Difference between pages "JCM312/French Feminism, Continued: Agnès Varda (Discussion)" and "Style and Stylistics (Discussion)"

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'''Kuhn, "Real Women" chapter excerpt'''
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==''Television: Visual Storytelling and Screen Culture''==
  
#'''Group 3:''' Kuhn lists several aspects of "documentariness". Which of these do you see operating in Agnès Varda's ''Vagabond''?
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#'''Group 1:''' Explain the work of "evaluative" and "descriptive" stylisticians. How might they approach ''The Mindy Project''?  
#*Thinking back to ''Hiroshima Mon Amour'', how might ''Vagabond'' be considered a "false documentary"? Compare/contrast how these two films use documentary conventions, or what Kuhn calls "codes."
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#'''Group 2:''' Explain the work of "analytic" stylisticians. How might they approach ''The Mindy Project''? Be ready to define the following purposes or "functions" of style discussed in the textbook.
#'''Group 4:''' Kuhn maintains that there are certain particular characteristics of feminist documentary work, or, as she puts it, she sees "a specific set of signifiers for feminist documentary cinema." What are two of those characteristics/signifiers and do you see them in ''Vagabond''?
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#*symbolize
 
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#*decorate
'''Kuhn, "Textual Politics" chapter excerpt'''
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#'''Group 3:''' Explain the work of "analytic" stylisticians. How might they approach ''The Mindy Project''? Be ready to define the following purposes or "functions" of style discussed in the textbook.
 
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#*persuade
*'''Group 1:''' Kuhn picks up on Wollen's principle of "counter cinema," as it has been applied to feminist film by Johnston and Cook. How does Kuhn define it?
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#*hail or interpellate
**Kuhn divides counter cinema into two approaches:
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#*differentiate
**#"Deconstruction"
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#'''Group 4:''' Explain the work of "evaluative" and "descriptive" stylisticians. How might they approach ''The Mindy Project''? Be ready to define "craft practices" and "schemas."
**#"Feminine Voices"
 
***What distinguishes these two approaches to counter cinema?
 
*'''Groups 2 & 5:''' In both Kuhn's discussion of the feminine voice and Mulvey's essay on the gaze, the significance of "relations of looking" are important. In other words, they look at how power and pleasure can be signified by who looks and who is looked at. Who controls the gaze in ''Vagabond''? Who is the more powerful figure? How is that reflected in their gazes? Does Mona connote "'''to-be-looked-at-ness'''", in Mulvey's sense of that phrase?
 
**Here are some instances of significant "looks" in the film:
 
***'''G2:''' The men looking at Mona as she emerges from the sea, naked.
 
***'''G2:''' Mona looking at a police car and hiding, in [https://vimeo.com/345052969 the online clip].
 
***'''G5:''' The laborer looking at her dead body at the start.
 
***'''G5:''' Mona and the young man at the garage looking at each other.
 
  
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=="Televisuality and the Resurrection of the Sitcom in the 2000s"==
 
<gallery mode="packed" heights=200px>
 
<gallery mode="packed" heights=200px>
File:Vagabond25 jpg.jpg|alt=Mona looks at police car, flees.|Mona looks at police car, flees.
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File:Table 5.3-resized.jpg|alt=Television Style, table 5.3|''Television Style'', table 5.3 "Multiple-camera and Single-camera Schemas," full table.
File:Vagabond26 jpg.jpg|alt=Police car.|Police car.
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File:Table 5.3 part 1 Cinematography.jpg|alt=Television Style, table 5.3|Table 5.3: Cinematography.
File:Vagabond02 jpg.jpg|alt=Laborer looks at Mona.|Laborer looks at Mona.
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File:Table 5.3 part 2 MeS and Editing resized.jpg|alt=Television Style, table 5.3.|Table 5.3: Mise-en-Scene and Editing.
File:Vagabond03 jpg.jpg|alt=Mona's body.|Mona's body.
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File:Table 5.3 part 3 Sound and Misc resized.jpg|alt=Television Style, table 5.3.|Table 5.3: Sound and Miscellaneous.
File:Vagabond37 jpg.jpg|alt=Mona looks.|Mona looks.
 
