The French New Wave: Challenging Traditional Hollywood Cinema. The French New Wave cinema movement was put into motion as a rebellion

Size: px
Start display at page:

Download "The French New Wave: Challenging Traditional Hollywood Cinema. The French New Wave cinema movement was put into motion as a rebellion"

Transcription

1 Ollila 1 Bernard Ollila December 10, 2008 The French New Wave: Challenging Traditional Hollywood Cinema The French New Wave cinema movement was put into motion as a rebellion against the traditional Hollywood filmmaking techniques. It not only challenged the objectives of Hollywood, but also manifested its own objectives in a manner that directly contrasted those of Hollywood. For the sake of this argument, Jean Luc Godard will be attributed as the most influential of the French New Wavers, and his films will be those discussed. Regarding narrative structure, traditional Hollywood cinema relied on a strict mode of cause and effect storytelling. Peter Wollen examines this in his Godard and Counter Cinema: Vent d Est. Godard and the New Wavers relied on the random nature of life and chance to tell their stories. In order to appropriately do this, James Monaco studies how they had to modify the filmmaking devices available at that time to narrate their stories, particularly sound, editing and mise-en-scene, with their ultimate goal being a reflection of reality that was as dependent on unpredictability as reality itself. There is one more, and probably the most crucial, aspect in representing reality with fictional film that Godard and the French New Wave employed: the characters that inhabit the world of the films. Brian Henderson analyzes the freedom that they exhibit. Thus, the French New Wave s most significant divergence from the traditional Hollywood tendency lays in its aim to capture the random absurdity of life.

2 Ollila 2 In the French New Wave, [Tight plot construction is substituted by] a random and unconnected series of incidents, supposed to represent the variety and ups-and-downs of real life, (Wollen 121). This plot structuring practice disagrees completely with the traditional Hollywood plot structure. Conventionally, as Wollen discusses before he makes this point, the plot structure of a Hollywood film was assembled as a series of causes and effects, each dependent on the other. It s as if Godard and his French New Wave threw a wrench into the gears of film storytelling format. Structured narrative is the key element in the Hollywood film s plot. According to Film Form, Narrative is a fundamental way that humans make sense of the world, (74). But the world, unfortunately, is not a place that one can successfully narrate. Recognizing this, Godard and the French New Wave wanted to reflect the random absurdity of life that plagues day-to-day existence. So, it is understandable that with the arrival of Godard and the French New Wave came a new, incredibly significant originality in the world of cinema. They took the idea that structure was the key element in storytelling and made it a variable, dependent on chance and the uncertainty of existence, much like its new key element: the audience. But, they couldn t just appear out of nowhere hoping to revolutionize one of the world s foremost forms of entertainment. It was their storytelling conventions and devices that made their movement so significant.

3 Ollila 3 Godard, in radical form, toyed with diegesis. He employed strategies such as voice dubbing and other sound substitutions such as dubbing over character voices with one voice speaking for every character, and each character speaking in different tounges (Wollen ). How does this reflect reality? In an abstract, slightly contradictory form. In Godard s films the juxtaposition and recontextualization of discourses leads not to a separating-out of meanings but to a confrontation, (Wollen 127). His film, Weekend, is one example. The film s characters each speak different languages, as do certain parts of the film; thus, the audience is confronted with a perplexing array of semantics. The semantic component of a language is composite and contradictory, permitting understanding on one level, misunderstanding on another. Godard systematically explores the areas of misunderstanding, (Wollen 125). This concept is in direct correspondence to the idea that Godard s films were meant to represent reality, because of the way in which it reflects the randomness of life Wollen previously had discussed. It has been established that the French New Wave sought to reflect reality in the truest sense through different diegetic practices; but, there were more techniques used to achieve this as well. Godard also did so through a unique editing format, and neglecting manipulation of mise-en-scene. Traditionally, Film Art says that montage is synonymous with editing. It adds, it (editing) emphasizes dynamic, often discontinuous, relationships

4 Ollila 4 between shots and the juxtaposition of images to create ideas not present in either shot by itself, (479). And the book also states that mise-en-scene is anything put in front of the camera, such as lighting, costume, and behavior of the figures (112). Where the traditional Hollywood style of filmmaking manipulated just about everything it gave its audience and presented to them a synthesized, completely fictitious world through montage/editing and mise-en-scene, Godard s New Wave combined them without manipulating what was on camera, presenting the world as it was, in an attempt to create a more natural on-camera world. Building on Bazin s theory of the basic opposition between mise-en-scene and montage, Godard created a dialectical synthesis of these two theses that had governed film theory for so long Godard rethought the relationship so that both montage and mise-en-scene can be seen as different aspects of the same cinematic activity. (Monaco ) In essence, Godard sought to combine mise-en-scene with editing to enhance the relationship between his films and his audience. A great many of the devices Godard uses are designed to produce a collective working relationship between filmmaker and audience, in which the spectator can collaborate in the production/consumption of meaning, (Wollen 127). This concept, though not particularly exclusive to the French New Wave, is one of the many traits that characterize it. Fundamentally, it brings the audience into the action of the story. It can be seen in Godard s film, Breathless, most notable when the character Michele is driving

