Difference between pages "JCM312/Claire Denis (Discussion)" and "Style and Stylistics (Discussion)"

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==Colonialism and the Republic of Cameroon==
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=="Televisuality and the Resurrection of the Sitcom in the 2000s"==
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[[File:LocationCameroon.svg]]
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<gallery mode="packed" heights=200px>
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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.
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File:Table 5.3 part 1 Cinematography.jpg|alt=Television Style, table 5.3|Table 5.3: Cinematography.
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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.
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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.
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</gallery>
  
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''Historical context:'' ''Chocolat'' was shot in [http://en.wikipedia.org/wiki/Cameroon Cameroon] in the 1980s and the flashback is set in the late 1950s. Europeans (Germany) first colonized Cameroon in 1884, with France and Britain taking control as a spoil of war after World War I. The people of Cameroon began to advocate for independence in the 1950s, which was finalized by France in 1960 and Britain in 1961.
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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]).
  
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*How does ''Chocolat'', according to Mayne, show the Cameroonians' desire for independence?
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*'''Table 5.3''' in "Televisuality and the Resurrection of the Sitcom in the 2000s" (see above) lists elements of the "single-camera televisual schema".
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**How many of those single-camera elements do you see in ''The Mindy Project'' scene? Each group will account for one or two groups of elements (click a thumbnail above to enlarge it):
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**#'''Group 1:''' cinematography
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**#'''Group 2:''' mise-en-scene
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**#'''Group 3:''' editing
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**#'''Group 4:''' sound ''and'' "miscellaneous"
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*'''All groups:''' '''Table 5.6''' from the essay outlines a "televisual continuum"--ranging from ''very'' televisual (''The Simpsons'') to not televisual at all (school-play recordings).
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*#What does the term "televisual" mean--as conceived by John Caldwell (see p. 175)?
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*#Where does ''The Mindy Project'' fit on the continuum? Table 5.6 puts ''The Honeymooners'' in the second category, ''The New Adventures of Old Christine'' ([[Editing: Multiple Camera Mode (Discussion)|which we discussed three weeks ago]]) in the third category, and ''Scrubs'' in the fifth category.
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*#Where would you place ''The Office'' (see Ethan Thompson's and Brett Mills's discussion of comedy ''vérité ''; p. 214?
  
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==Sexual politics in ''Chocolat''==
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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).
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</gallery>
  
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[[File:Chocolat04.jpg]]
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==''Television: Visual Storytelling and Screen Culture''==
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#'''All groups''': Explain how the textbook defines the term "style" in your own words.
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#'''Group 1:''' Explain the work of "evaluative" and "descriptive" stylisticians. How might they approach ''The Mindy Project''?
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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.
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#*symbolize
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#*decorate
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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
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#*hail or interpellate
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#*differentiate
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#'''Group 4:''' Explain the work of "historical" stylisticians. How might they approach ''The Mindy Project''? Be ready to define these terms: "craft practices" and "schemas."
  
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#Considering the sexual politics of the gaze, how does ''Chocolat'' splice the politics of race and colonialism onto it? See [http://www.tcf.ua.edu/EO/DV/Chocolat_DressingScene.php the scene where Protée helps Aimée dress], in particular.
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== Bibliography ==
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#:How does this fit in with Richard Bjornson's point (quoted by Judith Mayne, 35-6):
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#Butler, Jeremy G. ''Television: Visual Storytelling and Screen Culture''. NY: Routledge, 2018.
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#::Regarding Cameroonian author Ferdinand Oyono's novel ''Une vie de boy'' [The Life of a ‘Boy’]: the Europeans "want to regard the houseboy as a 'thing that obeys,' but his potential for unmasking their pretensions makes them fear that he is actually a 'person who sees.'"
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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.
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#:Mayne also writes, "Where ''Chocolat'' departs from those cliches [about colonial Africa] is in its refusal to grant the fulfillment of the sexual wish.... Their [the colonial wives] objectification of black men is obvious [when they talk about how handsome Protée is], but it also speaks to '''one of the key elements of virtually all of Denis's work''': objectification is one of the ways in which people engage with their own situations, and for white women who function as wives and mothers in contexts that are isolating, fantasies about African men are one of the ways in which they attempt to create a world of their own." (39-40)
 
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#:*Are African men objectified? Are white women?
 
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#:*How would the film have been different if Protée had given in to Aimee's advances? How would it have been different if Mungo Park had accepted France's invitation for a drink in the modern-day story?
 
