Today, we will work on delivering a film pitch to the class (due during 2nd period). Please fill out your film pitch worksheet and be prepared to enter the "producer's" boardroom to defend your idea. A bit of role playing.
Also, we will continue our viewing of 1950's film clips. Please take notes regarding these.
HOMEWORK: Please read the article about the MPAA and American New Wave. Complete the handout for homework to turn in Monday, May 9.
Thursday, May 5, 2011
Tuesday, May 3, 2011
The Emergence of Television, Film Pitch, Student Films
Today we will read the article: The Emergence of Television & AIP in class. As you read, please note 3 observations, 2 implications, and 1 question to discuss with the class.
After that, we will continue discussing and viewing 1950's film clips and take notes.
After that, we will begin our film pitch. See handout for more information.
HOMEWORK: Any work not completed should be completed for next class. Any film projects MUST be turned in by Thursday or you will likely fail the marking period.
After that, we will continue discussing and viewing 1950's film clips and take notes.
After that, we will begin our film pitch. See handout for more information.
HOMEWORK: Any work not completed should be completed for next class. Any film projects MUST be turned in by Thursday or you will likely fail the marking period.
Friday, April 29, 2011
Samuel Z. Arkoff
From IMDB.com:
"By the early 1950's, Samuel Z. Arkoff was a brash lawyer scratching out a living by representing his in-laws and the Hollywood fringe, which included many of now-infamous director/angora-clad transvestite Edward D. Wood Jr.'s social circle. Arkoff was physically imposing and capable of scaring anyone who opposed him. One of his clients was Alex Gordon, a screenwriter who had submitted an unsolicited script to Realart Pictures, an outfit that was profitably re-releasing 20-year old movies, often under new titles conjured up by it's owner, Jack Broder.
One such film, Man Made Monster (1941), had just been re-issued as The Atomic Monster, coincidentally the same title of Gordon's screenplay. Zarkoff, smelling blood in the water, paid Mr. Broder a visit and incredibly, obtained a $500 settlement. Broder's sales manager, James H. Nicholson was dumbfounded by Zarkoff's ability to extract a dime out of his tightfisted boss and proposed a partnership. American Releasing Corporation was founded in 1954 and their first release was a low-budget feature by 29-year old producer Roger Corman. Made for less than $50,000, it netted $850,000 and Corman was brought into the fold as a silent partner.
By 1955 the company was renamed American International Pictures, or simply AIP within the industry. Initially focusing on westerns on the premise that locations came cheap, and although profitable, Arkoff was unhappy with the returns and solicited theater owners for advice on what types of films filled seats. By the mid-1950's, thanks to television, the audience numbers had dwindled considerably with the key demographic now teenagers and young adults, who craved horror movies and drive-ins. AIP jumped into the horror genre with both feet and made a fortune. Under the aegis of Nicholson and Arkoff, the company survived in a constricting industry by catering to the whims of the teenage trade and adapting to trends.
AIP's long (350-plus) roster of kitsch classics, running the gamut from horror to rock'n'roll, from juvenile delinquency to Italian musclemen, and from Edgar Allan Poe to Annette Funicello, have formed their own unique niche in film history. His company became infamous for clever advertising schemes that were often more entertaining than AIP's movies. Arkoff never tolerated egos and his films were more often than not, profitable, thanks to tight budgets and a sharp understanding of the target market. After Nicholson's 1972 resignation, Arkoff assumed full control of the company and remained in charge until the 1979 merger with Filmways prompted his own departure. He then became the head of Arkoff International Pictures."
Beast with a Million Eyes (1955)
I was a Teenage Werewolf (1957)
Attack of the Puppet People (1958)
Teenage Caveman (1958)
War of the Colossal Beast (1958)
High School Hellcats (1958)
Two of my personal favorite Vincent Price films (which never really were horrifying, but fun, nonetheless):
The Abominable Dr. Phibes (1971) Here's the trailer.
Dr. Phibes Rises Again (1973) Here's the trailer.
Partner Nicolson's last picture was:
Legend of Hell House (1973) a particularly entertaining and effective horror film.
