Senior Creative Thesis

23903
ARTV 23904/33904
  • Undergraduate
  • Winter
  • 2010-2011
J. Hoffman

This seminar will focus on how to craft a creative thesis in film or video. Works-in-progress will be screened each week, and technical and structural issues relating to the work will be explored. The seminar will also develop the written portion of the creative thesis. The class is limited to seniors from CMS and DOVA, and MAPH students working on a creative thesis.

Zizek on Film

27201
  • Undergraduate
  • Winter
  • 2010-2011
M. Sternstein

Slavoj _i_ek has used film as the great expositor of his theories of ideology, perversion, sexuality, politics, nostalgia, and otherness. In this discussion-heavy course we will watch a lot of film from the directorial subjects of his main discussions (Chaplin; Rossellini; Lynch; Haneke; Kie_lowski; Tarkovsky; von Trier; Hitchcock and others) alongside Zizek’s theoretical writings on their film. The course examines why for the man who has been called the “Elvis of cultural theory” film is such a perfect lens through which to examine social situatedness and intersubjective *aporia*. There is no “paperwork” assigned for the course. The course is conducted seminar style and participants are expected to be vocal, prepared and somewhat ornery.

Reading Course

29700
  • Undergraduate
  • Winter
  • 2010-2011
Staff

Consent of faculty adviser and Director of Undergraduate Studies. Students are required to submit the College Reading and Research Course Form. This course may be used to satisfy distribution requirements for Cinema and Media Studies concentrators.

B.A. Research Paper

29900
  • Undergraduate
  • Winter
  • 2010-2011
Staff

PQ: Consent of instructor. Students are required to submit the College Reading and Research Form. This course may not be counted toward distribution requirements for the concentration, but may be counted as a free-elective credit.

New Media Theory

32310
ENGL 32310
  • Graduate
  • Winter
  • 2010-2011
P. Jagoda

New media technologies have enabled a variety of creative innovations, including computer games, digital environments, social networking sites, electronic literature, and interactive virtual maps. Through a study of contemporary media theory, we will analyze what precisely is “new” about new media. While this course focuses on new media “theory,” we will think carefully about questions of methodology. In particular, is it possible to write new media theory without hands-on engagement with digital technologies and design experience? Readings by theorists such as Alexander Galloway, Mark Hansen, N. Katherine Hayles, Friedrich Kittler, Lev Manovich, and Lisa Nakamura will help us think about concepts such as computer interactivity, digital visual culture, virtual embodiment, and network aesthetics. Along the way, we will play video games, read electronic fictions, analyze Facebook, experiment with the Processing open source programming language, and meet inside the virtual world Second Life. In addition to shorter assignments such as blog entries, students will focus on a final project that will take the form of either a traditional research paper or a digital media piece with included commentary (e.g., a piece of electronic fiction, a Machinima film, a digital visualization, or an interactive web project). Students need not be technologically gifted or computer savvy, but a wide-ranging imagination and interest in new media culture will make for a more exciting quarter.

La Nouvelle Vague/The French New Wave

23700
33700
  • Graduate/Undergraduate
  • Winter
  • 2010-2011
J. Wild

Neither a coherent movement nor a precise style, La Nouvelle Vague was nonetheless a watershed moment in the history of modernism. In this class, we will study the French New Wave’s emergence from the context of post WWII modernization and Existentialism, cinephilia and film criticism and theory. With an examination of canonical and lesser-known films (1950-early 1970s), we will pursue our study from the standpoint of cinematic ontology and French cultural and political history. We shall explore how this cinema considerably expanded the parameters of modern art practice and intellectual thought as well as redirected assumptions surrounding the medium’s formal and philosophic capacities. Films by Rohmer, Rivette, Truffaut, Godard, Eustache, Varda, Raynal, Chabrol, Rouch, Resnais, Garrel, and others.

