Blondie "Call Me" Supergirl | Official Teaser Trailer (2026) See Anora (2025)
Where Do You Put the Camera? When and where do you put it. The Art of Cinematic Composition Hangman also Die and suppressed translation of the German. Recycled footage in John Dillinger from Fritz Lang's film You Only Live Once? Bank robbery with robbers wearing gas masks then car in mud being fragged out by a crane
Color Grading Comparison of blu-ray and 4K
Aspect ratio in "Maria" in Robert Wise's 1961 West Side Story and in Spielberg's 2021 remake.
Long takes, stationary camera as in "Somewhere"), modest, abstraction and minimalism as mise-en-scene (see the end of "Maria") versus showy hyperrealism, lots of angles, and cutting to the music matched to dance moves.
THE DARK PAST 1948 Original Theatrical Trailer
The Dark Past 1948 Film Noir Thriller
There will be attendance optional, free screenings. You must watch the assigned films on disc or streaming on your own. I have provided links whenever possible.
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.
When writing discussion questions, do not use the text as a prompt to speculate about the author’s reason for writing it or ask about how it coments on "fill in the blank" or that it forshadows or declare that is symbolizes something. The text or film is the prompt. Write about it. What is happening in a particular sentence or sentences, rhetorical trope, repetition, lexicon, diction, syntax and and how it may connect to other moments, become part of a pattern? Ditto for films: what is the frame? What is not in it? How long is the take? What kind of shot? Lighting? Sound? How does a specific montage work?
Here is an excellent and concise audiocommentary over a few moments on lighting in a film. John Bailey Breaks Down a Tour de Force of Gothic Lighting
CANDYMAN (2021) TRAILER https://docs.google.com/document/d/1IqJY7bgJ5IlHCPjQn5MokrRsTgTFSdGjfYagUpAvQd8/edit?tab=t.0
70mm film
https://www.youtube.com/watch?v=4akqi6YYIJw
https://richardburtphd.com/trailerassignment2026.html
First Day of Class
There will be optional screenings. You must watch the assigned films on disc or streaming on your own. I have provided links whenever possible.
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.
Do not use the text as a prompt to speculate about the author’s reason for writing it or ask about how it coments on "fill in the blank" or that it forshadows or that is symbolizes something. The text or film is the prompt. Write about it. What is happening in a particular sentence or sentences, rhetorical trope, repetition, lexicon, diction, syntax and and how it may connect to other moments, become part of a pattern? Ditto for shots, sequences, montages, and so on in a film. Here is an excellent and concise audiocommentary over a few moments on lighting in a film.
https://richardburtphd.com/trailerassignment2026.html
First Day of Class
There will be no screenings. You must watch the assigned films on disc or streaming on your own. I have provided links whenever possible.
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.
Do not use the text as a prompt to speculate about the author’s reason for writing it or ask about how it coments on "fill in the blank" or that it forshadows or that is symbolizes something. The text or film is the prompt. Write about it. What is happening in a particular sentence or sentences, rhetorical trope, repetition, lexicon, diction, syntax and and how it may connect to other moments, become part of a pattern? Ditto for shots, sequences, montages, and so on in a film. Here is an excellent and concise audiocommentary over a few moments on lighting in a film.
When 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].
Blow Out - 360 Pan Shot The of erasure
EXAMPLE OF THE CREATIVE DAMAGE A TRAILER CAN DO: The Magnificent Andersons (dir. Orson Welles, 1942) and the trailer (ALL THE LONG TAKES REMOVED EXCEPT FOR ONE AS THE LAST SHOT OF THE TRAILER AT 1:42; WELLES' SAVES MOST OF IT BY NARRATING MOST OF IT. GO TO 9:10 FOR THE BALLROOM SCENE WHERE YOU WIL FIND A SERIES OF LONG TAKES. YOU CAN WATCH PART OF THE SCENE HERE.
Post Your DQs and BIG WORDS or Three Shots BOTH
on Canvas AND on https://docs.google.com/documing=h.mq1cjbqsp1r5
https://richardburtphd.com/trailerassignment2026.html
Wilkerson on the Real “Vice” Cheney – (1/4) December 31, 2018
ENG 4113 Section 4396 Ashes of Cinema: Philology, Film Restoration, and Deconstruction (Spring 2011)
ENG 4133 Silent Film Philology Spring 2013
ENG 4133 1C26 Film Philology: ciNOma Fall 2014
Spring 2018 ENG 4133 Sound, Silent Cinema, Musicology
Anne Dufourmantelle, Power of Gentleness : Meditations on the Risk of Living.
Image Captures: This course is about the necessity and necessary limitations of reading films shot-by-shot. Photographs versus motion picture. The debate was about whether film captures should not be used by critics because it was a continuous medium (André Bazin) or should be used because film is a discontinuous medium: film frames must be separated by black bars and the film projected at 24 frames a second for the to make sense to viewers. Using film stills in books won out. That is all for the good. The sequence and the image capture remain indispensable (Storyboards, if they exist, can also be useful.) But images also have two major limitations: first, sound is almost always ignored (Claudia Gorbman is the shining exception). Second, editing is sidelined. The sequence is homogenized since every capture is the same size. They appear to be of equivalent importance both because the camera always appears to be stationary and because the length of the take always appears to be identical. It is therefore next to impossible to establish the pace and the rhythm of the editing. It is difficult to see the narrative structure. And sound is an obvious problem. Discontinuity in the edited image cannot be understood in relation to continuity in the music.
"Please clap"
The Midnight - Los Angeles (remastered by Night Habits)
vs. Tangerine (2012) entirely on iPhone 5s.
Notes on Blindness: Into Darkness VR experience teaser trailer
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
Alien Recut as a Comedy | Trailer Mix
Exhibition - Official Trailer (Dir. Joanna Hogg)
All The President's Men | Soundtrack Suite (David Shire)
The Matrix White Rabbit Scene HD
Not original
Starz logo
Columbia logo "To the other kids at Saint Bernard's Academy, they were the girls . . . '
Stargate (2025) | First Teaser Trailer | Starring Dave Bautista & Anya Taylor-Joy
Elf recut as a Thriller - Trailer Mix
Honest Trailers | Snow White
AppleTV trailers
https://www.youtube.com/playlist?list=PLx-VtE7KiW8z1ksDcYDs-BlGnzi2mS-Z8 Trailers & Teasers | Apple TV
CriterionTrailers
The Running Man | Official Trailer (2025 Movie) - Edgar Wright, Glen Powell
Notuce the number of times the film title is used and where. Notice the repetition of shots from the "before" trailer in the later trailer.
- Chion, Michel, La Musique au cinéma
1995
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- Chion, Music in Cinema
Michel_Chion,_Film_A_Sound_Art_2009
Chion, ScreamingPoint
Chion, Audiovision
"How Wagner Shaped Hollywood" _ The New Yorker
Sergei_Eisenstein, Film_Form_Essays_in_Film_Theory_1977
How to Watch Hitchcock_ 5 Steps to Unlock the Master of Suspense - The New York Times.pdf
Must Have Color Grading Tool | SHOTDECK
Textile on FBI privacy warns, clarity of (as paratext)
DVDXtras www.youtube.com/@DVDXtras_
Fake moments in the trailer for Nightcrawler (2014) (not in the film). Jake Gyllenhall erases the minus sign from an A- grade a reviewer gave it (Timestamp 45-47). And a jousting scene in The Jester with Danny Kaye is playing on the TV when Jake is ironing his clothes, not the "Horror House" Breaking News show seen in the trailer.
Trailer Starts Now: It Ends with Us (timestamp 0:07)
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."
Headphones in Thelma and Louise---phone call conversation, same music in two rooms
noise of rain in singin in the rain
Unitary theory of cinema--sound synchronized with theimage--versus music as aleatory, autonomous
And the ship sounds on Fellini--in 1914 the death of opera by cinema the death of cinema by tv
gendre transfer in Syberberg Parsifal
Chion, "The Opera Film"
Criterion Channel Music Films
https://www.youtube.com/watch?v=k6YjZSkjnBI
No cell phones, ipads, or laptops in use during class. I expect your fully attentive during class discussion for the entire class period.
If you have an ADA accommodation, please let me know how I can help.
Miles Davis - Générique Title sequence the music in the video linked above
Le Feu Follet (1963) Erik Satie "1re Gnossienne" Au piano Claude Helffer
Orson Welles the same piece by Satie in The Immortal Story (1968)
"Coincidentally, it was thanks to French television—specifically, a program about Erik Satie that Welles saw roughly halfway through his editing—that the filmmaker decided to use several of the composer’s sadly reflective solo piano pieces for the film’s score, an inspired choice that, as the New Yorker’s Alex Ross has pointed out, “soon became clichéd” because of its frequent use by other filmmakers but “was quite new in 1968.”"
We will discuss the trailers on Tuesdays and films on Thursdays.
Trailers, Recaps, Restoration Demonstrations, "Previously On" sequences in TV series; and Film Essays
Recapping as "Hand-picked" Selection of "Best Scenes"
Akira Kurosawa’s Epic Action Drama Ran | Best Scenes StudiocanalUK (Nine minutes)
The Four Scenes are divided by one to five words: "Arrow"; The Killing of the Guardian"; "Treason"; Burning Castle"
https://www.youtube.com/watch?v=e6NMNJcudlI
Note how the music works in scenes two, three, and four. Scene four ends with diegetic sound.
You can see Ran here
https://x.com/vashikoo/status/2005064125190471780
35mm film trailer overscan with optical audio track and matte guidelines for proper framing.
https://www.youtube.com/watch?v=6Zv6zK8N9Lk
https://www.nytimes.com/2018/11/15/arts/the-end-of-endings.html
WHAT ARE CONTINUITY SHEETS?
https://www.youtube.com/watch?v=r83p9TtfGmY
https://www.youtube.com/watch?v=wDxEuOqOgws
Reflection in a Dead Diamond | Official Trailer | Shudder
Alex Ross, What Is Noise? Sometimes we embrace it, sometimes we hate it—and everything depends on who is making it.
https://www.newyorker.com/magazine/2025/12/29/the-organists-improvising-soundtracks-to-silent-films
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)
Michel Chion on analogies: cinema as music or dance ; on parallelism.