"By the early 1950's, Samuel Z. Arkoff was a brash lawyer scratching out a living by representing his in-laws and the Hollywood fringe, which included many of now-infamous director/angora-clad transvestite Edward D. Wood Jr.'s social circle. Arkoff was physically imposing and capable of scaring anyone who opposed him. One of his clients was Alex Gordon, a screenwriter who had submitted an unsolicited script to Realart Pictures, an outfit that was profitably re-releasing 20-year old movies, often under new titles conjured up by it's owner, Jack Broder.
One such film, Man Made Monster (1941), had just been re-issued as The Atomic Monster, coincidentally the same title of Gordon's screenplay. Zarkoff, smelling blood in the water, paid Mr. Broder a visit and incredibly, obtained a $500 settlement. Broder's sales manager, James H. Nicholson was dumbfounded by Zarkoff's ability to extract a dime out of his tightfisted boss and proposed a partnership. American Releasing Corporation was founded in 1954 and their first release was a low-budget feature by 29-year old producer Roger Corman. Made for less than $50,000, it netted $850,000 and Corman was brought into the fold as a silent partner.
By 1955 the company was renamed American International Pictures, or simply AIP within the industry. Initially focusing on westerns on the premise that locations came cheap, and although profitable, Arkoff was unhappy with the returns and solicited theater owners for advice on what types of films filled seats. By the mid-1950's, thanks to television, the audience numbers had dwindled considerably with the key demographic now teenagers and young adults, who craved horror movies and drive-ins. AIP jumped into the horror genre with both feet and made a fortune. Under the aegis of Nicholson and Arkoff, the company survived in a constricting industry by catering to the whims of the teenage trade and adapting to trends.
AIP's long (350-plus) roster of kitsch classics, running the gamut from horror to rock'n'roll, from juvenile delinquency to Italian musclemen, and from Edgar Allan Poe to Annette Funicello, have formed their own unique niche in film history. His company became infamous for clever advertising schemes that were often more entertaining than AIP's movies. Arkoff never tolerated egos and his films were more often than not, profitable, thanks to tight budgets and a sharp understanding of the target market. After Nicholson's 1972 resignation, Arkoff assumed full control of the company and remained in charge until the 1979 merger with Filmways prompted his own departure. He then became the head of Arkoff International Pictures."
Beast with a Million Eyes (1955)
I was a Teenage Werewolf (1957)
Attack of the Puppet People (1958)
Teenage Caveman (1958)
War of the Colossal Beast (1958)
High School Hellcats (1958)
Two of my personal favorite Vincent Price films (which never really were horrifying, but fun, nonetheless):
The Abominable Dr. Phibes (1971) Here's the trailer.
Dr. Phibes Rises Again (1973) Here's the trailer.
Partner Nicolson's last picture was:
Legend of Hell House (1973) a particularly entertaining and effective horror film.
1950's Films
Please take a look at some of the following clips/trailers for 1950's films.
Harvey (1950) James Stewart
Blackboard Jungle (1955) Sidney Poitier and another clip here. Blackboard Jungle.
The Bad Seed (1956)
The Wild One (1953) Marlon Brando
Tennessee Williams: A Streetcar Named Desire (Marlon Brando, 1951), Suddenly Last Summer (Elizabeth Taylor, Montgomery Clift, 1959), Cat On a Hot Tin Roof (1955) (Elizabeth Taylor & Paul Newman)
James Dean: Rebel Without a Cause (1955)
East of Eden (1955)
Giant (1956) with Elizabeth Taylor
Jailhouse Rock (Elvis Presley - (1957)
The Robe (1953)
Ben Hur (1959)
Marilyn Monroe:
All About Eve (1950) Bette Davis
How to Marry a Millionaire (1953)
Gentlemen Prefer Blondes (1953)
The Seven Year Itch (1955)
Some Like it Hot (1959)
From Here to Eternity (1953) Montgomery Clift, Burt Lancaster, Deborah Kerr
Tale of Two Cities (1958)
Harvey (1950) James Stewart
Blackboard Jungle (1955) Sidney Poitier and another clip here. Blackboard Jungle.
