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  • http://www.youtube.com/watch?v=fl5WHj0bZ2Q&ob=av3e
  • Waynes World - http://www.youtube.com/watch?v=fBjK_oavReU
  • http://www.youtube.com/watch?v=mi6tQthPDWc PF clip 1http://www.youtube.com/watch?v=VNuknrly5Ao&feature=related – Saturday Night Feverhttp://www.youtube.com/watch?v=aLZl6R7JGCc&feature=related PF clip 2
  • http://www.youtube.com/watch?v=v6i3uccnZhQhttp://www.youtube.com/watch?v=F7J02CRoYUkUse Return of the King – vertigo bithttp://www.youtube.com/watch?v=Bc7wWOmEGGY
  • Final scene – Joker killing the sniper – Pyle being bullied by Hartmann
  • http://books.google.co.uk/books?id=j6NqwmP6g4IC&pg=PA162&lpg=PA162&dq=allegiance+film+spectatorship&source=bl&ots=iwzBFhaJLY&sig=oYAhf096XN-5cuA3yX3FonLiKjA&hl=en&sa=X&ei=oUAVT9v1Fsvo8QPt0OjdAw&ved=0CCYQ6AEwAQ#v=onepage&q=allegiance%20film%20spectatorship&f=false
  • Continue reading the chapter from the book and move on to page 163 – how does the camera placemenet / facial expressions etc contribute to our allegience?

Transcript

  • 1. A2 FILM STUDIES
  • 2. Identify Key Terms:Reception Theory Analyse the factors that influence how we choose a film to view Analyse how filmmakers create response and communicate with their audience Evaluate the use of Central & A-Central Imagining in Full Metal Jacket You will learn by the numbers I will teach you!
  • 3. Reception theory hoped to be a more sophisticated approach tostudying audiences concentrating more on those who consumea text than the text itself.When the text isencoded certainideologies are indominance. The audience decodes the message in multiple ways and this is dependant on the cultural background of the person. You will learn by the numbers I will teach you!
  • 4. Reception Theory states that an audience may respond in oneof three ways based on their reading of a film and how they‘decode’ the meanings / ideologies placed in to the text by thefilmmakerPreferred Reading – taking an intended reading of the film identifyingand agreeing with all messages encoded in to the textNegotiated Reading – the viewer identifies most of the meaningsencoded in to the text but does not agree with, or take the full meaningOppositional Reading – the viewer does not identify themeanings encoded in to the text and their own personalideologies / experiences form an alternate meaning within thetext You will learn by the numbers I will teach you!
  • 5. Reception Theory dictates that a film does not haveany meaning without the spectatorMeaning is only generated when the spectator viewsthe text and ‘decodes’ it What is the difference between ‘Meaning’ and ‘Response’?Meaning deals with themes and specific scenariosResponse is an all-encompassing interaction with the film as awhole You will learn by the numbers I will teach you!
  • 6. The question ‘How do individuals make sense of feature film?’ hasbeen asked many times over the years and has elicited manydifferent answersThere are many different approaches to film criticism but mostagree on this:Film spectatorship – or at least the most interesting aspects of it –is a conscious activity Joseph AndersonJoseph Anderson claims: “Making sense of film is significantly the Author of:same as making sense of the real world” ‘An EcologicalHe went on to say that the spectator uses the same conceptual approach toand perceptual systems when interacting with a real life 3D Cognitiveobject, to make sense of 2D cinematic objects Film Theory’ You will learn by the numbers I will teach you!
  • 7. Spectatorship theorists see desire as central to ourunderstanding of spectatorshipThis desire not only relates to our response to a filmbut also to the types of film we choose to watchIf we are presented with a choice of:1. an intellectually demanding film2. one which is provocative3. one which is throw away spectacular funwe will decide which best matches your desire at thatgiven point You will learn by the numbers I will teach you!
  • 8. If we choose the ‘spectacular fun’ (aka JamesBond) option we will most likely take a preferredreading as the experience demands a suspensionof disbelief and an acceptance if it is to bespectacular and funEven though, in another state of mind I wouldfind the sexism, militarism, and violence as The Bond moviessomething I would not endorse at other times. require a suspension of disbelief and acceptance of its encoded meaningsIn other words I am freely choosing to become if we are to enjoy themaligned with the characters and scenarios You will learn by the numbers I will teach you!
