The course is kind of like a montage--a clash and remixing of common elements. We will be reading by remixing films and sounds. Many youtubers do just that. We can hope they learn more about film. You will learn by doing. You will make trailers and short film essays. I will give you quizzes. We will make attempts at classification, but I suspect they will work best when they fail. There is a glossary of film terms. Is there also a poetics of film with distinctions made increasingly refined, so refined that that classifications are made for possibly singular, unrepeatable shots? Would you be able to tell such a poetics apart from an index always under development?

On Tuesdays, we will discuss the entire film. On Thursdays we will compare the film and the trailer.

On Mondays, discussion questions and shot analyses on the entire film are due by 5:00. On Thursdays, I will give a QUIZ at the beginning of class. I'LL SHOW YOU SHOTS FROM THE FILM AND POSSIBLY ALSO IN THE FILM TRAILER AND ASK YOU TO IDENTIFY THEM FROM MEMORY. Quizzes may not be made up if you miss them. The quizzes will be very short.

Discussion Questions are always due Mondays by 5:00 p.m. I will give quizzes at the beginning of class on Thursdays.

When you are co-leading discussion, put your notes on a google doc and me the link to me at [email protected] . Please also put the link to your google doc on Canvas . Give me permission to edit your google doc so I can comment on it. Do not delete your notes. Please put the links to your google doc co-leading notes on Canvas

Please email all notes and papers for the course to me at [email protected]. I designed this course myself and am looking forward to teaching it this semester. If you have a question or a problem, please contact me in class or at [email protected].

No cell phones, ipads, or laptops in use during class. I expect your full attention during class discussion for the entire class period.

TENTATIVE SCHEDULE (Please expect adjustments to be made in the schedule from time to time. All changes will be announced both in class and on the class email listserv.)

January: 15 Quiz in class: Welles and the short take. How much can you see or hear?

Compare the editing of the opening funeral sequence (00:24-2:00 of footage) of Filming Othello to the editing of the funeral sequence in the 1952 and 1955 versions ( both versions--streamin--are linked above to the Criterion Channel, by monthly subscription of $10.99).

Compare the the opening and ending funeral and title sequences in the 1952 and 1955 versions of Othello. The opening funeral sequence is four minutes and nine seconds.

Where and how do the title sequences differ? How does the music at the end of the funeral sequences differ?

Funeral Sequence music begins early, so first shot of the film begins late (0:24-2:00) and the music ends early from 2:00- 2:07 on "This is a Movieola."

I had been happy if the general camp,
Pioners and all, had tasted her sweet body,
So I had nothing known. O, now, forever
Farewell the tranquil mind! Farewell content!
Farewell the plumèd troops and the big wars
That makes ambition virtue! O, farewell!
Farewell the neighing steed and the shrill trump,
The spirit-stirring drum, th’ ear-piercing fife,
The royal banner, and all quality,
Pride, pomp, and circumstance of glorious war!
And O you mortal engines, whose rude throats
Th’ immortal Jove’s dread clamors counterfeit,
Farewell! Othello’s occupation’s gone!

Sign Up to Co-Lead Class two times STARTING JANUARY 27. If you do not sign up by January 20, I will assign you dates to co-lead.

Do not partner with the same person twice. Once you have a partner to co-lead class discussion, the two of you will create a google doc for your notes and share it with me by 5:00 p.m. the day before you are co-leading so I can add my thoughts. Make sure you give me permission to edit the google document. When you co-lead, you do not have to turn in DQs and three shots.

Are all the numerous blurbs in trailer #1 meant satirically? Do they describe the film accurately? Or misrepresent it?

January: 22 Watch the art film romcom Fallen Leaves (dir. Aki Kaurasmaki, 2023) AGAIN, FOR THE SECOND TIME, AND THIS TIME PAY ATTENTION TO THE SOUNDTRACK and to Sound Editing].

The couple see The Dead Don't Die (dir. Jim Jarmuch, 2019) at the Ritz theater on their first date in Fallen Leaves.

Jean-Luc Godard's film Contempt (1964) starring Brigitte Bardot to the right of the woman; The Dead Don't Die, osbcured by the man, Brief Encounter (dir. David Lean, 1945) behind the woman; and film poster with the Tyrannosarus Rex is for The Lost Continent (dir. Sam Newfield, 1951).

Jean de Florette's soundtrack theme is a rearrangement of the overture to Giuseppe Verdi's opera, La Forza del Destino. The

February: 3 VINYL (LPs) Records: Sound editing / Film editing / Phantoms of the Orchestra

Watching the film by watching the trailer as its take parts of the film and reassemble them.

February: 5 Watch one of the trailers or the teaser again and answer this question: how many shots are in the trailer?

Due February 15 by 11:59 p.m. Please write your assignment on a google doc and post the link to it on canvas.

Two images with six shots from the shower scene. Whih one is better? Which six would you select?

Chapter 10: "On a sequence from The Birds: Sound as Palimpsestic Art," in Michel Chion, Film, A Sound Art, pp. 162-71

In class experiment derived from an experiment thought up by Michel Chion. You DON'T need to click on any of the links now. I will explain how the experiment works in class.

I suggest that there is a sound equivalent of the Kuleshov effect: I call it the Kulesonic effect, meaning that the meaning of the soundtrack music will change the meaning of a sequence if the sountrack is replaced with a random selection.

False: There is a "unique and necessary relationship" between the director and the soundtrck composer, Michel Chion on The Double Life, pp. 211-17

A shot by shot analysis of a film trailer or teaser from a film we have seen in this class. This the model:

Please write the assignment on a google doc. Post it on canvas and email the link to your google doc on canvas under Paper 1. Please give me permission to edit.

SIGN UP FOR LIVE GRADING in 4314 Turlington. We will meet at my office in person to discuss your assignment. I will send out an email with a link to a google with a schedule of times we can meet. You'll just need to sign up.

February: 17 Juke Box Musicals: Cinemascope, Trash Cinema, Jayne Mansfield, and Rock 'n Roll

Michel Chion, Music in Cinema (2021) Reading with the Index. Find the word in the index and then all the pages listed under that word. Page numbers beloware to the Index

Leitmotifs, p. 372; opera films, pp. 164-69; classical music, Richard Wagner as film composer? pp. 284--96; filming music, pp. 298-309.

3. Lars von Trier, Melancholia (2011) trailer ("Prelude" to Act I from Richard Wagner's Tristan und Isolde at the beginning and

March: 10 Audiophilia and Vinyl --the songs in the film did not exist at the time in which the film is set.

Barbara Lewis's "Baby, I'm Yours" (1965) begins to play as The Commodore's "Easy" (1977) finishes when Baby drives up to the restaurant where Deborah works and sees her for the second time. The song begins as extra-diegetic, back in the junkyard after Baby's flashback of his father abusing his mother, a musician and singer, and his parent's mortal car accident. Just as Baby goes inside, the song lowers in volume a d apparently ends at the first word, "Baby." But if song surprisingly continues, now barely audible. Is it now turning diegetic? To hear the lyrics, you have to ignore the dialogue. Perhaps because Baby has only one air bud in one ear, we are meant to think we can barely hear is what Baby is hearing with his ipod. And we may also hear the song as a version of stereo, one channel as serving the extradiegetic theme song for the true romance the two characters are just beginning as they talk. He's her "Baby." And maybe the lyrics make her a subsitute for the mother he lost at such a young age and who he knows loved him. Sidenote: This is no longer film criticism? Does it mattter who's driving? Is Baby such a incredibly good getaway driver because he mother was driving the car when the car crashed? Is he such a good sound mixer because his mother was a singer and acoustic guitarist? The audiocasette he takes out of suitcase full of is labeled "Mom." We never hear it.

REQUIRED VIEWING: Watch the film with the alloy soundtrack and again with the Nyman Soundtrack. Write one DQ on each and focus on the soundtracks.

March: 31 (1980s) Pop Songs as Curated Soundtrack; Film as Art Film or as Cult Film

"As Tsai Ming-Liang mentions in his 36-minute interview on (the Second Run) Blu-ray disc, the sound mixing was very key to the mood of "Goodbye, Dragon Inn". And Du Tuu-Chih accomplishes the Herculean task of combining the film's haunting and echoing sounds alongside the sounds of 1967's "Dragon Inn". The closing song "Affection" was written by Hattori Ryoichi (he wrote songs for many Hong Kong movies in the 60s). "Metrograph Pictures add optional English subtitle translations on this Region 'A'-locked Blu-ray."

March: 31 Working class office thriller as the vehicle for audio effects (hearing aids) and lip reading.

The Four Scenes are divided by one to five words: "Arrow"; The Killing of the Guardian"; "Treason"; Burning Castle"

Note how the music works in scenes two, three, and four. Scene four ends with diegetic sound.

"the basic premise of the Kuleshov effect is that cinematic
meaning is a function of the edited sequence rather than of the individual shot.
Content or visual meaning is not contained within a given shot but in the
arrangement of shots within a sequence (although, as we will see, this is not a
sufficient principle of filmic communication). As Kuleshov wrote, "The content
of the shots in itself is not so important as is the joining of two shots of different
content and the method of their connection and their alteration."5 Indeed, so
important was his initial commitment to montage-to uncovering the rules and
principles of shot linkage-that he even wrote that "for a period of time content
will virtually cease to exist for us.

Eichenbaum's understanding of the relation of the shot and the montage sequence illustrates how a semiotic conception of aesthetic communi cation marked the Formalist understanding of cinema (as it did that of literature) and how the montage aesthetic, in fact, has one of its roots in the Formalist project to uncover the laws of a given artistic medium. Eichenbaum noted the supremely communicative power of montage over the shot, and he buttressed this claim with a reference to "well-known" examples of film editing that demonstrated this principle. Perhaps one of those was the Mozhukin experiment. For Eichenbaum, "in cinema we have the semantics of the shots and the semantics of montage. Taken in isolation, the semantics of a shot as such rarely stands out; however, certain details in the composition of shots (those details linked to photogenic properties) sometimes can have independent semantic significance. But, of course, the basic semantic role belongs to montage, since it is precisely montage which colors the shots with definite semantic nuances in addition to their general sense. There are well-known examples of film editing where the very same shots, placed in a new 'montage context,' take on completely new meaning."'3 In keeping with this emphasis, Kuleshov noted that the shot was a cinematic sign, analogous within a sequence to a letter or word within a sentence. As Kuleshov says, "The film shot is not a still photograph. The shot is a sign, a letter for montage.""4 As did Eisenstein in his work, Kuleshov seemed to understand cinematic structure as a kind of language. Shots, he noted, might be understood as a series of conventionalized meanings, like Chinese ideograms, which could be combined to produce concepts: "The montage of shots is the construction of whole phrases."'5 The film director assembled shots as a speaker "constructs a whole word or phrase from separate scattered blocks of letters."'" The analogy with language was crucial for Kuleshov's project because it justified cinema as an orderly semiotic system possessing a kind of grammar that might be systematically investigated. Understood within this conceptual framework, the Kuleshov experiments seemed to demonstrate how, as in language, semantic meaning flowed from syntactic relations, i.e., how the meaning of a film sequence was a product of its cutting.

Hitchcock, for example, cited his debt to Kuleshov in connection with the cutting of Rear Window. After describing the Mozhukin experiment (and adding yet another variation-for Hitchcock, one of the shots was of a dead baby), Hitchcock likened the close-ups of James Stewart looking out his window with the images of Mozhukin in the experiment: "In the same way, let's take a close-up of Stewart looking out of the window at a little dog that's being lowered in a basket. Back to Stewart, who has a kindly smile. But if in the place of the little dog you show a half-naked girl exercising in front of her open window, and you go back to a smiling Stewart again, this time he's seen as a dirty old man."33 Hitchcock's account of what happens in Rear Window is actually somewhat disingenuous. As anyone knows who has seen the film, Stewart's expression in the shots showing him peeping out of his apartment does not remain the same. While spying on the newlyweds, for example, he reacts by salaciously rolling his eyes and turning away. At other times, he smiles at Miss Lonelyhearts, but not at Thorwald and his wife. Far from conducting a Mozhukin experiment of his own, Hitchcock subtly manipulates our responses not just through his editing but by carefully shaping the material within the shots. K"

The Kuleshov Effect: Recreating the Classic Experiment Author(s): Stephen Prince and Wayne E. Hensley Source: Cinema Journal , Winter, 1992, Vol. 31, No. 2 (Winter, 1992), pp. 59-75

Peeping Tom (dir. Powell and Pressburger, father's silent b&w films taken of the murderer when he was a child.)

