Film Art: An Introduction

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Steve McQueen’s 12 Years a Slave fully deserved to win Best Picture. There’s certainly nothing to rival it in the somewhat set of nominations in the animation category. I did not find the winner, Disney’s Frozen, particularly interesting. It seems to be geared to appeal to small children. Miyazaki’s The Wind Rises was the only plausible nominee to go up against Sir Steve’s film, but I’m not going to make that argument. (It’s a real pity that Gravity was in the competition this year, since it truly is a great film and also deserved to win.) Thankfully, for those who live and breathe the craft, there are more than a few excellent books in which to immerse yourself and get even further ahead of the game…

Film Art Book - Etsy UK Film Art Book - Etsy UK

Worse, Ford’s protagonist Dowell is an unreliable narrator, as the above passage suggests. To make the detective’s first-person account unreliable would be more than a “convenient modification” of the standard plot schema. It would push toward the experiments seen in Cameron McCabe’s The Face on the Cutting-Room Floor (1937) and later “anti-mysteries.” Another McBain innovation was an intrusive authorial voice. The action is typically recounted in the third person and through shifting viewpoints in a moving-spotlight manner, but the narration injects digressions and ventures into sheer chattiness. The opening of Doll interrupts the scene of a grisly murder with a lengthy reflection on how police cope with unimaginable crime scenes. This meditation isn’t attributed to Carella or anyone else. McBain, who was an English major in college, deliberately flouted the demand for neutral narration. The same was true for animated films. Up and Toy Story 3 were nominated in both categories and won just the animation awards. (The animated feature award was started in 2002 for films released in 2001, so Beauty and the Beast could not do the same.) What happened in the 2022 category is sort of like what happened in 2002, when Spirited Away won. An outlier from outside the traditional Hollywood studio structure (Netflix) was nominated among a somewhat weak group of animated films and won the day. I settled down to watch the broadcast of the ceremony wondering if Academy members would recognize what a remarkable film Guillermo Del Toro’s Pinocchio is and not just reflexively vote for the Pixar film. That was Turning Red, which got a lot of attention for daring to show a teenager hitting puberty and experiencing her first period. I didn’t think it was a very good film and confirmed my sense that Pixar has declined in recent years. It’s probably better than The Good Dinosaur and now Lightyear, which is not saying much. ( Carolyn Giardina’s recent “Elemental Steps into the Ring in Major Box Office Test for Pixar,” astutely sums up reasons for the aesthetic decline of Pixar–and, one might add Disney Animation.) My case is pretty strong in 2010. With only three nominees, the animated winner, Toy Story 3, easily tops Tom Hooper’s The King’s Speech. (We should remember we’re in the period when Harvey Weinstein was bludgeoning his company’s films into the winner’s circle.) Some would say How to Train Your Dragon would as well. (Among the live-action nominees, I would vote for Inglourious Basterds, but it would be a miracle if the Academy members chose such a film.)

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McGraw-HillConnect is a digital teaching andlearning environment that gives you the means to better connect with yourcoursework, with your instructors, and with the important concepts that youwill need to know for success now and in the future. With Connect you can practiseimportant skills at your own pace and on your schedule. There’s no contest for 2002. Even today, awarding a foreign-language film the best-animated prize is nearly impossible–or indeed, a non-Hollywood one. (Non-American winners come from the UK and Australia.) To be sure, many Academy voters probably saw the dubbed version of Spirited Away. Nevertheless, the obvious sheer brilliance of Miyazaki’s film (above) won the day. Indeed, with Godard gone, Miyazaki may be our greatest living filmmaker–though no one can see enough films from around the world to make such a judgment. Across the street a dozen guns emptied themselves. Glass shot from door and windows tinkled around us. In harmony with this, Perplexing Plots argues that culture offers us a plenitude of individual works with varied appeals, all of which can be realized with, to use Chandler’s terms, delicacy and power. Some works rely on subtlety, others on immediate impact. We have the refinements of Baroque music and the direct force of The Rite of Spring. If Treasure Island is a masterpiece as well as a rousing yarn, so is Die Hard. There is heavy art and light art, brooding art and and diverting art, intellectual density and emotional charm. None of these qualities is simple or easy to achieve; all can repay analysis. The slogan might be: “There’s valuable work at all levels. And there are no levels.”

