Celluloid Dreams: The Psychology of Film

Episode 12: Celluloid Dreams Film School Part 8: Comedy & Musical Film Elements

Matt & Mike discuss the elements of comedy and musical films, including tropes used in those types of narratives as well as subversions of those tropes. Topics include the following for comedy: *Standard elements of a comedy include humorous situations typically established by either exaggerating a situation or character qualities depicted in the narrative. *Some character archetypes in comedies include tricksters, lovable losers, the straight man, the man-child, deadpan eccentrics, fish out of water and the everyman. *Common comedy narrative tropes include misunderstandings between characters that cause conflict, a lovable loser that ends up a winner, odd couples with opposite qualities, physical humor, and one-liners. *This episode addresses the romantic comedy and screwball comedy in detail, with other genres to be discussed in the next episode. *Romantic comedy tropes include either enemies to friends or meet cute introduction of characters, opposites attract, a makeover scene, and a final grand gesture to support a love conquers all theme. *Screwball films include many of the same tropes as standard romantic comedies, but typically also include rapid fire dialogue. At times, screwball plotlines explore the remarriage trope as opposed to the initial phase of a relationship that is standard in the modern rom-com. *Notable subversions of the romantic comedy include Annie Hall, (500) Days of Summer, Anora and Jerry Maguire. *Notable subversions of the screwball comedy include Arsenic and Old Lace, Raising Arizona, and War of the Roses. Topics include the following for musicals: *Musicals often use frame stories or fantasy/dream sequences to justify breaking into song within the narrative. *Animated films incorporate many of the same elements as live action musical films, while musical biopics are typically dramas with musical sequences that are explained within the world of the story. *Character archetypes in musicals include the ingenue/dreamer, tortured visionary, cynic, diva, icon, ringmaster and comic sidekick. *Notable musical subversions include The Red Shoes, The Umbrellas of Cherbourg, Dancer in the Dark, Cabaret, All That Jazz, Black Swan, Pink Floyd: The Wall, and musical biopics generally. *Musical song tropes include the Opening Song, I Want Song, Villain Song, Reprise, 11 O'Clock Song, Showstopper, and Grand Finale. Please join us for the second part of the Comedy discussion, in which slapstick, spoofs, mockumentaries, teen comedies, satires, and dark comedy will be explored in our next episode.

Episode 11: Celluloid Dreams Film School Part 7: First Person Mindscape Narratives

Matt & Mike discuss first person story elements that place the audience into the mindscape of either a protagonist or a group of characters within a narrative. Topics include the following: * Indications of a standard first person narrative structure include use of narration and/or point of view shots. * However, in many instances, a third person limited perspective that shows only the environment the protagonist sees throughout a story is the format for conveying a specific character's perspective. * Voiceover can take the form of either a character relaying information directly to the audience through narration or in the form of a flow of consciousness voiceover within the character's mind. * Some films use voiceover by multiple characters to either convey competing views of the characters ("Casino") or a collective consciousness of the characters ('The Thin Red Line"). * Some meta films that address the filmmaking process work as first person narratives by personifying the filmmaker within the film with either minimal voiceover exposition ("8 1/2") or explicit narration detailing the creative process ("Adaptation"). * Some unreliable first person narrative structures, such as "Rashomon," are designed to convey the subjective nature of reality, while others convey the warping of reality by mental illness. * Dream sequences can be used to reveal the inner world of the protagonist visually, or otherwise serve as internal catalysts for actions they take. * Hallucinations can be used in storytelling to either project the warped perspective a character experiences or reveal aspects of a greater reality not normally perceived by the character. * Flashbacks are typically used to convey how a character subjectively experienced events that happened in the past, but also can be used to convey how a listener perceives a version of events conveyed to them by that character. * Flashforwards raise the issue of whether the future is predetermined or if there is free will to change what has been prophesized. * Ultimately, all of these narrative devices enable filmmakers to address subjective reality and emotional truth, which is at the heart of storytelling.

Episode 10: Celluloid Dreams Film School Part 6: Narrative Structure & the Origins of Story

Matt & Mike explore sources of inspiration for films, as well as the various narrative structures through which those storylines are conveyed. Even though plot details may differ between narratives, universal themes are often explored through storylines that long predate the existence of film. Additionally, other sources of inspiration can influence various aspects of a film, including its visual expression of ideas and tone. Examples of sources of inspiration include the following: * Oral storytelling history * Religious and mythological stories * Stage Plays - both classic and modern * Short Stories & Novels - both classic and modern * Graphic Novels & Comic Books * Videogames * Artwork & Music * Radio, newsreels & newspapers * Other Films - both foreign & domestic * The Entertainment Industry itself * Actual Life Events and Non-Fiction materials based upon such events * The Collective Unconscious (assuming Carl Jung is correct) Some examples of Themes explored in film and its source material include the following: * Good vs Evil * Coming of Age * Search for Identity * Death & Rebirth Archetypal characters depicted in films and its source materials include the following: * Hero * Shadow * Mentor * Trickster * Shapeshifter * Herald Narrative structures for storytelling discussed within this video include the following: * Linear - including backward linear * Nonlinear / Fractured * Circular - including repeating time loop, time paradox, and thematic circular structures. * Bookends * Mythical Hero storylines that include a call to adventure Further exploration of narrative structures and devices to be continued over the next few episodes...

Episode 9: Celluloid Dreams Film School Part 5: Cinematography & Rhythms of Performance

In this episode, Matt & Mike revisit filmmaking elements addressed in prior episodes of the film school to discuss the following: * Techniques used when filming the performance of actors. * Editing techniques for dialogue scenes. * Establishing character through action. * How dialogue styles and rhythms either elevate or ground the execution of a film. Primary takeaways are as follows: * Distance, framing and motion of cinematography can be used to balance between establishing geography and highlighting key emotional moments that a filmmaker seeks to accentuate. * The most important aspect of editing character interaction is to capture the emotion of a scene, with other key aspects being maintaining essential elements of the plot and not disorienting the audience with a bad cut. * Elevated dialogue creates a more poetic version of reality, while naturalistic dialogue grounds a film in a less stylized manner to resemble the real world. * Voiceover narration can at times be straightforward to bring to light additional plot details or provide insight into a character's inner world. However, narration can also be unreliable to make the audience believe something other than what actually transpired in the story.

Episode 8: Celluloid Dreams Films School Part 4: The Psychology of Mise-en-Scene & Performance

Matt & Mike return to discuss the elements that "set the stage" for performance, which make up the Mise-en-Scene of the film. Aspects which comprise Mise-en-Scene include the following: 1) Locations - whether it be a soundstage or a natural location. 2) Costumes - past, present, or future all require authenticity. 3) Props - what are the props that either make the film feel lived in or define character. 4) Makeup - especially that which fully transforms the actor into the character he or she assumes. 5) Visual effects - to either enhance the setting or character transformation, including motion capture. Once the setting is established for the actor, the primary aspect required to bring the scene to life is performance. A few aspects regarding performance explored in the episode include the following: 1) Casting - whether to typecast or cast against type. 2) Exterior vs interior acting - stagecraft to play to the back row in comparison to the Method taught by Lee Strasberg or the Adler technique attributed to Stella Adler. 3) Non-professional actors - under certain circumstances, is it better for a person to simply be who they are before the camera? 4) What is the future for AI characters in film?