Difference between pages "JCM312/Godard and Contemporary Feminism (Discussion)" and "Style and Stylistics (Discussion)"

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{{Gallery
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=="Televisuality and the Resurrection of the Sitcom in the 2000s"==
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|title=''Vivre sa Vie'' ([http://www.tcf.ua.edu/Classes/Jbutler/T577/Godard_Criticism_Brecht.php additional illustrations])
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<gallery mode="packed" heights=200px>
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|width=400
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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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|align=center
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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:VivreSaVieqq00_33_10qq00001.jpg|alt1=Nana looks down.|Nana looks down.
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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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|File:VivreSaVieqq00_33_12qq00002.jpg|alt2=Nana looks directly at the camera.|Nana looks directly at the camera.
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</gallery>
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|File:VsV081.jpg|alt3=The look of a prostitute.|The look of a prostitute.
 
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|File:VsV071bOvalPortrait.JPG|alt4=Luigi and Poe's ''Complete Works''.|Luigi and Poe's ''Complete Works''.
 
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}}
 
  
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'''MacCabe & Mulvey'''
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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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#'''Whole class:''' MacCabe and Mulvey present a complicated argument about the film, ''Numero Deux'', contending that it is primarily about "the effects of capitalism on sexual relations and the oppression of the working class..." They also link "the oppression of capitalism and the alienation of sexuality."
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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 does Godard represent the ''economics'' of prostitution in ''Vivre sa vie''? That is, how would you characterize the way that the ''economic'' activity of Nana and the other prostitutes is presented? Are they economically "''oppressed''"?
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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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#*How does Godard represent the ''sexuality'' of prostitution in ''Vivre sa vie''? That is, how would you characterize the way that the ''sexual'' activity of Nana and the other prostitutes is presented? Is it "''alienated''"?
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**#'''Group 1:''' cinematography
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#**You may find it useful to compare Godard's prostitute with prostitutes from other films, such as ''Pretty Woman''.
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**#'''Group 2:''' mise-en-scene
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#MacCabe and Mulvey contend, "Female nakedness carries associations of the exploitation of women that almost no degree of formal subversion can displace."
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**#'''Group 3:''' editing
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#*'''All Groups:''' What do they mean by "formal subversion"? They focus on Godard's ''British Sounds'' and the scene of a woman walking up/down stairs ([https://tcf.ua.edu/Classes/Jbutler/T340/BritishSounds.php see frame grabs]). How does this scene supposedly illustrate this "subversion." Is sexuality "demystified," as MacCabe and Mulvey discuss?
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**#'''Group 4:''' sound ''and'' "miscellaneous"
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#*Consider the instances of "female nakedness" there are in ''Vivre sa vie'' — especially the one of the nude woman looking at the camera ([https://tcf.ua.edu/Classes/Jbutler/T577/Godard_Criticism_Brecht.php#vivre see frame grabs]). Is there formal subversion occurring there?
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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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#**'''All Groups:''' Do you think it is possible to use a naked female body in a film in such a way that it is not exploitative? Explain, and provide an example (either from a film or hypothetical).
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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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'''Godard, Brecht & Wollen'''
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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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#'''All Groups:''' Describe at least three ways in which ''Vivre sa Vie'' incorporates Brechtian and/or counter-cinema techniques. What impact do these techniques have? What argument would Godard make for using them in a film such as ''Vivre sa Vie''? In other words, what's the point?
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==''Television: Visual Storytelling and Screen Culture''==
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#*Start with the image of Nana looking at the camera.
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#'''All groups''': Explain how the textbook defines the term "style" in your own words.
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#'''All Groups:''' Does ''Vivre sa Vie'' seem more "Brechtian" or more counter cinema than ''Breathless''? Why or why not? What do you imagine a ''fully'' counter-cinema film would look and sound like? As a group, plan your own counter-cinema film and be prepared to explain it to the class.
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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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#'''All Groups:''' Toward the end of the film, Luigi "reads" Poe's "Oval Portrait"; but the voice we hear is Godard's. What parallels are there between Poe's story and Godard's film?
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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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#*And what's with the French subtitles in that scene (see screen shot)?
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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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'''Bibliography'''
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== Bibliography ==
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#Butler, Jeremy G. ''Television: Visual Storytelling and Screen Culture''. NY: Routledge, 2018.
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#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.
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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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#MacCabe, Colin and Mulvey, Laura. "Images of Woman, Images of Sexuality, in ''Godard: Images, Sounds, Politics'', 79-101. Bloomington, IN: Indiana University, 1980.
 
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#Wollen, Peter. "Godard and Counter Cinema: VENT D'EST." In ''Readings and Writings: Semiotic Counter-Strategies''. London: Verso, 1982.
 
  
 
==External links==
 
==External links==
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*[http://www.tcf.ua.edu/Classes/Jbutler/T340/BritishSounds.htm ''British Sounds'' illustrations]
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*[https://www.tvstylebook.com/ ''Television Style'' official homepage]
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*[http://www.tcf.ua.edu/Classes/Jbutler/T577/Godard_Criticism_Brecht.php 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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