1. 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

2. Foreword ----

3. 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

4. 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 d'Amélie Poulain, Cape No.7

5. 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

6. 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

7. 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 fair lady and Lolita; plus class then Titanic, Match Point Wahlvwerwandtschaften: selective affinity (chemistry, Goethe and Weber) Film 5 : Closer Tiger and Dragon, In the mood for love after closer: The Most Distant Course Liquid love: Bauman on love in handy-msn age Film 6 : Three Times

8. Film language: Frame in frames Film language and framing, communication theory (channel, media and message, et cetera) and MV generation Film 7: Bad blood Frames, shots, scenes, and sequences; Montage; Mise en scene façade Lust, Caution cf. Performance as linking between the real and the imagined

9. Frame in frames. Part Two Presentation/theater/Goffman Film 8: Shakespeare in love The French Lieutenant's Woman / La vita che vorrei (The life I want) Film 9: In the mood for love One-sided love cf. gaze ex. Death in Venice Film 10: Actually love

10. Typology III. Characteristics of cinematic love. Destiny as example Destino, impossibility, ecstasy, passion… Boundary, class, ethnicity…et cetera. Sense and sensibility P.S. I love you Only you Ghost Meet Joe Black, Somewhere in time Love letter

11. Reading Literature reading film reading: decoding at first sight Element and style: beginners guide to learn to read films. From Benjamin to Krakauer Film theory as meta-theory Further study: visual culture, visualization…

12. Amour, amour… Where the sociology of love might stop and life goes on, the sociology of cinema goes one step further to produce a Märchen We go much further to search for the meaning of the real in the symbolic production and exchange. Back to Kate and Leopold The End. Thanks for your attention!