--Michel Chion, Cinema in Music, pp. 324; pp. 334-39
"Only when one slows down the film on an editing table . . . "
Raymond Bullour, The Analysis of Film
Nevertheless, before the arrival of videocassettes, DVDs, and digital
files, all of which make it possible to freeze the film on an image, the
spectator in the theater agreed, in the heat of the action and the story’s
forward movement, to “play along” and to impute to the characters
and their actors their marvelous virtuosity.
--Michel Chion, Cinema in Music. (1995). p. 313
Aspect ratio
Celluloid versus Digital Film; 70mm versus IMAX cameras
Walk the Line (James Mangold, 2005) was one of these increasingly numerous singer biopics. Joaquin Phoenix, its star, sang all the Johnny Cash songs in his own voice, judging that what would be lost in one kind of authenticity (Cash’s real voice in playback) would be gained in another, his investment in the part. Since his voice did not have Cash’s WHITHER FILM MUSIC? 1996–2020 193 natural bass register he had to force the low notes to approximate Cash’s sound. But the effort paid off: the singer is depicted as a man seeking his way, doubting, and finding his rebel identity. The film clearly shows the creation of a sound and a style, but also, it plunges younger viewers into the bygone world of records, and studio recording sessions using tape.
Michel Chion inclusion of image captures in his discussion the birds slowly gathering in the playground sequence in Hitchcock's The Birds, pp.
Some critics use color image captures. See Christophe Gelly in Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis Music, Memory and Repression in Hitchcock’s Vertigo (1958) https://doi.org/10.4000/miranda.36484
Some writers select shots and give them clever captions. See, for example, Stanley Cavell's book, Contesting Tears: Hollywood Melodrama of the Unknown Woman (1990)
Smokin' shot-reverse-shot as "match cut" in a chapter from Stanley Cavell's on Now Voyager (dir. Irving Rapper, 1942)
The captions are actully self-quotations from the chapter and the two are not synchronized. The caption and the quotation may be pages apart rather than on the same page. A screen capture of Gary Grant in The Philadelphia Story just after the title page reappears later in a chapter on that film.
Criterion sometimes have stills from a given film at the bottom of their pages on it and sometimes have a trailer.
Ditto for Flicker Alley / Ditto for vendors.
In her book Unheard melodies: Narrative Film Music (1987), Claudia Gorbman often transcribes music; in Chapter 6, an analysis of a sequence of Jean Vigo's and Maurice Gaubert's Zéro de conduite (Zero for Conduct, 1933), she matches shot by shot image captures to transcriptions of the music heard in each shot in one sequence. She also gives captions to some of the image captures. (pp. 112-39; 118-126)
David Sonnenschein, Sound Design: the Expressive Power of Music, Voice, and Sound Effects in Cinema (2001)
Types of Music Selection in Film:
11. Jukebox Hit Pop Tunes like
"These Boots Are Made for Walking" by Nancy Sinatra (1966).
Stanley Kubrick uses the first two verses of the song in his film about the Vietnam war, Full Metal Jacket (1981) Kubrick divides the fillm into two parts. The first parts ends with the murder of a drill sargeant and the suicide of the private who killed him. Fade to black. Fade into an establishing, low angle, dolly shot behind a hooker in Saigon as she walks (during day time) toward two GIs sitting outside a bar. Dialogue in that scene in turn inspired a rap song (and music video), "Nasty as They Wannabe," by the rap band 2 Live Crew (1989). In Kubrick's film, the hooker tells the GIs "Me So Honey. Me love you long time." Her line was mixed and lip-synched in two shots of dancers in the 1989 music video.
Rolling Stones' "Paint it Black" in end title sequence
Media Whitewashing the Blood-Soaked US Military-Industrial Complex January 14, 2019
The Best and Worst of the Week’s Trailers: Actress Showcases 2018
https://www.nytimes.com/2018/10/19/movies/trailers-best-worst.html
The Midnight - Explorers • Synthwave and Chill
https://www.youtube.com/watch?v=yau7jMTDg9c&list=RDEMVOzRQTMI_ZrcuvlDNKc2dg&index=23
ALFREDO CATALANI // 'La Wally, Act I: Ebben?
The Setup 1949 -- OPENING TITLE SEQUENCE
EXAMPLE OF THE CREATIVE DAMAGE A TRAILER CAN DO: The Magnificent Andersons (dir. Orson Welles, 1942) and the trailer (ALL THE LONG TAKES REMOVED EXCEPT FOR ONE AS THE LAST SHOT OF THE TRAILER AT 1:42; WELLES' SAVES MOST OF IT BY NARRATING MOST OF IT. GO TO 9:10 FOR THE BALLROOM SCENE WHERE YOU WIL FIND A SERIES OF LONG TAKES. YOU CAN WATCH PART OF THE SCENE HERE.
Aspect ratio of about
2.35:1 for Polanski's
Macbeth. Compare the correct
widescreen version of the film available on amazonprime (1:23: 49 / 1: 24: 25 ) to the "censored" academy ratio available
Vimeo. (1:20:12 / 1:20:57). The Vimeo version cuts Lady Macbeth out of the frame. At 1: 23: 10 in the Amazon.com (correct) version, Lady Macbeth is in the center of the shots and tells the guests a kind goodnight to all." Then the camera focus racks as Macbeth speaks to himself. Lady Macbeth, now in soft focus, shows the guests of the door, to her right. When he finishes speaking, Macbeth moves quickly left to right out of the frame as the camera racks focus back to deep focus and the guests depart. Cut to Macbeth, seated, completing his speech "and stones to speak." At the least second before she turns her head to the left to see where Macbeth has gone. Cut back to a slightly tighter version of the previous shot: Lady Macbeth stands still as the last guests go. 1: 23: 32-48. At the last second, she again turns her head to her left to check on Macbeth. The camera is stationary throughout.
These are two different versions of the film. The relationship between Macbeth and Lady Macbeth is not entirely clear. After the banquet scene, Polanski defines their relationship by alternating three long takes with a few brief takes during which one or both characters are in or out of the frame. It is very important to Polanski to shoot Macbeth and Lady Macbeth in shared scenes both alone in one shots or together in two shots, just as it is important to him that their costumes tell us something about them. (They both have fur collars, and both wear gold crowns that look identical. Her gold dress reflects his gold crown). In a very long take, 1: 24: 23-1: 25: 03 Macbeth sits on the left, Lady Macbeth on the right. (Note that the film does not cut until two seconds after they have left the frame.) The camera slowly dollies in closer to the couple during the forty second shot of them sitting on opposite sides of a table. At 1: 25: 29, the camera cuts to the couple walking up a stairway and then cuts to what will be the beginning of a long take. The camera focus on a window lit by bright red (it's now dawn) as Macbeth begins to speak "I'll to the . . .") and pans right in what becomes an overhead shot as the camera stops over the couple in bed. Now Lady Macbeth is on the left and Macbeth is on the right. Polanski leaves the audience to notice or ignore his very subtle and quiet design. The
Vimeo version destroys that design in favor of Macbeth's character and at Lady Macbeth's expense. That seems reasonable since he alone is speaking. But we no longer get Lady Macbeth's reaction. Polanski wants us to see it. She totally drops out of the frame Polanski put her in.
L'Atlantide [Lost Atlantis] (Jacques Feyder; 1921): Key scenes
OUP on disc but available for free online with very poor image quality here The Mistress Of Atlantis aka L' Atlantide (1932) Full Movie (Adventure) and here. https://archive.org/details/TheMistressOfAtlantis
Classic Movies of 1930's Playlist
Video 7-Richard Wagner, directed by Carl Frölich (1913)
https://www.youtube.com/watch?v=gdUlGQIzeWY
Silent Wagner (1913) | First Biopic Film | Complete Version, No Sound
https://www.criterion.com/current/posts/6722-john-bailey-breaks-down-a-tour-de-force-of-gothic-lighting
Film Editing and Music First Day Resources
https://www.pablo-ruiz-picasso.net/work-235.php
https://www.criterion.com/films/651-playtime
https://x.com/Tico_Romao/status/2002032926373052756
"One of the more striking instances of of event repetition occurs in Michelangelo Antonioni's Zabriskie Point (1970). Appearing to be Daria's subjective fantasy of blowing up a lavish desert home of the corporate elite, and the destruction of commodity capitalism more broadly, the explosion was reported captured with 17 cameras. The story event is 1 minute and 16 seconds long, consisting of 14 shots, 13 of with are presented through reduced frame rate, with no overlapping edits."
https://www.criterionchannel.com/la-jetee
The Hook: Pop Songs (first five-ten seconds) and Opening sequence of a narrative film or television series episode. See APple TV's The Last Frontier
https://www.youtube.com/watch?v=yD0aBVjFRls
Some kind of spectacle (a character, often a young woman who also stars) with a reveal of the main actor five minutes into the film (classical Hollywood ) or what Orson Welles called "the man with the horse" who generates drama. See Douglas Sirk's noir Shockproof (1949) or the title sequence of Robert Siodmak's noieThe Killers (1947). In films before the late 1960s, title sequences were not integrated into the narrative. The studio logo appeared first, then the titles appeared against a sort of wallpaper. Music played continuously. See Wicked as They Come (1956). Then the film began. So the opening shot of the film counted. See the long take (32 seconds) in Alfred Hitchcock's Marnie (1964), something of a throwback given the titles Saul Bass did for Psycho, North by Northwest and Vertigo. The shot begins with the camera in a closeup of a yellow purse a well-dressed young woman with dark hair. She carries it under her left arm and then the woman (shot from behind) carrying a suitcase with her right hand as she walks along a train platform. She stops and puts her suitcase down, now far away from the camera.
