fa 49a.01 - cinema and audience, sociological debate jak
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FA49A.01-CinemaandAudience,SociologicalDebateJakŞalom
2021-2022#1
ThefollowingsyllabuswaswrittenonJuly12,2021,basedontheinformationavailableonthatdate.Itissubjecttochangewithregardtodatesand,toalesserextent,content.
TheacademiccalendarinformsusthatourclasswillstartonOctober12.
70%attendancewillberequiredonMoodlebycheckingthe“attendance”box.
Youwillbesubjecttotwochecks:thefirst,mid-term,byapaperassignment;thesecond,intheformofa"finalpaper"iftheteachingisorganizedremotely.Otherwise,apaperexaminationwilltakeplace.
ThedocumentationrelatingtoeachcoursewillbeatyourdisposalonMoodle,oneweekinadvance.
Agoodknowledgeofworldcinemaisrequiredofallcandidateswhowishtoregisterforthiscourse.Prioritywillbegiventostudentsregisteredforthe"filmcertificate".Thetotalnumberofregistrantswilldependontheinstructionsoftheschooladministration.
Thankyouforyourattention.
JakŞalom
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Week1–2021-10-12
Introduction
Week2–2021-10-19
Thefirstyearsofcinemaandaudiencereactions
Week3–2021-10-26
Movietheaters
Week4–2021-11-02
Cinematheques,cinephilia
Week5–2021-11-09
Cinemaandcountries,changingaudiencepractices:Turkey
Week6–2021-11-16
Cinemaandcountries,changingaudiencepractices:Othercountries1
Week7–2021-11-23
Cinemaandcountries,changingaudiencepractices:Othercountries2
Week8–2021-11-30
Cinemamovementstryingtochangeaudiencehabits
Week9–2021-12-07
Politicsandcinema
Week10–2021-12-14
Cinemaandfestivals
Week11–2021-12-21
Cinemaandculturalstudies1
Week12–2021-12-28
Cinemaandculturalstudies2
Week13–2022-01-04
Cinemaandotherartisticforms
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CinemaandAudience,SociologicalDebate
Week1
Introduction
Coursedescription:
Perhapsthemostimportantparticularityofthecinemaasanartisticfieldmaybeits
collectivenatureduringitsproductionprocessandatthesametimeitisalsoconsumedina
collectiveway,manypeoplecometogetherasfilmaudiencetowatchthesemovies1
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...Thischaracteristichelpsittobecomeanagencyforlivedialoguebetweenhumanbeings.
Directorsaimingtotransmittheirbeliefs,ideasandsentimentstolargemassesthanksto
theirmoviesneedthehelpofmanypeoplefromdifferentfieldsandpeoplefromdifferent
classes,ages,professionswatchthesefilmstogetherinmovietheaters5.Thiscoursewould
liketoconcentrateintorelationshipbetweenaudienceandartist,followingthetracesof
maininstitutionsofthehistoryofcinemalikecinematheques,clubsandreviews67.These
opportunitiesprovidedbycinema,thecapacityofmoviestoshapehumanbeings’lives,
mindsandlife-stylesdeservetobeelaborated8.Duringthiscourse,manyimportantmovies
willbeanalyzed.
Readinglist:
Requested:
•SiegfriedKracauer,FromCaligaritoHitler:APsychologicalHistoryoftheGermanFilm,2004,PrincetonUniversityPress.Suggested:•PierreBourdieu,RulesofArt:GenesisandStructureoftheLiteraryField,StanfordUniversityPress,1996.
•PierreBourdieu, "But Who Created the Creators?" P. 142 in Sociology In Question. SAGE Publications (1993).
1 “First, the films are never individual products. [...] To the extent that each production unit of a film embodies a mixture of heterogeneous interests and inclinations, teamwork in this area tends to exclude the arbitrary handling of the film material by removing individual features for aspects common to many people" (Siegfried Kracauer - From Caligari to Hitler: A Psychological History of the German Film,1947)
2"The subject who speaks here must recognize one thing: he likes to get out of a movie theater. He walks quietly (he does not like to talk about the film they have just seen), a little numb, encased, chilly, short sleepy; he’s sleepy, that's what he thinks; his body became something sporty, sweet, peaceful: soft like a sleeping cat, it feels somewhat disjointed [...]. In short, it comes out of hypnosis " (Roland Barthes - Communications n°23 - 1975).
3"In the egalitarian discomfort of the popular theatres, I had learned that this new art was to me, as to all" (Jean-Paul Sartre - Les Mots - 1964)
4We see, here again, how objective cinema and fiction films are opposed and bind. The image is strictly the reflect of the reality, its objectivity is in contradiction with the extravagance of what is imaginary. At the same time, this reflection is a "double". The image is already soaked by subjective powers that will move it, distort it, project it into fantasy and dream " (Edgar Morin - Le cinéma ou l'homme imaginaire - 1956).
