Difference between pages "JCM312/French New Wave I: Alain Resnais (Discussion)" and "JCM312 International Cinema"

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http://www.tcf.ua.edu/Classes/Jbutler/T340/Hiroshima/images/Hiroshima_03_jpg.jpg
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'''TCF 340 International Cinema''' is a discussion-oriented course taught by [[User:Jeremy Butler|Jeremy Butler]].
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http://www.tcf.ua.edu/Classes/Jbutler/T340/Hiroshima/images/Hiroshima_05_jpg.jpg
 
  
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#'''Group 2:''' According to Monaco ''Hiroshima Mon Amour'' is "two films, often working against each other." (Not the "two distinct films" he mentions on p. 34.)
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== Course objectives ==
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#*What does he mean by this? What are the "two films"?
 
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#*How is this split evident in the title itself? And what does Monaco suggest is a more accurate translation of the title than "Hiroshima my love" (which would be the literal translation). Why does he prefer his translation?
 
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#'''Group 3:''' Who is Marguerite Duras (pronounced "do-rahs")? What was her part in ''Hiroshima Mon Amour''?
 
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#*How does Duras describe the opening series of shots (see frame grabs above)?
 
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#*How does that opening encapsulate the "two films" that Monaco posits?
 
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#'''Group 4:''' James Monaco claims, "The theme of the film is the impossibility of making the film." What does he mean by that?
 
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#'''Group 1:''' James Monaco, in the captions to the frame enlargements, argues that the images' compositions mirror the relationships of the characters (see frame grab below). How so? Do you find his argument convincing?
 
  
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[[File:Hiroshima 43 jpg.jpg]]
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TCF 340 assumes the student understands generally the contours of international cinema history. The course's objective therefore is to investigate in some depth the cinematic work of a particular nation and the historical/theoretical issues pertaining to it. This term our topic will be the French cinema.
  
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'''Theme, narrative, style'''
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The online syllabus ('''Fall 2014'''): http://goo.gl/KfRVST
  
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'''All groups:'''
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==Study groups==
 +
{| class="wikitable" border="1"
 +
|-
 +
|
 +
'''Group 1'''
 +
*Chase Bullock
 +
*Douglas Dillingham
 +
*Katherine Dudley
 +
|
 +
'''Group 2'''
 +
*Elliot Gragen
 +
*Seth Lawlor
 +
*Lindsey Martin
 +
*Reagan Snyder
 +
|
 +
'''Group 3'''
 +
*Taylor Martin
 +
*Mike McGee
 +
*Toffer Mohr
 +
*Wes Shiflet
 +
|
 +
'''Group 4'''
 +
*Hannah Perkins
 +
*Katie Smith
 +
*Lesley Smits
 +
*Nathan Turner
 +
|}
  
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#The first flashback occurs soon after a shot of She (figure 3.5; see [http://www.tcf.ua.edu/EO/DV/Hiroshima_BedScene.php this video clip]). What stylistic techniques does Resnais use to move into the past? That is, how does he manipulate mise-en-scene, cinematography, editing and/or sound to signal the move into the past?
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== Online study guides ==
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#What parallels are there between the story in the past and the story in the present?
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===Chronological order===
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#In the final scene, there is this exchange of dialogue (see frame grabs below):
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#Film Analysis: [[TCF340/Butler/Narrative Structure|Narrative Structure]], ''Television''
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#*She: "Hiroshima is you."
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#Film Analysis: [[TCF340/Butler/Mise-en-scene|Mise-en-scene]], ''Television''
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#*He: "You are Nevers of France."
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#Film Analysis: [[TCF340/Butler/Cinematography|Cinematography]], ''Television''
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#**What do you think this means? What is the significance of place?
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#Film Analysis: [[TCF340/Butler/Editing|Editing]], ''Television''
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#Considering both narrative and visual style, how is ''Hiroshima Mon Amour'' a classical film? How is it not?
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#Film Analysis: [[TCF340/Butler/Sound|Sound]], ''Television''
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#Film Analysis: [[TCF340/Analytical Exercise (Discussion)|Discussion]] of Analytical Exercise
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#Early French Cinema
 +
#The Avant-Garde ([[TCF340/The Avant-Garde (Discussion)|Discussion]])
 +
#French Cinema Between the Wars I: Popular Front [[TCF340/French Cinema Between the Wars I: Popular Front (Discussion)|(Discussion)]]
 +
#Bazinian Realism [[TCF340/Bazinian Realism (Discussion)|(Discussion)]]
 +
#French Cinema Between the Wars II: Poetic Realism (discontinued)
 +
#French New Wave I: Alain Resnais [[TCF340/French New Wave I: Alain Resnais (Discussion)|(Discussion)]]
 +
#French New Wave II: François Truffaut [[TCF340/French New Wave II: François Truffaut (Discussion)|(Discussion)]]
 +
#French New Wave III: Éric Rohmer [[TCF340/French New Wave III: Éric Rohmer (Discussion)|(Discussion)]]
 +
#French Modernism: Jean-Luc Godard & Bertolt Brecht [[TCF340/French Modernism: Jean-Luc Godard & Bertolt Brecht (Discussion)|(Discussion)]]
 +
#Godard and Contemporary Feminism ([[TCF340/Godard and Contemporary Feminism (Discussion)|Discussion]])
 +
#French Feminism, Continued: Agnès Varda ([[TCF340/French Feminism, Continued: Agnès Varda (Lecture)|Lecture]], [[TCF340/French Feminism, Continued: Agnès Varda (Discussion)|Discussion]])
 +
#Claire Denis ([[TCF340/Claire Denis (Discussion)|Discussion]])
 +
#Godard Since 1968 ([[TCF340/Godard Since 1968 (Discussion)|Discussion]])
 +
#Cinema Ascetic: Robert Bresson
  