Changes in the history of film production and design did not occur all at once. There were sometimes uneven developments. Hitchcock could still use the classical style in 1964. But the integrated title sequence was already being used in B Pictures years earlier. Artistic and industry innovation always outstrip standardization. Even in title sequences for very similar Hollywood films in the genre of The Sea Hawk varied.
Consider the main title sequence and prologue of Robert Wise's noir The Set Up (1949). The title sequence is "set up" to be two shots, though it is actually three. The film's title appears in the first shot as if cueing the bell ringer to for the next round of boxing. We see only the boxers from their waists down. For some reason, there is a dissolve and jump cut superimposed onto the same shot at timestamp 00:59-01:00. I don't think we are supposed to notice. Or are we?
The dissolve precedes the knock out of the boxer in dark trucks only by three seconds. Wise's credit as director appears from timestamp 01:03-09, the end of the sequence. Given the title of the film, are we supposed to see the dissolve as a trick--it is long enough for us to we see what we are not supposed to see. Are we supposed wonder whether the boxer really is knocked out? Is a throwing a fall? The film begins with the end of a boxing match, not a draw. As the dramatic action, the knock out is "what happened." Usually, we are supposed to wonder why something happened or is about to happen. . That is the hook. In this case, the explanation seems self-evident. One boxer knocked out the other boxer. But maybe it's not. Throwing the fight is an act. It cannot be seen. The audience, the gamblers, have to think the knock really is a knock out. The people we see in the audience seem to be convinced it is. But they can see more than we can. Maybe that's why a single long take is cut into two shots, the sailor in the back first to the left and then to the right. That is a deliberate continuity error. Maybe that's why never see the expressions on the fighters' faces or the knock out punch. All we can see is that one boxer is more nimble on his feet than the other. So the question the title sequence is not the bower who won or the boxer who lost. It's about whether we're being set up.
The Wizard of Oz and Pink Floyd "Moon" as the soundtrack
Subtitles for La Jetee 1962 on Argo with French narration (Vimeo) versus Criterion in English, both French and English subtitles, different translations
Amazon which adds more subtitles
On Vimeo and Criterion, the subtitles are not translated the same way, but they are appear next to different images in the film, and thereby possibly changing the meaning of the images. Criterion's titles are synched to the narration and the cuts from onr image to another as the narrator. The museum sequence are sequenced differently in the Argos and in the Criterion.
https://www.youtube.com/watch?v=Hw0ik-NsyJU
Uptight (1968) | NEW HD Trailer Imprint Films
Arrebato / Rapture (1979) Directed by Iván Zulueta
Reading with image captures and captions:
Cavell, Stanley, Contesting tears : the Hollywood melodrama of the unknown woman
Robert Fripp & Brian Eno 'Air Structures' Live in Paris 1975 (Analogue Goodies Vinyl Bootleg 1978)
Author not dead yet
The enlarge + and shrink - FEATUREs ALSO WORK IN WORD DOCUMENTS, we browsers, AND ACROBAT PDFS.
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Reading Film Closely and Listening to Attentively:
Spatializing the film: the sequence (or montage) shot by shot through image captures (film frames as photographs); all 600 shots of film; aspect ratio; kind of shot.
Temporalizing the film, or watching it as if it were on an editing table: stopping the film; speed of the sequence (watching it in slow motion); length of each take; kind of shot fast forward and fast reverse; cueing the film p. 103ff, narrative punctuation p. 104-06; instrumentation: opening dance number with Marlene Dietrich in Josef von Sternberg's Blonde Venus (1932); Walt Disney's Silly Symphonies "The Skeleton Dance 1929"
Walt Disney's Silly Symphonies - The Complete Collection (1929-39)
- by Walt Disney Productions
Listening to the film: Music, Noise, Silence; diegetic and extradiegetic sound
Chion's example of the introduction from Ingmar Bergman's Persona (1966) time stamp 00:00-06:40 what sounds like noise is actually music, p. 214; versus music in the trailer Persona (1966) trailer | Directed by Ingmar Bergman / fan trailer
Music by Lars Johan Werle
Wagner p. 103; index entry p. 379
Main titles website both the image captures and the live motion
Film score as spatialization of composition (looking forward)
Page numbers are from Michel Chion's Music in Film (2021)
Read pages in the index, pp. 365- 79
Entries for composers; editing; classical music
Hollywood, classical, music; noise
Nyman, Michael; Delerue, Georges; opera; popular music; persona, 214;
space, music; synchronization of sound and image
Can a resource for use work without some kind of organization?
https://www.criterion.com/films/34869-network (trailer)
Arrangement by Peter Szendy
transcription
https://en.wikipedia.org/wiki/Remix
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 (Leitmotif) Richard Wagner) and Lieder (Robert Schmann--the pop song). And the opera aria
Resources: Classical music symphonies of piano pieces, like The Moonlight Sonata, Beethoven's Sixth Symphone (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.) Vertigo will be an example.
Some films are all music. Many have English subtitles.
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 (the entire film is included as an extra) in Inglourius Basterds--trailer);
"She's the girl" scenes in Mullholland Drive
The Midnight - Sunset (Endless Summer) [4K]
Different cuts and different versions of the same film under the same title, collected together in sets.
The Tree of Life (extended) teaser The Tree of Life (theatrical trailer) Creating a trailer for a film without one.
"Edited by Terrence Malick and A.J. Edwards, the Extended Cut features roughly 50 minutes of additional footage. This footage includes new music composed by Hanan Townshend and sound design by Joel Dougherty."
Alternate versions
With image captures
http://www.criterionconfessions.com/2018/09/the-tree-of-life-extended-version-942.html
JUST MY NOTES FOR CLASS:
In general, film music is synchronized with the image. The film cuts on the beat of the music.
In general, diegetic music (music with a source in the film) is opposed to non-diegetic music (with no source in the film).
In general, film music is opposed to sound, including dialogue, and noise.
There are many exceptions to the generalizations, so many that we have to examine films on a case by case. Sometimes generalizations are based on the lack of knowledge. There are so many exceptions that the generalization must be rethought. Thelma and Louise (dir. Tony Scott, 1988)
Opening Shot of The Player (dir. Robert Alman, 1992) 08:07. It includes the main title sequence.
https://www.youtube.com/watch?v=6KnSucVko1s
Trailer (2009)
Tangerine - Red Band Trailer Bombastic classical music (tmestamp 00:01-0034. A pop song starts at 1:37 and plays until the end. New music picks up and way more shots because the pace speeds up until 00:48. At 1:03 MUSIC EDITING COME TOGETHER in a funny way. Again a dramatic pause. The title drops at 1:57 and then again at 2:06 just after the last image and the first beat of a pop song. BLACK SCREEN FOR ONE second
https://www.magpictures.com/tangerine/
https://www.criterion.com/films/28578-the-graduate?srsltid=AfmBOoq_haAqQJ52g2Dh0B_Ls4fssiwYDGH4hw3F7hS6M1oKDF-MPk3D
A Final Cut for Orson
If Orson Welles is correct in thinking that editing film is like playing music, if editing film establishes a rythm, what is music editing like? What kind of music is selected? What kind gets repeated? Later in the semester we will compare the same song by David Bowie used in trailer Atomic Blonde ( ) and in the film projection booth scene in which the projectionist sets the reels for the fictional film Pride of the Nation in Inglourius Basterds (dir. Quentin Tarantino, 2012). Or a hit from the 70s, or from a time so far in the past that the target demographic won't know it (unlike the Pixar formula for hit songs children don't know and adults do.) Blondie's "Call Me" (circa 1980 in the trailer for American Gigolo) and Blndie's "Dreaming" in the trailer for Anora (2025). Half-way through the trailer, the music becomes becomes distorted, much slower than before.
"Only when one slows down the film on an editing table . . . "
Raymond Bullour, The Analysis of Film
--Michel Chion, Cinema in Music, pp. 324; pp. 334-39
https://www.nytimes.com/2026/01/07/movies/to-be-or-not-to-be-hamnet-hamlet-shakespeare.html
ADAPTATION
How Does an Editor Think and Feel?
Gordon Willis, ASC on THE PARALLAX VIEW (Alan J. Pakula, 1974)
Jim Jarmusch in Conversation with Jonathan Ames
https://www.criterion.com/films/34869-network (trailer)
Arrangement by Peter Szendy
transcription
https://en.wikipedia.org/wiki/Remix
The same music differently
Dies Irae (Day of Wrath) - Sequence for Mass of the Dead - Gregorian Chant with English Translation
Seventh Seal (dir. Ingmar Bergman, 1957) beginning ("Day of Wrath" in the opening then sound ocean waves breaking on the shore (and sounds of horses?) and then silence with cut to Death.
Carl Dreyer's Day of Wrath (1943) (linked to Criterion's page) : A children's choir sings the work
Rearranged and played in the main title sequence of The Shining (dir. Stanley Kubrick, 1980)
Deep Impact (1998) Apocalypse - Dies Irae (Day of Wrath)
Shot recognition, or Famous shots viewers remember
Medium close up shot of Monika using her date to lighting her cigarette and turning toward the camera (Timestamp 00:20) Summer with Monika (dir. Ingman Bergman, 1953)
Scenes everyone remembers (not the whole film):
The windmills in Foreign Correspondent (dir. Alfred Hitchcock, 1943)
Three Reasons: Foreign Correspondent
10-Minute Challenge Can you spend some uninterrupted time looking at one piece of art?
https://www.nytimes.com/spotlight/10-minute-challenge
SOUNDTRACKS
Extra on Franz Waxman of his score Sunset Boulevard (1950) with a "through line" even when there is no music.
All parts of the film music are unified, not randomly scored scene by scene.
