Courses

Beginning Photography

37600
CMST 276, COVA 240
  • Graduate
  • Winter
  • 2000-2001
L. Letinsky

COVA 101, 102, or consent of instructor. A camera and light meter are required Photography affords a relatively simple and accessible means for making pictures. Through demonstration, students are introduced to technical procedures and basic skills, and begin to establish criteria for artistic expression. Possibilities and limitations inherent in the medium are topics of classroom discussion. Class sessions and field trips to local exhibitions investigate the contemporary photograph in relation to its historical and social context. Course work culminates in a portfolio of works exemplary of the student’s understanding of the medium. Lab fee $40.

Advanced Photography

37700
CMST 277CMST 277, COVA 278
  • Graduate
  • Winter
  • 2000-2001
L. Letinsky

COVA 101 or 102, and 240 or 241, or consent of instructor. Throughout the quarter, students concentrate on a set of issues and ideas that expand upon their experience and knowledge, and that have particular relevance to them. All course work is directed towards the production of a cohesive body of either color or black-and-white photographs. An investigation of contemporary and historic photographic issues informs the students’ photographic practice and includes visits to local exhibitions, critical readings, darkroom techniques, and class and individual critiques. Lab fee $40.

Film Noir

38300
CMST 283
  • Graduate
  • Winter
  • 2000-2001
J. Naremore

The term "film noir" evokes images from a series of shadowy, seductive Hollywood pictures about private eyes, femmes fatales, criminal gangs, and lovers on the run. Almost every major American director since World War II has made at least one movie that could be called noir, and the classic noir thrillers of the 1940s continue to have a powerful hold on the contemporary imagination. This course will survey the history of the form, concentrating chiefly on the period between 1941 and 1958. The films screened will include major studio features such as Double Indemnity and Laura, B-pictures such as Detour and Gun Crazy, and "neo-noirs" such as Devil in a Blue Dress. The lectures and discussions will emphasize several important issues, including the history and function of "noir" as a critical term; the literary sources of American film noir; the changing patterns of Hollywood censorship and politics since the 1940s; the evolution of film style and technology; the economics of film production and their relation to critical discrimination; and the cross-media and cross-cultural implications of noir narratives. Readings for the course will include two volumes of history and criticism on film noir, an encyclopedic reference work, and a novel by Raymond Chandler. Undergraduates will write two take-home essay exams and a short (7_10 page) paper. Graduates may have a few extra reading assignments involving books or essays on noir, and they will write one take-home exam and either two 7_10 page papers or a single 18_20 page paper.

Modernity and the Sense of Things

47400
CMST 274, ENGL 292/692, GendSt 292
  • Graduate
  • Winter
  • 2000-2001
B. Brown and M. Hansen

This course will Egage the discourse of modernity as an account of the subject/object relation that foregrounds, on the one hand, the history of the senses, and, on the other, the fate of "things." Modernity has come to name a mode of experience: experience of the disembedding of social relations as of traditional definitions of gender and sexuality, the changed fabric of built space and everyday life, the emergence of technical media like photography and film, the promises of mass consumption. Within this experience of modernity, what happens to the definition of experience itself? How do mechanization, marketing, advertising, the glamorization of commodities change the character of "things"? And how does the changed character of "things" alter structures of perception and subjectivity? What are the real losses entailed by these transformations, what are the possibilities that have yet to be realized? The course will begin with classic sociological accounts of modernity in work by Simmel, Weber, Veblen, Lukács. We will then track some key problems through accounts of the material, cultural and sensory manifestations of modernity, with a particular focus on how the cinema was seen to crystallize the changed experience of things and people. This will include work by Giedion, Kracauer, Benjamin, Mumford, Stein, Gorky, Epstein, Woolf, Barnes, Heidegger.

History of International Cinema, Part II, Sound Cinema to 1960

48600
CMS 286, ArtH 286/386, ENGL 296/489, MAPH 337
  • Graduate
  • Winter
  • 2000-2001
T. Gunning

This is the second part of the international survey history of film covering the sound era up to 1960. It is strongly recommended that students take the first section first This survey will deal with issues of film form, industry organization and film culture during three decades, focusing on the crystallization of the Classical Hollywood Film as a key issue. But international alternatives to Hollywood will also be discussed, from the unique forms of Japanese cinema to movements like Italian Neo-realism and the beginnings of the New Wave in France. Film style, from the classical scene break down to the introduction of deep focus, stylistic experimentation and technical innovation (sound, wide screen, location shooting) will form the center of the course, while attention will also be paid to the development of a film culture. Texts will include Bordwell and Thompson, Film History: An Introduction, and works by Bazin, Belton, Sitney, Godard and others. Screenings will include films by Hitchcock, Welles, Rossellini, Bresson, Ozu, Antonioni, and Renoir.