File:Vagabond38 jpg.jpg|alt=A young man returns Mona's look.|A young man returns Mona's look.
 
File:Vagabondqq00 06 01qq00008.jpg|alt=Two men look at Mona dressing.|Two men look at Mona dressing.
 
 
</gallery>
 
</gallery>
  
'''Pro-feminist or anti-feminist?'''
 
  
#Just because a film is made by a woman does not mean it will necessarily be feminist. Do you think that ''Vagabond'' is pro-feminist? Why or why not?
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View a scene from ''The Mindy Project'' (see Blackboard and [http://tvcrit.org/Classes/Jbutler/BUI301/MindyProject_20131112/index.html screenshots online]).
#If, indeed, it is a feminist film, into which category does it fit? (These categories may overlap.)
 
##Documentary
 
##Socialist Realist
 
##Women's cinema as counter cinema
 
  
'''''Vagabond'' cast'''
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*'''All Groups:''' List at least three aspects of the ''The Mindy Project'' scene that mark it as single-camera production.
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*'''All groups:''' Table 5.3 in "Televisuality and the Resurrection of the Sitcom in the 2000s" lists elements of the "single-camera televisual schema". Is ''The Mindy Project'' "televisual", in addition to being a single-camera production? Identify any elements from this table in the scene.
  
With humorous machine translations from http://translate.google.com
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<gallery mode="packed" heights=400px>
 
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File:Mindyproject 20131112qq00 00 55qq00040.jpg|alt=The Mindy Project screenshot.|Morgan, Mindy, Cliff, and Yana (from left).
*Actor ... role
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</gallery>
*Sandrine Bonnaire ... Mona Bergeron, homeless or law
 
