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When genre meets ideal type. For a sociology of cinematic love Date: 15, May, 2009, 10:30-12:30 Place: National Kaohsiung Normal University Speaker: Dr. Yi-Tung Chang, Assistant Professor at the Department of Social Development, National Pingtung University of Education Foreword Introduction Film 1: Cinema Paradiso Film 2: Kate and Leopold Main elements in cinematic love of a romance film: What is cinematic love? Not the real one, but its model. The framework for this study: a figurational approach for cultural production Fragen Fragestellungen Symbol and model-setting Reading films Film in the language system Film as text: Text in context Film as cultural production: sociology of cinema, sociology of art, sociology of culture Cinema in society and society in film Film genre: romance film -- obstacles to be overcome Multiple genres. Ex.: Titanic, Brokeback Mountain Personal style: Match Point Outside the genres: Bella Martha, Das Leben der Anderen, Le fabuleux destin dAmélie Poulain, Cape No.7 Model-setting effect Model-setting: wind over grass Supplementary conceptualization of socializing and educating Modeling process on several overlapped levels, including self-modeling Cinematic expression and representation as material for modeling Sleepless in Seattle Love letter – The Classic – Cape No.7 Towards an typology of cinematic love Typology I: stages A general theory of communication: encounter, decision, exchange, period. Cinematic love: from beginning (ex. gazing) to ending (ex. eternal happiness or loss) Film narrative and the organizing of the stages Film 3: The Light Death in Venice: one-sided observation Before Sunrise: building the relationship Film 10 Typology II: Love relationships and their cinematic presentation Masculinity and Herr-Schaft Film 4: Porco Rosso Casablanca + Tiger and Dragon; “red rose and white rose” theme and its mirror image; Cf. My fa
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