No Country For Old Men: opening sequence first impressions
set: texas
genre: western; car surprises the spectator
mood: empty, the narrator is old and experienced
lack of diegetic music encourages the spectator to independently form opinions. Uneasy about decision come to.
Ambiguous opening, the spectator has to speculate about when and where the setting is
We always study:
Film form
Meaning and response
Contexts
In this film we study:
Spectatorship
ideology
Questions:
How far do your chosen films demonstrate a constant shift between passive and active spectatorship refer in detail to at least one sequence from each film
How far do you chosen films demonstrate the importance of visual and soundtrack cues in influencing spectator response refer in detail to at east one sequence from each film
How valuable has ideological analysis been in developing your understanding of the themes of your chosen films
spectator vs audience:
"even though theories of spectatorship isolate the self, this self is an abstract concept rather than a self with individuality and differences from other spectators. In other words, interest is not in observing and explaining the response of actual people but rather in the attempt to generalise about a state of being common to all people when they position themselves before a screen and watch a film"
what are the different factors when determining the impact of a film:
age, ethnicity, gender, sexuality, political alignment, nationality, socio-economic background.
Where are you watching it and who are you with
Your state of mind
When your watching it
STUART HALL devised the encoding/decoding theory in 1973. He argued that there are three ways of decoding a film:
-Preferred reading: The spectator derives the meaning of the film that the filmmaker intended; these spectators are relatively passive
-Negotiated: The spectator negotiates the films messages, accepting some whilst disagreeing with others
-Oppositional: The spectator understands the film's messages but rejects them.
-Aberrant: The spectator derives unintentional or atypical messages from a film that do not correlate with others' views
Spectator response draws in the whole of the self including:
- a social self who can make meaning in ways not very different from others with a similar ideological formation
- a cultural self who makes particular intertextual references (to other films, other kinds of images and sounds) based on the bank of material he or she possesses
-a private self who carries the memories of his/her own experiences and who may find personal significance in a film in ways very different from others in his or her community of interest
-a desiring self who brings conscious and unconscious energies and intensities to the film event hat have little to do with the films surface content
genre: western; car surprises the spectator
mood: empty, the narrator is old and experienced
lack of diegetic music encourages the spectator to independently form opinions. Uneasy about decision come to.
Ambiguous opening, the spectator has to speculate about when and where the setting is
We always study:
Film form
Meaning and response
Contexts
In this film we study:
Spectatorship
ideology
Questions:
How far do your chosen films demonstrate a constant shift between passive and active spectatorship refer in detail to at least one sequence from each film
How far do you chosen films demonstrate the importance of visual and soundtrack cues in influencing spectator response refer in detail to at east one sequence from each film
How valuable has ideological analysis been in developing your understanding of the themes of your chosen films
spectator vs audience:
"even though theories of spectatorship isolate the self, this self is an abstract concept rather than a self with individuality and differences from other spectators. In other words, interest is not in observing and explaining the response of actual people but rather in the attempt to generalise about a state of being common to all people when they position themselves before a screen and watch a film"
what are the different factors when determining the impact of a film:
age, ethnicity, gender, sexuality, political alignment, nationality, socio-economic background.
Where are you watching it and who are you with
Your state of mind
When your watching it
STUART HALL devised the encoding/decoding theory in 1973. He argued that there are three ways of decoding a film:
-Preferred reading: The spectator derives the meaning of the film that the filmmaker intended; these spectators are relatively passive
-Negotiated: The spectator negotiates the films messages, accepting some whilst disagreeing with others
-Oppositional: The spectator understands the film's messages but rejects them.
-Aberrant: The spectator derives unintentional or atypical messages from a film that do not correlate with others' views
Spectator response draws in the whole of the self including:
- a social self who can make meaning in ways not very different from others with a similar ideological formation
- a cultural self who makes particular intertextual references (to other films, other kinds of images and sounds) based on the bank of material he or she possesses
-a private self who carries the memories of his/her own experiences and who may find personal significance in a film in ways very different from others in his or her community of interest
-a desiring self who brings conscious and unconscious energies and intensities to the film event hat have little to do with the films surface content
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