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Samenvatting Film-en TV-studies
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FILM & TV STUDIES1. INLEIDING - TERMINOLOGIE - LEVENSFASES - ILLUSIES OVER FILM .......................................... 7
1.1. ILLUSIES (3) ........................................................................................................................... 7
1.1.1. FILM = DOOD .................................................................................................................................. 7
1.1.2. FILM = MASSA-ENTERTAINMENT ........................................................................................................ 7
1.1.3. FILM = HOLLYWOOD AKA AMERIKAANSE FILMS .................................................................................... 7
1.2. BENADERINGEN + DEFINITIES V FILM ............................................................................................ 7
1.2.1. FILM GEASSOCIEERD MET VERSCHILLENDE FENOMENEN ......................................................................... 7
1.2.2. BENADERING + DIMENSIE HANGEN DIKWIJLS SAMEN ............................................................................. 7
1.2.3. DEFINITIE + TERM (V FILM + CINEMA) ................................................................................................. 7
1.2.4. FILM = BIJZONDER? (4) .................................................................................................................... 8
1.2.5. FILMSTUDIES ALS WETENSCHAP ......................................................................................................... 8
1.3. TECHNISCHE DIMENSIE: 3 LEVENSFASES ........................................................................................ 9
1.3.1. PRODUCTIE .................................................................................................................................... 9
1.3.2. DISTRIBUTIE ................................................................................................................................. 10
1.3.3. VERTONING (EXHIBITION) ............................................................................................................... 10
1.3.4. LEVENSFASES: BESLUIT (3) .............................................................................................................. 11
2. PRECINEMA + PROJECTIE: TECHNISCHE DIMENSIE ................................................................ 12
2.1. OPTISCHE PRINCIPES .............................................................................................................. 12
2.1.1. FLIKKERFREQUENTIE (# HERTZ) ........................................................................................................ 12
2.1.2. NABEELD...................................................................................................................................... 12
2.1.3. STROBOSCOPISCH EFFECT................................................................................................................ 12
2.2. PRE-CINEMA (4) ................................................................................................................... 12
2.2.1. CHRONOFOTOGRAFIE ..................................................................................................................... 12
2.2.2. TOVERLANTAARN .......................................................................................................................... 12
2.2.3. FENAKISTOSCOOP, ZOÖTROOP + PRAXINOSCOOP ................................................................................ 13
2.2.4. KINETOSCOPE ............................................................................................................................... 13
2.3. PROJECTIE ........................................................................................................................... 13
2.3.1. TECHNISCHE VEREISTEN VOOR PROJECTIE........................................................................................... 13
2.3.2. CINÉMATOGRAHE .......................................................................................................................... 13
2.3.3. LUMIÈRE-FILMPJES ........................................................................................................................ 13
2.3.4. COMMERCIEEL SUCCES ................................................................................................................... 13
2.3.5. LATHAM LOOP .............................................................................................................................. 14
3. NARRATIE + MONTAGE ........................................................................................................ 15
3.1. NARRATIE + MONTAGE: INLEIDING (3) ....................................................................................... 15
3.1.1. GROTE MEERDERHEID V FILMS = NARRATIEF....................................................................................... 15
3.1.2. 1E FILMS EERDER DOCUMENTAIR ...................................................................................................... 15
3.1.3. ONTWIKKELINGEN ......................................................................................................................... 15
3.2. GEORGES MÉLIÈS.................................................................................................................. 15
3.2.2. BEKENDE FILMS ............................................................................................................................. 15
3.3. EDWIN PORTER .................................................................................................................... 16
3.3.1. CROSS-CUTTING ............................................................................................................................ 16
3.3.2. ILLUSIE......................................................................................................................................... 16
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,3.3.3. MONTAGE.................................................................................................................................... 16
