MISCELLANEOUS COURSE SYLLABI, EXERCISES,
AND PAPER TOPICS FROM PROF. CARNEYS CLASSES. THIS MATERIAL REPRESENTS
ONLY A TINY SAMPLE OF THE AVAILABLE COURSE HANDOUTS, BUT IS PROVIDED TO
GIVE AN IDEA OF HIS INTERESTS AND APPROACHES TO FILM AND THE OTHER ARTS.
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Page 4
The Films of Mike Leigh
Com BF 554 D1
Mr. Carney
Class Meetings: Tues. and Thurs. 9㪣AM
Supplementary Screenings (as announced):
Mon. and Weds. 8:00㪢:00 PM
========================================
An in-depth examination of the work of the most important
living English-language filmmaker.The semester will be devoted to surveying
Mike Leighs entire dramatic oeuvrehis work in radio, writing
for the stage, short films, and feature work. We will read the scripts
of several of his plays and also read the texts of a number of his interviews
(and listen to tapes of several unpublished interviews). Approximately
equal emphasis will be placed on the screenwriting, acting, camerawork,
and editing in Leighs films.
========================================
Required books (the first two available in
the book store):
Mike Leigh, Abigails Party (Samuel French)
Mike Leigh, Naked and Other Screenplays (Faber
and Faber)
Mike Leigh, Ecstasy (to be provided specially
to the class)
========================================
CLASS SCHEDULE:
Tuesday
|
September 2
|
Introduction: Beginning in the middle with High
Hopes
|
*Wednesday
|
September 3
|
High Hopes
|
Thursday
|
September 4
|
High Hopes
|
Tuesday
|
September 9
|
Read the complete text of High Hopes. Break
down a scene as assigned.
In class screening: Life is Sweet
|
*Wednesday
|
September 10
|
Life is Sweet
|
Thursday
|
September 11
|
Read the complete screenplay of Life is Sweet.
Break down a scene as assigned.
|
Tuesday
|
September 16
|
Starting points: Bleak Moments
|
Thursday
|
September 18
|
Bleak Moments
|
Tuesday
|
September 23
|
Hard Labor
|
*Wednesday
|
September 24
|
Bleak Moments
|
Thursday
|
September 25
|
Hard Labor
|
Tuesday
|
September 30
|
Kiss of Death
|
Thursday
|
October 2
|
Kiss of Death
|
*Monday
|
October 6
|
Hard Labor
|
Tuesday
|
October 7*
|
Nuts in May
|
Thursday
|
October 9
|
Nuts in May
|
*Tuesday
|
October 14
|
No daytime class (substitute Monday schedule)
Evening screening: Too Much of a Good Thing and The Permissive
Society
|
Thursday
|
October 16
|
Five Five Minute Films and
The Short and Curlies
|
Tuesday
|
October 21
|
Have read in advance: Abigails Party.
Create a character as instructed.
|
Thursday
|
October 23
|
Abigails Party
|
Tuesday
|
October 28
|
Whos Who
|
*Wednesday
|
October 29
|
Whos Who
|
Thursday
|
October 30
|
Whos Who
|
Tuesday
|
November 4
|
Have read in advance: Ecstasy. (Screenplay
to be provided.) In class: a staged dramatic reading
|
Thursday
|
November 6
|
Ecstasy
|
Tuesday
|
November 11
|
Grown Ups
|
*Wednesday
|
November 12
|
Grown Ups
|
Thursday
|
November 13
|
Grown Ups and
Home Sweet Home
|
Tuesday
|
November 18
|
Home Sweet Home
|
Thursday
|
November 20
|
Home Sweet Home
and Meantime
|
*Monday
|
December 1
|
Meantime
|
Tuesday
|
November 25
|
Meantime
|
Tuesday
|
December 2
|
Meantime and
A Sense of History
|
Thursday
|
December 4
|
Wheres Miko? Style makes the man.
|
*Monday
|
December 8
|
Naked
|
Tuesday
|
December 9
|
Naked
|
Thursday
|
December 11
|
Conclusion: Inside the mind of the artist
|
Requirements:
1. Attendance (and promptness) at all screenings and
classes.
