PAPER ONE PROMPTS

Hi all,

Here are some quick ideas on possible topics to consider for your first paper:

1.) Account for the difference in opinion on the topic of mass culture in W. Benjamin's "Work of Art in the Age of Mechanical Reproduction" and either Adorno's chapter in "The Dialectic of Enlightenment" ("The Culture Industry: Enlightenment as Mass Deception) or "On the Fetish-character of Music and the Regression of Listening." Consider each writer's opinions on the possibilities for a mass cultural art, the effect on viewers, etc. Be specific in tracing the contrasts of two and the reasoning behind the differences. You can use any TV/ film text to help illuminate arguments.

2.) Compare W. Benjamin's discussion of the proper use of art in the age of mechanical reproduction (and the dangers of its misuse) and its effect on viewers with Peter Wollen's characterization of counter cinema forty years later in "Godard and Counter Cinema: Vent d'Est." You can use any TV / film text to help elucidate the contrast.

3.) Adorno spent a lot of time trying to understand and critique the use of propaganda. Eisenstein's early film works and writings were in essence concerned with propaganda. Knowing what we know of each thinker, how would each respond to the other's works. In other words what is the Adorn-ic criticism of Eisenstein and what is the Eisensteinian criticism of Adorno. Bring in as many outside works of each as is necessary. Be careful to avoid simple political oppositions and, instead, consider more fully each thinker's understanding of film and film viewership.

4.) Contrast Eisenstein's "A Dialectical Approach to Film Form" with any number of the director's later (post-1930) writings. How and why did his ideas concerning montage and spectatorship evolve?

5.) In his discussion of film aesthetics Bazin sought for support / examples from the other arts. A particularly counterintuitive case is the author's defense of theater on film ("Theater and Cinema" [parts one and two]). How can this discussion be reconciled with the critic's theories as established in "An aesthetic of reality" and "The Ontology of the Photographic Image"?

6.) On a certain level JL Baudry and his contemporaries (Christian Metz, Stephen Heath, etc.) were critics of film and film practices that "center" the viewer. However, Bazin in his characterization of cinematic realism -- the bete noire of apparatus theory -- was making similar claims about the ideal function of cinema. In what way were apparatus theorists expanding on the ideas of Bazin and how were they moving beyond them?

7.) What can we learn / take from apparatus theory in a post-cinema, post-feminist age in which many of the supporting struts to their claims of dominant ideology in film and film viewership have been cast aside -- what is still vital and interesting in these theories? Give lots of examples.

8.) What are the possibilities for a cinematic pleasure outside of dominant ideology afforded for by Laura Mulvey? Explain and give lots of examples.

These are just my initial ideas -- may have more as time goes on. Email for any needed clarification. Also if you have a different idea that you may feel is appropriate, email it too me and I'll give it a once over.

I'll talk a little more about this is class, but my expectations concerning the paper are basically the following:

1.) you must have a central thesis / argument guiding everything addressed in the paper
2.) paper must be 5-7 pages
3.) paper must BE SPECIFIC -- don't make reference to "the part in Bazin where he talks about..." or "the part in "Potempkin" where..." -- instead quote / paraphrase / explicate / expand / clarify AT LENGTH
4.) paper must use at least one academic source not included in coursepack (many prompts have recommendations -- ask me if you need more)
5.) papers must cite in an "academic" fashion

more questions? email, or we can all talk later