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Cinema and Audience, Sociological Debate Jak Şalom 2020-2021 #1

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Cinema and Audience, Sociological Debate Jak Şalom 2020-2021 #1 FA 491 - Cinema and Audience, Sociological Debate Jak Şalom 2020-2021 #1 The following syllabus was written on September 1, 2020, based on the information available on that date. It is subject to change with regard to dates and, to a lesser extent, content. The academic calendar informs us that classes will start on October 22. It seems that these will take place remotely. We will adapt the course when necessary. 70% attendance will be required on Moodle by checking the “attendance” box. You will be subject to two checks: the first, mid-term, by a paper assignment; the second, in the form of a "final paper" if the teaching is still organized remotely at the end of the term. The documentation relating to each course will be at your disposal on Moodle, one week in advance. A good knowledge of world cinema is required of all candidates who wish to register for this course. Priority will be given to students registered for the "film certificate". The total number of registrants will depend on the instructions of the school administration. Thank you for your attention. Jak Şalom 1 Week 1 – 2020-10-27 Introduction Week 2 – 2020-11-03 The first years of cinema and audience reactions Week 3 – 2020-11-10 Movie theaters Week 4 – 2020-11-17 Cinematheques, cinephilia - Turkish Cinematheque and its founder Onat Kutlar Week 5 – 2020-11-24 Cinema and countries, changing audience practices: Turkey Week 6 – 2020-12-01 Cinema and countries, changing audience practices: Other countries 1 Week 7 – 2020-12-08 Cinema and countries, changing audience practices: Other countries 2 Week 8 – 2020-12-15 Cinema movements trying to change audience habits Week 9 – 2020-12-22 Cinema and revolutionary activity Week 10 – 2020-12-29 Cinema and festivals Week 11 – 2021-01-05 Cinema and cultural studies 1 Week 12 – 2021-01-12 Cinema and cultural studies 2 Week 13 – 2021-01-19 Cinema and other artistic forms 2 Cinema and Audience, Sociological Debate Week 1 Introduction Course description: Perhaps the most important particularity of the cinema as an artistic field may Be its collective nature during its production process and at the same time it is also consumed in a collective way, many people come together as film audience to watch these movies4... This characteristic helps it to Become an agency for live dialogue Between human Beings. Directors aiming to transmit their Beliefs, ideas and sentiments to large masses thanks to their movies need the help of many people from different fields and people from different classes, ages, professions watch these films together in movie theaters5. This course would like to concentrate into relationship Between audience and artist, following the traces of main institutions of the history of cinema like cinematheques, cluBs and reviews6 7. These opportunities provided By cinema, the capacity of movies to shape human Beings lives, minds and life-styles deserve to Be elaborated8. During this course, many important movies will Be analyzed. 1 Cinema means sitting in the middle of an audience that breath, gasps, giggles, sucking candy, bother you, enter, leave, perhaps read loudly cartons as it was at the silent movies; cinema is those people, plus a story that happens on the screen" ( Cesare Pavese - Il Realismo italiano nel cinema e nella narrativa (Cinema nuovo - 1953). 2 “First, the films are never individual products. [...] To the extent that each production unit of a film embodies a mixture of heterogeneous interests and inclinations, teamwork in this area tends to exclude the arbitrary handling of the film material by removing individual features for aspects common to many people" (Siegfried Kracauer - From Caligari to Hitler: A Psychological History of the German Film,1947) 3"The subject who speaks here must recognize one thing: he likes to get out of a movie theater. He walks quietly (he does not like to talk about the film they have just seen), a little numb, encased, chilly, short sleepy; he’s sleepy, that's what he thinks; his body became something sporty, sweet, peaceful: soft like a sleeping cat, it feels somewhat disjointed [...]. In short, it comes out of hypnosis " (Roland Barthes - Communications n°23 - 1975). 4"In the egalitarian discomfort of the popular theatres, I had learned that this new art was to me, as to all" (Jean- Paul Sartre - Les Mots - 1964) 5 We see, here again, how objective cinema and fiction films are opposed and bind. The image is strictly the reflect of the reality, its objectivity is in contradiction with the extravagance of what is imaginary. At the same time, this reflection is a "double". The image is already soaked by subjective powers that will move it, distort it, project it into fantasy and dream " (Edgar Morin - Le cinéma ou l'homme imaginaire - 1956). 