Prompt: How does the Post-structuralist synthesis ask Structuralism to account for its own structurality and begin to propose a theory of resistance to dominant cultural values and expectations and to dominant modes of filmmaking? If Post-structuralism offers a “third” model of deconstruction and politicized intervention into “first” and “second” cinematic practice, how would you demonstrate that kind of analysis in a film such as Yol?
I will be sending in lecture notes with voice recordings on the lectures
I will also be sending in some articles that might be useful:
Comolli, Jean-Louis, and Jean Narboni. “Cinema/Ideology/Criticism.” Movies and Methods. Ed. Bill Nichols. Vol. 1. Berkeley & Los Angeles: University of California, 1976. 22-30. Print.
Solanas, Fernando, and Octavio Getino. “Towards A Third Cinema.” Movies and Methods. Ed. Bill Nichols. Vol. 1. Berkeley & Los Angeles: University of California, 1976. 44-64. Print.
I will also be sending in a sample paper, please be sure to use it as a guide only and not quote directly from it
please have a clearly outlined thesis
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