week 10.

#1: What are the five conditions that gave rise to the New Hollywood (here defined as post-1975)?
The five conditions that give rise to "New Hollywood" are:
1. A new generation of directors - the "movie brats"
2. New marketing strategies - the blockbuster
3. New media ownership and management in the film industry - new conglomerates
4. New technologies in sound and image - special effects, dolby, digital.
5. New delivery systems - films are being made and marketed differently than before.

#2: What does Elsaesser mean by New Hollywood being defined either as “the different as same” or “the same as different.” (p. 193)
"Different as same" and "same as different" are ways in which Hollywood acknowledges self-reflexivity and self-consciousness.
"Different as same" means one of the new directors (of the film school/movie brat generation) behaving like an old Hollywood master director (for example, Francis vs. Welles). They're different, but they're trying to be the same.
"Same as different" is the opposite: the directors of this time borrowing in their themes and styles from European filmmakers. This makes the films seem like something new and different to Hollywood while in reality they are the same old thing.


#4: How is the sound/image relationship in horror films fundamentally different than other classical genres?
In horror films, sound and image don't always fit together. Filmmakers are given a lot more freedom in horror sound. While classic cinema requires image and sound to correspond, in horror it is more effective to hear sounds without the image, forcing the viewer to use their imagination to come up with what may be happening to accompany that sound. This can create much greater fear than seeing everything, because an image that may be terrifying for one person could be funny for another. When forced to come up with the image on their own, each individual viewer pictures what is most terrifying to them, and therefore everyone feels fear.


#12: What is the key technical device (hint: in cinematography) that leads to the “decomposition” of the image as representation and the screen as a bounded frame in Bram Stoker’s Dracula? How is the use of this device a break from classical cinema, and why?
Superimposition is the key technical device that allows decomposition of the image in Dracula. This is a departure from the use of superimposition in classical cinema, where it functioned to mark shifts in time or space, or to allow us to see a character's thoughts or memories.