2. Class participation.
3. Prompt and thoughtful completion of written and
other assignments.
The Films of Mike Leigh
Mr. Carney
Breaking down a scene and creating a character
(Tuesday)
Comparing our results with Leighs (Thursday)
Your assignment for class on Tuesday
is to prepare a brief section from somewhere within pages 7㫔 of Abigails
Party as if you were acting in the play and were preparing for a rehearsal.
That involves several steps:
1. Pick a partner from the class. Imagine that the
two of you have been chosen to act in the play and have only a few days
to prepare for a sudden runthrough. (The gender of the pairs does not
matter.) Exchange phone numbers and addresses and schedule a time to meet
and rehearse between now and Tuesday mornings class. Read pages 7㫔
prior to your meeting.
2. Pick a brief section from the assigned section
of the play (the equivalent of one page of text will suffice) that involves
an interaction between two characters. Note that I will allow you two
liberties: First, the gender of the actors (malemale, malefemale, or
femalefemale) need not necessarily match the gender of the charactersthough
it would be nice if it did. Second, although the chosen passage as written
ideally will only feature two characters, if it is absolutely necessary
and does not change the meaning of the scene or seriously distort it,
other characters may be temporarily "written out" of the scene in order
to make a scene a twocharacter one. (Note that you are forbidden to consult
a video of the play, are not to read past page 60, and under no
circumstances are allowed to chose a passage from the final nine pages
of the play.)
I would note that the subtlest approach will be not
to go looking for a specially dramatic moment in the play, but to reveal
the drama in an ordinary one.
3. In concert with your partner, prepare the excerpt
you have chosen for performance (you need not memorize the lines; we shall
imagine that the rehearsal is still "on the book" so that a reading knowledge
of the lines will suffice):
- Break down the passage into beats: Mark the beats;
mark who controls them; note the tones each character uses; note how
tones change or dont change.
- By playing it, decide on how your character will
deliver his or her lines; work out your pauses, your timing, the pace
of the interaction.
- Experiment with possible movements, gestures, facial
expressions.
- Decide on a few principles of "what makes your
character tick" based on this scene and the rest of the play
4. Bring two things to class:
- A prepared performance to be done in front of the
class with your partner. Be ready succinctly and efficiently to refer
the class to page numbers in our books and any alterations you have
made in the scene.
- A brief workup of your character and scene, in
which, in approximately 300 words or less, you verbally describe the
scene, your tonal breakdown of it, and your sense of character.
On Thursday, you will have the opportunity to compare
your choices with those of Leigh and his actors (which is why it is crucial
that you not look at a video of the play while you are preparing this
exercise).
To avoid spoiling the experience of watching Leighs
version on Thursday (and to leave something to your imagination), I would
insist that you studiously avoid reading anything after 60 of the text.
Do not read pages 61㫝!
If it chances that you have already read or seen a
performance of the entire play, please make a note of that fact at the
bottom of your written assignment, and announce it to the class if called
on.
The Films of Mike Leigh
Mr. Carney
In drama, there is someone called a "dramaturge" who
advises the director and actors on the play they are preparing. The dramaturge
makes a list of "notes" about the play and reads them to the assembled
cast and crewfor example, generally summarizing some of the most important
characteristics of the main characters, sizing up the mood or tone of
certain scenes, pointing out particularly important moments or events
within the play. Of course, the whole trick of being a brilliant dramaturge
is not merely to say the obvious, but to point out things that the cast
and crew might otherwise miss or misinterpret.
Your assignment in this exercise is to be dramaturge
for a new production of Mike Leighs Ecstasy. Read the text and
prepare a series of notes for your meeting with the cast (your fellow
students) and director (moi). Five or six or so notes will do (say,
no more than three or four doublespaced typed pages).
