FILM 1701 Study Guide - Influence Of Mass Media, Carlos Diegues, Consciousness Raising

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Published on 17 Apr 2013
School
York University
Department
Film
Course
FILM 1701
Professor
Alea Article:
Tarzan reference: Killing black people
What is wrong with this picture?
White imperialist racism approach
What we should do is take the power that movies have and put Fidel Castro in the movies
instead of Tarzan and cheer him on.
Put the spectator in a position where the only thing they can see is good guys and bad
guys
Viewers naturally identify with the good guy without knowing what he represents
It‘s not working at the level of consciousness, it DULLS consciousness
Always cheering on Tarzan because he‘s the hero
Pg. 43, right hand side, top paragraph but what happens when the identification
If you like the character, than you like his values
Form of entertainment, a distraction
You surrender your consciousness over to the drama
The emotional effect of good drama
Sucked into political values of ideology (KKK)
In Birth of a Nation you would find yourself cheering for the KKK
Certain emotions are raised you may cry
By the end, your emotions are discharged
Alea thinks this is a waste.. why have all these emotions and not do anything with it?
Why not put it to revolutionary use
Pg 48 first par ―what i want to emphasize here is the show which seeks to take a step
forward in the discovery of reality‘s most profound layers, the demythicizing show the
one that makes is climb one step further in the pursuit of genuine consciousness, that is
the show which produced a new spectator ....such a show thrusts spectators onto the
streets, burdened with worry and with a set course to follow and they become actor in
their own life‖
That is what radical art is supposed to do
He says: If this doesn‘t happen, you tend to fall into accepting things as they are
Leads to acceptance of social ills, essential
Identification Ideology
Aristotelian drama
o Identification with CATHARSIS
o Emotional discharge
BRECHTIAN DRAMA
o Estrangement/distancing
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o ―Alienation effect‖
Importance of DISCOVERY and SEEING THE WORLD ANEW
ACTION
More complex ―the emotional context....
You‘re identifying, following the story and the distancing effect comes in
Estrangement effect discovering something
Thinking critically, you discover something that you did not know before
See the world anew, through fresh eyes
It‘s goal is to reveal something new
Godard goes to far
Alea wants us to harness energy
Pg 44: His idea: wants a balance ―thus arose the ideas of keeping the spectators distance
form play, not lose interest.... wants to estrange people from the play. He wants to
integrate them
Highest goal.....social and political level
It‘s a goal to reveal something new which they thought they knew.
talking about politics and how a film form can inform an audience or can push an
audience away question on politics
Espinosa Article:
Perfect cinema first cinema production stars shiny
- Hollywood, big production
Imperfect cinema is third cinema
- Reflexivity important you know you‘re watching a film
- People should strive for third cinema
Second cinema doesn‘t fall in a specific range – is self indulgent
Battle of Algeirs all of the actors are too pretty to be in cinema actors belong in perfect
cinema
- Could be considered any cinema 1,2,3
- WHY
- First Cinema the thriller
- Second Cinema the aesthetics of the director as author the way the film is told -
- Third cinema the perspective of the liberation struggle
- the way a film is screened changes its meaning
Espinosa would say this takes away from the film because it does not suit it as well
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- Currently, as Hauser points out, mass art is art produced by a minority in order to satisfy the
demand of a public reduced to the sole role of spectator and consumer.
Bourgeoisie: The middle class. In Marxist theory, the social group opposed to the
proletariat in the class struggle.
Pg.5 bottom
Must the revolutionary present and the revolutionary future inevitably have "its" artists and "its"
intellectuals, just as the bourgeoisie had "theirs"? Surely the truly revolutionary position, from
now on, is to contribute to overcoming these elitist concepts and practices, rather than pursuing
ad eternum the "artistic quality" of the work. The new outlook for artistic culture is no longer
that everyone must share the taste of a few, but that all can be creators of that culture. Art has
always been a universal necessity; what it has not been is an option for all under equal
conditions. Parallel to refined art, popular art has had a simultaneous but independent existence.
- Overcoming elitism
- Everyone can be artists
- Means of production has moved away into everyone‘s hands (cell phone can record a movie)
- ―that is to say, an "imperfect" cinema. An "impartial" or "uncommitted" (cinema), as a
complete aesthetic activity, will only be possible when it is the people who make art.
- The motto of this imperfect cinema (which there's no need to invent, since it already exists)
is, as Glauber Rocha would say, "We are not interested in the problems of neurosis; we are
interested in the problems of lucidity." Art no longer has use for the neurotic and his
problems, although the neurotic continues to need art as a concerned object, a relief, an
alibi or, as Freud would say, as a sublimation of his problems
- Imperfect cinema finds a new audience in those who struggle, and it finds its themes in their
problems. For imperfect cinema, "lucid" people are the ones who think and feel and exist in a
world which they can change. In spite of all the problems and difficulties, they are convinced
that they can transform it in a revolutionary way. Imperfect cinema therefore has no need to
struggle to create an "audience." On the contrary, it can be said that at present a greater
audience exists for this kind of cinema than there are filmmakers able to supply that
audience.
- We maintain that imperfect cinema must above all show the process which generates the
problems. It is thus the opposite of a cinema principally dedicated to celebrating results, the
opposite of a self-sufficient and contemplative cinema, the opposite of a cinema which
"beautifully illustrates" ideas or concepts which we already possess
- Imperfect cinema rejects exhibitionism in both (literal) senses of the word, the
narcissistic and the commercial (getting shown in established theaters and circuits). It
should be remembered that the death of the star-system turned out to be a positive thing
for art.
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Document Summary

What we should do is take the power that movies have and put fidel castro in the movies instead of tarzan and cheer him on. Put the spectator in a position where the only thing they can see is good guys and bad guys. It s not working at the level of consciousness, it dulls consciousness. Viewers naturally identify with the good guy without knowing what he represents. Always cheering on tarzan because he s the hero. 43, right hand side, top paragraph but what happens when the identification. You surrender your consciousness over to the drama. Sucked into political values of ideology (kkk) Certain emotions are raised you may cry. By the end, your emotions are discharged. If you like the character, than you like his values. In birth of a nation you would find yourself cheering for the kkk. That is what radical art is supposed to do.

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