Language
and Film / Language in film : Overview of course
John Bateman, SS2005
Language
and Film / Language in film : Overview of course
John Bateman, SS2005
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 will be placed in the copyshop.
Requirements:
For a Leistungsschein, participants should take on one of the Referat topics distributed at the beginning of the course and then as a written paper take on some analysis of a selected portion of film using a combination of the techniques described in the course. 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 also expected.
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12.4.2005 |
Introduction: Language in Film, Film as text? Connections and differences: the aims of the course |
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19.4.2005 |
The uses film makes of language Language in particular and language as such
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26.4.2005 |
Some basic vocabulary for film descriptions Reading: James Monaco (2000, 3rd. edition) How to read a film. Oxford University Press.
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3.5.2005 |
Classical film theory; contrasting views: Eisenstein and Bazin Reading: Andrew Tudor (1974) “Eisenstein: great beginnings”. In: Theories of film. Secker & Warburg. Chap.2, pp25-58 André Bazin (1945) “The ontology of the photographic image”. In: Problèmes de la Peinture. Translated and reprinted in: Bazin (1967, trans. Hugh Gray) What is cinema? University of California Press, pp9-16. André Bazin (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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10.5.2005 |
Classical film theory; the move to semiotics: Christian Metz Reading: Metz (1974) Film language: a semiotics of the cinema.
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17.5.2005 |
Narrative and composition More sophisticated semiotic approaches: socio-functional semiotics Reading: Kress & van Leeuwen, (1996) Narrative representation: designing social action. In: Reading Images: the grammar of visual design. Chap 2, pp43-75. |
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24.5.2005 |
Visual language and movement Reading: 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. van Leeuwen (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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31.5.2005 |
The logic of connection Reading: van Leeuwen (2005) Introducing social semiotics, Routledge. Chapter 11. “Information Linking”. pp219-247 |
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7.6.2005 |
Dialogue Reading: van Leeuwen, (2005) Introducing social semiotics, Routledge.
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14.6.2005 |
Example Analyses + Term paper assignments Reading: O’Halloran, K. (2004) Visual semiosis in film. In: O’Halloran (ed.) Multimodal discourse analysis: systemic-functional perspectives. pp109-130. Iedema, R. (2001) Analysing film and television: a socio-semiotic account of Hospital: an unhealthy business. In: van Leeuwen/Jewit (eds.) Handbook of visual analysis, pp183-206. Thibault, P. (2000) The multimodal transcription of a television advertisement: theory and practice. In: Baldry (ed.) Multimodality and multimediality in the distance learning age. Palladino Editore, pp311-385. |
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21.6.2005 |
Film as multimodal meaning making how are meanings distributed across modes? How do they combine? Reading: Lemke, J. (1998) Multiplying meaning: visual and verbal semiotics in scientific text. In: Martin/Veel. Reading science. Routledge, pp87-113. |
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28.6.2005 |
Analyses: example working groups |
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5.7.2005 |
Reports, Conclusions, and Summary |