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AS91491 Demonstrate understanding of the meaning of a media text through different readings

3 credits

check due dates Friedrich Schlegel, //Athenaeum// (1798) || ( from CB's Glossary)
 * It is equally deadly for the mind to have a system and not to have one. One will therefore have to decide to combine the two.


 * Achievement

• Demonstrate understanding of the meaning of a media text through different readings. || Achievement with Merit •Demonstrate in-depth understanding of the meaning of a media text through different readings. || Achievement with Excellence

•Demonstrate perceptive understanding of the meaning of a media text through different readings. || //Demonstrate in-depth understanding// involves analysing the effect of different readings of a media text. This analysis may involve the ways in which a reading uncovers, adds, or changes the meaning of a media text and may make connections to media theory

. In November 2010, Scarlett Johansson was cast in [|__Under the Skin__], the film adaptation of Michel Faber's novel of the same name, directed by Jonathan Glazer. The film was released in the United States in 2014 to positive reviews. Scarlett Johansson's performance received a positive reception. 

Film is a time-based art. Film writers write illusions. This assessment is a close study of film: two readings 1.- narrative form. We carry embodied metaphors, structures and symbols over cultural time and carry these in our unconscious The study is a focus on flow as a narrative feature. This specifically links to biology. We tell stories that usually refer to all the stuff above.

2 Link the contexts and relationships of characters developing in their social milieu with their stories for a second reading of a film and see what impingements and illusions are in place.

Here is the nature/nurture debate lived out in cinema theories.

Another flange of the debate is mind/body dualism Think here about **//Chappie//**, for example.

"one of the most radical pop culture representations of mind-body dualism in years" WIRED MAGAZINE 11 March 2015 . START read a ) tips on viewing []

watch. LORE, UNDER THE SKIN and APOCALYPSE NOW b) listen to a Neuro-scientist talk about data on time

Audience appeal e.g. see alchemy reading technological progress affects social change

signification and meaning are both only understandable in terms of how particular words or "signs" interrelate. Baudrillard. c) Read PEMCA flow theory

check out film chat Listen to the Director Jonathan Glaziers interview about his film UNDER THE SKIN in the chat room.

d) read more on biology and the PEMCA flow model in the Grobel textbook and on the concept of embodied See TASK TWO FOR THIS aspect

e) watch this slide show 1. Look at film as a system ( as you would look at games design)

[]

THEORY STEP ONE 

See that you read this

f) http://newmedia-senior.wikispaces.com/AS91491+text+reading

Take this PDF as your study guide. Note. Change one link( ask the teacher) **student tasks ** Students write paragraph responses to your reading for a task one on aesthetic and a task t on a socio/psychological reading of one feature film * check media studies vocabulary here or in the left margin)



--Texts 2015

 Bill Nichols.Engaging Cinema and Torben Grodal. Embodied Visions

take this guide
 * || TASK ONE ||  ||

TASK TWO

Here is one 20th C individual's summary of best films in several decades. You may know one or two from the latter years

Here are some well liked films

http://www.criterion.com/lists/143189-roger-ebert-s-great-movies

TEXT BOOKS ENGAGING CINEMA. Bill Nichols

//Embodied Visions// presents a groundbreaking analysis of film through the lens of bioculturalism, revealing how human biology as well as human culture determine how films are made and experienced. Throughout his study, Torben Grodal uses the breakthroughs of modern brain science to explain central features of film aesthetics and to construct a general model of aesthetic experience - what he terms the PECMA flow model - that demonstrates the movement of information and emotions in the brain when viewing film. Examining a wide array of genres - animation, romance, pornography, fantasy, horror - from evolutionary and psychological frameworks, Grodal expands his scope to reflect on social issues at the intersection of film theory and neuropsychology, including moral problems in film viewing, how we experience realism and character identification, and the value of the subjective forms that cinema elaborates. //Embodied Visions// broadens the theoretical framework of cognitive <span style="background-color: #ffffff; color: #58595b; font-family: Verdana,Geneva,Arial,Helvetica,Tahoma,sans-serif; font-size: 12.3199996948242px;"> approaches to cinema while contributing toward a growing body of work on the relation between biology and culture.
 * [[image:emboddied.jpg]]<span style="font-family: 'Arial Black',Gadget,sans-serif; font-size: 150%;">embodied visions
 * Penned by major author in the rapidly expanding subfield of cognitive film studies - his first book on the subject is regarded as a foundational text in the area and he is a leading figure in international film theory
 * Propounds a groundbreaking, provocative examination of film and human evolution that uses cognitive science to analyze the aesthetics of cinema in a wide range of films, including works by John Ford, Stanley Kubrick, Francis Ford Coppola, and Harold Ramis
 * Advances a controversial, cutting-edge thesis: Grodal persuasively puts forward a naturalist argument for the importance of biology/human nature in opposition to the dominant claim within film studies that culture is a social construction with no biological constraint from human nature

EMBODIED VISIONS EVOLUTION ,VISION,CULTURE AND FILM by Torben Grodel ||  ||


 * [[image:9k=.jpg]] || [[image:9780195371314.jpg width="235" height="348"]] ||

extended reading recommended.