Seminar: Classical Music and Film

61500
Music 477
  • Graduate
  • Winter
  • 2000-2001
B. Hoeckner

This seminar will explore the use of classical music in film, ranging from the silent era to present times. We will address questions of the changing function and cultural significance of classical music from a time when it primarily carried its own associations into film to the time when film appears to carry its association into the music. Seminar sessions will typically consist of discussing the weekly screening (ranging from The Shining to Shine) in conjunction with larger theoretical issues raised in the weekly readings (including excerpts from Marks’s Music and the Silent Film, Chion’s Audio-Vision: Sound on Screen, Brown’s Overtones and Undertones, Flinn’s, Strains of Utopia, Cook’s Analyzing Musical Multimedia, Gorbman’s Unheard Melodies, etc.).

Seminar: South African Literature in English: Colonial, Postcolonial, and other Canonizations and Contestations

64600
ComLit 400, ENGL 667
  • Graduate
  • Winter
  • 2000-2001
L. Kruger

This seminar will examine the legitimization of South African English Literature in the colonial, neocolonial, and (maybe) postcolonial context, as well as the objects of that process--texts that have been established as legitimately South African, or those subject to contestation by competing social, racial, and cultural constituencies. Our texts will include those by authors in nineteenth- and early twentieth-century colonial period (Schreiner, Haggard, Plaatje, Stephen Black...), the neocolonial Union, 1910-1948 (Herbert Dhlomo, Wiliam Plomer, Modikwe Dikobe...), as well as the response to apartheid (1950-1994), from the Sophiatown generation (Nkosi, Mphahlele, Modisane, Gordimer, Fugard...) and beyond (Ndebele, Coetzee, Bessie Head), and the writers of plays and stories of the so-called Soweto generation, and the present post-anti-apartheid (if not post-apartheid period), especially the work of minority ("Indian," "colored") South Africans, such as Achmat Dangor and Ismael Mahomed. We will also examine the ways in which criticism and theory, both local (Dhlomo, Nkosi, Ndebele, Coetzee...) and abroad (Bhabha, Fanon, Chakrabarty, Gramsci, Laclau, Meaghan Morris...), traverse, affirm, and undermine the applicability of post/colonial terminology to South Africa. Requirements: oral presentation, short archival paper (using Northwestern's extensive collection as well as U of C), and long research paper. Ph.D. course; interested MAs must consult instructor in AUTUMN quarter.

Introduction to Film I

10100
ArtH 190, CMS 101, COVA 253, ENGL 108, GS Hum 200
  • Undergraduate
  • Spring
  • 2000-2001
S. Haenni

This is the first part of a two-quarter course. The two parts may be taken individually, but taking them in sequence is helpful. The first part introduces basic concepts of film analysis, which are discussed through examples from different national cinemas, genres, and directorial oeuvres. Along with questions of film technique and style, we consider the notion of the cinema as an institution that comprises an industrial system of production, social and aesthetic norms and codes, and particular modes of reception. Films discussed include works by Hitchcock, Porter, Griffith, Eisenstein, Lang, Renoir, Sternberg, and Welles.

Italian Americana: Literature and Cinema

23200
CMST 332, GsHum, Ital 289/389
  • Undergraduate
  • Spring
  • 2000-2001
R. West

A study of the history and culture of Italian-Americans through filmic and literary representations. Writers include Helen Barolini, Tina De Rosa, Giose Rimanelli, and Ed McBain (Savatore Lambino); directors include Coppola, Scorsese, Savoca, Cimino, and Ferrara

Classic French Cinema

23400
French 282
  • Undergraduate
  • Spring
  • 2000-2001
N. Herpe

Classic French cinema (from the earliest filmmakers to the beginnings of the New Wave) will be studied through the examples of ten movies, which influenced its history and represented the development of an esthetical movement : the French school before 1914 (Louis Feuillade’s "Fantômas"), the "avant-garde" of the 20s (Jean Epstein’s "La Chute de la maison Usher"), the surrealist cinema (Luis Buñuel’s "L’Age d’or"), the musical comedy (Rene Clair’s "Le Million"), the "100% talking" film (Sacha Guitry’s "Le Roman d’un tricheur"), the poetic realism (Jean Renoir’s "La Bête humaine", Marcel Carne "Le Jour se lève"), the cinema under the Occupation (Henri-Georges Clouzot’s "Le Corbeau"), the evocation of the Belle Epoque (Max Ophuls’ "Le Plaisir"), the revival of the literary adaptation (Robert Bresson’s "Journal d’un cure de campagne"). This course will be taught in English.

