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Film 226 Lecture and Exam note 2013

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Department
Film and Media
Course
FILM 226
Professor
Prof.
Semester
Winter

Description
Film 226 Read: Dessert of the Real. (Zizek) published in the south Atlantic [email protected] Wed January 9 2013 Reading: Welcome the Desert of the Real!  How can we connect the ideas of desire to the 9/11 attacks?  The tension or binary of the real and the virtual  The idea of 9/11 is that the real world is unrealistic ex. Reality TV  In terms of desire and 9/11 he says that through Hollywood, people fantasized about the day 9/11 would come, or a fetish for desire, and is than shocked when it actually comes. So this was the realization of fantasy. The actually surprise of 9/11 has to do with the fulfillment of the devastation. Screening: The 25 Hour  What is the film saying about September 11 ? th  There is a direct parallel between Monty, and the US, in terms of 9/11  When choosing whether or not to flee, it is not just fleeing jail, it is also fleeing new york. ‘ January 16, 2013 Writing  What constitutes a debatable clam you are supporting with evidence?  Evidence: either my on analysis/insight or scholarly source  Argument: consist at the beginning of a topic, the object of research. Why are you doing it? I am looking at “x” because. Ultimately you can write, I will argue this because…  One question to be asked through writing is “so what?”, why does what I’m saying matter  Editing: Very important  Be Clear and Concise  Avoid redundancies and don’t be too wordy  Avoid opinion as a fact  Do not assume how the audience reacts, and do not rely on stereotypes and generalizations  Clarity: Be careful with the use of transitions refer back to the thesis. In the opening of a paragraph have a transition paragraph relating it  Let ideas speak for themselves and do your idea justice.  Thesis must argue a relatable point  The “such as” trick… critic such as him and him love this  Opening with a hook  Start and end with your own work  For conclusions, focus on the “so what” and possibly introduce a new idea to think about, that had been suggested but not focused on  Unless you can concretely say something as a common fact, source it Narrative Complexity  We have a desire to make sense of things, and does this actually reduce our lack of understanding?  Trying to make sense of something, make actually reduce our understanding, in terms of cognitive dissidence  Trying to figure something out, may be putting it into a small package, of what the movie is trying to achieve  Things that do not appear complicated anymore, may be very complicated to other people  We are becoming used to understand multiple threads (complex TV episodes)  There are two ways that this occurs  The story itself  The way the story is told  Is the story itself complicate, and how is the story ordered Post Modernism  Fundamentally a belief in the lack of grand narrative  Meaning doesn’t necessarily come at us in a this is the way things are. Meaning is increasingly focused on individualism, meaning is something that is provided to us or embedded in the text, and than when we think of our own positionality, we think of our own personal meaning, and what WE think it is about  This is kind of an empowerment thing  Another concept is that cultural possibilities have already been exhausted  The only way we can make art, is by taking something that already exist, and recreating is or referencing it  Taking two ideas, taking them out of the original context, combining them together and creating an original meaning Article 1  Where does the ambiguity actually lay, in many films it is in the ending  The influence of video games  A medium that defers to films  Trying to overturn the assumption of video games and films, in the context of high art versus low art Article 2  Quietism: The idea of passive contemplation, quiet contemplation  The author’s basic argument in response to complex areas is that our response I just to kind of shrug, and agree  When we are not provided those answers, our response is frustration  This ambiguity is interfering with out learning and thought Sequence Analysis  Focus on just your thoughts, on those 5 minutes; only really reference other part of the film, to prove your point  Make the connection between film technique, and the production of meaning  Focus on your ideas, not just on the plot.  