Read David Bordwell or Kristin Thompson Bordwell's latest book is THE WAY HOLLYWOOD TELLS IT

<span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">Hollywood moviemaking is one of the constants of American life, but how much has it changed since the glory days of the big studios? David Bordwell argues that the principles of visual storytelling created in the studio era are alive and well, even in today’s bloated blockbusters. American filmmakers have created a durable tradition—one that we should not be ashamed to call artistic, and one that survives in both mainstream entertainment and niche-marketed indie cinema. Bordwell traces the continuity of this tradition in a wide array of films made since 1960, from romantic comedies like //<span style="color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">Jerry Maguire //<span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;"> and //<span style="color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">Love Actually //<span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">to more imposing efforts like //<span style="color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">A Beautiful Mind //<span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">. He also draws upon testimony from writers, directors, and editors who are acutely conscious of employing proven principles of plot and visual style. Within the limits of the “classical” approach, innovation can flourish. Bordwell examines how imaginative filmmakers have pushed the premises of the system in films such as //<span style="color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">JFK, Memento, //<span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;"> and //<span style="color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">Magnolia //<span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">. He discusses generational, technological, and economic factors leading to stability and change in Hollywood cinema and includes close analyses of selected shots and sequences. As it ranges across four decades, examining classics like //<span style="color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">American Graffiti //<span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;"> and //<span style="color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">The Godfather //<span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;"> as well as recent success like //<span style="color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">The Lord of the Rings: The Two Towers //<span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">, this book provides a vivid and engaging interpretation of how Hollywood moviemakers have created a vigorous, resourceful tradition of cinematic storytelling that continues to engage audiences around the world.

Here is a further student list for 2015 of must see films 52 TUESDAYS IT FOLLOWS MAPS TO THE STARS APPROPRIATE BEHAVIOUR THE BABADOOK NIGHTCRAWLER GONE GIRL UNDER THE SKIN DEAR WHITE PEOPLE IDA FANTAIL SUSPIRA EVERYTHING WE LOVED BELLE

<span style="font-family: 'Arial Black',Gadget,sans-serif; font-size: 140%;">Read advanced reading on narrative Bordwell

Kristin Thompson has written about THE LORD OF THE RINGS <span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">"Once in a lifetime." The phrase comes up over and over from the people who worked on Peter Jackson's //<span style="color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">The Lord of the Rings. //<span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">The film's seventeen Oscars, record-setting earnings, huge fan base, and hundreds of ancillary products attest to its importance and to the fact that //<span style="color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">Rings //<span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">is far more than a film. Its makers seized a crucial moment in Hollywood—the special effects digital revolution plus the rise of "infotainment" and the Internet—to satisfy the trilogy's fans while fostering a huge new international audience. The resulting franchise of franchises has earned billions of dollars to date with no end in sight. Kristin Thompson interviewed seventy-six people to examine the movie's scripting and design and the new technologies deployed to produce the films, video games, and DVDs. She demonstrates the impact //<span style="color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">Rings //<span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">had on the companies that made it, on the fantasy genre, on New Zealand, and on independent cinema. In fast-paced, compulsively readable prose, she affirms Jackson's //<span style="color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">Rings //<span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">as one the most important films ever made.

Also read: PRECOCIOUS CHARMS <span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">In //<span style="color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">Precocious Charms //<span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">, Gaylyn Studlar examines how Hollywood presented female stars as young girls or girls on the verge of becoming women. Child stars are part of this study but so too are adult actresses who created motion picture masquerades of youthfulness. Studlar details how Mary Pickford, Shirley Temple, Deanna Durbin, Elizabeth Taylor, Jennifer Jones, and Audrey Hepburn performed girlhood in their films. She charts the multifaceted processes that linked their juvenated star personas to a wide variety of cultural influences, ranging from Victorian sentimental art to New Look fashion, from nineteenth-century children’s literature to post-World War II sexology, and from grand opera to 1930s radio comedy. By moving beyond the general category of “woman,” //<span style="color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">Precocious Charms //<span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;"> leads to a new understanding of the complex pleasures Hollywood created for its audience during the half century when film stars were a major influence on America’s cultural imagination.

<span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">From the very beginning of cinema, there have been amateur filmmakers at work. It wasn’t until Kodak introduced 16mm film in 1923, however, that amateur moviemaking became a widespread reality, and by the 1950s, over a million Americans had amateur movie cameras. In //<span style="color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">Amateur Cinema, //<span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;"> Charles Tepperman explores the meaning of the “amateur” in film history and modern visual culture.

<span style="background-color: #fefefe; color: #333333; font-family: 'Lucida Sans','Lucida Sans Unicode','Lucida Grande',Arial,Helvetica,sans-serif; font-size: 11.9990005493164px;">In the middle decades of the twentieth century—the period that saw Hollywood’s rise to dominance in the global film industry—a movement of amateur filmmakers created an alternative world of small-scale movie production and circulation. Organized amateur moviemaking was a significant phenomenon that gave rise to dozens of clubs and thousands of participants producing experimental, nonfiction, or short-subject narratives. Rooted in an examination of surviving films, this book traces the contexts of “advanced” amateur cinema and articulates the broad aesthetic and stylistic tendencies of amateur films.





Accompanying the final DRAFT responding to Aranofsky's BLACK SWAN, here are some notes (Note.Some students may take narrative study through to a successful Exam on genre this November) ||  || NEW films

Have you heard of this film? http://pro.imdb.com/video/imdb/vi2972626457

text reading option. Debate the text