When genre meets ideal type. For a sociology of cinematic love Date: 15, May, 2009, 10:30-12:30 Place: National Kaohsiung Normal University Speaker: Dr.

When genre meets When genre meets ideal type.ideal type.

For a sociology of cinematic For a sociology of cinematic lovelove

Date: 15, May, 2009, 10:30-12:30Place: National Kaohsiung Normal University Speaker: Dr. Yi-Tung Chang, Assistant Professor at the Department of Social Development, National Pingtung University of Education

Foreword

愛情就是有無辜的難過沒辦法自由的在江湖中活動一定會有悲傷和憂愁

---- 張伊絢

Introduction Film 1: Cinema Paradiso Film 2: Kate and Leopold

Main elements in cinematic love of a romance film:

What is cinematic love? Not the real one, but its model.

The framework for this study: a figurational approach for cultural production

Fragen & Fragestellungen Symbol and model-setting

Reading films

Film in the language system Film as text: Text in context Film as cultural production: sociology of cinema, s

ociology of art, sociology of culture Cinema in society and society in film Film genre: romance film -- obstacles to be overco

me Multiple genres. Ex.: Titanic, Brokeback Mountain Personal style: Match Point Outside the genres: Bella Martha, Das Leben der A

nderen, Le fabuleux destin d'Amélie Poulain, Cape No.7

Model-setting effect Model-setting: wind over grass Supplementary conceptualization of

socializing and educating Modeling process on several overlapped

levels, including self-modeling Cinematic expression and representation as

material for modeling Sleepless in Seattle Love letter – The Classic – Cape No.7

Towards an typology of cinematic love

Typology I: stages

A general theory of communication: encounter, decision, exchange, period.

Cinematic love: from beginning (ex. gazing) to ending (ex. eternal happiness or loss)

Film narrative and the organizing of the stages

Film 3: The Light Death in Venice: one-sided observation Before Sunrise: building the relationship Film 10

Typology II: Love relationships and their cinematic presentation

Masculinity and Herr-Schaft Film 4: Porco Rosso Casablanca + Tiger and Dragon; “red rose and w

hite rose” theme and its mirror image; Cf. My fair lady and Lolita; plus class then Titanic, Match Point

Wahlvwerwandtschaften: selective affinity (chemistry, Goethe and Weber)

Film 5 : Closer Tiger and Dragon, In the mood for love after closer: The Most Distant Course Liquid love: Bauman on love in handy-msn age Film 6 : Three Times

Film language: Frame in frames

Film language and framing, communication theory (channel, media and message, et cetera) and MV generation

Film 7: Bad blood

Frames, shots, scenes, and sequences; Montage; Mise en scene

façade Lust, Caution cf.

Performance as linking between the real and the imagined

Frame in frames. Part Two

Presentation/theater/GoffmanFilm 8: Shakespeare in love

The French Lieutenant's Woman / La vita che vorrei (The life I want)Film 9: In the mood for love

One-sided love cf. gaze ex. Death in VeniceFilm 10: Actually love

Typology III. Characteristics of cinematic love.

Destiny as example Destino, impossibility, ecstasy, passion… Boundary, class, ethnicity…et cetera.

Sense and sensibility P.S. I love you Only you Ghost Meet Joe Black, Somewhere in time Love letter

Reading

Literature reading film reading: decoding at first sight

Element and style: beginners’ guide to learn to read films. From Benjamin to Krakauer Film theory as meta-theory Further study: visual culture, visualization…

Amour, amour…

Where the sociology of love might stop and life goes on , the sociology of cinema goes one step further to produce a Märchen

We go much further to search for the meaning of the “real” in the symbolic production and exchange.

Back to Kate and Leopold

The End. Thanks for your attention!