Suite Franz Waxman - "Sunset Boulevard" Suite (1950) with the score
Without the film dialogue / Program notes
THE PERSON VS. THE ARTIST
Jordan Wolfson / JORDAN WOLFSON / Artist Talk: Jordan Wolfson & Simon Denny
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
Shot Recognition
My Name is Alfred Hitchcock (Trailer)
Titles of Hitchcock's films appear at the end but not in the exact sequence they appear. There is no reveal in some of the shots. The actor's face does not appear. In Marnie, shots are a full woman's body from behindnot of Tippy Hepburn's face but . The focis is the yellow purse held by the star in her arm as she walks away from the camera. If you've seen the film, you'll know that the purse is important because the heroine steals a lot of money. (Btw, someone who really knows Hitchcock will consider Marnie a great film.)
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 Veronique, Music in Cinema. So there is no gold standard, even in the 1930s.
Raymound Bellour, The Analysis of Film (1979)
In the Blink of an Eye: A Perspective on Film Editing, 2001
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
Size of screens (IMAX to iphone) and
scale of painting when reproduced online: device--smaller and smaller--to enlarge is to see closer (more) but a smaller section (less)
https://www.nationalgallery.org.uk/paintings/odilon-redon-ophelia-among-the-flowers The viewer may press + or - to enlarge or decrease the size or see it in a frame or without a frame.
Detail as "(detail)" selected for you. Like image capture stills.
https://smarthistory.org/millais-ophelia/
Or you can move the cursor around at will and enlarge or decrease the area you see.
https://www.nytimes.com/spotlight/10-minute-challenge
Extra on Franz Waxman of his score Sunset Boulevard (1950) with a "through line" even when there is no music.
All parts of the film music are unified, not randomly scored scene by scene.
Suite Franz Waxman, "Sunset Boulevard" Suite (1950) with the score
Without the film dialogue / Program notes
Tár (2022) - Conducting Scene |
TÁR - Official Trailer [HD] - In Select Theaters October 7
THE PERSON VS. THE ARTIST
Jordan Wolfson / JORDAN WOLFSON / Artist Talk: Jordan Wolfson & Simon Denny
My Name is Alfred Hitchcock (Trailer)
Titles of Hitchcock's film titles tend to appear before the film begins. The main character appears immediately but the actor's face does not appear for around five minutes. In Marnie, shots are not of Tippy Hepburn's face but of her full body from behind. The focus of is the yellow purse held by the star in her arm as she walks away from the camera. If you've seen the film, you'll know that the purse is important Marnie is a thief. Hitchcock: The Murderous Gaze (Harvard Film Studies) 1982
In the Blink of an Eye: A Perspective on Film Editing, 2001
Film_as_Film_Formal_Experiment_in_Film_1910-1975.pdf
https://archive.org/details/filmsofcarltheod0000bord
Three_Philosophical_Filmmakers_Hitchcock_Welles_Renoir/Three_Philosophical_Filmmakers_Hitchcock_Welles_Renoir.pdf
Audiotape
Recommended:
Chloe Sevigny in Demonlover (dir. Olivier Assayis, 2002) | Restoration Trailer theft of video game
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.
Readings:
Situated Listening: The Sound of Absorption in Classical Cinema Illustrated Edition
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 evidence)
Story retold 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)
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From TV series
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)
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 #
EXAMPLE OF THE CREATIVE DAMAGE A TRAILER CAN DO: The Magnificent Andersons (dir. Orson Welles, 1942) and the trailer (ALL THE LONG TAKES REMOVED EXCEPT FOR ONE AS THE LAST SHOT OF THE TRAILER AT 1:42; WELLES' SAVES MOST OF IT BY NARRATING MOST OF IT. GO TO 9:10 FOR THE BALLROOM SCENE WHERE YOU WIL FIND A SERIES OF LONG TAKES. YOU CAN WATCH PART OF THE SCENE HERE.
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 dogmatically and categorically. The practice in ancient Rome required that even testimony given by an eyewitness and rulings of judges based on their most certain knowledge had to be couched in the expression: “It seems to me.” It makes me hate things that are probable when they are impressed on me as infallible. I favor those words that soften and moderate the boldness of our assertions: “perhaps,” “in a sense,” “some,” “they say,” “I think,” and the like. And if I’d had to rear children, I would have so filled their mouths with this inquiring and open-ended way of answering—“What does that mean?” “I don’t understand.” “That may be.” “Is that true?”—that they would more likely have preserved the attitude of students at sixty, than resemble learned doctors at ten, as boys tend to do.
Michel Montaigne, "Of the Lame," Essays, Vol. 3, p. 11
Close Reading as Analysis / Close Reading Archive / On Close Reading
Spring 2023 LIT 4930: From Close Reading to Closed Reading
TO MY KNOWLEDGE, THE BEST WEBSITE FOR FILM ANALYSIS IS
https://filmanalysis.yale.edu/
These websites can also be useful;
Film Studies: Film Terminology & Analysis
Columbia film glossary with clips
Columbia film glossary of terms
Quand le cinéma cite Vertigo - Blow Up - ARTE
Some kind of spectacle (a character, often a young woman who also stars) with a reveal five minutes in (classical Hollywood ) or what Orson Welles called "the man with the horse" who generates drama. See Douglas Sirk's noir Shockproof (19) or the title sequence of Robert Siodmak's The Killers (1947). In films before the late 1960s, title sequences were not integrated into the narrative. So the opening shot counted. See the long take (32 seconds) in Hitchcock's Marnie (1964), something of a throwback given the innovative titles Saul Bass designed earlier for Psycho, North by Northwest and Vertigo. The shot begins with the camera in a closeup of a yellow purse a well-dressed young woman with dark hair. She carries it under her left arm and then the woman (shot from behind) carrying a suitcase with her right hand as she walks along a train platform. She stops and puts her suitcase down, now far away from the camera.
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
https://projects.jennyholzer.com/projections/
A Knight's Tale (2001) Official Trailer 1 - Heath Ledger Movie
Richard III - Restoration Demonstration (08:15) CRITERION Introduced by Martin Scorcese
THE RED PLANET
EXAMPLE OF A BADLY DONE OPENING--BADLY WRITTEN, "ALREAD SEEN THIS MOVIE" LEVEL OF CLICHES, INTERMITTENT VOICE-OVER NARRATION, TITLES, HEAVY MESSAGING (CLIMATE CHANGE) EXPOSITION GIVING THE NAME AND JOB OF EACH OF THE MAIN CHARACTERS, VOICE OVER ENDS AT 03:16, CUT TO LOUD SOUND AND FLAMES WITH A SHOT OF REAR END OF AN ENGINE OF A SPACE SHIP taking off.
It takes another 14 seconds OF THE REST OF THE PROCUCERS' CREDIT AND THE DIRECTOR'S CREDIT TO APPEAR IN THIS STATIONARY SHOT UNTIL MUSIC ENDS AT 03:30 AND DISSOLVES AT 03:37.
The opening tells a lot and doesn't show much. And takes a long time to do the little it does. The film fails to take off, as it were.
Compare the prologue of The Red Planet to two trailers for a more recent, similar film Project Hail Mary (2026) trailer 1 / trailer 2
Title sequences began to be integrated with the film as a prologue with Saul Bass split screen opening to Grand Prix (196?).
For a more classical title sequence and opening, see Alfred Hitchcock's Marnie (195)
Finding Footage: Looking Around, Finding, Noticing, Looking into . . . . What is in the film beyond the narrative itself? Opening and End Title Sequences; trailers, animated DVD / Blu-ray / 4K menus, Studio Logos, and so on.
All the Film and Cinema Formats You Should be Aware Of March 31, 2025
The TRUTH Behind 24 FPS
Trailer hook like a narrative film opening hook. Nine seconds. Exposition explains major event has happened (capture and arrest at gunpoint). Ends with a character asking a question. What happens now? Then sound (voice and music) continues into logo (00:10).
Nuremberg (dir. James Vanderbilt, 2025)
Media Whitewashing the Blood-Soaked US Military-Industrial Complex January 14, 2019
Marvel Studios' Captain Marvel - Trailer 2
CAPTAIN MARVEL (2019) First Look Trailer Concept - Brie Larson Marvel Movie HD
Play one trailer, sound only, and off screen with another trailer, sound on, on screen.
"These Boots are made for walking" Nancy Sinatra (1967) Stanley Kubrick uses the song in a scene in his film about the Vietnam war, Full Metal Jacket (1981)
CAPTAIN MARVEL Teaser Trailer Concept (2019) Brie Larson Marvel Movie HD
CAPTAIN MARVEL Final Trailer (2019) Brie Larson, Marvel Superhero Movie HD
In 2017, Warner Brother released an "Official Trailer" for BLADE RUNNER 2049
The trailer has a title that appears five seconds in, after a rapid sequence eight shots and then fades to black at 00:06 The the trailer begins at 00:07. The first shot before the trailer (00:00) reappears at 00:08-00:10 as the second shot of the trailer.
In 2025, the beginning of the trailer was marked with a the words "the trailer starts now."
The repetition of shots in the trailer is an interesting development. Usually, the title is repeated several times the same a product's name is repeated in a commercial. Perhaps the editors of this trailer thought the audience might be attracted by certain "cool" shots to show what is IN the film.
The Hook: Pop Songs (first five-ten seconds) and opening titles sequences of narrative films and television series episode. See Apple TV's The Last Frontier for an instrumental cover of Ten Years After's "I'd Love To Change The World" (1971 Original Mix) [Official Audio]
The opening hook of a narrative film:
Please Murder Me. A MAN WALKING DOWN A SHADY STREET at night (he passes Stripetease) in a seedy part of town, goes into a pawn shop (you may recognize the actor, Raymond Burr), buys a gun the pawnbroker chooses, gets in a cab, and, in a 30 second long stationary medium close up, starts methodically loading the chamber with bullets. A harmonica plays softly off screen. Not much of a melody. Different music plays in the cab until 01:11, when the title of the film appears at 01:14 superimosed over the man loading the and the music becomes very load and an orchestra plays it. The shot lasts 20 more seconds until the last title (the director) appears. (The film title does not have exclamation point.) Most of the titles appear in a rapid series of blinding white, as if suggesting the explosive sound of a gun shot. At 01:40, we cut to an establishing shot of a very long, wide, straight city street as the taxi turns onto it in the left of the frame. The taxi pulls up to an office building, making the shot a close up, and stops for a few seconds (we cannot we the cabby and passenger but can infer the latter is paying the former). Then the passenger gets out of the cab and walks into an office building ands stops in front of an elevator. The camera has not moved since it panned left when the taxi stopped. At 02:10, the music changes as the shot of the man in the building dissolves into a medium shot of a door of an office with the name of its occupant and his profession boldly painted on it large all capital letters: "CRAIG CARLSON Attorney at Law." The camera slowly dollies in toward the door for three seconds.