Cinema in Africa

24201
34201
ENGL 27600/37600
  • Graduate/Undergraduate
  • Winter
  • 2010-2011
L. Kruger

This course examines cinema in Africa as well as films produced in Africa. It places cinema in Sub-Saharan Africa in its social, cultural, and aesthetic contexts ranging from neocolonial to postcolonial, Western to Southern Africa, documentary to fiction, art cinema to TV. We will begin with La Noire de... (1966), ground-breaking film by the "father" of African cinema, Ousmane Sembene, contrasted with a South African film, The Magic Garden (1960) that more closely resembles African American musical film, and anti-colonial and anti-apartheid films from Lionel Rogosin's Come Back Africa (1959) to Sarah Maldoror's Sambizanga, Ousmane Sembene's Camp de Thiaroye (1984), and Jean Marie Teno's Afrique, Je te Plumerai (1995). The rest of the course will examine cinematic representations of tensions between urban and rural, traditional and modern life, and the different implications of these tensions for men and women, Western and Southern Africa, in fiction, documentary and ethnographic film.

Cities in Sinophone Cinemas

24611
34611
  • Graduate/Undergraduate
  • Winter
  • 2010-2011
X. Dong

From the treaty port of Shanghai to the imperial capital of Beijing, from the “re-colonized” city of Taipei to the “floating city” of Hong Kong, and from an anonymous city in inland China to global Chinatowns, cities in Chinese-language cinemas at once reflect and participate in the historical transformations of modern China and the negotiation between national, local and cosmopolitan identities. Meanwhile, throughout its history, the motion-picture medium has shown an affinity with the city as an audio-visual ensemble, which in turn has provided constant inspiration for cinematic experimentation. Taking the chronotope of the “sinophone city” as an entry point, this course participates in both the on-going discussion of cinematic cities and the emerging discourse on the phonic articulation and visual mediation of a global sinophone culture. No knowledge of Chinese is required.

Cinema in Japan: Art and Commerce in a Transnational Medium

24903
34903
EALC 24903/34903
  • Graduate/Undergraduate
  • Winter
  • 2010-2011
M. Raine

This course surveys Japanese cinema from its prehistory to the work of contemporary transnational auteurs. We will focus on both aspects of the object of study: Japan and the cinema. Each week will present, in roughly chronological order, a "moment" from the history of Japanese cinema and a methodological issue in film studies brought into focus by that week's films. For example, we will study vernacular modernism in 1930s Japan, the war film and theories of propaganda, genre theory and 1950s program pictures. We will of course pay attention to the Masters of Japanese cinema (Mizoguchi, Ozu, Kurosawa, et. al.) but we will also study film in relation to broader cultural movements such as the "new wave" and the "political modernist" turn. We will also interrogate theories of national cinema and study theories of ethnicity and recent Japanese representations of the Other. All readings on the course are in English; no Japanese is required, though accommodations will be made for students who wish to read original language material.

The East Asian Film Musical

24907
34907
EALC 24907/34907
  • Graduate/Undergraduate
  • Winter
  • 2010-2011
M. Raine

The film musical appears as a quintessentially American form. From the development of the genre in synchronization with early sound technology to its full efflorescence in the MGM Broadway adaptations of the 1950s, nothing spoke the capital intensity of hallywood and the ideology of Americanism more clearly than the musical. This course studies East Asian emulation of Hollywood’s “transmedia exploitation” of popular music, revues, and musical films but also the musical that blazed regional circuits through East Asia, from “oriental jazz” and the wartime films of Yamaguchi Yoshiko/Ri Ko-Ran to postwar Toho travelogues and contemporary films featuring East Asian pop stars. Main focus on Japan; also films from Hong Kong, Manchuria, and Taiwan.

Theories of Media

27800
37800
ARTH 25900/35900, ARTV 25400, ENGL 12800/32800, ISHU 21800, MAPH 32800
  • Graduate/Undergraduate
  • Winter
  • 2010-2011
W.J.T. Mitchell

Any 10000-level ARTH or ARTV course, or consent of instructor. This course explores the concept of media and mediation in very broad terms, looking not only at modern technical media and mass media but also at the very idea of a medium as a means of communication, a set of institutional practices and a habitat in which images proliferate and take on a “life of their own.” Readings include classic texts (e.g., Plato’s Allegory of the Cave and Cratylus, Aristotle’s Poetics); and modern texts (e.g., Marshall McLuhan’s Understanding Media, Regis Debray’s Mediology, Friedrich Kittler’s Gramaphone, Film, Typewriter).