Ex. When they are sitting in front of the window, the lighting showed this and this…  Write under the assumption that the reader has seen the movie January 23, 2013 Trauma Theory  Emerged out of several concerns, trying to figure out some sort of theoretical thing feel to us, and how does it happen, how do we account for atrocity  Relationship between group trauma and personal trauma  How do we memorialize trauma and heal  Relate the idea of memory to trauma and connecting memory to trauma  More a discourse than one particular argument, it is an interdisciplinary, it cover different field of study  It borrows understanding, and tries to bridge gaps; it also uses methodological tools from a variety of areas 3 core assumptions  Something is unknowable in the movement: refers to a person’s emotional response to an overwhelming event that disrupts previous ideas of an individual’s sense of self and the standards by which one evaluates society  This assumes that we desire to know  Trauma can be transferred 1. The act of narration 2. Through shared experiences, and belong to a group Ex. The Holocaust, not everyone experienced it, it is an experienced share through the religion 3. Can only be known through repetition or flashback: Psychotherapy; the process if relieving an abnormal excitement by re-establishing the association of the emotion with the memory or idea of the even which was the first cause of it, and of eliminating it by abreaction  Essentialism: postmodernism is a individual experience in terms of defining meaning What does trauma do to us?  Disrupts our consciousness, memory, sense of self and relation to community  Absence vs. loss  Loss is missing something from our lives that was there  Absence is somewhat was never there to begin with but we feel the pain of missing it  Trauma is conflating the two, the traumatic feeling is our inability to different the two, and this is why we feel pain  Idea of fragmentation, if something is broken; how do we put it back together Trauma Novel/Film  Literary Theory to describe the character and our relationship to the text  We can relate it to what we see on screen, and out relationship with the film Memento January 30 2013 Bollywood/Adaptations  Derives from Bombay and Hollywood  World’s largest film Industry  Films continue to be globally popular  Use of intergenerational narratives, films tend to be longer  Doesn’t conform to definitions of genre  Increasing importance of disaporic audiences  Movies tend to be longer than Hollywood films—often multi-generational storylines  Typically Bollywood isn’t very well received  Specifically films spoken in Hindi  Three key times of Bollywood are the 1950’s, 1970’s and 1990’s  Neoliberalism: conservative ideology that argues for free market and ending star sponsored institutions as well as ending government Adaptation Theory 1. Adaptations so common 2. Moves beyond fidelity as central concern Critique of essentialism 3. Move away from value-based claims The book was better” 4. Focus on intertextuality  Audiences, course material, advertising, cultural context “The book was better”  Books widen the imagination  Films remake don’t conform to expectations  Reading develops literacy skills  Films spectatorships is a passive experience  Enforce cultural hierarchy Thomas Leithch—Pallacies of Adatation Theory  Difference between literary and cinematic texts are tooted in essential properties of their perspective media  Literacy exist are verbal, films are visual  Novels are better than films  Novels create more complex characters than moves because they offer more immediate and complete access to characters psychological states  Cinema us visual specification usurps its audience imagination  Fidelity is the most appropriate criterion to use in analyzing adaptations  Source texts are more original than adaptations  Adaptations are adapting exactly one text apiece  Adaptations are intertexts, their precursor text simply texts Unacknowledged remake. Doesn’t align itself with the original source  Non-remake: Using the same title, but no other resemblance  Direct remake: A shot for shot remake  Disguised remake: The stories are nearly identical  Readaptation: forms a triangle of text, in competitions with the other film; a double remake  Homage: calling attention to the original source Why Adapt?  Tested material  Already has an audience  Book in public domain are free  Expose new audience to culturally specific work  Role in canon formation February 6 2013 Globilization  Diaspora: Used to describe Jews exiled from palestine, has a violent connotation  The problem with this word is the danger of homogenizing people  The Nation  Hybridity: Can apply both to the way we apply multiple identities, but how we identify with more than one identity  Culture—Stuart Hall “the actual grounded terrain of practices, representation, languages and customs of any specific society”  Colonialism: Power brought on by Europe to the rest of the world. It didn’t just exercise the execution of power; it was the construction of an ideological narrative  Post colonialism Defining Globalization  “ The intensification of worldwide social relations with link distant localities in such a ways that local happenings are shaped by events occurring many miles away and vise versa  “Globalization can generate