3.3.4. SHOTS (≠ SCÈNES) ......................................................................................................................... 16
3.4. D.W. GRIFFITH .................................................................................................................... 16
3.4.1. INTERFRAME INNOVATIES (RELATIE TSS SHOTS) (5).............................................................................. 16
3.4.2. INTRAFRAME INNOVATIES (WAT GEBEURT IN ÉÉN SHOT) (5) ................................................................. 16
3.4.3. THE BIRTH OF A NATION (1915) ..................................................................................................... 17
3.5. LEV KULESHOV ..................................................................................................................... 17
3.5.1. CONTEXT: REVOLUTIONAIR + SOVJET-RUSLAND .................................................................................. 17
3.5.2. LEV KULESHOV WORKSHOP ............................................................................................................. 17
3.6. SERGEI EISENSTEIN ................................................................................................................ 18
3.6.1. TYPES MONTAGE (5) ...................................................................................................................... 18
3.6.2. DEBUUT FILM: STRIKE (1924; 20S) .................................................................................................. 18
3.6.3. [BATTLESHIP POTEMKIN (1925; 20S)] ............................................................................................. 18
3.7. DZIGA VERTOV ..................................................................................................................... 18
3.7.1. KINO-GLAZ THEORIE ...................................................................................................................... 18
3.7.2. KINO-PRAVDA .............................................................................................................................. 18
4. FILM ALS INDUSTRIE: FILM-INDUSTRIE ................................................................................. 19
4.1. INLEIDING ........................................................................................................................... 19
4.1.1. SCHARNIERPERIODE (1905) ............................................................................................................ 19
4.1.2. EU + USA .................................................................................................................................... 19
4.1.3. WISSELWERKING TSS PRODUCTIE, DISTRIBUTIE + VERTONING ................................................................ 19
4.2. NICKLEODEON BOOM (1904) .................................................................................................. 19
4.2.1. UITBATERS (VERTONERS) SPELEN BELANGRIJKE ROL ............................................................................. 19
4.2.2. AANBOD (3) ................................................................................................................................. 19
4.2.3. WAAIER AAN THEATER ................................................................................................................... 19
4.3. EUROPA ALS OORSPRONG (5) .................................................................................................. 20
4.3.1. IMPERIUM PATHÉ FRÈRES (BEDRIJF) — FR ........................................................................................ 20
4.3.2. GAUMONT (BEDRIJF) (2) — FR ....................................................................................................... 20
4.3.3. SOCIÉTE FILM D’ART — FR (1908) .................................................................................................. 20
4.3.4. ITALIAANSE SPEKTAKELFILM ............................................................................................................. 21
4.3.5. (HERNI) DESFONTAINES & (LOUIS) MERCANTON — FR (1912) ........................................................... 21
4.4. INDUSTRIALISERING (6) .......................................................................................................... 21
4.5. STERRENDOM ...................................................................................................................... 21
4.5.1. PERIODE V STILLE FILMS .................................................................................................................. 21
4.5.2. 1E FILMSTER: FLORENCE LAWRENCE (“THE BIOGRAPH GIRL”) ............................................................... 21
4.5.3. MARY PICKFORD (“LITTLE MARY”)................................................................................................... 21
4.6. ONTWIKKELING HOLLYWOOD .................................................................................................. 22
4.6.1. CONTEXT ..................................................................................................................................... 22
4.6.2. TIJDENS WOI ............................................................................................................................... 22
5. ONTWIKKELING FILMS: GELUID + KLEUR............................................................................... 23
5.1. GELUID............................................................................................................................... 23
5.1.1. VROEGE EXPERIMENTEN MET GELUID ................................................................................................ 23
5.1.2. STANDAARDISERING + GELUID ......................................................................................................... 23
5.1.3. GEVOLGEN V KOMST V GELUID......................................................................................................... 24
5.2. KLEUR ................................................................................................................................ 25
5.2.1. VROEGE KLEURENFILM ................................................................................................................... 25
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,5.2.2. STANDAARDISERING V KLEUR ........................................................................................................... 25