Documentary Video

28000
38000
ARTV 23901/33901
  • Graduate/Undergraduate
  • Winter
  • 2010-2011
J. Hoffman

This course focuses on the making of independent documentary video. Examples of direct cinema, cinéma vérité, the essay, ethnographic film, the diary and self-reflexive cinema, historical and biographical film, agitprop/activist forms, and guerilla television are screened and discussed. Topics include the ethics and politics of representation and the shifting lines between fact and fiction. Labs explore video pre-production, camera, sound, and editing. Students develop an idea for a documentary video; form crews; and produce, edit, and screen a five-minute documentary. A two-hour lab is required in addition to class time. Lab fee $50.

Barthes: Text & Image

48711
GRMN 48711, ARTH 48711
  • Graduate
  • Winter
  • 2010-2011
S. Ludemann, N. Steimatsky

Roland Barthes's incisive criticism stands as a major contribution to literary theory, to the semiotics of culture, and to contemporary conceptions of the image – still and moving. His work spans a wide variety of topics (including literature, photography, film, mythology, fashion, advertising, conversation, sport, love, and himself), propelling semiotics, anthropology, psychoanalysis, and post-structuralism towards an incisive and eloquent reflection. Although Barthes did not develop an explicit theory of the imaginary, the relationship of texts and images, the symbolic and the imaginary, are among his constant concerns. Are images 'just another type of text', or is there an independent sphere of the imaginary which escapes structural, or even cultural analysis? This question will be among the guiding themes of the seminar. All principal readings are in English.

Reading and Research

59900
  • Graduate
  • Winter
  • 2010-2011
Staff

Consent of instructor. Please register by faculty section.

The Silent Avant-Garde

65201
  • Graduate
  • Winter
  • 2010-2011
J. Wild

This course will examine the long-standing relationship between the cinema and primarily European and American avant-garde artists and movements between 1890 and 1935. By exploring the theoretical, practical, and more conceptual adoption of the cinema by artists working across media, this course will ask how the cinema and filmmaking practices transformed the history and theory of vanguardism. The following movements will be considered: Les Incohérants; Futurism (Italian and Russian); Cubism; Vorticism; Dada; Constructivism; Surrealism; the Cinéclub movement and little magazines dedicated to modernism will also be studied. Emphasis will be placed on primary documents and significant cultural events and manifestations of the period, but classic theories of the avant-garde will also be read (Bürger, Poggioli). Films by Bauer, Bragaglia, Ivens, Léger, Clair, Moholy-Nagy, Steiner, Richter, Ruttmann, Vertov, Dulac, Epstein and others will be shown.

Introduction to Film I

10100
ARTH 20000, ARTV 25300, ENGL 10800, ISHU 20000
  • Undergraduate
  • Spring
  • 2010-2011
Staff

This course 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.

Israeli Cinema: Identity, Memory, Narrative, Conflict

24802
NEHC 24802
  • Undergraduate
  • Spring
  • 2010-2011
D. Galili

The current version of the description reads: "This class surveys the history of Israeli film as well as critical methods with which to approach it. The principal interest of the class is to examine Israeli films as a “national cinema” by considering the various ways in which they reflect, enforce, and perpetuate – and also criticize and deconstruct – the dominant Israeli national ideologies and myths. We will explore how the developing Israeli film industry related in different historical moments to the efforts of the Israeli state to define its own identity, history, borders and aesthetic traditions, and discuss the film in light of topics such as the Zionist conception of Jewish history, the trauma of the holocaust, the project of Israeli nation- building, and the changes in Israeli culture’s representations of “others” on grounds of nationality, religion, ethnicity, and gender. Class screenings will include Israeli films that range from the pre- Israeli state Zionist propaganda films, to the nationalistic-heroic cinema of the young state, the mid- 1960s attempts at establishing an “Israeli New Wave,” and to today’s unprecedented international critical and commercial success of Israeli cinema."

