pp lect 4 holly move image
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Classic Hollywood
Realism
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Gilles DeleuzeContemporary French Philosopher.
A typological study of cinema:
Movement Image or Action-Image—a form of realism.
fromGilles Deleuze, Cinema 1: The Movement Imageand Cinema 2: The Time Image, published 1990.
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Realism= action-image
• Realism occurs when emotions are seen as behaviours which reflect geographical, historical and social space-times” (Deleuze,
Cinema I. 141).
Dallas=Her behaviour reflects the definite limits given to the prostitute by the social space and time of the “wild-west” (narrative).
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Ford’s choice of location for Westerns:
• Monument Valley
Determinate
• The space-time of realism is a “Determinate, with exact and definite limits” (141), as with
Plymouth Rock country.
• Milieu
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• Milieu= geographical, historical and social space-times
• Synsign= the sign of the milieu
• Richard Maltby.
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• Classical (Hollywood) Cinema is based on principles of “decorum, proportion, formal harmony, respect for tradition, mimesis, self-effacing craftsmanship, and cool control of the perceiver’s response” (richard Maltby, 7).
• the “classical paradigm emphasises dramatic unity, plausible motivations, and coherence of its constituent parts. Each shot is seamlessly elided to the next in an effort to produce a smooth flow of action, and often a sense of inevitability “ (Giannetti, 361).
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• global synthesis: unity of image. For Deleuze, it is brought about by the necessary interaction (or relation) between the milieu and the behaviours of the characters
• Encompasser/Englobing, and that which englobes, (for example, the sky encompasses the rest of the scene in Stagecoach.
• Englobing: a meeting of forces, either between one actant and the milieu, or two actants(characters).
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• “The Milieu and its forces incurve on themselves, that is, they act on the character, throw him a challenge and constitute a situation in which he is caught” (Deleuze: Cinema 1. 141).
• “Encompassed by the sky, the milieu in turn encompasses the collectivity (the group of travellers and the folk of the West). It is as a member of this collectivity and milieu that the hero becomes capable of an action which makes him equal to the milieu” (Deleuze: Cinema 1146).
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• “the action-image always entails an encompassing milieu of forces and the relatedactions/reactions of an individual and individuals” (Ronald Bogue, 86).
• Deleuze also refers to this conflict of forces as a duel of forces.
• Deleuze cites two forms of narrative in which the duel of forces are played out, the Large Form and the Small Form action-image.
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Large form Action Image
• Large form Action Image— SAS (Situation+Action+Situation).
• Binomial: The name given to the sign of a specific Action/duel of forces is binomial.
the binomial exists wherever one force, or both forces, foresee the activity of the other force, as with Ringo’s anticipation of the Plummbers
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Deleuze sights five laws at work in the Large Form action-image.
• Deleuze sights five laws at work in the Large Form action-image.
• First law is the milieu which is a landscape where impinging forces meet.
• Second law involves the duel forces of the binomial sign.
• Third law involves the convergent forces eventually meeting in a single shot
• Fifth law involves a distance (Deleuze refers to a “great gap”) between the englobing milieu/initial situation and the climactic action.
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Small Form Action-Image
• Small Form is A-S-A —(Action+Situation+Action).Where the large form action-image forms a unity of image, an englobing, the small form action image consists of a series of heterogeneous fragments (as with Lost In Translation). The space is constructed piece by piece; each space has its own internal geometric coordinates, its own temporal rhythms, and its own dramatic intensities,’ (Bogue, 90). (Again, consider in terms of Lost in Translation.)
cont….
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In the Large Form Action Image, after the establishing situation in which the protagonist and antagonist face off “the following scenes intensify this conflict in a rising pattern of action. This escalation is treated in terms of cause-effect, with each scene implying a link to the next” (360). Obversely, in the Small-Form action-image, “’each scene, each shot … brings a character or an event to the summit of its autonomy, of its intensive presence’” (Bogue quoting Deleuze, 90).