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!