The title itself is mysterious. Who would want to be murdered? And who would think to ask so politely (and emphatically in the posters with an exclamation point)? The opening gives us some information. By 01:11, we can guess that the man loading the gun is the murderer. And he is probably a professional. The shot of the office suggests the killer's willing victim works there. But perhaps that's a red herring. (It is! The man we've just seen IS Craig Carlson.) In any case, we're hooked!
_film_poster.jpg)
Quand le cinéma cite Stanley Kubrick - Blow Up - ARTE
UPDATED with new trailer: Ahead of a March 2026 release in theaters and Imax, Amazon MGM Studios has dropped the second trailer for Project Hail Mary, the Phil Lord and Chris Miller sci-fi thriller that stars Ryan Gosling.
Georges Delerue: La nuit américaine (1973) montage
The Hook: Pop Songs (first five-ten seconds) and Opening sequence of a narrative film or television series episode. See Apple TV's The Last Frontier
https://www.youtube.com/watch?v=yD0aBVjFRls
Some kind of spectacle (a character, often a young woman who also stars) with a reveal five minutes in (classical Hollywood ) or what Orson Welles called "the man with the horse" who generates drama. See Douglas Sirk's noir Shockproof (dir. Samuel Fuller, 1949) or the title sequence of Robert Siodmak's The Killers (1947). In films before the late 1960s, title sequences were not integrated into the narrative. So the opening shot counted. See the long take (32 seconds) in Hitchcock's Marnie (1964), something of a throwback given the titles Saul Bass did for Psycho, North by Northwest and Vertigo. The shot begins with the camera in a closeup of a yellow purse a well-dressed young woman with dark hair. She carries it under her left arm and then the woman (shot from behind) carrying a suitcase with her right hand as she walks along a train platform. She stops and puts her suitcase down, now far away from the camera.
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
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 dogmatically and categorically. The practice in ancient Rome required that even testimony given by an eyewitness and rulings of judges based on their most certain knowledge had to be couched in the expression: “It seems to me.” It makes me hate things that are probable when they are impressed on me as infallible. I favor those words that soften and moderate the boldness of our assertions: “perhaps,” “in a sense,” “some,” “they say,” “I think,” and the like. And if I’d had to rear children, I would have so filled their mouths with this inquiring and open-ended way of answering—“What does that mean?” “I don’t understand.” “That may be.” “Is that true?”—that they would more likely have preserved the attitude of students at sixty, than resemble learned doctors at ten, as boys tend to do.
Michel Montaigne, "Of the Lame," Essays, Vol. 3, p. 11
The Rolling Stones - Gimme Shelter (Live at Spot, Capitol 1997) No Security Album Version
Gimme Shelter
Rolling Stones “Happy” Live At The Max Los Angeles USA 1990 Full HD
The Rolling Stones - Happy (Live at Tokyo Dome 1990)
Happy (2005 Digital Remaster)
Happy · The Rolling Stones Exile On Main Street
Memorex with Ella Fitzgerald - "Is It Live, Or . . . " (Commercial, 1976)
Amateur music videos using films as their sources The Midnight - Memories - music video - Drive
Same band, different son set to a re-edit of La La Land
I Dream of You - Midnight Wave Music (The Place Beyond the Pines Edit)
(All three films star Ryan Gosland.)
Same band, different song set to The Breakfast Club.
Same band, different song to shots from 80s and 90s films.
One more.
Fritz Lang's METROPOLIS 90th Annniversary Trailer
Nightcrawler (dir. Dan Gilroy, 2014)
Nightcrawler TRAILER 1 (2014) - Jake Gyllenhaal Crime Drama HD
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
Graphic design
THE ASSISTANT Trailer (dir. Kitty Green, 2020)
The Logo, film title, and Blurbs for the film are written in the same style as are emails written on a computer in the film itself.
Trailer self-parody dialogue "One . . . once . . . only one . . . only the . . ."
"To find out whether the Kuleshov effect can also be induced auditorily, Andreas M. Baranowski and Heiko Hecht intercut different clips of faces with neutral scenes, featuring happy music, sad music, or no music at all. They found that the music significantly influenced participants’ emotional judgments of facial expression"
Ditto for
Cannons - Bad Dream (Official Video)
Enlarging a photo by clicking on it.
https://upload.wikimedia.org/wikipedia/commons/0/02/35mm_movie_negative.jpg
Spatializing, linearizing film:
Trailer for blu-ray release of King Hu's Dragon Inn (1967) with drop down option giving timestamps and captions as if they were chapter divisions
Eurekaentertainment trailers for physical media.
Michel Chion, Music in Cinema (2021) Reading with the Index
"Leitmotifs," p. 372
opera films, 164-69; filming music pp. 298-309; classical music, Wagner as film composer? pp. 284--96
hitchcock pp. 323-24
le plaisir p. 326
music time movement "timelessness in time" 222--27
The Third Man, pp. 117-118
criteria of hollywood classicism pp. 110-16
https://en.wikipedia.org/wiki/Kuleshov_effect Montage
Andre Bazin, What is Cinema? Vol. 2 Orson Welles and continuity, pp. 27ff
“Editing,” has never had good PR. It seems mechanical, at best a skill, except when it comes to documentary compilations and newsreel works that are essentially given their existence at the cutting table where they are assembled. “Assembly” is the proper translation of “montage” for Timothy Barnard in his contribution to the indispensable Montage, Découpage, Mise en Scène, a book that aims primarily at fiction films where editing always comes at the end of the production process to assemble what has been shot. " From Editing to Découpage, and from Classical to Modern Cinema
Montage, Découpage, Mise en Scène written by Laurent Le Forestier, Timothy Barnard, and Frank Kessler (Caboose, 2022), Pages 22-25 and 90-94.
How to research ebooks
The Matrix White Rabbit Scene HD
Computer research
https://www.nytimes.com/2025/11/29/opinion/pianist-music-performance-perfection.html
https://revuecaptures.org/publication/volume-2-num%C3%A9ro-1
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]
The Pianist roman polanski, chion, pp.
Squanto: A Warriors Tale
Squanto: ASquanto A Warriors Tale VHS Trailer Warrior's Tale Movie Trailer 1993 - TV Spot
Squanto A Warriors Tale VHS Trailer
CULT OF VHS Official Trailer (2022) Arrow Video FrightFest
COP LAND (1997) VHS movie trailers & previews [VHS Rip / VHS Digitization] from Swingers
Now video and dvd BRING IT ON (2000) VHS movie trailers & previews [VHS Rip / VHS Digitization] from Road Trip
Correct aspect ratio for cathode ray tube TVs,VHS Tape | 'Scream" Opening - Trailers (1997)
"Quills" (2000) VHS Movie Preview (wrong aspect ratio)
VHSTRADERS @vhstraders
Szendy, Peter Listen: A History of Our Ears
FORCED TRAILERS "Coming Soon on Videocasette . . . And Now Our Feature Presentation"
Coming Soon To Videocassette@Coming-Soon-To-Videocassette
Some questions Film is often considered as if it were transparent. We are immersed. Paintings and Books. How different are documentary videos from narrative films with paintings? NY Times. What is looking? Are You Really Looking? What are you looking at? Or are you viewing? (See Stanley Cavell's The World Viewed) Stationary objects like paintings may be documented as the camera cuts from one part to another, as if "details" were their own paintings. The same may be true of portable media like paper with writing on it or a book opened to a certain page. Flashboook medim between book and cinema. How can we talk about what we see?
FILMING WRITING
The Thin Blue Line is a good example of the use of close ups of single words or parts of sentences taken from newspapers with dates.
Writers Reading Writers
"Neoliberal Arts" Harper's Magazine 2015
Dickens, Charles. 1852. "A Ragged School," Harper's Magazine
"Historical, in fact philological, considerations have slowly but surely taken the place of profound explorations of eternal problems. The question becomes: What did this or that philosopher think or not think? And is this or that text rightly ascribed to him or not? And even: Is this variant of a classical text preferable to that other? Students in university seminars today are encouraged to occupy themselves with such emasculated inquiries. As a result, of course, philosophy itself is banished from the university altogether."
Nietzsche, Fredrich. 1872 anti-education Harper's Magazine
Friedrich Nietzsche,1872. ANTI-EDUCATION introduction and annotation by Paul Reitter and Chad Wellmon, translated from the German by Damion Searls
Heidegger, Martin, 1933. "The Self-Assertion of the German University and The Rectorate 1933/34: Facts and Thoughts," Review of Metaphysics 38 (March 1985): 467-502.
Auerbach, Eric. 1943. Epilogue to Mimesis: The Represenation of Reality in Western Literature
Curtius, E. R. 1947. Die auslandiche wissenschaftliche Literatur der Kriegs- und Nachkriegsjahre ist mir bis auf verschwindende Ausnahmen nicht zuganglich gewesen. Auch die Bonner Universitatebibliothek ist seit 1944 in folge eines Bombenangriffs teils unbenuntzbar, teils verbrannt. Ich habe daher manches Zitat nicht meher vergleichen, manche Quelle nicht mehr einsehen konnen. Aber wenn die literature 'das fragment der Fragmente" ist (Goethe), muss ein Versuch wie der vorleigende erst recht den Charackter des Fragmentarishcen tragen.