The American Avant-Garde Cinema

25513
  • Undergraduate
  • Spring
  • 2010-2011
A. Hart

There has been an alternative cinema in the United States from the earliest days of Hollywood, but it wasn’t until the 1940s, with the first works of such figures as Joseph Cornell, Kenneth Anger and, especially, Maya Deren, that disparate film artists came together in what would become a coherent avant-garde filmmaking community or movement. Inspired by developments in poetry, dance, painting, and music, and by European filmmakers like Sergei Eisenstein and Jean Cocteau, these filmmakers set about creating a new genre of film, and a new kind of film language. A remarkable flourishing of independent, personal cinema soon followed, in an incredible variety of styles. This class will look at the historical development of the American avant-garde cinema from these early filmmakers through the intensely creative, productive period of the 1960s, and the fragmented state of the avant-garde in the years that followed. Using methodologies taken from cinema studies and other disciplines, especially art history, and looking at the films alongside contemporaneous work in other mediums, we will attempt to develop a valid critical language to describe and analyze these sui generis films and filmmakers. Filmmakers studied include Deren, Anger, Cornell, Stan Brakhage, Bruce Baillie, Bruce Conner, Jack Smith, Andy Warhol, Michael Snow, Paul Sharits, Ernie Gehr, Hollis Frampton, Jonas Mekas and Joyce Wieland.

Reading Course

29700
  • Undergraduate
  • Spring
  • 2010-2011
Staff

Consent of faculty adviser and Director of Undergraduate Studies. Students are required to submit the College Reading and Research Course Form. This course may be used to satisfy distribution requirements for Cinema and Media Studies concentrators.

B.A. Research Paper

29900
  • Undergraduate
  • Spring
  • 2010-2011
Staff

PQ: Consent of instructor. Students are required to submit the College Reading and Research Form. This course may not be counted toward distribution requirements for the concentration, but may be counted as a free-elective credit.

Agitation and Propaganda

24905
34905
EALC 24905/34905
  • Graduate/Undergraduate
  • Spring
  • 2010-2011
M. Raine

5/34905 This class traces the deployment of cinema as both national culture and "optical weapon" during a time of total war. We will study the Film Law of 1939 and the "national policy films" and "people's films" that attempted to raise the aesthetic and technical level of cinema in Japan in order to compete with the memory of Hollywood films both at "home" and in the Asian countries occupied by Japan. The class will include films made under Japanese sponsorship in the colonies of Taiwan and Korea as well as in the puppet state of Manchuria and the occupied territory of Shanghai. We will also study local sources of wartime Japanese cinema -- the prewar leftist film movement, the documentary film movement, the narrative avant-garde -- in the context of the broader image culture of wartime Japan. No knowledge of Japanese is required: separate section for discussion of Japanese and other Asian sources.

Cinema in Wartime Japan and its Territories

34906
EALC 44905
  • Graduate
  • Spring
  • 2010-2011
M. Raine

This seminar explores the history of cinema as a new medium for "propaganda and agitation" in the context of Japan's wars in Asia and the Pacific, 1937-1945. The emphasis is less on policy decisions than on their cultural consequences: how did the Tripartite Alliance, the Film Law, and the military situation affect the production, distribution, and reception of cinema in Japan and the occupied territories? What are the connections between cinema and other media and is there such a thing as a wartime style? In brief, the argument of the course is that propaganda in Japan, as elsewhere, was part of a broader project of agitation. Cinema was treated as a new medium, specially tasked not only to convey "information" but to elicit intense emotions from subjects of the nation, the Empire, and local military power that justified their suffering. That project often relied to a surprising extent on medium-specific, even modernist, modes of representation. We will study Japanese films in the context of a global 1930s "reactionary modernism" while simultaneously exploring more local sources of wartime cinema, in the prewar leftist film movement, the documentary film movement, the narrative avant-garde, and the broader image culture of wartime Japan. We will also explore how the medium was deployed in Japan's colonies (Taiwan and Korea), client states (Manchuria), and occupied territories (Eastern China, Hong Kong, Indonesia, the Philippines, etc). This history of cinema highlights concepts that are essential to broader histories of the period: for example: identity, complicity, nationality, and collaboration. English will be the lingua-franca for the course but we will also read primary and secondary Japanese documents, and material in other languages.

Documentary Video: Production Techniques

28001
38001
ARTV 23902, HMRT 25103/35103
  • Graduate/Undergraduate
  • Spring
  • 2010-2011
J. Hoffman

ARTV 23901 or consent of instructor. This course focuses on the shaping and crafting of a nonfiction video. Students are expected to write a treatment detailing their project. Production techniques focus on the handheld camera versus tripod, interviewing and microphone placement, and lighting for the interview. Post-production covers editing techniques and distribution strategies. Students then screen final projects in a public space. Lab fee $50.