Just to indicate the realism of this exercise, this
actually was exactly what took place in New York three years ago. A New
York director decided he wanted to mount this play in a small Manhattan
playhouse, but was unfamiliar with it and asked someone to come in an
coach him and his actors as dramaturge. Of course, you have a much greater
advantage since you are familiar with a wide range of Leighs work. The
dramaturge actually chosen by the New York director knew almost nothing
about Leigh before the process began.
Due in class: November 13
No extensions may be granted.
Extra Credit
The Films of Mike Leigh
Mr. Carney
Compare and relate the following characters:
Nicola, Aubrey, Keith, Peter, Pat, Barbara, Alan,
Christine, Mrs. Thornley, June, Hazel, Beverly, Laurence, Nigel, Samantha.
Be deep. Be profound. They hold the key to understanding
the essence of Leighs work. Do not write a "laundry list" paper
with one paragraph (or observation) per figure. Write about all of them
(or groups of them) at once. Hold them all in one thought.
Length: two pages maximum.
Necessary to be turned in only if you desire extra
credit.
Due at the start of class: Tuesday, December 9. Absolutely
no extensions!
COM FT 458/721
International Masterworks
Mr. Carney
Room B5 Tues. 5ץ
Teaching Assistant: Julia Haslett
A survey of the supreme masterworks of International
Cinema created by some of the greatest artists of the past thirty years.
========================================
Required book :
David Thomson, A Biographical Dictionary of Film,
Third Edition (Random House).
========================================
CLASS SCHEDULE:
Tuesday
|
January 13
|
Frederico Fellini, Amarcord
|
Tuesday
|
January 20
|
Roberto Rossellini, Voyage in Italy
|
Tuesday
|
January 27
|
Andrei Tarkovsky, The Sacrifice
|
Tuesday
|
February 3
|
Theo Angelopoulos, Landscape in the Midst
|
Tuesday
|
February 10
|
Sergo Paradjanov, Shadows of Forgotten Ancestors
(35mm)
First Paper Due
|
Tuesday
|
February 17
|
Outside screenings TBA:
Chris Marker, Sans Soleil, La Jolie
Mai, La Jetee
|
Tuesday
|
February 24
|
Robert Bresson, Lancelot du Lac
|
Tuesday
|
March 3
|
Robert Bresson, LArgent
|
Spring Break: March 9-15
|
Tuesday
|
March 17
|
Dietai Kanievski, Freeze, Die, Come to Life
(35mm)
Second Paper Due
|
Tuesday
|
March 24
|
Rainer Werner Fassbinder, In a Year of 13
Moons
|
Tuesday
|
March 31
|
Rainer Werner Fassbinder, Marriage of Maria
Braun
|
Tuesday
|
April 7
|
Ingmar Bergman, Scenes from a Marriage
|
Tuesday
|
April 14
|
Yasujiro Ozu, Equinox Flower
Final Paper Due
|
Tuesday
|
April 21
|
Yasujiro Ozu, Flavor of Green Tea Over Rice
|
Tuesday
|
April 28
|
Charlie Chapman, City Lights
|
Requirements:
1. Attendance (and promptness) at all screenings and
classes.
2. Class participation.
3. Prompt and thoughtful completion of written and
other assignments.
Attendance is required and necessary since many of
these films are not otherwise available and the in-class screening will
be your only chance to see the film.
To avoid disrupting screenings, promptness at all
classes is absolutely mandatory.
Please note that if you miss a class, be certain
you have contacted the teaching assistant or another student to familiarize
yourself with what has been handed out or assigned for the following class.
There will be no midterm or final exam. There will
be three papers (4ע pages, doublespaced, typed), due on Feb. 10, March
17, and Apr. 14.
International Masterworks
Mr. Carney
Final Paper (optional):
Consulting a tape of Ingmar Bergmans Scenes from
a Marriage and, as appropriate, the sections of the screenplay distributed
in class, write about how the acting contributes to the meaning of the
film. Pick any ten to twenty minute section of the film that has not been
discussed in class.
