CRITICAL ANALYSIS OF VISUAL CULTURE (CAVC)

GENRE WEEK 10/December 8 th Screening : Train to Busan 부산행 , 2016. Dir. Yeon Sang-ho Please read my trigger warning. all screenings are compulsory; Unless serious situations prevent you from watching the film (even so, you still need to read!) . absences from ANY Friday in-class screenings ARE ALL COUNTED. WEEK 11/ December 15 th Required Readings: Bordwell, David & Thompson, Kristin, “Film Genres”, Film Art: an Introduction (10th edition) , University of Wisconsin Press, 328-349. 2010[click HERE ] Castillo, D. R., & Browning, J. E. (2016). Introduction   : Our Zombies, Our Remnants. In D. R. Castillo, D. Schmid, Reilly David A., & J. E. Browning (Eds.), Zombie Talk: Culture, History, Politics. New York: Palgrave Macmillan. http://doi.org/10.1057/9781137567727.0004 [distributed in class] Schmid, D. (2016). The Limits of Zombies: Monsters for a Neoliberal Age. In D. R. Castillo, D. Schmid, D. A. Reilly, & J. E. Browning (Eds.), Zombi...

WEEK 9/December 1 st    Required Readings: “Auteur Theory”. In the Routeledge Encyclopedia of Film Theory , eds. Edward Branigan & Warren Buckland, Routledge, 2014 [click HERE ] Astruc, Alexandra, “The Birth Of A New Avant-Garde: La Camera-Stylo”, Critical Visions In Film Theory: Classic and Contemporary Readings , eds. Timothy Corrigan, Patricia White with Meta Mazaj, Bedford/St. Martin’s, 2011, pp350-354 [click HERE ] CHANGE! NO Sarris, Andrew. “The Auteur Theory Revisited”, Critical Visions In Film Theory: Classic And Contemporary Readings , eds. Timothy Corrigan, Patricia White with Meta Mazaj, Bedford/St. Martin’s, 2011, pp354-361  Stam, Robert. 2000. “the Cult of Auteur”, Film Theory: an Introduction , Blackwell Publishing, 83-92 [click HERE ] Reference Reading: “Introduction” & Bazin, Andre. “On the politique des auteurs”, Cahier du Cinema--the 1950s: Neorealism, Hollywood, New Wave . Eds. Jim Hiller. Ha...

Second CFA reading journal due on Nov 27 th , Monday, 5pm

first rule: don't talk about fight club! Ran here: on Nov 24th, I would also distribute working sheet to guide all of us to do group discussion on Fight Club, within the framework of classical/post-classical narrative . Time for you to draw examples from the film! I would update my question by Nov 17th, and I do hope you would come back to visit this site by then. Questions: 1. Based on what we have studied so far in terms of film style, how should we characterize the classical Hollywood filmmaking?  2. According to KT & DB, what is a narrative ? How about narration ? And how about narrator ? 3. What may be the cultural-political significance/function of the classical narrative (think of the formation of heterosexual couples, and the undertaking of a mission)?   Is   post-classical narrative   necessarily  something closer to "spectacle" (recall the cinema of attraction)? 4. Is Fight Club a best example of classical narrative,...