Blue Velvet (dir. David Lynch 1989), lip synching scene of Roy Orbison's "The Sandman"

The Game (dir. David Fincher, 1997) (silent color film of main character's childhood birthday party with montage-like continuously playing extradiegetic piano music)

The opening sequence of Orson Welles's Othello (compare the openings and endings of the 1952 and 1955 cuts)

Compare the the opening and ending funeral and title sequences in the 1952 and 1955 versions of Othello. The opening funeral sequence is four minutes and nine seconds.

Where and how do the title sequences differ? How does the music at the end of the funeral sequences differ?

In Filming Othello, the footage from funeral sequence is only one minute and thirty-six seconds. (In the films, it is four minutes and twenty-one seconds long.) The music begins before the sequence, player over a soft-focus close up shot of a print playing, presumably Othello. The first shot of the funeral begins four seconds after the music begins (0:24). Similarly, the music continues after the last shot from the prologue ends 1:57:00 and the film cuts back to the first shot of the film print turning until Welles says off-screen, "This is a Movieola" (02:07).

1952 version [0:20-4:29] Spoken title sequence follows "The Tragedy of Othello" 0:04:30

The abbreviated funeral sequence in the 1952 returns at the end [1:32:33-1:33:28]

1955 version [0:20-4:23] It is six seconds shorter than the 1952 version. The title card appears in place of Welles' narration (0:04:29). A few beats of the opening bars of the opening music replayed in the last shot (in black) and the clanging bell are shaved off the 1952 version.

An even more abbreviated funeral sequence returns at the end [1:29:07--1:29:52] just after the music begins in an overhead shot of Othello and Desdemona lying dead on their wedding bed and the bell clangs at the end of a low angle shot of Cassio closing the cistern lid. (The music is edited slightly differently.)

Both versions include "The End," but the end titles sequence begins after the funeral procession ends.

The shot of Iago in his cage at 1:40 in F.O. does not return. In 1955, the same shot at 0:3:05 is echoed by a much tighter close up Iago at 0:03:03:07. Welles shortens or eliminates the shots from both versions of the funeral sequence.

The film title and music from the 1955 version do not appear in F.O. until 03:35. He replaces the film's narration with a new voice-over narration. The title and the film footage are separated by a very brief shot of the movieola stopping over frames of Welles (03:03) as appears during the discussion with Michael MacLiammor and Hilton later in the film. And Welles' voice-over narration bears no relation to the footage he has edited. He is not giving us an audiocommentary, although his anecdote about hte Turkish bath is recounted in the Criterion laserdisc audiocommentary.

Fallen Leaves (dir. Aki Kaurasmaki, 2023

Kaurasmaki links the disappointment felt by the would-be couple through live music played at the bar by a two woman band (synthesizer and electric guitar). Their sad pop song is framed by similar shots of Ansa and Holappa: a stationary shot of Ansa (Alma Pöysti) sleeping in her bed with her newly adopted dog (58:42-49) precedes the bar scene and a similar stationary shot of Holappa (Jussi Vatanen) follows it, the difference being that he is unable to fall asleep in his bed and is turned toward the camera. He gets up to dump two bottles of vodka, and then goes back to bed, now turned away from the camera. At the end of the shot of Ansa sleeping (her dog "Chaplin" is awake), 58:42-58:48, synth music plays a melody and then the guitar joins. Cut to a shot of the band just when the woman synth player begins to sing the first verse (58:59). The sound has a diegetic source: a two women band are playing a pop song. The intrumental synth opening returns, now in the bar, at 1:01: 29. we cut to the street outside the bar, at 1:01:29-32. The band music continues but is now muffled. At 1:01:34, Holappa exits the bar onto the street and walks to his right and then turns again to his right and looks straight ahead, listening attentively. The object of his attention is outside the frame. At 1:01:45, the diegetic source is revealed: the band is playing the instrumental chorus. We see light reflecting on the window. At 1:01:50, cut to a reaction shot close up of Holappa. (You just just hear the noise of the street tram). The shot continues until the instrumental chorus ends (1:02:01). For Ansa, the music is extradiegetic. For Holappa, the music is diegetic. But the editing puts Anna and Holappa in similar positions at the before and after the band music. She has refused to date a drunk and found a pet. She can sleep. Shots of Holappa in the bar show him deciding not to drink. A close up of Holappa after he returns to his apartment still awake and unhappy. Muffled music can still be heard. "Forever can be silenced" plays over a radio and Holappa turns it off. Fade to black at 1:03:46. It's hard to know how seriously we are supposed to take the pop music. The lyrics are sad, but perhaps a little too much so. https://www.youtube.com/watch?v=Ulrss-bwRVk&list=RDUlrss-bwRVk&start_radio=1 But the band's image is close to self-parody. One woman wears dark glasses and both wear bathrobes. The performance may be a bit amusing. The earlier karaoke version of Franz Schubert's posthumously published Serenade "Ständchen" (from Swan Song "Schwanengesang") D.957 (listen also to Schubert's "Leid" Herbst (Autumn), D. 945 (1828) suggests that high and low music are not that far apart emotionally in this film. Though not played by a real tenor accompanied by a real pianist, the song remains moving as it plays over shot reverse shots of Ansa and Holappa furtively or shyly glance at each other. Turns out Schubert too wrote pop music, as Jonas Kaufman suggests in his book on Die Winterreisse. At 1:03:57, after the close up of Holappa, four successive, stationary Autumn landscape shots by day are held together appear as if accompaniments for extra-diegetic music excerpted from Tchaikovsky's famous Symphony No. 6 Pathétique. Go to 16:32. These four shots too are followed by a fade to black, as if making up their own relatively autonomous sequence from the narrative, a set piece. Again, the tone is hard to tell. The movement has been used so often it may sound cliched here.

The Schubert and Tschaikovsky pieces are central. The latter plays when Anas finds Hapolla passed out by the tram / train, station car and gets on it looking at him as the tram leaves him behind. 28:26 It also plays again after the couple come out of the Ritz cinema and stand in front of movie posters --when Anes gives Halaoppa her phone number ad he drops the paper. 3414 And it plays in the montage near the end of the film. 1:03:56

TENTATIVE SCHEDULE (Please expect adjustments to be made in the schedule from time to time.)

(ASSIGNMENT: Pick a film and create a webpage for it that is so good it is a fake.

Warner Bros. DVD Trailer

Warner Bros. Classics 1996 Promo

Learning by comparison and evaluation: Crane shots. Compare the second establishing shot in Letters to Juliet (dir. Gary, 2010) to the first establishing shot in La Plaisir (Max Ophuls, 1948) (It turns out to be a brothel and the camera does not enter the building.)

Blow Up, l'actualité du cinéma (ou presque) - ARTE

Teddybears - Punkrocker from 'Superman'

https://www.youtube.com/watch?v=4lYIhKhgIuY

Iggy Pop / Teddybears

Punkrocker Guitar Lesson / Guitar Tabs / Chords / Cover - Superman 2025 https://www.youtube.com/watch?v=JR7oiW32_8w

The 39 Steps (dir. Alfred Hitchcock, 1935) the cut from the maid's open mouthed silent scream to a train whistle (20:26-20:30)

Tron Ares (2025) double trailer

COMPANION Trailer (2025) Jack Quaid

APM 2 09 40--2:11:00; see also 1 39 36 / 1 48 40 1 54 50

Richard Brody on Terence Davies's “The House of Mirth” (2000).

Released on 10/05/2011

Clip in the New Yorker

Here is the word doc with the FILM EDITING EXERCISE TEMPLATE

TRAILER Assignment

TÁR Official Trailer [HD] (2:30)

Five second intro with voice over of Blanchett, just one sentence, but gripping.

"Watch the trailer now" 00:05, before the logo(s) followed by the studio logo(s) and the title and shot of Kate Blanchete

Film Title appears (twice, early and late)

Logo (one--Focus Features) 00:06

Reviews or blurbs or awards ( three: 00:15; 00:27; 00:34)

Music

00:15; 00:27; 00:34; 00:49; 1:08 Same bass note on a piano--timed with cuts to shots of awards and to shots in the trailer

1:20 silence, black out. A higher pitched note played softly on a piano at 1:37

Star's or Stars' Names (one)

Director's name 2:10

Release Date (one, final shot)

Duration of shots (between 1.5 to 4 seconds, with a new notable exceptions like the last long take of the trailer)

Music: Repeated bass note from piano 00:02; 00:06; 00:5; 00:26; 00:33; 46; synth music, one high pitched note plays between the bass notes; metronome seized and stopped by Tar at 00:04 (one second shot and so barely visible--out of context) and 2:15-16 (two seconds) followed by fade to black and a click, then silence; some kind of bong at title 2:23 and the sound carries over the release date to the end of the trailer. See "A Pure Person" music video.

Millennium Mambo - "A Pure Person" [HD]

Trailer formula: Four shots, the fourth black. Film Logo (Fous Features) at fifth shot (00:07). Shots of the star; one bass note played during the awards shots and repeated; voice-over narration telling the story of the main character (taken from the interview scene in the film) Sixth shot is a fade in of the film title Tar.

Three bass notes timed ro shots with awards the film with alternating shots from the film with shots not in the film (of awards 00:15; 00:26; 00:33. Voice-over narration stops at 00:46. A new story begins about Tar being very worried, having success but also in some some kind of emotional crisis about forces that threaten future success?; other characters talk bout her: "We have a problem."

Studio Logo: Moment for branding. Like A24 films.

Star's names appears at 02:05

Film title at: 2:25

Release date: 2:27

Music: When, What, and where it appears

Plot: A male voice-over introduces us to the main character. The film's title is her last name (five seconds) . Famous conductor gets appointed to a famous symphony; appears to have a mental crisis or is possibly haunted--possibly a victim--loud scream of a woman off-screen. Suspense created by the repetition of the same LOUD bass note played exactly the same way each time we hear it; frequency, speed of the shots; repetition of the same shot; number of shots. One shot before the title. Rapid succession of shots you can barely see before that. Voice-over comments about her detiorating mental condition; a long shot woman carrying a cello in a case over her shoulder and running down a concert hall stair case as fast as she can. It appears at the end that she is troubled--seizing the metronome (repetition of the same shot)--but will probably pull through. Ends with a single shot, a very long take. The star walks toward a retreating dolly while she is mainly in the center of the frame as if she is about to go on stage; Tar commands the screen in this shot; she has a determined, unchanging facial expression. Mysterious: random shot of a dog? The genre of Tar is not entirely settled: fictional feminist biopic of a famous conductor triumphing over adversity? Horror story (supernatural)? Who is the Asian guy reflected in water? Mystery? Is Tar really hearing something? Is that her child in the car? What is up with metronome (BPM)?

Sound Design: How is sound used in the trailer? Diegetic versus extra-diegetic sound. Juke box music (already composed before the film) was made.

Movie Trailers Have Gotten Worse. Why Aren’t Studios Having Fun With Them? 2024

Even the New York Times reviews movie trailers:

Bruce Fretts, "New Trailer: ‘Red Sparrow,’ With Jennifer Lawrence," NY Times Jan. 8, 2018

Which Red Sparrow trailer is better and why?

1. Final Trailer RED SPARROW Official Trailer (2018) Jennifer Lawrence Movie HD

2. Red Sparrow | Official Trailer [HD] | 20th Century FOX

3. Trailer of rapid shots before the film title and trailer 1 begins

"What is 'good'?" I think one of the two trailers is clearly superior to the other. In this case, I would expect consensus rather than disagreement.

New Trailer: ‘Don’t Worry, He Won’t Get Far on Foot’ Jan. 16, 2018

New Trailer: ‘Downsizing’

Studio Pulls ‘Megalopolis’ Trailer Featuring Fake Review Quotes To promote Francis Ford Coppola’s epic, the spot used supposed lines from The Times, The New Yorker and others to suggest critics were wrong about him.

What Can Hollywood Learn From New Media? A new production company wants to make as many video podcasts and newsletters as films and television shows. 2025

What is "good"? Seven Samurai versus The Avengers timestamp 4:11-6:11

1.66:1 Aspect Ratio | What is it?

Film Stock and Aspect Ratio: Paris, Texas silent home movie in Super 8 with academy ratio (when all five family members were together, the son then an infant) intercut in 35mm on European widescreen with characters watching it (the father having recently returned to see his young son, with he exchanging expressions a few times) as continuous extradiegetic soundtrack music by Ry Cooder plays and the 8mm film projector is heard.

The Grand Budapest Hotel (2014)

While many of Wes Anderson’s films have a timeless feel, his sojourn at The Grand Budapest Hotel marks his first confirmed period piece. As a consummate formalist, it’s perhaps to be expected that Anderson delineates the three distinct eras with the size of cinematic screen aspect ratio most prevalent in those epochs: 1.85:1 for the ‘modern’ setting; 2.35:1 for the 1960s widescreen era (and incidentally the image size in which Anderson has shot most of his features); and, for the bulk of his tale, set in 1932, 1.37:1.