Among other things, please be sure to consider: the
actors particular artistic "choices," their creation of an emotional
"subtext," their shifts of "beats" (and which actor leads or controls
them), and their responsiveness to each otheras actors and as characters.
Length: 3ס doublespaced pages.
Due in class Tuesday, April 30.
No extensions will be granted.
Note: This paper is optional and for extra
credit only. If you are satisfied with your grade (and willing to rely
on your past work as an index of your performance this semester), you
are not required to write it.
Understanding Film
COM BF 360 A1, B1, C1, D1
Professor Carney
Lectures: Tuesday and Thursday 9 11 am,
Room B5 (basement screening room)
Discussion sections: A1: Friday 10 11,
Room 215: Melissa Battaglia
B1: Friday 10 11, Room
211: Melanie Farrington
C1: Friday 11 12, Room
211: Melanie Farrington
D1: Friday 11 12, Room
215: Melissa Battaglia
========================================
Its best to begin with what this course is not. It
is not a film history course, not a survey of cinematic
movements or genres, not a study of social themes or historical
issues. It is an exploration of what happens when we watch movies: what
movies do to us, what we do to them. In short, it is an exploration of
how movies make meanings.
We will be asking a few questions again and again:
How do films make us feel certain ways? How do we know what to pay attention
to in a shot or a scene? How does a film teach us to understand it? How
do movies move us? What different worlds of understanding do they create?
What forms of truth do they make visible and audible?
We will focus on a small number of works and conduct
an intensive analysis of selected scenes, comparing the formal properties
of one film with another in an attempt to understand the distinctive expressive
properties of film.
Three things are required of all participants: 1)
attendance at all lectures and section discussions; 2) completion of all
assigned papers and class exercises; 3) outside viewings of videotapes
and films as specified during the course of the semester.
With reference to the first point (attendance): Please
note that this is not a course in which if you miss a class, you can simply
"get the notes" from a friend. It is a course in training ourselves to
see and think in a specially heightened way. A large part of that training
occurs within each class period. If you miss a class, the material
cannot simply be "made up," since the viewing experience of each class
will be unique and different from anything you can do on your own. If
there is a legitimate reason why you must miss a screening, lecture, or
section meeting, you are required to inform your TA at least one class
in advance of the day of the absence. (If for some reason you are forced
to miss a ten oclock section meeting on Friday, you are encouraged to
sit in one of the eleven oclock meetings with the same TA.)
With reference to the second point (exercises and
responses): During the course of the semester, we will be engaged in completing
a programmed series of exercises designed to train your eyes, ears, and
brains. It is essential that you successfully complete all of them and
bring each weeks exercises along with you to the lectures and the section
meetings, where they will frequently form the basis for discussion. These
exercises are central to the course. All exercises should be retained
in a separate notebook to be turned in at the end of the semester.
With reference to the third point (inclass and outofclass
screenings): The films are your principal "texts." For that reason, you
should treat the viewing assignments with the same seriousness you would
treat a reading assignment in another course. The viewing of a film should
be done just as dutifully and professionally as you would do a reading
of Shakespeare or Plato. That means several things: You should arrive
promptly and pay meticulous attention to everything you see and hear;
you should refrain from talking or other forms of inattentiveness during
the screenings; you should take notes during inclass and outofclass
screenings, and retain them for future reference and to help with the
writings assignments; you should review your notes outside of class to
deepen your insights and during the course of the semester you should
mentally compare and contrast the various films with each other and refer
back to your previous notes as necessary to refresh your memory.
========================================
CLASS SCHEDULE:
* * FOUR CLASSICS * *
Tues. Sept. 3 Introduction: How does a
movie make meanings?