  • 9. Most films are constructed in a way that enable us tosuspend our disbelief and emerge ourselves within thenarrativeThrough the use of slick cinematography and invisibleediting we cease thinking of the film as a ‘film’Instead we buy in to the ‘reality’ of the film Wayne’s World (1992) frequently remindsHowever other films draw attention to the film as a the audience that‘textual construct’ – they are watching aDirectors can invite the spectator to take pleasure in constructed reality –acknowledging that the film is in fact, a film – a construct a textual construct– and meaning is created between the filmmaker and thespectator, not through the film itself You will learn by the numbers I will teach you!
  • 10. Interaction between director and spectatorcan be achieved through the manipulationof the following information:Textual – information provided by the textitselfExtra-textual – information existing in themind of the spectator You will learn by the numbers I will teach you!
  • 11. Watch the following extracts from Pulp Fiction andmake notes on the following:How does the director invite us(spectator) to view thefilm as a construct?What effect does this have on your response to thefilm?How is extra-textual information used to createmeaning for the spectator? You will learn by the numbers I will teach you!
  • 12. Arguably the central function of spectatorship is:Central ImaginingThis refers to an immersion in the filmThere are certain times when a spectator experiences‘central-imagining’ – when a film recreates physicalsensations such as falling over or walking in a daze This effect was firstIn theory Central-Imagining is the merging of the spectator felt in the Lumierewith the film – when the cinematic experience is felt Brothers’ film:physically “Entrée dun train en gare de la Ciotat“ (1897)Central Imagining is often expressed as ‘I feel...’Imax and other technologies provide more opportunity for‘central-imagining’ You will learn by the numbers I will teach you!
  • 13. Most of the time film spectators operate in the‘I imagine that...’ mode – meaning they do notfeel the physical effects but can imagine how acertain sensation may feel“I imagine that it must be pretty scary to have agangster’s wife overdosing in front of you whenyou are responsible for her...”“I imagine that being in a fire-fight must beterrifying and a self preservation survivalinstinct would cut in”A-Central imagining is often expressed as “Iimagine that...” You will learn by the numbers I will teach you!
  • 14. Watch the following extracts from ‘Full MetalJacket’ and answer the following questions:How does each scene align us with the characters?Are these scenes examples of ‘Central Imagining’ or‘A-Central Imagining’?(use ‘I feel’ & I imagine that...’)Justify your answers!Using your handout from our ‘Alignment’ lesson, gothrough the scenes you have identified and notedown whether you consider them to be ‘Cental-Imagining’ or ‘A-Central-imagining’ You will learn by the numbers I will teach you!
  • 15. Essentially when we view films we have acombination of responses ranging from preferredto oppositional to individual emotional responsesWe as spectators can have our physical responsesmanipulated via Central imagining and ouremotional responses manipulated by A-CentralimaginingThe A-Central Imagining depends on our extra-textual reading of a film whilst the centralimagining depends on how the director uses thecamera to elicit physical responses (shock, tears...) You will learn by the numbers I will teach you!
  • 16. We begin with an overall assessment of coherence– expectations are formed in our minds -As a film spectator we begin a film with specificgoals formed by a given background of knowledgeand experienceWe look for familiar narrative, genre conventions,and common cinematic techniquesWe do this by bringing our knowledge of previousfilms and cinematic experiences to bear inresponding to a new film experience You will learn by the numbers I will teach you!
  • 17. AestheticConcerned with beauty or the appreciation ofbeautyCognitivepertaining to the mental processes of perception,memory, judgment, and reasoning, as contrastedwith emotional processesCoherencelogical interconnection; overall sense orUnderstand-ability.Disparitylack of similarity or equality; inequality; difference You will learn by the numbers I will teach you!
  • 18. Allegiance pertains to the moral evaluation of thecharacters by the spectatorAllegiance is another form of ‘identification’ with acharacter based on a wide range of external factorssuch as attitudes towards: Some people may•Class identify or experience ‘allegiance’ to Pvt. Pyle•Race having experienced•Nation bullying / intense•Age hostility themselves•Ethnicity•Gender etc You will learn by the numbers I will teach you!
  • 19. In what ways did you feel allegiance to charactersthroughout Full Metal Jacket?Make a list of characters and scenes in which thishas taken placeYou must consider a wide range of potentialreadings in your exam answers.You must also back up all arguments with analysisof the micro & macro elements You will learn by the numbers I will teach you!