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Lecture 11

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Alexandra Flynn

Not what to think - it is how to think Why do we think the way we do? Slows us down because we actually ponder things Modernity puts a huge emphasis on having focus In Charlie Chaplin - we hear noises and we hear the machines make sounds  The people to do not actually talk  Even the tramp: Strangle amalgamation of English, French, Spanish, Italian  Mostly it is done in pantomime: no words  Tramp: The most popular cultural icon. CC was first superstar  Tramp appeal: Silent Cinema. Never spoke. 1918, darkest part of WWI. The Tramp could not survive cinema with sound  People wept at the end of the movie, since this was the last movie with the Tramp  Mocking sound: myth of progress: Just because technology can do something, it's better  Also innovation: Just because it is new, it is better Meaningful/Productive Comedy version of metropolis What's productive is misunderstood as meaningful Doesn't mean bad, just no meaning Confusing accumulation of items with accumulation of meaning Shopping: mimics meaningfulness : telling it how unique an item will make you : despite being sold to hundreds of people : Mass proliferation of free choice "Pre" modern/modern Time is not a consistent entity It is how we monitor our relationship to what we consider the meaning of our life Time is an interphase that is sensitive - changes "all the time" Modern time: current assumptions on moral order What directs me? Premodern time - secondary. Not cumulative, it has an imminence to it. All at once Tradition - way to monitor that time is gyre Hourly wages on an assembly line - time is money Paid by hour, supervised Summer jobs are like what the Tramp is doing Modern times: obsession with food Present in this film too. Cakes, ducks, feeding machine Profound anxiety : One might not be able to meet CC often send to the workhouse until mother could recover from her nervous breakdowns CC imitation of drunk people - came from memories of father always being drunk Desperate attempt to be with father while at the same time humanize it - CC's drunks are loveable Retrieve his father from his groundless existence Transcendent/imminent Every moment is indistinguishable from others We try to avoid this by taking photos Chronicling we were there Attempt to imitate transcendence: speaks to an impulse to have something beyond us to see us This gives us a sense of seeing ourselves The Tramp is Pre-Modern He does not understand it Discovers a way of coping with modernity that others haven't  He is unbreakable We watched DG go down, we watched Dalloway struggle, we watched Septimus kill himself, Kurtz go deep into jungle and lose himself Horror: realize he was always been drifting, he was not actually bringing them light at all. This notion breaks him Marlow knew he was rootless: he at least knew he was drifting Conveyer belt was innovation Revolutionized car industry and labor force Created gap between management and labor Discrepancies are still there Is all this mobility really better? Wireless devices: portable distraction machine Metropolis - welcome to the machine The main character sees the people enslaved, subculture where they are bound to the machine Loss of transcendental certitude Is there a point to being good? Ruthlessness: mobility Where we are: where we are because we want to be somewhere else Everywhere we are is where we are not yet We are in this class for example to get to med school If I could get there now, I would Question: then what? Malls: commercially induced psychosis. Forget who we are under guise of finding ourselves How do we center ourselves? What is our primary connection? What is our root? Machine breaking the singer in Pink Floyd Machine pumping us up the wrong way The way Lord Henry pumps up Dorian Gray Makes him ruthless: have no roots DG is irresistible - he is a mobile distraction machine He aggravates people's sense of security with no substitute DG around today: put the portrait on the app on his phone. Meanwhile everything looks like it's working really well Sheep Cinema: 1895 Eminent art-form of 20th century Works by juxtaposition - not similarity. Montage Putting one image next to another Sheep + subway Not cause + effect - it is meaning generated by juxtaposition/montage Generation of a third thing that is focal point Third thing: not in first image, not in second, but a result of two being put together A method of dissolving the secularity of time People are like sheep - crowd going into a corral, on their way to slaughter The one black she
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