Alfred Hitchcock, Psycho
Thurs. Sept. 5 Psycho (contd)
Tues. Sept. 10 Psycho (contd)
Thurs. Sept. 12 Psycho (contd)
Tues. Sept. 17 Michael Curtiz, Casablanca
Thurs. Sept. 19 Casablanca (contd)
Fri. Sept. 20 Paper #1 review session during
section meeting.
Tues. Sept. 24 First paper to be turned
in at the beginning of this class. Please
do not be late for the screening.
Max Ophuls, Lola Montes
Thurs. Sept. 26 Lola Montes (contd)
Tues. Oct. 1 Carl Dreyer, Ordet
Thurs. Oct. 3 Ordet (contd)
Tues. Oct. 8 Comparisons and Contrasts,
I
Thurs. Oct. 10 Comparisons and Contrasts,
II
Fri. Oct. 11 Paper #2 review session during
section meeting.
Tues. Oct. 15 No class substitute Monday
schedule
Second Paper to be turned in at the
Broadcasting and Film office before 3 pm today.
* * ACTING UP ON FILM * *
Thurs. Oct. 17 Gary Sinise,
True West
Tues. Oct. 22 Robert Bresson, Au Hazard
Balthazar
Thurs. Oct. 24 Robert Bresson, Diary
of a Country Priest
Tues. Oct. 29 Mike Leigh, Grownups
Thurs. Oct. 31 Mike Leigh, Home Sweet
Home
Fri. Nov. 1 Paper #3 review session
during section meeting.
* * TIME AND SPACE * *
Tues. Nov. 5 Third paper to be turned
in at the beginning of this class. Please
do not be late.
Vittorio De Sica, Umberto D
Thurs. Nov. 7 Umberto D (contd)
Tues. Nov. 12 Mike Leigh, Kiss of Death
Thurs. Nov. 14 Kiss of Death (contd)
* * PERSONAL CINEMA * *
Tues. Nov. 19 Su Friedrich, Sink or Swim
Thurs. Nov. 21 Mark Rappaport, Casual Relations
Tues. Nov. 26 Miscellaneous Short Films:
Caveh Zahedi, Jay Rosenblatt, and others
Thurs. Nov. 28 Thanksgiving Holiday
Tues. Dec. 3 Caveh Zahedi, A Little
Stiff
Thurs. Dec. 5 A Little Stiff
(contd)
Fri. Dec. 6 Paper #4 review session
during section meeting.
Tues. Dec. 10 Final paper to be turned in
at the beginning of class. Please do not be late.
Final Class: Conclusions and possibilities.
Fri. Dec. 13 All completed exercise notebooks
(along with papers #1 #3) due to your teaching
assistant by 4 pm.
========================================
There will be no midterm or final exam. The final
evaluation will be based in equal parts on your performance on: 1) the
approximately twenty inclass and outofclass exercises; 2) the four
assigned papers (3 pages, doublespaced, typed) due on September 24, October
15, November 5 and December 10. (Paper topics will be announced in advance
of due dates.) Class participation will count for the rest of your grade.
That is to say, forty percent of your grade will be based on the papers;
forty percent on the exercises; and twenty percent will be based on your
inclass participation.
Class exercises will be collected at various points
during the course of the semester as well as at the end of this course.
You are required to retain all of the exercises (both the questions and
your answers) along with the four papers in a separate notebook
and to keep them as neat and legible as possible.
Your record of attendance at and participation in
section meetings and class discussions (whatever interest, energy, or
enthusiasm you show or intellectual contribution you make) will count
significantly to raise or lower your final grade. You are strongly encouraged
to meet with your section leader during her office hours from time to
time during the semester concerning her judgment of these matters.
UNDERSTANDING FILM
Mr. Carney
Exercise #11 (and Paper #1):
The finale of Casablanca
Review the shot-sequence near the end of Casablanca
beginning with the
shot in which an airport guard says: "The Lisbon plane
leaves in 5 minutes," and ending with the shot in which Major Renault
says: "Well, I was right. You are a sentimentalist."