5 Ollila 5 through a French landscape, speaking directly to the camera. In exercising this strategy, Godard has broken any barrier that existed, or presumably existed, between the film and the audience. What s most fascinating about this is that it makes the audience a part of the film s mise-en-scene through eliminating the audience s conception that they are merely watching the film. They are now taking part in it. In film, this is known as breaking the fourth wall. Through these elements, Godard transcends the over-synthesized traditional Hollywood filmmaking technique. He has made his film a reality for his audience, should they choose to accept it as such. This starkly contrasts any of the Hollywood traditions. Godard has redefined the limits of Realism so that we now no longer locus on plastic reality (the filmmaker s concrete relationship with his raw materials) nor on the psychological reality (the filmmaker s manipulative relationship with the audience), but on intellectual reality (the filmmaker s dialectical, or conversational, relationship with the audience). (Monaco 411). By using the term locus, Monaco implies that traditional Hollywood filmmakers created and presented a world for their audiences to simply observe as a third party, to use it or prey upon it. Godard transcended this plastic reality through placing the dependence of the audience s relationship with the film on their participation. The mise-en-scene, or concrete materials, the editing, or how they manipulate how the audience should feel,

6 Ollila 6 were not the central aspects of the storytelling. Instead, there is an intellectual relationship established by Godard through breaking the fourth wall, having the film s characters communicate directly with the audience to bring them into the story. The interactions of these characters with the audience is key in bringing the audience into the story. They exhibit a freedom within their realm that the audience exhibits in their day to day life. This freedom is essential in the reflection of reality. Godard examined the techniques used by traditional filmmakers and rejected their strict adherence to script. Godard said that they played God with their characters, implying that some outside force controlled them, and thus takes away from their realness, that is, for failing to endow them with that freedom, (Henderson 34). This enhances the realism perspective of the work of the artist who uses this technique in a way to communicate actuality. The French New Wave, with Jean Luc Godard at its forefront, aimed to make films not solely for the sake of rebellion or being different. Instead, they saw major faults in the traditional Hollywood film making system, particularly regarding the representation of actual life. In response, they modified film making techniques to better signify reality. To be particular, the strategies of diegetics, mise-en-scene, and editing were changed to accommodate their aspirations, specifically Jean Luc Godard. Even within the framework of fiction, he has stuck to contemporary life, (Wollen, 127).

7 Ollila 7 Godard thought that traditional cinema wasn t inconsistent with communicating reality; rather, he believed that the manner in which it was done was not consistent with reality itself. To refer back to the combination of editing and mise-en-scene, these work with the freedom of the characters to create a realm of emotional and physical reality. Its effectiveness depends upon rhythm, pacing, and intensity, (Henderson 35). The rhythm comes from diegetics, the pacing in French New Wave comes from the combination of mise-en-scene and editing, and the intensity comes from the freedom of the characters.

8 Ollila 8 Works Cited Bordwell, David, and Kristen Thompson. Film Art. Eigth ed. New York, NY: McGraw Hill, Breathless. Dir. Jean Luc Godard Henderson, Brian. "Godard on Godard." Film Quarterly 27 (1974): Monaco, James. How to Read a Film: The World of Movies, Media, and Multimedia Art, Technology, Language, History, Theory. New York, NY: Oxford UP, Weekend. Dir. Jean Luc Godard. Youtube.com. 8 Dec < _type=&aq=f>. Wollen, Peter. "Godard and Counter Cinema: Vent d'est." Narrative, Apparatus, Ideology. By Philip Rosen

The french new wave - What is and why does. it matter?

The french new wave - What is and why does. it matter? The french new wave - What is and why does An artistic movement whose influence on film has been as profound to modern cinema and cinamagraphic style. A further celebration of auteur and the rise of the

More information

1894/5: Lumiére Bros. (France) and Edison Co. (USA) begin producing, distributing, and exhibiting motion pictures

1894/5: Lumiére Bros. (France) and Edison Co. (USA) begin producing, distributing, and exhibiting motion pictures Very Brief History of Visual Media 1889: George Eastman invents Kodak celluloid film 1894/5: Lumiére Bros. (France) and Edison Co. (USA) begin producing, distributing, and exhibiting motion pictures 1911:

More information

1894/5: Lumiére Bros. (France) and Edison Co. (USA) begin producing, distributing, and exhibiting motion pictures

1894/5: Lumiére Bros. (France) and Edison Co. (USA) begin producing, distributing, and exhibiting motion pictures Very Brief History of Visual Media 1889: George Eastman invents Kodak celluloid film 1894/5: Lumiére Bros. (France) and Edison Co. (USA) begin producing, distributing, and exhibiting motion pictures 1911:

More information

FILM + MUSIC. Despite the fact that music, or sound, was not part of the creation of cinema, it was

FILM + MUSIC. Despite the fact that music, or sound, was not part of the creation of cinema, it was Kleidonopoulos 1 FILM + MUSIC music for silent films VS music for sound films Despite the fact that music, or sound, was not part of the creation of cinema, it was nevertheless an integral part of the

More information

ce n est pas un image juste, c est juste un image (Godard: Images, Sounds, Politics Colin MacCabe, BFI 1980)

ce n est pas un image juste, c est juste un image (Godard: Images, Sounds, Politics Colin MacCabe, BFI 1980) critical2007.qxd 13/2/08 13:30 Page 18 J U S T A N I M A G E Ian Wall ABSTRACT Jean-Luc Godard s famous maxim, Ce n est pas une image juste, c'est juste une image was the starting point for this workshop.

More information

Editing. Editing is part of the postproduction. Editing is the art of assembling shots together to tell the visual story of a film.

