AVAB Key Concepts & Works PDF

Concepts: foundational ideas or categories organizing knowledge Theories: organized explanations clarifying relationships between different elements Frameworks: structures consisting of interrelated theories providing the guiding principles for research Methodologies: approaches used to collect a...

Concepts: foundational ideas or categories organizing knowledge Theories: organized explanations clarifying relationships between different elements Frameworks: structures consisting of interrelated theories providing the guiding principles for research Methodologies: approaches used to collect and analyze data, implement a framework, and solve or analyze specific problems The frameworks 1. 2. 3. 4. 5. 6. **1 Authorship** Auteur Metteur-en-scene Caméra-stylo Implied author Intentional fallacy Auteur brand Authorial expression Key works - - - **2 Reception** Encoding-decoding Interpretive Communities Horizon of Expectation Elitism Hegemony (in cultural studies) Popular culture as "structure" Popular culture as "agency" Subject position Dominant, negotiated, and oppositional reading Key works - - - - 3 Intersectionality Intersectionality Black feminism Race, gender, class, sexuality Social locations Social dynamics Oppressive systems Interactivity of social identity structures Marginalization Positionality Single or double identity politics Key works - - - - 4 Ecology and Acoustemology Acoustemology Soundscape Schizophonia Schizophonic mimesis Mobile sound system culture Aesthetic individualization of listening the public sphere Flaneurism Sound utopias Sound bubbles in the public sphere Key works - - - - 5 Cultural Memory Cultural and audiovisual memory Archive Memory film and media Remediation and premediation Postmemory Reflective vs restorative nostalgia Postnostalgia (pastiche) vs ordinary nostalgia films Key works - - - - - 6 Postcolonialism Colonialism Imperialism Neocolonialism Postcolonialism Colonial discourse Decolonization (of the mind) Orientalism Counter cinema Third cinema Guerilla cinema Accented cinema Transnational cinema Key works - - - THE READINGS 1 David Gerstner, «The Practicesof Authorship» 1 AvraSidiropolou, «Auteurism: New Theater\...» 2 John Storey, «Encoding and Decoding in TV Discourse» 2 Mark Fortier, «Reader-Responseand Reception Theory» 3 Janell Hobson,«Digital Whiteness, Primitive Blackness» 3 David S. Diffrient, «Back-up Singers, Celebrity Cultures\...» 4 Michael Bull, «The Audiovisual iPod» 4 Leah Barclay, «Acoustic Ecology and Ecological Sound Art» 5\. Astrid Eril, «Literature, Film, and the Mediality of Cult Mem» 5 Milija Gluhovic, «Searching for a Common Ground» 6 Fernando Solanas, Octavio Getino, «Towardsa Third Cinema» 6 Robert C. Young, «PostcolonialRemains» Mock exam \#1 - Mock exam \#2 - \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_ **1 Authorship** ---------------- **Auteur**: A filmmaker whose [personal creative vision and style] are so distinct that they are considered the primary "author" of their works - **Metteur-en-scene**: a director who skillfully [orchestrates the elements of mise-en-scène] (staging, lighting, camera work, and performance) but is **not** necessarily seen as an auteur - **Caméra-stylo**: introduced by ***Alexandre Astruc*** to describe the idea of filmmaking as a form of personal writing, where the [camera becomes a tool for expressing thoughts and ideas] - **Implied author**: the narrative voice or [guiding presence inferred] from a film's structure, tone, and stylistic choices. - - **Intentional fallacy**: Critiques the practice of evaluating a work solely based on the creator's stated intentions. - - **Auteur brand**: the [marketable persona] or public image of a director as an auteur. - **Authorial expression**: the [distinct voice or creative signature that a filmmaker embeds in their work] - Key works - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - **2 Reception** --------------- **Encoding-decoding**: a model of communication in cultural studies introduced by ***Stuart Hall*** that explains how media messages are [produced, circulated, and interpreted] - - - - **Interpretive Communities**: a concept from [reader-response theory] that suggests audiences are [not passive recipients of media] but instead interpret texts based on [shared cultural backgrounds, experiences, and social contexts] - **Horizon of Expectation**: a term from reception theory describing the set of [cultural, historical, and aesthetic expectations that audiences bring to a text] - **Elitism**: refers to the belief that certain cultural products or forms (eg classical music, fine art) are