Using sheets of standard paper turned sideways, as
the heads of four
parallel columns across the top of the page write
the following: SHOT NUMBER, THE WORLD, THE MOVIE, THE MEANING.
As you watch the sequence, in each column from left
to right, for each and every shot, fill in:
1) THE SHOT NUMBER (a running shot count):
A numerical count of the shots starting with the number
"1" for the first shot.
2) THE WORLD (what is physically seen and heard
in the shot):
Across from its number, write a description of what
you see or hear in the shot. Describe everything visible or audible in
terms of people, props, objects, events, worldly sounds, etc. that matters
to the meaning of the shot.
3) THE MOVIE (how experience is shaped cinematically):
Next to the worldly facts and events, include a description
of all specific cinematic events or stylistic effects in the shot that
matter--eg. the position and distance of the camera, movement of camera
(if any), how the shot is framed, any special lighting effects, editing
effects, the felt length of the shot and its temporal relation to previous
or subsequent shots, points of view represented, musical orchestrations,
etc..
4) THE MEANING:
Across from that, write a slightly fuller description
of the emotional /psychological / intellectual /cinematic meaning of the
shot, telling how you know that that is its meaning by relating the content
of the shot (#2) and the style of the film (#3) to the meaning of the
moment (i.e. relate entries 2 and 3 to me emotional and psychological
meaning of the film : what is seen, the style of the presentation, and
the reason it is presented that way).
Paper #1: (3 pages, typed,
doublespaced)
Based on the preceding exercise, describe the meanings
and methods involved in Casablancas airport sequence. How would
you describe the films style? What does Curtizs style do to us as viewers?
Cite specific examples, but also relate the style of this scene to that
of the rest of the film. How does Casablanca imagine experience?
What does its style tell us about life?
The paper is due at the beginning of class on Tuesday,
September 24. Please turn the papers in to the T.A. of your Friday section
meeting.
No late papers will be accepted.
Understanding Film
Mr. Carney
Paper #2: Actors as Meaning Makers
Choose A or B:
A. Pick an extended conversation from Grownups
or Kiss of Death and discuss its moment by moment movements. How
do characters change during the course of it? How do their relative positions
change?
B. Focusing on the scene from John Cassavetes Minnie
and Moskowitz that will be shown several times in Fridays section,
mark the beats. What does each beat mean? Where does it shift? Who is
in control? Does the control change?
Whichever choice you pick, be specific and detailed
in your argument and your marshaling of evidence. Be microscopic, not
cosmic; but dont hesitate to offer a few generalizations about the meaning
of the moment you have chosen to write about.
All three titles will be on reserve in Beebe Library
starting Tuesday afternoon. Both Leigh titles should also be available
in an exceptionally wellstocked video store.
BF 360
Understanding Film
Mr. Carney
Final class
Seven Rules to Live By
1) Film what you livecapture the feeling of life.
2) Film what you dont know.
3) Never have your characters say or do something
you wouldnt say or do.
4)Make your characters as smart as you are.
5) Show the way life really is.
6) Dont be afraid to be different in the service
of truth.
7) Watch out. Clichés are waiting to trap you.
Ways of Seeing
Mr. Carney
With Casablanca and A Woman Under the Influence
this week, we shall be focusing on how filmmakers handle groups. As you
watch A Woman Under the Influence tonight and Casablanca tomorrow,
notice how groups of people are cinematically presented.
When two or more characters are present, how are their
interactions photographed and edited? How do they "reach" each other and
the viewer? How do they make their presence felt to each other and to
the viewer of the movie? How do these films compare with Psycho and
Rules of the Game in their cinematic use of groups?
Notice in particular, the use (or avoidance) of:
- master shots
- shot/ reverse shots
- look/see/think interactions (compare with the
scenes involving Marion Crane and the policeman in Psycho)
- lighting
- focus
- bodily expressions
- verbal expressions
- looks or glances as transmitters of meanings
- whether the frame space is "open" or "closed"
(compare the servants dining scene or the "Dance Macabre" scene in
Rules of the Game)
- whether the character "motivates" camera movement
or editing cuts or doesnt
- anything else you can notice
Write up one page of conclusions on A Woman Under
the Influence and bring to class with you on Tuesday.