Editing. Editing is part of the postproduction. Editing is the art of assembling shots together to tell the visual story of a film. FILM EDITING Editing Editing is part of the postproduction of a film. Editing is the art of assembling shots together to tell the visual story of a film. The editor gives final shape to the project. Editors

More information

TCF 340 International Cinema: French Film

TCF 340 International Cinema: French Film TCF 340 International Cinema: French Film TCF 340 International Cinema: French Film Catalog Course Description: Study of motion pictures produced throughout the world. Subjects may change each time course

More information

Major Film Movements English 344L Class Unique Number: 34845

Major Film Movements English 344L Class Unique Number: 34845 Major Film Movements English 344L Class Unique Number: 34845 Spring 2010 PAR 105 Tuesdays and Thursdays, 5:00-6:30pm (Screenings: Wednesdays 7:00-9:00pm) Instructor: Donna Kornhaber Office: Calhoun 18

More information

GCE A LEVEL. WJEC Eduqas GCE A LEVEL in FILM STUDIES COMPONENT 2. Experimental Film Teacher Resource GLOBAL FILMMAKING PERSPECTIVES

GCE A LEVEL. WJEC Eduqas GCE A LEVEL in FILM STUDIES COMPONENT 2. Experimental Film Teacher Resource GLOBAL FILMMAKING PERSPECTIVES GCE A LEVEL WJEC Eduqas GCE A LEVEL in FILM STUDIES COMPONENT 2 Experimental Film Teacher Resource GLOBAL FILMMAKING PERSPECTIVES Experimental Film Teacher Resource Component 2 Global filmmaking perspective

More information

French / French New Wave Cinema: Sources and Legacies. Fall 2009 TR 3:30-4:45 Dey Hall 202. Projections: T 6 p.m.

French / French New Wave Cinema: Sources and Legacies. Fall 2009 TR 3:30-4:45 Dey Hall 202. Projections: T 6 p.m. French 373.001/373.601 French New Wave Cinema: Sources and Legacies Fall 2009 TR 3:30-4:45 Dey Hall 202 Projections: T 6 p.m. Dey Hall 202 Prof. Hassan Melehy office: Dey Hall 224 office hours: TR 2-3,

More information

Film Lecture: Film Form and Elements of Narrative-09/09/13

Film Lecture: Film Form and Elements of Narrative-09/09/13 Film Lecture: Film Form and Elements of Narrative-09/09/13 Content vs. Form What do you think is the difference between content and form? Content= what the work (or, in this case, film) is about; refers

More information

M. Night Shyamalan s Unbreakable

M. Night Shyamalan s Unbreakable An analysis of mise-en-scene and long takes in M. Night Shyamalan s Unbreakable - a distinctive use of film style in the work of a contemporary auteur - Inuk Jørgensen 20032803 Thesis Supervisor: Jody

More information

Elements of Narrative

Elements of Narrative Film Narrative Elements of Narrative Story and Plot: - Story: - Plot: (1) Explicitly presented (diegetic) events (2) Implied events (1) Explicitly presented (diegetic) events in certain order (2) Non-diegetic

More information

Challenging Form. Experimental Film & New Media

Challenging Form. Experimental Film & New Media Challenging Form Experimental Film & New Media Experimental Film Non-Narrative Non-Realist Smaller Projects by Individuals Distinguish from Narrative and Documentary film: Experimental Film focuses on

More information

TENTH EDITION AN INTRODUCTION. University of Wisconsin Madison. Connect. Learn 1 Succeed'"

TENTH EDITION AN INTRODUCTION. University of Wisconsin Madison. Connect. Learn 1 Succeed' TENTH EDITION AN INTRODUCTION David Bordwell Kristin Thompson University of Wisconsin Madison Connect Learn 1 Succeed'" C n M T F M T Q UUIN I L. IN I O s PSTdlC XIV PART 1 Film Art and Filmmaking HAPTER

More information

Film, Television & New Media 2019 v1.2

Film, Television & New Media 2019 v1.2 Film, Television & New Media 2019 v1.2 Case study investigation This sample has been compiled by the QCAA to assist and support teachers to match evidence in student responses to the characteristics described

More information

!!!!!!!!!!!!!!!!! Student!Name! Professor!Vargas! Romanticism!and!Revolution:!19 th!century!europe! Due!Date! I!Don

!!!!!!!!!!!!!!!!! Student!Name! Professor!Vargas! Romanticism!and!Revolution:!19 th!century!europe! Due!Date! I!Don StudentName ProfessorVargas RomanticismandRevolution:19 th CenturyEurope DueDate IDon tcarefornovels:jacques(the(fatalistasaprotodfilm 1 How can we critique a piece of art that defies all preconceptions

More information

Exploring film production roles

Exploring film production roles Exploring film production roles For this area of the course, students are required to explore various film production roles through engagement with all phases of the filmmaking process. The development

More information

BEGINNING VIDEO PRODUCTION. Total Classroom Laboratory/CC/CVE

BEGINNING VIDEO PRODUCTION. Total Classroom Laboratory/CC/CVE Career Education BEGINNING VIDEO PRODUCTION DATE: 2016-2017 INDUSTRY SECTOR: PATHWAY: CBEDS TITLE: Arts, Media and Entertainment Sector Design, Visual and Media Arts Introduction to Media Arts CBEDS CODE:

More information

Editing IS Storytelling. A few different ways to use editing to tell a story.

Editing IS Storytelling. A few different ways to use editing to tell a story. Editing IS Storytelling A few different ways to use editing to tell a story. Cutting Out the Bad Bits Editing is the coordination of one shot with the next. One cuts all the superfluous frames from the

More information

CARROLL ON THE MOVING IMAGE

CARROLL ON THE MOVING IMAGE CARROLL ON THE MOVING IMAGE Thomas E. Wartenberg (Mount Holyoke College) The question What is cinema? has been one of the central concerns of film theorists and aestheticians of film since the beginnings

More information

FILM In-Class Presentation. Vertigo (1958) and Formalist Film Theory. Jonathan Basile, David Quinn, Daniel White and Holly Finnigan

FILM In-Class Presentation. Vertigo (1958) and Formalist Film Theory. Jonathan Basile, David Quinn, Daniel White and Holly Finnigan FILM 331 2012 In-Class Presentation Vertigo (1958) and Formalist Film Theory Jonathan Basile, David Quinn, Daniel White and Holly Finnigan Outline Vertigo is a 1958 film directed by Alfred Hitchcock Summary

