Analyse the edit. 

The Atlantic November 1992 Issue

Suffragette
Wikipedia
The term suffragette refers in particular to members of the British Women's Social and Political Union (WSPU), a women-only movement founded in 1903 by Emmeline Pankhurst
Film entitled Suffragette.
https://www.amazon.com/Suffragette-Carey-Mulligan/dp/B017Y01HOQ/

Jack the Ripper was an English serial killer. Between August and November 1888, he murdered at least five women—all prostitutes—in or near the Whitechapel district of London's East End.
https://www.britannica.com/biography/Jack-the-Ripper

Caught Looking: Feminism, Pornography & Censorship 1992 Edited by  Beth Jaker  (Author), Nan Hunter  (Author), O'Dair  (Author), Kate Ellis  (Author), Feminist Anti-Censorship Taskforce  (Editor), Abby Tallmer  (Editor)

Carole Vance, Pleasure and Danger: Exploring Female Sexuality (1984)

Carol Clover, Men, Women, and Chainsaws (1992)

Mary Russo, The Female Grotesque: Risk, Excess and Modernity (1994)

To learn how to understand a piece of music, a philosopher said, you have to hear it twice. A conductor of baroque music said you have to listen to repeated hearings before you understand it.

"How full of meaning and significance the language of music is we see from the repetition of signs, as well as from the Da capo which would be intolerable in the case of works composed in the language of words. In music, however, they are very appropriate and beneficial; for to comprehend it fully, we must hear it twice."

--Arthur Schopenhauer, "On the Metaphysics of Music"

REPETITION IS THE KEY LEARNING.

Repetition is key to learning.

A conductor of baroque music said you have to listen to repeated hearings before you understand it.

Vienna and Schubert: 'Death and the Maiden' String Quartet - Professor Chris Hogwood CBE"The greatest pieces of music are called classics simply because at a first hearing--that is terribly...very complicated to work out what's going on or even more complicated to explain to yourself why it's going on--even to hear it has to be heard several times. Probably after first hearing, immediately go back and hear it again, and on repeated hearings repeated things come to light."--Christopher Hogwood

MARCEL PROUST MAKES A SIMILAR OBSERVATION IN FINDING TIME AGAIN.

	https://www.youtube.com/watch?v=mTziL0Xwa-s timestamp 29:00

--Barbara Johnson quoting Roland Barthes on rereading versus reading.

EDITING

Gun Crazy (dir. Joseph H. Lewis, 1950)

The Long Take: Gun Crazy

The Frenzied Film Noir World of GUN CRAZY

Ingmar Bergman, The Seventh Seal (1957)

Conventions and Creativity

Montage 

Mindhunter Season 1 (dir. David Fincher, 2017)

Shot Reverse Shot

Long take framed by standard shot reverse shot intro and exits:

Amazon Prime Patriot 1, Season 8 Episode

Synthesis and Sound Design

Cross cutting editing

and Opening Title Sequences

Mindhunter (2017; 2019)

Werner Herzog - Doc/Fest 2019

Neil Young Reveals the Secrets to Hit Records

Flora Cash ? For Someone - [Official Music Video]

Reading Won't Make You a Better Person

A classic, you have to repeat to understand
time stamp around 23:00 

Flora Cash For Someone - [Official Music Video]

Hiroshi Yoshimura ‎– Music For Nine Post Cards (Wave Notation 1) † [1982, full album]

La Pléiade : du courant littéraire à la prestigieuse bibliothèque

Robert Darnton, The Case for Books: Past, Present, and Future (2009)

Robert Darnton, "In Defense of the New York Public Library," June 7, 2102

Terry Eagleton, The Rape of Clarissa (1982), viii ("progressive?" [yes]; "feminist"; "genuinely subversive elements")

"Like Ulysses, the Wake has chapters that are marked off by page breaks and white space but that have no names or numbers. Critics have supplied numbers and names to make it easier to talk about the units. There are four large divisions, numbered I, II, III, and IV. Part I has eight chapters and Parts II and III each have four. Part IV has only one fairly short chapter. Thus, in its large division into parts, the book follows the 3 + 1 structure from Vico, and each of Books I-III also follows the structure, with I having two cycles and II and III one each."

Keith Richards: "There's Two Sides to Every Story" (Part 1)

Keith Richards: "There's Two Sides to Every Story" (Part 2

''Histoire(s) du Cinema''

Turner, Hannibal Crossing the Alps

Loop Narrative / Thematic Structure (Visualizing, Spatializing works of art that can only be experienced in linear time.)