5.2.3. LANGZAME CONVERSIE NAAR KLEURFILM........................................................................................... 26
5.2.4. KLEUR: MEER DAN TECHNIEK ........................................................................................................... 26
6. STUDIOTIJDPERK + GOLDEN AGE OF HOLLYWOOD................................................................ 27
6.1. INLEIDING (3) ...................................................................................................................... 27
6.1.1. ECONOMISCHE + CULTURELE DOMINANTIE ........................................................................................ 27
6.1.2. ONTWIKKELING V KLASSIEKE HOLLYWOOD FILM (5) ............................................................................ 27
6.1.3. MACHTSCONCENTRATIE BIJ GROTE STUDIO’S...................................................................................... 27
6.2. HOLLYWOOD IN 20S (3) ......................................................................................................... 27
6.2.1. 20S: JAZZ AGE OF ROARING TWENTIES .............................................................................................. 27
6.2.2. FILM ALS BELANGRIJK TIJDSVERDRIJF ................................................................................................. 27
6.2.3. GROEIEND DEBAT .......................................................................................................................... 27
6.3. PRODUCTION CODE (ZELFREGULERING)....................................................................................... 28
6.3.1. 1922: STICHTING V MOTION PICTURES PRODUCERS AND DISTRIBUTORS ASSOCIATION (MPPDA) ............. 28
6.3.2. RESULTAAT................................................................................................................................... 28
6.3.3. ENKELE ELEMENTEN UIT PRODUCTION CODE ...................................................................................... 28
6.4. KOMEDIE: POPULAIRE GENRE ................................................................................................... 29
6.4.1. VOORBEELD KOMIEKEN: CHARLES CHAPLIN + BUSTER KEATON ............................................................. 29
6.4.2. CHARLES CHAPLIN (1889 – 1977) (6) ............................................................................................. 29
6.4.3. BUSTER KEATON ........................................................................................................................... 29
6.5. RELATIE TSS EUROPA + HOLLYWOOD (3) .................................................................................... 30
6.5.1. TIJDENS INTERBELLUM.................................................................................................................... 30
6.5.2. AANGETROKKEN DOOR HOLLYWOOD-STUDIO’S .................................................................................. 30
6.5.3. 50S + 60S .................................................................................................................................... 30
6.6. ENKELE REGISSEURS UIT VROEGERE STUDIOTIJDPERK (3) ................................................................. 30
6.6.1. CECIL B. DEMILLE (1881 – 1959) .................................................................................................. 30
6.6.2. ERNST LUBITSCH (1892 – 1947) .................................................................................................... 30
6.6.3. JOSEF VON STERNBERG (1894 – 1969) ........................................................................................... 31
6.7. ENKELE REGISSEURS NA GELUIDSFILM (4) .................................................................................... 31
6.7.1. JOHN FORD .................................................................................................................................. 31
6.7.2. HOWARD HAWKS ......................................................................................................................... 31
6.7.3. BILLY WILDER .............................................................................................................................. 32
6.7.4. ALFRED HITCHCOCK ...................................................................................................................... 32
6.8. EINDE V STUDIO SYSTEEM........................................................................................................ 33
6.8.1. EIND 40S + 50S: ECONOMISCHE AFBROKKELING ................................................................................. 33
6.8.2. 50S + 60S: TOENEMENDE AFBROKKELING V PRODUCTION CODE ............................................................ 33
6.8.3. FILMMAKERS BEGINNEN PRODUCTION CODE UIT TE DAGEN.................................................................. 33
6.8.4. NEW HOLLYWOOD + MOVIE BRATS .................................................................................................. 33
7. TELEVISIE............................................................................................................................. 34
7.1. WAT IS HET?........................................................................................................................ 34
7.1.1. TV IS MASSAMEDIA + TECHNOLOGIE ................................................................................................. 34
7.1.2. TV IS ELEKTRISCH TOESTEL .............................................................................................................. 34
7.1.3. TV IS INDUSTRIE? .......................................................................................................................... 34
7.1.4. TV IS INHOUD + GENRES ................................................................................................................. 34
7.2. KOMST V RADIO EN TELEVISIE................................................................................................... 34
7.3. MACHTSGREEP TELEVISIE: GEVOLGEN VOOR FILM .......................................................................... 34
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, 7.3.1. INSPANNINGEN V FILMINDUSTRIE OM BIOSCOOPFILM AANTREKKELIJK TE HOUDEN (5)............................... 34