*Setti Ramdane ... the Moroccan found
 
*Francis Balchère ... a gendarme
 
*Jean-Louis Perletti ... another
 
*Urbain Causse ... a farmer interviewed
 
*Christophe Alcazar ... another brûleyrr gap
 
*Dominique Durand ... the first biker
 
*Joël Fosse ... the other, Paulo, Yolande lover
 
*Patrick Schmit ... the truck driver
 
*Daniel Bos ... The wrecker
 
*Katy Champaud ... the girl at the pump
 
*Raymond Roulle ... Old Match
 
*Henri Fridlani ... the gravedigger
 
*Patrick Sokol ... yellow sandwich man
 
*Pierre Imbert ... the garage
 
*Richard Imbert ... His son
 
*Martha Jarnias ... Old Aunt Lydia
 
*Yolande Moreau ... Yolande, good
 
*Gabriel Mariani ... Its B.I.O.N.N.E.T. uncle AIMÉ
 
*Patrick Lepcynski ... David, the juifferrant
 
*Sylvaine Berger ... the Bergers
 
*Michèle Doumeche ... P. .. on the road
 
*Sabine ... the Bergers
 
*Macha Méril ... Ms. platonologne the Landier
 
*Pierette Soler ... The lady who spoke to her husband
 
*Pierre Emonnot ... The governor not happy
 
*Stéphane Freiss ... Jean-Pierre, ingéneuragronome
 
*Laurence Cortadellas ... his wife Eliane
 
*Emmanuel Protopopoff ... the donor backpacker-of-blood
 
*Vincent Sanchez ... nurse
 
*Michel Constantial ... The boxes réigisseur
 
*'Garibaldi' Fernández ... The mason to cap round
 
*Alain Roussel ... Man-of-wood, violent
 
*Yahiaoui Assouna ... Yahiaoui 'Assoun' Assoun, tailor devinges
 
*Aimée Chisci ... The governor of the mas
 
*Marguerite Chisci ... His wife TV and laundry
 
*Geneviève Bonfils ... the suspicious passenger
 
*Christian Chessa ... The fool-Mac, a station
 
*Setina Arhab ... the fool
 
*Jacques Berthier ... The little gentleman well-placed
 
*Olivier Jongerlinck ... racketeur in the photo
 
*Rémi Leboucq ... The customer racket
 
*Jean Dambrin ... the trichlomane
 
*Bébert Samcir ... harmonica player
 
  
==Bibliography==
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== Bibliography ==
*Kuhn, Annette. ''Women's Pictures: Feminism and Cinema''. Boston: Routledge & Kegan Paul, 1982.
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#Butler, Jeremy G. ''Television: Visual Storytelling and Screen Culture''. NY: Routledge, 2018.
*[[Readings/Representation of Women, Continued: Agnès Varda|Wikipedia articles with excerpts from ''Women's Pictures''.]]
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#Butler, Jeremy G. "Televisuality and the Resurrection of the Sitcom in the 2000s," in ''Television Style'' (NY: Routledge, 2010), 173-222.
**[[wikipedia:Feminist film theory|Feminist film theory]]
 
**[[wikipedia:Agnès Varda|Agnès Varda]]
 
  
 
==External links==
 
==External links==
*[https://tvcrit.org/Classes/Jbutler/T340/Vagabond/index.htm ''Vagabond'' examples]
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*[http://www.tvstylebook.com/pix/images-by-chapter/?album=1&gallery=15 ''Television Style'' illustrations]
*[https://tvcrit.org/Classes/Jbutler/T577/Godard_Criticism_Brecht.php Godard and Brecht: Godard's Criticism, ''Vivre sa Vie'' & ''Breathless'']
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*[http://www.tvstylebook.com/ ''Television Style'' official homepage]
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*[http://tvcrit.org/Classes/Jbutler/BUI301/MindyProject_20131112/index.html ''The Mindy Project'' screenshots]
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*[http://www.tcf.ua.edu/EO/DV/NewGirl.php ''New Girl'' clip]
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*[http://tvcrit.com/find/howimet Hybrid mode of production] in ''How I Met Your Mother''
  
[[Category:JCM312 Discussion]]
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[[Category:BUI301]]
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[[Category:BUI301 Discussion]]
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[[Category:JCM311]]
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[[Category:JCM311 Discussion]]

Revision as of 19:54, 21 October 2020

Television: Visual Storytelling and Screen Culture

  1. Group 1: Explain the work of "evaluative" and "descriptive" stylisticians. How might they approach The Mindy Project?
  2. Group 2: Explain the work of "analytic" stylisticians. How might they approach The Mindy Project? Be ready to define the following purposes or "functions" of style discussed in the textbook.
    • symbolize
    • decorate
  3. Group 3: Explain the work of "analytic" stylisticians. How might they approach The Mindy Project? Be ready to define the following purposes or "functions" of style discussed in the textbook.
    • persuade
    • hail or interpellate
    • differentiate
  4. Group 4: Explain the work of "evaluative" and "descriptive" stylisticians. How might they approach The Mindy Project? Be ready to define "craft practices" and "schemas."

"Televisuality and the Resurrection of the Sitcom in the 2000s"


View a scene from The Mindy Project (see Blackboard and screenshots online).

  • All Groups: List at least three aspects of the The Mindy Project scene that mark it as single-camera production.
  • All groups: Table 5.3 in "Televisuality and the Resurrection of the Sitcom in the 2000s" lists elements of the "single-camera televisual schema". Is The Mindy Project "televisual", in addition to being a single-camera production? Identify any elements from this table in the scene.

Bibliography

  1. Butler, Jeremy G. Television: Visual Storytelling and Screen Culture. NY: Routledge, 2018.
  2. Butler, Jeremy G. "Televisuality and the Resurrection of the Sitcom in the 2000s," in Television Style (NY: Routledge, 2010), 173-222.

External links