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96 Cards in this Set
- Front
- Back
Ryan & Kellner |
Hollywood films tended to have a "conservative" message in the 1950's and early 1960's, late 60's move to liberal, early 70's backlash to more conservative messages experimental -> backlash |
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Representation |
culture elaborates what nature determines. Culture imposes forms that make impossible not to perform femininity/masculinity |
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Discourse |
Systematic patterns in the ways things get talked, written, and thought about (represented) |
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Ideology |
A discourse that functions to justify or legitimize society's hierarchy |
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Hegemony |
Process by which those disadvantaged by an ideology come to believe it themselves |
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What do Hollywood movies do according to Ryan & Kellner? |
Create the illusion that reality is being neutrally recorded rather than constructed from a particular point of view. |
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Bechdel Test |
Do two women in a movie talk to each other about something other than a man? |
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Discursive Transcoding |
The relationship between film and social history. The representations operative in film and the representations that give structure and shape to social life (look at remakes) |
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Ideology/Problems in the Lion King |
Common Readings: Good over evil, coming of age, etc. Opposition: Naturalization of patriarchy, representation of ideology, restoration of white capitalist patriarchy, villiany linked to non-white identities. |
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Image Continuity |
A + B we know is coming from the same perspective even though it's not necessarily obvious |
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Voyeuristic Objectification |
Making a woman into an object of male sexual desire |
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Realist Intelligibility |
What you see on the screen is a non-real representation of the world presented in such a way to make it seem real. |
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Non-reflexive camera |
Showing from the character's perspective (???) |
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Graeme Turner -- Image Semiotics |
What language does is construct, not label, reality for us. Images as well as words carry connotations. |
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Graeme Turner -- Sound Semiotics |
Sound serves to reveal our emotions as the audience. Emotions of characters are signaled by music and evoke emotions. |
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Problematic representations of the Wolf in "Teen Wolf" |
Blackness in representation. All of the traits Michael J. Fox takes on are stereo-typically black traits and he is then transformed into an ape like character. |
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Film Rhetoric |
The art of technique of persuasion through the use of spoken language Films, likewise, convince the spectator to take a particular position |
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Film Language |
The set of conventions that communicate the message persuasively |
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Filmic Speech |
The actual speech produced by the characters in the film |
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Kozloff "Filmic Speech" |
Speech patterns of the stereotypical character contributes to the viewer's conception of his or her worth -- language is used to ridicule and stigmatize characters. (e.x. Stagecoach) |
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Kozloff -- western Hero's "compressed dialogue" |
Clipped, short sentences that hold a lot of meaning and power. Taciturn |
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Stagecoach Dry Fork Station sequence |
Through the film's shots, it convinces you to feel empathy for Dallas and repudiation of Lucy's prejudice |
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"Executing Hortons" |
Did the Willie Horton Ads prime racial prejudice? Result: Yes, prejudice becomes a formidable influence. |
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Raymond James Ad |
Filmic Rhetoric/Language, condensed in an ad. Dilemma - solution - mythical result. |
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Sergei Einstein and the Kuleshov's Effect |
Image A next to a blank face means you project the emotions evoked by A onto the face. |
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Intertitles (3) |
Scene setting, characterization, dialogue |
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Funning a picture |
Use of accents in voicing character speech |
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5 Assumptions and Reversal about Sound in Film |
1. Silents were silent 2. Audible speech made narration easier 3. Sound and Nationalism 4. Concentration of Power 5. Role of the "voice" |
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Silents were silent |
Almost always accompanied by music, people funning the film, a band, etc. |
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Audible speech made narration easier |
Early on the technology was too clumsy to allow this |
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Sound and Nationalism |
A single international cinema split into multiple national cinemas and cinema took on nationalist meanings (less transferable across boundaries) |
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Concentration of Power |
Expense of Sound and Studio systems meant only wealthy groups could afford to make movies anymore |
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Role of Voice |
Audible sound changed the relation of power between Director and Actor. Director could not control the voice |