Film Art: An Introduction : Bordwell, David, Thompson

Film art and filmmaking. Film as art : creativity, technology, and business -- Film form. The significance of film form ; Narrative as a formal system -- Film style. The shot : mise-en-scene ; The shot : cinematography ; The relation of shot to shot : editing ; Sound in the cinema ; Summary : style as a formal system -- Types of films. Film genres ; Documentary, experimental, and animated films -- Critical analysis of films. Film criticism : sample analyses -- Film history. Film art and film history For 2020, when theater-going was difficult if not impossible, studios delayed many films or sent them straight to streaming. The result was a somewhat uninspired lineup of animated nominees. Soul almost inevitably won. I must admit that I preferred Pixar’s films as they were until recently–adventures of various sorts, whether involving actual superheroes, groups of toys, or an old man flying his house to South America to learn how to be sociable again. These had psychological depth, but they didn’t make it explicit by making emotions into characters or sending them to heaven. So Nomadland comes out ahead this time. (I would have preferred two other nominees, The Father or The Trial of the Chicago 7.) The situation was reversed in 2017. Much though I like many of Guillermo del Tor’s films, I’d have to give Pixar’s Coco the edge over The Shape of Water (talk about a Mexican stand-off!). (The true masterpieces among the nominees that year were Nolan’s Dunkirk and Paul Thomas Anderson’s Phantom Thread. At least, as so many of my friends have said, Three Billboards outside Ebbing, Missouri didn’t win.) I’m going to compare the Best Picture and Animated Feature nominees and winners, starting in 2002, when the latter category originated (for films released the previous year). The questions are, are some of the animated nominees and/or winners better than the live-action films that won Best Picture in the same year, and if so, how often does this happen? This is not, of course, to say that the Oscars are a true reflection of the cream of the crop, especially in the live-action Best Picture category. The best animated films (at least, English-language) tend to rise to the surface in terms of nominations because there simply are so few of them in comparison.Scorsese’s The Departed is a more complicated case in the 2006 face-off. Those of us who know the Hong Kong film it’s based on, Andrew Lau and Alan Mak’s Internal Affairs (2002), know how very much Scorsese used from the original. Plus who can forgive that final shot? Being a George Miller fan, I was quite disappointed by Happy Feet (the second English-language import to win). Rather bland, I thought, and certainly no Babe: Pig in the City (1998). I think Cars should have won best animated feature, and it outdoes The Departed as well. For some reason a lot of people don’t like Cars all that much compared to other Pixar films, which I don’t understand. Certainly Cars 2 is awful and Cars 3 pleasant enough. But the original is terrific.

Film Art: An Introduction : Bordwell, David, Thompson Film Art: An Introduction : Bordwell, David, Thompson

I wanted to put up this entry on 23 July, Raymond Chandler’s birthday. It happens to be mine too. No cheerleading here, though. I prefer Hammett, as maybe you can tell. Logically, having chosen the Oscars as a means of comparison, I should compare all the excellent nominated animated films with all the excellent nominated live-action films. After all, the film or films deserving to win seldom do so. Maybe some of them are better than the animation winner. I’m not going to include all the nominees, because first, it would make this entry more lengthy and convoluted than it already is. Second, I haven’t seen all the nominees in either category, though I have seen a higher portion of the animated ones. Still, I shall mention in parentheses live-action titles that in my opinion were more deserving of the Best Picture Oscar than the actual winner.

Syndicate

BPPE: The New York Film Academy is approved to operate by the California Bureau for Private Postsecondary Education (BPPE) “Approval” or “approval to operate” means that the institution is compliant with the minimum standards contained in the California Private Postsecondary Education Act of 2009 (as amended) and Division 7.5 of Title 5 of the California Code of Education. Westlake exemplifies how the hardboiled tradition could be exciting without being sensationalistic. Avoiding the near-hysteria of Marlowe (no double exclamation points here) and the florid metaphors of Chandler, Westlake is close to Hammett in his understated but elegant style. He playfully references books and movies, as when Parker’s colleague Grofield imagines his thieving days as a long film with a musical score and swooping camera angles. I devoted a chapter of Perplexing Plots to the rigorous intricacy and captivating style of the Parker books. (For online instances, go here and here.) Perhaps inadvertently, Hammett’s radicalization of the objective method yielded what he had hoped for. The Maltese Falcon was greeted as a serious work of literature and was soon incorporated into the prestigious Modern Library series. His works have become part of the canon of American letters enshrined in the Library of America collection. The convention of delaying the detective’s solution didn’t prevent the genre from becoming accepted as a legitimate literary form–at least as practiced by Hammett, and his most prominent successor.