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Samenvatting Ontwikkeling & Esthetiek van de Film UGent
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Samenvatting Ontwikkeling & Esthetiek van de Film UGent
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ONTWIKKELING &ESTHETIEK VAN DE FILM
Samenvatting Ontwikkeling & Esthetiek van de Film – Gilles 1
,Inhoudsopgave
INLEIDING ....................................................................................................................................................... 5
DOEL CURSUS ..................................................................................................................................................... 5
H1: INLEIDING OVER FILMGESCHIEDENIS EN FILMHISTORIOGRAFIE ................................................................ 6
1.1 PROBLEMATIEK VAN FILMGESCHIEDENIS..................................................................................................... 6
1.2 ARCHIEVEN ................................................................................................................................................... 6
1.3 FILMHISTORIOGRAFIE ................................................................................................................................... 7
1.3.1 KLASSIEKE FILMHISTORIOGRAFIE.......................................................................................................... 7
1.3.2 REVISIONISTISCHE FILMHISTORIOGRAFIE ............................................................................................. 7
1.4 SOORTEN FILMGESCHIEDENIS ...................................................................................................................... 8
1.4.1 ESTHETISCHE FG.................................................................................................................................... 8
1.4.2 TECHNOLOGSICHE FG ........................................................................................................................... 8
1.4.3 ECONOMISCHE FG ................................................................................................................................ 8
1.4.4 POLITIEKE FG ......................................................................................................................................... 9
1.4.5 SOCIO-CULTURELE FG ........................................................................................................................... 9
1.4.6 VORM, INHOUD, IDEOLOGIE............................................................................................................... 10
1.4.7 FG: SLOT .............................................................................................................................................. 10
1.4.8 FG: MENGVORMEN............................................................................................................................. 10
H2: CRASH COURSE FILMTAAL EN -ANALYSE ................................................................................................. 11
ALFRED HITCHCOCK .......................................................................................................................................... 11
2.1 INLEIDING: WAT IS FILMANALYSE (FA)? ..................................................................................................... 11
2.2 DENKKADERS, PERSPECTIEVEN, PARADIGMA’S .......................................................................................... 12
2.3 FILMANALYSEMODELLEN ........................................................................................................................... 12
2.3.1 MODEL ANDRÉ VANDENBUNDER ....................................................................................................... 13
2.3.2 MODEL BORDWELL & THOMPSON ..................................................................................................... 14
2.3.3 MODEL AUMONT & MARIE................................................................................................................. 14
2.3.4 MODEL JOHAN VAN KEMPEN ............................................................................................................. 14
2.3.5 MODEL CHRIS VOS .............................................................................................................................. 14
2.4 MODEL ........................................................................................................................................................ 14
2.4.1 CINEMATOGRAFIE............................................................................................................................... 14
2.4.2 MISE-EN- SCÈNE .................................................................................................................................. 15
2.4.3 MONTAGE, NARRATOLOGIE EN TECHNISCHE LAS .............................................................................. 16
2.4.4 NARRATIEVE ANALYSE ........................................................................................................................ 17
2.4.5 GELUID ................................................................................................................................................ 18
2.4.6 ICONOGRAFIE...................................................................................................................................... 19
2.4.7 THEMATISCHE ANALYSE ..................................................................................................................... 19
2.5 OPERATIONALISERING ................................................................................................................................ 19
2.6 CONCLUSIES ................................................................................................................................................ 20
H3: VROEGE CINEMA: OVER PRECINEMA EN DE VROEGE ONTWIKKELING VAN DE FILMTAAL (TOT WOI) ...... 21
3.1 CONCEPT ‘VROEGE CINEMA’ ...................................................................................................................... 21