More information

Ashraf M. Salama. Functionalism Revisited: Architectural Theories and Practice and the Behavioral Sciences. Jon Lang and Walter Moleski

Ashraf M. Salama. Functionalism Revisited: Architectural Theories and Practice and the Behavioral Sciences. Jon Lang and Walter Moleski 127 Review and Trigger Articles FUNCTIONALISM AND THE CONTEMPORARY ARCHITECTURAL DISCOURSE: A REVIEW OF FUNCTIONALISM REVISITED BY JOHN LANG AND WALTER MOLESKI. Publisher: ASHGATE, Hard Cover: 356 pages

More information

Theatrical Narrative Sequence Project

Theatrical Narrative Sequence Project Theatrical Narrative Sequence Project Name: Theatrical - Marked by exaggerated self-display and unnatural behavior; affectedly dramatic. Stage performance especially by amateurs. Theatricals Affectedly

More information

What most often occurs is an interplay of these modes. This does not necessarily represent a chronological pattern.

What most often occurs is an interplay of these modes. This does not necessarily represent a chronological pattern. Documentary notes on Bill Nichols 1 Situations > strategies > conventions > constraints > genres > discourse in time: Factors which establish a commonality Same discursive formation within an historical

More information

Tokyo Story was directed by Yasujiro Ozu and released in Japan in It is about an old married couple that travels to Tokyo to visit their

Tokyo Story was directed by Yasujiro Ozu and released in Japan in It is about an old married couple that travels to Tokyo to visit their Tokyo Story was directed by Yasujiro Ozu and released in Japan in 1953. It is about an old married couple that travels to Tokyo to visit their children. They are greeted warmly, but are treated as if they

More information

Beyond Read-the-Book, Watch-the-Movie

Beyond Read-the-Book, Watch-the-Movie Beyond Read-the-Book, Watch-the-Movie An Interdisciplinary Approach for Teaching Film in the Middle School Classroom Presented by The Film Foundation In Partnership with IBM and Turner Classic Movies Educators

More information

Film. lancaster.ac.uk/film

Film. lancaster.ac.uk/film Film lancaster.ac.uk/film WELCOME DEGREES AND ENTRY REQUIREMENTS Film Studies at Lancaster is a stimulating and intellectually engaging course which provides a framework for the close analysis of individual

More information

Case Study: Vivre Sa Vie / My Life to Live (Godard, 1962) Student Resource

Case Study: Vivre Sa Vie / My Life to Live (Godard, 1962) Student Resource GCE A LEVEL COMPONENT 2 WJEC Eduqas GCE A LEVEL in FILM STUDIES Case Study: Vivre Sa Vie / My Life to Live (Godard, 1962) Student Resource EXPERIMENTAL FILM Experimental Film Case Study: Vivre Sa Vie/My

More information

Today in Visual Story. Editing. A movie is made three times: once through a script, once on set, and finally in the edit room.

Today in Visual Story. Editing. A movie is made three times: once through a script, once on set, and finally in the edit room. Today in Visual Story Editing A movie is made three times: once through a script, once on set, and finally in the edit room. Dreaming and Cinema Editing as Punctuation Life and dreams are leaves of the

More information

Journal of Religion & Film

Journal of Religion & Film Volume 2 Issue 3 Special Issue (December 1998): Spotlight on Teaching 12-17-2016 Seduction By Visual Image Barbara De Concini bdeconcini@aarweb.com Journal of Religion & Film Article 2 Recommended Citation

More information

2015 Arizona Arts Standards. Theatre Standards K - High School

2015 Arizona Arts Standards. Theatre Standards K - High School 2015 Arizona Arts Standards Theatre Standards K - High School These Arizona theatre standards serve as a framework to guide the development of a well-rounded theatre curriculum that is tailored to the

More information

CAROL HUNTS University of Kansas

CAROL HUNTS University of Kansas Freedom as a Dialectical Expression of Rationality CAROL HUNTS University of Kansas I The concept of what we may noncommittally call forward movement has an all-pervasive significance in Hegel's philosophy.

More information

John Cassavetes. The Killing of a Chinese Bookie 1976

John Cassavetes. The Killing of a Chinese Bookie 1976 John Cassavetes The Killing of a Chinese Bookie 1976 Cinema of Outsiders Emanuel levy Attempts to define Independent Cinema Places our Contemporary Understanding of Independent Film in Historic Context

More information

The Classical Narrative Model. vs. The Art film (Modernist) Model

The Classical Narrative Model. vs. The Art film (Modernist) Model The Classical Narrative Model vs. The Art film (Modernist) Model Classical vs. Modernist Narrative Strategies Key Film Esthetics Concepts Realism Formalism Montage Mise-en-scene Modernism REALISM Style

More information

SCREEN THEORY (RTF 331K, UNIQUE # 08100) Fall 2012 University of Texas at Austin

SCREEN THEORY (RTF 331K, UNIQUE # 08100) Fall 2012 University of Texas at Austin 1 Instructor: Professor Lalitha Gopalan Office: CMA 6.174 Telephone: 512-471-9374 e-mail: lalithagopalan@mail.utexas.edu SCREEN THEORY (RTF 331K, UNIQUE # 08100) Fall 2012 University of Texas at Austin

More information

Film and Media Studies (FLM&MDA)

Film and Media Studies (FLM&MDA) University of California, Irvine 2017-2018 1 Film and Media Studies (FLM&MDA) Courses FLM&MDA 85A. Introduction to Film and Visual Analysis. 4 Units. Introduces the language and techniques of visual and

More information

Culture and Aesthetic Choice of Sports Dance Etiquette in the Cultural Perspective

