Lesson 3 intro to section a & world cinema

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  • HANA Bi - http://www.youtube.com/watch?v=fHpV5-pRwHULagaan - http://www.youtube.com/watch?v=AqVjWevMrAgPolice Story - http://www.youtube.com/watch?v=qbVy79AVlUk&feature=related
  • Lagaan – 12:20 - Clip 2 – Mitwa Song
  • Clip 2 – 1:01:00 – Or 02:04:00 -
  • Lesson 3 intro to section a & world cinema

    1. 1. FM4 – INTRO TOWORLD CINEMAUrban Stories: Power, Poverty & Conflict
    2. 2. The focus of FM4 FM4 is a Synoptic Unit worth 50% of your A2 Grade  Learning from other units (FM1, FM2 & FM3) of the course are revisited and applied in new ways and new areas of study  Skills of textual analysis learnt during the FM1 unit will be invaluable when approaching the study of FM4 - you will be required to analysis and explore individual sequences  Knowledge of the film industry from FM2
    3. 3. FM4 The FM4 Examination module is split in to three distinct sections: Section A – WORLD CINEMA Section B – SPECTATORSHIP TOPICS Section C – SINGLE FILM – CRITICAL STUDY SECTION A – World Cinema  “This section is focused on an engagement with a prescribed world Cinema topic... In terms of broader production, social and historical contexts and underpinning them.” WJEC
    4. 4. What „WJEC‟ sayAO1 Demonstrate knowledge and AO2 Apply knowledge andunderstanding of film as an understanding, including some ofaudio-visual the commonform of creative expression together critical approaches that characterise thewith its contexts of production subject, when exploring andand reception and of the diversity in analysing films and when evaluatingfilmmaking across different their own creative projects tohistorical periods and locations. show how meanings and responses are generated.A03 Demonstrate the ability A04 Demonstrate the abilityto devise film projects to undertake, apply andcreatively, applying present research intoappropriate planning and film topics.production skills effectively.
    5. 5. FM4 – Section A – WORLD CINEMA We will study two focus films:  La Haine – France  City of God – Brazil “The challenge of this topic is to compare and contrast films which may come from very different social and cultural contexts”  WJEC Specification
    6. 6. URBAN STORIES – Power, Poverty& Conflict These films have been chosen as they deal with similar issues and are set in similar environments The environment plays a vital part in the understanding of the film We must also be aware of the films context and the resulting portrayal of Power, Poverty and Conflict in those environments This will make up a large section of our course and you will be required to research the contexts of each film
    7. 7. World Cinema? You each have to write two words that sum up your opinions and feelings towards world cinema Once you have done this, fold the paper over and pass it to the person next to you until everyone in the class has done so Whilst you are waiting think about two words that best describe your feelings world cinema
    8. 8. Myths of World Cinema
    9. 9. World Cinema What is World Cinema?  A term used in English speaking countries to refer to films or film industries of non-English speaking countries Working in pairs, you have two minutes to note down all of the world cinema titles you have seen – can you beat the other groups? What was (un)enjoyable about these films?
    10. 10. Examples of „World Cinema‟ Task Watch the following trailers and make a list of features that are unique to the films national cinema  E.g.  British working class settings in British films What similarities are there to any Hollywood films you have seen?
    11. 11. Examples of World Cinema Lagaan: Once Hana-Bi (Fire Police Story Upon a Time in Works) (1985) India (2001) (1997)
    12. 12. World Cinema Each nation has a unique cinematic style Whereas Hollywood tends to produces films aimed at a Global audience, National Film Industries tend to produce films for smaller, local audiences As a result the films:  Themes  Genres  Representations  Contexts Are specific to that nation and appeal to the local audiences
    13. 13. Language of Cinema This could make it difficult for „foreign‟ audiences to understand the films But by using the universal „Language of Cinema‟ audiences around the world can follow and appreciate the story being told, even if they are unfamiliar with the style or context of the film What do you think the Language of Cinema refers to?
    14. 14. Language of Cinema The Language of Cinema refers to the technical elements of filmmaking employed in the telling of a story This includes:  Editing techniques  Camera shots and Angles  Narrative Structures  Generic Conventions  Mise-en-scene  Lighting
    15. 15. Language of Cinema If we understand the cinematic language (Micro Elements from FM1) then we can understand a film regardless of its origins. Just like in English language films the camera and editing are used to create meaning. E.g. A high angle shot implies the weakness and vulnerability of the subject – this is also true in World Cinema Just as a montage is used to show a passage of time in Rocky IV, the same technique is used in Bollywood, Hong Kong and Japan etc
    16. 16. „National Cinema‟ Films from different cultures contain themes, symbols and character types that are unique to those cultures. But the these elements also have universal – Jet Li plays ‘Mother India’ Wong Fei Hung to western appeal – a typical „hero‟ audiences she is character to a matriarchal western leader, but to audiences, but to Indian‟s she is a the chinese he is literal a symbol of embodiment of national identify the nation, and the struggles signifying the against British importance of occupation family and community in
    17. 17. Case Studies We are now going to complete two short case studies looking at the following:  Narrative  Language of Cinema  Audience responses  Representations
    18. 18. Once Upon A Time In China 3 (1993)  Dir: Tsui Hark  Stars:  JetLi  Rosamund Kwan  John Wakefield Jet Li play‟s a real life Kung Fu Master called „Wong Fei Hung‟ (The “Chinese Robin Hood”)
    19. 19. Once Upon a Time In China Part 3 What elements of this film are „national‟ – unique to the country that produced them? Can you identify any themes? What elements of this film belong to the „Language of Cinema‟? How is this film successful in appealing to both local and national audiences?  Think of representations and Propp‟s
    20. 20. Lagaan: Once Upon A Time In India(2001)  Dir: Ashutosh Gowakiker  Stars:  Aamir Khan  Gracey Sing Lagaan refers to a  Paul tax imposed on Blackthorne Indian communities during the late 19th Century when Indian was under
    21. 21. Lagaan – Clip 1 How has the cinematic language been used to inform us of who is the antagonist and who is the protagonist? How do representations and stereotypes help us identify the characters and their roles within the film? What does the track forward and close up tell us about the character of Bhuvan?
    22. 22. Clips 1 & 2 Are the narrative structures of the sequences recognisable? Explain your answer What is the function of the musical sequence? Do you find the representation of White British people surprising? Note down the possible reactions to these representations of both White British people and Indian people – think of Propp‟s
    23. 23. Universal Appeals Whilst both films focus on national heroes and their nations own historical events, audience around the world can follow the story with little confusion. We may not understand all the references to cultural events or grasp the significance of some events but we will still understand that these events are important, at least within the story The cinematic language is a universal one and as a result we can appreciate and understand films from all around the world The only difference between national cinemas is the context in which they were produced and some of the themes
    24. 24. Summary What is „World Cinema‟? What is meant by the term  Language of Cinema? What benefits does the „Language of Cinema‟ give filmmakers and audiences?

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