3.2 PRECINEMA (VOOR 1895) ........................................................................................................................... 21
3.2.1 CONTEXT VAN ONTSTAAN EN START FILM ......................................................................................... 21
3.2.2 TECHNOLOGISCHE VOORWAARDEN VOOR FILM ............................................................................... 22
3.2.3 ENKELE VOORLOPERS ......................................................................................................................... 22
3.2.4 START CINEMA .................................................................................................................................... 23
3.3 PRIMITIEVE CINEMA (1895 – 1904/5) ........................................................................................................ 24
Samenvatting Ontwikkeling & Esthetiek van de Film – Gilles 2
, 3.3.1 INLEIDING............................................................................................................................................ 24
3.3.2 VISIES OVER PRIMITIEVE CINEMA ....................................................................................................... 25
3.3.3 FRANKRIJK ........................................................................................................................................... 25
3.3.4 BRIGHTON SCHOOL............................................................................................................................. 26
3.3.5 HETEROGENITEIT VAN DE EARLY CINEMA .......................................................................................... 26
3.4 VAN PRIMITIEVE NAAR CLASSICAL NARRATIEVE CINEMA (1904/5 – 1914/18) .......................................... 27
3.4.1 INLEIDING............................................................................................................................................ 27
3.4.2 VAN MPPC NAAR VERTICAAL GEÏNTEGREERDE CINEMA .................................................................... 27
3.4.3 CASE: EDWIN S. PORTER ..................................................................................................................... 29
3.4.4 CASE: D. W. GRIFFITH.......................................................................................................................... 29
3.4.5 SLOT .................................................................................................................................................... 31
H4: INTERNATIONALE EXPANSIE VAN DE CINEMA I: GROEI VAN EEN INDUSTRIE (1914 – 1939)..................... 32
4.1 INLEIDING: HOLLYWOOD ALS MYTHE, INSDUSTRIE, ETHIEK ...................................................................... 32
4.2 HOLLYWOOD COMEDY/IES, CASE: KEATON................................................................................................ 34
4.3 CHARLES CHAPLIN (1889 – 1977), CASE: CITY LIGHTS ................................................................................ 35
4.4 INTRODUCTIE VAN SYNCHROON GELUID ................................................................................................... 36
H5: SOVJETCINEMA ...................................................................................................................................... 38
5.1 INLEIDING: BELANG SOVJETFILM ................................................................................................................ 38
5.2 PREREVOLUTIONAIRE PERIODE (VOOR 1917) ............................................................................................ 39
5.3 BURGEROORLOG EN EERSTE REVOLUTIONAIRE PERIODE (1917/18 – 1920) ............................................. 39
5.4 FILM EN NEP (1921 – 1924) ........................................................................................................................ 40
5.5 KERNPERIODE EN INTERNATIONALE UITSTRALING VAN SOVJETFILM (1924/25 – 1929) ........................... 41
5.5.1 ALGEMEEN .......................................................................................................................................... 41
5.5.2 CASE: SERGEI EISENSTEIN ................................................................................................................... 41
5.5.3 CASE: PANTSERKRUIZER POTEMKIN (EISENSTEIN) ............................................................................. 43
5.6 SLOT: STALIN EN FILM (NA 1929)................................................................................................................ 45
H6: INTERNATIONALE AVANT-GARDE EN FRANS POËTISCH REALISME .......................................................... 46
6.1 INLEIDING: BELANG FRANSE CINEMA TIJDENS HET INTERBELLUM ............................................................ 46
6.2 INTERNATIONALE AVANT-GARDE FILMBEWEGINGEN ............................................................................... 47
6.2.1 IMPRESSIONISTISCHE CINEMA............................................................................................................ 47
6.2.2 TWEEDE INTERNATIONALE AVANT-GARDE FILM................................................................................ 47
6.2.3 SURREALISTISCHE CINEMA, CASE: LUIS BUÑUEL EN UN CHIEN ANADALOU ...................................... 48
6.3 FRANSE CINEMA IN JAREN 1930: TUSSEN AVANT-GARDE EN MAINSTREAM CINEMA, CASE: FEYDER ...... 50
6.4 POËTISCH REALISME, CASES: JEAN VIGO EN JEAN RENOIR, LE CRIME DE MONSIEUR LANGE.................... 51
H7: WEIMAR EN NAZI-DUITSLAND ................................................................................................................ 54
7.1 INLEIDING ................................................................................................................................................... 54
7.2 CINEMA IN DE WEIMARREPUBLIEK ............................................................................................................ 54
7.2.1 SITUERING ........................................................................................................................................... 54
7.2.2 EXPRESSIONISTISCHE CINEMA ............................................................................................................ 56
