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Film Form Culture Webinar Series

Teaching Artist: Moya Duffy

Program Dates And Times:
1st Wednesday of the month, 13:00 – 14:30 New York Time
April 6, 2022, May 4, 2022, and June 1, 2022

Program Fee:
First session free! Then donate $20 for one additional session or $30 for the entire series of 3 sessions.

What Can Film Do Better Than Any Other Art?

One of the reasons we don’t pay attention to the form and structure of film is that the form and structure of film disappear behind the very story and characters they produce. However, film is about making images and editing them into stories.  We will analyze and discuss the meaning of three films and start by exploring the image through examining mise-en-scene and montage. We will also look at the culture that produced each film.  Culture in the sense of the general ideological components of society at the time the film was made. For instance, Rashomon, our first film, is often seen as a film about the notoriously unreliability of eyewitnesses – an exploration of memory, truth and justice. However, the film was produced in post-war Japan under American occupation and is a reflection of that time. With a close reading of Kurosawa’s camera, it can be viewed as an anti-war film, questioning moral certainties and the roots of violence.

Please view the films before each class! 


Rashomon – 1950

Directed by Akira Kurosawa

Wednesday, April 6, 2022
at 13:00 New York Time

Film Availability: widely available: most libraries have the DVD. YouTube, streaming on Criterion Channel, HBO Max, Amazon video as download.


We will start with Kurosawa’s masterwork, Rashomon, first viewed at The Venice Biennial in 1951 and winning best picture, leading to the ‘discovery’ of Japanese cinema by the west and the ascension of its director into the cannon of master film directors. The script is based on two short stories by Agutagawa, whom Kurosawa described as “going into the depths of the human heart as if with a surgeon’s scalpel, laying bare its dark complexities and bizarre twists. Kurosawa accomplishes this with his camera and I will be showing many stills and short clips which we will analyze and talk about together.  

As many of you are artists with training and experience in the elements of composition, line, space, texture, proportion, balance etc your comments on Kurosawa’s mise-en-scene and editing techniques will be insightful.

Mise-en-scene

This is a term borrowed from the theater. If you are not sure what this means please visit Film Life Style or one of the many good explanations on YouTube.

Please watch at least a couple of times the opening scenes of Rashomon Gate up to when the woodcutter enters the forest. We will discuss the opening at length.

Opening shots of a fine film are important

  1. What does the destroyed gate suggest?
  2. Does the long tracking shot of the woodcutter have a symbolic meaning?

Kurosawa was a formal film maker and planned every shot and sketched it – it is called story-boarding.

Here are two stills from the film. What does their composition tell you?


Don’t Look Now – 1973

Directed by Nicolas Roeg

Wednesday, May 4, 2022
at 13:00 New York Time

Film Availability: most libraries have the DVD.
Prime Video and several streaming services.


Ju Dou – 1990

Directed by Zhang Yimou

Wednesday, June 1, 2022
at 13:00 New York Time

Film Availability: some libraries have the DVD. Prime video and some streaming services


Teaching Artist – Moya Duffy

Moya Duffy

Moya earned her master’s at Columbia University in applied linguistics and TESOL in the early 90s and taught academic English at Hong Kong University and Hong Kong Polytechnic University.

Hong Kong has a vibrant film industry so she incorporated film into her courses as a means to engage her students. While teaching full-time at the Poly U she invited several professionals from the film community to talk to her students which motivated them to produce short films and eventually screen them at their own film festival. She worked with Zhang Weimin, an award-winning Sixth Generation Filmmaker, from Beijing Film Academy, doing English voiceovers for Chinese films and collaborating on film programs for the Chinese University of Hong Kong.

On returning to the U.S in 2006 she studied film at The New School and is presently teaching film at an institute within CUNY Graduate Center.