forces of both fragmentation and unification  “What globalization means in terms of social structure, then, is the increase in available modes of organization; transnational. International, macro-region, national, micro-regional municipal, local  “Globalization-- as international economic integration that can be pursued through policies of of trade investment and finance, leading to an open economy  A network of dependent which covers the entirely of the plane 1. World is homogenizing 2. Connected with modernity 3. In terms of technological innovation 4. As an economic condition 5. Cultural imperialism 6. States engages in “international governance” 7. Dismantling of Bretton Woods 8. A form of progress 9. Thomas Friedman’s “flattened world” 10.Samuel Huntington’s “clash of civilizations” 11. Increasingly borderless world 12.Continuation of political and economic process began by Europe in the 1500’s Homogenization  Circuits thought to necessarily include the United States  Frames developing or underdeveloped countries as victims without agency  cultural imperialism make take different forms than strictly American or Western imperialism  Supports a Eurocentric view of history  Simplifies influence as only occurring in one direction  Assumes Western culture is already homogenized  One thing is clear; we don’t have the options of turning away from the future. No one gets to vote on whether technology is going to change out lives/// I believe that progress will comes, no matter what, we need to make the nest of it – Bill Gates Problems with globalization  Foreign Direct Investment is “highly concentrated and unevenly distributed”  Media control increasingly concentrated  Maybe to simple  If everything is globalization, that how useful is the term?  Borders and the movement of people still regulated and maintained Scapes 1. Ethnoscape 2. Mediscape 3. Technoscape 4. Finascape 5. Ideoscapes Globalization and Film  Sharing of subject matter  Depiction of “nomadic peoples”  Films meant to be consumed in wider contexts  The “international adaptation”  Fan culture more participatory  International film festivals February 13, 2013  The way network TV makes money is through advertisement and commercials Industrial Difference 1. Outside of FCC regulation 2. Subscriptions based programming 3. Importance of writer 4. Niche markets 5. Debut show year-round 6. Sunday night lineup 7. Cross-over of foreign products 8. No commercials 9. Sharing of talent 10.Shows are more expensive to produce February 27 2013  Soft-soaping empire: commodity, racism and imperial advertising Functions of advertising  Letting people know about the new product  Differentiate it from an identical product  “New and Improved”  Based on happiness  Buying stuff is a good thing  In terms of mad men in the 1960’s, one of the major turns in advertising was progress Advertising in the 1960’s  Average American saving increased 150% during the war years  Ads increasingly focused on prosperity  In the 1960’s the amount of advertising produced double  Disposable income  Connected to counterculture and youth culture Baby Boom  The creation of suburbia  Big city living decreased  Young people became a driving force in the economy Mental Hygiene Films  Instruction manuals on how to behave March 6 2013 Tarnation  Made on a mac book computer  We are becoming used to watching films by ordinary people  In this age we are used to documenting or lives in a way the past did not  We like to describe what we are doing, rather than doing thing  Cost $200 to make  The democratization of authorships  The filmmaker used the camera to communicate himself and his family  The film is critiquing the idea of family and privacy and the idea of future memories  Home videos are used to show families at there best, however in tarnation it is doing the exact opposite Home movie vs. home video Documentary  The overwhelming amount of films produced is documentary in the forms of porn and corporate films  Some assumptions behind the dysfunction of documentary, Is that using reason we can understand anything  The camera is capable of capturing reality, without changing what is observed  There exist an idea of objective truth, or we must show everything from both side  Having a position of bias is something that we can and should overcome Ex. White Wilderness, this film won awards, however the event was completely staged, and did not exist  All documentary are staged Categorizing documentaries  The expository mode – a narrator tells us how to interpret things, this assumes there is an objective truth  The observational mode – cinema verte, truthful cinema, the idea of capturing reality in an unmitigated form, just having a camera crew recording people ex. Lonely Boy  Interactive mode—we actually see the film crew interacting with the film subject ex. Micha
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