lecture 7

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5 Oct 2011

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Questions for Next time: Taming of the Shrew
What does "Induction" 1 and "Induction"2 do to shape our understanding of the central action of the
What is the relationship of the Inductions to the central story of Kate and Petruccio?
Does it change your understanding of Kate
Lecture outline
Twists on Petrarchanism, Mercutio's mock blazon and The sonnet between Romeo and Juliet
The Play's Structuring Doubles
How to Read a Film? Practice
Film's Language
How is the film telling the story in its particular language?
What does the film open up about the text that you hadn't noticed or considered before?
How to read a film? Key Concepts
Semiotics - a system of signs and codes that create meaning. Sometimes works differently in film. The
codes in film are the medium through which the message is conveyed.
Connotative meaning - what's implied, what surpasses denotation (i.e. a black cat - connotative meaning
is bad luck) can ramify and amplify meaning
Denotative meaning - the literal representation of the word (i.e. pricked by Cupid's bow - C.M. penis,
D.M actually struck by Cupid)
Paradigmatic connotation - when are sense of the connotation is dependant on the range of the shot
from a list of possibilities (i.e choosing to shoot someone from the bottom up, making them look larger
than they are)
Synatgmatic connotation - what actually happens and how you compare it
Pan - the camera is moving from one side of the stage to the other, without cutting
Cut - can happen between shots, scenes, etc.
Jump - jumps from one point of focus to another
Mise en scene ("putting in the scene)- what you put into the scene, and how it's shot. Includes
Accelerated - rapid succession of images in motion pictures to create an association of ideas,
the putting together of shots in a film
Parallel - alternate between scenes, may not be related
Involuted - shots can be delivered, that are out of order
Syntax of film
Culturally derived codes (exist outside film)
Codes shared with other arts (ex. Gesture)
Codes unique to cinema - i.e. montage
Limitations - what is in the frame, what's in and what's out
Composition - how things are arranged
Parallel versus contrapuntal
The play of Petrarchanism: Who speaks the language of Petrarchanism? Who is the subject of
Petrarchan expression?
Lecture 7 - 03/10
Monday, October 03, 2011
11:43 AM
C. de Souza ENGB32H3 Page 1
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