BORDER RADIO ... * ( Original Soundtrack, Dave Alvin

https://richardburtphd.com/indextrailerredsparrow.html

Michel Chion music in film has never been codified.We can take up his idea Experiment with using different music for the same scene--from the double life of Michel Chion, Music in Cinema. So there is no gold standard.

Raymound Bellour, The Analysis of Film (1979) Hitchcock: The Murderous Gaze (Harvard Film Studies) 1982

Suddenly Something Clicked: The Languages of Film Editing and Sound Design 2025

by Walter Murch (Author)

In the Blink of an Eye: A Perspective on Film Editing, 2001

by Walter Murch (Author), Francis Ford Coppola (Foreword)

https://monoskop.org/images/3/36/Film_as_Film_Formal_Experiment_in_Film_1910-1975.pdf

https://archive.org/details/filmsofcarltheod0000bord

https://dn790002.ca.archive.org/0/items/Three_Philosophical_Filmmakers_Hitchcock_Welles_Renoir/Three_Philosophical_Filmmakers_Hitchcock_Welles_Renoir.pdf

Audiotape

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Allan Arkush on DEMONLOVER

Trailers From Hell

CNN Goes Inside the Internet Archive

CNN reporter Hadas Gold takes viewers inside the Internet Archive to get a behind-the-scenes look at our 1 trillion milestone & celebration. Guided by Brewster Kahle, digital librarian, and Mark Graham, director of the Wayback Machine, Gold explores how the Internet Archive is adapting to an AI-driven world while working to fortify collections against political, legal, and physical threats. This segment was broadcast on Sunday, November 16, 2025. Watch now.

WHY THE AUTHOR DOES NOT MATTER: What matters is the writing on the page, what the author wrote intentionally or not:

"Wharton Letter Reopens a Mystery"

https://www.nytimes.com/2007/11/21/books/21wharton.html

https://www.wsj.com/arts-culture/film/at-the-san-francisco-silent-film-festival-movies-as-theyre-meant-to-be-seen-8c169d29?mod=WTRN_pos7

Live GRADING in 4314 Turlington

War of the Worlds
Genre: Action/Drama/Science-Fiction
Directed by: Steven Spielberg
Written by: Josh Friedman, David Koepp, H.G. Wells (Novel)
Starring: Tom Cruise, Dakota Fanning, Justin Chatwin, Tim Robbins, Miranda Otto
Release Date: June 29, 2005
Trailer of War of the Worlds Description: Male voice-over narration; builds to one long, reverse establishing shot with people looking at the explosions in the night sky, just as we are, then cranes up, then explosion of the people and of the entire screen. Fade to black. We get Spielberg's name in silver letters, then the title in rotating silver letters. "Of the" are the last shots, followed by more titles, film director, star, etc.

Deregulated Capitalism looks like this: Risky Business (1983) Opening titles with trains and part of the R-rated borderline porn sex on a train scene. The entire sex scene with anonymously added voice-over (the voice-over is not in the film).

Gemma Solana, Uncredited: Graphic Design & Opening Titles in Movies

Detour (1945) opening title sequence

Detour - 4k Restoration Trailer (1945)

Recommended:

Sound Mixing and Sound Editing Trailers lifting soundtracks from other films.

Silent Film Soundtracks and Other Resources

The Art of the Title (Sequence)

Venom (2018) title sequence multi-split screen montage

Homecoming (Netflix 2018) Season One, Episode 10 timestamp 24:23 multi-split-screen montage

Ramones censored and rearranged in SPIDER-MAN: FAR FROM HOME - Official Teaser Trailer

studio logo 00:24

Ramones

Dissecting a Trailer: The Parts of the Film That Make the Cut

PICNIC (Eureka Classics) New & Exclusive Trailer

http://www.classicalnotes.net/griffith/part6.html

https://researchdiscovery.drexel.edu/esploro/outputs/journalArticle/The-Meaning-of-the-Close-Up-Griffith/991020836508004721

https://moviessilently.com/2014/11/30/the-phantom-of-the-opera-1925-a-silent-film-review/

Music editors

Directors working with editors

Girl with the dragon tatoo

David Lynch, Angelo Badalamenti, and Twin Peaks

Is the soundtrack co-odrninated with the editing, with themes for characters or events, like a Richard Wagner opera (Leitmotif). See Jerry Goldsmith's score for CHINATOWN as an example; see also the music in Jean-Luc Godard's Contempt composed by Georges Delarue. Or see Hiroshima, Mon Amour

So one has to look empircally at films on a case by case basis. We can talk about the way the music works against the film--Hiroshima Mon, Amour.

Penderecki: Threnody for the Victims of Hiroshima

Hiroshima, Mon Amour

Michel Chion: The Voice in Cinema, or the Acousmêtre and Me (Liquid Architecture)

Man with the Movie Camera editor clip

"Please clap"

Pendreki "Threnody for the Victims of Hiroshima"

“It's not what a movie is about, it's how it is about it.”
― Roger Ebert

FILMS

We will watch film in a variety of ways

a. We will often watch the entire film.

b.But sometimes we will just watch parts of films:

c. famous scenes from films;

d. famous shots;

e. main and end title sequences

f. Films in Films

g. Physical media versus streaming

i. Openings and Endings

j. Sometime we will focus only on the film trailer and considering the film only in relation to its reassembly.

Paratexts as montages: previews Warner Brothers DVD

Sizzle reels

All About Sizzle Reels

Cohen Media Channel Sizzle reels 2015 / 2016 / 2019 / 2021 / 2022 / 2024

Cohen Media Group (coming soon)

@CohenMediaGroup

The Lost Print The Making of Orson Welles' The Magnificent Ambersons - Sizzle (3:58)

EDITING

(Vertov; Eisenstein montage ; continuity editing; (Madame de ; the cut)

Music and Sound Design

35mm films with home 8mm films and extragiegtic sound (like a montage)

Trailers are not Hollywood montages

The montages / the long take

MUSIC

We willl look at the kinds music that has been used in film since the 1930 up to the present.

We will also listen to how music and sound are in trailers and other paratext like title sequences.

We will look at films that have analog audio recordings in them or silent film in the film sequences in them.

We will look at entire films but often we will focus only on one or two scenes in a film.

Sometimes we will listen just to the soundtrack, not watch the film.

Sometimes same scenes with more than one soundtrack offered on physical media.

The soundtrack made for audiopiles and cinephiles, like a recommended list of films quietly referenced in the film left there for you to recognize or not.

Playing the same clip over three times replacing the original soundtrck with three differnt pieces of music chosen more or less at random. Is it possible that any soundtrack can work?

Two concepts: The (Letmotif) Richard Wagner) and Lieder (Robert Schmann--the pop song). And the opera aria

Resources: Classical music symphines of piano pieces, like The Moonlight Sonata, Beethoven's six (pastoral); opera arias and overtures

Simetimes we will consider the role music plays in the editing of famous scenes like the shower scene in Psycho; main title and end title sequences; teasers and trailers; films about cinephile

We will listen to classical music, film scores; juke-box films; hit singles (often used in trailers and main title sequences, and overtures in Vertigo)

Some films are all music. Many have English subtitles

"She's the girl" scenes in Mullholland Drive

New Trailer: ‘Don’t Worry, He Won’t Get Far on Foot’ Jan. 16, 2018

New Trailer: ‘Downsizing’

What Can Hollywood Learn From New Media? A new production company wants to make as many video podcasts and newsletters as films and television shows. 2025

What is "good"? Seven Samurai versus The Avengers timestamp 4:11-6:11

1.66:1 Aspect Ratio | What is it?

The Grand Budapest Hotel (2014)

Some films with famous scores by famous classical music composers; opera inspired film scores; films with films made by cinephiles (Tarantino and Kaurasmaki); themes composed with the director used for films or TV shows (David Lnych, Twin Peaks); films-within-films (the projection of Pride of the Nation (entire film as an extra) in Inglourius Basterds--trailer);

Readings: Mark Betz, Beyond the Subtitle: Remapping European Art Cinema ; Subitltes: On the Foreigness of Film ; Musical Film

Hearing the Movies: Music and Sound in Film History by James Buhler, David Neumeyer, and Rob Deemer

Music and the Silent Film: Contexts and Case Studies, 1895-1924 by Martin Miller Marks (Hardcover - Feb 13, 1997)

Silent Film Sound (Film and Culture Series) by Rick Altman

The Sounds of Early Cinema by Richard Abel and Rick R. Altman (Paperback - Oct 1, 2001)

The Talkies: American Cinema's Transition to Sound, 1926-1931 (History of the American Cinema, 4) (Paperback)

Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema by David Sonnenschein (Paperback - Jun 15, 2002)

The Voice in Cinema by Michel Chion and Claudia Gorbman

Film, A Sound Art (Film and Culture Series) by Professor Michel Chion, Professor Claudia Gorbman, and Professor C. Jon Delogu (Paperback - Jun 26, 2009)

Audio-Vision by Michel Chion, Claudia Gorbman, and Walter Murch (Paperback - April 15, 1994)

Fritz Lang, Fury (the silent film documentary at the trial) and Beyond a Reasoanble Doubt (radio, electricity, telephones and evidience)

ory from different points of view.

Rashomon (dir. Akira Kurosawa, 195)

Recording Live:

Phantom Of The Paradise (1974) - Official Trailer (HD)

Librarian and DJ in Party Girl Mayer, Daisy von Scherler (Director). United States: Party Productions, 1995.

Reconstructing film from photos and audio recording.

Jerry Goldsmith score

Chinatown (dir. Roman Polanski, 1976)

RECOMMENDED

Orson Welles, F for Fake

https://www.criterion.com/current/posts/7531-trailer-and-posters-for-radio-on-1979

The Crisis of Endings (youtuber)

Retro music (analog) soundtrack (jukebox)

Baby Driver (main titles sequence) --analog "45s

Fake trailers

Tropic Thunder / Grindhouse

Jukebox in Autumn Leaves (2023)

Notes on Blindness trailer 2016

Metrograph Pictures Presents: Goodbye, Dragon Inn [Official Trailer] 2003

http://www.dvdbeaver.com/film5/blu-ray_reviews_69/dragon_inn_blu-ray.htm

Janus films trailer with time stamps

http://www.dvdbeaver.com/film9/blu-ray_review_131/goodbye_dragon_inn_blu-ray.htm

Contemporary music soundtrack, composed for the film but some tracks intended to become hits.

Badlands (dir. Terence Malick, 197)

Badlands • Main Theme/Gassenhauer • Carl Orff

Hans Zimmer cover "You're So Cool" in True Romance

Maxwell 1983 commercial Wagner "Ride of the Valkyries"

Is it live or is it Memorex?

V. F. Perkins--At the Movies, Film as Film--the single shot as the anchor of a reading.

http://www.nationalgallery.org.uk/technical-bulletin/wyld1998

Fake fan mail addressed to Nora Desmond (Gloria Swanson) in Sunset Boulevard (1950) written by the butler

Movie Recaps (unofficial)

Aliens Infect 8 Billion People With The Joy Virus Except This Woman

Young Drunk Becomes King And Immediately Unleashes a War

One take opener (1:53)

Opening Scene | THE KING (2019) Netflix Movie CLIP HD

Why isn't von Stroheim's name listed alongside Cecl B. De Mille and Buster Keaton in Sunset Boulevard?

Because he gets top billing along with Holden and Swanson. He isn't just a cameo, like De Mille, Keaton, Hedda Hopper, and so on. A cinephilic film.

https://www.slashfilm.com/809158/the-sunset-blvd-silent-film-scene-is-more-significant-than-you-thought/

The King - Timothée Chalamet, Robert Pattinson | Final Trailer | Netflix Film

The John Ford shot from the opening and ending of The Searchers

The John Ford shot reappearing at the end of The Souvenir.

Many abuses in the world—or to put it more boldly, all the abuses in the world—result from our being taught to fear admitting our ignorance, and our being trained to accept anything we cannot refute. We talk about everything freely, not dogmatically #

January: 13 The Music of Editing

REQUIRED VIEWING:

Orson Welles

Filming Othello (never talks about the soundtrack of the film, just uses the opening of the film Othello soundtrack for the opening of Filiming Othello

Filming Othello - Orson Welles - Documentary - Multiple Subtitles -

Welles deconstructs his closing distinction between the Othello he made and the Othello he could (not) make in the future. The unmade one is the one he prefers.

January: 15

Writing music in film--What does sound look like?

