- Which film in this course was closest to what the Lumière Brothers thought film was? Which film was closest to Méliès?

- Which film in this course was the most about its story, the least about its film elements (mise-en-scene, editing, etc.)? Which movie was most about its film elements, the least about its story? Which film best used the film elements to tell its story? How can the film elements tell a film’s story?

- What is the difference between an art film and an entertainment film? Which films in this course best illustrate each category?

- In what way are A History of Violence and Ju Dou art films?

- What does comparing Imitation of Life and Ju Dou as melodrama tell us about the cultures they come from?

- Which is the most political film we have seen in the course? The most philosophical?

- How would you explain the difference in “reality” between the two versions of documentary we saw (Nanook of the North and Superstar)? And how are they different from the “reality” represented in The Bicycle Thieves?

- When does audience indentification with characters in a film become a problem? Under what conditions does the viewer identify with characters, and under what conditions does the viewer resist such identification?

- How have Neo-Realism and the French New Wave influenced Hollywood films such as The Limey and The Conversation?

- What does it mean to say that a film is self-referential? What’s the point of reminding somebody that they are watching a film?

- What different sorts of meaning has a hand-held camera been used to create? What about slow motion? Or jump cuts?

- Has the French New Wave revised entertainment film or has entertainment film revised the French New Wave?

- Use one of the films we saw in class to explain how a film might “work” despite a form that does things that are obviously artificial or non-narrative. Can the “alienation effect” be used sometimes to entertain rather than antagonize the audience? How is this done?

- What would a New Wave director would say about The Fall? How about an Italian Neo-Realist director? Would they coincide in some of their opinions? How and why?

- Are there any films on our syllabus in which ideology does not play a part? Are there any films on our syllabus in which there are competing ideologies?

- How would you explain the different models of film narrative (from the Lumières and Méliès, to “video game” and “graphic novel” films)? How much has the shift in models changed the way films stories are told?

- What role have innovations in technology and new media played in the latest trends in film?

http://www.boingboing.net/2009/05/07/bb-video-john-gaeta.html

NOTE: The assignment is to compare two films from the course syllabus. This means no Chicago Ten, no Ironman, no Watchmen, and none of the film clips shown in discussion. Just wanted to make that clear.

And don’t forget that there is a research element to this paper: you are required to cite two critical sources in your paper. A good place to start with research is the Critical Sources for Film page, in the pages section of this blog.

* * * * *

Comparison of the Realism of Nanook of the North and Chicago Ten

I. Intro Paragraph: Emphasizing differences, leading up to thesis

Thesis:  Nanook of the North and Chicago Ten not only represent two very different kinds of documentary, they represent two very different kinds of reality. Nanook of the North represents a world view in which there is one reality, scientifically determined; Chicago Ten represents a reaction against this one-reality-world, and offers instead a world with multiple meanings, some of them liberating, some of them not.

II. Body Paragraph 1: Nanook of the North
A. Film elements used to establish realism
B. Narrative/Audience Identification used to establish realism
C. Ideology of realism in film

III. Body Paragraph 2: Chicago Ten
A. Film elements used to establish realism
B. Narrative/Audience Identification used to establish realism
C. Ideology of realism in film

IV. Body Paragraph 3: Nanook of the North and Chicago Ten: clash of realisms
A. Compare/contrast film elements
B. Compare/contrast narrative and audience identification
C. Compare/contrast ideologies

V. Conclusion: Invert introduction and re-state thesis

Comparison of Ideology in Ironman and The Watchmen

I. Intro paragraph: Emphasizing similarities, leading up to thesis

Thesis: Though they were both based on super-hero comic books, became big budget films, and were released within six months of each other, in terms of ideology Ironman and The Watchmen could not be more different. Ironman shows us the noblesse oblige of the old fashioned super-hero, who also stands for the efficacy of “humanitarian” military solutions of the United States post 9-11; in contrast, The Watchmen deconstructs the super-hero mystique and indicts the super-hero, as vigilante, for being criminally complicit in the societal violence he or she is supposedly fighting against.

II. Body Paragraph 1: Ironman
A. Film elements used to establish ideology
B. Narrative/Audience Identification used to establish ideology
C. Representative of the dominant ideology (unquestioned, “common sense”)

III. Body Paragraph 2: The Watchmen
A. Film elements used to establish ideology
B. Narrative/Audience Identification used to establish ideology
C. Representative of a counter-ideology, opposing dominant ideology

IV. Body Paragraph 3: Ironman and The Watchmen: clash of ideologies
A. Compare/contrast film elements
B. Compare/contrast narrative and audience identification
C. Two super-hero ideologies fighting it out post 9-11

V. Conclusion: Invert introduction and re-state thesis

A: When we watched the short clip of Batman and Robin in their lair preparing to go out in a mission (from the 60s television show), Metcalf pointed out the large labels on the their equipment and technology.  The large labels were meant to mimic the labels that comic books have.  He also mentioned that the use of primary colors in the clip also follows the comic book tradition of using kid friendly simplistic reds, yellows, greens etc. In comic books these colors work well, but on real adult human actors, to me they looked a little ridiculous along with the big note card labels that clearly identified something as a “MAGNIFYING GLASS.”  By stealing these comic book traits, the television version of Batman and Robin limited its audience, even more so than a typical comic book focus group.  Comic book readers take their stories seriously.  This clip made the story lines seem silly and the scenes set-up, costuming, and make-up would be today be used for a Saturday Night Live skit.  If anything I think a film should boost a larger target audience than the comic book itself, especially since it costs a lot more money to make one.

