Com S 142 On the Waterfront Elia Kazan

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Com. S 142 On the Waterfront, Elia Kazan 1954

Com. S 142 On the Waterfront, Elia Kazan 1954

Deep Space=Deep Focus Aperture Focal Length Shot Distance

Deep Space=Deep Focus Aperture Focal Length Shot Distance

Andre Bazin Dichotomy between Deep Space and Montage: Communication through editing Mise en Scene:

Andre Bazin Dichotomy between Deep Space and Montage: Communication through editing Mise en Scene: Communication through realism

Montage Slasher Film Commercials Continuity Editing

Montage Slasher Film Commercials Continuity Editing

Continuity Editing 180 Degree Rule Kuleshov Effect

Continuity Editing 180 Degree Rule Kuleshov Effect

Editing and Meaning Cut Dissolve Fade in Fade out Fade to Black Fade up

Editing and Meaning Cut Dissolve Fade in Fade out Fade to Black Fade up from Black Jump cut

Mise en Scene Edie drops glove Terry helps pick them up and puts it

Mise en Scene Edie drops glove Terry helps pick them up and puts it on (Actually an accident during the shoot) Intimate moment Realism humanism

Kazan and Cinematic Realism Preference for unknown actors Locations over movie sets Long Takes

Kazan and Cinematic Realism Preference for unknown actors Locations over movie sets Long Takes Actor’s Director Improvisation

Historical Context Based on an article in the New York Sun by Malcolm Johnson

Historical Context Based on an article in the New York Sun by Malcolm Johnson called “Crime on the Waterfront. ” Won the Pulitzer prize in 1949 Was filmed on location in Hoboken, New Jersey Based on the whistle blowing longshoreman: Anthony Di. Vincenzo

testified before a real-life Waterfront Commission on the facts of life on the Hoboken

testified before a real-life Waterfront Commission on the facts of life on the Hoboken Docks and had suffered a degree of ostracism for his deed Di. Vincenzo recounted his story to screenwriter Budd Schulberg during a month-long session of waterfront barroom meetings — which some[who? ] claim never occurred Karl Malden's character of Father Barry was based on the real-life "waterfront priest" Father John M. Corridan In 1952, director Elia Kazan was a witness before the House Un. American Activities Committee (HUAC), in which he identified many alleged Communists in the film industry. That brought him severe criticism. The original screenplay (called "The Hook") was written by renowned playwright Arthur Miller, who was questioned by the HUAC. He was replaced by Budd Schulberg, also a witness before HUAC. [1]

On the Waterfront is widely considered to be Kazan's answer to his critics for

On the Waterfront is widely considered to be Kazan's answer to his critics for naming names There could be nobility in being an informant Miller wrote the play “A View from the Bridge” as a different perspective to naming names Standing up for what is right Won eight Oscars: Picture, Director, Actor, Supporting Actress, Screenplay, Editing, Art Direction and Cinematography It is considered to be one of the greatest films of all time

Elia Kazan Formed the Group Theater in 1932 and the Actor’s studio in 1947

Elia Kazan Formed the Group Theater in 1932 and the Actor’s studio in 1947 with Lee Strasberg Method Acting (self expression and psychological realism through actors drawing on their own personal experiences) Known for drawing out the best performances from actors like Marlon Brando and James Dean

3 Acts Exposition: Caught Between two Worlds Conflict to Climax: A Call to Arms

3 Acts Exposition: Caught Between two Worlds Conflict to Climax: A Call to Arms Resolution: Confession, Redemption and Resurrection