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#Mayne: "By making the film a story about a white woman's attempt to reconnect with her past, the film evokes memory, to be sure, but it also explores the nature of seeing and being seen, of listening and silence." (40)
 
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#*Both in the present and in the past, How does France see and how is she seen? Does she principally listen and be silent?
 
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#In what sense does Mayne suggest that France may be a femme fatale?
 
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#How does France compare/contrast with Mona, in ''Vagabond''? With She in ''Hiroshima Mon Amour''?
 
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#How is the representation of the past similar/different to ''Hiroshima Mon Amour''?
 
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#Just because a film is made by a woman does not mean it will necessarily be feminist. Do you think that ''Chocolat'' is pro-feminist? Why or why not?
 
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#If, indeed, it is a feminist film, into which category does it fit? (These categories may overlap.)
 
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##Documentary
 
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##Socialist Realist
 
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##Women's cinema as counter cinema
 
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==Bibliography==
 
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*Mayne, Judith. ''Claire Denis'' (Urbana, IL: University of Illinois Press, 2005), pp. 33-48.
 
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*Kuhn, Annette. ''Women's Pictures: Feminism and Cinema''. Boston: Routledge & Kegan Paul, 1982.
 
  
 
==External links==
 
==External links==
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*[http://www.tcf.ua.edu/Classes/Jbutler/T340/Vagabond/index.htm ''Vagabond'' examples]
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*[https://www.tvstylebook.com/ ''Television Style'' official homepage]
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*[http://www.tcf.ua.edu/Classes/Jbutler/T577/BrechtIllustrations.htm Godard and Brecht: Godard's Criticism, ''Vivre sa Vie'' & ''Breathless'']
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*[https://tvcrit.org/Classes/Jbutler/BUI301/MindyProject_20131112/index.html ''The Mindy Project'' screenshots]
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*[https://criticalcommons.org/Members/jbutler/clips/blending-multiple-camera-and-single-camera/ Hybrid mode of production] in ''How I Met Your Mother''
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*[https://tvcrit.org/Classes/Jbutler/BUI301/NewAdventuresofOldChristine/ ''The New Adventures of Old Christine'': screenshots]
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*[https://tvcrit.org/Classes/Jbutler/BUI301/NewAdventuresofOldChristine/Table%20502_OldChristine.pdf ''The New Adventures of Old Christine'': découpage]
  
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[[Category:TCF340 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 18:24, 22 October 2020

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

  • Television Style, table 5.3

    Television Style, table 5.3 "Multiple-camera and Single-camera Schemas," full table.

  • Television Style, table 5.3

    Table 5.3: Cinematography.

  • Television Style, table 5.3.

    Table 5.3: Mise-en-Scene and Editing.

  • Television Style, table 5.3.

    Table 5.3: Sound and Miscellaneous.

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

  • Table 5.3 in "Televisuality and the Resurrection of the Sitcom in the 2000s" (see above) lists elements of the "single-camera televisual schema".
    • How many of those single-camera elements do you see in The Mindy Project scene? Each group will account for one or two groups of elements (click a thumbnail above to enlarge it):
      1. Group 1: cinematography
      2. Group 2: mise-en-scene
      3. Group 3: editing
      4. Group 4: sound and "miscellaneous"
  • All groups: Table 5.6 from the essay outlines a "televisual continuum"--ranging from very televisual (The Simpsons) to not televisual at all (school-play recordings).
    1. What does the term "televisual" mean--as conceived by John Caldwell (see p. 175)?
    2. Where does The Mindy Project fit on the continuum? Table 5.6 puts The Honeymooners in the second category, The New Adventures of Old Christine (which we discussed three weeks ago) in the third category, and Scrubs in the fifth category.
    3. Where would you place The Office (see Ethan Thompson's and Brett Mills's discussion of comedy vérité ; p. 214?
  • The Mindy Project screenshot.

    Morgan, Mindy, Cliff, and Yana (from left).

Television: Visual Storytelling and Screen Culture

  1. All groups: Explain how the textbook defines the term "style" in your own words.
  2. Group 1: Explain the work of "evaluative" and "descriptive" stylisticians. How might they approach The Mindy Project?
  3. 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
  4. 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
  5. Group 4: Explain the work of "historical" stylisticians. How might they approach The Mindy Project? Be ready to define these terms: "craft practices" and "schemas."

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

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