Pixton comics for instruction

 

My example to show how to do "serious" work with comics as well as demonstrate embodying one's one subjectivity

My example to show how to do “serious” work with comics as well as demonstrate embodying one’s one subjectivity

 

 

I use this to demonstrate how the program works  during class time.

I use this to demonstrate how the program works during class time.

 

 

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Scary Mary

Video

Another short exercise that is useful to teach audio-visual analysis is the remixed trailer. In some courses, I use this to set up a full length film, while in others I devise a whole module around the work of remix (this is what I am doing this semester).

One 30 second clip can generate 30 minutes of discussion, though the approach works well with a few remixed trailers watched consecutively. While the films are familiar to the students generally, the element of defamiliarization is once again at play because their expectations have shifted.

Discussions of these remixed trailers often entail considerations of genre markers, trailers as forming expectations, the role of sound, the power (and invisibility) of ideology, and the role of memory (many students will reveal that they found Mary Poppins creepy as children) and pleasure.

The opening of Amelie

Video

I often teach this clip on the second day of SC: Film to establish the most basic tenets of critical viewing. While we don’t have time to watch the longer clip today, the next few scenes establish the subjective narration of the film, something that I teach them was clearly set up from the opening credit sequence. The opening credit sequence stands as an excellent example of the importance of the body and affect when dealing critically with images and image analysis.

Also, please note that working with older, avant garde (more dangerous territory), or foreign/art cinema is often idea for initial work with images, as defamiliarization allows for critical distance. I often develop a discussion of habituated recognition, though not necessarily in those terms for freshmen, to fruitfully explore expectations and the breaking of expectations. In fact, based off the breaking of expectations, they inevitably construct a pretty thorough map of how mainstream American cinema functions.