Film, culture and society
Inhoud
Film, culture and society......................................................................................... 1
1. Introduction........................................................................................................ 3
2. Moving images, 1895-2024................................................................................ 3
2.1. Film clips...................................................................................................... 7
3. Charlie Chaplin................................................................................................... 8
3.1. Larger context (US): the development of film/comedy 1910s/1920s...........9
3.2. Larger context: Sound and the Jazz Singer (1927).....................................10
3.3. Larger context: Hollywood, Nazi Germany, WOII........................................10
3.4. Larger context: “allies” are not really “allied” in WOII................................11
3.5. Larger context: McCarthyism = ‘Red Scare’ (Cold War).............................11
3.6. Larger context: Chaplin’s public persona...................................................11
3.7. Film clips.................................................................................................... 11
4. Spike Lee.......................................................................................................... 12
4.1. Historical developments?...........................................................................12
4.1.1. Equal rights for African Americans: A Historical Journey......................12
4.1.2. Major turning points in the fight for civil rights....................................13
4.2. Afro-Americans in American cinema?.........................................................13
4.3. Case Study: ‘The Birth of a Nation” in context............................................13
4.4. Case Study: Afro-Americans in mainstream (white) American cinema.......14
4.5. Case Study: Spike Lee (and others)............................................................14
5. Guest Lecture: Kelly Reichardt & Independent Female Filmmakers (Pascal
Vandelanoitte)...................................................................................................... 15
5.1. Introduction................................................................................................ 15
5.2. Kelly Reichardt............................................................................................ 16
5.2.1. Some characteristics............................................................................ 16
5.2.2. Old Joy (2006)...................................................................................... 17
5.2.3. Meek’s Cutoff (2010)............................................................................18
5.2.4. First Cow (2019)................................................................................... 19
5.3. Diversity, different stories: Chloé Zhao, Lucrecia Martel............................20
5.3.1. Chloé Zhao........................................................................................... 20
5.3.1.1. Songs My Brother Taught Me (2015).................................................20
5.3.1.2. The Rider (2017)............................................................................... 21
5.4. Main characteristics Italian Neorealism (COULDN’T EXPLAIN IT FULLY,
DON’T NEED TO LEARN IT FOR THE EXAM).......................................................21
6. Billy Wilder & Shirley McLaine..........................................................................21
, 6.1. Historical developments?...........................................................................22
6.2. Case Study: Billy Wilder & Shirley McLaine.................................................23
6.2.1. Billy Wilder (1906 – 2002)....................................................................23
6.2.1.1. Some Like It Hot (1959).....................................................................23
6.2.1.2. The Apartment (1960).......................................................................23
6.2.2. Shirley McLaine (1934-).......................................................................23
7. Guest lecture: Chantal Akerman - Dr. Anke Brouwers (KASK)...........................24
7.1. ‘Forgotten’ in what ways?...........................................................................24
7.1.1. Visual Pleasure and Narrative Cinema (Laura Mulvey – 1975).............24
7.1.2. Women Film Pioneers Project (Columbia University)............................24
7.2. Jeanne Dielman.......................................................................................... 25
7.3. A Life’s Work............................................................................................... 26
7.3.1. Restless youth & spectacular ascent....................................................26
7.3.2. Expanding (generic) Horizons..............................................................26
7.3.3. Travelling.............................................................................................. 26
7.3.4. Full circle: No Home Movie (2015)........................................................27
7.4. Mise-en-scène............................................................................................ 27
7.5. Inspiration from and in dialogue with.........................................................27
7.6. Movies with Chantal Akerman....................................................................27
7.6.1. Saute ma ville (1968)...........................................................................27
7.6.2. Histoires d’Amérique............................................................................ 28
7.6.3. Demain on déménage (2004)..............................................................28
7.6.4. No Home Movie (2015).........................................................................28
7.6.5. Toute une Nuit (1982)...........................................................................28
7.7. Auto-fiction................................................................................................. 28
7.7.1. Mother role........................................................................................... 28
7.7.2. (Queer) (female) desire........................................................................28
7.7.3. Docu-fiction.......................................................................................... 29
7.8. Modes of address....................................................................................... 29
8. Jodie Foster....................................................................................................... 29
8.1. Professional developments.........................................................................30
8.2. Private developments................................................................................. 30
8.3. Films by/with Jodie Foster...........................................................................31
, 1. Introduction
- This course explores the interdisciplinary study of film within its cultural
and societal contexts
- We will explore:
o Historical and contemporary developments in cinema
o Differents movements, genres, and directors to understand the
historical, cultural and social environments in which films are
created
o Key issues and concepts in film studies, analyzing how films reflect
and interact with culture
- Emphasis will be on American and Western European narrative fiction
- Selected topics and case studies
- Course materials: powerpoints, clips, films and digital reader
- Evaluation: written exam in English or Dutch
- Questions based on sample questions, which you will receive for each
class/lecture
o Sample questions may be adapted/combined by the lecturer
2. Moving images, 1895-2024
- Sample questions for this course:
o In the 21st century, one can watch moving images almost
anywhere, anytime. This started with the “invention” of cinema in
the late 19th century. Describe the major developments in the
production, distribution and exhibition of moving images (with a
focus on fiction films) in this era (1895-present).
o Old(er) films or audiovisual productions contain information about
the culture and the society in which they were produced, distributed
and shown. Explain this statement and illustrate it with three
concrete examples.
