CIN301 Flashcards
1.
Benedict Arnold
The Origins of National Consciousness
Imagined Community
- limited to elastic boundaries
- never know fellow members of smallest nation
- sovereign - destroyed legitimacy of divinely ordained
- fraternity of nationhood - horizontal comradeship
2.
Daniel Dayan
The Tutor Code of Classical Cinema
Suture Theory
Don’t Look Now (Roeg 1973)/ Rear Window (1959)/ Les Carabinier (Godard 1963)
3.
Kim Soyung
From Cine-mania to Blockbusters and Trans-cinema
1.
4.
Laura Mulvey
Visual Pleasure and Narrative Cinema
Male Gaze
Voyeuristic Scopophila - keyhole effect - pleasure of watching others secretly, separation of self and other, indulged via female characters
Narcissistic Scopophila - identification - pleasure gained from Id with ego ideal, id between self and other, indulged via male characters, screen as reflection
Thriller (Potter 1979) / Illusions (Dash 1982)/Looking for Langston(Julien 1989)
5.
Manthia Diawara
Black Spectatorship: problems of Identification and Resistance
Black Gaze
- Pluralizes and complicates id by theorizing tension between preferred and resistant readings of film texts
- Examines ow the basics drives of narrative - tension between desire and imposition of Law - are frequently placed in the service of racist projects in dominant cinema (spectators are positioned to desire to the castration of black characters)
- Cultivation of resistant spectator practices thru the development of an independent, counter-hegemonic cinema (never doubts cinemas ability to guide our readings and processes of Id)
Get Out (Peele 2017) Looking for Langston (Julien 1989)
6.
Jose Munoz
Performing Disidentification
- Pluralize and complicates id thru the process to disidentification, a 3rd way to negotiate Id against earlier models the pit constructivist and essentialist id formations against on another
- Offers an intersectional approach that complements Diawara’s preferred an resistant readings
- Difference-in-relation/id-in-difference result from failed interpellation of dominant public sphere
Looking for Langston (Julien 1989)
7.
Azadeh Farahmand
Disentangling the International Festival Circuit: Genre and Iranian Cinema
- Through circulation of Kiarostami’s films in international film festivals, the visibility created added the style, themes to be added to corpus of cinematic discussion and created a genre of I’m that reinforced Iranian cinema characteristics
The Apple (Makmalbaf 1998)
8.
Carl Platinga
Notes on Spectator Emotion and Ideological Film Criticism
- Cognitive Film Theory
- Spectators affective experience is dependent on cognition cued by film and story content - emotional involvement precludes critical engagement - ideological stoicism
- Cognition should include Inferences, Hypotheses, Evaluative Judgements
- Resistant cinema must encourage alienation and refuse pleasure - ideological formalism - certain film forms of universal ideological effects
Get out
9.
Negar Mottahedheh
Producing a National Cinema, a Women’s Cinema
- Proscribed look
Post Revolutionary Iranian Cinema
Ministry of Culture and Islamic Guidance 1982 - took over supervision and coordination of film industry
- council of screen play vetting
- council for screenplay inspection - approve/rejects
- film production submits full list of cast and crew to receiving permit
- submit final film to MCIG for final approval. MCIG grants exhibition permits, locations and length of exhibition
Rule of Modesty, Commandment of Looking work against law of suture
Farabi Cinema Foundation 1983 - Helps filmmakers with vetting and censorship practices. Controls import/export of films, subsidies and submission to foreign festivals
Fredric Jameson
Postmodernism and Consumer Society
Peking Opera Blues (Hark 1986)
- Aesthetic and periodizing concept
- Aesthetic 1890-1960 - Impressionism, futurism, cubism, abstract expressionism, minimalism - break from modernism
- Collapse of distinction between high and low art
- Post war era rise of post industrial multi national corporate capitalism, consumer societies, computerization, electronic information
- Cultural logic of late capitalism
- Experience of space and time: Pastiche - blank parody, random cannibalization of the past
- Schizophrenia - breakdown of time as perpetual present, material signifiers that fail to link up in coherent sequence, failure of I and me over time
- Evaporation of historical experience.
Peking Opera Blues (Hark 1986)
Rey Chow
Film as Ethnography or Translation Between Cultures in Postcolonial World
The World (Zhangke 2004)
- Translation - transmission/transformation. Prioritizes signifier over signified. Shifts attention from fidelity to original to translation as two-way negotiation between distinct idioms (foreign/native) that renders violence of creation visible.
- Transcription - translated ephemeral experience from fragile medium of cultural memory to durable medium of film.
Arjun Appardurai
Disjunctures and Difference in the Global Economy
The Man without a Past (Kaurismaki 2002)
- disjuncture between economy, culture, politics
- scapes: ethno, techno, media, finance, ideo
- production + consumption fetishism
- inadequacy of metropole - periphery - flows are chaotic and unpredictable
- deterritorialization
Mette Hjort
On the Plurality of Cinematic Transnationalism
Typologies of Transnationalism
- Morally good: Epiphanic, Affinitive, Milieu-building
- Economic/Political: Opportunistic, Cosmopolitan, Globalizing, Auteurist, Modernizing, Experimental
Dogme 95
- challenge hollywood studios by producing and distributing films by providing and accessible, low cost alternative
- no stars, no special fx, no production costs
- manifesto and vows of chastity rules to create film based on traditional story, acting and theme, exclude use of technology
Jean Baudrillard
Precession of the Simulcra
Tarnation (Cauoutte 2003)
- images of simulation that comes in advance of and supersede reality, cannibalize reality)
4 successive phases of the image - from appearance to simulation:
- reflection of profound reality (good)
- masks and denatures a profound reality (evil)
- masks the absence of a profound reality (sorcery)
- has no relation to any reality whatsoever: it is its own pure simulacrum (simulation).
Order of simulacram
- Renaissance to Industrial Revolution
- characterized by a distinction between the real and its counterfeit representation. - Industrial Revolution to Mid-20th Century
- characterized by a break-down in the distinction between real and representation - Mid-20th century to present
- characterized by the precession of simulacra, representations that precede and determine the real
Stephen Prince
Digital Realism, Digital Images and Film Theory
Tarnation (Cauotte 2003)
Perceptual realism designates a relationship between the image or film and the spectator, and it can encompass both unreal images and those which are referentially realistic. Because of this, unreal images may be referentially fictional but perceptually realistic.”