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Screeninglist:
Requested:
•DasCabinetdesDr.Caligari,dir.RobertWiene,Germany,1919,1h18(https://www.youtube.com/watch?v=AP3WDQXkJq4)•120yearswatchingmoviestogether,https://vimeo.com/115470918,2015,3’48’’Suggested:•CinemaParadiso,dir.GiuseppeTornatore,Italy1989,2h04(http://www.youmoviz.tv/14858/stream-cinema-paradiso/)
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Week2
Thefirstyearsofcinemaandaudiencereactions
Coursedescription:
Thehistoryoffilmbeganinthe1890's,withtheinventionofmotionpicturecamerasandtheestablishmentoffilmproductioncompanies.Thefilmsofthe1890swereunderaminutelonganduntil1927,motionpictureswereproducedwithoutsound.Thefirstelevenyearsofmotionpicturesshowthecinemamovingfromanoveltytoanestablishedlarge-scaleentertainmentindustry.Thefilmsbecameseveralminuteslongconsistingofseveralshots.Thefirstrotatingcamerafortakingpanningshotswasbuiltin1897.Thefirstfilmstudioswerebuiltin1897.Specialeffectswereintroducedandfilmcontinuity,involvingactionmovingfromonesequenceintoanother,begantobeused.In1900,continuityofactionacrosssuccessiveshotswasachievedandtheclose-upshotwasintroduced(thatsomeclaimD.W.Griffithinvented).Mostfilmsofthisperiodwerewhatcametobecalled"chasefilms".Thefirstuseofanimationinmovieswasin1899.Thefirstfeaturelengthmulti-reelfilmwasa1906Australianproduction.Thefirstsuccessfulpermanenttheatreshowingonlyfilmswas"TheNickelodeon"inPittsburghin1905.Byabout1910,actorsbegantoreceivescreencreditfortheirroles,andthewaytothecreationoffilmstarswasopened.Regularnewsreelswereexhibitedfrom1910andsoonbecameapopularwayforfindingoutthenews.Overall,fromabout1910,AmericanfilmshadthelargestshareofthemarketinallEuropeancountriesexceptFrance.****AsociologicalapproachtotheaudiencepracticeofthefirstspectatorsThehistoryoffilmperfectlyillustratesthestruggleofclassandimage.ThisapproachiscentraltothetheoryofculturallegitimacyofPierreBourdieu.Hearguesthatthepracticeofaculturalactivitydependsonthedegreeoflegitimacyandsocialpositionofthosewhopractice.Inthecaseofcinema,thistheorymaintainsaparticularresonancetounderstandtherelationshipbetweenthebourgeoisclassesandpopularclasseswithcinema.Thecinemarapidlyemergesasamajorinventionintheworldofentertainment.Butitwilltaketimetomovefrommerecuriosityplaguedbyahighsocialclasssnobberythanentertainmentartisticvocation.Infact,itwilltakenearlythirtyyearsthattheinstitutions(critics,historians,filmclubs...)willbepartofacinemaculturegoingbeyondupperclasses. Readinglist:
Requested:
•Asociologyofthecinema/TheBioscope.net/2012(ablogonearlyandsilentcinema,withanemphasisonresearch)/(http://thebioscope.net/2012/08/11/a-sociology-of-the-cinema/)•Gaudreault,André,Americancinema,1890-1909:themesandvariations,RutgersUniversityPress,2009.Suggested:
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•Jean-PierreEsquenazi,Sociologiedespublics,Ladécouverte,2003•EmmanuelEthis,Sociologieducinémaetdesespublics,ArmandColin,Coll.128,2014(3emeédition).
Screeninglist:
Requested:
•L’arrivéed’untrainengaredeLaCiotat/FrèresLumière/1895(https://www.youtube.com/watch?v=b9MoAQJFn_8)•LasortiedesusinesLumière(http://www.lepoint.fr/culture/les-trois-versions-de-la-sortie-des-usines-lumiere-27-03-2015-1916316_3.php)•Voyagedanslalune,dir.GeorgesMéliés,1902,b&w(http://www.dailymotion.com/video/xbv03c_georges-melies-le-voyage-dans-la-lu_shortfilms)•Voyagedanslalune,dir.GeorgesMéliés,1902,colorhttps://www.youtube.com/watch?v=L-xKECueJPo•Hugo,dir.MartinScorsese,2011(http://www.streamcomplet.eu/streaming-hugo-cabret.php)
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Week3
Movietheaters
Coursedescription:
Amovietheaterormovietheatre(alsocalledacinema,moviehouse,filmhouse,film
theaterorpicturehouse)isavenue,usuallyabuilding,forviewingmovies(films),for
entertainment.Mostbutnotallmovietheatersarecommercialoperationscateringtothe
generalpublic,whoattendbypurchasingaticket.Themovieisprojectedwithamovie
projectorontoalargeprojectionscreenatthefrontoftheauditorium.Mostmovietheaters
arenowequippedfordigitalcinemaprojection,removingtheneedtocreateandtransporta
physicalfilmprint.InTurkey,in2014thereare2.034cinemascreensand276.318cinema
seats.Bigmovietheatrescouldnotbesurvivedandnewcinemacomplexesincludingmany
smalltheatresreplacethem.TheclosingdownanddestructionofEmekmovietheatreleave
significanttracesinthecollectivememoryofTurkishculturalactorsandsocietyingeneral
andthismaybeobservedinGeziandTaksimmovementsfollowingthiseventafteroneor
twomonths.
