Monday, July 14, 2014

Prelim Examination Schedule
First Semester, 2014-2015


For Saturday Class 
19 July 2014,  1:30 PM, F513
Coverage: From the start of classes until the very recent topic inclusive of films viewed


For Thursday Class 
24 July 2014 6:00 PM, F513
Coverage: From the start of classes until the very recent topics inclusive of films viewed

For schedule of examinations and other campus events, please check the school calendar.

Thursday, July 10, 2014

The Gaze and History of the Discovery of Cinema



Continue browsing through the following articles:




The Gaze


The following are assigned articles for the next meeting. I will conduct oral recitations in the next classes based on the these articles:

(1) Movie Pleasure and the Spectator's Experience: Toward a Cognitive Approach (Click to download)
Some of the topics here were already discussed previously, this will be part of the midterm examinations.

(2) Notes on "The Gaze" by Daniel Chandler (Click to download)

You must read also the original text "The Gaze" written by Laura Mulvey, she is a British feminist film theorist. You can look for the Ms. Mulvey's article here.


  • What is "the gaze" exactly?  -- describes the act of looking; began as the study of the objectification of women in visual texts.
  • How does it impact women in particular?
  • What are some of the issues involved in discussing "the gaze"?
    • the objectification of women-- seen as objects
    • the commonality of female nudity -- display implies subordination
    • internalization of the gaze, changes women's perceptions of themselves and makes them think of themselves as objects
    • shift to objectification as a source of pleasure (for both the looker and the looked-at)
    • men as the dominant group have been the looker (the subjects; women the objects)
    • ties back to another aspect of the feminist critique of Freud-- the degree to which Freudian theory is based on visual dynamics
 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 
Outline of Laura Mulvey's Visual Pleasure and Narrative Cinema

I. INTRODUCTION

a) A Political Use of Psychoanalysis


  • Film reflects the language of patriarchy by being bound up in the same story of sexual difference that all patriarchy is founded on.  In film women is seen as Other, as an object not a subject.  In a way she represents the unconscious of the male because she is always the object he is looking at and never is able to speak for herself.
  • Phallocentrism -- a world view which sees the penis (symbolic and otherwise) as the defining center of meaning.  In other words-- there is a central, stable meaning to things; that meaning is defined largely by men who associate their power to name and define and control reality with their masculinity.
  • Symbolic Order -- the realm of meaning controlled by the Law of the Father  (in Lacan's theorizing): the language of patriarchy.  As opposed  (by Kristeva) to the Imaginary -- the primal language of connection associated with pre-Oedipal bonding with the mother.


b) Destruction of Pleasure as a Radical Weapon
  • Hollywood film reflects the dominant ideology of their culture.  We get our pleasure from films from this presentation of the erotic.  If we learn to make films which do not encode these ideologies, a lot of people will lose their pleasure in looking at film.
  • Mise-en-scene means staging an action. It is historically to do with directing plays, and became later to do with film to express how the material in the frame is directed.

II. PLEASURE IN LOOKING/ FASCINATION WITH THE HUMAN FORM

  • a) Film satisfies this primal pleasure we all get from looking at other people. 
            scopophilia - - the pleasure we get from looking, in seeing other people as objects. We get a sense of power from being able to do this.  With John Berger she believes the one who looks has the power. 


Voyeuristic scopophilia -- 
  • b) Narcissistic scopophilia is looking at other people as seeing them as surrogates for yourself.  We also identify with people in movies.   So there is a tension here between the sense of power we get from observing others as separate from ourselves and the pleasure we get in imagining that we are the people we are looking at. 
           the mirror stage: 
  • c) tension between these impulses-- to see others as separate and to identify with them



