JCM312/Godard and Contemporary Feminism (Discussion) - Revision history

Jeremy Butler: /* External links */

2019-11-04T19:38:23Z

External links

ScreenAdmin: 40 revisions imported

2019-08-14T21:31:22Z

40 revisions imported

Jeremy Butler at 16:20, 31 October 2018

2018-10-31T16:20:38Z

Jeremy Butler at 16:18, 31 October 2018

2018-10-31T16:18:48Z

Jeremy Butler at 16:17, 31 October 2018

2018-10-31T16:17:10Z

Jeremy Butler at 16:16, 31 October 2018

2018-10-31T16:16:01Z

Jeremy Butler at 16:14, 31 October 2018

2018-10-31T16:14:04Z

Jeremy Butler at 16:12, 31 October 2018

2018-10-31T16:12:51Z

Jeremy Butler at 13:48, 31 October 2018

2018-10-31T13:48:13Z

Jeremy Butler: TCF -> JCM

2017-11-02T01:19:54Z

TCF -> JCM

@@ Line 29: / Line 29: @@
 ==External links==
-*[https://tcf.ua.edu/Classes/Jbutler/T340/BritishSounds.php ''British Sounds'' illustrations]
+*[https://tvcrit.org/Classes/Jbutler/T340/BritishSounds.php ''British Sounds'' illustrations]
-*[http://www.tcf.ua.edu/Classes/Jbutler/T577/Godard_Criticism_Brecht.php Godard and Brecht: Godard's Criticism, ''Vivre sa Vie'' & ''Breathless'']
+*[http://tvcrit.org/Classes/Jbutler/T577/Godard_Criticism_Brecht.php Godard and Brecht: Godard's Criticism, ''Vivre sa Vie'' & ''Breathless'']
 [[Category:JCM312 Discussion]]

@@ Line 12: / Line 12: @@
 #**You may find it useful to compare Godard's prostitute with prostitutes from other films, such as ''Pretty Woman''.
 #MacCabe and Mulvey contend, "Female nakedness carries associations of the exploitation of women that almost no degree of formal subversion can displace."
-#*'''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?
+#*'''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 screenshots]). How does this scene supposedly illustrate this "subversion." Is sexuality "demystified," as MacCabe and Mulvey discuss?
-#*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?
+#*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 screenshots]). Is there formal subversion occurring there?
 #**'''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).
@@ Line 21: / Line 21: @@
 #'''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.
 #'''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?
-#*And what's with the French subtitles in that scene (see screen shot)?
+#*And what's with the French subtitles in that scene (see screenshot)?
 ==Bibliography==

@@ Line 3: / Line 3: @@
 File:VivreSaVieqq00_33_12qq00002.jpg|alt=Nana looks directly at the camera.|Nana looks directly at the camera.
 File:VsV081.jpg|alt=The look of a prostitute.|The look of a prostitute.
-File:VsV071bOvalPortrait.JPG|alt=Luigi and Poe's ''Complete Works''.|Luigi and Poe's ''Complete Works''.
+File:VsV071bOvalPortrait.JPG|alt=Luigi and Poe's ''Complete Works''.|Luigi and Poe's ''Complete Works''. Subtitle translation: "I don't know."
 </gallery>

@@ Line 7: / Line 7: @@
 ==MacCabe & Mulvey==
 #'''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."
 #*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''"?
@@ Line 17: / Line 16: @@
 #**'''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).
-'''Godard, Brecht & Wollen'''
+==Godard, Brecht & Wollen==
 #'''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?
 #*Start with the image of Nana looking at the camera.
@@ Line 25: / Line 23: @@
 #*And what's with the French subtitles in that scene (see screen shot)?
-'''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.
 #MacCabe, Colin and Mulvey, Laura. "Images of Woman, Images of Sexuality, in ''Godard: Images, Sounds, Politics'', 79-101. Bloomington, IN: Indiana University, 1980.

@@ Line 4: / Line 4: @@
 File:VsV081.jpg|alt=The look of a prostitute.|The look of a prostitute.
 File:VsV071bOvalPortrait.JPG|alt=Luigi and Poe's ''Complete Works''.|Luigi and Poe's ''Complete Works''.
-</gallery)
+</gallery>
 ==MacCabe & Mulvey==

← Older revision	Revision as of 21:31, 14 August 2019
(No difference)

@@ Line 1: / Line 1: @@
-<gallery mode="packed" heights=400px>
+<gallery mode="packed" heights=300px>
 File:VivreSaVieqq00_33_10qq00001.jpg|alt=Nana looks down.|Nana looks down.
 File:VivreSaVieqq00_33_12qq00002.jpg|alt=Nana looks directly at the camera.|Nana looks directly at the camera.
@@ Line 6: / Line 6: @@
 </gallery)
-'''MacCabe & Mulvey'''
+==MacCabe & Mulvey==
 #'''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."

← Older revision		Revision as of 01:19, 2 November 2017
Line 39:		Line 39:
	*[http://www.tcf.ua.edu/Classes/Jbutler/T577/Godard_Criticism_Brecht.php Godard and Brecht: Godard's Criticism, ''Vivre sa Vie'' & ''Breathless'']		*[http://www.tcf.ua.edu/Classes/Jbutler/T577/Godard_Criticism_Brecht.php Godard and Brecht: Godard's Criticism, ''Vivre sa Vie'' & ''Breathless'']

−	[[Category:~~TCF340~~ Discussion]]	+	[[Category:JCM312 Discussion]]