Difference between revisions of "TCF340/Godard Since 1968 and Claire Denis (Discussion)"

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'''Constance Penley on ''France/tour/detour/deux/enfants'''''
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'''Constance Penley on ''France/tour/détour/deux/enfants'''''
  
 
#'''Group 3:''' Penley argues, "certain movements and gestures are slowed down and then rapidly, yet haltingly, speeded up (...) so that we can see and understand the economy of these actions." Do you think this applies to <i>Soft and Hard</i>? How are slow motion and freeze frames used in this piece?
 
#'''Group 3:''' Penley argues, "certain movements and gestures are slowed down and then rapidly, yet haltingly, speeded up (...) so that we can see and understand the economy of these actions." Do you think this applies to <i>Soft and Hard</i>? How are slow motion and freeze frames used in this piece?

Revision as of 16:58, 2 December 2008

Constance Penley on France/tour/détour/deux/enfants

  1. Group 3: Penley argues, "certain movements and gestures are slowed down and then rapidly, yet haltingly, speeded up (...) so that we can see and understand the economy of these actions." Do you think this applies to Soft and Hard? How are slow motion and freeze frames used in this piece?
  2. Group 2: Penley argues, "Both the writing on the image and the different voices over it question the image rather than anchoring its meaning as is usual in television." Do you think this is true of the text appearing on screen in Soft and Hard? What function, if any, does it serve?
  3. Group 4: Penley argues that Godard's use of silence in his video work is different from conventional television. Explain how and whether it applies to Soft and Hard.
  4. Group 1: Penley argues that Godard's use of interviews is different from conventional television. Explain how and whether it applies to Soft and Hard.

http://www.tcf.ua.edu/classes/Jbutler/T340/SoftAndHard_LastShot/thumbnails/SoftAndHard14_jpg.jpg
All groups: What do you make of the final shot of Soft and Hard? What do you think it means? The last two lines are:

 A-MM: It is hard to say.
 JLG: Hard to say.

Pro-feminist or anti-feminist?

ALL Groups:

  1. Just because a film is made by a woman does not mean it will necessarily be feminist. Do you think that Chocolat and/or Vagabond is pro-feminist? Why or why not?
  2. If, indeed, it is a feminist film, into which category does it fit? (These categories may overlap.)
    1. Documentary
    2. Socialist Realist
    3. Women's cinema as counter cinema

Bibliography

  • Penley, Constance. "Les Enfants de la Patrie." Camera Obscura, 8-9-10, pp. 32-59.
  • Kuhn, Annette. Women's Pictures: Feminism and Cinema. Boston: Routledge & Kegan Paul, 1982.

External links