Mimetic Elements of

FilmMimetic Elements of

FilmFilm Appreciation/ Film Principles

Mass Communication Department

Ateneo de Davao University

Film Appreciation/ Film Principles

Mass Communication Department

Ateneo de Davao University

What is a movie?What is a movie?What is a movie?What is a movie?

Ideally, you are watching something and listening to something.

Ideally, you are watching something and listening to something.

What is a movie?What is a movie?

Visual: colors, shapes, forms and movement;

Aural: language and sound with rhythms, harmonies and melodies;

Visual: colors, shapes, forms and movement;

Aural: language and sound with rhythms, harmonies and melodies;

Hero

What is a movie?What is a movie? Concretely, we watch:

People, either alone or together Scenery Events

Concretely, we listen to: Monologues Conversations Narration Sound effects (SFX) Music Silence

Concretely, we watch: People, either alone or together Scenery Events

Concretely, we listen to: Monologues Conversations Narration Sound effects (SFX) Music Silence

Y Tu Mama Tambien

What is a movie?What is a movie?

Stories about people in certain locations that present a number

of ideas In an aesthetic manner

Stories about people in certain locations that present a number

of ideas In an aesthetic manner

Lucia Y Sexo

Suspension of DisbeliefSuspension of Disbelief Suspension of disbelief is

an aesthetic theory intended to characterize people's relationships to art.

Coined by the poet and aesthetic philosopher Samuel Taylor Coleridge in 1817.

Refers to the willingness of a person to accept as true the premises of a work of fiction, even if they are fantastic or impossible.

Suspension of disbelief is an aesthetic theory intended to characterize people's relationships to art.

Coined by the poet and aesthetic philosopher Samuel Taylor Coleridge in 1817.

Refers to the willingness of a person to accept as true the premises of a work of fiction, even if they are fantastic or impossible.

Transformers

Suspension of DisbeliefSuspension of Disbelief The willingness of the

audience to overlook the limitations of a medium, so that these do not interfere with the acceptance of those premises.

A quid pro quo: the audience tacitly agrees to provisionally suspend their judgment in exchange for the promise of entertainment.

The willingness of the audience to overlook the limitations of a medium, so that these do not interfere with the acceptance of those premises.

A quid pro quo: the audience tacitly agrees to provisionally suspend their judgment in exchange for the promise of entertainment. The Piano

Elements of FilmElements of Film

Story/ Plot Character/ Charaterization Setting/ Milieu Theme/ Message Style

Sex and Music

Story/ Plot Character/ Charaterization Setting/ Milieu Theme/ Message Style

Sex and Music

A. StoryA. Story

The rendering and ordering of the events and actions, particularly towards the achievement of some particular artistic or emotional effect

In other words it's what mostly happened in the film.

The rendering and ordering of the events and actions, particularly towards the achievement of some particular artistic or emotional effect

In other words it's what mostly happened in the film.

A. Story - Cause and EffectA. Story - Cause and Effect

Level 1: Cause and Effect

Consists of a stimulus and response, also referred to as action and reaction, or cause and effect. (Bickham 1993, pp. 12-22)

Level 1: Cause and Effect

Consists of a stimulus and response, also referred to as action and reaction, or cause and effect. (Bickham 1993, pp. 12-22)

A. Story - Scene and SequelA. Story - Scene and Sequel

Level 2: Scene and Sequel

Structured in scenes and sequels, with scenes providing drama and sequels providing an aftermath. (Bickham 1993, pp. 23-62)

Level 2: Scene and Sequel

Structured in scenes and sequels, with scenes providing drama and sequels providing an aftermath. (Bickham 1993, pp. 23-62)

A. Story - Beginning, Middle, EndA. Story - Beginning, Middle, End Level 3: Beginning,

Middle and End The larger structure of

story is often divided into three parts: beginning, middle, and ending.

Level 3: Beginning, Middle and End

The larger structure of story is often divided into three parts: beginning, middle, and ending.