American Avant-garde Film

25200
ENGL 286
  • Undergraduate
  • Spring
  • 2000-2001
J. Ma

This course will introduce students to the tradition of independent, experimental cinema in North America. From the relatively isolated pre-war contributions of James Sibley Watson and Melville Webber, Douglass Crockwell, Ralph Steiner, Joseph Cornell, and Robert Florey to the more concentrated post-war emergence of Maya Deren, Stan Brakhage, Sidney Peterson, Kenneth Anger, Harry Smith, and Bruce Conner, North America has consistently supported an artisanal, independent, avant-garde film culture. While rarely reaching the level of mass popularity, this film community has developed a richness and complexity equal to what we find in painting and music -- arts with which it has often been in conversation. This course will concentrate on periods of greatest visibility and impact -- the 1960s and 1970s -- examining the development of underground film, personal cinema, "expanded cinema," minimalism, and structural film, paying particular attention to film’s interaction with other arts. We will end by taking stock or recent developments in the 1980s and 1990s. Filmmakers will include Christopher MacLaine, Michael Snow, Ernie Gehr, Andy Warhol, Joyce Wieland, Ken Jacobs, Jack Smith, Hollis Frampton, Carolee Schneeman, Yvonne Rainer, Morgan Fischer, Abigail Child, Martin Arnold, Lewis Klahr, Su Friedrich, and Brian Frye.

Radical Interpretation on Stage and Screen

27800
CMSTG 378, CompLit, German, GsHum 246/346, MAPH, Music 222/346
  • Undergraduate
  • Spring
  • 2000-2001
D. Levin

The history and aesthetics of radical interpretation of canonical works in theater, opera, film. Examination of aesthetic tracts (e.g. Appia, Artaud, Brecht, Peter Brooks), theory (Barthes, Derrida, E. Diamond, Foucault), as well as modern forays into radical interpretation (e.g. Derek Jarman/Marlowe’s Edward II, Patrice Chereau/Wagner’s Ring, Peter Sellers/Mozart’s Don Giovanni, Baz Luhrmann’s William Shakespeare’s Romeo & Juliet, Sally Potter’s Thriller, and recent work by the Wooster Group).

Musicals: Staging Everyday Worlds

27900
CMST 379, Anthro, ENGL 295/435, German, Music 227/305, GSHum 210/310
  • Undergraduate
  • Spring
  • 2000-2001
P. Bohlman and K. Trumpener

CMST 379, Anthro, ENGL 295/435, German, Music 227/305, GSHum 210/310

Brecht and Beyond

28400
CompLit, ENGL 244, German 244
  • Undergraduate
  • Spring
  • 2000-2001
L. Kruger

Brecht is indisputably the most influential playwright in the 20th century but his influence on cinema is just as powerful. In this course we will explore the range and variety of Brecht’s own theatre, from the anarchic plays and agitprop film and theatre of the 1920’s to the classical parable plays, as well as the work of his heirs in Germany (Heiner Müller, Franz Xaver Kroetz, Peter Weiss), Britain (John Arden, Edward Bond, Caryl Churchill), and Subsaharan Africa (Soyinka, Ngugi, and various South African theatre practitioners). We will also consider the impact of Brechtian theory on film, from Brecht’s own Kuhle Wampe to Jean-Luc Godard, Rainer Werner Fassbinder, Alexander Kluge, and Djibril Diop Mambety.

Reading Course

29700
  • Undergraduate
  • Spring
  • 2000-2001
Staff

Consent of faculty adviser and Director of Undergraduate Studies:Students are required to submit the College Reading and Research Course Form.

