Difference between revisions of "JCM312/French Modernism: Jean-Luc Godard & Bertolt Brecht (Discussion)"
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==The Modern Theatre is the Epic Theatre== | ==The Modern Theatre is the Epic Theatre== | ||
+ | #What does Brecht mean by the term "culinary opera"? | ||
+ | #*He suggests that "dramatic theater" is culinary. Some film critics suggest that Hollywood classicism is also culinary. Do you agree? Explain. | ||
+ | #Consider the key aspects of "epic theater" that are boldfaced below. Do you think ''Breathless'' fits any of these aspects? Why or why not? | ||
<table border="border" width="100%" > | <table border="border" width="100%" > | ||
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<tr valign="top"> | <tr valign="top"> | ||
<td>implicates the spectator in a stage situation</td> | <td>implicates the spectator in a stage situation</td> | ||
− | <td>turns the spectator into an observer, but</td> | + | <td>'''G3: turns the spectator into an observer, but'''</td> |
</tr> | </tr> | ||
<tr valign="top"> | <tr valign="top"> | ||
<td>wears down his capacity for action</td> | <td>wears down his capacity for action</td> | ||
− | + | <td>'''G4: arouses his capacity for action'''</td> | |
− | <td>arouses his capacity for action</td> | ||
</tr> | </tr> | ||
<tr valign="top"> | <tr valign="top"> | ||
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</tr> | </tr> | ||
<tr valign="top"> | <tr valign="top"> | ||
− | |||
<td>experience</td> | <td>experience</td> | ||
<td>picture of the world</td> | <td>picture of the world</td> | ||
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<tr valign="top"> | <tr valign="top"> | ||
<td>instinctive feelings are preserved</td> | <td>instinctive feelings are preserved</td> | ||
− | <td>brought to the point of recognition</td> | + | <td>'''G1: [instinctive feelings are] brought to the point of recognition'''</td> |
− | |||
</tr> | </tr> | ||
<tr valign="top"> | <tr valign="top"> | ||
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<td>the human being is taken for granted</td> | <td>the human being is taken for granted</td> | ||
− | |||
<td>the human being is the object of the inquiry </td> | <td>the human being is the object of the inquiry </td> | ||
</tr> | </tr> | ||
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− | |||
<td>eyes on the finish</td> | <td>eyes on the finish</td> | ||
<td>eyes on the course</td> | <td>eyes on the course</td> | ||
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<td>each scene for itself</td> | <td>each scene for itself</td> | ||
</tr> | </tr> | ||
− | |||
<tr valign="top"> | <tr valign="top"> | ||
<td>growth</td> | <td>growth</td> | ||
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</tr> | </tr> | ||
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− | <td>linear development</td> | + | <td>linear development [of plot]</td> |
− | <td>in curves</td> | + | <td>'''G2: in curves'''</td> |
− | |||
</tr> | </tr> | ||
<tr valign="top"> | <tr valign="top"> |
Revision as of 15:36, 4 November 2008
The Modern Theatre is the Epic Theatre
- What does Brecht mean by the term "culinary opera"?
- He suggests that "dramatic theater" is culinary. Some film critics suggest that Hollywood classicism is also culinary. Do you agree? Explain.
- Consider the key aspects of "epic theater" that are boldfaced below. Do you think Breathless fits any of these aspects? Why or why not?
DRAMATIC THEATRE | EPIC THEATRE |
plot | narrative |
implicates the spectator in a stage situation | G3: turns the spectator into an observer, but |
wears down his capacity for action | G4: arouses his capacity for action |
provides him with sensations | forces him to take decisions |
experience | picture of the world |
the spectator is involved in something | he is made to face something |
suggestion | argument |
instinctive feelings are preserved | G1: [instinctive feelings are] brought to the point of recognition |
the spectator is in the thick of it, shares the experience | the spectator stands outside, studies |
the human being is taken for granted | the human being is the object of the inquiry |
he is unalterable | he is alterable and able to alter |
eyes on the finish | eyes on the course |
one scene makes another | each scene for itself |
growth | montage |
linear development [of plot] | G2: in curves |
evolutionary determinism | jumps |
man as fixed point | man as a process |
thought determines being | social being determines thought |
feeling | reason |
Counter Cinema
- What is Wollen's "counter cinema"? What is it counter to?
- Apply the following aspects of counter cinema to Breathless. Do they fit?
- Cite specific scenes, shots, dialog, etc. that support your answer.
- Group 2: In your own words, explain the "narrative intransitivity" aspect of counter cinema.
- Group 3: In your own words, explain the "estrangement" aspect of counter cinema.
- Group 4: In your own words, explain the "foregrounding" aspect of counter cinema.
- Group 1: In your own words, explain the "aperture" aspect of countercinema.
- Groups 1 and 2: make the case for Breathless as a classical film.
- Groups 3 and 4: make the case for Breathless as a counter-cinema and/or Brechtian film.
- Cite specific scenes, shots, dialog, etc. that support your answer.
- What aspects of Wollen's list match Brecht's list?
Further questions -- All groups
Bibliography
- Brecht, Bertolt. "The Modern Theatre is the Epic Theatre." In Brecht on Theatre, pp. 33-42. Edited and translated by John Willett. New York: Hill and Wang, 1964.
- MacCabe, Colin. Godard: Images, Sounds, Politics. Bloomington, IN: Indiana University, 1980.
- Wollen, Peter. "Godard and Counter Cinema: VENT D'EST." In Readings and Writings: Semiotic Counter-Strategies. London: Verso, 1982.