Bach, Art of Fugue (Complete --- Netherlands Bach Society, BWV 1080) or can look like? Bach's Toccata and Fugue

Abtract sequence in Fantasia (1934)

Frame Rate Celluloid 24 / Digital frame rate as high as the camera will go.

The Man in the High Castle | Opening Title Sequence (Celluloid film projector)

https://www.amazon.com/Corbeau-Criterion-Collection-Blu-ray/dp/B0B48B7YN2

Jerry Whyte takes a close look at Carl Dreyer's LA PASSION DE JEANNE D'ARC / THE PASSION OF JOAN OF ARC and scrutinizes Renée Falconetti's sacrosanct performance, both of which are impressively showcased on Masters of Cinema's fine Blu-ray.

In his 1931 survey of the young art form, Cinema, the Observer's film critic C.A. 'Chestnuts' Lejeune says: "Dreyer's Jeanne d'Arc remains the type of great still photography on the screen."

David Bordwell, The Films of Carl Dreyer. Reading film shot by shot; editors stopping the film print at certain mmoments; fast-forwarting. Like Welles in F for Fake

January: 22 Othello Montage / Sound in Othello

January: 22

January: 27 Walter Murch and Michel Chion, Music in Cinema

La Jetee

Readings from Chion on music

Vertov versus Eisenstein versus Fritz Lang, Metropolis

Man with a Movie Camera Nyman vs.

Montage Eisenstein

Strike!

Battleship Potemkin alternate soundtracks

January: 29

"Stravinsky and MGM." Fantasia (WALT DISNEY, 1939)

February: 3

Eisenstein on film

Hollywood Mindhunter montages

Kuleshov

February: 5

February: 10

Metropolis (1927 / 1984 Giorgio Moroder Version)

February: 12

February: 17

Rashomon

March: 31

Drive

April: 2

Retro music (analog) soundtrack (jukebox)

Baby Driver (main titles sequence) --analog "45s" collection

https://viacreative.co.uk/blog/breaking-down-opening-titles-baby-driver

April: 7

Badlands (Terence Malick)

True Romance (dir. ) Hans Zimmer

April: 9

April: 22

Here is the word doc with the FILM EXERCISE TEMPLATE

Close reading in cinema now takes various forms. Sometimes it is linear (Raymond Bellour on The Birds; William Rothman on Psycho) and by definition silent. Spatializing a film into thumbnail shots may give the viewer a kind of fast-forward viewing experience. But it does not to you anything about camera movement, length of the take, narrative structure, or editing. All shots are made equivalent in their appearance. And the creator of the "all shots" image may not be right, or two people might do the same sequence differently with more or less "shots." The all shots distorts the shots. Additionally, film dialogue, sound,music are eliminated. In some cases, like the main title webpage, there are shots splus recordings of the title sequences. Even there number of shots is different than the number other people have used.

Film essays (by Tag Gallagher)

Blow Up : C'est quoi? Artefilm. Short films of a theme, actor, soundtrack of a number of film reassembled with excellent voice-over narration. In French only, but you canlearn from the videos without knowing FRENCH.

Blow up - Quand "La Jetée" croise "Vertigo"

https://www.criterion.com/films/329-la-jetee

Storyboards reappear as images of every shot in a film.

November 18 "We had faces then!" Silent film in sound film

REQUIRED VIEWING:

Sunset Boulevard (dir. Billy Wilder, 1950)

Recommended:

Lost Highway (dir. David Lynch, 199?) "This Magic Moment" (Lou Reed)

Mean Girls - Trailer

Due, Sunday January 27 by 5:00 p.m.: DQs and BWs on the Stanitzek reading (see below, January 28 )

Required Reading:

Georg Stanitzek, "Texts and Paratexts in Media," Critical Inquiry. (September 2005).32 (1): 27–42

DQs due Tuesday, January 29 by 5:00 p.m. on the two F for Fake trailers, on e DQ each. Find three shots in each trailer that are not in the film.

Keith Richards: "There's Two Sides to Every Story" (Part 1)

Keith Richards: "There's Two Sides to Every Story" (Part 2)

Dissecting a Trailer: The Parts of the Film That Make the Cut

PICNIC (Eureka Classics) New & Exclusive Trailer

The History of Cutting - The Soviet Theory of Montage

“One of the tasks of the film critic of tomorrow—perhaps he will even be called a ‘television critic’—will be to rid the world of the comic figure the average film critic and film theorist of today represents: he lives from the glory of his memories like the 70-year-old ex-court actresses, rummages about as they do in yellowing photographs, speaks of names that are long gone. He discussses films no one has been able to see for ten years or more (and about which they can therefore say everything and nothing) with people of his own ilk; he argues about montage like medieval scholars discussed the existence of God, believing all these things could still exist today. In the evening, he sits with rapt attention in the cinema, a critical art lover, as through we still lived in the days of Griffith, Stroheim, Murnau and Eisenstein. He thinks he is seeing bad films instead of understanding that what he sees is no longer film at all.”
~ Rudolf Arnheim, 1935

Oktyabr, review in Variety 1927

Dmitri Shostakovich, October, Symphonic Poem Op. 131 (1967)

Making Waves: The Art Of Cinematic Sound - Official Trailer

Quasi-montage in

Lost Highway (dir. David Lynch, 199?) "This Magic Moment" (Lou Reed)

Mean Girls - Trailer

Movieclips Trailers

Barry Lyndon trailer

DVD Covers, Blu-Ray Covers

The Oscar for Best Film Title Sequence Goes to ...

THE GREEN INERNO - Audience Reaction Trailer (Hat tip to Devoun Cetoute)

Sometimes Titles Are the Whole Story

Book Titles and Posters

Making an Art Out of Credit Rolls

Required Viewing (No DQs): Try guessing which shots from the film are in the trailer. Which ones stand out to you, especially those that stand alone, apart from the plot. Art film genre film shots.

You Were Never Really Here (dir. Lynn Ramsay, 2018) trailer

Crank end title sequence (action films often do interesting things with subtitles for foreign languages or for a deaf mute character; Walkabout end title sequence)

Gimmick: sequels inserted into the end title sequences of Marvel films. For the Procrustean template, see Venom (2018) and Captain Marvel (2019)

End Title Sequence - Captain America

Very professional looking re-edits of film sequences on Twitter: are they film criticism? Fan trailers? Fan films?

Second Paper Due March 16 by 11:59

Dissect your trailer (the one you analyzed for your first paper) If you know how to use microsoft excel, you could create a graph like the one from Silver Linings Playbook below. Or you could go back to the trailer assignment we turned in and give timestamps for where the shots in the trailer occur in the film. Like this.

Integrated title sequence Deadpool

The Revenant | Official Trailer

Vertigo Official Trailer #1 - (1958) HD

“Saul Bass: A Life in Film and Design”

The Man Who Made the Title Sequence Into a Film Star

It, Trailer

Logan, Trailer

Inside Out US Teaser Trailer - YouTube (sizzle reel of "previously on"s)

THE NUN - Official Teaser Trailer [HD] - YouTube

The First Purge – Official Trailer [HD] - YouTube

La La Land (2016 Movie) Official Teaser Trailer – 'Audition (The Fools ...

La La Land Official Teaser Trailer #1 (2016) Emma Stone, Ryan ...

Pablo Ferro, Legendary Title Designer for ‘Dr. Strangelove,’ Dies at 83

Title sequence from Goldfinger (1964), designed by Robert Brownjohn

Robert Brownjohn Film Titles

James Bond: 50 Years of Main Title Design

James Bond Opening Title Sequences

Colorization

Ludovico Einaudi, "Experience"

The Wizard of Oz "Pay no attention to that man behind the curtain."

Repetition, AND the LIMITS of RESEMBLANCE,

Trump Made Kim a Movie Trailer. We Made It Better.

90s movie trailers
https://www.nytimes.com/2018/10/19/movies/trailers-best-worst.html

Different cuts and different versions of the same film under the same title, collected together in sets.

The Tree of Life (extended) The Tree of Life (theatrical) Creating a trailer for a film without one.

The Battle for the Best Movie Trailer Since 1990

Brownjohn Design Museum

“To Reconcile Book and Title, and Make ‘em Kin to One Another”: The Evolution of the Title’s Contractual Functions
Eleanor F. Shevlin

Blockers (2018) and the Sophisticated Vulgarity of Emojis. (See my Spring 2019 course on film trailers.)

Blockers, first ever partial film title with a (deniable) visual pun and sound effect, spelling out the true title, namely, Cock Blockers? (Cock-a-doodle-do? No, it's just a rooster, not a cock crowing.) Alternate title? Block Cock. Actually, the film seems to be about parental vagina blockers. Like parents designed elaborate chastity belts for their daughters to wear to the prom. The inversion of gender roles plays out when partying jocks make the two fathers chug beer up their asses in exchange for help blocking their daughters. The cut down title a metaphor for their symbolic castration? Moms cock block too, btw. The parents might want to watch Carrie to understand menstruation and the hymen. Another alternate title? Block the Cock. (It's just about the rooster. He is too loud.) Note the recurrent line "I'm in," as if taken from a heist or spy film (involving hacking--cracking the code-- as well as cracking the safe combination).

Required Viewing (No DQs):

The Music That Casts The Spells Of 'Vertigo'

Bernard Herrmann, Vertigo (Love Scene)

By the City of Prague Philharmonic Orchestra

'Phase IV', Saul Bass' Forgotten Cult Classic, Gets a Second Chance

Live GRADING in 4314 Turlington

Gemma Solana, Uncredited: Graphic Design & Opening Titles in Movies

Detour (1945) opening title sequence

Detour - 4k Restoration Trailer (1945)

Recommended:

Sound Mixing and Sound Editing Trailers lifting soundtracks from other films.

Silent Film Soundtracks and Other Resources

The Art of the Title (Sequence)

Venom (2018) title sequence multi-split screen montage

Homecoming (Netflix 2018) Season One, Episode 10 timestamp 24:23 multi-split-screen montage

Ramones censored and rearranged in SPIDER-MAN: FAR FROM HOME - Official Teaser Trailer

studio logo 00:24

Ramones

Dissecting a Trailer: The Parts of the Film That Make the Cut

PICNIC (Eureka Classics) New & Exclusive Trailer

Harmful masculinity and violence

The Female Gaze? Penelope Cruz's directorial debut with husband Javier Bardem for L'Agent lingerie

Penelope-Cruzs-directorial-debut-with-husband-Javier-Bardem-for-LAgent-lingerie

Shakespeare's Macbeth Films - Welles - Polanski - Kurosawa - Kurzel - Paul Duncan Slavoj Zizek — Why Akira Kurosawa did Shakespeare better

Trailer: Shakespeare por Welles

The Nun Teaser

Release Date: Sept. 7 | Warner Bros.

S36 EP13: KING LEAR

King Lear Films

March 19, 2009

Watch a Criterion, KINO, Cohen Media, or Flicker Alley narrative film we have seen in class. But before you do, make sure that UF has a DVD of the film. I recommend that you pick a film that is between 60 and 90 minutes. The assignmnt, or exercise, has three parts: 1. Design your own chapters and chapter titles. Give time stamps and image captures for where you chapters begin. 2. Now look at the chapter titles on the DVD and compare yours to those. (You make screen captures of chapter titles on the menu and give the time stamp on the film). How long are your chapters compared to those on the DVD? How many chapters do yours have? 3. Write a 150-200 word essay explaining why you think your titles are better or worse than those on the DVD.

Hamlet (1990) Official Trailer - Mel Gibson, Glenn Close Movie HD

Carl Orff - O Fortuna ~ Carmina Burana

We will watch every film twice in a row each week. Why? For one thing, silent films are quite different from sound films and are sometimes hard to follow because the actors appear as if mute (you can sometimes lip-read the actors). Secondly, you will learn how to watch a film critically by watching it a second time. The first viewing tends to be immersive. You forget you are watching a film. The second viewing gives you a critical distance you didn't have the first time. Now you can gain insight into the filmmaker's creative processes. You can focus better on how the film was made the way it was and on why the director and editor made the aesthetic decisions they made about each shot and each edit. Moreover, some of the directors were avant-garde fillmmakers. Sergei Einsenstein invented the Soviet montage. The editing of his films is the opposite of the continuity editing of classic Hollywood films and clasic Hollywood montages. And the music may be different as well. Dmitri Shostakovich composed the soundtrack for Sergei Eisenstein's 1927 film October.