Italian Americana: Literature and Cinema

33200
CMST 232, CMST 232, GsHum, Ital 289/389
  • Graduate
  • Spring
  • 2000-2001
R. West

A study of the history and culture of Italian-Americans through filmic and literary representations. Writers include Helen Barolini, Tina De Rosa, Giose Rimanelli, and Ed McBain (Savatore Lambino); directors include Coppola, Scorsese, Savoca, Cimino, and Ferrara.

Eric Rohmer

33700
CMST 237, French 292
  • Graduate
  • Spring
  • 2000-2001
N. Herpe

The films of Rohmer will be studied as a new "Comedie humaine," offering a rich gallery of the faces of France from the 60s to the 90s, from "La Collectionneuse" to "Conte d’automne..." and, according to his first reviews in "Cahiers du cinema," as a cinematographic work which could rediscover in its own way the liberty of a literary creation (especially in "adaptations" like "La Marquise d’O" and "Perceval le Gallois"). This course will be taught in English.

Radical Interpretation on Stage and Screen

37800
CMST 278, ComLit 207/307, German 246/346, GsHum 246/346, MAPH, Music 222/302
  • Graduate
  • Spring
  • 2000-2001
D. Levin

The history and aesthetics of radical interpretation of canonical works in theater, opera, film. Examination of aesthetic tracts (e.g. Appia, Artaud, Brecht, Peter Brooks), theory (Barthes, Derrida, E. Diamond, Foucault), as well as modern forays into radical interpretation (e.g. Derek Jarman/Marlowe’s Edward II, Patrice Chereau/Wagner’s Ring, Peter Sellers/Mozart’s Don Giovanni, Baz Luhrmann’s _William Shakespeare’s Romeo & Juliet_, Sally Potter’s Thriller, and recent work by the Wooster Group).

Musicals: Staging Everyday Worlds

37900
CMST 279, Anthro, ENGL 295/435, German, Music 227/305, GSHum 210/310
  • Graduate
  • Spring
  • 2000-2001
P. Bohlman and K. Trumpener

When movie characters break into song, they express emotion and create community, comment on everyday life and escape or transcend it. Musicals straddle the utopian world of the screen and the popular, lay performances of high schools and community theaters. This course considers the genre’s formal, cultural, social, and performative dimensions (from its conventions of sound, dance, and color, to its representations of race, ethnicity, and cultural contact). Films will range from early American and European musicals (The Jazz Singer, Le Million, Three from the Gas Station, and Volga Volga) to Yiddish and immigrant musical theater (The Dybbuk and West-Side Story) to classic Hollywood films (Shall We Dance, Showboat, A Star Is Born, Oklahoma, and Singing in the Rain) to revisionist music films (Umbrellas of Cherbourg, Window Shopping, Killer of Sheep, Latcho Drom, Buena Vista Social Club).

Seminar: The Sentimental

61600
ENGL 639
  • Graduate
  • Spring
  • 2000-2001
J. Chandler

This seminar will give advanced students a chance to pursue research and criticism over a range of periods and objects of study. The broad topic will be the theory and practice of the sentimental over the course of nearly three centuries, on stage, page, and screen. In addition to looking at the philosophical treatments of the sentiments in Shaftesbury, Hume, and Smith, and critical discussions of the "sentimental" as a literary mode (in Schiller), we will look at sentimental comedy, sentimental fiction, and sentimental cinema. Since the sentimental is inevitably a mode of mediated affective exchange, the place of the media and of translation between media, will have special importance in the course. Primary works by such figures Steele, Sterne, MacKenzie, Charlotte Smith, William Hall Brown, the poets of sensibility and Romanticism, Harriet Beecher Stowe, Dickens, D.W. Griffith, Frank Capra, Douglas Sirk, and others. Secondary works from the burgeoning field of "sensibility studies." Seminar presentation and paper.

Seminar: 19th Century Cinema

64000
ArtH 452, ENGL 636
  • Graduate
  • Spring
  • 2000-2001
T. Gunning

Consent of Instructor Although frequently described as the art form of the twentieth century, cinema was in fact invented at the end of the nineteenth century and is in many ways the product of that century in terms of technology, narrative and visual forms, social and political contexts, and philosophical and aesthetic preoccupations. This seminar will explore the nineteenth century visual forms that contributed to the cinema (photography, panoramas, dioramas, stereoscopy, magic lantern shows); its mechanical invention and institutional origins; its place within Nineteenth century amusements (vaudeville, melodrama, dance, comic strips). The place of the earliest cinema within what Walter Benjamin terms the "topoi of modernity" (the modern urban streets, the department store, the world expositions, ) will also be explored. Screening of the first films will be undertaken to determine aesthetic strategies, genres, and relations to other forms. Students should have some background in nineteenth century culture and some idea of aspects they would like to research in relation to cinema. Works by Simmel, Benjamin, Crary, Hansen, Singer, and others will be read.