inherently [superior] to others (eg popular culture) - **Hegemony (in cultural studies)**: derived from ***Antonio Gramsci***, hegemony refers to the [dominance of a particular ideology or worldview in society], maintained **not** by force but through [cultural] means - - **Popular culture as "structure"**: this view sees popular culture as [shaped and constrained by larger social, political, and economic systems] - **Popular culture as "agency"**: This perspective emphasizes the [active role of individuals and communities] in creating, shaping, and reinterpreting popular culture - **Subject position**: a concept describing how [individuals] are "positioned" by [cultural and ideological structures within texts or society] - - **Dominant, negotiated, and oppositional reading**: decoding a media text - - - Key works - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - **3 Intersectionality** ----------------------- **Intersectionality**: a concept coined by ***Kimberlé Crenshaw*** that examines how different aspects of a person's identity - such as race, gender, class, sexuality, ability, and more - [interact and overlap to create unique experiences of oppression and privilege] - **Black feminism**: a strand of feminism that centers the experiences of Black women, recognizing that their struggles are distinct due to the [intersection of racism and sexism] - **Race, gender, class, sexuality**: key axes of identity that shape individual experiences and social hierarchies - **Social locations**: the specific positions individuals occupy within societal structures based on factors like race, gender, class, sexuality, and ability - **Social dynamics**: the [patterns of interaction] between individuals and groups, s[haped by societal norms, power structures, and cultural expectations] - **Oppressive systems**: [structures and institutions] (eg patriarchy, racism, capitalism) that [perpetuate inequality and marginalization] - **Interactivity of social identity structures**: the way different social identities (race, gender, class, etc) interact and influence each other in complex, dynamic ways - **Marginalization**: the process by which certain groups are [pushed to the edges of society], denied access to resources, power, or recognition - **Positionality**: an [individual's perspective and understanding of the world], shaped by their social location, identity, and experiences - **Single or double identity politics** - - Key works - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - **4 Ecology and Acoustemology** ------------------------------- **Acoustemology**: coined by ***Steven Feld***, combining "[acoustics]" and "[epistemology]", referring to the study of [sound as a way of knowing and experiencing the world] - **Soundscape**: popularized by ***R. Murray Schafer***, referring to the [acoustic environment as perceived and experienced by individuals] - **Schizophonia**: also introduced by ***Schafer***, describing the [separation of sound from it\'s original source through recording and reproduction technologies] - **Schizophonic mimesis**: (feld) referring to the process of [imitating or adapting recorded sounds] in new contexts, often [leading to questions about authenticity and appropriation] - **Mobile sound system culture**: the culture surrounding portable or mobile sound systems, such as those used in [Jamaican reggae, hip-hip, or edm scenes] **Aesthetic individualization of listening the public sphere**: the phenomenon where [individuals curate personalized sound experiences] (eg using headphones) that isolate them from shared public auditory spaces - **Flaneurism**: borrowed from literary and urban studies, describing [the act of wandering through urban spaces while observing and experiencing the environment] - **Sound utopias**: imagined or idealized auditory environments that offer a **sense of harmony, peace, or escape from the noise and chaos of modern life** - **Sound bubbles in the public sphere**: the use of **personal sound devices** to create an individual auditory space (within a shared environment) Key works - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - **5 Cultural Memory** --------------------- **Cultural and audiovisual memory**: the [collective memory of a society as transmitted and shaped through audiovisual media, such as film, television, and digital media] - - **Archive**: a collection or repository of materials (documents, images, sounds, films etc) that [preserve historical or cultural records] - **Memory film and media**: media that explicitly deal with themes of memory, often focusing on personal, collective, or historical [remembrance] - **Remediation**: