Difference between pages "Howard Hawks as Auteur (Discussion)" and "JCM212/Editing and sound analysis"

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== Andrew Sarris, ''The American Cinema'' ==
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==Post-quiz free-time activities==
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'''Group 2'''
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*Start reading, for 2/28, the keywords:
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#How does Sarris characterize Hawks' visual style?
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**production, copyright, brand, censorship
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#What does Sarris mean by "professionalism" and how have we seen that in Hawks's films (not ''His Girl Friday'')?
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*Connect to [[JCM212_Film_and_Media_Theory#Study_groups|your study group]]'s Google doc
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**Write ''another'' a seven-word (or fewer) review of the last film or TV show  episode you liked.
  
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==Peter Wollen (in John Caughie, ed., ''Theories of Authorship'')==
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{| class="wikitable" border="1"
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'''Group 3:'''
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|-
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| valign="top" |
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*[https://docs.google.com/document/d/1RoT964RcoZBTdTKJ0Z_Ww00cEoyvm8fhaHLNNY8ADbw/edit?usp=sharing Group 1]
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*[https://docs.google.com/document/d/1zEUNyRYadZh0PpqxSQk6-c2ea5sCV0gAQIS2AU1TfBA/edit?usp=sharing Group 2]
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*[https://docs.google.com/document/d/1efbQjOT-HG8zYbu-iXiwj7ifNLjbH9JP1LYA5J1G43g/edit?usp=sharing Group 3]
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| valign="top" |
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*[https://docs.google.com/document/d/1ERZsOg8jFBCLS4MKXDEiguxD5OWCk1mMPzJrEkrWW4k/edit?usp=sharing Group 4]
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*[https://docs.google.com/document/d/112s50ed0wFZ_55D-cLo5CSoEa8CL-kMGwfcc-EaiZFM/edit?usp=sharing Group 5]
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*[https://docs.google.com/document/d/1uZrxFoPqxcJVhE_rXBa3S9Rzfi1spSLj2cZSMRU66HI/edit?usp=sharing Group 6]
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| valign="top" |
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*[https://docs.google.com/document/d/1DxOICrsWLyo6NoCaercPF95G1RaBZajVCnqIc7Vq3ag/edit?usp=sharing Group 7]
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*[https://docs.google.com/document/d/1n6hmReMtzKp60lw2_zXIx2EGIlY9Y5ZEL92aNG-j_es/edit?usp=sharing Group 8]
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*[https://docs.google.com/document/d/1l_xfThlXygUD7T9RGTJ_QVKEWPVjOP2G0oX3r90C3dc/edit?usp=sharing Group 9]
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|}
  
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#Wollen writes, "...by a process of comparison with other films, it is possible to decipher...a structure which underlies the film and shapes it....  It is this structure which ''auteur'' analysis disengages from the film" (146).
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==Analysis of ''The Big Sick'': Editing and sound==
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#*What does he mean by a "structure"? On the next page, he puts "Hawks" in quotation marks and refers to it (him?) as a structure. (Remember: Edward Buscombe quoted Wollen in last week's readings.)
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*Each student must draw their own diagram of the scene's camera positions and blocking--as in the diagram for ''Grey's Anatomy'' (below), but without the drawings of frames. '''Be sure to indicate which shots are done from which camera positions--using the numbers of the shots from your list above.'''
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#A lot of this essay contrasts the work of Howard Hawks with that of John Ford. What "master antinomy" does Wollen see in Ford's work (and what does "antinomy" mean?)?
 
  
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==From ''Howard Hawks American Artist''==
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'''Draw examples from scene to discuss your answers. That is, refer to specific shot numbers when you answer these questions.'''
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===V. F. Perkins===
 
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'''Group 4:'''
 
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#What function does language serve in Hawks's comedies? How is that evident in ''Ball of Fire''?
 
  
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===Lee Russell (Peter Wollen)===
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#How would you describe the sound perspective in this scene? Judging from how it sounds, what conventional position of the microphone was used? Explain.
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'''Group 5:'''
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#Does your scene contain nondiegetic music? If so, then what function does it serve? If not, pick a piece of music and imagine that it was laid under the scene. What impact would your music have on the scene?
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#How does Russell characterize the Hawksian group?
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#Does your scene contain sound from a different diegetic time (earlier or later)? If so, what impact does it have on the image? If not, then choose one shot from your scene and ''invent'' some sound (dialogue or effects) that could be laid over it from another time in the story.
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#What aspects of Hawksian "professionalism" does Russell discuss?
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#How is the scene’s space, the area in which the action takes place, introduced to the viewer? Does an establishing shot occur at the start of the scene (or later in it)?
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#What does he believe are the two principal themes of Hawks's comedies?
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#Do your scene's camera angles adhere to the 180° rule? Is screen direction maintained? If not, why is the viewer not disoriented? Or if the space is ambiguous, what narrative purpose does that serve?
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#Does the last shot of the scene bring it to a conclusion or does it raise more narrative questions? Explain.
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#Choose one of the following three questions, based on elements that are present in your scene:
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#*7A How are match-on-action cuts or eyeline match cuts used? Are there jump cuts?
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#*7B How does the camera relate to the characters' perspectives? Are there point-of-view or subjective shots? If so, how are those shots cued or marked? That is, what tells us that they are subjective or point-of-view shots?
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#*7C How is shot-reverse shot used? Are there re-establishing shots? What narrative impact do shot-reverse shot and re-establishing shots have? That is, how does the choice of shots help to support the development of the story?
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#Do you feel the editing of this scene was effective? Why or why not?
  