Seminar: Frankfurt School on Cinema, Modernity, and Mass Culture

67500
ENGL 687
  • Graduate
  • Spring
  • 2000-2001
M. Hansen

Background in film theory or at least one course in cinema studies In this seminar, we will consider debates on film and mass culture in the tradition of the Frankfurt School (or, more precisely, Critical Theory), focusing mainly on Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno. Discussions will revolve around the following issues: the impact of technology on artistic practices as well as the institution of art; consumerism and new forms of subjectivity and reception; ideology and the "culture industry"; the transformation of the "public sphere" and the democratization of culture; the role of gender and sexuality. We will consider these debates both in their historical, political, and philosophical contexts and in their relevance to current debates in film theory and cultural studies. Texts will be read in translation, but reading knowledge of German would be highly useful.

Introduction to Film I

10100
ArtH 190, CMS 101, COVA 253, ENGL 108, GS Hum 200
  • Undergraduate
  • Autumn
  • 1999-2000
T. Gunning

This is the first part of a two-quarter course. The two parts may be taken individually, but taking them in sequence is helpful. The first part introduces basic concepts of film analysis, which are discussed through examples from different national cinemas, genres, and directorial oeuvres. Along with questions of film technique and style, we consider the notion of the cinema as an institution that comprises an industrial system of production, social and aesthetic norms and codes, and particular modes of reception. Films discussed include works by Hitchcock, Porter, Griffith, Eisenstein, Lang, Renoir, Sternberg, and Welles.

Introduction to Film I

10100
ArtH 190, CMS 101, COVA 253, ENGL 108, GS Hum 200
  • Undergraduate
  • Autumn
  • 1999-2000
T. Gunning

This is the first part of a two-quarter course. The two parts may be taken individually, but taking them in sequence is helpful. The first part introduces basic concepts of film analysis, which are discussed through examples from different national cinemas, genres, and directorial oeuvres. Along with questions of film technique and style, we consider the notion of the cinema as an institution that comprises an industrial system of production, social and aesthetic norms and codes, and particular modes of reception. Films discussed include works by Hitchcock, Porter, Griffith, Eisenstein, Lang, Renoir, Sternberg, and Welles.

Opera and Screen

28300
Music 221
  • Undergraduate
  • Autumn
  • 1999-2000
M. Feldman

Any 100-level music course or consent of instructor This course explores opera of the eighteenth through twentieth centuries, with special attention to cinematic interpretations. Critical questions it will raise include how the conjunction of these two media -- staged and filmic -- has been negotiated; how a variety of "texts" (verbal, musical, visual) intersect as opera is realized in film; and how filmed opera attracts and shapes different modes of spectatorship from staged opera. Among the operas to be considered are Mozart's The Magic Flute (Ingmar Bergman), Mozart's Don Giovanni (Joseph Losey), Verdi's La Traviata (Franco Zefferelli), Bizet's Carmen (Francesco Rosi), and Brecht/Weill Three Penny Opera (G. W. Pabst).

Opera and Screen

28300
Music 221
  • Undergraduate
  • Autumn
  • 1999-2000
M. Feldman

Any 100-level music course or consent of instructor This course explores opera of the eighteenth through twentieth centuries, with special attention to cinematic interpretations. Critical questions it will raise include how the conjunction of these two media -- staged and filmic -- has been negotiated; how a variety of "texts" (verbal, musical, visual) intersect as opera is realized in film; and how filmed opera attracts and shapes different modes of spectatorship from staged opera. Among the operas to be considered are Mozart's The Magic Flute (Ingmar Bergman), Mozart's Don Giovanni (Joseph Losey), Verdi's La Traviata (Franco Zefferelli), Bizet's Carmen (Francesco Rosi), and Brecht/Weill Three Penny Opera (G. W. Pabst).

Reading Course

29700
Consent of faculty adviser and Director of Undergraduate Studies
  • Undergraduate
  • Autumn
  • 1999-2000
Staff

Students are required to submit the College Reading and Research Course Form.