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'''Principal cast of ''Hiroshima, Mon Amour''[http://www.imdb.com/title/tt0052893/combined]'''
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===List of lecture notes===
 +
[[:Category:TCF340 Lecture]]
  
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None of the characters have "real" names.
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===List of discussion notes===
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*Actor.... Character
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[[:Category:TCF340 Discussion]]
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*Emmanuelle Riva .... Elle (She)
 
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*Eiji Okada .... Lui (He)
 
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*Stella Dassas .... Mother
 
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*Pierre Barbaud .... Father
 
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*Bernard Fresson .... German Lover
 
  
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==Bibliography==
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===Extra credit===
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*Monaco, James. ''Alain Resnais''. NY: Oxford University, 1979.  
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==== Shot Logger ====
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Prepare frame grabs for [http://shotlogger.org Shot Logger], using a French film.
  
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==External links==
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More details will be announced later.
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*[http://www.tcf.ua.edu/Classes/Jbutler/T340/Hiroshima/index.htm ''Hiroshima, Mon Amour'' frame grabs]
 
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*[http://www.tcf.ua.edu/Classes/Jbutler/T340/NightAndFog/index.html ''Night and Fog'' frame grabs]
 
  
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[[Category:TCF340 Discussion]]
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== Texts & resources ==
 +
 
 +
===Books===
 +
#Jeremy Butler, ''Television: Critical Methods and Applications''
 +
 
 +
===Articles and book chapters===
 +
In alphabetical order, not the order in which they are assigned.
 +
 
 +
#Armes, Roy. French Cinema. NY: Oxford University, 1985.
 +
#Bazin, André. "The Era of the Popular Front." In Jean Renoir, pp. 36-52. Edited and with an introduction by Francois Truffaut. Translated by W. W. Halsey II and William H. Simon. NY: Simon & Schuster, 1973.
 +
#Bazin, André. "The Evolution of Film Language." In The New Wave, pp. 24-51. Edited and translated by Peter Graham. Garden City, NY: Doubleday, 1968.
 +
#Bazin, André. "LE JOUR SE LÊVE . . . Poetic Realism." In LE JOUR SE LÊVE: A Film by Marcel Carné and Jacques Prévert, pp. 5-12. Translated by Dinah Brooke and Nicola Hayden. NY: Simon and Schuster, 1970.
 +
#Brecht, Bertolt. "The Modern Theatre is the Epic Theatre." In Brecht on Theatre, pp. 33-42. Edited and translated by John Willett. New York: Hill and Wang, 1964.
 +
#Bresson, Robert. Notes on Cinematography. Translated by Jonathan Griffin. NY: Urizen, 1977.
 +
#Crisp, C. G. Eric Rohmer: Realist and Moralist. Bloomington, IN: Indiana University Press, 1988.
 +
#Fofi, Goffredo. "The Cinema of the Popular Front in France (1934-38)." In Screen Reader I, pp. 172-224. London: SEFT, 1977.
 +
#Kuhn, Annette. Women's Pictures: Feminism and Cinema. Boston: Routledge & Kegan Paul, 1982.
 +
#Hughes, Robert. The Shock of the New. NY: Alfred A. Knopf, 1980.
 +
#MacCabe, Colin. Godard: Images, Sounds, Politics. Bloomington, IN: Indiana University, 1980.
 +
#MacCabe, Colin. Godard: A Portrait of the Artist at Seventy. New York: Faber & Faber, 2003.
 +
#Monaco, James. Alain Resnais. NY: Oxford University, 1979.
 +
#Monaco, James. The New Wave. NY: Oxford University, 1976.
 +
#Penley, Constance. "Les Enfants de la Patrie." Camera Obscura, 8-9-10, pp. 32-59.
 +
#Wollen, Peter. "Godard and Counter Cinema: VENT D'EST." In Readings and Writings: Semiotic Counter-Strategies. London: Verso, 1982.
 +
 
 +
 
 +
[[Category:TCF340]]
 +
[[Category:TCF Classes]]

Revision as of 22:23, 6 November 2014

TCF 340 International Cinema is a discussion-oriented course taught by Jeremy Butler.