I found the juxtaposition of the character of Joker we saw Wednesday in class, to the character of Joker played by Heath Ledger just recently, to be quite fascinating.  The newest Batman recognized that a film can take from a comic book overall themes of what a hero is, what evil is etc. without having to stay tied to the exact comic book format.  While yes, Heath Ledger had the make-up of Joker, his make-up was not as harsh as the Joker we saw in the clip.  His acting was far deeper than filling a shallow evil villain position standard in a comic book.  The newest Batman was deeper, more intense and definitely more serious than the Batman we saw in class.  I believe this is a step in the right direction. The newest Batman had a viewing audience far wider than its comic book.  Honestly, I don’t know if I could even sit through the entire Batman movie we saw in class, even if I tried.

Claire Wilson

A:  Determinism is not a fun view at all. At its core, human free will is not that free, but rather is a reaction to external stimuli. If you decide to grab a soda, the thirst is the determinant, or if you decide to smoke a cigarette, the need to avoid nicotine withdrawal is the determinant, so on and so forth. However, the view of hard determinism states that the entire universe is a causal chain, with every thing constantly reacting to and creating a reaction in other things.

This view is clearly endorsed in Lola Rennt, as the smallest and minute differences, be it a glance, or a difference in the exchange of words, can lead to radically divergent outcomes. The woman with the baby carriage could either have her baby taken by the law and be driven by desperation to steal an infant, or she could win the lottery and be fabulously wealthy, based on a difference we would consider minute. Another such example would be the bicyclist, would could either be beat up and meet the love of his life, or be so wrought with guilt that he ends up becoming a homeless vagrant. The only real exception to this rule would be Lola, since she “restarts” whenever she loses.

Although this view is not very fun, it is probably endorsed by the movie to maintain its ties with the video game realm of thought. In the world of videogames, every action has a consequence and even a small deviation from the original course of action could result in a bonus level or failure. Video games often ensure several different mapped courses of action exist in order to maintain replayability, which is exactly how the movie operates. Without a hard determinist view, Lola’s journey would be far more chaotic and lose the video game feel.

Daniel Han

A: Love seems to be portrayed as an unattainable and imperfect goal in   Run Lola Run. First there is the obvious broken relationship between her and her sleazy boyfriend Manni. Each time they go through the story, there is never a happy ending between the two of them. Lola gets shot, Manny gets hit by a car, and in the more mysterious third ending, they show them leaving together but it seems fake. Also, whenever they cut to the shot of them in bed talking, its always one of them doubting the love of the other.

This continues when we are introduced to her father, the wealthy bank manager, who is leaving her mother for another woman. At first it seems as if he really loves her but later we realize she’s just “suitable.” Not only does Lola’s father not love his mistress, but also we are shown that he does not even love Lola. While throwing her out of his bank and refusing to help her, he mentions that she’s a “freak” and that he is not her biological father.

Regardless of the outcome of the three different paths we are taken on in Run Lola Run the message is the same: Love does not exist. There is no one in this movie who truly loves anyone else. It even seems as if  Lola doesn’t even love herself.

Alexis Mott

A: Run Lola Run is an odd beast. It combines the conventions and accepted structure of 90s action video games with the presentations and principles of film. Explicitly, the three separate universes it creates play on the idea of “extra lives” in a video game. Each “failed” story ends with a main character’s death, just as in a video game. When the given objective hasn’t been reached, there is no divergent world where failure is acceptable; one either succeeds or tries again in a video game world. It’s tedious, but it always for a fully scripted story.  In that sense, film is like the video game, in the sense that there is only a single linear story. There is no room for deviation or original interaction; it’s just usually less explicit in expressing this.

Lola’s constant “learning” from her failed attempts—such as knowing how to turn the safety off a gun—was a innovative plot device. In video games, even when you die, you usually get a little bit further with each attempt, learning how to best utilize the environment to your advantage. In the film, she used what she learned—like turning the safety off the gun to threaten her father—to get somewhat closer to accomplishing her task. The use of this was not over pronounced, but very clever.

The music in the film was very intruiging. In each “life,” the running theme was very similar, though small changes were altered. Each time, the hook was changed, or it was run at double tempo, yet the lyrics and basic tune stayed identical. This concept is more related to modern games than games of 90s era, but now games’ music is usually affected by what’s happening onscreen, as opposed to just being background noise pasted onto the level being played through. Depending on the action occurring, the number of enemies, the environment you’re in, the music will layer itself differently to make it meld better with the whole experience. Whether there were a few games at the time that influenced Run Lola Run into doing its soundtrack as such, or whether Run Lola Run influenced games to do this, I do not know.