Silent films were never really silent. Live music, usually played by a solo pianist or organist but sometimes by an entire orchestra, always accompained the film in theatrical release; sometimes a "film explainer" told the audience what was happening in the film, providing a kind of live audio-commentary for the audience; and when silent films are digitally restored, they often come with more than one sountrack, either or both composed and performerd by different musicians and performers. This is the case with the Masters of Cinema and Criterion editions of the first silent film we will watch this semester, namely, Joseph von Sternberg's Last Command. It includes one full orchestral score by Robert Israel and an alternative music score by The Alloy Orchestra. Of course, you can always watch a film without sound. Or you could listen to your own soundtrack.

For example, two trailers for the film The Artist, set in 1927, directed by Michel Hazanavicius and released in 2011; the music for the first film trailer is used in entirely conventional ways (cutting to the beat); but we also see an orchestra playing in front of the stage in a movie theater. See timestamp 00:16. In the second trailer, we see more of the orchestra and the music is continuous, composed of just one piece. The music is taken from the famous song "Sing, Sing, Sing," written by Louis Prima and released in 1937. Silent film sort of ended in 1929. This song is not included in the film soundtrack. The recording is performed by Benny Goodman, with Gene Krupa on drums. It just so happens to be the opening track of Alejandro Jodorowsky's The Dance of Reality (2013). The tune is now part of juke box filmmaking.

Jukeboxes in the opening title sequence FX TV show, From (2022). The Animals' "We Got get out of this place" plays automatically. "Que Será, Será" cover with male voice and gender altered lyrics plays in the title sequence.

Silent film intertitles are gradually integrated into film as newspaper heradlines, letters, and other forms of writing the film pauses to give the viewer time to read it.

Vote on the best film we saw this semester: Sunset, Metropolis, The Last Command, The Passion of Joan of Arc

Announcement of Student Who Wrote Best DQs of the Semester.

The Art of Analogy:

The last three shots of North by Northwest (dir. Alfred Hitchcock, 1959) Timestamp 1:58

Sex scene on a subway late at night in Risky Business (dir. Paul Brickman, 1983)

Version and Variation:

Alas poor Yorick variations in versions of a film with the same title, namely, Hamlet.

Required Viewing:

1. The never theatrically released F for Fake trailer

2. The original trailer here

Integrated title sequence Deadpool

The Revenant | Official Trailer

March 11 End Title Sequences

Required Viewing:

Watch the main title sequence of Vertigo and the main title sequence of David Fincher's Seven at this website: art of the title. Write one DQ on each. You can choose one shot from one sequence and two shots from the other. Take your shot.

Recommended Reading:

Gemma Solana, Uncredited: Graphic Design & Opening Titles in Movies

For the extract from Erich von Stroheim's Queen Kelly (1929), go to timestamp 23:27.

If you want to see what is left of the never completed film, you can go here.

COMING TO THEATERS IN 2026!

Recognizing that the restoration of a film that was never completed is an impossibility, Doros calls the 2025 release of Queen Kelly an improved re-imagining of what von Stroheim’s film could have looked like.

Sunset FW. Murnau--scene after they marry, with cartraffic,a then garden of eden https://www.youtube.com/watch?v=6NayFytQeBE

Vertigo nightmare

movie in movie Parallax View

The Parallax View (Modern Trailer)

The Parallax View - Trailer

Clockwork Orange education

The Shining | Original Teaser Trailer [HD] |

The Shining-Elevator scene

http://www.classicalnotes.net/griffith/part6.html

https://researchdiscovery.drexel.edu/esploro/outputs/journalArticle/The-Meaning-of-the-Close-Up-Griffith/991020836508004721

https://moviessilently.com/2014/11/30/the-phantom-of-the-opera-1925-a-silent-film-review/

Music editors

Directors working with editors

Girl with the dragon tatoo

David Lynch, Angelo Badalamenti, and Twin Peaks

Mutations of Memory: Editing in HIROSHIMA MON AMOUR

So one has to look empircally at films on a case by case basis. We can talk about the way the music works against the film--Hiroshima Mon, Amour.

Penderecki: Threnody for the Victims of Hiroshima

Hiroshima, Mon Amour

Michel Chion: The Voice in Cinema, or the Acousmêtre and Me (Liquid Architecture)

Man with the Movie Camera editor clip

"Please clap"

Pendreki "Threnody for the Victims of Hiroshima"

“It's not what a movie is about, it's how it is about it.”
― Roger Ebert

Titleof The Ugly Stepsister (2025) drops at 08:31. Title sequence begins 06:25 and ends at 8:45. It is set up by a scene rich family happily having dinner together. The father struggles to breathe, one his daughters is alarmed "Papa? Papa?" And then reaction shots of three women and one screaming Papa!" as as we hear the father hit his head on the table off-screen Cut at 07:00. The diegetic sound ends and is replaced by extra-diegetic and pleasant but sad slowly whistled melody acompanied by guitar and other instrumental music begins at 07:00.

The title sequence is one long slow consistently paced tracking shot of the dinner table in soft focus, spot close ups, with the dead father's head on the table on a cake (We see his face in focus for twenty seconds from 07:24-45). The slow speed of the tracking shot, the soft music, the spot focus, the dead father, the dark lighting (by candles), and the grotesque dinner table mise-en-scene are all at odds with the dramatic opening. The title drops over a butcher knife in soft focus and some kind of pomegranate dessert in the foreground. A fade to black follows and the music continues into the next shot as the director's title drops and fades out over this shot two seconds later. The story now begins after the dinner and picks up witht the arrival of a carriage at a huge chateau and three men entering it foot. Why? We are not told. Then the story of the ugly stepsister begins. We are in some kind of european art film: the framing of the shots and the length of the takes tell is so.

We could create classifications for different kinds of music in relation to the film's editing.

We could also look at music in main title sequences.

All the Mornings of the World (dir. Alain Corneau, 1991)--The still life in French nature (eternal) morte (finite). Jordi Savall

All the Mornings of the World (1991) - Trailer

Dziga Vertov, Man with a Movie Camera 1929

(with Alloy Orchestra soundtrack

Music by Michael Nyman / DZIGA VERTOV: THE MAN WITH THE MOVIE CAMERA AND OTHER NEWLY-RESTORED WORKS

https://www.youtube.com/watch?v=Qpzyt2gWfww&t=1s

Orson Welles's "Othello" Opening Sequence: 12 Shots of Composition

https://richardburtphd.com/indextrailerredsparrow.html

Editing and Music in films

Soundtracks; Sound Design; music

Editing and Music in Film Trailers

Trailers combine material not in the film with footage from the film

Main title sequences (integrated) and end title sequences

Trailer music cliches Vivaldi (also in I, Tonia, 2017)

2018 Lady J Official Trailer 1 HD Netflix Klokline VERMIGLIO - Official Trailer

CriterionTrailers @CriterionTrailers

Fan-Made Film Trailers@choloOnEaster10

Ben Model - silent film accompanist/historian

Biggest Trailer DataBase @biggesttrailerdatabase9294

Gimme Shelter (dir. Albert Mayles, 1970)

Don LaFontaine: The Voice "Only One Man" male voice-overs imitated in In a World (2013) Trailers for End of Days (Amazon Prime Starz logo) and The Craft (Columbia logo)1999 character dialogue alternates with male voice over and together tell the story.

BBC Trailers @bbctrailers

How To Make A Blockbuster Movie Trailer

The Silence of the Lambs as a Romantic Comedy - Trailer Mix

CineFix - IGN Movies and TV

Alien Recut as a Comedy | Trailer Mix

Not original

https://www.youtube.com/watch?v=Xtgjls6E8ps

https://www.dailymotion.com/video/x9ij4rk

For Blu-ray re-release

Starz logo

"Only one man

Universal Logo

Columbia logo "To the other kids at Saint Bernard's Academy, they were the girls . . . '

The Craft 1999

Stargate (2025) | First Teaser Trailer | Starring Dave Bautista & Anya Taylor-Joy

Elf recut as a Thriller - Trailer Mix

Honest Trailers | Snow White

Must Have Color Grading Tool | SHOTDECK

Textile on FBI privacy warnings on physical media, clarity of (as paratext)

Movie Trailers Keep Tweaking Well-Known Songs. ... The New York Times

https://www.nytimes.com › Arts › Music

Dissecting a Trailer: The Parts of the Film That Make the Cut February 19, 2013

How scenes from five of the nine best picture nominees were reassembled to promote the films.

Cinema’s Top 10 Beginnings of All Time - A CineFix Movie List

(All lists are notable for what they exclude.)

The Rocketeer (1991) Trailer #1

"To some it was the fulfillment of a dream. To Others It was . . . "It . . . it . . . it "

Upscaled

The Rocketeer: Music From The Soundtrack Horner, James (Composer)

The Rocketeer - Trailer (1991) with written comic book narration

The Rocketeer (1991) 35mm film teaser, flat hard matte, 1440p Art deco letters from the title appear one by one with the same squishy sci-fi sound

Modern trailers: 2:29

Teaser

RESURRECTION 9dir. Bi Gan- Janus Trailer

YouTube·Janus Films·Nov 6, 2025 All continuous music and blurbs

Fake trailer for Megalopolis

All The President's Men (1976) Official Trailer -

The font used at the beginning and end of the trailer and the sound of a typewriter typing (extra-diegetic) on it are taken from the beginning of the film (teletype replaces the typewriter). The classical music in the trailer is taken from the scene at 2:28 2:31 in the film which the music is diegetic.

Compare two trailers for the film in 2000 and for its 2025 release.

"The House of Mirth"

(In the wrong aspect Ratio. The House Of Mirth (2000) Trailer

The House of Mirth 25th anniversary trailer (2025)

Conventions and Creativity

Montage

Mindhunter Season 1 (dir. David Fincher, 2017)

Shot Reverse Shot

Long take framed by standard shot reverse shot intro and exits:

Amazon Prime Patriot 1, Season 8 Episode

Synthesis and Sound Design

Cross cutting editing

and Opening Title Sequences

Mindhunter (2017; 2019)

Atom Boom footage

versus music composed for the film? Possibly released as a soundtrack. Music composed to be a hit single? A music video with footage from the film.
Millennium Mambo - "A Pure Person" [HD]

March 19 Lars von Trier, Melancholia ("Prelude" from Tristan und Isolde at the beginning and the ending of the film)

https://www.criterion.com/films/27657-the-music-rooms

The Report Teaser Trailer #1 (2019) | Movieclips Trailers

https://www.youtube.com/watch?v=b756FPiLlp8

Movie Trailers Have Gotten Worse. Why Aren’t Studios Having Fun With Them? 2024

Even the New York Times reviews movie trailers:

Bruce Fretts, "New Trailer: ‘Red Sparrow,’ With Jennifer Lawrence," NY Times Jan. 8, 2018

Which Red Sparrow trailer is better and why?

1. Final Trailer RED SPARROW Official Trailer (2018) Jennifer Lawrence Movie HD

2. Red Sparrow | Official Trailer [HD] | 20th Century FOX

3. Trailer of rapid shots before the film title and trailer 1 begins

"What is 'good'?" I think one of the two trailers is clearly superior to the other. In this case, I would expect consensus rather than disagreement.

BORDER RADIO ... * ( Original Soundtrack, Dave Alvin

Letters from an Unknown Woman and the Earrings of Madame de.

Contemporary already released music hits indepedenpdent (low-production values) cinema

Radio On (audiotapes of contemporary hits) anti-narrative, anti-character psychology Sting

Party Girl DJ, Card Catalog

Party Girl (1995) Official Trailer

PARODY OF AN AUDIOTAPE CLUB

Man with a Movie Camera Nyman vs.

The Round-Up

The Round-Up (Modern Trailer)

Here is the word doc with the FILM EDITING EXERCISE TEMPLATE

TRAILER Assignment

TÁR Official Trailer [HD] (2:30)

Five second intro with voice over of Blanchet, just one sentence, but gripping.

"Watch the trailer now" 00:05, before the logo(s) followed by the studio logo(s) and the title and shot of Kate Blanchete

Film Title appears (twice, early and late)

Logo (one--Focus Features) 00:06

Reviews or blurbs or awards ( three: 00:15; 00:27; 00:34)

Music

00:15; 00:27; 00:34; 00:49; 1:08 Same bass note on a piano--timed with cuts to shots of awards and to shots in the trailer

1:20 silence, black out. A higher pitched note played softly on a piano at 1:37

Star's or Stars' Names (one)

Director's name 2:10

Release Date (one, final shot)

Duration of shots (between 1.5 to 4 seconds, with a new notable exceptions like the last long take of the trailer)

Music: Repeated bass note from piano 00:02; 00:06; 00:5; 00:26; 00:33; 46; synth music, one high pitched note plays between the bass notes; metronome seized and stopped by Tar at 00:04 (one second shot and so barely visible--out of context) and 2:15-16 (two seconds) followed by fade to black and a click, then silence; some kind of bong at the title 2:23 and the sound carries over the release date to the end of the trailer. See "A Pure Person" music video.

