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Location: EMOTIONAL WORK OF CINEMA
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| CaroBainbridge | Link to Film Studies for Free Blog | 0 | Nov 11 2009, 9:22 AM EST by CaroBainbridge | ||||
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Thread started: Nov 11 2009, 9:22 AM EST
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Oops, forgot the link. Here it is:
http://filmstudiesforfree.blogspot.com/2009/11/in-between-isms-winnicottian-film-media.html |
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| CaroBainbridge | Film Studies For Free Blog - Winnicott and cinema references | 0 | Nov 11 2009, 9:21 AM EST by CaroBainbridge | ||||
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Thread started: Nov 11 2009, 9:21 AM EST
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This is a really useful overview of work that has been done in film studies drawing on Winnicott in particular. The blog also links to our community, so it would be great to see any comments/contributions from members of MiW too!
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| DeborahYoung | Thank you for Saturday/Bits about A Clockwork Orange | 1 | May 15 2009, 6:04 AM EDT by DavidMathew | ||||
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Thread started: May 11 2009, 4:27 PM EDT
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I'm not sure how this works or where to leave a message but I just wanted to thank the organisers and speakers for last Saturday's event. I am looking forward to the next one. I was too shy to say anything at the time but I wondered if anyone else thought about these points - that the clip of Gene Kelly in Singing in the Rain was satirised by Kubrick in A Clockwork Orange, an interesting irony considering the very polarised emotions evoked. Also, my viewing of A Clockwork Orange was forever changed when I learned that the most shocking part of the film was based on an experience of Burgess and his wife during a blackout in 1943: drunken American soldiers gone AWOL invaded their home, attacked Burgess and gang-raped his wife. Since learning this I have not been able to watch the film again and I wonder how others have coped emotionally with this information. I would be very interested to hear other people's views whether you attended on Saturday or not. Thanks again for a fantastic two hours. Very best wishes, Deborah
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| PaulSutton | Public / private cinema: micro-screens and emotion | 1 | Apr 5 2009, 8:14 AM EDT by RachelShattockDawson | ||||
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Thread started: Apr 5 2009, 3:23 AM EDT
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There is an interesting editorial in the May 09 issue of Sight and Sound which picks up on this question of private cinema but in the context of the micro-screen of the ipod, etc. I had been struck by the increasing ubiquity of various kinds of digital devices, all of which enable commuters to watch film and television as they journey to and from work. What I find especially interesting is not only the way that this repositions cinema but how it also represents a private mode of viewing but in a public space. Nick James, in Sight and Sound, wonders whether a 'third aesthetic' might be developed for these micro-screens that suits both the technical limitations of these tiny screens but also 'the solipsist, the lone viewer' (Sight and Sound, 19.5, 5). I wonder what the emotional work of cinema is in these kind of viewing contexts: what kinds of emotional experiences occur for the spectator, what motivates this type of private/public spectatorship, etc. At one level the micro-screen begins to function much like the novel, a connection that James makes in his editorial by citing Bazin, writing on the novel: 'its intimate effect on the isolated reader is not the same as that of a film on the crowd in a darkened cinema' (ibid). I have been teaching a module this term entitled 'Forms of Cinema', which explored two key questions: what is cinema? where is cinema? both of which are central to the rise of the micro-screen...
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Keyword tags:
screen; ipod; novel; emotion
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| geofffascia | Cinema as a public as opposed to private event | 1 | Apr 5 2009, 3:25 AM EDT by PaulSutton | ||||
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Thread started: Mar 28 2009, 6:31 AM EDT
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Two unlikely moments in my cinema-going years have stuck with me, which affirmed more than anything the power of the collective cinema-going experience. Both concerned going to see re-releases on the big screen in sold-out cinemas. I had the pleasure of seeing The Exorcist for the first time during its cinema re-release in 2000 - there was one moment in particular when a very large amount of tension was released at the end of a scene, causing the entire crowd to visibly jump in their seats, then audibly breathe a sigh of relief. The whole audience's emotions were in sync and felt to be magnified by our collective experiencing of them. Similarly, three years previously I saw Star Wars (not for the first time) on the opening night of its 20th anniversary re-release. As the end credits rolled, spontaneous applause began rippling through the crowd. Despite the film-makers not being present at that particular small-town Odeon, it became clear that the film had a powerful effect and brought back memories for many of us ... and the heightened experience sharing it together was confirmed to all.
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| PaulSutton | Scrambled posting on the subject of the emotional work of cinema | 0 | Apr 5 2009, 3:21 AM EDT by PaulSutton | ||||
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Thread started: Apr 5 2009, 3:21 AM EDT
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Sorry but two of my posts have become scrambled. Here they are separately, I hope.
Yes, I first saw The Exorcist at a midnight screening in central London. The audience consisted of hardcore fans who were able to cite the dialogue in the film word for word and those who had simply turned up after the pubs had closed… What was interesting was that a kind of carnivalesque atmosphere prevailed, with the audience’s performance of the film undercutting any of its tension and horror. For me, a viewer who had avoided seeing it precisely because of its reputation as a truly frightening film, this turned out to be a wonderfully liberating encounter precisely because it demonstrated that the horror film and pleasure were not mutually exclusive. That said, my first encounter with The Exorcist is pertinent here, I suspect. It was non-cinematic and consisted of peers at my boarding school recounting scenes from the film at night in our dormitory after lights out – a collective experience that left far too much to my imagination…
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Keyword tags:
film; horror
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| PaulSutton | Emotional work of cinema... | 0 | Apr 5 2009, 3:17 AM EDT by PaulSutton | ||||
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Thread started: Apr 5 2009, 3:17 AM EDT
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There is an interesting editorial in the May 09 issue of Sight and Sound which picks up on this question of private cinema but in the context of the micro-screen of the ipod, etc. I had been struck by the increasing ubiquity of various kinds of digital devices, all of which enable commuters to watch film and television as they journey to and from work. What I find especially interesting is not only the way that this repositions cinema but how it also represents a private mode of viewing but in a public space. Nick James, in Yes, I first saw The Exorcist at a midnight screening in central London. The audience consisted of hardcore fans who were able to cite the dialogue in the film word for word and those who had simply turned up after the pubs had closed… What was interesting was that a kind of carnivalesque atmosphere prevailed, with the audience’s performance of the film undercutting any of its tension and horror. For me, a viewer who had avoided seeing it precisely because of its reputation as a truly frightening film, this turned out to be a wonderfully liberating encounter precisely because it demonstrated that the horror film and pleasure were not mutually exclusive. That said, my first encounter with The Exorcist is pertinent here, I suspect. It was non-cinematic and consisted of peers at my boarding school recounting scenes from the film at night in our dormitory after lights out – a collective experience that left far too much to my imagination…
out of
found this valuable.
Do you find this valuable?
Keyword tags:
film; horror
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