week 7.

-Why is “allusionism” significant for both modernism and post-modernism? If modernist filmmakers alluded to film history, what do post-modernist filmmakers allude to?

Allusionism allows filmmakers to create an emotional connection with the viewer by making connections and references to older, beloved films. Allusionism allows them to create films that can be both entertaining and mass appealing and at the same time also appeal to art house or film-know-it-all crowds. While modernist filmmakers alluded to film history, postmodern films allude to both film history and world history/current events in order to make people look at these things in different ways.



-What is "blind bidding"? Why did exhibitors object to the proposed blind bidding for Jaws? Why was the blind bidding for Jaws called off?

Blind bidding is a system in the distribution process in which exhibitors select a film to exhibit without having actually seen it, with the idea beings that they'll be able to draw an audience to the film and make money off the screenings. Exhibitors were opposed to blind bidding in the case of Jaws because Universal had a lot of stipulations included in the purchase of Jaws. They were asking unheard of sums of money and expecting exhibitors to help out with the advertising costs. After a preview screening in Dallas, however, blind bidding was called off as the Justice Department decided those exhibitors who had attended the screening had an unfair advantage over those who hadn't.



-How was the saturation booking and marketing of Jaws different than other Universal films (or earlier blockbusters such as The Godfather)?

The marketing for Jaws began with the book's release. It continued relentlessly until the film's release, invading TVs and newspapers everywhere. Ads were made to appeal to every audience imaginable. The film was released to 400 theatres nationwide, rather than sticking to the New York-LA, 150 theatre program that was the norm. On the contrary, The Godfather was released initially in New York and LA, and spread by huge demand throughout the states.

week 6.

1. Carroll writes "The number of recent films in the style-as-symbol category that revive film noir as a means of commenting on their dramatic material is legion: Night Moves (75), Elephant Man (80), All The Presidents Men (76), Taxi Driver, Harcore and Body Heat. How might this also relate to the stylistic choices in The Godfather Part II?

The Godfather Part II uses dark images and a slow pace to relate it both to the 30s' Gangster Film genre and to the dark, hidden-from-the-public underworld of the mob in which the Godfather is part of the ruling class.

2. What does Sawhill suggest are the functions of the recurring "wires, phones, intercoms, cameras, mics, speakers" throughout the film?

Sawhill suggests that it gives the film an almost reality show-esque air. It is percieved as "a city recording itself, playing itself back". He says it insinuates that our culture is obsessed with self image; the image is manufactured and marketed within same culture that created it. We love hearing things in our lives played back to us. I think this is true, my best friend has 18 voice mails saved on her phone that she goes back and listens to on a fairly regular basis! Crazy much?

3. What does Sawhill mean when he suggests that Altman "was making non-linear multimedia before the form existed" and that Nashville "doesn't suffer from the fragmenting effects of stop-and-start, at-home viewing"?

Sawhill suggests that Altman pioneered the from of story telling that is most prevelant in popular movies and TV shows today: that of following multiple characters whose lives intertwine both through the plot and through the use of cross cutting to create connections. He took this style of editing from non-existence to become the common-est (is that a word? it is now.) form of editing. He forces your attention to jump around all over the place with the film, this forces the viewer to pay closer attention to what is going on in order to follow it all.

week 5.

1. Give two specific examples of how Godfather Part II disappoints the viewer (according to Berliner) and how these disappointments "work" for the film.

According to Berliner, in the second Godfather, the violence is muted, Michael is a much less charming, colder character than his father and his entourage is less interesting and doesnt seem as jubilant as they did in the first. Berliner suggests that sequels usually show more of what was most popular in the original. In Godfather II, however, the violence of the first film is toned down, the murder sequences aren't so impressive as the first. Berliner says this separates it from the original, forcing the viewer to miss the plot of the first film. According to Berliner, this works by making the audience watching the film feel the emotions chief in the plot, namely disappointment and nostalgia. By showing less of what made the first a sucess, it succeeds on its own.

2. Give examples of how Francis' Zoetrope Studios was similar and different from Roger Corman and AIP.

Francis' Zoetrope Studios was based on Corman's model of one person as the sole share holder. In this way, Francis had control over every aspect of the studio. In contrast to AIP, however, Francis' films recieved mass market exposure, allowing them to gross more in the box office and win more awards than Roger Corman's productions did.

week 4.

1. What does Kramer argue was characteristic of the bulk of Hollywood film criticism in the 1960s?

-Kramer argued that criticism was based upon a small group of elite directors, who had begun work during the studio era and clung to well-established genres and classic film styles.

2. What was Krael's critique of art cinema and New American cinema. Why did Krael call Bonnie & Clyde the "most excitingly American movie"?

- Krael's critique of art cinema was that it blurred the lines between bad, incomprehensible movies and "art", allowing a lot of bad films to be categorized as art.

- Krael called Bonnie & Clyde "the most excitingly American movie" because it connected with audiences in a way that previously only European films had achieved, while giving Americans a purely American story.

3. Which critics were on opposing sides of the debate over Bonnie & Clyde and why?

- Crowther and Page Cook were both opposed to Bonnie & Clyde. They were both of an older, more conservatory generation. Crowther called it a "cheap piece of bald faced slap stick comedy". Both condemmed it for its graphic nature, inaccurateness and inappropriateness. On the other side,  Krael, Sheed and William Wolf supported Bonnie & Clyde. The three were much more liberally minded than the older critics. Sheed accused Crowther of aiming for more censorship. William Wolf called it "a wonderfully authentic look at the 1930s". 

week 3 reading response.

"The Underground".

Charles Theatre was a huge contributer to the development of underground film. Like CBGB with the underground punk scene, Charles Theatre catered to offbeat films. Mekas organized the screenings. Once a month they allowed open screenings, where anybody could come in and pay a little bit to screen their movies. After months of these screenings, the Charles Theatre developed a filmmakers festival. The Charles Theatre was a place for anybody to come and show their work and get reviews, from critics and from regular people. It was a freehouse for underground film, and nurtured the rising filmmakers.

In 1964 Flaming Creatures, Scorpio Rising and Un Chand d Amour all had legal problems. They were accused of being to obscene and were banned from being shown in theatres.