Difference between revisions of "JCM312/French Modernism: Jean-Luc Godard & Bertolt Brecht (Discussion)"

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Bertolt Brecht, "The Modern Theatre is the Epic Theatre," in ''Brecht on Theatre: The Development of an Aesthetic'', ed. and trans. John Willett (New York: Hill and Wang, 1964), 37.
 
Bertolt Brecht, "The Modern Theatre is the Epic Theatre," in ''Brecht on Theatre: The Development of an Aesthetic'', ed. and trans. John Willett (New York: Hill and Wang, 1964), 37.
  
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#'''Group 2:''' How is Rohmer using the word, "moral"? How is morality portrayed in ''Chloé''?
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==Counter Cinema==
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#'''Group 3:''' What is meant by "courtly love," in the context of Rohmer's films?
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#What is Wollen's "counter cinema"? What is it counter to?
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#'''Group 4:''' Monaco states that ''le pari'' ("the bet") is "the encompassing metaphor that Rohmer wants for the entire series" (p. 297). And he emphasizes "Pascal's wager" (see [http://en.wikipedia.org/wiki/Pascal%27s_Wager Wikipedia]: "...posed by the French philosopher Blaise Pascal that even though the existence of God cannot be determined through reason, a person should "wager" as though God exists, because so living has potentially everything to gain, and certainly nothing to lose.").
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#Apply the following aspects of counter cinema to ''Breathless''. Do they fit?
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#*What ethical/existential issues does that wager/bet raise? Do you see them in ''Chloé''?
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#*Cite specific scenes, shots, dialog, etc. that support your answer.
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#'''Group 1:''' In a footnote (p. 304), Monaco quotes Rohmer saying, "The men in my films are not meant to be particularly sympathetic characters." Is Frédéric a sympathetic character? Provide evidence from the film to support your interpretation. How do you interpret his fantasy sequence?
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#*#'''Group 2:''' In your own words, explain the "narrative intransitivity" aspect of counter cinema.
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[[Image:Chloeqq00 21 58qq00015.jpg|thumb|300|Frédéric's fantasy.]]
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#*#'''Group 3:''' In your own words, explain the "estrangement" aspect of counter cinema.
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#*#'''Group 4:''' In your own words, explain the "foregrounding" aspect of counter cinema.
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#*#'''Group 1:''' In your own words, explain the "aperture" aspect of countercinema.
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#*'''Groups 1 and 2''': make the case for ''Breathless'' as a classical film.
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#*'''Groups 3 and 4''': make the case for ''Breathless'' as a counter-cinema and/or Brechtian film.
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#What aspects of Wollen's list match Brecht's list?
  
 
==Further questions -- All groups==
 
==Further questions -- All groups==
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#
 
  
 
==Bibliography==
 
==Bibliography==
 
*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.
 
*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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#MacCabe, Colin. ''Godard: Images, Sounds, Politics''. Bloomington, IN: Indiana University, 1980.
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*MacCabe, Colin. ''Godard: Images, Sounds, Politics''. Bloomington, IN: Indiana University, 1980.
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#Wollen, Peter. "Godard and Counter Cinema: VENT D'EST." In ''Readings and Writings: Semiotic
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*Wollen, Peter. "Godard and Counter Cinema: VENT D'EST." In ''Readings and Writings: Semiotic Counter-Strategies''. London: Verso, 1982.
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Counter-Strategies''. London: Verso, 1982.
 
  
 
==External links==
 
==External links==

Revision as of 15:29, 4 November 2008

DRAMATIC THEATRE EPIC THEATRE
plot narrative
implicates the spectator in a stage situation turns the spectator into an observer, but
wears down his capacity for action arouses his capacity for action
provides him with sensations forces him to take decisions
experience picture of the world
the spectator is involved in something he is made to face something
suggestion argument
instinctive feelings are preserved brought to the point of recognition
the spectator is in the thick of it, shares the experience the spectator stands outside, studies
the human being is taken for granted the human being is the object of the inquiry
he is unalterable he is alterable and able to alter
eyes on the finish eyes on the course
one scene makes another each scene for itself
growth montage
linear development in curves
evolutionary determinism jumps
man as fixed point man as a process
thought determines being social being determines thought
feeling reason

Bertolt Brecht, "The Modern Theatre is the Epic Theatre," in Brecht on Theatre: The Development of an Aesthetic, ed. and trans. John Willett (New York: Hill and Wang, 1964), 37.

Counter Cinema

  1. What is Wollen's "counter cinema"? What is it counter to?
  2. Apply the following aspects of counter cinema to Breathless. Do they fit?
    • Cite specific scenes, shots, dialog, etc. that support your answer.
      1. Group 2: In your own words, explain the "narrative intransitivity" aspect of counter cinema.
      2. Group 3: In your own words, explain the "estrangement" aspect of counter cinema.
      3. Group 4: In your own words, explain the "foregrounding" aspect of counter cinema.
      4. Group 1: In your own words, explain the "aperture" aspect of countercinema.
    • Groups 1 and 2: make the case for Breathless as a classical film.
    • Groups 3 and 4: make the case for Breathless as a counter-cinema and/or Brechtian film.
  3. What aspects of Wollen's list match Brecht's list?

Further questions -- All groups

Bibliography

  • 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.
  • MacCabe, Colin. Godard: Images, Sounds, Politics. Bloomington, IN: Indiana University, 1980.
  • Wollen, Peter. "Godard and Counter Cinema: VENT D'EST." In Readings and Writings: Semiotic Counter-Strategies. London: Verso, 1982.

External links

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