The presentation of the film, from its structure, to its plot devices, to its music, perfectly mirror and elaborate upon the media of the video game. Those, combined with the camera angles, colors used, and script writing make it an captivating piece of cinema that is impossible to classify. It’s more comparable to the game Mirror’s Edge than any movie I’ve yet to see.

David Clifford Turner

A: The structure of Run Lola Run is sure to frustrate many viewers with its repetitive, start over and over again plot. However, director Tom Tykwer clearly did not wish to arrange his film in the normal, Hollywood film style. Instead, his film almost perfectly depicts the way a typical, action video game would be seen. The similarities are clear throughout the entire movie. Lola receives an agenda (getting money for Manni), and attempts to complete it. The first two times she attempts to collect the money, she fails. Nevertheless, through these first two “runs” she picks up clues and notices things within her environment that are happening and deterring her from completing her mission (the man with the dog, the ambulance).  Eventually, during the third “run,” she manages to avoid all the things that can prevent her from getting the money, remembering them from her two previous attempts, and successfully helps Manni out.

Almost every aspect is similar to what happens in a typical action-oriented video game.  In these games, the protagonist receives a mission and attempts the mission unsuccessfully a few times.  However, the person playing the game is able to notice what is preventing success the more times he or she fails.  Ultimately, the gamer figures out the best way to complete the mission. Run Lola Run depicts this exactly. For example, when someone plays Super Mario and they continuously get hit by the same enemy in the start of a level, he or she finds a way to avoid the enemy. Lola gets tripped by the dog during the second run, and this deters the rest of her mission. Then, in the third run, she knows to avoid the dog in order to avoid injury.

It is understandable that some viewers may find Run Lola Run somewhat annoying and repetitive with its structure.  However, after understanding that director Tom Tykwer is attempting to emulate an action-oriented video game, the movie’s structure makes perfect sense.

Joe Zubkoff

A: The basis of Run Lola Run is the fact that Lola is able to go back to a certain point and retry certain events that take place. Most video games have a save system in which if you make a mistake, you are allowed to try that passage again. That is the sense that the movie is trying to convey. The revert to the apartment is the same as a video game player loading a save point. Lola also seems to be able to carry over knowledge from previous runs into current one, which what a person playing a video game would be able to do. All of these effects are supposed to give the viewer a sense that he or she is controlling Lola as she runs through her world. This is exactly what someone would do in a video game.

Run Lola Run also utilizes mise-en-scene to give it a video game feel. The mixing in of scenes of animation prevents the audience from getting too involved with the narrative, and makes them aware of the fact that they are sitting in a movie theater, watching a film. The animation reinforces the fact that it is indeed a video game movie, as video games tend to have rendered graphics as opposed to film footage. All of the animated scenes are roughly the same, and that gives the impression that they are cinematic cut scenes. The way that the camera is constantly following Lola gives the audience a strong sense of identification with her. In games, only the main character is important, whereas the others are expendable. The mise-en-scene provides the video game feeling in Run Lola Run.

Jason He

A: Tykwer quickly establishes his intention to present his film in the style of a videogame early in the film. As Lola sprints down the stairs, she is shown as a cartoon with over-exaggerated features such as her large eyes. Furthermore the audience is shown this cartoon form of her through the TV her mother is watching, naturally the place where one would view videogames. This distinctly gets the director’s intention across early in the film.

The minute decisions and actions made by Lola seem to have a butterfly effect on everyone she encounters throughout this movie. This seems to follow a Role Play Game (RPG) style of videogame. Characters are free to move through their world as they please, but it is the actions and decisions of the character that alter the outcome of the characters around them as well as themselves. Each time the story restarts, we encounter the same people on her route to find Manni in time, but their interactions with Lola or Manni are slightly different, fundamentally changing the story. Whether as a cartoon she is tripped by the boy with the dog or allowed to spring by them, changes whether or not she bumps into the woman with the stroller. When she was bumped into we see snapshots that she later wins the lottery, but if she doesn’t get bumped into we snapshots of her becoming more religious and carrying on with life. In this way we identify Lola as the main character in a RPG, the one solely responsible for the outcome of the lives of those around her simply based on her own actions.

Though an interesting idea for shooting a film, using a videogame approach tarnishes the storyline. Just as in an RPG, when one of the main characters dies you restart from the beginning and are given another chance to accomplish your objective without dying. Death in video games, as well as this movie, no longer means the end. It simply means that this strand of actions and decisions were poor and didn’t allow the central character to finish their mission. It is often a technique used in film to have a dying character rethink his decisions and wish he/she had done things differently. This movie takes it one step further by allowing the characters to have these considerations and then act upon them and try again. Action and drama become less important. Even death is no longer interpreted as tragic or heartbreaking, because it doesn’t really mean the end. When the characters immediately start over regardless of what had happened until they get it right it cheapens the suspense and thrill of the movie because the audience knows nothing truly tragic can really happen. The audience views the characters as those in a game, capable of many different actions and decisions, and capable of reanimation should any decisions prove detrimental to their goal. This results in an audience who is less attached to the characters with less care to the individual run because it is known that in the last run everything will work out.

Josh Gruver