Смеховое слово и карнавальность в фильмах братьев Коэнов

2026/2027

Статус: Маго-лего

Кто читает: Школа иностранных языков

Где читается: Факультет гуманитарных наук

Онлайн-часы: 20

Охват аудитории: для всех кампусов НИУ ВШЭ

Преподаватели: Чернецова Екатерина Владимировна

Язык: русский

Кредиты: 6

Контактные часы: 40

Дополнительные материалы в LMS Задать вопрос

Аннотация

The course offers to observe and analyze films by the Coen brothers from perspectives of such concepts as laughter and carnival. The idea of the carnivalesque, specific nature of the comic within the frames of carnivalization and forms of its linguistic expression is a lens through which the Coens’ films narratives can be discussed in terms of language and communication.Students will explore the relationships between comic and serious, and learn to distinguish between various forms of laughter in a narrative. The foundation for the analysis and comprehension of laughter and carnival will become Mikhail Bakhtin's carnival theory, elaborated in his book Rabelais and His World. It will serve to help to integrate the comic processes of the work with its larger thematic and artistic structures. Bakhtin used medieval carnival rituals, the feast of fools, and other festive ceremonies to explain the curious combination of seriousness and humor. Traditions of unofficial popular culture represented by the philosopher are indeed seen in cinematic discourse of the Coen brothers. The carnivalesque spirit of films like Fargo (as well as TV series of the same name), O Brother, Where Art Thou? Burn After Reading, Hail, Caesar! The Ballad of Buster Scruggs, The Tragedy of Macbeth and others provides a useful way of examining the world which connects the comic scenes to the serious themes. The ideas of Victor Turner, C.L Barber, Michael Bristol, Jacques Lacan, Jil Deleuze, Sigmund Freud and others will develop more viable theoretical ideas for the analyses offered to students.

Цель освоения дисциплины

To observe and analyze films by the Coen brothers from perspectives of such concepts as laughter and carnival
To discuss the idea of the carnivalesque, specific nature of the comic within the frames of carnivalization and forms of its linguistic expression
To introduce students to some of the basic ideas in cinema analysis that have a relationship with some of the concepts of linguistics and discourse analysis
To explore the relationships between comic and serious, and learn to distinguish between various forms of laughter

Планируемые результаты обучения

to learn to identify and measure the idea of the carnivalesque and apply it to literature, cinema and other discourse practices
to attain better understanding of cinematic discourse and to acquire basic skills of cinema analysis
to learn to distinguish between various forms of laughter on the basis of foundational texts considering the issues
to develop more viable ideas concerning discourses where laughter and the carnivalesque can be revealed
To develop more viable theoretical ideas of laughter psychology and philosophy

Содержание учебной дисциплины

Theories of laughter
Carnivalesque laughter
Roots
Basics of carnivalesque culture
Laughter in Cinema
Laughter and carnivalesque in the Coen brothers films

Элементы контроля

Active Seminar Participation
Active Seminar Participation is assessed cumulatively across synchronous online seminar sessions. This element evaluates students’ intellectual engagement with the course through discussion of films and theoretical texts, close analysis of cinematic sequences, dialogue and other elements of film discourse, responses to other participants’ interpretations, and application of theoretical concepts to specific examples. Participation may include oral contributions to whole-class discussion, work in breakout rooms followed by an oral report, real-time analysis of film clips or screenshots, comparison of interpretations, and responses to questions posed by the instructor or other students. Mere online presence, connection to the videoconference, or frequency of speaking does not in itself constitute successful participation. Assessment is based on the quality, relevance, consistency, and analytical substance of contributions. This is an assessment element that cannot be repeated. It evaluates real-time participation in synchronous seminar communication and interaction within a particular learning situation and therefore cannot be reproduced retrospectively. Missed participation cannot be completed, substituted, or reassessed at a later date, irrespective of the reason for absence.
Applied Film and Discourse Analysis Labs
This element comprises up to five short applied analytical tasks conducted during the course. Tasks require students to work directly with cinematic and related discourse and may involve analysis of film sequences, dialogue, framing, editing, sound, performance, narrative organization, comic timing, genre conventions, intertextual references, or the interaction of verbal and visual meaning. Tasks may also involve comparison between literary, dramatic, cinematic, or other versions of a narrative; analysis of transcripts, screenshots, promotional materials, reviews, or other forms of discourse surrounding a film. Tasks are normally conducted synchronously online and may involve individual work or collaborative analysis in breakout rooms followed by a short individual or group response or by a written submission, which involves reflection and analysis of outcomes. Applied Film and Discourse Analysis Labs is repeatable for the purposes of the comprehensive course retake. Individual Analysis Labs are not separately made up or retaken during the teaching period, irrespective of the reason for absence or non-completion.
Theory Check
One or two short Theory Checks are conducted during the course. It assesses students’ understanding of the principal theoretical concepts and approaches to laughter, carnival, the grotesque, cinematic discourse, and interpretation introduced in the course. The assessment may be written, oral, or combined and is conducted online. Tasks may involve definition and distinction of concepts, comparison of theoretical positions, identification of an appropriate analytical framework, and application of theoretical concepts to a short cinematic or textual example or online course completion check.
Individual Analytical Assignment
One individual extended analytical assignment is completed during the course. The assignment demonstrates the student’s ability to interpret cinematic and/or related textual material, formulate an analytical problem, select relevant evidence, and apply theoretical concepts addressed in the course. The specific format is determined by the instructor and may include a written analytical essay, close analysis of a film sequence, comparative analysis of two scenes or texts, analysis of an adaptation or intertextual relationship, an annotated audiovisual analysis, a short video essay accompanied by an analytical commentary, or another format consistent with the course learning outcomes. Where generative AI is permitted or required, assessment focuses on the student’s ability to evaluate, verify, revise, and critically contextualize generated material rather than on generated output itself. Any use of generative AI must be disclosed in accordance with HSE regulations. The Individual Analytical Assignment is repeatable for the purposes of the comprehensive course retake. A separate replacement or resubmission is not provided during the teaching period, irrespective of the reason for non-completion, unless a late-submission procedure is explicitly specified in the assignment instructions.
Collaborative Project and Presentation
One collaborative project is completed in pairs or small groups and presented synchronously online during the concluding stage of the course. The project addresses an applied analytical problem related to laughter, carnival, cinematic discourse, adaptation, intertextuality, genre, or the interaction between comic and serious meanings. Students work with one or more films or related cultural texts and apply at least one relevant theoretical framework introduced in the course. The specific project format may vary. A substantial written report is not required. Presentations may incorporate short film clips, screenshots, transcripts, diagrams, or other audiovisual evidence. Assessment focuses on the analytical quality of the project and the ability to present and defend its interpretation rather than on visual or technical sophistication alone. All members of the group are expected to understand the project as a whole and may receive individual questions. Individual grades within the same group may differ on the basis of demonstrated contribution, understanding, and performance during the oral defense. The Collaborative Project and Presentation is repeatable for the purposes of the comprehensive course retake. A missed project presentation is not separately made up or repeated during the teaching period, irrespective of the reason for absence or non-participation. During the official retake, the relevant learning outcomes are assessed individually through an applied film-analysis case and oral defence; the original collaborative format is not reproduced.

Промежуточная аттестация

2026/2027 4th module
0.25 * Collaborative Project and Presentation + 0.2 * Individual Analytical Assignment + 0.1 * Theory Check + 0.2 * Applied Film and Discourse Analysis Labs + 0.25 * Active Seminar Participation

Список литературы

Авторы

Чернецова Екатерина Владимировна
Бакулев Алексей Валентинович

Программа дисциплины