I suspect that every cinema studies teacher has their own favorite examples to use when teaching key vocabulary terms, and I would not be so presumptuous as to prescribe my own favorites! Nevertheless, though, it’s an important part of the job, so I wanted to share my own approach here.
Over the past couple of years, I have gotten used to teaching these terms in a very specific context. At the School of the Art Institute, I teach first-year seminar courses. They are courses designed so that all students have some basis in college-level writing as they go through their time at SAIC. Instructors are given enormous freedom to teach whatever they like. This makes it a great venue for testing out new and interesting course ideas, but the flip side of that is that your courses never have prerequisites, and there’s no telling the level of expertise students who enroll will actually have.
What I do, then, is devote one day early on in the semester to a quick-and-dirty Intro to Film in a single lecture. I take a lot of the examples and explanations I first started using when I taught Intro to Film at U Chicago in 2015, but I condense them down into something that can fit into an hour or so. It’s potent stuff.
You can access my go-to presentation here. I’ve set the privacy and sharing settings to their most open, so if you’re a Prezi user you should feel free to copy it if you like it, subbing in your own preferred definitions and clips as you feel necessary! I’m here to share, and not here to impose.
Playing like a pint-sized mashup of Wong Kar-wai’s Fallen Angels and Gaspar Noë’s Enter the Void, Bendon Chung’s Thirty Flights of Loving (Blendo Games, 2012) packs more scintillating and beguiling details about its characters and their world into its hallucinatory, hyper-concentrated ten minutes of gameplay than most games manage in 30 hours. Bootleggers, an airport, a rooftop party, shootouts, memories, regrets, a violent end … or several? A love affair … a betrayal? All of this and much more (including a highly educational demonstration of Bernoulli’s principle) jostle together wildly in this tantalizing gem of a short.
Okay, I’ll step out of “breathless, enraptured critic” mode. Thirty Flights of Loving is an interesting game for many reasons. One of these reasons is that it steals quite a lot cinematic language—including some very interesting and unusual applications of the forms of cinema, like first-person cutting. Quick example of what this actually looks like below the jump:
Wong Kar-wei’s In the Mood For Love depicts the story of a man (Chow) and a woman (Su) who, both suspecting that their spouses are involved in extramarital affairs, become close companions to each other in their loneliness. As the story progresses, however, their platonic friendship spills over and they begin to fall in love.
Their story unfolds in carefully controlled sequences that are almost dreamlike in nature as, together, they fabricate a fantasy world for themselves in which they pretend to be in love as their spouses are – and then continue, even when the façade of romantic affection becomes a reality. One of the most obvious visual cues in the mise-en-scène that indicate the portrayal of these moments is in the lighting. In all of these sequences, the lighting is more dramatic: it is low-key, sharp, and almost always artificial, as these scenes overwhelmingly take place under cover of night. This type of lighting is fundamental in setting the mood in these sequences; the subtle expression of emotion and the tension of physical bodies is highlighted, literally, by its use.
Wei Yi Ow
In the Mood for Love (2000) is a beautiful study in restraint. Set in 1960s Hong Kong, the film details the intimate relationship that develops between two lonely neighbours, Chow Mo-wan (Tony Leung) and Su Li-zhen (Maggie Cheung). Neglected and later betrayed by their spouses, they foster a special kinship which social mores dictate must be concealed. This is a society that operates not by brute force but by much more subtle ways; through its institutions, through the eyes and ears of one’s neighbors, through the personal values individuals feel compelled to uphold, and the dark desires they actively repress.