During the war and postwar years, I lost sight of foreign literary criticism after it vanished and was thus inaccessible to me. Also, as a consequence of an air raid in 1944, parts of the Bonn University Library were unusable or burnt. I could no longer check various citations or consult many sources. But if literature is "the fragment of fragments" (Goethe), an attempt like this one in particular must exhibit a fragmentary character.] — "Vorwort," in Europaisches Literatur und Lateinische Mittelater, (my translation; not translated in the English edition of 195
Curtius, E. R. 1953. I have tried to show that humanistic tradition is from time to time attacked by philosophy. It may suffer a serious setback from these aggressions. Many signs seem to point to the fact that we are faced once more with an incursion of philosophers, existentialists... "Appendix: The Medieval Bases of Western Thought," European Literature in the Latin Middle Ages, 592
Digital film restorations; trailers for the restored edition. Two unrelated timelines
The different ways paintings appear on film / YouTube videos and newspapers. Sometimes here is a curator or exhibition guide from the museum talking in person, sometimes with one continuous take. There are others with cuts from one section to another. Sometimes the camera moves around the surface. Like those 10 minute paintings in the New Yorker, you can see the film in ways you could never see it in person without a magnifying glass. I mean you can see part of a single brush stroke. The zoom feature lets you turn any painting into an abstract painting.
Leitmoifs
The 5,000 Fingers of Dr. T. (dir. Roy Rowland; Doctor Seuss, 1953) See Michel Chion, p. 314 Hieronyomus Bosch's Hell and musical sequence set in a dungeon ("The Dungeon Song")
The 5,000 Fingers of Dr. T - Trailer (Upscaled HD) (1953)
https://richardburtphd.com/schedfilmeditingmusic.html
10-Minute Challenge Can you spend some uninterrupted time looking at one piece of art?
https://www.nytimes.com/spotlight/10-minute-challenge
https://www.nytimes.com/interactive/2025/02/02/upshot/ten-minute-challenge-hunters.html
Filming a Painting--cutting to details or human figures in it--Diego Velázquez, "Las Meninas" 1656
(camera movement; cuts from one part of the painting to another)
(in person with a curator)
Pablo-Picasso-the-many-iterations-of-Las-Meninas
Picasso's Meninas, from Hommage à Picasso portfolio
In 1972, the year he first saw Velázquez’s masterpiece Las Meninas (1656) in Madrid’s Prado museum, Hamilton was asked to contribute to the print portfolio Hommage à Picasso.
https://www.metmuseum.org/art/collection/search/494038
The painting desaturated of color and blotted with roman numerals. The dog doesn't count.
A Reporter Focused Attention on Velázquez’s ‘Las Meninas’ for 3 Hours - The New York Times
Published Sept. 23, 2025 (The title is click bait.)
Size of screens (IMAX to iphone)
and
Scale of paintings when paintings are reproduced online: with device--smaller and smaller--to enlarge is to see closer (more) but a smaller section (less)
https://www.nationalgallery.org.uk/paintings/odilon-redon-ophelia-among-the-flowers The viewer may press + or - to enlarge or decrease the size or see it in a frame or without a frame.
Detail as "(detail)" selected for you. Like image capture stills.
https://smarthistory.org/millais-ophelia/
Or you can move the cursor around at will and enlarge or decrease the area ("patch of yellow") you see.
https://www.nytimes.com/spotlight/10-minute-challenge
Paintings in Films
Reproductions in catalogue raisonne or art history books on a single painter or two painters or three
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
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: 29
"Stravinsky and MGM." Fantasia (WALT DISNEY, 1939)
Hollywood Mindhunter montages
Metropolis (1927 / 1984 Giorgio Moroder Version)
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 can learn a lot from the videos without knowing FRENCH.
Blow up - Quand "La Jetée" croise "Vertigo"
https://www.criterion.com/films/329-la-jetee
Storyboards sometimes reappear in of every shot of a film.
Recommended:
Lost Highway (dir. David Lynch, 199?) "This Magic Moment" (Lou Reed)
Mean Girls - Trailer
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
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?
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)
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
-
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
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 DuncanSlavoj Zizek — Why Akira Kurosawa did Shakespeare better
Trailer: Shakespeare por Welles
The Nun Teaser
Release Date: Sept. 7 | Warner Bros.
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:
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
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 KloklineVERMIGLIO - 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
Alien Recut as a Comedy | Trailer Mix
Not original
Starz logo
Columbia logo "To the other kids at Saint Bernard's Academy, they were the girls . . . '
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)
How scenes from five of the nine best picture nominees were reassembled to promote the films.
(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
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.
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)
.jpeg)
March 19 Lars von Trier, Melancholia ("Prelude" from Tristan und Isolde at the beginning and the ending of the film)
The Report Teaser Trailer #1 (2019) | Movieclips Trailers
https://www.youtube.com/watch?v=b756FPiLlp8
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
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.
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.
Silent film soundtracks Alloy Orchestra,
Passion of Joan of Arc
The Phantom Carriage
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."
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.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.
Terrence Malick’s “Introduction” and “Critical Notes” for his translation of Heidegger’s The Essence Of Reasons
NOMAD: IN THE FOOTSTEPS OF BRUCE CHATWIN
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)
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
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 Manto n(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).
Delerue also wrote the soundtrack for Jean-Luc Godard's Contempt (Le Mépris)
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 - ARTELe Rouge au cinéma - Blow Up - ARTEWall E (2008)
- Music Department
- Composer
- Music Department
- Composer
-
-
-
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
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 TrailerRichard Wagner vs Howard Shore - A Leitmotivic ComparisonSchubert Wintereisse and the pop song
How Wagner Shaped Hollywood
The composer has infiltrated every phase of movie history, from silent pictures to superhero blockbusters.
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 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
- 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)
from Concerto in B minor for four violins, cello, and strings (Op. 3, No. 10; RV 580), written by
Antonio Vivaldi
- Were you Smiling at Me
https://www.youngcomposers.com/t27754/overused-classical-pieces-in-films/
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)...
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...
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...
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...
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....
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...
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,...
Setting the Scene with Sound: (Re)Scoring Silent Film
Buster Keaton The General
Thirty-nine films, including eigh
Bacarolle
Montage Eisenstein
Strike!
Battleship Potemkin alternate soundtracks
... 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
Recommended:
(compare: Alloy vs. Nyman). The BFI released two versions of the film on DVD: the first with scores from the Alloy Orchestra and In the Nursery, and the second billed as "Michael Nyman's Man with a Movie Camera".
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
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
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
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
Metropolis (1927 / 1984 Giorgio Moroder Version)
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
Metropolis (1927 / 1984 Giorgio Moroder Version)
In class quiz (I won't post the due dates any longer.)
Shot selection: How do the trailers reconstruct the film?
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:
"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
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
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
Metropolis (1927 / 1984 Giorgio Moroder Version)
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:
"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:
"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.
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
Recommended:
Metropolis restored again / w/out English subtitles
Two documentaries
1. Voyage to Metropolis | Metropolis (1927) Extras
2. Metropolis - 1927 - The Metropolis Case Documentary
https://richardburtphd.com/indextrailerredsparrow.html
Metallica - One (Johnny got his gun Official Video)
Johnny Got His Gun (1971) ORIGINAL TRAILER
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
Re-Finding Footage
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."
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
Alien Recut as a Comedy | Trailer Mix
Exhibition - Official Trailer (Dir. Joanna Hogg)
The films of Carl-Theodor Dreyer Bordwell, David
All The President's Men | Soundtrack Suite (David Shire)
Jodorowsky's Dune (2014) jodorowskysdune.com/
or
Not original
Starz logo
Columbia logo "To the other kids at Saint Bernard's Academy, they were the girls . . . '
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 warns, clarity of (as paratext)
DVDXtras www.youtube.com/@DVDXtras_
DescriptionYour 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://richardburtphd.com/warnung.html
Btw, don't even think of going to graduate school to get a Ph.D in English--or any other kind of--literature.
ANDREW KAY," Academe's Extinction Event: Failure, Whiskey,
and Professional Collapse at the MLA," May 10, 2019
"Back in the MLA
Stephen Marche, a survivor of academia, returns to a troubled field"
TLS, June 2019
DUE October 6 ID the shots from Murder, My Sweet (dir. Edward Dmytrk, 1944)
Missing (dir. Costa-Gravas, 1982)
Quick opening to a film Try and Get Me 1950
Let Students Finish the Whole Book. It Could Change Their Lives. Feb. 16, 2025
Blow Up / Blow Out
https://www.paperspecs.com/gallery/publications/babadook-pop-up-book/
Movie logo with film leader, celluloid cinema.
https://www.youtube.com/watch?v=Vevas5aS5j8
Used in this film about Martin Scorcese. Go to timestamp 1 39 50
What music looks like
Franz Schubert - Der Leiermann (Dietrich Fischer-Dieskau)https://richardburtphd.com/schedfindingfootagebryanferry.html
https://www.youtube.com/watch?v=3sIMtUPvsL
ID the film by one shot (NY Times)
Incorporating the title sequences as prologues into the film William Shakespeare's Romeo + Juliet.
Teddybears feat. Iggy Pop - Punk Rocker
LARRY GREENEMEIER, "Could AI be the future of fake news and product reviews?" OCTOBER 16, 2017
Inferno (dir. Georges Clouzot, 2009) rent https://www.amazon.com/Inferno-English-Subtitled-B%C3%A9r%C3%A9nice-Bejo/dp/B01MCT33XI/
https://flickeralley.com/products/41384366-henri-georges-clouzots-inferno-2009https://www.francetvinfo.fr/culture/bd/l-enfer-l-extraordinaire-adaptation-en-bd-du-film-inacheve-d-henri-georges-clouzot_7143594.html0&t=1s
Metropolis (1927, Griggs Moviedrome 16mm Print)
M3gan 2.0 Bad Megan and Good Megan / Bad Maria and Good Megan in Metropolis
Iggy Pop / Teddybears Punkrocker Guitar Lesson / Guitar Tabs / Chords / Cover - Superman 2025
The Nun Teaser
The Evolution of Film Music: From Silent Movies to Symphonic Masterpieces
End Titles Assignment: Watch the end title sequences of five films on you tube. You can search "end titles" and "end credits." Send me the titles and links.