Millennium Mambo - "A Pure Person" [HD]

Studio Logo: Moment for branding. Like A24 films.

Star's names appears at 02:05

Film title at: 2:25

Release date: 2:27

Music: When, What, and where it appears

Sound Design: How is sound used in the trailer? Diegetic versus extra-diegetic sound. Juke box music (already composed before the film) was made.

REQUIRED VIEWING:

1. METROPOLIS - Fritz Lang - New Version - 3 Hours - New English Intertitles & Music Soundtrack 4K

2. Fritz Lang's METROPOLIS 90th Anniversary Trailer

Recommended:

Metropolis restored again / w/out English subtitles

Two documentaries

1. Voyage to Metropolis | Metropolis (1927) Extras

2. Metropolis - 1927 - The Metropolis Case Documentary

Metropolis 16mm original print (dir. Fritz Lang, 1927)

Metropolis (1927, Griggs Moviedrome 16mm Print)

Soundtrack

Fritz Lang, Three Metropolis restorations compared philologically in class.

Recommended: Liner Notes on Restorations of Berlin, die Sinfonie der Großstadt / Melodie der Welt (2 DVDs)
Walther Ruttmann (Regisseur) Fritz Lang, Metropolis, Giorgio Morodor 1984 soundtrack

Paolo Cherchi Uschai, Silent Cinema: An Introduction Chapter Three on "The Ethics of Film Preservation," pp. 44-76

Carl Dreyer, Passion of Joan of Arc, two film projection speeds (20 and 24 frames per second) and two soundtracks in the Masters of Cinema blu-ray edition; in class comparison with the two soundtracks on the Criterion DVD edition, and Jean-Luc Godard, Vivre sa vie (Her Life to Live)

(Parsifal: Ein Bühnenweihfestspiel / opera / operetta / opera buffa / film musical)

See Mladen Dolar, Opera's Second Death on opera buffa.

Frame Rate Celluloid 24 / Digital frame rate as high as the camera will go.

The Man in the High Castle | Opening Title Sequence (Celluloid film projector)

April 9 Carl Dreyer, Passion of Joan of Arc, Masters of Cinema blu-ray and Criterion DVD editions and clip in Godard's Vivre sa Vie when Nana and her john go to see Dreyer's Passion of Joan of Arc.

Stills from the Criterion and MofC DVDs

Michel Chion, FiIm, A Sound Art (chapter 14-16 and 25.)

Required Reading: Theodor Adorno and Hanns Eisler, Composing for Films, pages 3-31; 54-61; 65-79. Light music. Background Music. "Easy" listening.

Drive

Two weeks on the FQ

NOTHING BELOW IS ASSIGNED FOR THIS CLASS. YOU MAY COMPLETELY IGNORE.

Silent film soundtracks Alloy Orchestra,

Passion of Joan of Arc

The Phantom Carriage

The 39 Steps (dir. Alfred Hitchcock, 19) the cut from a scream to a train whistle

Tron Ares (2025) double trailer

COMPANION Trailer (2025) Jack Quaid

APM 2 09 40--2:11:00; see also 1 39 36 / 1 48 40 1 54 50

Writing music in film--What does sound look like?

Bach, Art of Fugue (Complete --- Netherlands Bach Society, BWV 1080) or can look like? Bach's Toccata and Fugue Abtract sequence in Fantasia (1934)

https://www.amazon.com/Corbeau-Criterion-Collection-Blu-ray/dp/B0B48B7YN2

In his 1931 survey of the young art form, Cinema, the Observer's film critic C.A. 'Chestnuts' Lejeune says: "Dreyer's Jeanne d'Arc remains the type of great still photography on the screen."

TDVDXtras www.youtube.com/@DVDXtras_

Description Your home for hard-to-find DVD extras with an emphasis on "making of" and "behind the scenes" featurettes and documentaries. Follow us on Twitter/X: @dvdxtras

https://www.nytimes.com/2026/01/07/movies/to-be-or-not-to-be-hamnet-hamlet-shakespeare.html

https://www.nationalgallery.org.uk/paintings/hans-holbein-the-younger-the-ambassadors

Wyld, M. 'The Restoration History of Holbein's "The Ambassadors"'. National Gallery Technical Bulletin Vol 19, pp 4–25.

National Gallery London: A king-sized restoration project

Terrence Malick’s “Introduction” and “Critical Notes” for his translation of Heidegger’s The Essence Of Reasons

NOMAD: IN THE FOOTSTEPS OF BRUCE CHATWIN

Richard Brody on Terence Davies's “The House of Mirth” (2000).

Released on 10/05/2011

Clip in the New Yorker

Superman "I'm a puck rocker")

The Conformist

Film Stock

"In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel."

Sound and color TV RCA tests yep, turns out the movie still works without all the exposition Metropolis Ultimate Collector's Edition Blu-ray It Came From Outer Space (1953) Official Trailer Movie HDhttps://www.youtube.com/watch?v=85xpN_OhwqsT

Delerue also wrote the soundtrack for Jean-Luc Godard's Contempt (Le Mépris)

https://www.youtube.com/watch?v=aUs4awmb3-o

Le Mepris (Contempt) - Theme De Camille

1963 Directed by Jean-Luc Godard Music by Georges Delerue

Singing in the Rain

Vertigo (Bernhard Hermann)

Chinatown (Jerry Goldsmith)

The Game (Howard Shore)

Se7en Title Sequence

Smith, Jeff
The Sounds of Commerce: Marketing Popular Film Music
(New York, Columbia University Press, 1998)

"Stravinsky and MGM.", Fantasia (WALT DISNEY, 1939)

Smith, Jeff
The Sounds of Commerce: Marketing Popular Film Music
(New York, Columbia University Press, 1998)

Criterion DVD supplement on the widescreen and Hollywood aspect ratios of Contempt.

Le Mépris (1963) – Once Upon a Time There Was... Contempt

Contempt (1963) audio-commentary by Robert Stam

Marcade, Jean Roma amor; essay on erotic elements in Etruscan and Roman art

(1965)

Alfa Romeo 2600 Spider in “Le Mépris” (1963)

Georges Méliès' A Trip to the Moon blu-ray with two soundtracks: restored hand-colored version contemporary soundtrack by Air, with noises; B&W version with piano track by Frederick Hodges and voices. Examples: The Phantom Carriage; The Man with a Movie Camera (KINO and BFI editions); Nosferatu (Eureka / KINO edition); Sergei Eisensten, Battleship Potemkin (KINO blu-ray), two soundtracks; Criterion Pandora's Box, four soundtracks.

perhaps with the audiocommentary playing. Or René Clair, À nous la liberté (English: "Freedom for Us") (recording industry), or René Clair, Sous les toits de Paris (Under the Roofs of Paris), or René Clair, Prix de beauté, or Jean Vigo, L'Atlante; phantom of . . . / or? . . . . Rene Clair, À nous la liberté (English: "Freedom for Us")

The girlfriend listening to the tape on headphones so that we ca't hear it scene in Werner Herzog's Grizzly

Fritz Lang, Fury (the silent film documentary at the trial)

"Shh" in Silent Movie (1976)

Silent "Shh" in Sinister (2013)

Screenings March 28: Comparative Film Philology: Everyone will watch the most recently restored version on blu-ray at the screening, Fritz Lang, The Complete Metropolis; additionally, one half of the class will watch the previously restored verion, and the other half of the class will watch the 1984 Giorgio Moroder version). Everyone will have watched two out of the three versions before we meet in class to discuss them.

Fritz Lang, The Complete Metropolis (Most Recently Restored Authorized Edition)

Fritz Lang, Metropolis (Most Recently Restored Authorized Edition)

Fritz Lang, Metropolis, Giorgio Morodor 1984 soundtrack

Screening February 28 (Double-Bill) Phantom of the Paradise (1974) (kitschy, parodic sequences modelled on silent films) and Brian de Palma, Blow Out (1981)

Cantata / Faust opera by Charles Gounod (same opera as in The Phantom of the Opera)

Recommended, Michel Chion,"The Screaming Point," in Audiovision.

First Paper (2000 words) due Saturday, March 2, by midnight. (Topics; you can't write on a film on which you did your film analysis).Please review the Paper Guidelines. Email (click here: [email protected]) your paper as an attachment in microsoft word with your first and last names at the top. Don't forget to give your paper a title.

Spring Break March 2-9

February 7 Required Reading: Michel Chion, Film, a Sound Art (pages t.b.a.)

Screening February 7 Metropolitan Opera 2012 production of Wagner's Das Rheingold

February 12 Metropolitan Opera 2012 production of Wagner's Das Rheingold

February 14 Required Reading: Theodor Adorno, In Search of Wagner (pages t.b.a)

What is a film soundtrack? (Later, when we get to Chion: "Is there such a thing as a film soundtrack?")

Screening February 14 Phantom of the Opera (1925 / 1929 restoration)

February 19 Phantom of the Opera (1925 / 1929 restoration; Paolo Usai credited)

Recommended Viewing: silent film (home movie, 8 mm) as memory for amnesiac in Wim Wenders' Paris, Texas (1984) and the silent film documentary at the murder trial in Fritz Lang, Fury (1936)

March 12 Phantom of the Paradise (kitsch parodic sequences modelled on silent films) and Brian de Palma, Blow Out

March 14
We will also turn our attention from time to films that are "about" the transition from silent to sound cinema in 1929. Films may include Alfred Hitchcock (sound and silent versions) Blackmail; A Cottage on Dartmoor; Billy Wilder, Sunset Boulevard; Jean Renoir, Rules of the Game; Rene Clair, Le Million, A Nous la Liberte, and Under the Roofs of Paris, Charlie Chaplin, Modern Times; Fritz Lang, M; Jean-Luc Godard, Vivre sa Vie.

I will give quizzes at the beginning of class on Thursdays.

Discussion Questions (DQs) on something concrete about the film (200 words max) and descriptions any three shots of your choice with three film analysis terms are due every Monday by 5:00 p.m. unless otherwise noted. Please be aware that the closing time on canvas is 5:00 p.m. Canvas will not allow you to submit work after the closing time. So do manage your time well.

I will give quizzes at the beginning of class on Thursdays.

YOUR FIRST ASSIGNMENT is due January 14 by 5:00 p.m. (See below.)

Watch FIlming Othello and then write two Discussion Questions (DQs) on the film (200 words max) and describe any three shots of your choice with three film analysis terms (100 words max).

Write two Discussion Questions (DQs) on something concrete about the film (200 words max) and describe any three shots of your choice with three film analysis terms (100 words max).

Post your BOTH on this Google doc

https://docs.google.com/documeg=h.mq1cjbqsp1r5

AND on CANVAS https://elearning.ufl.edu/

Give me permission to edit your google docs for DQs and for co-leading. Do not delete your notes. Please put the links to your co-leadings on Canvas. Please email all notes and papers for the course to me at [email protected]. I designed this course myself and am looking forward to teaching it this semester. If you have a question or a problem, please contact me in class or at [email protected].

No cell phones, ipads, or laptops in use during class.

Email give me permission in all google docs for DQs and for co-leading. Please put the links to these docs on Canvas. Please email all papers for the course to me at [email protected].

TENTATIVE SCHEDULE (Please expect adjustments to be made in the schedule from time to time. All changes will be announced both in class and on the class email listserv.)

INTRODUCTION: Finding Footage first day

DQs due WEDNESday JANUARY 14

The Kuleshov Effect / Effetto Kuleshov

YOUR FIRST ASSIGNMENT is due by 5:00 p.m. Thursday JANUARY 14. Watch FIlming Othello and then write two Discussion Questions (DQs) on the film (200 words max) and describe any three shots of your choice with three film analysis terms (100 words max).

Post your DQs and three shots BOTH on this Google doc

https://docs.google.com/document/d/1it

AND on CANVAS https://elearning.ufl.edu/

REQUIRED VIEWING:

January: 13 Introduction : King Charles To be or not be What is a trailer formula

Shots from the film / not in the film--where are they in the film? Linear order or not? Length of shot in trailer versus length of shot in the film itself. Editing the trailer repeats editing of the film--so the trailer is an adaptation, an abridgment

Possibilities of combination:

Iconic lines or speeches from movie stars

Music in trailers from the film and not from the film
Music and text only
Music, text, and voice-over
Music and voice-over only
Music plus characters speaking lines alternating with male voice-over narration

Trailers with lines from the play or parodies of them Last Action Hero
1920s

1930s

1940s

1950s

1960s

1970s

1980s

1990s

2000s

2010

2020

2025

Trailers --now 2025

Inglorious Basterds film in film as an extra

Look at trailers for Henry V and Branagh and Olivier

Archers at Agincout in 28 Years Later (in the trailer)

In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel."