Culture and Aesthetic Choice of Sports Dance Etiquette in the Cultural Perspective Asian Social Science; Vol. 11, No. 25; 2015 ISSN 1911-2017 E-ISSN 1911-2025 Published by Canadian Center of Science and Education Culture and Aesthetic Choice of Sports Dance Etiquette in the Cultural

More information

UNDERSTANDING THE FILM: "THE BATTLESHIP POTEMKIN" AND CONFLICT THEORY A RHETORICAL ANALYSIS

UNDERSTANDING THE FILM: THE BATTLESHIP POTEMKIN AND CONFLICT THEORY A RHETORICAL ANALYSIS 106 Kurgu Dergisi S: 15, 106-118, 1998 UNDERSTANDING THE FILM: "THE BATTLESHIP POTEMKIN" AND CONFLICT THEORY A RHETORICAL ANALYSIS Ar,. GOr. E. Nezih ORHON* ABSTRACT Directors try to demonstrate their

More information

DOCUMENTING CITYSCAPES. URBAN CHANGE IN CONTEMPORARY NON-FICTION FILM

DOCUMENTING CITYSCAPES. URBAN CHANGE IN CONTEMPORARY NON-FICTION FILM DOCUMENTING CITYSCAPES. URBAN CHANGE IN CONTEMPORARY NON-FICTION FILM Iván Villarmea Álvarez New York: Columbia University Press, 2015. (by Eduardo Barros Grela. Universidade da Coruña) eduardo.barros@udc.es

More information

East China Normal University International Summer Session. FIM 11 Introduction to Film Studies

East China Normal University International Summer Session. FIM 11 Introduction to Film Studies 1 East China Normal University International Summer Session FIM 11 Introduction to Film Studies Term: July 3 rd August 4 th, 2017 Time: 13:35-15:25 Instructor: Dr. Mark Stephenson Home Institution: Western

More information

Reference: Chapter 6 of Thomas Caldwell s Film Analysis Handbook.

Reference: Chapter 6 of Thomas Caldwell s Film Analysis Handbook. The Hong Kong Institute of Education Department of English ENG 5219 Introduction to Film Studies (PDES 09-10) Week 2 Narrative structure Reference: Chapter 6 of Thomas Caldwell s Film Analysis Handbook.

More information

Editing. A long process!

Editing. A long process! Editing A long process! the best take master shot long shot shot reverse shot cutaway footage long process involving many-can take months or even years to edit films feature--at least 60 minutes dailies

More information

Today in Visual Story. Editing is Storytelling

Today in Visual Story. Editing is Storytelling Today in Visual Story Editing is Storytelling Dreaming and Cinema Editing as Punctuation Life and dreams are leaves of the same book: reading them in order is living; skimming through them is dreaming.

More information

1. Newspaper and Television Reviewing emotional reactions, little historical perspective

1. Newspaper and Television Reviewing emotional reactions, little historical perspective Film Analysis 38 Film Criticism: 1. Newspaper and Television Reviewing emotional reactions, little historical perspective 2. General-Interest Journal-Based Criticism e.g., Pauline Kael (linking film theory/history

More information

East China Normal University International Summer Session. FIM 11 Introduction to Film Studies

East China Normal University International Summer Session. FIM 11 Introduction to Film Studies 1 East China Normal University International Summer Session FIM 11 Introduction to Film Studies Term: May 29 th June 23 rd, 2017 Time: 14:00-16:15 (2:00-4:15 p.m.) Instructor: Dr. Mark Stephenson Home

More information

What happened in this revolution? It s part of the film -Mutiny on battleship, class conflict.

What happened in this revolution? It s part of the film -Mutiny on battleship, class conflict. IV. 4 March Key terms: montage Constructivism diegesis formalism Eisenstein -uses film as tool for social change, not as escapist entertainment -Eisenstein associated with constructivism -Battleship Potemkin

More information

HPSC0066 Science and Film Production. Course Syllabus

HPSC0066 Science and Film Production. Course Syllabus HPSC0066 Science and Film Production Course Syllabus Term One 18/19 session Bex Coates r.l.coates@ucl.ac.uk Course Information This module focuses on film creation. It combines critical theory of the representation

More information

Years 9 and 10 standard elaborations Australian Curriculum: Drama

Years 9 and 10 standard elaborations Australian Curriculum: Drama Purpose Structure The standard elaborations (SEs) provide additional clarity when using the Australian Curriculum achievement standard to make judgments on a five-point scale. These can be used as a tool

More information

Film and Television. 318 Film and Television. Program Student Learning Outcomes. Faculty and Offices. Degrees Awarded

Film and Television. 318 Film and Television. Program Student Learning Outcomes. Faculty and Offices. Degrees Awarded 318 Film and Television Film and Television Film is a universally recognized medium that has a profound impact on how we view the world and ourselves. Filmmaking is the most collaborative of art forms.

More information

New Hollywood. Scorsese & Mean Streets

New Hollywood. Scorsese & Mean Streets New Hollywood Scorsese & Mean Streets http://www.afi.com/100years/handv.aspx Metteurs-en-scene Martin Scorsese: Author of Mean Streets? Film as collaborative process? Andre Bazin Jean Luc Godard

More information

Baylor University Department of Communication Fall Wednesday 7:00 11:00 p.m., Castellaw 101 Thursday 2:00 4:45 p.m.