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
Gordon Willis, ASC on THE PARALLAX VIEW (Alan J. Pakula, 1974)
Roger Deakins and Steven Soderbergh on "Chinatown" (Roman Polanski, 1974)
End Title Sequence - Captain America
Very professional looking re-edits of film sequences on Twitter: are they film criticism? A fan trailer? A fan film?
The Battle for the Best Movie Trailer Since 1990
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 stamps for where the shots occur in the film. Like this. Email all work to me at [email protected].
Yanny vs Laurel video: which name do you hear?
Shepard Tone
Oblique Perspective in Hans Holbein's The Ambassadors (anamorphosis); Jacques Derrida on oblique reading in Passion: An Oblique Offering.
E. H. Gombrich, Art and Illusion: A study in the Psychology of Pictorial Representation
Ludwig Wittgenstein, "Rabbit Duck"
John Lee Hooker, Charlie Musselwhite
Help Me
Mr. Lisa's Opus
Gadaj?ce g?owy / Talking Heads (1980)
RichardBurtPhd.com/DVDbluraychaptertitles/
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
Cornelia Klecker, "The other kind of film frames: a research report on paratexts in film." in Word & Image A Journal of Verbal/Visual Enquiry Volume 31, 2015 - Issue 4: Writing in Film
Sally Bushell, "Paratext or imagetext? Interpreting the fictional map" in Word & Image A Journal of Verbal/Visual Enquiry Volume 32, 2016 - Issue 2
Alexander Zons, "Projecting the title" in Word & Image A Journal of Verbal/Visual Enquiry Volume 32, 2016 - Issue 2
Exercise and Depression
"When you exercise, your body releases chemicals called endorphins. These endorphins interact with the receptors in your brain that reduce your perception of pain."
This Is What It’s Like to Be a Teacher in America (2018)
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 or a 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
UF gives you free access to many films, although the quality is sometimes terrible. Go to https://uflib.ufl.edu/find/videos/
Then scroll all the way down for Swank Digital Campus
Requirements: Class participation; co-lead class discussion twice; one film clip exercise; two 500-700 word papers; and two discussion questions and three shot analyses for each class
Please be aware that the closing time on canvas is 5:00 p.m. Canvas will not be able 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 Sundays and Tuesdays. No late work is accepted. I allow two unexcused 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.
https://richardburtphd.com/schedfindingfootagebryanferry.html
Close Listening 5 Minutes That Will Make You Love Classical Music
"Teach us to care and not to care"Ash-Wednesday
by T S EliotCyrano de Bergerac (1990) with Gerard Depardieu "Tirade du nez"
WATCHING FILMS TO THE END
Widescreen vs. Pan & Scan
The Rise of Finance and the Fall of American Business - RAI with Rana Foroohar A Brief History of Capitalism.
Yanis Varoufakis Interview
"I'm Afraid Of Americans" David Bowie
LCD Soundsystem - American Dream
Classroom as Studio / Studium
Game of Thrones cinematographer defends 'too dark' episode "People don't know how to tune their TVs properly." Jennifer BissetCreative Looking for footage from a film or music videos to use in your ownFinding footage thought lost and restoring to exisiting version of the film. MetropolisSoundtrack Giorgio Moroder Metropolis
Reusing scenes or shots from your own film(s)Combining your film with someone else was making
Using footage you did not plan to shoot did but ended up documenting.Finding photos or conversation as plot vehicles.
Breaking down David Bowie's 'Heroes' – Tony Visconti & Erin Tonkonhttps://www.youtube.com/@Eurekaentertainment The Man in the High Castle | Opening Title Sequence
The lush and breathtaking beauty of the Alps, filmed with painterly grace under natural light from frigid winter to redemptive spring, provides the physical and emotional backdrop for Vermiglio, Maura Delpero’s visionary film, which won the Silver Lion at the 2024 Venice Film Festival. This singular portrait of a sprawling family, set in the small, mountainous village of Vermiglio during the waning days of WWII, follows a series of dramatic, consequential events after the arrival of a taciturn Sicilian soldier (Giuseppe De Domenico), who hides out in town after deserting the army. While there, the soldier develops a romance with the family's eldest daughter, Lucia (Martina Scrinzi). Vermiglio shows the lives of a provincial family in a remote village suspended in time by the customs of a fading era. Conjuring stories from her own family’s past, Delpero creates a deeply personal and human tale that recalls the great neorealist movement in Italian cinema, but through Lucia’s perspective Vermiglio feels distinct and novel. Italy’s Official Selection for the 2025 Academy Awards. In theaters 12/25!
Portrait of a Lady on Fire - The Vivaldi ScenesMusic from Bridgerton (2020) distributed by Netflix. Bridgerton (Soundtrack) by Various Artists.
How Should One Read a Book?Read it as if one were writing itVirginia Woolf
Consider what slowing down to think about this passage from Henry David Thoreau can do. He’s musing on the origin of the word “saunter”: “Some, however, would derive the word from ‘sans terre,’ without land or a home, which, therefore, in the good sense, will mean having no particular home, but equally at home everywhere. For this is the secret of successful sauntering. He who sits still in a house all the time may be the greatest vagrant of all; but the saunterer, in the good sense, is no more vagrant than the meandering river, which is all the while sedulously seeking the shortest course to the sea.”https://www.nytimes.com/2024/09/07/opinion/high-school-students-free-time.html
This is the nature of what the French philosopher Alexis de Tocqueville described as soft despotism, a form of control that “covers the surface of society with a network of small, complicated, minute and uniform rules.” This “does not break wills, but it softens them, bends them and directs them; it rarely forces action, but it constantly opposes your acting.”
https://www.nytimes.com/2024/09/03/opinion/college-students-adulting.html
Les mystères de « La Liseuse »
Letters and translation from French to English
Judi Dench - Katherine - Henry V - "English Lesson Scene" - 1960
Diegetic silent sound, or "deaf" (and mute) cinema
Richard Wagner
Autocorrect
Farhenheit 451 paratext
Writing as a Drug
Samsung Instinct film trailer
Turner Classic Movies: Letterbox
Martin Scorcese on pan and scan versus letterboxing
Widescreen vs. Pan & Scan
Warner Brothers high def website; Toshiba's "dead" website The Look and Sound of Perfect HD-DVD website (YouTube trailer)
THE DAY AFTER (1983) Without Stock Footage
The Day After (1983 Full, Original - 1:75:1 Aspect Ratio
Atomic Bombings Opening Scene | Fallout (2024)
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]. (I am the manager.) No cell phones, ipads, or laptops in use during class. (All changes will be announced both in class and on the class email listserv.)
La Prisonnière: Woman in Chains What Chopin looks like Scherzo no. 2 in B flat minor. https://www.youtube.com/shorts/6zJWs93ETbI DVD Menus - PlatinumYoshihttps://www.youtube.com/watch?v=6k089eUOLDU&t=198sMy Shakespeare - Romeo & Juliet for a New Generation, with Baz Luhrmann Bindu De Stoppani (Actor), Lennie James (Actor), Michael Waldman (Director) Rated:
NR
Format: DVD
https://www.slantmagazine.com/dvd/william-shakespeares-romeo-juliet-dvd/https://www.youtube.com/watch?v=vuKJ3jiIqCgThe lost art of the DVD menuThe screensaver of our lives
https://theweek.com/articles/852110/lost-art-dvd-menu
Due to the more sophisticated technology available on streaming websites today, you would think this would mean we'd be living in a corresponding golden age of menu design. The opposite has unfortunately been the case; Netflix has an especially detestable and unimaginative menu that auto-plays trailers, while Amazon Prime is equally bad, with boring, static landing pages.
While early DVD menus were often also static, or relied on background montages similar to what Netflix uses now, there were nevertheless smart innovations at the turn of the millennium. One notable example, 2001's Shrek, stands out due to its original approach to menu design. Instead of showing footage from the movie, the menu features a row of characters who appear to gaze out patiently at the viewer. The donkey's calls in the background of "pick me, pick me!" are as if in appeal to whoever has the remote in hand.
Likewise, Paranormal Activity (2009) used an intentionally basic home movie menu in keeping with the film's found footage pretensions. Scale: The Galaxy June 23, 2025 NY Times Vera C. Rubin Observatory. "Over the next decade, the imagery will be patched together to create “the greatest movie of all time,” Dr. Ivezi? said." https://www.youtube.com/watch?v=3sIMtUPvsL0&t=1s https://richardburtphd.com/schedfindingfootagebryanferry.html
70mm: From Oklahoma to Oppenheimer (Or, How Very Big Film Was Used to Make Very Big Movies) The CinemaScope Story Cinematography Citizen Kane Anatomy of a Classic Aspect Ratio & Director's Intent Aspect ratios explained | How do aspect ratios work? Where Do You Put the Camera? When and where do you put it. The Art of Cinematic Composition Hangman also Die and suppressed translation of the German. Recycled footage in John Dillinger from Fritz Lang's film You Only Live Once? Bank robbery with robbers wearing gas masks then car in mud being fragged out by a crane Color Grading Comparison of blu-ray and 4K Aspect ratio in "Maria" in Robert Wise's 1961 West Side Story and in Spielberg's 2021 remake. Long takes, stationary camera as in "Somewhere"), modest, abstraction and minimalism as mise-en-scene (see the end of "Maria") versus showy hyperrealism, lots of angles, and cutting to the music matched to dance moves. THE DARK PAST 1948 Original Theatrical Trailer
The Dark Past 1948 Film Noir Thriller
The Dark Past (1948) title sequence
Vertigo (1958)
Trailer - Inception Style "Mrs Doubtfire" as a Horror Film (Trailer)
The Equalizer 4 (2025) - First Trailer |
Denzel Washington Titanic - Concept Trailer | Florence Pugh, Paul Mescal (Parody) T
he Equalizer 4 (2025) - First Trailer | Denzel Washington (Parody) The trailer starts here: Canonical Literature survives in action films like the Equalizer 2.