"I want to pay tribute to his memory here and to recall all that I owe to the trust and encouragement he gave me, even when, as he one day told me, he did not see at all where I was going. That was in 1966 during a colloquium in the United States in which we were both taking part. After a few friendly remarks on the paper I had just given, Jean Hippolyte added, “That said, I really don’t see where you are going.” I think I replied to him more or less as follows: “If I clearly saw ahead of time where I was going, I don’t really believe that I would take another step to get there.” Perhaps I then thought that knowing where one is going may no doubt help in orienting one’s thinking, but that it has never made anyone take a single step, quite the opposite in fact. What is the good of going where one knows oneself to be going and where one knows that one is destined to arrive? Recalling this reply today, I am not sure that I really understand it very well, but it surely did not mean that I never see or never know where I am going and that to this this extent, to the extent that I do not know, it I not certain that I ever taken any step or said anything at all."

--Jacques Derrida,"Punctuations: The Time of a Thesis," in The Eyes of the Univerversity, 115
certain shots may gain import when the film is viewed with a certain puporse in mind. The film's structure, the use of the full moon at the beginning and end of The Letter, Davis emptying a revolver in her murder victim in plain sight, unloading an entire pistol cartridge a man in cold blood, the entrance shot of Gail Sondergarrd's character (Mrs. Hammond) will stand out to any viewer who pays close attention to the film. When considering a film like the love scene in The Mad Miss Manton(1938), a screwball comedy and murder mystery, in relation to film noirs of he 1940s, certain shots will pop out, and certain lines like "I'll beat it out of you" resonate. The Mad Miss Manton 1938 Trailer. For example, there is a close up of Stanwyck lying on a couch smoking as Fonda tries to protect her. The music recalls (to me) the music in The Letter. Six years later she starred as the femme fatale lead in the classic noir Double Indemnity and two years after that she starred in The Strange Life of Martha Ivers. Stanwyck reteamed with co-star Henry Fonda in The Lady Eve (1944) and starred in the screwball comedy Great Ball of Fire (1941).
Sound and color TV RCA tests yep, turns out the movie still works without all the exposition Metropolis Ultimate Collector's Edition Blu-ray It Came From Outer Space (1953) Official Trailer Movie HDhttps://www.youtube.com/watch?v=85xpN_OhwqsT

Delerue also wrote the soundtrack for Jean-Luc Godard's Contempt (Le Mépris)

https://www.youtube.com/watch?v=aUs4awmb3-o
Le Mepris (Contempt) - Theme De Camille

1963 Directed by Jean-Luc Godard Music by Georges Delerue

https://richardburtphd.com/indexanamorph.html

Due January 14 by 5:00 p.m: Second Viewing Responses. Give the timestamps of the shots or scenes in the film you think are related by design to two of the four shots I will give you.In your word doc, give the timestamps of the single shots or sequence of shots for two of the four out of mix, and give a description (around 40 words) of the formal relation you observe between the shots I gave you and the shots you noticed. Email all work for the course to me at After you click on the link on the title and watch, write two Discussion Questions (DQs) on and describe any three shots of your choice with three film analysis terms.Post Your DQs etc for History of Film 1 Fall 2022 here.Put your DQs and three shots in one word document--.doc or .docx--and send the word . Don't send me a google doc or copy your document into your email. Don't forget to put your name in the upper right corner of your word document. If you want to know how to improve your discussion questions, I will be happy to meet with you on zoom during office hours or by appointment and show you.Example of the word document format for discussion questions due Mondays by 5:00 p.m.:Your name in the upper right corner.Discussion Questions 1. (with timestamps of the shots you are discussing)2. (with timestamps of the shots you are discussing)Three Film Shots a. (descriptions using film analysis terms with timestamps)b. (descriptions using film analysis terms with timestamps)c. (descriptions using film analysis terms with timestamps)(Clip)REQUIRED VIEWING:Post Your DQs etc for Spring 2025 here.Le Vert au cinéma - Blow Up - ARTE Le Rouge au cinéma - Blow Up - ARTE Wall E (2008)

. Max Steiner

Music Department
Composer

6. Hans Zimmer

Music Department
Composer

4. Franz Waxman

42. Miklós Rózsa

Music Department
Composer
Actor

Ben-Hur (1959)

37. Cliff Martinez

Composer
Music Department
Actor

Only God Forgives (2013)

Cliff Martinez was born on 5 February 1954 in The Bronx, New York, USA. He is a composer and actor, known for Only God Forgives (2013), The Neon Demon (2016) and Drive (2011).

44. Nino Rota

Composer

Music Department

Actor

The Godfather (1972)

43. Robert Israel

Composer
Music Department
Producer

The General (1926)

Philip Glass

Composer
Music Department
Writer

The Hours (2002)

https://www.filmsound.org/filmmusic/filmmusic-books.htm

https://www.youtube.com/watch?v=6yE_VWX1sbE

DesigningSound.org is a great resourse dedicated the art and technique of sound design. Highly recommended!

Music Department https://www.imdb.com/list/ls085585811/

Wagner, Leitmotif

Pet Shop Boys / Music Of Shostakovich Brings Fresh Drama To Silent Film ‘Potemkin’

TOUCH OF EVIL OPENINGS MANCINI VERSUS WELLES

Gance Napoleon

MIKLOS ROSA SPELLBOUND

Hiroshima, Mon Amour (dir. Alain Resnais)

Two Discussion Questions (DQs) and Three Big Words (or the three shots if we're watching a film) are due every Sunday, Tuesday, and Thursday by 5:00 p.m. unless otherwise noted. Please be aware that the closing time on canvas is 5:00 p.m. Canvas will not allow you to submit work after the closing time. So do manage your time well.

You will be counted absent if you do not turn in the DQs on time Mondays by 5:00 p.m. No late work is accepted. I allow you two absences. Three or four absences will impact your final grade at my discretion. More than four absences means you will fail the course. See the Attendance policies for this course. Everything you write in this course counts. The papers will count for 35-50 percent. Co-leading 10-20 percent. DQs 10-20 percent. If you get 1 oe 2 on your DQs, that means you need to improve it for grammar and clarity. Canvas gives you an approximation. If you want to calculate how much work you need to do think you will get a certain grade in the course, this is not a good course for you.

Co-leading one to three weeks depending on how many students are enrolled in the course.

ParaCinema (extracts) and Paratexts

Match Cut (contiguity); Superimposition (two shots shown simultaneously); Reveal; length of take; montage

8½ is a 1963 avant-garde comedy-drama film co-written and directed by Federico Fellini. The metafictional narrative centers on famous Italian film director wagner

8 1/2 - 35mm Trailer Richard Wagner vs Howard Shore - A Leitmotivic ComparisonSchubert Wintereisse and the pop songHow Wagner Shaped Hollywood

The composer has infiltrated every phase of movie history, from silent pictures to superhero blockbusters.

By Alex Ross

August 24, 2020

Tristan Preludes to Acts and III

Ride of the Valkryies (Apocalypse Now)

Venusberg in Tannhauser

Excalibur (John Boorman, 1980) Das Rhinegold "Twilight of the Gods" "Funeral March from

Beethoven 7th Symphony Secon movement

Beethosven Midnight Sonata

Bach Cella suits, Branberg Concertos Seocnd in D minor

Vivaldi Four Seasons

Tschaikovsky

Shostakovitch

Richard Wagner - Siegfried's Funeral March from "Gotterdämmerung", Act III (Excalibur)

List of films using the music of Richard Wagner

Lohengrin, overture

Tristan und Isolde (Liebestod)

The New World

2006

Terrence Malick

Das Rheingold

To the Wonder

2012

Terrence Malick

Parsifal, prelude

Army of the Dead

2021

Zack Snyder

Götterdämmerung

Maria (2024 film)

2024

Pablo Larraín

Parsifal, prelude

Tár

2022

Todd Field

Tannhäuser, overture

Army of Thieves

2021

Matthias Schweighöfer

Götterdämmerung, Das Rheingold, Ride of the Valkyries, Siegfried

A Dangerous Method	2011	David Cronenberg	Siegfried, Die Walküre	[35]
Melancholia	2011	Lars von Trier	Tristan und Isolde

The Phantom of the Opera (1962 film)

https://www.youtube.com/@blowuplactualiteducinemaou121/search?query=bach

Johann Sebastian Bach's Toccata and Fugue in D minor

Amadeus

Faust

Carmen

Bach au cinéma - Blow Up - ARTE

Music in trailers from the film and not from the film

Editing the focus of the shakespeare trailer book and shot selection and music

https://music.apple.com/us/album/classical-music-from-ingmar-bergman-films/505163417

trailers

1920s

1930s

1940s

1950s

1960s

1970s

1980s

1990s

2000s

2010

2020

2025

Trailers --now 2025

Classical music in cinema

Pop music in cinema Blondie in Anaora

Entr'acte (1924) - a short Avant Garde film featuring the music of Eric Satie. feels like a strange, extended music video.https://vimeo.com/652975233?&login=true#_=_https://music.apple.com/us/album/classical-music-from-ingmar-bergman-films/505163417

Kabi Laretei - Close Ups, The Film Music Of Ingmar Bergman [Vinyl, Linn Sondek, Le Son LS10 MKII]

Clockwork Orange

Barry Lyndon · Piano Trio in E-flat, Op 100 (second movement). Composed by Franz Schubert · German Dance

https://what-song.com/Artist/3484/Antonio-Vivaldi

Soylent green (death scene)

https://www.imdb.com/name/nm0006334/

https://m.imdb.com/search/title/?keywords=classical-music-score&explore=keywords

Carmina Burana

Le Wale Diva film

The Terrible Children

Concerto in A minor for 2 violins and string orchestra (Opus 3, No. 8; RV 522)
Concerto for violin, strings & basso continuo in D minor (RV 813/vclass. RV Anh. 10)
Concerto in A minor for 4 pianos (BWV 1065)
Were you Smiling at Me

https://www.youngcomposers.com/t27754/overused-classical-pieces-in-films/

Bach au cinéma - Blow Up - ARTE

Blow Up, l'actualité du cinéma (ou presque) - ARTE

65K views6 years ago

Nouvelle épisode de notre série sur les compositeurs classiques au cinéma. Et après Mozart, Beethoven ou Wagner, place à Jean Sébastien Bach. Blow Up, l'actualité du cinéma (ou presque)...

Vivaldi au cinéma - Blow Up - ARTE

Blow Up, l'actualité du cinéma (ou presque) - ARTE

35K views5 years ago

Voici un nouvel épisode de notre série sur les compositeurs classiques au cinéma. Et après Beethoven, Mozart, Bach ou Wagner, place cette semaine à Antonio Vivaldi. Blow Up, l'actualité...

Tchaïkovsky au cinéma - Blow Up - ARTE

Blow Up, l'actualité du cinéma (ou presque) - ARTE

Après Mozart, Bach ou Beethoven et avant Schubert ou Verdi, place cette semaine à Piotr Ilitch Tchaïkovsky dans Blow up, l’un des compositeurs classiques les plus cités de l’Histoire...

Beethoven au cinéma - Blow Up - ARTE

Blow Up, l'actualité du cinéma (ou presque) - ARTE

Et si nous ouvrions cette saison 2019 / 2020 de Blow up par une nouvelle série sur les compositeurs classiques au cinéma ? Et avant Mozart, Bach, Schubert ou Wagner, place cette semaine à...

Chopin au cinéma - Blow Up - ARTE

Blow Up, l'actualité du cinéma (ou presque) - ARTE

48K views4 years ago

Voici un nouvel épisode de notre série consacrée aux compositeurs classiques au cinéma. Et après, entres autres, Beethoven, Mozart, Bach ou Vivaldi, place cette semaine à Frédéric Chopin....

Schubert au cinéma - Blow Up - ARTE

Blow Up, l'actualité du cinéma (ou presque) - ARTE

46K views5 years ago

Voici un nouvel épisode de notre série sur les compositeurs classiques au cinéma. Et après Beethoven, Mozart, Bach ou Vivaldi, place cette semaine à Franz Schubert. Blow Up, l'actualité...

Erik Satie au cinéma - Blow Up - ARTE

Blow Up, l'actualité du cinéma (ou presque) - ARTE

33K views4 years ago

Et si après entre autres Mozart, Beethoven, Bach, Chopin ou Tchaïkovsky nous parlions d’Erik Satie dans Blow Up ? En effet le compositeur français a été abondamment cité au cinéma,...