Reading Course

29700
Consent of faculty adviser and Director of Undergraduate Studies
  • Undergraduate
  • Autumn
  • 1999-2000
Staff

Students are required to submit the College Reading and Research Course Form.

B.A. Essay

29900
Consent of instructor
  • Undergraduate
  • Autumn
  • 1999-2000
Staff

Students are required to submit the College Reading and Research Form. May not be counted toward distribution requirements for the concentration, but may be counted as a free-elective credit.

B.A. Essay

29900
Consent of instructor
  • Undergraduate
  • Autumn
  • 1999-2000
Staff

Students are required to submit the College Reading and Research Form. May not be counted toward distribution requirements for the concentration, but may be counted as a free-elective credit.

Perspectives on Imaging

27300
37300
ArtH 257/357
  • Graduate/Undergraduate
  • Autumn
  • 1999-2000
B. Stafford

This course focuses on the evolution and history of the production and dissemination of knowledge by visual means. Topics include evaluation of light perception and vision; emergence of drawing, writing, and printing; early optical instruments to extend vision; photographic recording of images; X-rays and computer-based, non-optical imaging methods; conceptual foundations of imaging science; visual knowledge, education, and multi-media learning; and the cultural impact of imaging in the twenty-first century.

Perspectives on Imaging

27300
37300
ArtH 257/357
  • Graduate/Undergraduate
  • Autumn
  • 1999-2000
B. Stafford

This course focuses on the evolution and history of the production and dissemination of knowledge by visual means. Topics include evaluation of light perception and vision; emergence of drawing, writing, and printing; early optical instruments to extend vision; photographic recording of images; X-rays and computer-based, non-optical imaging methods; conceptual foundations of imaging science; visual knowledge, education, and multi-media learning; and the cultural impact of imaging in the twenty-first century.

Beginning Photography

27600
37600
COVA 240
  • Graduate/Undergraduate
  • Autumn
  • 1999-2000
L. Letinsky

COVA 101, 102, or consent of instructor A camera and light meter are required. Photography affords a relatively simple and accessible means for making pictures. Through demonstration, students are introduced to technical procedures and basic skills, and begin to establish criteria for artistic expression. Possibilities and limitations inherent in the medium are topics of classroom discussion. Class sessions and field trips to local exhibitions investigate the contemporary photograph in relation to its historical and social context. Course work culminates in a portfolio of works exemplary of the student's understanding of the medium. Lab fee $40.

Beginning Photography

27600
37600
COVA 240
  • Graduate/Undergraduate
  • Autumn
  • 1999-2000
L. Letinsky

COVA 101, 102, or consent of instructor A camera and light meter are required. Photography affords a relatively simple and accessible means for making pictures. Through demonstration, students are introduced to technical procedures and basic skills, and begin to establish criteria for artistic expression. Possibilities and limitations inherent in the medium are topics of classroom discussion. Class sessions and field trips to local exhibitions investigate the contemporary photograph in relation to its historical and social context. Course work culminates in a portfolio of works exemplary of the student's understanding of the medium. Lab fee $40.

Seminar: Film and Melodrama

64100
ArtH, ENGL 588
  • Graduate
  • Autumn
  • 1999-2000
T. Gunning

This seminar will discuss the ambiguous and protean inheritance that film as a popular form received from 19th century stage melodrama. The stage tradition of melodrama, both in terms of play texts, and performance and staging practices, will be surveyed with readings of 19th century melodramas and descriptions of their staging. Peter Brooks' discussion of "The Melodramatic Imagination" will be crucial to the course, both as an account of the 19th century tradition and as a claim for melodrama as a form that moves across genres. The claim by scholars that 19th century melodramatic stage had inherent ties to cinema as posed by Vardac and critiqued by the recent work of Brewster and Jacobs will also be considered. Melodrama as a form in silent cinema, and as a genre of sound cinema, including its particular relation to the women's film will also be considered, with writings by Mulvey, Doane and others. Films will be screened by Griffith, Feuillade, Sjostrom, Hitchcock, Vidor, Ophuls and Sirk.