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Erving Goffman's speaker/hearer roles |
Speaker: 1. Animator 2. Author 3. Principal Hearer: 1. Authorized/Unauthorized 2. Overhearer/Intended Overhearer |
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Jazz Singer |
First "talkie" film. Major themes of Assimilation and Blackness Jewish Tradition is backwards, inflexible, needs to be changed, etc. Blackness allows him to change and express himself in the final sequence. |
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Diegetic vs. non-diegetic sound |
Diegetic - coming from within the film's story Non-diegetic - coming from outside the film/film's story (soundtrack's, etc.) |
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Sources of Cinematic Sound |
Internal, On-Screen, Synchronous, Production External, off-screen, asynchronous, post-production |
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Functions of Cinematic Sound |
Audience Awareness Audience Expectations Rhythm Character Fidelity Continuity Emphasis Juxtaposition Montage |
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Citizen Kane's Sound Design |
"Deep Focus Sound" |
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Mary Ann Doane -- Sound & Continuity in Films |
Sound Bridge Blooping Staggered Cut Dubbing etc. "sound acts as a silent support to the visual" Sound is placed on the side of emotion not fact/knowledge |
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George Lakoff |
Structure of metaphors Mapping of source (physical things) onto target (emotions) |
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Benschoff & Griffin - Stereotypes |
Individuals grouped by shared traits which become a shorthand for describing people. These shorthand accompanied by assumed traits which become standardized. Used to discriminate against others |
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Benschoff & Griffin |
American films focus on stories of strong and stalwart heterosexual white men finding happiness and success. Others represented through these stereotypes |
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Faux Dialogue in Snow Falling on Cedars |
??? |
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Social Life of Language |
Language communicates identity and some language is morally disparaged Language is systematically variable, social, and we have no idea what's significant in language but apply moral judgements about that same language |
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Lippi-Green's Linguistic Facts of Life |
1. All Living languages change 2. Spoken languages are equal linguistically 3. Grammatical is not the same as communicative 4. Writing is NOT spoken language 5. Variation is intrinsic to all spoken lnaguage |
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Individual Bilinguism |
The use of two or more languages by an individual |
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Societal Bilingualism |
The use of two or more languages within a given community |
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Code Switching |
The juxtaposition within the same speech exchange of passages belonging to two different grammatical systems or subsystems |
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Language Variation pre and post WW2 |
British prestige (r-less) was the norm, post WW2 American prestige became the norm (r-ful) |
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L-G on Variation |
It is intrinsic to all spoken language at every level but it is also socially structured variation |
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L-G on Standard Language |
Oxymoron to say there is a standard language at all. Tolkien used language to enforce ideology of Good and Bad characters. |
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L-G on Myth |
A story with cultural importance. Used to justify social order, coerce participation in that order, and is often highly ideoloical |
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Accent vs. Dialect |
Accent is only pronunciation, dialect is both vocabulary, grammar, and pronounciation |
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Myths about English |
There is a standard language That standard language is equivalent to written language Schools are the sanctuary of standard language |
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Disney Accents (Lippi Green) |
Having a foreign accent makes speakers twice as likely to be evil Disney films are highly conservative Female characters never shown at work, when they are in highly stereotypical roles Half of all Disney characters are animals and every AAVE speaker is an animal which for male characters are all unemployed |
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Donald Bogle 5 Black Character Types |
1. Tom 2. Coon 3. Tragic Mulatto 4. Mammy 5. Buck Persist to this Day |
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Tom & Coon |
Tom - happily submissive faithful servants Coon - black man as being dumb, lazy, shiftless, and good for nothing as someone you cannot count on |
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Tragic Mulatto, Mammy, Buck |
Tragic Mulatto - mixed race character assumed to be sad or depressed because they do not fit into white or black society. Often sexualized Mammy - loud, fat, sassy black woman who takes care of the house Buck - refused to bend to the law of white authority and were violent, rude, and lecherous |
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Speech in Dumbo |
Stereotypes used to project features onto animals. Narrator - deep, standard male Lady elephants - aristocratic diction, WC, range of speech styles |
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Linguistic Features of AAVE |
Negative Concord - more than one negative element in a sentence Copula Deletion - (where she been, instead of where has she been?) Present Tense verbs un-inflected for number "be done" future perfective |
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Eye Dialect |