Musique classique et cinéma

Blow Up, l'actualité du cinéma (ou presque) - ARTE · Playlist

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Verdi au cinéma - Blow Up - ARTE

Blow Up, l'actualité du cinéma (ou presque) - ARTE

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Ways of Seeing (1972), John Berger | Episode 1 - 4

Hals Women Regents of Haarlem

627 views5 years ago

Art History 101

Setting the Scene with Sound: (Re)Scoring Silent Film

Buster Keaton The General

How Film Music Has Transformed Over Time

Vom Fragment zum Monument: Das Ischtar-Tor in Berlin | Pergamonmuseum | Ausstellungstrailer

Staatliche Museen zu Berlin

Daivid Lynch baldomentio nina simone

Ingmar Bergman's Cinema

The Criterion Collection

https://www.criterion.com › boxsets › 1427-ingmar-ber...

Thirty-nine films, including eigh

Bacarolle

Chopin au cinéma - Blow Up - ARTE

Schubert au cinéma - Blow Up - ARTE Les B.O. d'Orson Welles - Blow Up - ARTE

Beethoven au cinéma - Blow Up - ARTE

Blow Up, l'actualité du cinéma (ou presque) - ARTE

Teddybears - Punkrocker from 'Superman'

https://www.youtube.com/watch?v=4lYIhKhgIuY

Iggy Pop / Teddybears

Punkrocker Guitar Lesson / Guitar Tabs / Chords / Cover - Superman 2025 https://www.youtube.com/watch?v=JR7oiW32_8w

TENTATIVE SCHEDULE (Please expect adjustments to be made in the schedule from time to time.)

https://richardburtphd.com/schedfindingfootageshots.html

Learning by comparison and evaluation: Crane shots. Compare the second establishing shot in Letters to Juliet (dir. Gary, 2010) to the first establishing shot in La Plaisir (Max Ophuls, 1948)

Which shot is better and why?

Compare to the opening shots of Gimme Shelter (1970) (trailer), Contempt, and Finding Othello (dir. Orson Welles, 1978) Low image and sound quality
Naked voice from Merry Clayton in gimme shelter

Montage Eisenstein

Strike!

Battleship Potemkin alternate soundtracks

Battleship Potemkin (DVD)

https://kinolorber.com › product › battleship-potemkin-d...

... Music by Edmund Meisel (1926) Courtesy of Ries & Erler, Berlin Adaptation and Instrumentation by Helmut Imig Performed by the Deutsches Filmorchestra (2005)

Michael Nyman - 'Odessa Steps' scene from Battleship Potemkin / live orchestra / Ed Huges / New trailer for Battleship Potemkin (1925) /
Battleship Potemkin (1925) HD Full Length Movie - Directed by Sergei Eisenstein Romney, Jonathan & Wooton, Adrian (eds.)
Celluloid Jukebox: Popular Music and the Movies Since the 50s The Man with the Movie Camera 1929 michael nyman edition

REQUIRED VIEWING:

Dziga Vertov, Man with a Movie Camera (1929) with Alloy Orchestra soundtrack or

Music by Michael Nyman / DZIGA VERTOV: THE MAN WITH THE MOVIE CAMERA AND OTHER NEWLY-RESTORED WORKS

Man with a Movie Camera (2014 Restoration trailer)

NYman with a Movie Camera' Trailer 2011 Cut by Michael Nyman

5 wonderful effects in Man with a Movie Camera
Shostakovich - Symphony No 10 in E minor, Op 93 - Gergiev

The Two Restorations of Autour de L’Argent - A restoration demonstration of Autour de L’Argent with Serge Bromberg (5 min).

January: 29

February: 3Eisenstein on film

Hollywood Mindhunter montages

Kuleshov

February: 5 Man with a Movie Camera (2014 Restoration trailer) I

Man with a Movie Camera (1929) movie (diegetic orchestra

SIlent film screening Dartmoor Cottage

Man with a Movie Camera (Alloy Orchestra) 1929 - Человек с киноаппаратом

February: 10REQUIRED VIEWING:

Blow Out (dir. Brian De Palma, 1982)

Gerard Genette and Marie Maclean, "Introduction to the Paratext" in New Literary History, Vol. 22, No. 2, Probings: Art, Criticism, Genre (Spring, 1991), pp. 261-272

Georg Stanitzek Translated by Klein, Ellen. "Texts and Paratexts in Media." Critical Inquiry. (September 2005). 32 (1): 27–42.

Required Viewing

CriterionTrailers

In class quiz (I won't post the due dates any longer.)

Shot selection: How do the trailers reconstruct the film?

Required Viewing

1. METROPOLIS - Fritz Lang - New Version - 3 Hours - New English Intertitles & Music Soundtrack 4K

2. Fritz Lang's METROPOLIS 90th Anniversary Trailer

"Le Parti des choses (lit. On the Side of Things) a.k.a. Bardot et Godard (Bardot and Godard) or Le Parti des choses: Bardot et Godard is a 1964 short documentary directed by Jacques Rozier on the making of Jean-Luc Godard's film Le Mépris." Poor image and sound quality with English subtitles

Excellent sound and image quality but in French only.

Orson Welles used the same music in 1962. Albinoni - Adagio in G Minor / The Trial

Paparazzi Directed by Jacques Rozier • 1964 • France

Criterion DVD supplement on the widescreen and Hollywood aspect ratios of Contempt.

Le Mépris (1963) – Once Upon a Time There Was... Contempt

Contempt (1963) audio-commentary by Robert Stam

Marcade, Jean Roma amor; essay on erotic elements in Etruscan and Roman art

(1965)

Paparazzi Directed by Jacques Rozier • 1964 • France

Orson Welles used the same music in 1962. Albinoni - Adagio in G Minor / The Trial

February: 24Recommended Documentary:

Criterion DVD supplement on the widescreen and Hollywood aspect ratios of Contempt.

Le Mépris (1963) – Once Upon a Time There Was... Contempt

Contempt (1963) audio-commentary by Robert Stam

Marcade, Jean Roma amor; essay on erotic elements in Etruscan and Roman art

(1965)

Alfa Romeo 2600 Spider in “Le Mépris” (1963)

https://richardnilsen.com/tag/brigitte-helm/

October 30

Required Viewing

November 4

Required Viewing

THE ROBOT scenes

1. METROPOLIS - Fritz Lang - New Version - 3 Hours - New English Intertitles & Music Soundtrack 4K

2. Fritz Lang's METROPOLIS 90th Anniversary Trailer

"Le Parti des choses (lit. On the Side of Things) a.k.a. Bardot et Godard(lit. Bardot and Godard) or Le Parti des choses: Bardot et Godard is a 1964 short documentary directed by Jacques Rozier on the making of Jean-Luc Godard's film Le Mépris." Poor image and sound quality with English subtitles

Excellent sound and image quality but in French only.

Orson Welles used the same music in 1962. Albinoni - Adagio in G Minor / The Trial

Paparazzi Directed by Jacques Rozier • 1964 • France

Recommended Documentary:

Criterion DVD supplement on the widescreen and Hollywood aspect ratios of Contempt.

Le Mépris (1963) – Once Upon a Time There Was... Contempt

Contempt (1963) audio-commentary by Robert Stam

Marcade, Jean Roma amor; essay on erotic elements in Etruscan and Roman art

(1965)

Alfa Romeo 2600 Spider in “Le Mépris” (1963)

Recommended Documentary:

Alfa Romeo 2600 Spider in “Le Mépris” (1963)

REQUIRED VIEWING:
Jean-Luc Godard's LE MEPRIS - Newly restored in 4K (click cc for English subtitles)

Le Mépris (1963) Bande Annonce VF (The original French trailer of 1963.

Nouvelle bande-annonce pour LE MÉPRIS de Jean-Luc Godard, en version restaurée 4K(Don't worry about not understanding the French dialogue or voice-over narration.)

In Class Viewing:

Excellent sound and image quality but in French only.

1. ROBO-READING:

An Exercise in Language and Style

Read the novel slowly. Take pleasure in it. Choose a word you notice Wharton using recurrently, a word that you think is important to our understanding of (part of) the novel because it doesn't necessarily mean the same thing every time it is used. The word can be plural or singular, a stand-alone word, a part of a word, or a variation of the word. Then go to this webpage https://www.gutenberg.org/cache/epub/284/pg284.txt and search it for the word you've chosen. Then choose one passage in which you find the word of particular word. Write 50-100 words explaining why you think it is important.

Here is an example: The word "fly" and "flies." The former is used as a a metaphor by the narrator to describe Grace Stepney's mind. The latter is used by Lily in a simile for her suitors, of whom Selden is one.

"Grace Stepney’s mind was like a kind of moral fly-paper, to which the buzzing items of gossip were drawn by a fatal attraction, and where they hung fast in the toils of an inexorable memory."

"It was rather that he had preserved a certain social detachment, a happy air of viewing the show objectively, of having points of contact outside the great gilt cage in which they were all huddled for the mob to gape at. How alluring the world outside the cage appeared to Lily, as she heard its door clang on her! In reality, as she knew, the door never clanged; it stood always open; but most of the captives were like flies in a bottle, and having once flown in, could never regain their freedom. It was Selden’s distinction that he had never forgotten the way out."

Lily shifts from using the cage as a metaphor for Selden's distinct relation to society (the show) to a simile to describe his relation. The cage and the bottle explain Lily's high estimation of Selden's character. He has points of contact outside the cage, unlike most "captives" or "flies"; and he knows how to get free of it (now renamed "flies in a bottle").

2. Understanding Wharton's subtle sense of humor.

The novel is often very funny . And it is sometimes sad at the same time.

Reread the parts about Mrs. Peniston in Chapter 11. Find an instance in the chapter where Wharton uses humor when characterizing her.

Cut and paste it to the google doc and put your name after it. If someone has already posted the instance you have chosen, go back and find another that hasn't been posted. Wharton uses humor for Mrs. Peniston every time she appears in the novel.

Grace Stepney’s mind was like a kind of moral fly-paper, to which the buzzing items of gossip were drawn by a fatal attraction, and where they hung fast in the toils of an inexorable memory.

Requirements: TOTAL ATTENDANCE; Co-lead class discussion twice, once on a Monday and once on a Wednesday; two discussion questions;and three or more "BIG WORDS" for each class; student formulated quizzes each class; three 500 word papers; and a willingness to reflect, think, respond, by paying very, VERY, VERY close formal attention to texts and films. (All due dates are given on the schedule page.) I will be asking you to learn how to do something no one may have asked you to do: it's called close reading. (Please do not confuse being moralistic and judgmental--"it didn't do 'x' and it should have done!"--with being critical--"why is the work doing what it is doing the way it is doing it?") Papers due dates are listed on the schedule page. I will give you topics for each paper.

Discussion Questions (DQs) and BIG WORDS are always due by Mondays and Wednesdays by 5:00 p.m. Send both in one word document. We will discuss your DQs in class the day after they are due Mondays and Wednesdays by 5:00 p.m. I have posted due dates for the the first few assignments but I will no longer give due dates after January 17. You'll know the drill by then.

BIG WORDS: For each assigned reading, I will ask you to look up the definitions of three Big Words and (and cut and paste the words and their definitions into one document including your DQs)

I'll ask you to co-lead classes two times during the semester. You and your co-leader will create a google document and share it with me so I can give you advice before we meet for class.

All assigned work for the course must be completed and be of passing quality to pass the course. We will learn collaboratively. It's what I call "live learning." I will not lecture at you while you try to stay awake. Therefore, you and your fellow students must all participate in class discussion. This is a new and somewhat experimental course I have designed myself. It is not a course where you can do 70 percent of the work and expect to get a C in the course. To get a C in the course, you need to do 100 percent of the work at a C level. Because of the large number of students in the class, I may not notice if you have not been completing the work until the end of the term. In that case, you will receive an E. To get above a C, you must participate in class discussion.

Required Viewing

1. METROPOLIS - Fritz Lang - New Version - 3 Hours - New English Intertitles & Music Soundtrack 4K

2. Fritz Lang's METROPOLIS 90th Anniversary Trailer

January: 22 Watch the art film romcom Fallen Leaves (dir. Aki Kaurasmaki, 2023) AGAIN, FOR THE SECOND TIME, AND THIS TIME PAY ATTENTION TO THE SOUNDTRACK and to Sound Editing].

Fallen Leaves (dir. Aki Kaurasmaki, 2023

Warner Bros. DVD Trailer

Warner Bros. Classics 1996 Promo

January: 22

King Lear Films

. Max Steiner

6. Hans Zimmer

4. Franz Waxman

42. Miklós Rózsa

37. Cliff Martinez

44. Nino Rota

43. Robert Israel

Philip Glass

Recommended:

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