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Film Notes END OF LIFE

Film Notes END OF LIFE - BOLDED TERMS Key People D.W...

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BOLDED TERMS Key People: D.W. Griffith: From around 1911 to 1915, D.W. Griffith and other filmmakers struggled to convince movie studios to allow them to expand the length of a movie from roughly 15 minutes to 90 minutes . Molly Haskell: From Reverence to Rape (1974). She addressed negative stereotypes of women on screen (Madonna’s, whores, vamps, gold diggers) that typically either infantilized women on reduced them to sexual objects. Mainstream both idealized and abused women on screen (reverence/rape). Stan Brakhage: One of the major figures in the development of postwar experimental cinema. —the preeminent avant-garde filmmaker of the postwar period —closely associated with modernist poetry and abstract expressionist painters —he embraces self-expression and the exploration of subjectivity, but is more attentive to the materiality of cinema itself —interested in elements of natural world (moths, water, births, sex, etc.) —promotes an untutored eye : —an innocent relation to nature and the world; a return to vision unencumbered by ideological, cultural, or conceptual baggage Agnes Varda: French filmmaker, 1985 Vagabond is one of the most radical contemporary revisions of the road movie. Alice Guy Blache: The earliest and most prolific woman director in history, but has barely been acknowledged in mainstream film histories. Made what some consider the very first fiction film, The Cabbage Fairy, for Gaumont studios in 1896 France. She set up her own U.S. company and turned out hundreds of films from a New Jersey studio. Walter Ruttmann: His film Berlin: Symphony of a City (1927) , creates a conceptual whole through montage. Christian Metz: French film theorist, one of the most prolific and influential contemporary theorists, has also been at the center of spectatorship theory. He refers to linguistic and psychoanalytic terminology in the title of his influential book (1977) The Imaginary Signifier. —further developed cinema’s parallel with Lacan’s mirror stage —cinema thus presents an illusory experience of wholeness than seems to override and compensate for the experience of lack in the male viewer —play of absence/presence in relation to the mirror stage; cinema shows us a realistic image of what is actually absent (ala the Lacanian mirror) —the male viewer nevertheless encounters the issue of “lack;” consequently, the film typically reenacts and works through the Oedipal trajectory in order to ease the spectator Jacques Lacan: French psychoanalyst, in his teachings from the 1950s through his death in 1981, he spoke of 3 domains of psychic experience: the imaginary, the symbolic, and the real. Lacan revises Freud by shifting the terms of investigation from biology to language . We thus come to understand ourselves as subjects through our adoption and incorporation into a system of language , not merely through our physical development and sexual maturation. Emphasizes the importance of images and looking relations
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in subject formation. Foregrounds the sense of lack and absence that structures both desire and
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