 III. WOMAN AS IMAGE, MAN AS BEARER OF THE LOOK


a) Split between male, active gaze which looks and female passivity which is looked upon. Women are always on display in film.  Seen as objects of sexual desire; this is transformed into exhibitionism.  Visual presence of female tends to stop the story line to dwell on the image. 
diegesis -- "In a narrative film, the world of the film's story. The diegesis includes events that are presumed to have occurred and actions and spaces not shown onscreen. "
Why are so many women in film showgirls, strippers, etc. 
b) Gender split carries over into narrative of film--men carry the story, make things happen, while woman remains the icon.
c1) Problems with woman as icon: 
    c1a) voyeurism -- sadistic desire to punish woman for her lack 
    c1b) fetishistic scopophilia -- builds up beauty of woman in order to compensate for anxiety 

C2) Examples: Sternberg's Dietrich films show fetishism.  Hitchcock--

SUMMARY
 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 






Saturday, June 14, 2014

Introductory Notes for Film Appreciation (June 2014)

For Hum 3 students in the First Semester, 2014-2015, kindly download the Introductory Notes, Course Description and Overview, Course Requirements, Grading Standards, Course Policies for the Hum 3 - Film Appreciation Class (Codes: 6-234 and 6-316):

Click Here to Download.

Hum 3 students are expected to be familiar with the all class policies and others.

For the first assignments, kindly read the following articles:

(1) Elements of Film
(2) Mimetic Element: The Nature of the Film Language

(3) Movie Theater Etiquette (See Below)

Hum 3: Film Appreciation
Mass Communication Department
Ateneo de Davao University


MOVIE THEATER ETIQUETTE
by Michelle Jones
Everyone knows how to watch a video. You get a bag of munchies, pop in a DVD or CD, hit "Play," sit back, and enjoy the movie. That’s it! Watching one of the films involves more than this. Watching these movies needs to be a thoughtful and concentrated experience to be beneficial.

To prepare for the experience, make sure there will be no distractions such as phones or others bursting in on you or somebody chatting while you’re trying to watch the film. You need to be able to focus your attention on the film. It is also good to watch the movie with one or more others with whom you are able to talk about personal things, such as your concerns and difficulties. After watching the movie it is important to reflect on what you saw and to discuss the film with those who viewed it with you. Reflect on or discuss your observations.

The films shown in class may not be the type you would normally watch. As you begin to view one you may quickly find that the movie is not your kind of entertainment. Remember, you are not watching this film for entertainment but for course work and personal growth.

A film can have different meanings to different viewers. Your life experiences, your personal issues and your emotional reaction will influence the meaning the film has for you. Allow yourself to feel the experience. If you find yourself identifying with a particular character or you see similarities between one or more of the people in the film and people in your life, allow yourself to witness the events as they unfold. Are the behaviors and choices made similar or different than those you and others in your life make? If they are different are they better choices? If they are better choices what gets in the way of your making the same? Be honest with your answers
.
Somehow our society has progressed to a point where people have lost their common sense when it comes to viewing films. I’m not taking about those who whisper to each other all the way through the show or those that walk out when a film crosses some arbitrary line of “too much” sex or violence. I’m talking about the people who are really offensive and break all the rules of common decency when they enter a viewing room. For these people I present a brief lesson in movie theater etiquette.

1. Respect personal space. Do not ever sit directly next to someone you don’t know unless the viewing room is exceptionally crowded and you have no alternative. I can guarantee you that no stranger in the world wants to hear you crunch through your candy bar or slurp up the last bit of your P21.00 soft drink. For a room with a thin to moderate crowd use the two seat rule- two seats between you and the next person. For a room that is leaning toward the crowded side one seat will work.

2. Crying in the theater is reserved for exceptionally sad scenes only. This means that if you were silly enough to bring a baby or a toddler to anything other than a G rated movie you have to leave the instant they start whining or crying. No trying to console them or waiting to see if they will stop or trying to stall because you want to see the next dramatic scene. When your child starts making noise immediately rise from your seat and walk swiftly (with child in tow) to the exit. There is no exception to this rule.