Baylor University Department of Communication Fall Wednesday 7:00 11:00 p.m., Castellaw 101 Thursday 2:00 4:45 p.m. Baylor University Department of Communication Fall 2013 Screening: Seminar: Wednesday 7:00 11:00 p.m., Castellaw 101 Thursday 2:00 4:45 p.m., Castellaw 138 Professor: Office: Office Hours: Phone: E-Mail:

More information

Wuhan University SUMMER 2018

Wuhan University SUMMER 2018 General Information ENG 026:Introduction to Film Term: 2018 Summer Session Class Sessions Per Week: 5 Instructor: Staff Total Weeks: 4 Language of Instruction: English Total Class Sessions: 20 Classroom:

More information

The Debates around Realism in the Korean Cinema

The Debates around Realism in the Korean Cinema The Debates around Realism in the Korean Cinema Kim Soh-youn The Colonial Period: The Dialectic of Proletarianism and Realism Whether addressing overall history or individual films, realism characterizes

More information

Macro Analysis: Genre and Narrative

Macro Analysis: Genre and Narrative Engl 425 Analyzing Film Film As Text Reading a film is a lot like reading a book: You analyze it for genre, plot, character theme, setting, point of view--all the elements you re used to considering in

More information

The Polish Peasant in Europe and America. W. I. Thomas and Florian Znaniecki

The Polish Peasant in Europe and America. W. I. Thomas and Florian Znaniecki 1 The Polish Peasant in Europe and America W. I. Thomas and Florian Znaniecki Now there are two fundamental practical problems which have constituted the center of attention of reflective social practice

More information

ENG 026:Introduction to Film

ENG 026:Introduction to Film ENG 026:Introduction to Film General Information: Term: 2019 Summer Session Instructor: Staff Language of Instruction: English Classroom: TBA Office Hours: TBA Class Sessions Per Week: 5 Total Weeks: 5

More information

In The Meaning of Ought, Matthew Chrisman draws on tools from formal semantics,

In The Meaning of Ought, Matthew Chrisman draws on tools from formal semantics, Review of The Meaning of Ought by Matthew Chrisman Billy Dunaway, University of Missouri St Louis Forthcoming in The Journal of Philosophy In The Meaning of Ought, Matthew Chrisman draws on tools from

More information

FPA 386 Week 5. The Song

FPA 386 Week 5. The Song FPA 386 Week 5 The Song Musicals If HOLLYWOOD measured success by the quality of the criticism associated with its product, the musical would be its worst investment. For more than 3 decades the money

More information

During the eighties, film studies gradually adopted. The Cognitive Turn in Film Theory

During the eighties, film studies gradually adopted. The Cognitive Turn in Film Theory CHAPTER ONE The Cognitive Turn in Film Theory We have witnessed a number of attempts to by-pass [film theory s] most difficult conceptual problems by replacing it with something else. The something else

More information

Continuity and Montage

Continuity and Montage AD30400 Video Art Prof. Fabian Winkler Spring 2014 Continuity and Montage There are two basically different approaches to editing, CONTINUITY EDITING and MONTAGE THEORY. We will take a look at both techniques

More information

Film and Television. 300 Film and Television. Program Student Learning Outcomes

Film and Television. 300 Film and Television. Program Student Learning Outcomes 300 Film and Television Film and Television Film is a universally recognized medium that has a profound impact on how we view the world and ourselves. Filmmaking is the most collaborative of art forms.

More information

Harris Wiseman, The Myth of the Moral Brain: The Limits of Moral Enhancement (Cambridge, MA and London: The MIT Press, 2016), 340 pp.

Harris Wiseman, The Myth of the Moral Brain: The Limits of Moral Enhancement (Cambridge, MA and London: The MIT Press, 2016), 340 pp. 227 Harris Wiseman, The Myth of the Moral Brain: The Limits of Moral Enhancement (Cambridge, MA and London: The MIT Press, 2016), 340 pp. The aspiration for understanding the nature of morality and promoting

More information

Course: Film, Higher Level (HL)

Course: Film, Higher Level (HL) Longview High School International Baccalaureate Diploma Programme 2010 2011 Course Syllabus for Year 1 Student: Grade: Course: Film, Higher Level (HL) Teacher: Kathy Lancaster Longview High School International

More information

Volume 3.2 (2014) ISSN (online) DOI /cinej

Volume 3.2 (2014) ISSN (online) DOI /cinej Review of The Drift: Affect, Adaptation and New Perspectives on Fidelity Rachel Barraclough University of Lincoln, rachelbarraclough@hotmail.co.uk Abstract John Hodgkins book revitalises the field of cinematic

More information

FILM 201 Introduction to Cinema Fall To Shoot a Film is to Organize an Entire Universe -Ingmar Bergman

FILM 201 Introduction to Cinema Fall To Shoot a Film is to Organize an Entire Universe -Ingmar Bergman FILM 201 Introduction to Cinema Fall 2016 To Shoot a Film is to Organize an Entire Universe -Ingmar Bergman Professor Ted Hovet OFFICE: CH 110C 745-5782 Office Hours: MW 10:30-11:30; W 3:30-5:00; and by

More information

1. Plot. 2. Character.

1. Plot. 2. Character. The analysis of fiction has many similarities to the analysis of poetry. As a rule a work of fiction is a narrative, with characters, with a setting, told by a narrator, with some claim to represent 'the

More information

10 Day Lesson Plan. John Harris Unit Lesson Plans EDU 312. Prepared by: John Harris. December 6, 2008

10 Day Lesson Plan. John Harris Unit Lesson Plans EDU 312. Prepared by: John Harris. December 6, 2008 John Harris 10 Day Lesson Plan Prepared for: EDUC 312 Prepared by: John Harris Date: December 6, 2008 Unit Title : Books and Movies (Comparing and Contrasting Literary and Cinematic Art) 1 2 Unit : Books

More information

The View from Perlov By: Uri Klein Taken from Haaretz Magazine, Dec

The View from Perlov By: Uri Klein Taken from Haaretz Magazine, Dec The View from Perlov By: Uri Klein Taken from Haaretz Magazine, Dec 19 2003. In 1963 I went to the Esther cinema in Tel-Aviv to see Murder, She Said, adapted from one of the Jane Marple novels by Agatha

More information

Week 25 Deconstruction

Week 25 Deconstruction Theoretical & Critical Perspectives Week 25 Key Questions What is deconstruction? Where does it come from? How does deconstruction conceptualise language? How does deconstruction see literature and history?