Ludovico Einaudi, "Elegy for the Artic" (ends one note short of beginning over)

What is a work of art? / Art in the Age of 2nd-Order Observation ft. Walter Benjamin

Repetition, AND the LIMITS of RESEMBLANCE: Looking looking head on or obliquely as different ways of understanding.

Shepard Tone

Oblique Perspective in Hans Holbein's The Ambassadors (anamorphosis); Jacques Derrida on oblique reading in Passion: An Oblique Offering. 

Ratatouille - Synesthesia - HD - FX Animation by Michel Gagné

Every film we'll watch has intertitles or subtitles (in English). Almost all of them are in black and white or have been tinted by hand with one color per shot.

We will watch every film twice each week. Discussion questions are due every Monday and every Wednesday by 5:00 p.m.

F. W. Murnau, "The Ideal Film Needs No Titles"

The History of Cutting - The Soviet Theory of Montage

“One of the tasks of the film critic of tomorrow—perhaps he will even be called a ‘television critic’—will be to rid the world of the comic figure the average film critic and film theorist of today represents: he lives from the glory of his memories like the 70-year-old ex-court actresses, rummages about as they do in yellowing photographs, speaks of names that are long gone. He discussses films no one has been able to see for ten years or more (and about which they can therefore say everything and nothing) with people of his own ilk; he argues about montage like medieval scholars discussed the existence of God, believing all these things could still exist today. In the evening, he sits with rapt attention in the cinema, a critical art lover, as through we still lived in the days of Griffith, Stroheim, Murnau and Eisenstein. He thinks he is seeing bad films instead of understanding that what he sees is no longer film at all.”
~ Rudolf Arnheim, 1935

Koyaanisqatsi (dir.  Godfrey Reggio, 1982)

This is a modern silent film without intertitles: there is no dialogue, only a continuously playing Philip Glass synth-symphonic score that frequently loops sequences that sometimes serve as Leitmotifs. 

Sound loops versus Leitmotifs as motivation for the image.

Rather than go directly to silent film, I first want to show you a few scenes from William Wyler's The Letter (1940)--repeatedly-- so you can pay particular attention to the music and hear how it is timed to the images. We will also watch the alternate ending of The Letter several times and the trailer at least once. I'm doing this so may appreciate not only the way music is used but also appreciate how carefully the director and cinematographer subtly thought out the entire design of the film and make decisions about what to put or not put a given shot where even though audiences couldn't have noticed when it was originally released and may not notice now on DVD even though the DVD provides us with an alternate ending and the film trailer, allowing us to compare them with the film as it was originally released. The DVD menu does not show them. You have to press "special features." Rather unusally, the DVD returns the viewer to the special features menu after it finishes playing instead of to the main menu. And even that return will happen only if you play the DVD all the way to the end, something many viewers may not want to do. Audiences usually leave movie theaters when the end titles start to roll. How much you see depends on how much you want to see.

Jacques Derrida "sous rature" in Of Grammatology

Percy Lubbock, The Craft of Fiction

Sherlock "A Study in Pink" episode (season 1, episode 1) 2010

The incomplete letters, written by a murder victim in blood on the floor spelling a word that begins with "Rach" turns out to mean the German word "Rache," not the proper name "Rachel."

End with Pierre Bayard--not reading--is he really serious? Logical consequences of his own argument seem self-negating, worthless.

Also begin and end with Black square, blacked out writing, and redacted book gitmo

Email all work for the course to me at [email protected]

Gill Partington and Adam Smyth, ed. Book Destruction  from the Medieval to the Contemporary (Palgrave, 2014)

Roger E. Stoddard, Marks in Books (Cambridge, MA: Houghton Library, Harvard University, 1985)

How Guantánamo Diary Escaped the Black Hole

Keith Houston, Shady Characters: The Secret Life of Punctuation, Symbols, and Other Typographical Marks

Jennifer DeVere Brody, Punctuation: Art, Politics, and Play

Nicholas A. Basbanes, On Paper: The Everything of Its Two-Thousand-Year History

Ian Sansom, Paper: An Elegy

Carlo Ginzburg, No Island Is an Island: Four Glances at English Literature in a World Perspective. Introduction translated by John Tedeschi. New York: Columbia University Press, 2000. PR99 .G516 2000

W.G. Sebald, A Place in the Country

Robert Walser, The Microscripts

Pencil Sketches / When Does Writing Become Drawing?

