Films
Calamity Jane (David Butler, Warner Bros. Pcitures, USA, 1953)
C.R.A.Z.Y (Jean-Marc Vallée, Cirrus Communications, CAN, 2005)
The Grapes of Wrath (John Ford, Twentieth Century Fox Film Corporation, USA, 1940)
Heaven Can Wait (Ernst Lubitsch, Twentieth Century Fox Film Corporation, USA , 1943)
Hud (Martin Ritt, Paramount Pictures, USA, 1963)
Jazz on a Summer’s Day (Aram Avakian & Bert Stern, Galaxy Productions, USA, 1960)
Les Enfants du Paradis (Marcel Carné, Pathé Consortium Cinéma, FR, 1945)
Leave her to Heaven (John M. Stahl, Twentieth Century Fox Film Corporation, USA, 1945)
M (Fritz Lang, Nero-Film AG , GER, 1931)
Pillow Talk (Michael Gordon, Universal International Picture, USA, 1959)
The Only Son (Yasijurô Ozo, Shôchiku Eiga, Japan, 1936)
To Catch a Thief (Alfred Hitchcock, Paramount Pictures, USA, 1955)
Written on the Wind (Douglas Sirk, Universal International Pictures, USA, 1956)
Woman in the Window (Fritz Lang, International Pictures, USA, 1941)
This week was my first introduction to Ozu, I liked what I saw. I think I will be investing in Toyko Story for Christmas. I was also impressed with Hud; mainly because my brother actually watched it with me.
Preliminary Notes: Masculinity in Hud
Widescreen= spatial relationships
(Hud-Homer-‘Lonnie’; Alma’s Hut in comparison to the position of the male characters and the camera = prominent after she has left, aware of female absence)
The slaughter of the cattle: tractors in comparison to Homer’s horse (background) – action, destroying his way of life.
Catching the pig (?). Pen (enclosure for animals) imagery (Near the end of the film), male characters like the cattle they are about to slaughter (repeated later: Though Hud takes the place of the cattle.
Didn’t make any notes while watching the film. I just naturally noticed these points. Will have to watch again, and actually makes some proper notes!
Television
‘The Chrysanthemum and the Sword’, episode five, Mad Men, fourth series, USA, BBCHD, tx. 06.10.2010.
episode three, Downton Abbey, first series, UK, ITV, tx. 10.10.2010
‘Trip to Warwick’, episode four, The Inbetweeners, third series, UK, E4, tx. 04.10.2010.
Radio
The Film Programme, 2010. [Radio programme] BBC, BBC Radio 4, 07 October 2010 16.30.
Calamity Jane (David Butler, Warner Bros. Pcitures, USA, 1953)
C.R.A.Z.Y (Jean-Marc Vallée, Cirrus Communications, CAN, 2005)
The Grapes of Wrath (John Ford, Twentieth Century Fox Film Corporation, USA, 1940)
Heaven Can Wait (Ernst Lubitsch, Twentieth Century Fox Film Corporation, USA , 1943)
Hud (Martin Ritt, Paramount Pictures, USA, 1963)
Jazz on a Summer’s Day (Aram Avakian & Bert Stern, Galaxy Productions, USA, 1960)
Les Enfants du Paradis (Marcel Carné, Pathé Consortium Cinéma, FR, 1945)
Leave her to Heaven (John M. Stahl, Twentieth Century Fox Film Corporation, USA, 1945)
M (Fritz Lang, Nero-Film AG , GER, 1931)
Pillow Talk (Michael Gordon, Universal International Picture, USA, 1959)
The Only Son (Yasijurô Ozo, Shôchiku Eiga, Japan, 1936)
To Catch a Thief (Alfred Hitchcock, Paramount Pictures, USA, 1955)
Written on the Wind (Douglas Sirk, Universal International Pictures, USA, 1956)
Woman in the Window (Fritz Lang, International Pictures, USA, 1941)
This week was my first introduction to Ozu, I liked what I saw. I think I will be investing in Toyko Story for Christmas. I was also impressed with Hud; mainly because my brother actually watched it with me.
Preliminary Notes: Masculinity in Hud
Widescreen= spatial relationships
(Hud-Homer-‘Lonnie’; Alma’s Hut in comparison to the position of the male characters and the camera = prominent after she has left, aware of female absence)
The slaughter of the cattle: tractors in comparison to Homer’s horse (background) – action, destroying his way of life.
Catching the pig (?). Pen (enclosure for animals) imagery (Near the end of the film), male characters like the cattle they are about to slaughter (repeated later: Though Hud takes the place of the cattle.
Didn’t make any notes while watching the film. I just naturally noticed these points. Will have to watch again, and actually makes some proper notes!
Television
‘The Chrysanthemum and the Sword’, episode five, Mad Men, fourth series, USA, BBCHD, tx. 06.10.2010.
episode three, Downton Abbey, first series, UK, ITV, tx. 10.10.2010
‘Trip to Warwick’, episode four, The Inbetweeners, third series, UK, E4, tx. 04.10.2010.
Radio
The Film Programme, 2010. [Radio programme] BBC, BBC Radio 4, 07 October 2010 16.30.
Reading
Cahiers du Cinema, The Editors. 1970. ‘John Ford’s Young Mr Lincoln’. In: B. Nichols ed. Movies and Methods, Volume 1. Berkeley and Los Angeles: University of California Press, pp. 493-528.
Comolli, Jean-Louis & Narboni, Jean. 1969. ‘Cinema/Ideology/Criticism’. In: B. Nichols ed. Movies and Methods, Volume 1. Berkeley and Los Angeles: University of California Press, pp. 22-30.
Kleinhans, Chuck. 1998. Marxism and Film’. In: J. Hill & P. Church Gibson eds. Oxford Guide to Film Studies. Oxford: Oxford University Press, pp. 106-117.
Sight & Sound. 20. (11/November 2010).
- As I’ve been studying basic Marxist concepts with the OCA, I thought it would be a good idea to explore this in relation to film studies. After reading the essay by Kleinhans, I explored the two Cahiers du Cinema two articles he suggested. I was pretty pleased that I understood all the concepts in each one.
Cahiers du Cinema, The Editors. 1970. ‘John Ford’s Young Mr Lincoln’. In: B. Nichols ed. Movies and Methods, Volume 1. Berkeley and Los Angeles: University of California Press, pp. 493-528.
Comolli, Jean-Louis & Narboni, Jean. 1969. ‘Cinema/Ideology/Criticism’. In: B. Nichols ed. Movies and Methods, Volume 1. Berkeley and Los Angeles: University of California Press, pp. 22-30.
Kleinhans, Chuck. 1998. Marxism and Film’. In: J. Hill & P. Church Gibson eds. Oxford Guide to Film Studies. Oxford: Oxford University Press, pp. 106-117.
Sight & Sound. 20. (11/November 2010).
- As I’ve been studying basic Marxist concepts with the OCA, I thought it would be a good idea to explore this in relation to film studies. After reading the essay by Kleinhans, I explored the two Cahiers du Cinema two articles he suggested. I was pretty pleased that I understood all the concepts in each one.
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