Seminar: Film and Melodrama

64100
ArtH, ENGL 588
  • Graduate
  • Autumn
  • 1999-2000
T. Gunning

This seminar will discuss the ambiguous and protean inheritance that film as a popular form received from 19th century stage melodrama. The stage tradition of melodrama, both in terms of play texts, and performance and staging practices, will be surveyed with readings of 19th century melodramas and descriptions of their staging. Peter Brooks' discussion of "The Melodramatic Imagination" will be crucial to the course, both as an account of the 19th century tradition and as a claim for melodrama as a form that moves across genres. The claim by scholars that 19th century melodramatic stage had inherent ties to cinema as posed by Vardac and critiqued by the recent work of Brewster and Jacobs will also be considered. Melodrama as a form in silent cinema, and as a genre of sound cinema, including its particular relation to the women's film will also be considered, with writings by Mulvey, Doane and others. Films will be screened by Griffith, Feuillade, Sjostrom, Hitchcock, Vidor, Ophuls and Sirk.

Cinema in Africa

24200
AFAFAM 219, ENGL 276
  • Undergraduate
  • Winter
  • 1999-2000
L. Kruger

African Civ and/or Intro to Film I This course places cinema in SubSaharan Africa in its social, cultural, and aesthetic contexts ranging from neocolonial to postcolonial, Western to Southern Africa, documentary to fiction, art cinema to TV. Depending on availability, films will include African film-makers with international reputations such as Ousmane Sembene, Djibril Diop Mambety, Flora Gomez, Idrissa Ouedraogou, Lionel Rogosin, neocolonial adventure pics like Zulu (Enfield), ethnographic film, both metropolitan (Rouch's Maitres Fous) and local (Bringing Back the Goddess, about the revival of a Zulu tradition), and narratives of anti-apartheid struggle in South Africa and anticolonial struggle elsewhere.

Cinema in Africa

24200
AFAFAM 219, ENGL 276
  • Undergraduate
  • Winter
  • 1999-2000
L. Kruger

African Civ and/or Intro to Film I This course places cinema in SubSaharan Africa in its social, cultural, and aesthetic contexts ranging from neocolonial to postcolonial, Western to Southern Africa, documentary to fiction, art cinema to TV. Depending on availability, films will include African film-makers with international reputations such as Ousmane Sembene, Djibril Diop Mambety, Flora Gomez, Idrissa Ouedraogou, Lionel Rogosin, neocolonial adventure pics like Zulu (Enfield), ethnographic film, both metropolitan (Rouch's Maitres Fous) and local (Bringing Back the Goddess, about the revival of a Zulu tradition), and narratives of anti-apartheid struggle in South Africa and anticolonial struggle elsewhere.

Sound in the Cinema

28000
ENGL 282, GSHum 205
  • Undergraduate
  • Winter
  • 1999-2000
J. Lastra

This course will develop our abilities to discuss, analyze, and research sound recording, audio media, and aspects of auditorship in theoretical and historical terms. Beginning with basic terminology and concepts specific to sound forms, we will investigate specific historical and theoretical topics including the emergence of recorded sound in the 1870s-1890s, the coming of sound to the American and international cinemas in the 1920s-1930s, and theoretical investigations of acoustic technologies and of listening. Throughout, we will remain attentive to the specificity of audio and audio-visual forms, but open to inter-media debates, concepts, and issues. We will pay particular attention to innovative works in audio-visual media that have shaped the boundaries of aesthetic and theoretical exploration. Readings will include essays by Edison, Benjamin, Adorno, Eisenstein, Prokofiev, Frith, and Altman. Films and videos will include works by Vertov, Eisenstein, Disney, Kubelka, Lang, Coppola, and Cage/Cunningham.

Sound in the Cinema

28000
ENGL 282, GSHum 205
  • Undergraduate
  • Winter
  • 1999-2000
J. Lastra

This course will develop our abilities to discuss, analyze, and research sound recording, audio media, and aspects of auditorship in theoretical and historical terms. Beginning with basic terminology and concepts specific to sound forms, we will investigate specific historical and theoretical topics including the emergence of recorded sound in the 1870s-1890s, the coming of sound to the American and international cinemas in the 1920s-1930s, and theoretical investigations of acoustic technologies and of listening. Throughout, we will remain attentive to the specificity of audio and audio-visual forms, but open to inter-media debates, concepts, and issues. We will pay particular attention to innovative works in audio-visual media that have shaped the boundaries of aesthetic and theoretical exploration. Readings will include essays by Edison, Benjamin, Adorno, Eisenstein, Prokofiev, Frith, and Altman. Films and videos will include works by Vertov, Eisenstein, Disney, Kubelka, Lang, Coppola, and Cage/Cunningham.

Pages