Readinglist:
Requested:
•MovieTheatreshavealwaysbeenimportanttomehttp://www.davidandnoelle.net/moviehistory.htm•SinemaveTiyatroİstatistikleri,2014,(http://www.tuik.gov.tr/HbPrint.do?id=21504)•NumberofU.S.MovieScreens,(http://natoonline.org/data/us-movie-screens/)Suggested:•2012Aurorashooting,(https://en.wikipedia.org/wiki/2012_Aurora_shooting)•L'évolutiondusecteurdel'exploitationcinématographiqueenFrance,(http://www.senat.fr/rap/r02-308/r02-3086.html)•CinémaenFrance(http://www.das-rendez-vous.org/42.0.html?&L=1)•LaurentCreton,KiraKitsopanidou(sousladirectionde),Lessallesdecinéma:enjeux,défisetperspectives,ArmandColin/Recherches,Paris,novembre2013.Screeninglist:
Requested:
•ThePurpleRoseofCairo,dir.WoodyAllen,1985/(http://putlocker.is/hdstreams/hdstream.php?movie=The%20Purple%20Rose%20of%20Cairo%20%281985%29)•LesCarabiniers,dir.Jean-LucGodard,1963,1h25
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(http://filmzvk.com/les-carabiniers-streaming-7503.html)Suggested:•Nossallesobscures-NicolasLévy-Beff/Jean-YvesLeNaour,produitparEmmanuelMigeot(Kilaohmproductions),Histoire,2012,52min
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Week4
Cinematheques,cinephilia
Coursedescription:
1.Cinematheques:“Cinemawritesitsownhistoryasitisbeingmade.Itcouldevengivesomeindicationsasto‘howhistory,shouldbemade,thehistoryofmankind,ofwomen,ofchildren,ofcultures,ofsocialclasses’,becausecinemaisinitselfitsownhistoricalmatteranditcouldgivegoodindications.TheCinemathequeistheonlyplacewheresomethinglikethiscouldtakeplaceandIthinkthatthefactthatthisisnothappeningisnotsomethinginnocentinthecontextofthecurrenttrendofsociety,inwhichitisvirtuallyalmostforbidden.“Jean-LucGodard,inDOCUMENTS·CinemaComparat/iveCinema·Vol.I·No.1.·2012·9-10,(DialogueintheFrameworkofthesimposiumheldattheAnnualCongressoftheInternationalFederationofFilmArchives(FIAF),celebratedfrom30Mayuntil1June1979attheCinémathèqueSuisse,Lausanne.BRENEZ,Nicole(ed.)(2006).Jean-LucGodard:Documents.Paris.ÉditionsduCentrePompidou.)
2.Cinephilia:Inareviewofabookonthehistoryofcinephilia,MasGeneriswrites:Cinephilia,despiteitstransparentetymologicalmeaning-loveofcinema-isatermthatresistsreadyandsharedunderstanding.AsdescribedbyAntoinedeBaecqueandThierryFremaux,Thedefinitiveessenceofcinephiliaisacultureofthediscardedthatpreferstofindintellectualcoherencewherenoneisevidentandtoeulogizethenon-standardandtheminor.3.TurkishCinematheque:SinematekAssociation,whichwasaspecificphenomenonamongmanyotherculturalandsocialprojectsofthe1960s.ItwasestablishedonAugust25,1965bypassionatecinemafollowersandlastedtillthemilitarycoupd’Etatof1980.TheassociationprovidedtobringtogetherTurkishaudienceandimportantclassicsoftheworldcinema.Duringthisperiod,theintellectualsandyouthinTurkeydefinedthemselvesinrelationtothepolitical&socio-economicproblemsoftheircountry.Thiscriticalconsciousnessnaturallyfoundexpressionintheculturalsphere.Therefore,Sinematekandothercinemacirclesinthe1960sandintheearly1970scangiveustheopportunitytounderstandtheatmosphereofTurkeyinthatperiodastheyreflected,sustainedandexpressedgenerallythesignificantintellectualandpoliticalorientationsoftheirperiod.
Readinglist:
Requested:•PenelopeHouston,Keepersoftheframe:thefilmarchives,BritishFilmInstitute,1994-179pages•Roud,Richard(1983),APassionforFilms:HenriLangloisandtheCinemathequeFrancaise.London:SeckerandWarburg.•Kutlar,Onat,SinemaBirŞenliktir:SinemaYazıları,CanYayınları,İstanbul,1991.•Başgüney,Hakkı(2010),TürkSinematekDerneği,SinemavePolitikTartışma,LibraYayınevi,İstanbul.•Kutlar,Onat.“TürkSinemasıNiçinOlumluÇıkışYapamıyor.”Ant,no.11,(1967):14-5.•Kutlar,Onat.“UlusalTürkSinemasıveÇıkışYollarıÜzerineSoruşturma.”Ant,no.80(9July1968):14.
