Solondz Welcome to the Dollhouse 1996 Working with Kids Shorter hours Tutors Method of Working Many auditions Contingency plans Decisive and precise Made his production crew crazy Asked for test audiences even when other directors are afraid of them ID: 261915
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Slide1
Todd Solondz
Welcome to the Dollhouse, 1996Slide2
Working with Kids
Shorter hours
TutorsSlide3
Method of Working
Many auditions
Contingency plans
Decisive and precise
Made his production crew crazy
Asked for test audiences even when other directors are afraid of them
For
Happiness
fights almost broke out in the test screenings Slide4
Solondz
’s
work is very controversial (especially
Happiness
)
While other directors are making films for less and less money—he continues to ask for larger budgets
Ted Hope suggests that producers need to come up with new ways to support work by ambitious directors like Solondz Slide5
Welcome to the Dollhouse
Low-Budget, independently produced film
Critical Praise
Best dramatic feature at the Sundance Film Festival Slide6
Style of Film
unrelenting attention to detail
key to satire (the use of irony, sarcasm, ridicule, or the like, in exposing, denouncing, or deriding vice, folly, etc.)
It isn't the big picture that matters to a girl like Dawn, but the details: how she looks today in the mirror, and how this dress looks, and what small hopeful signs might have been sighted, or imagined, on the far emotional horizon.Slide7
180 Degree Rule
Spatial Continuity
https://www.youtube.com/watch?v=HdyyuqmCW14Slide8
30 Degree Rule
https://www.youtube.com/watch?v=0YSPQGZmnIw
https://www.youtube.com/watch?v=CHaXM7YeQsQSlide9
Eyeline Match
https://vimeo.com/61230883Slide10
Intensified Continuity
More Editing
More and tighter close-ups
More shots overall, especially of reactions
Use of longer lenses, producing tight long shots
Fewer medium shotsSlide11
Transitions
Dissolves: A smooth transition from one to another
Fades: A transition from one shot to another with a fade to black
Wipes: A line wipes one shot from the screen which is replaced by another shot
Freeze Frame: the frame may freeze before a transition or can stop time for emphasis Slide12
Discontinuity outside the mainstream
Avant-garde
Narrative is not the main concern of the film-maker
Refer to character psychology, graphic and rhythmic relationships, or comment on the ideological form of the medium
These films subvert narrative flow Slide13
Kulesohov Experiment
Took a shot of an impassive actor’s face and cut it together with shots of emotive material
Viewers thought the actor was expressing an emotion even though he had no expression on his face Slide14
Montage
Montage used to compress time—condenses narrative information into a short sequence of linked shots, often set to musicSlide15
Sergei Eisenstein
Believed the business of film was conflict of all kinds: of lines, angles, colors and ideas
Dialectical or intellectual: two unrelated ideas and cuts them together to make a thematic or intellectual point
(Cattle being slaughtered juxtaposed with workers being massacred by government forces) Slide16
Thesis+Antithesis=Synthesis
Intellectual concept was created during synthesis
Not a subtle method of communication Slide17
Forms of Montage
Metric: length of shots not determined by factors in the image (musical time signatures)
Rhythmic: Rhythmic, the rhythm of the shots is determined by what is happening visually
Tonal: Determined by the dominant emotional tone of the sequence
Overtonal
: the conflict between different types of the above montage effects
(Overtone: a secondary effect, quality, or meaning)
Requiem for a Dream