7.3.2. TECHNISCHE ONTWIKKELINGEN OM FILM BIJZONDER TE HOUDEN (4) ..................................................... 35
7.3.3. GLOBAAL GEZIEN ........................................................................................................................... 35
7.4. TV ALS ZELFSTANDIG MEDIUM.................................................................................................. 35
7.4.1. TECHNISCHE ONTWIKKELINGEN ........................................................................................................ 35
7.4.2. TELEVISIEDRAMA ........................................................................................................................... 35
7.4.3. SERIES ......................................................................................................................................... 36
7.4.4. KWALITEITS-TV............................................................................................................................. 36
7.5. FILM + TELEVISIE: WEDERZIJDSE RELATIES .................................................................................... 36
8. BEWEGINGEN ...................................................................................................................... 37
8.1. WAT ZIJN BEWEGINGEN? ........................................................................................................ 37
8.1.1. KUNST/ARTISTIEKE BEWEGING KOMT IN PERIODE V MODERNISME ......................................................... 37
8.2. BEWEGINGEN IN FILMGESCHIEDENIS .......................................................................................... 37
8.2.1. UITEENLOPENDE DEFINITIES ............................................................................................................ 37
8.2.2. COHERENTE AANPAK BIJ BEWEGINGEN .............................................................................................. 37
8.2.3. WEERSPIEGELING? ........................................................................................................................ 37
8.2.4. FILMBEWEGINGEN MEESTAL TRANSNATIONAAL .................................................................................. 37
8.3. OVERZICHT V ENKELE BELANGRIJKE FILMBEWEGINGEN (11) ............................................................. 38
8.3.1. DUITS EXPRESSIONISME .................................................................................................................. 40
8.3.2. NIEUWE ZAKELIJKHEID.................................................................................................................... 40
8.3.3. FRANSE AVANT-GARDE: IMPRESSIONISME.......................................................................................... 40
8.3.4. FRANSE AVANT-GARDE: SURREALISME EN DADAÏSME ........................................................................... 41
8.3.5. ITALIAANS NEOREALISME ................................................................................................................ 41
8.3.6. INTERNATIONAAL NEOREALISME ...................................................................................................... 41
8.3.7. NOUVELLE VAGUE ......................................................................................................................... 42
8.3.8. INTERNATIONALE NEW WAVE .......................................................................................................... 42
8.3.9. THIRD CINEMA .............................................................................................................................. 43
8.3.10. DOGME 95 ................................................................................................................................ 43
8.3.11. QUEER CINEMA ........................................................................................................................... 44
9. CULTURELE DIMENSIES: GENRES .......................................................................................... 45
9.1. GENRES DEFINIËREN .............................................................................................................. 45
9.1.2. IN CULTUURPRODUCTIE .................................................................................................................. 45
9.1.3. MANIER OM FILM IN TE DELEN ......................................................................................................... 45
9.2. ONTWIKKELING V GENRES ....................................................................................................... 45
9.2.1. GENRES = NUTTIG VANUIT COMMERCIEEL OOGPUNT ........................................................................... 45
9.2.2. VERANDERLIJK IN TIJD + RUIMTE ...................................................................................................... 45
9.2.3. ORIGINES ..................................................................................................................................... 46
9.2.4. APPRECIATIE VERANDERLIJK IN TIJD................................................................................................... 46
9.3. GENRE-MIXING .................................................................................................................... 46
9.3.1. CONVENTIES V 1 OF MEERDERE GENRES COMBINEREN ......................................................................... 46
9.3.2. BEPAALDE GENRES MIXEN GEMAKKELIJKER MET ANDERE GENRES ........................................................... 46
9.3.3. INNOVEREN (VISUEEL + NARRATIEF + COMMERCIEEL) .......................................................................... 46
9.3.4. CROSS-CULTURELE ONTLENING V GENRES .......................................................................................... 46
9.4. GENRES ANALYSEREN ............................................................................................................. 47
9.4.1. VERHAAL...................................................................................................................................... 47
9.4.2. STIJL............................................................................................................................................ 47
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