Course objectives

TCF 340 assumes the student understands generally the contours of international cinema history. The course's objective therefore is to investigate in some depth the cinematic work of a particular nation and the historical/theoretical issues pertaining to it. This term our topic will be the French cinema.

The online syllabus (Fall 2014): http://goo.gl/KfRVST

Study groups

Group 1

  • Chase Bullock
  • Douglas Dillingham
  • Katherine Dudley

Group 2

  • Elliot Gragen
  • Seth Lawlor
  • Lindsey Martin
  • Reagan Snyder

Group 3

  • Taylor Martin
  • Mike McGee
  • Toffer Mohr
  • Wes Shiflet

Group 4

  • Hannah Perkins
  • Katie Smith
  • Lesley Smits
  • Nathan Turner

Online study guides

Chronological order

  1. Film Analysis: Narrative Structure, Television
  2. Film Analysis: Mise-en-scene, Television
  3. Film Analysis: Cinematography, Television
  4. Film Analysis: Editing, Television
  5. Film Analysis: Sound, Television
  6. Film Analysis: Discussion of Analytical Exercise
  7. Early French Cinema
  8. The Avant-Garde (Discussion)
  9. French Cinema Between the Wars I: Popular Front (Discussion)
  10. Bazinian Realism (Discussion)
  11. French Cinema Between the Wars II: Poetic Realism (discontinued)
  12. French New Wave I: Alain Resnais (Discussion)
  13. French New Wave II: François Truffaut (Discussion)
  14. French New Wave III: Éric Rohmer (Discussion)
  15. French Modernism: Jean-Luc Godard & Bertolt Brecht (Discussion)
  16. Godard and Contemporary Feminism (Discussion)
  17. French Feminism, Continued: Agnès Varda (Lecture, Discussion)
  18. Claire Denis (Discussion)
  19. Godard Since 1968 (Discussion)
  20. Cinema Ascetic: Robert Bresson

List of lecture notes

Category:TCF340 Lecture

List of discussion notes

Category:TCF340 Discussion

Extra credit

Shot Logger

Prepare frame grabs for Shot Logger, using a French film.

More details will be announced later.

Texts & resources

Books

  1. Jeremy Butler, Television: Critical Methods and Applications

Articles and book chapters

In alphabetical order, not the order in which they are assigned.

  1. Armes, Roy. French Cinema. NY: Oxford University, 1985.
  2. Bazin, André. "The Era of the Popular Front." In Jean Renoir, pp. 36-52. Edited and with an introduction by Francois Truffaut. Translated by W. W. Halsey II and William H. Simon. NY: Simon & Schuster, 1973.
  3. Bazin, André. "The Evolution of Film Language." In The New Wave, pp. 24-51. Edited and translated by Peter Graham. Garden City, NY: Doubleday, 1968.
  4. Bazin, André. "LE JOUR SE LÊVE . . . Poetic Realism." In LE JOUR SE LÊVE: A Film by Marcel Carné and Jacques Prévert, pp. 5-12. Translated by Dinah Brooke and Nicola Hayden. NY: Simon and Schuster, 1970.
  5. Brecht, Bertolt. "The Modern Theatre is the Epic Theatre." In Brecht on Theatre, pp. 33-42. Edited and translated by John Willett. New York: Hill and Wang, 1964.
  6. Bresson, Robert. Notes on Cinematography. Translated by Jonathan Griffin. NY: Urizen, 1977.
  7. Crisp, C. G. Eric Rohmer: Realist and Moralist. Bloomington, IN: Indiana University Press, 1988.
  8. Fofi, Goffredo. "The Cinema of the Popular Front in France (1934-38)." In Screen Reader I, pp. 172-224. London: SEFT, 1977.
  9. Kuhn, Annette. Women's Pictures: Feminism and Cinema. Boston: Routledge & Kegan Paul, 1982.
  10. Hughes, Robert. The Shock of the New. NY: Alfred A. Knopf, 1980.
  11. MacCabe, Colin. Godard: Images, Sounds, Politics. Bloomington, IN: Indiana University, 1980.
  12. MacCabe, Colin. Godard: A Portrait of the Artist at Seventy. New York: Faber & Faber, 2003.
  13. Monaco, James. Alain Resnais. NY: Oxford University, 1979.
  14. Monaco, James. The New Wave. NY: Oxford University, 1976.
  15. Penley, Constance. "Les Enfants de la Patrie." Camera Obscura, 8-9-10, pp. 32-59.
  16. Wollen, Peter. "Godard and Counter Cinema: VENT D'EST." In Readings and Writings: Semiotic Counter-Strategies. London: Verso, 1982.
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