1

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/)