7.2.3 KAMMERSPIELFILME ........................................................................................................................... 58
7.2.4 NIEUWE ZAKELIJKHEID, CRISIS EN KRITIEK.......................................................................................... 59
7.2.5 EINDE VAN DE INFLATIE, OPKOMST NAZISME EN NEERGANG ........................................................... 59
7.3 NAZI-CINEMA .............................................................................................................................................. 62
7.4 SLOT: ERFENIS ............................................................................................................................................. 63
Samenvatting Ontwikkeling & Esthetiek van de Film – Gilles 3
, H8: NEOREALISME ........................................................................................................................................ 64
8.1 INLEIDING: BELANG VAN ITALIAANSE CINEMA, INCLUSIEF EERSTE HOOGTEPUNT ITALIAANSE CINEMA .. 64
8.2 INTERBELLUM, FASCISME EN FILM (1922 – 1943) ...................................................................................... 64
8.3 NEOREALISME ............................................................................................................................................. 65
8.3.1 SITUERING EN INSPIRATIE ................................................................................................................... 65
8.3.2 KENMERKEN........................................................................................................................................ 66
8.3.3 ENKELE REGISSEURS............................................................................................................................ 66
8.3.4 CASE: ROMA, CITTÀ APERTA ............................................................................................................... 68
8.4 ERFENIS NEOREALISME ...................................................................................................................... 69
H9: NOUVELLE VAGUE .................................................................................................................................. 70
9.1 INLEIDING ................................................................................................................................................... 70
9.2 FRANSE CINEMA EN WO2 ........................................................................................................................... 70
9.3 NAOORLOGSE CINEMA ............................................................................................................................... 70
9.4 NOUVELLE VAGUE ...................................................................................................................................... 72
9.4.1 ACHTERGROND EN VOORLOPERS ....................................................................................................... 72
9.4.2 KENMERKEN EN PERIODISERING ........................................................................................................ 74
9.4.3 ENKELE AUTEURS ................................................................................................................................ 75
9.4.4 CASE: A BOUT DE SOUFFLE ................................................................................................................. 76
9.5 ERFENIS NOUVELLE VAGUE ........................................................................................................................ 79
H10: NAOORLOGSE AMERIKAANSE CINEMA ................................................................................................. 80
10.1 HOLLYWOOD TIJDENS WOII, CASE CITIZEN KANE (1941) ......................................................................... 80
10.2 NAOORLOGSE PERIODE (1945 – 1951) ..................................................................................................... 82
10.3 FILM NOIR, CASE DOUBLE INDEMNITY (1944) .......................................................................................... 85
10.4 BREUKEN IN HET SYSTEEM (1952 – 1965) ................................................................................................ 88
H11: RECENTE AMERIKAANSE CINEMA: NEW HOLLYWOOD, TEGENCULTUUR EN EVENT CINEMA ................. 90
11.1 NAAR NEW HOLLYWOOD ......................................................................................................................... 90
11.2 NEW HOLLYWOOD CINEMA (NHC) (1965 – 1995) .................................................................................... 91
11.2.1 CASE: PENN & BONNIE AND CLYDE .................................................................................................. 92
11.2.2 CASE: HOPPER & EASY RIDER ............................................................................................................ 92
11.2.3 CASE: COPPOLA & APOCALYPSE NOW .............................................................................................. 92
11.2.4 CASE: SPIELBERG & JAWS ................................................................................................................. 93
11.3 NEW GOLDEN ERA OF ‘POST CLASSICAL’ HOLLYWOOD (1995 - …)........................................................... 93
H12: INTERNATIONALE AUTEURSCINEMA: CAPITA SELECTA.......................................................................... 96
12.1 JEANNE DIELMAN, 23, QUAI DU COMMERCE, 1080 BRUXELLES: OVER FEMINISTISCHE CINEMA EN HET
DOORBREKEN VAN DE MALE GAZE .................................................................................................................. 96
12.2 THE BATTLE OF ALGIERS: OVER MILITANTE CINEMA EN DE NIET-WESTERSE BLIK ................................... 99
12.3 FOR SAMA: OVER KRITISCHE OORLOGSDOCUMENTAIRE, DE NIET-WESTERSE BLIK VAN HET
SLACHTOFFER EN DE URGENTIE VAN CINEMA ................................................................................................. 99
Samenvatting Ontwikkeling & Esthetiek van de Film – Gilles 4
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