the classical Hollywood style

the classical Hollywood style
I thought it would be a novelty to have a face around here a man could look at without
shuddering. !
~ Walter, His Girl Friday (1940)
the classical Hollywood style
!  The classical Hollywood cinema has become the dominant style
of filmmaking in America.
Fritz Lang’s classic, M (1931)
Deuce Bigalow: Male Gigolo (1999) as classical
!  The classical Hollywood cinema does not refer to well-established
and admired films that have endured the test of time within the
medium of cinema (classic films).
!  The classical Hollywood is characterized by a set of norms, with
most Hollywood films exhibiting an “unstable equilibrium” of
these norms.
the classical Hollywood style
!  Bordwell, Thompson, and Staiger argue that the classical
Hollywood style is distinguished at three general levels: devices,
systems, and the relations of systems.
Establishing shot and shot/reverse shot patterning in His Girl Friday (1940)
!  Devices are isolated technical elements. Classical Hollywood uses
a number of formal techniques to situate the spectator within the
narrative (three-point lighting, continuity editing, framing,
musical scores, etc.).
the classical Hollywood style
!  Bordwell, Thompson, and Staiger argue that the classical
Hollywood style is distinguished at three general levels: devices,
systems, and the relations of systems.
Low-angle shot confers power on the agents in The Matrix (1999)
!  Systems consist of the functions that individual devices perform,
and their relations amongst each other.
!  Hollywood films can generally be considered to have three basic
systems: narrative logic (causality), cinematic time, and cinematic
space.
the classical Hollywood style
!  Bordwell, Thompson, and Staiger argue that the classical
Hollywood style is distinguished at three general levels: devices,
systems, and the relations of systems.
Narrative action is clearly articulated in Pee Wee’s Big Adventure (1985)
!  The relations of systems refers to the relationships between
narrative logic, cinematic time, and cinematic space.
!  In the classical style, spatial and temporal systems remain
subordinate to the narrative logic.
the classical Hollywood style
!  When analyzing classical Hollywood films according to Bordwell,
Thompson, and Staiger’s model, a number of basic components can be
observed:
Thornhill in North By Northwest (1959)
Mickey Ward in The Fighter (2010)
!  The exposition introduces the spectator to two key components of
the story: the principle characters, and the environment or space they
inhabit.
!  The goal oriented protagonist is the central character in a film. He
offers the spectator a focused point of identification, and streamlines
the narrative action.
the classical Hollywood style
!  When analyzing classical Hollywood films according to Bordwell,
Thompson, and Staiger’s model, a number of basic components can be
observed:
Memphis is motivated to save Kip and get back together with Sway in Gone in Sixty Seconds (2000)
!  The primary action is psychologically motivated and driven by a
character’s desire to achieve a goal.
!  This leads to a question that forms the central enigma of the film.
Classical narratives rely on a series of delays, which forestall the
solution of the central enigma (antagonists).
the classical Hollywood style
!  When analyzing classical Hollywood films according to Bordwell,
Thompson, and Staiger’s model, a number of basic components can be
observed:
Marty’s mission to reconnect his parents, and foreshadowing Doc’s demise in Back to the Future (1985)
!  Every narrative contains a series of cause and effect events that
occur over the course of the film.
!  The agents of cause and effect are characters, and events do not
occur randomly in classical films.
the classical Hollywood style
!  When analyzing classical Hollywood films according to Bordwell,
Thompson, and Staiger’s model, a number of basic components can be
observed:
Indy defeats the Nazis and collects his rewards in Raiders of the Lost Ark (1984)
!  The climax is the most concentrated moment of the narrative.
During the climax, the film’s central enigma will be solved.
!  The resolution or denouement takes care of any loose ends that the
narrative may have left open, giving the film a strong sense of
closure.
the classical Hollywood style
!  As film watchers, we’ve become conditioned to expect a certain
type of film (CHC as dominant ideology).
1) White, male, heterosexual hero (patriarchal order).
2) He must prove his masculinity against an antagonist (gender
roles).
3) Hero typically wins the affection of a woman (heterosexuality).
4) Hero embarks on a mission, succeeds, and with that comes
power, monetary spoils, etc. (capitalism).
Adrian as Rocky’s prize in Rocky (1976)
David and Susan in Bringing Up Baby (1938)
the classical Hollywood style
The Maltese Falcon
Directed by
John Huston
Written by
John Huston &
Dashiell Hammett
Warner Bros.
(1941) 100 mins.