Karteikarten
Pop7
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- 1Dimensions of Film Film as-a form of art
-history
-technology
-culture industry (HOllywood, Bollywood, Nollywood)
-a site for the production of subjectivity (eg. romcom) and (cultural, national) identity (eg. Western) - 2Sample Film Studies Will Wright
- 3Will Wright classic transnational professional
- 4Sample Film Studies: Laura Mulvey 'Visual Pleasure and Narrative Cinema'' (1975) which film theories?feminist film theory, Freudian
classical Hollywood cinema: spectator in masculine subject position --> male gaze - 5Sample Film Studies: Laura Mulvey 'Visual Pleasure and Narrative Cinema'' (1975) scopophilia?controlling, (sexual) objectification, countering castration anxiety:
-voyeuristic: woman as image 'to be looked at'; film noir
-fetishistic: (fragmented) female body as pleasurable (rather than dangerous) - 6Sample Film Studies: Laura Mulvey 'Visual Pleasure and Narrative Cinema'' (1975) to-be-looked-at-ness (f)woman as the object of desire & the male gaze, bearer of the look
'(passive) raw material for the (active) male gaze'' (17)
eg. showgirl: intra and extradiegetic scopophilia (other/male characters; audience)
critique: biologism; passive (female) audience, female pleasure? - 7Christine Gledhill & Jackie Stacey 2000s? negotiation of filmic text (audience, text, institution)feminist interest in popular c --> conditions of consumption
“As a model of meaning production, negotiation conceives of cultural exchange as the intersection of processes of production and reception ...Meaning is neither imposed, nor passively imbibed, but arises out of a struggle or negotiation between competing frames of reference, motivations and experience“ (101, qtd. in Storey 86) - 8Christine Gledhill & Jackie Stacey study of female audiences1940s/50s female Hollywood stars
vs. psychoanalytic criticism (Mulvey)
textual -> actual spectators:
# escapism as utopian possibility (Richard Dyer); textual & social pleasure
# identification & identificatory practices Power, control, self-confidence
# consumerism: e.g. consuming American femininity v. GB gender roles - 93. The ‘Language' of Film & TV Narrative Codes Technical Codes Representational Codes Audio Codes
- 10Technical & Representational Codes: Basics mise-en-scene shot scene sequence (longer) camera angle
- 11Frames & Scale LONG SHOT medium long shot extreme long shot
- 12Frames & Scale CLOSE-UP medium close-up extreme close-up wide-angle shot
- 13Cinematography =?= construction of a shot: look of an image, its balance of dark and light, the depth of the space in focus, the relation of background and foreground, etc.
- 14deep focussignificant elements occupy separated planes in
the image, elements at different depths of the image both in focus.
Touch of Evil (Orson Welles1958)
- 15shallow focusonly one plane
in sharp focus; used to direct
attention to one element of a
scene; e.g. close-up:
psychological introspection;
melodrama (Avatar, James Cameron 2012)
- 16de/centered framingedges of the image create a “frame," in-/excludes aspects of what occurs in front of the camera; e.g. failed struggle to find a place in their world (Lost in Translation, Sofia Coppola 2012)
- 17colorused to create aesthetic patterns and to establish character or emotion in narrative cinema e.g. separate reality and fantasy/daydreamings of the title character; shimmering Technicolor (An American in Paris, Vincente Minelli 1951) -> out-of-this-world glamor and excitement
- 18lighting & contrast:ratio of dark to light in an image; high/low contrast (=naturalistic); dark scenes (horror film, film noir)
contrast light/dark // good/evil
racist or sexist connotations (e.g.Touch of Evil: high contrast -> racial difference blonde American woman & menacing Mexican man)
- 19Camera Movement handheld camera? tracking shot? pan? tilt?
- 20Sample Analysis
- 21TV History—TV as Medium & Machine
- 22TV History: The 21st Century
- 23In a rather reductive correspondence theory (which undermines much of the strength of Wright’s approach), he claims that each type of Western ‘corresponds’ to a different moment in the recent economic development of the USA.- The classic Western corresponds to the individualistic conception of society underlying a market economy
- The vengeance plot is a variation that begins to reflect changes in the market economy
- The professional plot reveals a new conception of society corresponding to the values and attitudes inherent in a planned, corporate economy - 24polysemy: an episode that carries various meanings: not everyone interprets a series the same way: 3 positions within this framework = 3 productions of meaning:o dominant (hegemonic) position: preferred code: the intention behind the show: on the side of the producers
o negotiated position: the majority of the audience will take the preferred meaning and takes the meaning structures that are important for their lives
o oppositional code: make something else out of it; shows that are produced for children (like Harry Potter) - 25Theorizing Stuart Hall diagram
- 26Theorizing Stuart Hall diagram 2
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- Popular Culture Karteikarten am Pop7, erstellt von Lisza Neumeier am 07/12/2017.
- Erstellt von
- Lisza Neumeier
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