A. StoryA. Story

Basis of successful films

Clear beginning, middle and end

Tightly knit

Basis of successful films

Clear beginning, middle and end

Tightly knit

A. Story Arc in FilmA. Story Arc in Film1. Initial situation – the beginning. It is the first incident

that makes the story move.2. Conflict or Problem – goal which the main character of

the story has to achieve.3. Complication or Rising action – obstacles which the

main character has to overcome.4. Climax – highest point of interest of the story.5. Dénouement or Resolution – what happens to the

character after overcoming all obstacles and reaching his goal, or failing to achieve the desired result and not reaching his goal.

6. Conclusion – the end result

1. Initial situation – the beginning. It is the first incident that makes the story move.

2. Conflict or Problem – goal which the main character of the story has to achieve.

3. Complication or Rising action – obstacles which the main character has to overcome.

4. Climax – highest point of interest of the story.5. Dénouement or Resolution – what happens to the

character after overcoming all obstacles and reaching his goal, or failing to achieve the desired result and not reaching his goal.

6. Conclusion – the end result

Surprise and SuspenseSurprise and Suspense

Surprise: when something happens and you don’t expect it

Suspense: when you expect it and it doesn’t happen.

Surprise: when something happens and you don’t expect it

Suspense: when you expect it and it doesn’t happen.

FormsForms

Plot-driven: in which a preconceived storyline is the main thrust, with the characters' behavior being moulded by this inevitable sequence of events.

Character-driven: in which the character is the main focus of the work.

Plot-driven: in which a preconceived storyline is the main thrust, with the characters' behavior being moulded by this inevitable sequence of events.

Character-driven: in which the character is the main focus of the work.

B. CharacterB. Character

A person (persona), in particular as portrayed by an actor; or as appears in a film, whether a fictional character or historic figure

Action vs character American movies depend

heavily on character for full effect, even at the expense of storyline.

A person (persona), in particular as portrayed by an actor; or as appears in a film, whether a fictional character or historic figure

Action vs character American movies depend

heavily on character for full effect, even at the expense of storyline.

B. Driver CharactersB. Driver Characters Protagonist: "... the driver of the story: the one who forces

the action." Defined by "Pursue" and "Consideration" characteristics. (Jungian equivalent: Hero)

Antagonist: "... the character directly opposed to the Protagonist." "Prevent" & "Re-consideration". (Jungian equivalent: Shadow)

Guardian: "... a teacher or helper who aids the Protagonist..." "Help" & "Conscience” (Jungian equivalent: Wise Old Man or Wise Old Woman, also sometimes referred to collectively as The Mentor)

Contagonist: "... hinders and deludes the Protagonist..." "Hinder" & "Temptation"

Protagonist: "... the driver of the story: the one who forces the action." Defined by "Pursue" and "Consideration" characteristics. (Jungian equivalent: Hero)

Antagonist: "... the character directly opposed to the Protagonist." "Prevent" & "Re-consideration". (Jungian equivalent: Shadow)

Guardian: "... a teacher or helper who aids the Protagonist..." "Help" & "Conscience” (Jungian equivalent: Wise Old Man or Wise Old Woman, also sometimes referred to collectively as The Mentor)

Contagonist: "... hinders and deludes the Protagonist..." "Hinder" & "Temptation"

B. Passenger CharactersB. Passenger Characters Reason: "... makes its decisions and takes action on the

basis of logic..." "Control" & "Logic" Emotion: "... responds with its feelings without

thinking..." "Uncontrolled" & "Feeling" Sidekick: "... unfailing in its loyalty and support."

"Support" & "Faith" Skeptic: "... doubts everything..." "Oppose" & "Disbelief”

(Jung's Trickster archetype often overlaps here, since its purpose is to question and rebel against the established way of doing things)

Reason: "... makes its decisions and takes action on the basis of logic..." "Control" & "Logic"

Emotion: "... responds with its feelings without thinking..." "Uncontrolled" & "Feeling"

Sidekick: "... unfailing in its loyalty and support." "Support" & "Faith"

Skeptic: "... doubts everything..." "Oppose" & "Disbelief” (Jung's Trickster archetype often overlaps here, since its purpose is to question and rebel against the established way of doing things)

B. CharacterB. Character

A single character may fulfill more than one archetypal role.

A single character may also have many traits and feelings.

A complex character may blend characteristics from different archetypes, just as real people embody aspects of each archetype.

A single character may fulfill more than one archetypal role.