Film Leaders 16mm film
FREE STOCK FOOTAGE
Opening title sequence of Se7en.
Film inserts in FIGHT CLUB
Fight Club Family film insert.... Tyler as film projectionist.The cigarrette burn in the upper right cornerof the frame is for the projectionist.
Hollywood Scores & Soundtracks: What Do They Sound Like? Do They Sound Like Things?? Let's Find Out!
The Marvel Symphonic Universe
FIGHT CLUB 43 Easter Eggs, Insane Details,
Megan 2.0 "Slaying" punning on "Planning."
Vertigo Twelve Second Dictionary Definition of "Vertigo"
The Equalizer 3 Trailer Starts Now
The trailer without the six second intro
IT ENDS WITH US - Official Trailer (HD) starts now)
The trailer without the seven second intro
The Dark Past (1948)
"Warning" from David Fincher's Fight Club
King Kong (15th Anniversary) | Jack Black Pitches Shooting on Skull Island
. A.I. Made These Movies Sharper. Critics Say It Ruined Them.
Steven Soderbergh
The re-edits of Gates of Heaven or The Phantom Menace (removing every scene with jar jar binks)
Dark color grading
How To Color Grade
"The thing is, it was just way too dark. I couldn't discern people's faces, read their expressions. The scenes at night were super hard to understand, and I left the theater with a major headache. This was a movie session in a big name theater chain, where I usually go to a lot, and there have never been issues with projection.
I've read many, many reports about the film being too dark, so this is looking like a widespread thing."
1. "This Film Does Not Exist" NY TIMES JANUARY 13, 2023 On Jodorwoski's plans for Tron and A.I. imaging of film.
Le retour de Donald Trump | Le Grand Live du Dessous des Cartes | ARTE
Guide To Orchestral Scoring In Studio One – Part 1 Intro & Basics: Woodwinds
Pieter Bruegel the Elder, "Hunters in the Snow," 1565
ANATOMY OF A SCENE IN THE NY TIMES (Directors narrate sequences from their films.)
Match cut Psycho
Match cut
https://www.nytimes.com › alfred-hitchcock-netflixNytimesHow to Watch Hitchcock: 5 Steps to ... - The New York Times
"
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
"Finding Footage" has a broader focus, or "Finding Film" one that includes digital transformations, often spatializations, of films into maps of every shot of the film or every shot of the opening title sequence and a link to the sequence in motion. Our primary focus will be on trailers as film adaptations and of finding footage, selecting shots, for a specific purporse. Hence, 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 a man in cold blood the entrance shot of Gail Sondergarrd's character will stand out to any viewer who pays clsoe 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).
Delerue also wrote the soundtrack for Jean-Luc Godard's Contempt (Le Mépris)
https://richardburtphd.com/indexanamorph.htmlDue 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 - ARTELe Rouge au cinéma - Blow Up - ARTEWall E (2008)
Inferno (dir. Henri Clouzot)
https://www.francetvinfo.fr/culture/bd/l-enfer-l-extraordinaire-adaptation-en-bd-du-film-inacheve-d-henri-georges-clouzot_7143594.html
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
Art in Detail_Famous Dwarfs at the Prado Museum | PPT.pdf
Art in Detail_The inhabitants of the Museu Picasso, Las Meninas, after Velázquez, La Californie, Au.pdf
YOUR FIRST ASSIGNMENT is due by 5:00 p.m. Post your DQs and three shots BOTH on this Google doc
https://docs.google.com/document/d/1w8kLtA2YPfD7y8_bANphtgFAeHBNxe_skC7c9IAl0cw/edit
AND on CANVAS https://elearning.ufl.edu/
UF gives you free access to many films, although the quality is sometimes terrible. Go to https://uflib.ufl.edu/find/videos/
Then scroll all the way down for Swank Digital Campus
Requirements: Class participation; co-lead class discussion twice; one film clip exercise; two 500-700 word papers; and two discussion questions and three shot analyses for each class
Please be aware that the closing time on canvas is 5:00 p.m. Canvas will not be able 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 Sundays and Tuesdays. No late work is accepted. I allow two unexcused 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.
I will be asking you to learn how to do something no one may ever 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?")." Close reading means paying attention to language, to the words the author has used, the order in which they are used, and appreciating how well they are used. It means paying attention not to what is said but to how it is said; it means paying attention to the structure of sentences and the structure of the narrative; it means paying attention to tropes such as metaphor, metonymy, and irony, among others; it means being alert to allusions a work of literature makes to other works of literature.See Cleanth Brooks, "The Heresy of Paraphrase," in The Well-Wrought Urn.Close reading is a practice designed for literature, for texts that are extremely well-written. Literature is universal. Literature is often difficult to write. And it is often difficult to read. Not just anyone can write it. And not just anyone can read it closely. (If you do not know how to write a grammatical sentence or how to punctuate or how to use words correctly, you cannot learn how to read closely.) All writers of literature are excellent close readers. They know humongous amounts of (big) words.Do not ask about the author or the historical context. Do not ask speculative questions. They cannot be answered and so are not productive for discussion. Do not ask what the work tells us about some general issue today. Ask about what the work says.Predatory Reading vs. Literary CriticismHow to Read a Book 1940 editionHow to Read a Book 1966 editionHow To Read A Book 1972 EditionGuy J. Williams, "Harkness Learning: Principles of a Radical American Pedagogy"Harkness table"What we must not forget, however, is that it is in the completion of the text by the reader that these adjustments are made; and each reader will make them differently. Plurality is here not a prescription but a fact. There is so much that is blurred and tentative, incapable of decisive explanation; however we set about our reading, with a sociological or a pneumatological, a cultural or a narrative code uppermost in our minds, we must fall into division and discrepancy; the doors of communication are sometimes locked, sometimes open, and Heathcliff may be astride the threshold, opening, closing, breaking. And it is surely evident that the possibilities of interpretation increase as time goes on. The constraints of a period culture dissolve, generic presumptions which concealed gaps disappear, and we now see that the book, as James thought novels should, truly "glories in a gap," a hermeneutic gap in which the reader's imagination must operate, so that he speaks continuously in the text.Barthes denies the charge that on his view of the reading process one can say absolutely anything one likes about the work in question; but he is actually much less interested in defining contraints that in asserting liberties.When we see that the writer speaks more than he knows what we mean is that the text is under the absolute control of no thinking subject, or that it is not a message from one mind to another."--Frank Kermode, "A Modern Way with the Classic"
New Literary History Vol. 5, No. 3 (Spring, 1974), pp. 415-434; pp. 425; 432; 433The reason literature, film, and philosophy are so great, so deeply admired yet often controversial, even despised, is that writers are free to say anything they wish they way they want to say it, fillmakers get to show images of anything they wish, they way they want to show them, and philosophers can ask philosophical questions about anything they wish whenever they want. It's called FREEDOM OF EXPRESSION. As anyone who understands anything about language knows, intention and context do matter. I find attempts to get people fired from their jobs because of something they said repellent and unseemly.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.)
In order to include all students in class discussion, and in order to make it easier for you to read closely and thereby improve your own writing, We will close read, read slowly the assigned text sentence by sentence or the assigned film shot by shot. Discussion co-leaders and I will call on a student at random and ask that student to read a specific sentence out loud and then to close read it. If the student is unable to read the sentence closely, the co-leaders will call on another student and ask that student to read a specific sentence out loud and then to close read it. We will continue to discuss the same sentence until a student reads it closely. We will then proceed in the same fashion with the next sentence. And so on. Due to time constraints and because close reading is slow reading, we will skip parts of the assigned text, but we will always be talking and only be talking about words, syntax, punctuation, paragraphing, and narration in the text. As we move through the text, we will be able to make more general comments about parts of it. If students have comments to add on the sentence under discussion, they may raise their hands and make them once they have been called on by the co-leaders or me.In order to learn the names of all the students in the class, I will take roll on canvas at the beginning of class. As I state on the requirements webpage, if you are late to class, I consider you absent. If you are absent more than twice, your final grade may suffer. If you are absent four times, you fail the class.Here is what I have written on the requirements webpage:"Attendance means not only being in class, but includes completing the assigned work for each class by the time it is due and arriving to class on time. (If you arrive late to class or if you don't do the discussion questions, you are counted as absent.)Repetition is key to learning.
To learn how to understand a piece of music, a philosopher said, you have to hear it twice.A conductor of baroque music said you have to listen to repeated hearings before you understand it."How full of meaning and significance the language of music is we see from the repetition of signs, as well as from the Da capo which would be intolerable in the case of works composed in the language of words. In music, however, they are very appropriate and beneficial; for to comprehend it fully, we must hear it twice."--Arthur Schopenhauer, "On the Metaphysics of Music"
Vienna and Schubert: 'Death and the Maiden' String Quartet - Professor Chris Hogwood CBE"The greatest pieces of music are called classics simply because at a first hearing--that is terribly...very complicated to work out what's going on or even more complicated to explain to yourself why it's going on--even to hear it has to be heard several times. Probably after first hearing, immediately go back and hear it again, and on repeated hearings repeated things come to light."--Christopher Hogwood
--Barbara Johnson quoting Roland Barthes on rereading versus reading.
Metropolis 16mm original print (dir. Fritz Lang, 1927)
Metropolis (1927, Griggs Moviedrome 16mm Print)
Soundtrack
Metropolis (1927 / 1984 Giorgio Moroder Version)
YouTube·HBO Max·9 Oct 2025