More information

The concept of Latin American Art is obsolete. It is similar to the concept at the origin

The concept of Latin American Art is obsolete. It is similar to the concept at the origin Serge Guilbaut Oaxaca 1998 Latin America does not exist! The concept of Latin American Art is obsolete. It is similar to the concept at the origin of the famous exhibition of photographs called The Family

More information

BFA: Digital Filmmaking Course Descriptions

BFA: Digital Filmmaking Course Descriptions BFA: Digital Filmmaking Course Descriptions Sound [07:211:111] This course introduces students to the fundamentals of producing audio for the moving image. It explores emerging techniques and strategies

More information

From Montage to Mounting: The Surprisingly Sexual Drawings of Sergei Eisenstein

From Montage to Mounting: The Surprisingly Sexual Drawings of Sergei Eisenstein GALLERIES From Montage to Mounting: The Surprisingly Sexual Drawings of Sergei Eisenstein Over the course of his life, Sergei Eisenstein amassed 5,000 sketches, including his sex drawings, which depict

More information

The Generative Audiovisual Narrative System

The Generative Audiovisual Narrative System The Generative Audiovisual Narrative System Dr. Iro Laskari Faculty of Communication and Media Studies National & Kapodistrian University of Athens e-mail: ilaskar@gmail.com Abstract This paper documents

More information

MISE-EN-SCENE MEEZE ON - SEN

MISE-EN-SCENE MEEZE ON - SEN MISE-EN-SCENE MEEZE ON - SEN START BY WATCHING THIS FILM. https://www.youtube.com/watch?v=clbt7o3a3wi Don t worry! This guy doesn t talk as fast as the Crash Course narrator! DIRECTIONS Get a copy of the

More information

Always More Than One Art: Jean-Luc Nancy's <em>the Muses</em>

Always More Than One Art: Jean-Luc Nancy's <em>the Muses</em> bepress From the SelectedWorks of Ann Connolly 2006 Always More Than One Art: Jean-Luc Nancy's the Muses Ann Taylor, bepress Available at: https://works.bepress.com/ann_taylor/15/ Ann Taylor IAPL

More information

frames and images Frames and images

frames and images Frames and images frames and images The Good, the Bad and the Ugly (dir: Sergio Leone 1966) With very few exceptions, every film is made up of hundreds of different shots. Each one contributes a specific meaning to the

More information

Silent Cinema Student Resource

Silent Cinema Student Resource GCE A LEVEL COMPONENT 2 WJEC Eduqas GCE A LEVEL in FILM STUDIES Silent Cinema Student Resource CASE STUDY: SUNRISE (MURNAU, 1927) Silent Cinema Student Resource Case Study: Sunrise (Murnau, 1927) Sunrise

More information

If Paris is Burning, Who has the Right to Say So?

If Paris is Burning, Who has the Right to Say So? 1 Jaewon Choe 3/12/2014 Professor Vernallis, This shorter essay serves as a companion piece to the longer writing. If I ve made any sense at all, this should be read after reading the longer piece. Thank

More information

Psychology of film: Psychology of film: Mise-en-scene Page 1. Psychology of film: Mise-en-scene Page 2

Psychology of film: Psychology of film: Mise-en-scene Page 1. Psychology of film: Mise-en-scene Page 2 Psychology of film: Mise-en-scèneen-scène Psychology of film: Mise-en-scene Page 1 Mise-en-scÈneen-scÈne What is put into the scene (put before the camera) everything in the frame of the film includes

More information

The Ultimate Career Guide

The Ultimate Career Guide www.first.edu The Ultimate Career Guide For The Film & Video Industry Learn about the Film & Video Industry, the types of positions available, and how to get the training you need to launch your career

More information

FACTFILE: GCE A2 MOVING IMAGE ARTS

FACTFILE: GCE A2 MOVING IMAGE ARTS FACTFILE: GCE A2 MOVING IMAGE ARTS THE FRENCH NEW WAVE AND CINEMA VÉRITÉ The French New Wave and Cinéma Vérité Learning Outcomes Students should be able to: of the French New Wave as an alternative cinematic

More information

Film-Philosophy

Film-Philosophy Jay Raskin The Friction Over the Fiction of Nonfiction Movie Carl R. Plantinga Rhetoric and Representation in Nonfiction Film Cambridge University Press, 1997 In the current debate or struggle between

More information

The movie, Citizen Kane, is considered as the greatest motion picture to come out of America

The movie, Citizen Kane, is considered as the greatest motion picture to come out of America FIL 1001, SPRING 2003 TERM Introduction to Understanding Film Betty Gilson http://www.artistrue.com Citizen Kane Instructor: Lois Wolfe 01/27/2003 The movie, Citizen Kane, is considered as the greatest

More information

Literary and non literary aspects

Literary and non literary aspects THE PLAYWRIGHT The playwright -most central and most peripheral figure in the theatrical event -provides point of origin for production (the script) -in earlier periods playwrights acted as directors -today

More information

aster of Suspense: Alfred Hitchcock

aster of Suspense: Alfred Hitchcock IB DIPLOMA- VISUAL ARTS EXTENDED ESSAY aster of Suspense: Alfred Hitchcock How does Alfred Hitchcock visually guide viewers as he creates suspense in films such as ''The Pleasure Garden,''''The Lodger,''