3. Movies are a one-way entertainment. The actors on the screen act and we watch and listen. Only the other people in the audience hear you when you talk back to the screen. Although you may think that your comment to Harrison Ford or your critique of Gwyneth Paltrow’s accent are witty and humorous and that the rest of the audience will find them terribly funny, believe me when I tell you they do not. In fact, the moment that you speak, all other members of the audience start communicating on a telepathic level and they are all plotting your death.

4. Feet belong on the floor. Just because you don’t have to clean the seats in the theater or viewing room doesn’t mean you can plop your dirty shoes on the back of the chairs. Nobody wants to watch a movie over the tips of your shoes. Just nobody.

5. A ringing cell phone can break your mother’s heart. If you go to a movie and don’t turn off your cell phone you are either exceptionally rude or exceptionally stupid. Either way you deserve to be punished. If your phone rings and you choose to answer it instead of immediately turning it off, there is no doubt that you are a pawn of Satan who is deserving of being beaten to death. This will of course cause great pain and anguish to your mother and those who love you. Do everything in your power to prevent this from happening.

6. Credits.  It is unethical to leave the theater while credits are flashed on the screen.  As part of appreciating the skills and talent of actors, actresses, film crew, directors, photographers, it is imperative that the audience stay put on their seats at this time.  Applause and standing ovations are done at this time.


If you find yourself incapable of following any of these simple guidelines please remember, you can stop attending this course at anytime during the semester (of course, with the consequence of getting an FD grade).



NOTES ON REQUIRED FILM REVIEWS IN THE CLASS

For Film Reviews, you are required to use your official ADDU email address to send your reviews. Please read the following information from the University Information Technology Office (UITO):

University Email Accounts for Students
by Fr. Denny Toledo, S.J., UITO Director on MAY 16, 2012 · (from http://uito.addu.edu.ph/wordpress/university-email-accounts-for-students/)
In line with the UITO’s program to

- simplify access to various University Information Technology resources,
- improve bandwidth and
- improve communication among University faculty, administrators, non-teaching staff and students,

the UITO has also issued addu.edu.ph email accounts to ALL currently enrolled students at the following Ateneo de Davao University who are:

Graduate Students
Law School
Incoming 2nd year – Senior Year Undergraduates
Incoming 4th – 2nd year High School Students
Grade School (Grades 1 – 6) Students

These new email addresses have been activated as of midnight May 15, 2012. They can be accessed online through a web browser through http://blueknights.addu.edu.ph. Your default password is your ID bar code number.

For students who wish to set up their mail clients in their own computers, iPads, Notepads, or PDAs (Personal Digital Assistant), the following info is necessary:

Server name = blueknights.addu.edu.ph

Email Inbound options

email client protocol – Inbound = POP3 (STARTTLS) port 110 (This option automatically downloads mail to the client and erases it from the server.)

email client protocol – Inbound = IMAP (SSL/TLS) port 993 (This option automatically erases the local copy at the user’s computer if the server copy is erased. To keep a local copy, transfer it to a local archives. Once an email is transferred to a local archives, its copy at the server is automatically erased.)

Email client protocol – Outbound = SMTP (STARTTLS or SSL/TLS) port 587

The email addresses of new students will be activated after the new students’ names are passed on to the Technical Support Office (TSO).

For additional details related to how your student email address will look, please refer to the more detailed explanation at http://uito.addu.edu.ph/wordpress/?p=329.

To know the email addresses of faculty members, administrators and non-teaching staff, please refer to http://uito.addu.edu.ph/wordpress/?p=344.

Please address your concerns and inquiries to Ms. Rona Divinagracia of TSO. Tel. No. (82) 221.2411 local 8206 email address will be rudivinagracia@addu.edu.ph.


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
See you in the next class.

Bong S. Eliab
Email jseliab@addu.edu.ph
Twitter: @BongEliab
Facebook: facebook.com/eliab


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~