Difference between pages "Concept of Star (Discussion)" and "JCM312 International Cinema"

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#Star image: a "structured polysemy" (p. 63) constructed from "media texts":
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'''TCF 340 International Cinema''' is a discussion-oriented course taught by [[User:Jeremy Butler|Jeremy Butler]].
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##Promotion
 
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##Publicity
 
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##Film roles
 
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##Criticism/commentary on those roles
 
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#'''All Groups:''' Dyer argues, "The star image is used in the construction of a character in a film in three ways" (127), which are listed below. Pick one current movie star and one film. How is his/her star image used in the construction of that character? Explain.
 
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#*Selective use
 
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#*Perfect fit
 
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#*Problematic fit
 
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#Explain what Dyer's signs of ''character'' are (106+):
 
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#*'''Groups 3 and 4:'''
 
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#*#Audience foreknowledge
 
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#*#Name
 
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#*#Appearance
 
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#*'''Groups 5 and 1:'''
 
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#*#Objective correlatives
 
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#*#Speech of character
 
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#*#Speech of others
 
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#*'''Group 2:'''
 
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#*#Gesture
 
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#*#Action
 
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#*#Structure
 
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#*#''mise-en-scene''
 
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#*Apply Dyer's 10 signs of character to one of the characters from ''Petrified Forest''. That is, use ''one'' of the main characters (see below) and then discuss how the signs of character are used to build that character.
 
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#**'''Groups 3 and 4:''' Duke Mantee (Humphrey Bogart)
 
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#**'''Groups 5 and 1:''' Gabrielle Maple (Bette Davis)
 
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#**'''Group 2:''' Alan Squier (Leslie Howard)
 
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#Dyer's signs of ''performance'' are (134):
 
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##'''Group 3:''' Facial expression
 
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##'''Group 4:''' Voice
 
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##'''Group 5:''' Gestures
 
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##'''Groups 1 and 2:''' Body posture and movement
 
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#*[[Image:FortApache YorkAndThursdayqq00 00 40qq00003.jpg|thumb|right|John Wayne and Henry Fonda in ''Fort Apache'']]On pp. 145-146, Dyer discusses how John Wayne's and Henry Fonda's performances in ''Fort Apache'' use performance signs--referring specifically to a scene that is illustrated here with a frame grab and [http://tcf.ua.edu/EO/DV/Fortapache01-1.php online video]. Explain how performance signs function in this scene--with each group looking at one specific performance sign (see above). How would you analyze Bogart's performance signs in [http://www.tcf.ua.edu/EO/DV/Petrifiedforest.php this scene]? (Dyer similarly discusses Bette Davis' performance in ''Little Foxes'', frame grabs for which are [http://www.tcf.ua.edu/Classes/Jbutler/T440/VisualStyleIllustrations02.php#davis available here].)
 
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<br style="clear: both;">
 
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==Recommended-reading questions==
 
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#Richard Dyer defines "characters" as "constructed representations of persons" (89). And he argues that how a fictional character is defined has changed over the centuries. As the novel rose to prominence in the 19th century, so did a certain "novelistic conception of character" (93). Explain what Dyer means by each of these novelistic qualities of characters:
 
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#*Autonomy
 
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#*Roundness
 
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#*Development
 
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#*Interiority (how is this different for literature and film?)
 
  
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== Bibliography ==
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== Course objectives ==
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#Richard Dyer, ''Stars'', Second Edition, Supplementary Chapter by Paul McDonald (London: British Film Institute, 1998). [http://www.tcf.ua.edu/Classes/Jbutler/T440/DyerIllustrations_Post-2003.php See online illustrations.]
 
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[[Image:P3090218DyerButler.jpg|thumb|400px|center|Richard Dyer and Jeremy Butler, Society for Cinema and Media Studies conference, 9 March 2007.]]
 
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<br style="clear: both;">
 
  
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[[Category:TCF440/540 Discussion]]
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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.
 +
 
 +
The online syllabus ('''Fall 2014'''): http://goo.gl/KfRVST
 +
 
 +
==Study groups==
 +
{| class="wikitable" border="1"
 +
|-
 +
| valign="top" |
 +
'''Group 1'''
 +
* Christian Abbatiello
 +
* Andrew Barksdale
 +
* Brooks Bell
 +
* Cameron Benson
 +
* Mia Blackman
 +
| valign="top" |
 +
'''Group 2'''
 +
* Chase Bodiford
 +
* Kayla Cassese
 +
* Jessica Dimas
 +
* Matthew Eden
 +
* Shelby Fallin
 +
| valign="top" |
 +
'''Group 3'''
 +
* Becca Hanlon
 +
* Thomas Klein
 +
* Ezra Laemmle
 +
* Natalie Landers
 +
| valign="top" |
 +
'''Group 4'''
 +
* Taylor Martin
 +
* Allen Miller
 +
* Ethan Montgomery
 +
* George Murdison
 +
| valign="top" |
 +
'''Group 5'''
 +
* Alex Pounders
 +
* Cape Sandlin
 +
* Kacey Tanveer
 +
* Trevyon Tellis
 +
|}
 +
 
 +
== Online study guides ==
 +
===Chronological order===
 +
#Film Analysis: [[TCF340/Butler/Narrative Structure|Narrative Structure]], ''Television''
 +
#Film Analysis: [[TCF340/Butler/Mise-en-scene|Mise-en-scene]], ''Television''
 +
#Film Analysis: [[TCF340/Butler/Cinematography|Cinematography]], ''Television''
 +
#Film Analysis: [[TCF340/Butler/Editing|Editing]], ''Television''
 +
#Film Analysis: [[TCF340/Butler/Sound|Sound]], ''Television''
 +
#Film Analysis: [[TCF340/Analytical Exercise (Discussion)|Discussion]] of Analytical Exercise
 +
#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
 +
 
 +
===List of lecture notes===
 +
[[:Category:TCF340 Lecture]]
 +
 
 +
===List of discussion notes===
 +
[[:Category:TCF340 Discussion]]
 +
 
 +
===Extra credit===
 +
==== Shot Logger ====
 +
Prepare frame grabs for [http://shotlogger.org Shot Logger], using a French film.
 +
 
 +
More details will be announced later.
 +
 
 +
== 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 10:42, 23 August 2016

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

  • Christian Abbatiello
  • Andrew Barksdale
  • Brooks Bell
  • Cameron Benson
  • Mia Blackman

Group 2

  • Chase Bodiford
  • Kayla Cassese
  • Jessica Dimas
  • Matthew Eden
  • Shelby Fallin

Group 3

  • Becca Hanlon
  • Thomas Klein
  • Ezra Laemmle
  • Natalie Landers

Group 4

  • Taylor Martin
  • Allen Miller
  • Ethan Montgomery
  • George Murdison

Group 5

  • Alex Pounders
  • Cape Sandlin
  • Kacey Tanveer
  • Trevyon Tellis

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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