describes the process by which [newer media forms represent and refashion older media] - **Premeditation**: [anticipating or pre-imagining events before they happen], often through contemporary documentaries - Postmemory: refers to the way second- or third- generation individuals relate to traumatic events they did not directly experience but inherit through stories, images, and cultural representations - **Reflective nostalgia**: a [contemplative and critical engagement with the past], acknowledging it\'s [complexity] and [irretrievability] - **Restorative nostalgia**: a [longing] for an idealized or reconstructed version of the past, often seeking to ["restore" it] - **Postnostalgia (pastiche) vs ordinary nostalgia films** - - Key works - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - **6 Postcolonialism** --------------------- Colonialism = the historical practice of one nation or group asserting control over another, often through settlement, exploitation of resources, and cultural domination - **Imperialism** = a broader concept than colonialism, referring to the [political, economic, and cultural dominance of one nation over others], often through indirect means like economic control or ideological influence - **Neocolonialism** = a [modern] form of colonialism where [former colonial powers maintain economic, political, and cultural influence over former colonies without direct governance] - Postcolonialism = a theoretical framework that analyzes the effects of colonialism and it\'s aftermath, including cultural identity, hybridity, and resistance - - Colonial discourse = the body of texts, media, and practices that perpetuate colonial ideologies, such as the supposed superiority of western culture (films like Tarzan (1932) exemplify colonial discourse, depicting colonized peoples as exotic or inferior -\> irrelevant for course though) Decolonization (of the mind) = refers to the process of rejecting colonial ideologies and reclaiming indigenous knowledge, language, and identity - Orientalism = A concept by Edward Said describing how the west constructs a stereotyped and exoticized image of "the east" to assert cultural superiority - **Counter cinema** = films that [oppose the dominant conventions of mainstream cinema, often challenging it\'s ideologies, structures, or aesthetics] **Third cinema** = term coined by Fernando Solanas and Octavio Getino to describe [politically revolutionary films from the Global south that oppose colonialism, capitalism, and imperialism] (Eg Hour of the Furnaces, 1968) Guerilla cinema = a form of third cinema that uses low budget, grassroots methods to produce films, often under oppressive regimes, prioritize political impact over aesthetics Accented cinema = term by Hamid Naficy describing films by diasporic or exilic filmmakers, often reflecting themes of displacement, identity, and hybridity Transnational cinema = films that cross national boundaries in production, distribution, or themes, reflecting globalization and cultural hybridity Key works - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Concept The Battle of Algiers The Hour of Furnaces BabaKiueria ------------------------------ ------------------------------- --------------------------------- ------------------------------------------ Imperialism & neocolonialism Portrays French rule Critque Western control Satirizes Australian policies Postcolonialism Celebrates resistance Calls for cultural identity Exposes postcolonial marginalization Colonial discourse Deconstructs propaganda Challenges western myths Reverses colonial logic Decolonization (of the mind) Highlights cultural awakening Advocates for mental liberation Invites rethinking of colonial attitudes Orientalism Critiques "othering" Exposes exoticization Parodies stereotypes Counter cinema Documentary-like realism Radical aesthetics Satirical narrative Third cinema Revolutionary narrative Seminal example Challenges imperial norms Guerilla cinema Semi-convert production Covert production \- Accented cinema Voice of the oppressed Voice of the oppressed Marginalized perspective Transnational cinema Global resonance Revolutionary inspiration Universal themes of power **THE READINGS** 1 David Gerstner, «The Practices of Authorship» 1 AvraSidiropolou, «Auteurism: New Theater\...» 2 John Storey, «Encoding and Decoding in TV Discourse» 2 Mark Fortier, «Reader-Responseand Reception Theory» 3 Janell Hobson,«Digital Whiteness, Primitive Blackness» 3 David S. Diffrient, «Back-up Singers, Celebrity Cultures\...» 