More information

Invisible Man - History and Literature. new historicism states that literature and history are inseparable from each other (Bennett

Invisible Man - History and Literature. new historicism states that literature and history are inseparable from each other (Bennett Invisible Man - History and Literature New historicism is one of many ways of understanding history; developed in the 1980 s, new historicism states that literature and history are inseparable from each

More information

Touch of Evil and Ecological Optics: Toward a Démystification of Conventional Film Editing Practice

Touch of Evil and Ecological Optics: Toward a Démystification of Conventional Film Editing Practice Spring 1994 103 Touch of Evil and Ecological Optics: Toward a Démystification of Conventional Film Editing Practice Mike Evces In the history of narrative cinema, the long take has often been employed

More information

Lecture (0) Introduction

Lecture (0) Introduction Lecture (0) Introduction Today s Lecture... What is semiotics? Key Figures in Semiotics? How does semiotics relate to the learning settings? How to understand the meaning of a text using Semiotics? Use

More information

The Duel side of the classical period

The Duel side of the classical period The Duel side of the classical period Table Of Content Introduction..i What is classical Hollywood cinema ii The 3 Act Structure......iii 3 Systems of narrative films.......iv Editing, Space and Time...v

More information

2. Readings that are available on the class ELMS website are designated ELMS. Assignments 10pts. each) 60% (300 pts.

2. Readings that are available on the class ELMS website are designated ELMS. Assignments 10pts. each) 60% (300 pts. ENGL 245: Film Form and Culture summer I 2012 Instructor: Oliver Gaycken Instructor office: Tawes 3223 Instructor email: ogaycken@umd.edu Description This course introduces you to the fundamentals of film

More information

BRANIGAN, Edward. Narrative Comprehension and Film. London/New York : Routledge, 1992, 325 pp.

BRANIGAN, Edward. Narrative Comprehension and Film. London/New York : Routledge, 1992, 325 pp. Document generated on 01/06/2019 7:38 a.m. Cinémas BRANIGAN, Edward. Narrative Comprehension and Film. London/New York : Routledge, 1992, 325 pp. Wayne Rothschild Questions sur l éthique au cinéma Volume

More information

Chapter. Arts Education

Chapter. Arts Education Chapter 8 205 206 Chapter 8 These subjects enable students to express their own reality and vision of the world and they help them to communicate their inner images through the creation and interpretation

More information

CUST 100 Week 17: 26 January Stuart Hall: Encoding/Decoding Reading: Stuart Hall, Encoding/Decoding (Coursepack)

CUST 100 Week 17: 26 January Stuart Hall: Encoding/Decoding Reading: Stuart Hall, Encoding/Decoding (Coursepack) CUST 100 Week 17: 26 January Stuart Hall: Encoding/Decoding Reading: Stuart Hall, Encoding/Decoding (Coursepack) N.B. If you want a semiotics refresher in relation to Encoding-Decoding, please check the

More information

French 2323/4339 Fall 2015 French Cinema as Cultural Memory & Artistic Artifact Course Information Sheet and Syllabus

French 2323/4339 Fall 2015 French Cinema as Cultural Memory & Artistic Artifact Course Information Sheet and Syllabus French 2323/4339 Fall 2015 French Cinema as Cultural Memory & Artistic Artifact Course Information Sheet and Syllabus Film as dream, film as music. No art passes our conscience in the way film does, and

More information

A person represented in a story

A person represented in a story 1 Character A person represented in a story Characterization *The representation of individuals in literary works.* Direct methods: attribution of qualities in description or commentary Indirect methods:

More information

DEGREE: FILM, TELEVISION AND MEDIA STUDIES YEAR: 4 TERM: 1 WEEKLY PLANNING. Special room for session (computer. GROUPS (mark X) classroom )

DEGREE: FILM, TELEVISION AND MEDIA STUDIES YEAR: 4 TERM: 1 WEEKLY PLANNING. Special room for session (computer. GROUPS (mark X) classroom ) COURSE: FILM STUDIES DEGREE: FILM, TELEVISION AND MEDIA STUDIES YEAR: TERM: 1 WEEKLY PLANNING WEEK SESSION 1 1 1 2 DESCRIPTION Introduction to Film Studies: What is Cinema? Why Theory? Film theory and

More information

Units. Year 1. Unit 3: There Was This Guy. Unit 1: Course Overview. 1:1 - Getting started 1:2 - Introducing Film SL 1:3 - Assessment and Tools

Units. Year 1. Unit 3: There Was This Guy. Unit 1: Course Overview. 1:1 - Getting started 1:2 - Introducing Film SL 1:3 - Assessment and Tools Film SL Units All Pamoja courses are written by experienced subject matter experts and integrate the principles of TOK and the approaches to learning of the IB learner profile. This course has been authorised

More information

Downloaded on T04:20:58Z. Title. Review of Decades Never Start on Time: A Richard Roud Anthology, edited by Michael Temple and Karen Smolens

Downloaded on T04:20:58Z. Title. Review of Decades Never Start on Time: A Richard Roud Anthology, edited by Michael Temple and Karen Smolens Title Author(s) Editor(s) Review of Decades Never Start on Time: A Richard Roud Anthology, edited by Michael Temple and Karen Smolens Busetta, Laura Hurley, Marian Publication date 2015 Original citation

More information

Screenwriter s Café Alfred Hitchcock 1939 Lecture - Part II By Colleen Patrick

Screenwriter s Café Alfred Hitchcock 1939 Lecture - Part II By Colleen Patrick Screenwriter s Café Alfred Hitchcock 1939 Lecture - Part II By Colleen Patrick First I ll review what I covered in Part I of my analysis of Alfred Hitchcock s 1939 lecture for New York s Museum of Modern

More information