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Suggested:•1968-DRÔLEDEDRAMEàlaCinémathèque,http://www.letemps.ch/r/Le_Temps/Quotidien/2014/05/22/Zoom/Images/1039224_lm2_langlois.pdf•AGreatManofMovies,WhoNeverShotaFrame,CreatedaWayofSeeing,http://www.nytimes.com/2005/10/12/movies/a-great-man-of-movies-who-never-shot-a-frame-created-a-way-of-seeing.html•MarijkedeValckandMalteHagener(eds),Cinephilia:Movies,LoveandMemory.Amsterdam:AmsterdamUniversityPress,2005,ISBN:9053567682,236pp•NathalieHeinich,«Auxoriginesdelacinéphilie:lesétapesdelaperceptionesthétique»inPolitiquedesauteursetthéoriesducinémasousladirectiondeJean-PierreEsquenazi,L’Harmattan,2002(p.9à38)•SinematekGünleri:JakŞalomilesöyleşi,Altyazıdergisi,sayı129,Nisan2013,s.74-77
Screeninglist:
Requested:
•HenriLanglois,afilmbyRobertoGuerra&EilaHershon,1970http://movies.nytimes.com/movie/158566/Langlois/overview•Sinematek50.Yılpaneli:(http://sinematek.tv/sinematekin-50-yili-paneli-2015/)Suggested:•JakŞalomilesöyleşi:(http://sinematek.tv/jak-salom-turk-sinematek-dernegi-1965-1972/),Nisan2015• Lefantômed'HenriLanglois(2004),dir.JacquesRichard,documentary
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Week5
Cinemaandcountries,changingaudiencepractices:Turkey
Coursedescription:
Turkishcinemaanditsaudiencewereinaverycloserelationshipfollowingtheevolutionofsociety.Somehavenothesitatedtodescribethesemoviespopularwhereasithaslongexploitedthemostfragilefeelings(violence,pornography...)ofthelargeuneducatedmasses.Thedevelopmentoffilmstudieshasgivenbirthtoanewgenerationoffilmmakerswhosefilmsaregettingsuccessintheworldbuttheyarenotfollowedintheirowncountry.AfilmeconomyexistsyetwiththesignificantincreaseinaudiencesforbothTurkishfilmsaswellasforeignfilms.
Readinglist:
Requested:
•Arslan,Savaş.(2005),HollywoodAllaTurca,aHistoryofCinemainTurkey,(Phd.Diss.,OhioStateUniversity).•BaşgüneyHakkı,ÖzdüzenÖzge(2014),TheCityinTurkishCinema,LibraYayınevi,İstanbul.•Türkali,Vedat,YeşilçamdedikleriTürkiye(2001),Suggested:•Daldal,Aslı(2003),Art,PoliticsandSociety:SocialRealisminItalianandTurkishCinemas,Istanbul:IsisPress.Screeninglist:
Requested:
•Arkadaş,dir.YılmazGüney,1974,95min.www.vipfullhdfilmizle.com/arkadas-turk-filmi-izle/•Vizontele,dir.YılmazErdoğan,2001,1h50•Arabesk,dir.ErtemEğilmez,1989,(https://www.youtube.com/watch?v=gympfLBbsaY)
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Week6
Cinemaandcountries,changingaudiencepractices:Othercountries1
Coursedescription:
1.USAInUSculture,thefamousroleofthecinemaplayedsinceitsintroductiontothesocietydeservestobeelaborated.ThenationmakingprocessinUSAisgratefultothecinemaindustry.HollywoodanditsstudiowereconsideredasrelevanttoolsinthemakingprocessofUScitizenship.TheideologicalinfluenceofUScinemaintheformationofconsumptionhabits,andbehavioralpatternsiscapitalinitsowncountryandthroughouttheworldincreasinginthesecondhalfofthetwentiethcentury.2.USSRInfact,severalquestionsareraisedinthiscourse:IstheSovietcinemaapropagandistcinemathatwouldhavetouchedthemassesthanunderduressway?Isitreallyart?Dothefilmmakershavemanagedtoattracttheaudienceandtransformit(creationofanewman)?Furthermore,towhatextenttheSovietfilmwasabletorespondtotheideologicalconstraints,butalsotoeconomicandtechnicalones(egadaptationtothespeakingcinema)ofhistime?ForReadingandScreeninglists,seeWeek7
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Week7Cinemaandcountries,changingaudiencepractices:Othercountries2