YFS Boundaries: Writing and Drawing Number 18 1994

Jacques Derrida, Memoirs of the Blind

Jean-Luc Nancy, The Pleasure in Drawing

The Handwriting on the Wall: Authors’ Notes as Art

"What we must not forget, however, is that it is in the completion of the text by the reader that these adjustments are made; and each reader will make them differently. Plurality is here not a prescription but a fact. There is so much that is blurred and tentative, incapable of decisive explanation; however we set about our reading, with a sociological or a pneumatological, a cultural or a narrative code uppermost in our minds, we must fall into division and discrepancy; the doors of communication are sometimes locked, sometimes open, and Heathcliff may be astride the threshold, opening, closing, breaking. And it is surely evident that the possibilities of interpretation increase as time goes on. The constraints of a period culture dissolve, generic presumptions which concealed gaps disappear, and we now see that the book, as James thought novels should, truly "glories in a gap," a hermeneutic gap in which the reader's imagination must operate, so that he speaks continuously in the text.

Barthes denies the charge that on his view of the reading process one can say absolutely anything one likes about the work in question; but he is actually much less interested in defining contraints that in asserting liberties.

When we see that the writer speaks more than he knows what we mean is that the text is under the absolute control of no thinking subject, or that it is not a message from one mind to another."

--Frank Kermode, "A Modern Way with the Classic"
New Literary History Vol. 5, No. 3 (Spring, 1974), pp. 415-434; pp. 425; 432; 433

The reason literature, film, and philosophy are so great, so deeply admired yet often controversial, even despised, is that writers are free to say anything they wish they way they want to say it, fillmakers get to show images of anything they wish, they way they want to show them, and philosophers can ask philosophical questions about anything they wish whenever they want. It's called FREEDOM OF EXPRESSION. As anyone who understands anything about language knows, intention and context do matter. I find attempts to get people fired from their jobs because of something they said repellent and unseemly.

In order to include all students in class discussion, and in order to make it easier for you to read closely and thereby improve your own writing, We will close read, read slowly the assigned text sentence by sentence or the assigned film shot by shot. Discussion co-leaders and I will call on a student at random and ask that student to read a specific sentence out loud and then to close read it. If the student is unable to read the sentence closely, the co-leaders will call on another student and ask that student to read a specific sentence out loud and then to close read it. We will continue to discuss the same sentence until a student reads it closely. We will then proceed in the same fashion with the next sentence. And so on. Due to time constraints and because close reading is slow reading, we will skip parts of the assigned text, but we will always be talking and only be talking about words, syntax, punctuation, paragraphing, and narration in the text. As we move through the text, we will be able to make more general comments about parts of it. If students have comments to add on the sentence under discussion, they may raise their hands and make them once they have been called on by the co-leaders or me.

In order to learn the names of all the students in the class, I will take roll on canvas at the beginning of class. As I state on the requirements webpage, if you are late to class, I consider you absent. If you are absent more than twice, your final grade may suffer. If you are absent four times, you fail the class.

ent.)

"How full of meaning and significance the language of music is we see from the repetition of signs, as well as from the Da capowhich would be intolerable in the case of works composed in the language of words. In music, however, they are very appropriate and beneficial; for to comprehend it fully, we must hear it twice."

--Arthur Schopenhauer, "On the Metaphysics of Music"

Vienna and Schubert: 'Death and the Maiden' String Quartet - Professor Chris Hogwood CBE

"The greatest pieces of music are called classics simply because at a first hearing--that is terribly...very complicated to work out what's going on or even more complicated to explain to yourself why it's going on--even to hear it has to be heard several times. Probably after first hearing, immediately go back and hear it again, and on repeated hearings repeated things come to light."

--Christopher Hogwood

Marcel Proust on not understanding a piece of classical music the first time or even the tenth.

	https://www.youtube.com/watch?v=mTziL0Xwa-s timestamp 29:00

--Barbara Johnson quoting Roland Barthes on rereading versus reading.

Advice a gave a friend who wanted to learn about film.

I once by chance watched an interview with the editor of the Parallax View and then heard an interview with Jim Jarmusch. Turns out there are two opposite approaches to shooting and two opposite approaches to editing. One involves extensive preparation (in pre-production the number of shots, a storyboard for each shot), the other no preparation at all (go to the location and shoot). Some directors shoot lots and lots of versions of the same shot and then dump it all on the editor. Other directors know what they want and work closely with a cinematographer who understands exactly what they want. Ditto for the director and the editor. I watched a short film of David Fincher working with the editor. First you see the entire shot. Then you used what Fincher used of it. He knew exactly where he wanted the cut. Hitchcock was obsessed with the cut (Rope has three but is supposed to look like it has one.) European directors favor the long take (8-10 seconds). So did Welles. American films tend to be composed of 3-4 second takes. For some reason, women could get jobs as editors. So some of the most famous editors are women. Films exist in three stages, first as screenplay, then as the shoot, then editing. This is a great interview of Hitchcock by Truffaut.