Spellings that indicate non-standard pronounciations goin, sumpn, git, etc. |
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Minny's voice in "The Help" |
Code switches between Standard English and AAVE depending on if she's narrating or if she is speaking as a character |
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Problems with "The Help" |
Dramatically widens the linguistic distance between black and white southern speech. (???) |
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Mikhail Bakhtin - "Choosing Consciousness" |
Counsciousness inevitably faces the necessity of having to choose a language. |
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Kozloff Narrative Functions of Film Dialogue |
Anchors diegesis and characters Communicates narrative causality Enacts events Reveals characterization Generates/supports realism Viewer emotions |
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Kozloff: Non-Narrative Functions |
Thematic messages of authorial commentary, allegory, star turns |
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Kozloff: Structural and Stylistic Variables in Filmic Speech |
1. Quantity of Dialogue - few silent sections 2. Participation Structures - monologues, dialogues, polylogues 3. Conversational Interaction - elliptical Dialogue, overlapping speech, mute/silent characters 4. Other languages, dialects, jargons - minority filmmakers deliberately highlight linguistic diversity and problems of translation |
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Bakhtin: Polyglossia |
??? |
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Race-Blind Casting |
Casting a role without considering the actor's race or ethnicity actively casting non-whites, in most cases black actors |
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Barbara Meek: "Hollywood Injun English" |
Prosody: pauses (long and frequent, in odd places), level intonation |
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Morphology |
Minimal units of meaning, the grammar of words |
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Phonology |
The Grammar of Sounds, distinctive sounds distinguish meaning in words, highly structured |
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Intonation |
Linguistically significant variations in Pitch |
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Icon |
resembles or imitates its object |
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Index |
A sign that denotes its object by virtue of an actual connection involving them |
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Symbol |
A sign that denotes its object solely by virtue of the fact that t will be interpreted to do so |
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Racialization |
Process of the discursive production of racial identities. Dehumanizing and racial meanings to a previously racially unclassified relationship, social practice, or group. A group of people is seen as a race when it was not before. |
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HIE via racialization |
Hollywood Injun English (HIE) evokes, naturalizes, reinforces Hollywood style of Indianness Language use reifies the sociocultural differences assumed |
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HIE Morphology |
No tense Word deletion Substitution No contraction |
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Pauline Strong - "Animated Indians" |
??? |
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The Latin Lover |
Highly sexual hispanic romantic figure |
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The Greaser |
Mayhem causing bandit, violent, curel, hot tempered |
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Bordertown's Hierarchy of Lanugages |
International English down to Manuel and Mrs. Ramirez |
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Laura Martin |
Zoot Suit seen as bilingual film despite little untranslated Spanish. The Border seen as monolingual even though it contains untranslated spanish. Border - mainstream POV and so Spanish overlooked |
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Zoot Suit |
First authentic Chicano movie. Difficult for Anglos to respond to it. |
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Argot |
a secret language used by various groups including, but not limited to, theieves and other criminals to prevent outsiders from understanding |
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Pachucho Language Style |
Establishes and expresses in-group identity and solidarity, primarily lexical, code-switching bilingualism with Spanish Rhyming slang verbal art |
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The Flapper |
represents a hegemonic negotiation that allows new ideas to come into play but reaffirms concepts that keep patriarchal capitalism in place 1960s saw a new hegemonic negotiation of gender |
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Berger: Ways of Seeing |
Women as objects devoid of individual will Viewer is the male gaze |
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Visaul Pleasure & Narrative Cinema |
Pleasure of identification with Male characters but pleasure of voyeuristic view of female characters POV given largely to male but Gazed-at shots given to females "male gaze" |
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Fetishization |
The female body is broken by the camera and editing patters into a collection of smaller objectified parts |
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Investigation and Punishment |
Teen Wolf - entire film might be understood as being about the investigation and punishment of Pamela's power over Scott |
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"Sorry Wrong Number" |
Woman is literally helpless as the story unfolds around her |
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Laura Mulvey |
Tension between Spectacle and Narrative. Woman is crucial to spectacle but works against narrative. Fragmentation of the woman's body. |
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Lawrence |
Women's voice in cinema. |