3.FranceTheevolutionofcinemainFranceiscloselyfollowingtheimportanteventsofthiscountryinthe20thcentury,suchasthePopularFront(1936),WorldWarII(1939-1945)or,paradoxically,thewarinAlgeria(1954-1962)...withdifferentimpactsontheBoxOffice.ThefirstperiodisthatofthegreatpopularsuccessofqualityasthefilmsofRenoirandCarné.ThesecondperiodtendstoconvincethepublicoftheexistenceofaFranceentirelydevotedtotheResistancewithRenéClement’sfilm“LaBatailleduRail”orJean-PierreMelville’s“LeSilencedelaMer”.TheaudienceforthelastperiodhasnothadmuchlucksincethefilmsevokingthewarinAlgeria,as“LePetitSoldat”byJean-LucGodard,“TheBattleofAlgiers”byGilloPontecorvoor“RAS”,byYvesBoissetsystematicallywerebannedbycensorship.4.GermanyTheThirdReich,thentheFederalRepublicofWestGermanyandintheGermanDemocraticRepublicintheeast,finallyGermanylivedagreattraumabefore,duringandaftertheSecondWorldWar.AfterNazipropagandasas“Olympia”byLeniRiefenstahlor“JudSüß“(JewSüss)byVeitHarlan,theGermancinemarecoversinpostwarwithpublichitslike“DieMördersindunteruns”byWolfgangStaudteor“TheAdventuresofTillEulenspiegel”byGerardPhilipeandJorisIvens,butittakesthefilmsofRainerWernerFassbinder(shunnedbythepublic)orthehugesuccessbothontelevisionandintheatresof“DieandereHeimat-ChronikeinerSehnsucht”(HomefromHome,Chronicleofavision)EdgarReitzforthecinemaofthatcountryagreestodealwiththecountry'shistory.
5.UnitedKingdom
ItshouldnotbeforgottenthattheUnitedKingdom,whichhassufferedgreatlyfromtheSecondWorldWarhadtoleadasocialpolicytoreducesuffering,especiallythepoorest.Thankstothispolicyrecreationareincreasinglyaccessibletolargenumbersafterthewar.ThegreattraditionofcomedyfilmsduringthisperiodleavesroomforsuchfilmsasReisz's“SaturdayNightandSundayMorning“(1960),Richardson's“ATasteofHoney”(1961),Schlesinger's“AKindofLoving“(1962)and“BillyLiar”(1963),andAnderson's“ThisSportingLife”(1963)areoftenassociatedwithanewopennessaboutworkingclasslifeorpreviouslytabooissues.Afteralongperiodofneglectofthiskindoffilm,KenLoachtookover.Athematicconsistencythroughouthisfilms,whethertheyexaminebroadpoliticalsituations,orsmallerintimatedramas,ishisfocusonpersonalrelationships.Thesweepingpoliticaldramas“LandandFreedom”,“BreadandRoses”,“TheWindthatShakestheBarley”examinewiderpoliticalforcesinthecontextofrelationshipsbetweenfamilymembers“BreadandRoses”,“TheWindthatShakestheBarley”,“Carla'sSong”,comradesinstruggle“LandandFreedom”orclosefriendsRouteIrish.Ina2011interviewfortheFinancialTimes,Loachexplainshow"Thepoliticsareembeddedintothecharactersandthenarrative,whichisamoresophisticatedwayofdoingit".BeforethatLoachnotedthatDeSica’scinema«made
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merealizethatcinemacouldbeaboutordinarypeopleandtheirdilemmas.Itwasn'tafilmaboutstars,orrichesorabsurdadventures."[Readinglist:
Requested:
•Smyth,J.E.,ReconstructingAmericanHistoricalCinema:FromCimarrontoCitizenKane,2009,ISBN-13:978-0813192390ISBN-10:0813192390•Travers,James.HistoryofFrenchCinema,2012,http://www.filmsdefrance.com/French_Cinema_History.html•Brockman,Stephen.ACriticalHistoryofGermanFilm(2011),CamdenHouse,Rochester,NewYork•Aldgate,AnthonyandRichardsJeffrey,2002,BestofBritish:CinemaandSocietyfrom1930tothePresent.London:I.B.TaurisSuggested:•Jean-PierreJeancolas,HistoireduCinémafrançais,2011,Ed.ArmandColin•http://www.bfi.org.uk/sites/bfi.org.uk/files/downloads/uk-film-council-case-study-a-qualitative-study-of-avid-cinemagoers.pdf•http://www.bfi.org.uk/sites/bfi.org.uk/files/downloads/bfi-opening-our-eyes-2011-07.pdf•Fay,Jennifer.2008.TheatersofOccupation:HollywoodandtheReeducationofPostwarGermany.Minneapolis:Univ.ofMinnesotaPress.ISBN978-0-8166-4745-3Screeninglist:USA:Requested:•TheBirthofaNation,dir.DavidWarkGriffith,1915,3h12(www.youtube.com/watch?v=302YMeiDSrI)Suggested:•Mrs.Miniver,dir.WilliamWyler,1942,134min.•Lincoln,dir.StevenSpielberg,2012,2h30•GangsofNew-York,dir.MartinScorsese,2002,USSR:Requested:•Oktyabr,dir.SergeiM.Eisenstein,1927,1h43Suggested:•FashizmObyknovennyy(Ordinaryfascism),dir.MikhailRomm,1965(http://politikfilm.net/filmler/353-siradan-fasizm-obyknovennyy-fashizm-filmi-izle.html)•Letyatzhuravli(Thecranesareflying),dir.MikhailKalatozov,1957France:Requested:•LaBattagliadiAlgeri(BattleofAlger),dir.GilloPontecorvo,1966,2h10(https://www.youtube.com/watch?v=oZNdHm6ezHw)Infact,thisisanAlgerianproduction,censoredinFranceatitsrelease.Suggested:
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•LaGrandeVadrouille(Don'tLookNow...We'reBeingShotAt!),dir.GérardOury,1966,(http://streamingfrench.net/la-grande-vadrouille-streaming-vf/)Germany:Requested:•Olympia,dir.LeniRiefenstahl,1938,1h55https://www.youtube.com/watch?v=lLnGqMoNXRI•DieandereHeimat-ChronikeinerSehnsucht(2013)(HomefromHome,Chronicleofavision),dir.EdgarReitz,2013,230min.(http://onlinefilm.org/de_DE/film/61212)UnitedKingdom:Suggested:•KenLoach’sfilms•Thissportinglife,dir.LindsayAnderson,1963,2h01(https://www.youtube.com/watch?v=KtsyGoGdW0c)
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Week8
Cinemamovementstryingtochangeaudiencehabits
Coursedescription:
Theevolutionofimagereproductiontechnologyhaschangedthoroughlytherelationshipbetweencinemaandthepublic.Bothhavemultipliedtotheextremeindividualizationoftherelationshipbetweenproduct/consumer.Thefilm(Kodakandothers),expensiveandtechnicallysophisticatedforaprojectiontothepublichasgivenwaytodigitalwhichdoesnothavealltheguaranteesofqualitydependingonthechosenmeansofbroadcasting.Thefilmimage,bornasthe7thart,isbecomingacommunicationmedium.Yetitisin"downthestreet"thatmovementsliketheFrenchNewWaveortheCinémaVéritébeganto"democratize"filmproduction.AsEdgarMorinwrote:"TherearetwowaystoconceiveofthecinemaoftheReal:thefirstistopretendthatyoucanpresentrealitytobeseen;thesecondistoposetheproblemofreality.Inthesameway,thereweretwowaystoconceivecinémavérité.Thefirstwastopretendthatyoubroughttruth.Thesecondwastoposetheproblemoftruth.”Thequestionofwhatremainsofartisticcreationafterthepassageofthetechnologicalrevolutionwillbeasked.Readinglist:
Requested:
•Digitalcinema,(https://en.wikipedia.org/wiki/Digital_cinema)•QuentinTarantino,(http://nofilmschool.com/2014/05/quentin-tarantino-cannes-35mm-digital-projection-death-cinema)•JamesMonaco,TheNewWaves:Truffaut,Godard,Chabrol,Rohmer,Rivette,NewYork,OxfordUniversityPress, 1976 •BarbaraBruni,JeanRouch:Cinéma-vérité,ChronicleofaSummerandTheHumanPyramid(http://sensesofcinema.com/2002/feature-articles/rouch/)Suggested:•Finilespellicules,lacaméranumériques'impose,Télérama,18/6/2011,http://www.telerama.fr/cinema/fini-les-pellicules-la-camera-numerique-s-impose,70167.php•RichardNeupert,AHistoryoftheFrenchNewWaveCinema,Wisconsin,UniversityofWisconsinPress,2002Screeninglist:
Requested:
•LesCarabiniers,dir.Jean-LucGodard,1963,85min.(http://vudustream.com/full/stream.php?id=tt0056905)•Chroniqued’unété,dir.:Rouch,Jean,1956,(https://vimeo.com/54909410)
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Suggested:•FreeZone,dir.AmosGitai,2005,90min.(http://www.libertyland.tv/films/streaming/10504-free-zone-2005.html)
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Week9
Politicsandcinema
Coursedescription:
Thecinemahashadaverycloserelationshipwithpoliticsandrevolutions.FromWWIcombatantarmieshaveunderstoodtheimportanceofthefilmedimageaspartofpsychologicalwarfare.Thejuxtapositionofimagesandthediscoveryoftheimportanceofeditingallowedtoinfluencethepublictowhomtheywereintended.Later,Jean-LucGodardwasabletosay"It'snotarightimage,it'sjustanimage"inoneofhisfilms.Thisdoesnotpreventmedianowvictimsoftheaccelerationofthenewsandlookingforimmediateprofittopresentwhatcomestothemwithoutworryingaboutcheckingtheircontents.Fictionimagesarebeyondthiscriticismbynature.Readinglist:
Requested:
•Vogel,Amos.FilmasaSubversiveArt.London:CTEditions;[NewYork]:D.A.P./DistributedArtPublishers,2006.ISBN1-933045-27-2.•ZeynepÇetinErus,GençSinemaveDevrimciSinemaHareketleri,EsYayınları/SinemadaAkımlarDizisi,Istanbul,2015-ISBN:9786055664329Suggested:•Barsam,RichardM.LookingatMovies:AnIntroductiontoFilm.NewYork:W.W.Norton&Company,2003.ISBN0-393-97436-7(10).ISBN978-0-393-97436-2(13).(BookandCD-ROMeds.)•Ed.FundaBaşaran,İşçiFilmleri,Öteki“Sinemalar”,İstanbul,YordamKitap,2015
Screeninglist:
Requested:
•BronenosetsPotyomkin(TheBattleshipPotemkin),dir.SergeiM.Eisenstein,1925,1h08http://cinema.arte.tv/fr/article/le-cuirasse-potemkine-de-serguei-eisenstein•ChelovekskinoapparatomManwithaMovieCamera,dir.DzigaVertov,1929,1h08(https://www.youtube.com/watch?v=dvEuD29bw9k)•Hongseniangzijun(TheRedWomen'sDetachment),dir.XieJin,1971,1h41(https://www.youtube.com/watch?v=yCxE5UirSRk)•Pravda,dirJean-LucGodard(withJean-HenriRogeretPaulBuron,forGroupeDzigaVertov),1970,58minhttp://www.nowvideo.sx/video/c9d153551bea8•Beynelmilel,dir.SırrıSüreyyaÖnderandMuharremGülmez,2006,1h41http://www.vipfullhdfilmizle.com/beynelmilel-izle-full-seyret-tek-part/Suggested:
20
•LaHoradeLosHornos,FernandoSolanasandOctavioGetina(Argentina1968)http://politikfilm.net/filmler/392-kizgin-firinlarin-saati-filmi-izle.html•MemoriasdelSubdesarrollo,ThomasGuiterrezAlea,(Cuba1968)https://www.youtube.com/watch?v=QezOiMnDyHQ•1900Novecento,dir.BernardoBertolucci,1976,5h03https://artislimited.wordpress.com/2013/04/03/1900-bernardo-bertolucci-1976-full-film-uncensored-in-italian/
21
Week10
Cinemaandfestivals
Coursedescription:
Therearemorethan4.000filmfestivalsallaroundtheworld.TheVeniceFilmFestivalinItalybeganin1932,andisthelongestcontinuallyrunningfilmfestival.Filmfestivalsareincontestablyanimportantpartofculturalindustriesandtheeconomyofculture.Theycontributegreatlytothedistributionoffilmsthatwouldnot,forsome,havethepossibilitiesofbeingpromoted.Thus,theyaremajorpartnersinthedisseminationoffilmculture.InTurkey,theIstanbulInternationalFilmFestivalhasdoneimportantworktakingupthelegacyoftheTurkishCinemathequeanddevelopingitinfavor,too,thefilmproductionofhiscountry.Readinglist:
Requested:
•Uçansu,Hülya,BirUzunMesafeFestivalcisininAnıları-SinemaGünlerindenİstanbulFilmFestivaline,DoğanKitap,2012•BaşgüneyHakkı,ÖzdüzenÖzge(2014),"InternationalİstanbulFilmFestival,"inTheCityinTurkishCinema,İstanbul:LibraYayınevi,•CannesFilmFestival,Palmed’Orwinners(https://en.wikipedia.org/wiki/Palme_d%27Or)•Economicsoftheartsandliterature,(https://en.wikipedia.org/wiki/Economics_of_the_arts_and_literature)Suggested:•4reasonstoattendfilmfestivals,(http://www.raindance.org/4-reasons-to-attend-film-festivals/•Exceptionculturellefrançaise,(https://fr.wikipedia.org/wiki/Exception_culturelle_fran%C3%A7aise)•ChristopherHolland,FilmFestivalSecrets:AHandbookforIndependentFilmmakers,2008,ISBN/EAN13:0971835616/9780971835610•CaferPenahiröportajı,(http://www.yenicikanlar.com.tr/hicbir-sey-sinema-yapmami-engelleyemez-49120)Screeninglist:
Requested:
•Yol,dir.SerifGören,1982,1h49(http://www.yesilcam-filmleri.com/451-yilmaz-guney-yol.html)•Missing,dir.Costa-Gavras,1982•Umut,dir.YilmazGüney,1969,1h38https://www.youtube.com/watch?v=D2-SQEcNFl8•TaksiTahran,dir.CaferPenahi,2015,(http://www.fullhdizleyin.com/taksi-tahran-2015-izle-turkce-dublaj-full-hd.html)
22
Suggested:•Ta'meguilass(Tasteofcherry),dir.AbbasKiarostami,1997,1h39(https://www.youtube.com/watch?v=7_YDxwUuJTo)
23
Week11&Week12
Cinemaandculturalstudies1&2
Coursedescription:
CulturalStudiesbecamealegitimateandinfluentialacademicdisciplineduringthelasttwodecadesthroughouttheworld.CulturalStudies'onethemostimportantfieldofworksisundeniablycinema.CulturalStudies(CCS)considersfilmasaformofrepresentationinandofitselfandinrelationtootherdisciplinessuchasliterature,art,andtheatre.Byemphasizingtheemergingdisciplineofculturalstudies,ouraimwillbetoshowhowculturalformssuchascinemaandtheotherartsdevelopandinteractwitheachotherandwithsocial,historical,andeconomicforcesduringthisweek.ThefamousfilmofLuchinoVisconti,Leopardiscertainlyappropriatetoanalyzealloftherelationshipexplainedabove.Readinglist:
Requested:
•Hoggart,R(1957).TheUsesofLiteracy:AspectsofWorkingClassLife.ISBN0-7011-0763-4.•During,Simon,TheCulturalStudiesReader,2ndéd,LondonetNewYork,Routledge,2003.•Kutlar,Onat,ViscontiyadabiruzaklığıntarihiSuggested:• Cusset,François,FrenchTheory,HowFoucault,Derrida,Deleuze&Co.TransformedtheintellectuallifeoftheUnitesState,UniversityofMinnesotaPress,2008.•(Editedby)Lotringer,SylvèreandCohen,Sande,FrenchTheoryinAmerica,Routledge,2011•Zryd,Michael.“TheAcademyandtheAvant-Garde:ARelationshipofDependenceandResistance,”CinemaJournal,S.2.,2006,s.17-41.•Jean-PierreEsquenazi,WhenisanIndustrialCulturalProducta"PoliticalWork"?inRéseaux2011/3(No167)•Bickerton,Emilie(2006),“AdieuToCahiers”,NewLeftReview,no.42:69-97.•Cahiersducinema:1960-1968—NewWave,NewCinema,ReevaluatingHollywood,ed:JimHillier,HarvardUniversityPress,Cambridge,1992.Screeninglist:
Requested:
•IlGattopardo(TheLeopard),dir.LuchinoVisconti,1963,(http://www.tantifilm.net/guarda/il-gattopardo-1963-streaming/)Suggested:•FromStructuretoRhizome:FrenchTheory-FrançoisCusset(1/4),(2/4),(3/4),(4/4)https://www.youtube.com/watch?v=3tmFxWWL3tg
24
Week13
Cinemaandotherartisticforms
Coursedescription:
“Themotionpicturemediumhasanextraordinaryrangeofexpression.Ithasincommonwiththeplasticartsthefactthatitisavisualcompositionprojectedonatwo-dimensionalsurface;withdance,thatitcandealinthearrangementofmovement;withtheatre,thatitcancreateadramaticintensityofevents;withmusic,thatitcancomposeintherhythmsandphrasesoftimeandcanbeattendedbysongandinstrument;withpoetry,thatitcanjuxtaposeimages;withliteraturegenerally,thatitcanencompassinitssoundtracktheabstractionsavailableonlytolanguage.”MayaDeren,filmmakerandtheorist
Whetherconcreteorabstract,thesubjectmatterofanartworkmustbeexpressedwithform–asetofconventionsofpatternedrelationshipsusedtoperceive,evaluate,anddefineanartwork.Filmmakershavetwobasicsensestoexploreintheirmovies:sightandhearing.Theelementsthatstimulatethesetwosensesareinnumerous.Consequently,thecombinationofthemgeneratesinfinitedifferentstylesandstories.Butallthesedifferentpossibilitiesarefoundinoneofthreepossiblefilmforms.Narrativeformtellsstories.Documentaryformexposesreality.Experimentalformexperimentsonthemedium.
Readinglist:
Requested:
•Deren,Maya,AmateurVersusProfessional,FilmCulture39(1965):45–46.•Tomasson,Helena,(https://www.academia.edu/1509330/The_relationship_between_film_and_other_art_forms)Suggested:•Deren,Maya,AnAnagramofIdeasonArt,FormandFilm,Yonkers,NY:AlicatBookShopPress,1946.Screeninglist:
Requested:
(2ofthem)
•LeMystèrePicasso,Henri-GeorgesClouzot(painting),1956,1h18http://www.libertyland.tv/films/streaming/15711-le-mystere-picasso.html•Psycho,AlfredHitchcock,(music)1960,103min.(http://ffilms.org/psycho-1960/)•AClockworkOrange(novel)(http://www.vodkaster.com/films/orange-mecanique/55630)•Macbeth-ByWilliamShakespeare-BBCTVDRAMA-(Theatre),1983,2h27https://www.youtube.com/watch?v=w0LrdOa7uZQ
25
•TheRedShoes,MichaelPowell,EmericPressburger,(dance)U.K.,1948,2h13,(http://ffilms.org/the-red-shoes-1948/)
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