The Bad Seed (1956)
The Wild One (1953) Marlon Brando
Tennessee Williams: A Streetcar Named Desire (Marlon Brando, 1951), Suddenly Last Summer (Elizabeth Taylor, Montgomery Clift, 1959), Cat On a Hot Tin Roof (1955) (Elizabeth Taylor & Paul Newman)
James Dean: Rebel Without a Cause (1955)
East of Eden (1955)
Giant (1956) with Elizabeth Taylor
Jailhouse Rock (Elvis Presley - (1957)
The Robe (1953)
Ben Hur (1959)
Marilyn Monroe:
All About Eve (1950) Bette Davis
How to Marry a Millionaire (1953)
Gentlemen Prefer Blondes (1953)
The Seven Year Itch (1955)
Some Like it Hot (1959)
From Here to Eternity (1953) Montgomery Clift, Burt Lancaster, Deborah Kerr
Tale of Two Cities (1958)
Wednesday, April 27, 2011
Citizen Kane (part 2)
We will continue watching Citizen Kane today in class. Please watch the film and take notes concerning the repeated motif (snow globe, statues, mirrors, or sleds). As you watch the film take particular note of Welles' use of the deep focus shot and overlapping dialogue.
The narrative structure in the film is multiple perspective.
The narrative structure in the film is multiple perspective.
Sunday, April 24, 2011
Kublah Khan
Kubla Khan by Samuel Taylor Coleridge
For each group, please watch for the following symbol:
(group one) Snow globe
(group two) Statues
(group three) Mirrors
(group four) Sleds
For each group, please watch for the following symbol:
(group one) Snow globe
(group two) Statues
(group three) Mirrors
(group four) Sleds
Citizen Kane
As we view Citizen Kane, there are a series of important elements that can enrich our understanding of this film.
Orson Welles as Auteur:
Welles directed, wrote (partial), and starred in this film (even though he wasn't old enough it was thought to portray Kane). While Welles had direct control over the film and its look, there were other people who contributed artistically. We don't remember them. Just kidding. Of particular importance was Greg Toland (the cinematographer).
Camera Work:
The Deep Focus shot!
Low angle shots revealing ceilings!
Moving shots used as wipes!
Overlapping dialogue! (not original to Welles, but a trend in Screwball Comedies)
Long uninterrupted shots!
Expressionist lighting and photography!
Narrative/Special techniques:
Multiple perspective!
Flashbacks!
Aging!
motifs and themes:
The American Dream: For all of Kane's "success", he is not happy. He dies lonely, with only his "possessions" around him. Is all our striving to succeed in America an illusion?
Perspective:
The differing perspectives on Kane's life, especially in the absence of Kane's own point of view, force us to question what was truly important in Kane's life (and by extension what constitutes a life in general.) Judging by Kane's last muttered word: Rosebud, the most important pieces of his life were not the things that made him newsworthy, such as his newspaper successes and political ambitions, nor his friendships and associations. As Thompson interviews different people about Kane, we are given different multiple perspectives on the man (some are unreliable sources). Odd, though, that we do not see Kane from Kane's POV. Does this diminish our enjoyment or understanding of this film? Why do you think we are not given Kane's POV?
Motifs:
Isolation
Materialism/Capitalism
Old Age
Symbols:
Snowglobe
Sleds
Statues
Orson Welles as Auteur:
Welles directed, wrote (partial), and starred in this film (even though he wasn't old enough it was thought to portray Kane). While Welles had direct control over the film and its look, there were other people who contributed artistically. We don't remember them. Just kidding. Of particular importance was Greg Toland (the cinematographer).
Camera Work:
The Deep Focus shot!
Low angle shots revealing ceilings!
Moving shots used as wipes!
Overlapping dialogue! (not original to Welles, but a trend in Screwball Comedies)
Long uninterrupted shots!
Expressionist lighting and photography!
Narrative/Special techniques:
Multiple perspective!
Flashbacks!
Aging!
motifs and themes:
The American Dream: For all of Kane's "success", he is not happy. He dies lonely, with only his "possessions" around him. Is all our striving to succeed in America an illusion?
Perspective:
The differing perspectives on Kane's life, especially in the absence of Kane's own point of view, force us to question what was truly important in Kane's life (and by extension what constitutes a life in general.) Judging by Kane's last muttered word: Rosebud, the most important pieces of his life were not the things that made him newsworthy, such as his newspaper successes and political ambitions, nor his friendships and associations. As Thompson interviews different people about Kane, we are given different multiple perspectives on the man (some are unreliable sources). Odd, though, that we do not see Kane from Kane's POV. Does this diminish our enjoyment or understanding of this film? Why do you think we are not given Kane's POV?
Motifs:
Isolation
Materialism/Capitalism
Old Age
Symbols:
Snowglobe
Sleds
Statues
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