. unmotivated camera movement
iii. shallow depth of field and rack focus
D. expressive editing
i. collision
ii. montage sequences
E. performance
i. performance capture
ii. special effects
F. expressive sound
i. nondiegetic
ii. collision sound Watch Pan’s Labyrinth (Mexico / Spain, 2006) on Netflix
0 comments