Difference between pages "JCM312/Godard and Contemporary Feminism (Discussion)" and "JCM412512/Analytical Exercise (Discussion)"

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{{Gallery
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http://www.tcf.ua.edu/Classes/Jbutler/T440/AnalExIllustrations.htm
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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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|width=400
 
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|lines=1
 
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|align=center
 
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|File:VivreSaVieqq00_33_10qq00001.jpg|alt1=Nana looks down.|Nana looks down.
 
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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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|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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#'''Group 1:''' Describe the mise-en-scene of the scene shown in class (the second kiss).  How does mise-en-scene function in term of the narrative? That is, how does it help to build the characters and their relationship?  Be sure to discuss setting, costume, lighting, and blocking. (15 points)
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#'''Group 2:''' In one shot, Bertram speaks with Sugarpuss. Note: This shot is not from the scene of the second kiss, which is to be used in questions #1 and #5. Discuss the cinematography (especially camera angle, framing and depth of field) of this shot in terms of how it supports the narrative.
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#'''Group 3:''' How do the story and the plot of the film differ in order, duration and/or frequency?
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#'''Group 4:''' Does Ball of Fire follow the narrative conventions of classical cinema—as Bordwell and Thompson explain it?  Explain, with specific reference to individual scenes.
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#'''Group 1:''' Draw a single diagram of the professors’ work room from an overhead, “bird’s eye” view.  Indicate the main camera and actor positions of the scene shown in class of the second kiss.  Label the camera positions “1,” “2,” etc.—as we did in the class editing exercise.  Does the editing adhere to the 180 degree system?  Explain.
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#'''Group 2:''' How would you describe the sound perspective in the Ball of Fire scene analyzed above? Judging from how it sounds, what conventional position of the microphone was used? Explain.
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#'''Group 3:''' Is  the music in Ball of Fire diegetic, nondiegetic, or both?  Cite examples.
  
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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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[[Category:TCF440/540 Discussion]]
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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 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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#**You may find it useful to compare Godard's prostitute with prostitutes from other films, such as ''Pretty Woman''.
 
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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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#*'''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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#*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:''' 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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'''Godard, Brecht & Wollen'''
 
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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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#*Start with the image of Nana looking at the camera.
 
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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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#'''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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#*And what's with the French subtitles in that scene (see screen shot)?
 
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'''Bibliography'''
 
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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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#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.
 
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==External links==
 
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*[http://www.tcf.ua.edu/Classes/Jbutler/T340/BritishSounds.htm ''British Sounds'' illustrations]
 
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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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[[Category:TCF340 Discussion]]
 

Revision as of 16:51, 2 February 2011

http://www.tcf.ua.edu/Classes/Jbutler/T440/AnalExIllustrations.htm

  1. Group 1: Describe the mise-en-scene of the scene shown in class (the second kiss). How does mise-en-scene function in term of the narrative? That is, how does it help to build the characters and their relationship? Be sure to discuss setting, costume, lighting, and blocking. (15 points)
  2. Group 2: In one shot, Bertram speaks with Sugarpuss. Note: This shot is not from the scene of the second kiss, which is to be used in questions #1 and #5. Discuss the cinematography (especially camera angle, framing and depth of field) of this shot in terms of how it supports the narrative.
  3. Group 3: How do the story and the plot of the film differ in order, duration and/or frequency?
  4. Group 4: Does Ball of Fire follow the narrative conventions of classical cinema—as Bordwell and Thompson explain it? Explain, with specific reference to individual scenes.
  5. Group 1: Draw a single diagram of the professors’ work room from an overhead, “bird’s eye” view. Indicate the main camera and actor positions of the scene shown in class of the second kiss. Label the camera positions “1,” “2,” etc.—as we did in the class editing exercise. Does the editing adhere to the 180 degree system? Explain.
  6. Group 2: How would you describe the sound perspective in the Ball of Fire scene analyzed above? Judging from how it sounds, what conventional position of the microphone was used? Explain.
  7. Group 3: Is the music in Ball of Fire diegetic, nondiegetic, or both? Cite examples.
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