WHAT IS ART?
Mr. Carney
FOR TUES NEXT WEEK, BRING IN SAMPLES (PHOTO/VIDEO/AUDIO/ETC)
OF "DELIBERATE" ART (AT ANY LEVEL OF VALUE AND ACCOMPLISHMENT (FROM ARTSY
HALLMARK GREETING CARDS TO A SLIDE OF A PAINTING TO A PIECE OF MUSIC) AND
VALUE (GOOD, BAD, HIDEOUS). CONCERNING TEN OF THEM, BRIEFLY WRITE IN YOUR
JOURNAL ANSWERS TO THE FOLLOWING QUESTIONS:
1. What does the work mean/make us feel?
2. How you we know? Briefly prove your case.
3. Did the "author" intend that meaning?
4. Could other meanings/feelings be "read out" of
the work?
5. Is any special knowledge/training/background/expertise
necessary to arrive at these meanings/feelings or does the work stand
completely on its own?
6. How does this sort of work compare with the grafitti/signs/objects/marks/signatures
(which are presumably not deliberate art) that we previously gathered?
If possible, make a specific comparison.
7. What do your answers to #'s 1-6 tell you about
"What Art Is"?
CO
101Film Unit
Lecture I: Speaking the Language of Film
Prof. Carney
Threeminute papers (no extensions may be granted!)
Note that you should work with a partner during
the consultation phase of the response (and should candidly share your
ideas and observations with your partner); but during the writing phase
of the response, each individual should write up his or her own answer
on a separate sheet of paper.
1. The opening sequence of Citizen Kane by
Orson Welles. Terms: symbolic or metaphoric objects and events.
How many symbolic or metaphoric objects or settings can you find? For
your answer, make two columns of entries. In the lefthand column, name
the object; in the righthand column, briefly state what it symbolizes
or means. (Three minutes; five points; difficulty: easy)
For extra credit: Is there anything that is
symbolic or metaphoric other than the objects and settings? Name it and
describe its metaphoric import. (Two points; difficulty hard)
2. Marion Crane drives to the Bates Motel in Alfred
Hitchcocks Psycho. Terms: long shot, medium shot, closeup,
tight closeup, extreme closeup, tighter shot, looser shot, fill lighting,
key lighting. How do the camera and lighting tell the story during this
sequence? How do the distance of the camera and the lighting change as
the sequence progresses? (Three minutes; five points; difficulty: easy)
For extra credit: How does the pacing of the
sequence change once Marion pulls into the motel parking lot? Why? (Two
points; difficulty moderate)
3. The exploration of the lunar monolith in Stanley
Kubricks 2001. Terms: Tilt up (shot from below eyelevel
looking up), eyelevel shot, tilt down (shot from above eyelevel looking
down), stable camera, handheld camera, relative size of the figures.
Write about how the shooting and editing tell the story. Mention any and
everything you notice during the sequence that contributes to its meaning.
(Five minutes; ten points; difficulty: hard)
For extra credit: Why is the group photo session
included near the end of the scene with the monolith? (Two points)
4. Carol (Julianne Moore) almost chokes to death from
exhaust fumes in Todd Haynes Safe. Terms: mood, feeling, tone.
A four or five minute sequence in a film can move through several different
tones or moods. Mark the shifts of mood or feeling in the screened
excerpt. Write about two things: How many major tonal shifts are there?
How are they achieved (does the photography, lighting, or music change)?
What does the filmmaker do to clue us into the changes of feeling? (Five
minutes: ten points; difficulty: hard)
For extra credit: Discuss the expressive effect
of the background in the final shots during the restaurant scene. (Ten
points.)