3 Reading list: Requested: • Siegfried Kracauer, From Caligari to Hitler: A Psychological History of the German Film, 2004, Princeton University Press. Suggested: • Pierre Bourdieu, Rules of Art: Genesis and Structure of the Literary Field, Stanford University Press, 1996. • Pierre Bourdieu, « Mais qui a créé les créateurs ? », Questions de sociologie, Éditions de Minuit, 1984 (p. 207-221) Screening list: Requested: • Das Cabinet des Dr. Caligari, dir. RoBert Wiene, Germany, 1919, 1 h 18 (https://www.youtuBe.com/watch?v=AP3WDQXkJq4) • 120 years watching movies together, https://vimeo.com/115470918, 2015, 3’48’’ Suggested: • Cinema Paradiso, dir. Giuseppe Tornatore, Italy 1989, 2 h 04 (http://www.youmoviz.tv/14858/stream-cinema-paradiso/) 4 Week 2 The first years of cinema and audience reactions Course description: The history of film Began in the 1890's, with the invention of motion picture cameras and the establishment of film production companies. The films of the 1890s were under a minute long and until 1927, motion pictures were produced without sound. The first eleven years of motion pictures show the cinema moving from a novelty to an established large-scale entertainment industry. The films Became several minutes long consisting of several shots. The first rotating camera for taking panning shots was Built in 1897. The first film studios were Built in 1897. Special effects were introduced and film continuity, involving action moving from one sequence into another, Began to Be used. In 1900, continuity of action across successive shots was achieved and the close-up shot was introduced (that some claim D. W. Griffith invented). Most films of this period were what came to Be called "chase films". The first use of animation in movies was in 1899. The first feature length multi-reel film was a 1906 Australian production. The first successful permanent theatre showing only films was "The Nickelodeon" in PittsBurgh in 1905. By about 1910, actors Began to receive screen credit for their roles, and the way to the creation of film stars was opened. Regular newsreels were exhiBited from 1910 and soon Became a popular way for finding out the news. Overall, from about 1910, American films had the largest share of the market in all European countries except France. **** A sociological approach to the audience practice of the first spectators The history of film perfectly illustrates the struggle of class and image. This approach is central to the theory of cultural legitimacy of Pierre Bourdieu. He argues that the practice of a cultural activity depends on the degree of legitimacy and social position of those who practice. In the case of cinema, this theory maintains a particular resonance to understand the relationship Between the Bourgeois classes and popular classes with cinema. The cinema rapidly emerges as a major invention in the world of entertainment. But it will take time to move from mere curiosity plagued By a high social class snoBBery than entertainment artistic vocation. In fact, it will take nearly thirty years that the institutions (critics, historians, film cluBs...) will Be part of a cinema culture going Beyond upper classes. Reading list : Requested: • A sociology of the cinema / The Bioscope.net / 2012 (a Blog on early and silent cinema, with an emphasis on research) / (http://theBioscope.net/2012/08/11/a-sociology-of-the- cinema/) • Gaudreault, André, American cinema, 1890-1909: themes and variations, Rutgers University Press, 2009. Suggested: 5 • Jean-Pierre Esquenazi, Sociologie des publics, La découverte, 2003 •Emmanuel Ethis, Sociologie du cinéma et de ses publics, Armand Colin, Coll.128, 2014 (3eme édition). Screening list: Requested: • L’arrivée d’un train en gare de La Ciotat / Frères Lumière / 1895 (https://www.youtuBe.com/watch?v=b9MoAQJFn_8) • La sortie des usines Lumière (http://www.lepoint.fr/culture/les-trois-versions-de-la-sortie- des-usines-lumiere-27-03-2015-1916316_3.php) •Voyage dans la lune, dir. Georges Méliés, 1902, B&w (http://www.dailymotion.com/video/xBv03c_ georges-melies-le-voyage-dans-la- lu_shortfilms) •Voyage dans la lune, dir. Georges Méliés, 1902, color https://www.youtuBe.com/watch?v=L-xKECueJPo •Hugo, dir. Martin Scorsese, 2011 (http://www.streamcomplet.eu/streaming-hugo-cabret.php) 6 Week 3 Movie theaters Course description: A movie theater or movie theatre (also called a cinema, movie house, film house, film theater or picture house) is a venue, usually a Building, for viewing movies (films), for entertainment. Most But not all movie theaters are commercial operations catering to the general puBlic, who attend By purchasing a ticket. The movie is projected with a movie projector onto a large projection screen at the front of the auditorium. Most movie theaters are now equipped for digital cinema projection, removing the need to create and transport a physical film print. In Turkey, in 2014 there are 2.034 cinema screens and 276.318 cinema seats. Big movie theatres could not Be survived and new cinema complexes including many small theatres replace them.
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