A single character may also have many traits and feelings.

A complex character may blend characteristics from different archetypes, just as real people embody aspects of each archetype.

B. CharacterB. Character

According to one writer/psychologist,

“Though in stories the archetypes are...fragmented into individual characters, in real life each of us carries qualities of each archetype. If we didn't, we wouldn't be able to relate to characters who represent the archetypes we were missing.”

A Primer on Archetypes and the Collective Unconscious by Carolyn Kaufman at Archetype Writing: The Fiction Writers' Guide to Psychology

According to one writer/psychologist,

“Though in stories the archetypes are...fragmented into individual characters, in real life each of us carries qualities of each archetype. If we didn't, we wouldn't be able to relate to characters who represent the archetypes we were missing.”

A Primer on Archetypes and the Collective Unconscious by Carolyn Kaufman at Archetype Writing: The Fiction Writers' Guide to Psychology

C. SettingC. Setting The setting of a film is the

time, location and circumstances in which it takes place.

Provides the main backdrop for the story

Sometimes setting is referred to as milieu, to include a context (such as society) beyond the immediate surroundings of the story.

Can set the tone of a story.

The setting of a film is the time, location and circumstances in which it takes place.

Provides the main backdrop for the story

Sometimes setting is referred to as milieu, to include a context (such as society) beyond the immediate surroundings of the story.

Can set the tone of a story.

C. SettingC. Setting

Studio shoots vs real locations

Travelogues Setting is not a matter

of locale alone, it adds texture to the story.

Studio shoots vs real locations

Travelogues Setting is not a matter

of locale alone, it adds texture to the story.

D. ThemeD. Theme

A broad idea in a story, or a message or lesson conveyed by the film.

Usually about life, society or human nature. Fundamental and often universal ideas explored in the

film. Usually implied rather than explicitly stated. Deep thematic content is not required in film; however,

some film critics would say that all stories inherently project some kind of outlook on life that can be taken as a theme, regardless of whether or not this is the intent of the author.

A broad idea in a story, or a message or lesson conveyed by the film.

Usually about life, society or human nature. Fundamental and often universal ideas explored in the

film. Usually implied rather than explicitly stated. Deep thematic content is not required in film; however,

some film critics would say that all stories inherently project some kind of outlook on life that can be taken as a theme, regardless of whether or not this is the intent of the author.

D. ThemeD. Theme

T message of the film A film means

something, whether or not the filmmaker intends it.

Interpretation -- supplying meaning- is the job of the audience.

T message of the film A film means

something, whether or not the filmmaker intends it.

Interpretation -- supplying meaning- is the job of the audience.

D. ThemesD. Themes

The skeleton on which action, character and setting are arranged.

Bare bones are missing: audience will know it

The skeleton on which action, character and setting are arranged.

Bare bones are missing: audience will know it

Themes vs MotifThemes vs Motif

Themes differ from motifs in that themes are ideas conveyed by a film.

Motifs are repeated symbols that represent those ideas.

Leit-motif: reiteration of those theme.

Themes differ from motifs in that themes are ideas conveyed by a film.

Motifs are repeated symbols that represent those ideas.

Leit-motif: reiteration of those theme.

D. ThemesD. Themes

Themes arise from the interplay of the plot, the characters, and the attitude the director takes to them,

The same story can be given very different themes in the hands of different directors.

Themes arise from the interplay of the plot, the characters, and the attitude the director takes to them,

The same story can be given very different themes in the hands of different directors.

Dreamers, Bertolucci

E. StyleE. Style

Personal touch of the director

Less visible to amateur viewers

Style of the director European films:

personal communication of the director

Personal touch of the director

Less visible to amateur viewers

Style of the director European films:

personal communication of the director

E. StyleE. Style

The word "style" came from Latin stilus = a writing instrument (compare stylus), and originally meant a style of writing.

The spelling was influenced by Greek στυλος = "column".

The word "style" came from Latin stilus = a writing instrument (compare stylus), and originally meant a style of writing.

The spelling was influenced by Greek στυλος = "column".

F. Sex and MusicF. Sex and Music

Sex: savior of borderline case movies

Music: mortar that fills in the cracks

Sex: savior of borderline case movies

Music: mortar that fills in the cracks