4 Michael Bull, «The Audiovisual iPod» 4 Leah Barclay, «Acoustic Ecology and Ecological Sound Art» 5\. Astrid Eril, «Literature, Film, and the Mediality of Cult Mem» 5 Milija Gluhovic, «Searching for a Common Ground» 6 Fernando Solanas, Octavio Getino, «Towardsa Third Cinema» 6 Robert C. Young, «PostcolonialRemains» \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_ ***1 David Gerstner, «The Practices of Authorship»*** Key Ideas: Relation to Audiovisual Arts: Gerstner's text is pivotal for **understanding how auteurism has evolved from a celebration of individual genius to a framework for analyzing the interplay between creators, collaborators, and sociocultural forces.** ***1 Avra Sidiropolou, «Auteurism: New Theater\...»*** Key Ideas: Relation to Audiovisual Arts: Sidiropolou's exploration of auteurism in theater bridges the gap between performing arts and cinema, offering insights into how authorship operates across different media. It highlights the fluidity of auteurship and its adaptability to evolving artistic practices. ***2 John Storey, «Encoding and Decoding in TV Discourse»*** Key Ideas: Relation to Audiovisual Arts: Storey\'s analysis highlights the dynamic interaction between media producers and audiences, showing how **meaning is not fixed but fluid, shaped by context, and subject to diverse interpretations**. This is particularly relevant in analyzing TV discourse and broader audiovisual media. ***2 Mark Fortier, «Reader-Response and Reception Theory»*** Key Ideas: Relation to Audiovisual Arts: Fortier's discussion is crucial for understanding how films, TV shows, and other audiovisual texts are **not static but are dynamically interpreted by viewers**, leading to diverse and evolving meanings. ***3 Janell Hobson, «Digital Whiteness, Primitive Blackness»*** Key Ideas: Relation to Audiovisual Arts: Hobson's work is crucial for analyzing how r**acial and cultural stereotypes are perpetuated, challenged, or subverted in digital and audiovisual media**. It encourages creators and critics to question the underlying racial dynamics in the production and reception of digital and cinematic works. ***3 David S. Diffrient, «Back-up Singers, Celebrity Cultures\...»*** Key Ideas: Relation to Audiovisual Arts: Diffrient's analysis highlights the power structures within the entertainment industry, encouraging a deeper examination of how marginalized groups are represented and valued in film, television, and music. It ties into broader discussions about visibility, recognition, and the politics of representation. ***4 Michael Bull, «The Audiovisual iPod»*** Key Ideas: Relation to Audiovisual Arts: Bull's analysis **provides a framework for understanding the personalization of audiovisual experiences in contemporary culture. It highlights the shift toward user-driven curation and the impact of portable technology on the perception of sound and image in everyday life.** ***4 Leah Barclay, «Acoustic Ecology and Ecological Sound Art»*** Key Ideas: Relation to Audiovisual Arts: Barclay's work bridges the gap between sound art and environmental activism, **showing how sound can be a powerful tool for storytelling and raising ecological awareness**. It encourages audiovisual artists to consider environmental themes and integrate natural soundscapes into their work. ***5 Astrid Eril, «Literature, Film, and the Mediality of Cult Mem»*** Key ideas: Relation to Audiovisual Arts: The text underscores how audiovisual works play a vital role in shaping public perceptions of history. Filmmakers use visuals, sound, and storytelling to evoke emotional and intellectual engagement, making the past relatable to contemporary audiences. ***5 Milija Gluhovic, «Searching for a Common Ground»*** Key Ideas: Relation to Audiovisual Arts: Gluhovic's insights extend to audiovisual works by showing how performances---whether live or recorded---engage audiences in active dialogue. His perspective encourages artists to consider the political and social implications of their work and its role in fostering communal understanding. ***6 Fernando Solanas, Octavio Getino, «Towards a Third Cinema»*** Key ideas: Relation to Audiovisual Arts Solanas and Getino challenge filmmakers to **rethink the purpose of cinema, using audiovisual art as a means of activism.** Their ideas resonate in contemporary works addressing issues of systemic oppression and resistance. ***6 Robert C. Young, «Postcolonial Remains»*** Key ideas: Relation to Audiovisual Arts: Young's ideas resonate with **transnational and accented cinema, where filmmakers navigate and critique the lingering impacts of colonialism. His framework offers tools to analyze how audiovisual works represent postcolonial identities and resist hegemonic structures.**