FAVz074 Media, Cinema and Controversy

Filozofická fakulta
podzim 2018
Rozsah
2/0/0. 5 kr. Ukončení: zk.
Vyučující
Daniel Biltereyst, prof. (přednášející), doc. Mgr. Pavel Skopal, Ph.D. (zástupce)
Mgr. Jitka Lanšperková (pomocník)
Mgr. Kateřina Šardická (pomocník)
Mgr. Petronela Vavreková (pomocník)
Garance
doc. Mgr. Pavel Skopal, Ph.D.
Ústav filmu a audiovizuální kultury – Filozofická fakulta
Kontaktní osoba: Patrycja Astrid Twardowska
Dodavatelské pracoviště: Ústav filmu a audiovizuální kultury – Filozofická fakulta
Rozvrh
Út 13. 11. 12:00–15:40 C34, St 14. 11. 10:00–11:40 C34, 14:00–15:40 C34, Čt 15. 11. 10:00–11:40 C34
Omezení zápisu do předmětu
Předmět je nabízen i studentům mimo mateřské obory.
Předmět si smí zapsat nejvýše 69 stud.
Momentální stav registrace a zápisu: zapsáno: 1/69, pouze zareg.: 0/69, pouze zareg. s předností (mateřské obory): 0/69
Mateřské obory/plány
předmět má 10 mateřských oborů, zobrazit
Cíle předmětu
This course will provide entrances on current trends within film and cinema historiography with a focus upon cinema as central societal platforms of public debate and controversy, but also of mechanisms of controlling, surveilling, censoring those platforms.
Výstupy z učení
- foster a better understanding of key concepts around film, cinema and media as societally sensitive platforms for public debate, controversy and control - introduce and apply methodologies of researching media as societally sensitive platforms - get acquainted of important historical cases of controversial media, media products, media events, from the perspectives of their production, distribution, exhibition and reception.
Osnova
  • 5 lectures:
  • - Tuesday 13/11, 12.00 - 13.30: Lecture 1: Concepts and Theories This lecture aims at introducing a few key concepts including public sphere and the media, public debate, controversy, moral and media panic, control, censorship, discipline, and surveillance. The lecture will go into a several cases of controversial new media, controversial media products or genres, and events, with cases like reality tv and the introduction of cinema as a societal danger. Text: o Reading text 1. Biltereyst, D. (2004), Media audiences and the game of controversy. On reality TV, moral panic and controversial media stories, Journal of Media Practice, 5(1): 7-24.
  • - Tuesday 13/11, 14.00 - 15.30: Lecture 2: Cinema Censorship I: USA and Hollywood pictures around the world This lecture aims at introducing the history of the highly sophisticated control mechanisms in Hollywood, probably the most powerful center of producing mediated imagery in the world. Besides going into the history of Hollywood censorship, the lecture also aims at focusing on the different mechanisms of controlling and evading institutional control, as well as comparing some mechanisms of censorship of US films abroad. Texts: o Reading text 2. Biltereyst, D. (2011) Censorship, negotiation, and transgressive cinema: Double Indemnity, Some Like it Hot and other controversial movies in the USA and Europe, pp. 145-160 in: K. McNally (Ed.) Billy Wilder, Moviemaker: Critical Essays on the Films. Jefferson, NA, USA: McFarland Publishers.
  • - Wednesday 14/11, 10:00-11:30: Lecture 3: Cinema Censorship II: varieties of control, censorship, discipline, surveillance This lecture aims at expanding the concept of film and cinema censorship by looking at a wide variety of other mechanisms of controlling film images, the places where movies were screened, how people watched, and other levels of control, censorship and surveillance around cinema as a societal institution. Text: o Reading text 3. Müller, B. (2004), ‘Censorship and cultural regulation: Mapping the territory’, pp. 1-31 in: B. Müller (ed.), Censorship & Cultural Regulation in the Modern Age, Rodopi.