o Discuss “The Jazz Singer” (1927), explain why the film is considered
culturally and historically relevant, but also problematic, in terms of
the representation of gender/race. Illustrate this with concrete
examples (scenes) from the film
- An example of “pre-cinema”: phenakistocope invented by Joseph Plateau
o After: rapid photography
Inhoud
Film, culture and society......................................................................................... 1
1. Introduction........................................................................................................ 3
2. Moving images, 1895-2024................................................................................ 3
2.1. Film clips...................................................................................................... 7
3. Charlie Chaplin................................................................................................... 8
3.1. Larger context (US): the development of film/comedy 1910s/1920s...........9
3.2. Larger context: Sound and the Jazz Singer (1927).....................................10
3.3. Larger context: Hollywood, Nazi Germany, WOII........................................10
3.4. Larger context: “allies” are not really “allied” in WOII................................11
3.5. Larger context: McCarthyism = ‘Red Scare’ (Cold War).............................11
3.6. Larger context: Chaplin’s public persona...................................................11
3.7. Film clips.................................................................................................... 11
4. Spike Lee.......................................................................................................... 12
4.1. Historical developments?...........................................................................12
4.1.1. Equal rights for African Americans: A Historical Journey......................12
4.1.2. Major turning points in the fight for civil rights....................................13
4.2. Afro-Americans in American cinema?.........................................................13
4.3. Case Study: ‘The Birth of a Nation” in context............................................13
4.4. Case Study: Afro-Americans in mainstream (white) American cinema.......14
4.5. Case Study: Spike Lee (and others)............................................................14
5. Guest Lecture: Kelly Reichardt & Independent Female Filmmakers (Pascal
Vandelanoitte)...................................................................................................... 15
5.1. Introduction................................................................................................ 15
5.2. Kelly Reichardt............................................................................................ 16
5.2.1. Some characteristics............................................................................ 16
5.2.2. Old Joy (2006)...................................................................................... 17
5.2.3. Meek’s Cutoff (2010)............................................................................18
5.2.4. First Cow (2019)................................................................................... 19
5.3. Diversity, different stories: Chloé Zhao, Lucrecia Martel............................20
5.3.1. Chloé Zhao........................................................................................... 20
5.3.1.1. Songs My Brother Taught Me (2015).................................................20
5.3.1.2. The Rider (2017)............................................................................... 21
5.4. Main characteristics Italian Neorealism (COULDN’T EXPLAIN IT FULLY,
DON’T NEED TO LEARN IT FOR THE EXAM).......................................................21
6. Billy Wilder & Shirley McLaine..........................................................................21
, 6.1. Historical developments?...........................................................................22
6.2. Case Study: Billy Wilder & Shirley McLaine.................................................23
6.2.1. Billy Wilder (1906 – 2002)....................................................................23
6.2.1.1. Some Like It Hot (1959).....................................................................23
6.2.1.2. The Apartment (1960).......................................................................23
6.2.2. Shirley McLaine (1934-).......................................................................23
7. Guest lecture: Chantal Akerman - Dr. Anke Brouwers (KASK)...........................24
7.1. ‘Forgotten’ in what ways?...........................................................................24
7.1.1. Visual Pleasure and Narrative Cinema (Laura Mulvey – 1975).............24
7.1.2. Women Film Pioneers Project (Columbia University)............................24
7.2. Jeanne Dielman.......................................................................................... 25
7.3. A Life’s Work............................................................................................... 26
7.3.1. Restless youth & spectacular ascent....................................................26
7.3.2. Expanding (generic) Horizons..............................................................26
7.3.3. Travelling.............................................................................................. 26
7.3.4. Full circle: No Home Movie (2015)........................................................27
7.4. Mise-en-scène............................................................................................ 27
7.5. Inspiration from and in dialogue with.........................................................27
7.6. Movies with Chantal Akerman....................................................................27
7.6.1. Saute ma ville (1968)...........................................................................27
7.6.2. Histoires d’Amérique............................................................................ 28
7.6.3. Demain on déménage (2004)..............................................................28
7.6.4. No Home Movie (2015).........................................................................28
7.6.5. Toute une Nuit (1982)...........................................................................28
7.7. Auto-fiction................................................................................................. 28
7.7.1. Mother role........................................................................................... 28
7.7.2. (Queer) (female) desire........................................................................28
7.7.3. Docu-fiction.......................................................................................... 29
7.8. Modes of address....................................................................................... 29
8. Jodie Foster....................................................................................................... 29
8.1. Professional developments.........................................................................30
8.2. Private developments................................................................................. 30
8.3. Films by/with Jodie Foster...........................................................................31
, 1. Introduction
- This course explores the interdisciplinary study of film within its cultural
and societal contexts
- We will explore:
o Historical and contemporary developments in cinema
o Differents movements, genres, and directors to understand the
historical, cultural and social environments in which films are
created
o Key issues and concepts in film studies, analyzing how films reflect
and interact with culture
- Emphasis will be on American and Western European narrative fiction
- Selected topics and case studies
- Course materials: powerpoints, clips, films and digital reader
- Evaluation: written exam in English or Dutch
- Questions based on sample questions, which you will receive for each
class/lecture
o Sample questions may be adapted/combined by the lecturer
2. Moving images, 1895-2024
- Sample questions for this course:
o In the 21st century, one can watch moving images almost
anywhere, anytime. This started with the “invention” of cinema in
the late 19th century. Describe the major developments in the
production, distribution and exhibition of moving images (with a
focus on fiction films) in this era (1895-present).
o Old(er) films or audiovisual productions contain information about
the culture and the society in which they were produced, distributed
and shown. Explain this statement and illustrate it with three
concrete examples.
o Discuss “The Jazz Singer” (1927), explain why the film is considered
culturally and historically relevant, but also problematic, in terms of
the representation of gender/race. Illustrate this with concrete
examples (scenes) from the film
- An example of “pre-cinema”: phenakistocope invented by Joseph Plateau
o After: rapid photography