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===Naomi Wise===
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==Post-group work free-time activities==
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'''Group 6:'''
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*Put on headphones and watch remainder of ''The Big Sick'' (on Blackboard)
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#Wise sees Bonnie Lee in ''Only Angels Have Wings'' as the quintessential "Hawksian woman." What characteristics does she see associated with the Hawksian woman?
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*Start reading, for 2/28 the keywords:
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#Wise maintains that Hawks's films "frequently show a merging of sexual roles for the benefit of both sexes" (113).  What does she mean by this? Have you seen evidence for this in the films we've watched (not ''His Girl Friday'')?
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**production, copyright, brand, censorship
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#In the end, Wise claims that "a central theme throughout Hawks is the shedding of sexual roles" (118). Do you agree?
 
  
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===Jacques Rivette===
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==Individual stylistic analysis==
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'''All Groups:'''
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Details here: [[JCM212/Stylistic Analysis]]
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#According to Rivette, what is the relationship of Hawks's comedies and dramas? (It differs from what was discussed in lecture.)
 
  
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===André Bazin===
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== Bibliography ==
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'''All Groups:'''  
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#Jeremy G. Butler, ''Television: Critical Methods and Applications'' (New York: Routledge, 2011).
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#How does Bazin defend the auteurist emphasis on the director?
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#David Bordwell and Kristin Thompson, ''Film Art: An Introduction'', 8th ed. (New York: McGraw-Hill, 2007).
  
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== Bibliography ==
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==External links==
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#Andrew Sarris, ''The American Cinema'', 52-56.
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#[http://www.tcf.ua.edu/Classes/Jbutler/T440/VisualStyleIllustrations.htm Mise-en-scene Illustrations]
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#From ''Theories of Authorship'', John Caughie, ed. (Boston: Routledge & Kegan Paul, 1981):
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#[http://tcf.ua.edu/EO/DV/ShakespeareInLove.php ''Shakespeare in Love'' video clip]
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##Peter Wollen, "The Auteur Theory," 138-151.
 
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#From ''Howard Hawks American Artist'', Jim Hillier and Peter Wollen, eds., (London: British Film Institute, 1996):
 
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##Jacques Rivette, "The Genius of Howard Hawks," 26-31.
 
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##André Bazin, "How Could You Possibly be a Hitchcocko-Hawksian," 32-34.
 
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##V. F. Perkins, "Hawks's Comedies," 68-71.
 
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##Lee Russell (Peter Wollen), "Howard Hawks," 83-86.
 
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##Naomi Wise, "The Hawksian Woman," 111-119.
 
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##*'''Sample "Works Cited" citation according to [http://libdata.lib.ua.edu/login?url=http://www.chicagomanualofstyle.org/ ''The Chicago Manual of Style'']:'''
 
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##**Author-Date format (or you may use the "Notes and Bibliography" format):
 
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##***Wise, Naomi. 1996. "The Hawksian Woman." In ''Howard Hawks: American Artist'', edited by Jim Hillier and Peter Wollen, 111-119. London: British Film Institute.
 
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##***In the body of the essay, use: (Wise 1996, 112)
 
  
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[[Category:TCF440/540 Discussion]]
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[[Category:JCM212]]

Revision as of 19:04, 13 February 2018

Post-quiz free-time activities

  • Start reading, for 2/28, the keywords:
    • production, copyright, brand, censorship
  • Connect to your study group's Google doc
    • Write another a seven-word (or fewer) review of the last film or TV show episode you liked.

Analysis of The Big Sick: Editing and sound

  • Each student must draw their own diagram of the scene's camera positions and blocking--as in the diagram for Grey's Anatomy (below), but without the drawings of frames. Be sure to indicate which shots are done from which camera positions--using the numbers of the shots from your list above.

Draw examples from scene to discuss your answers. That is, refer to specific shot numbers when you answer these questions.

  1. How would you describe the sound perspective in this scene? Judging from how it sounds, what conventional position of the microphone was used? Explain.
  2. Does your scene contain nondiegetic music? If so, then what function does it serve? If not, pick a piece of music and imagine that it was laid under the scene. What impact would your music have on the scene?
  3. Does your scene contain sound from a different diegetic time (earlier or later)? If so, what impact does it have on the image? If not, then choose one shot from your scene and invent some sound (dialogue or effects) that could be laid over it from another time in the story.
  4. How is the scene’s space, the area in which the action takes place, introduced to the viewer? Does an establishing shot occur at the start of the scene (or later in it)?
  5. Do your scene's camera angles adhere to the 180° rule? Is screen direction maintained? If not, why is the viewer not disoriented? Or if the space is ambiguous, what narrative purpose does that serve?
  6. Does the last shot of the scene bring it to a conclusion or does it raise more narrative questions? Explain.
  7. Choose one of the following three questions, based on elements that are present in your scene:
    • 7A How are match-on-action cuts or eyeline match cuts used? Are there jump cuts?
    • 7B How does the camera relate to the characters' perspectives? Are there point-of-view or subjective shots? If so, how are those shots cued or marked? That is, what tells us that they are subjective or point-of-view shots?
    • 7C How is shot-reverse shot used? Are there re-establishing shots? What narrative impact do shot-reverse shot and re-establishing shots have? That is, how does the choice of shots help to support the development of the story?
  8. Do you feel the editing of this scene was effective? Why or why not?

Post-group work free-time activities

  • Put on headphones and watch remainder of The Big Sick (on Blackboard)
  • Start reading, for 2/28 the keywords:
    • production, copyright, brand, censorship

Individual stylistic analysis

Details here: JCM212/Stylistic Analysis

Bibliography

  1. Jeremy G. Butler, Television: Critical Methods and Applications (New York: Routledge, 2011).
  2. David Bordwell and Kristin Thompson, Film Art: An Introduction, 8th ed. (New York: McGraw-Hill, 2007).

External links

  1. Mise-en-scene Illustrations
  2. Shakespeare in Love video clip
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