  • Wednesday 14/11, 14.00 - 15.30: Lecture 4: Researching Film and Cinema Controversy I: traditions, methods, levels This lecture aims at going into approaches and methods of researching film and cinema controversy and control. This includes an overview of research traditions which focus on the film text (cf. representation, ideology, spectatorship) as well as traditions which aims at contextualizing controversial movies by using more contextualizing sources and traces, including those related to the movies’ societal and audience reception. A special focus will be laid on new cinema historiography which aims at defocusing the primacy of the film text. Text: o Reading text 4. Biltereyst, D. & Meers, Ph. (2018) Film, cinema and reception studies: Revisiting research on audience’s filmic and cinematic experiences, pp. 21-41 in E. Di Giovanni & Y. Gambier (eds.) Reception studies and audiovisual translation. Amsterdam: John Benjamins Publishing.
  • - Thursday 15/11, 10:00-11:30: Lecture 5: Researching Film and Cinema Controversy II: cases This talk aims at going into historical cases around a few societally sensitive issues like politically controversial films, as well as the issue of exhibiting and screening sexually sensitive images with a special case study on the emergence and growth of sex cinemas. Text: o Reading text 5. Barker, M. et al (2007), ‘Audiences and Receptions of Sexual Violence in Contemporary Cinema: Baise-moi’, Research report for the British Board of Film Classification, 67-93 o Reading text 6. Biltereyst, D. (2018) Sex Cinemas, Limit Transgression and the Aura of ‘Forbiddenness’: The Emergence of risqués cinemas and Cinema Leopold in Ghent, Belgium, 1945-1954, Film Studies, 18(3): 14-33.
Výukové metody
Lectures
Metody hodnocení
Preliminary test based on the knowledge of papers in the reader (40%) and final test based on the knowledge of the lectures (60%). The knowledge of the essays will be tested before the first lecture.
Vyučovací jazyk
Angličtina
Informace učitele
Daniel Biltereyst is Professor in Film and Media History and director of the Cinema and Media Studies research center (CIMS) at Ghent University, Belgium. Besides exploring new approaches to historical media and cinema cultures, he is engaged in work on film and screen culture as sites of censorship, controversy, public debate and audience engagement. Biltereyst has published widely on these matters in edited volumes and journals, like recently in Cultural Studies, European Journal of Cultural Studies, Film Studies, Historical Journal of Film, Radio & Television. He is the (co-)editor of Explorations in New Cinema History (2011), Cinema, Audiences and Modernity (2012, both with R. Maltby and Ph. Meers), Silencing Cinema (2013, with R. Vande Winkel), Moralizing Cinema (2015, with D. Treveri Gennari), and a special issue on cinemagoing experiences and memory for Memory Studies (2017, with A. Kuhn and Ph. Meers). In 2019, two new volumes will be published: The Routledge Companion to New Cinema History (with R. Maltby and Ph. Meers) and on Mapping Movie Magazines (Palgrave). He is now also finalizing a monograph on the history of film censorship and control in Belgium (Forbidden Images, 2019). Biltereyst was the promotor of several major research projects, including one on the history of film censorship in Belgium (Forbidden Images, 2003-7); on film exhibition and cinemagoing in Flanders (The Enlightened City, 2005-8) and in Ghent (Gent Kinemastad, 2009-12); one on queer media (Out on Screen, 2008-11); one on youngsters and cinema (Screen(ing) Audiences, 2013-7, Ph. Meers was main promotor); one on health and media ((De)constructing health news, 2014-18); and he has been the supervisor of 17 PhD’s. With Ph. Meers he launched the Cinema City Cultures network, based on an international network of New Cinema History inspired, city-centered research projects, mainly in Mexico, Spain, the USA (http://www.cinemacitycultures.com/). Currently he is also the main promotor of the FWO funded Scientific Research Network DICIS/Digital Cinema Studies (2014-19, https://www.digitalcinemastudies.com/), and of the newly Hercules funded project Cinema Ecosystem: towards an open access data platform for cinema history in Belgium (Cinecos, 2018-21). He is currently supervising 5 PhD’s and is the supervisor of two EU post-doctoral Marie Skłodowska Curie (MSCA) Individual Fellowships.
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Obligatory 100% attendance (with the exception of distance students who are allowed to miss 2 out of 6 sessions).
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