Language
and Film / Language in film : Overview of course
John
Bateman, SS2007
Language
and Film / Language in film : Overview of course
John
Bateman, SS2007
In this course we explore the rich history of interaction between language, linguistics and film. Participants in the course will be introduced to a variety of approaches to film theory and to the kinds and functions of language used in film. Readings are in the copyshop.
NOTE THAT THE SLOTS HAVE NOW BEEN RESCHEDULED TO MAKE UP FOR THE DELAY AT THE BEGINNING... IF THIS CAUSES PROBLEMS FOR YOUR PRESENTATION: GET IN TOUCH!
Requirements:
For a Leistungsschein, participants should take on one of the Referat topics distributed at the beginning of the course, present a discussion of an analysis of some selected portion of film using a combination of the techniques described in the course, and to write this up as a written analysis. For a Teilnahmeschein, participants need only to take on a Referat. Regular participation and keeping up with the readings as these are discussed in class is necessary to follow the discussion.Recommended background reading books for the course:
- Andrew, J.D. (1976), The major film theories: an introduction, Oxford University Press, Oxford.
- Lapsley, R. & Westlake, M. (1988; 2006), Film theory: an introduction, Manchester University Press, Manchester and New York.
- Monaco, J. (2000), How to read a film: movies, media, multimedia, Oxford University Press, Oxford, U.K.
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| Schedule | |
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16.4.2007 |
Introduction: Language in Film, Film as text? Connections and differences: the aims of the course, requirements, etc.. Language in particular and language as such
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| 23.4.2007 |
The basic vocabulary for film descriptions Reading James Monaco (2000, 3rd. edition) How to read a film. Oxford University Press.
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| 30.4.2007 |
Classical film theory; contrasting views: Eisenstein and Bazin Reading: Tudor, Andrew (1974) “Eisenstein: great beginnings”. In: Theories of film. Secker & Warburg. Chap.2, pp25-58 Eisenstein, Sergei E. (1949) Film form: essays in film theory. Translated by Jay Leyda. Harcourt Brace & Co. publishers. · “The cinematographic principle and the ideogram” (1929), pp38-41. · “A dialectic approach to film form” (1929), pp48-63. · “Methods of montage” (1929), pp72-83. · “Film language” (1934), pp115-121.
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| 7.5.2007 |
Classical film theory; contrasting views: Eisenstein and Bazin Reading: Andrew, J. Dudley (1976) “André Bazin”. In: The Major Film Theories: an introduction. Oxford University Press. Chap.6, pp134—178. Bazin, André (1950-1955) “The evolution of the language of the cinema” In: What is cinema? Translated and reprinted in: Bazin (1967, trans. Hugh Gray) University of California Press, pp23-40.
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| 14.5.2007 |
Classical film theory; film and semiotics Reading: Chandler, Daniel (2002) Semiotics: the basics. Routledge. Chapter 1: Models of the sign. pp 17-54. Buckland, Warren (1999) Film Semiotics.
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| 21.5.2007 |
Classical film theory; film and semiotics Andrew, J. Dudley (1976) “Christian Metz and the Semiology of the Cinema”. In: The Major Film Theories: an introduction. Oxford University Press. Chap.8, pp212—241. Christian Metz (1974) Film language: a semiotics of the cinema Chap5. “Problems of the denotation of the fiction film”, pp108-146. Analyses Applications of the accounts discussed so far to particular film extracts made available beforehand. Analyses will be done in groups, prepared and discussed in this session. Problems with the methods for analysis should be brought and possible ways of fixing them considered.
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28.5.2007 |
Pfingstmontag
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| 4.6.2007 |
Non-classical film theory: Visual language and visual semiotics Reading: Kress, Gunther & van Leeuwen, Theo (1996) Narrative representation: designing social action. In: Reading Images: the grammar of visual design. Chap 2, pp43-75 van Leeuwen, Theo (1996) Moving English: the visual language of film. In: Goodman/Graddol. Redesigning English: new texts, new identities. Routledge. Chap 2, Reading B. pp81-105.
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| 11.6.2007 |
The logic of connection … Reading: van Leeuwen, Theo (2005) Introducing social semiotics, Routledge. Chapter 11. “Information Linking”. pp219-247 van Leeuwen, T. (1991), 'Conjunctive structure in documentary film and television', Continuum: journal of media and cultural studies 5(1), 76--114.
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| 18.6.2007 |
… and the structure of film Reading: Schmidt, K. & Strauch, T. (2002), 'Zur chronologischen Syntagmatik von Bewegtbilddaten', Kodikas/Code: Ars Semeiotica 25(1-2), 65--96. van Leeuwen (1985) Rhythmic structure of the film text. In van Dijk (ed.) Discourse and Communication: new approaches to the analysis of mass media discourse and communication, pp216-232.
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| 25.6.2007 |
Re-Analyses and Adaptation: film as discourse To what extent to the newer developments discussed overcome or add to the problems that we ran up against in the last analysis session? And can we now say something about what happens when material that was first expressed in a different mode, such as a novel or a play, is ‘adapted’ for film? How are the techniques that we have seen so far deployed for the purposes of filmic narrative? Reading: Bordwell, D. (1985) ‘Mimetic theories of narration’ (extract) Bordwell, D. (2002) ‘Intensified Continuity: visual style in contemporary American Film’. Film Quarterly 55(3):16—28.
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| 2.7.2007 |
Discussions of working groups and presentations of analyses: I |
| 9.7.2007 |
Discussions of working groups and presentations of analyses: II |
| 16.7.2007 |
Conclusions, Summary, What next? Is film a language? |