5. Peter Lowe (Nick Cage) meets with his therapist
(Elizabeth Ashley) and recites the alphabet in Robert Biermans Vampires
Kiss. Terms: beats, subtext, bodily clout, tonal meaning (as distinguished
from denotative meaning). Mark the changes of beats in this sequence.
How many different tones does Peter (Cage) circulate through? Is there
a progression? (Five minutes: ten points; difficulty hard)
For extra credit: In a sequence that will be
screened following your work on the preceding scene, immediately after
his scene with his therapist, Lowe is seen at work interacting with some
of the secretaries. He calls Alva (Maria Conchita Alonzo) into his office
and asks her about the filing situation. What are his tones of voice?
How do they change? How can the delivery of a line and the use of bodily
gestures affect our understanding of a scene? (Three minutes; ten points;
difficulty moderate)
6. (If time permits) A sequence from Hal Hartleys
The Unbelieveable Truth featuring Boston University alumna Adrienne
Shelly as Audrey. Terms: source sound, nonsource sound. Compare the different
tones of voice of the various characters, as well as the sounds in the
background. What is the effect? Think back to the scenes you saw from
Vampires Kiss. How does the contrast between the tones of voices
of different characters affect us there? (Five minutes; ten points; difficulty
moderate)
========================================
Writing assignment (due in section): Based
on what you have learned in the preceding exercises, as well as anything
else you may know about how films make meanings, describe the effects
employed in J.P. Bernardos The Box. (Bernardo is a recent Boston
University graduate who made this film as his final student project.)
Take notes about everything you noticefrom the use of symbolic objects,
to the expressive use of lighting effects, camera movements and positions,
to the tones and moods of scenes (and how the transition from one scene
to another occurs), to nuances of gesture and acting. Write up a wellorganized
250word (one typed page) description of how the film uses cinematic language
and bring to your section meeting.
WHAT IS ART?
Mr. Carney
WHAT DOES ART DO?
Exercise on THE NUTCRACKER:
This Tchaikovsky ballet is an example of a non-representational
work of art. The simple way to explain what that means is to say that
it doesn't give us "pictures" of events, persons, and actions that resemble
what we see in our ordinary lives; the more interesting way to understand
it is to say that The Nutcracker creates meanings in fundamentally different
ways from the ways meanings are created outside of works of art.
Your goal in this exercise is to describe as much
as possible of what THE NUTCRACKER means, and how and why you know that
that is what it means. In the process of doing that, comment on the fact
that its meanings are made non-representationally.
* * *
Some questions to consider: How do we know what a
non-representational work of art means? How does it make meanings? What
meanings are made? Are they social, political, personal, emotional, intellectual,
or merely formal? How do these various realms of meaning interact? How
would you persuade someone that The Nutcracker meant something in particular?
To what extent do works of art "mean" anything? Can they just "be" without
meaning anything at all?
Please consider any of the issues that were raised
earlier in the semester concerning the forms of formalist analysis and
understanding (eg. how meanings were made in the Jarmusch clips or the
Wallace Stevens or Stevie Smith poems). Consider Sontag's concept of an
"erotics of art." How do artistic forms of expression make nonrepresentational
meanings? How does a work of art make meanings differently from the way
meanings are made in life?
* * *
Length: 2-4 pages. Due in class, Tuesday, December
7.
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And as a reward for reading this far,
I include one of my favorite poems by another artist who had to wait until
after her death to be fully appreciated, the wonderful Stevie Smith. Buy
a book of her work today!
Not Waving
but Drowning
Nobody heard him,
the dead man,
But still he lay moaning:
I was much further out than you thought
And not waving but drowning.
Poor chap, he always loved
larking
And now he's dead
It must have been too cold for him his heart gave way,
They said.
Oh, no no no, it was too cold
always
(Still the dead one lay moaning)
I was much too far out all my life
And not waving but drowning.
(Not bad, eh? Suggestion: Read it out loud and
hear the "voices"the ghostly voicesthe voice of the world, the voice
of society, and the voice of the heart. What a world we live in.......)
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