Political Documentary Film

28201
38201
ARTV 28204/38204
  • Graduate/Undergraduate
  • Spring
  • 2010-2011
J. Hoffman

This course explores the political documentary film, its intersection with historical and cultural events, and its opposition to Hollywood and traditional media.  We will examine various documentary modes of production, from films with a social message, to advocacy and activist film, to counter-media and agit-prop.  We will also consider the relationship between the filmmaker, film subject and audience, and how political documentaries are disseminated and, most importantly, part of political struggle. 

Bresson Against Cinema

23801
43801
FREN 23801/33801
  • Graduate/Undergraduate
  • Spring
  • 2010-2011
N. Steimatsky

Robert Bresson is one of the most ambitious, most enigmatic filmmakers. In an era of reflexive, ironic post-classical cinema, it sometimes seemed as though he sought to ignore film history altogether, to defy its habits and conventions – to re-invent the medium in his own terms. Yet Bresson delves deeply into questions of cinema as a mode of perception, of knowledge and belief, as a way to explore social being and singularity: the individual inextricably, often tragically bound in the transactions of modern life. In this course we will consider Bresson’s sources, his modes of narration, the relation of text and image, visual style and sound practice; we will seek to define the special mode of attention that his films command. [All readings are in English.]

Chinese-language Film Comedies

44612
  • Graduate
  • Spring
  • 2010-2011
X. Dong

With the exception of the Hong Kong martial arts comedies that have gained worldwide popularity in recent decades, comedy has not been a genre generally associated with Chinese-language cinemas. Yet precisely because of the "seriousness" of China’s long 20th century laden with suffering and crisis, Chinese-language comedies provide a concentrated site for the investigation of national cinema on the one hand and the generic conventions of comedy on the other. Various modes of production and style will be explored in this course, including slapstick comedy and costume drama in the silent era; left-wing romantic comedy in the 1930s; post-WWII screwball comedy; the post-1949 tripartite development of comedy in China, Hong Kong and Taiwan; Chinese-American "comedy of immigration"; as well as post-modern pastiche and dark comedy from the post-new-era to the 21st century. No knowledge of Chinese is required.

Dziga Vertov and His Time: Left-Wing Art, Avant-Garde Filmmaking, Radical Politics

46602
  • Graduate
  • Spring
  • 2010-2011
Y. Tsivian

The class explores the work of this seminal Soviet documentary filmmaker, his theory, its international impact, its cultural and political implications, various ways of how Vertov’s films and theories are viewed and interpreted nowadays. Note: All readings in English and all screenings with translations.

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

28600
48600
ArtH 28600/38600, ENGL 29600/48900, MAPH 33700
  • Graduate/Undergraduate
  • Spring
  • 2010-2011
Y. Tsivian

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.

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

28600
48600
ArtH 28600/38600, ENGL 29600/48900, MAPH 33700
  • Graduate/Undergraduate
  • Spring
  • 2010-2011
Y. Tsivian

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.

Reading and Research

59900
  • Graduate
  • Spring
  • 2010-2011
Staff

Consent of instructor. Please register by faculty section.

Seminar in the Moving and Projected Image

67000
  • Graduate
  • Spring
  • 2010-2011
T. Gunning

The moving image has a long history that precedes by centuries the invention of celluloid and is likely to last beyond the disappearance of film. This seminar will take a theoretical and historical approach to the basic donnees of the projected moving image, its relation to light, imagery and movement in order to rethink a tradition that includes but is not limited to photographic film, that makes use , but not exclusively, of narrative, and that explores the issues of light and shadow, and color, form and movement. The seminar will include screening demonstrations that are essential to it, so don’t consider enrolling if you can’t make them. The assumption is that students will have a good knowledge of basic film theory and history. Limited to doctoral students. Reading will include Bazin, Metz, Baudry, Mannoni, and others.

Introduction to Film I

10100
ARTH 20000, ARTV 25300, ENGL 10800, ISHU 20000
  • Undergraduate
  • Autumn
  • 2009-2010
J. Wild

This course 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. 

Animals and Cinema: From Horror to Wildlife Documentary

21800
  • Undergraduate
  • Autumn
  • 2009-2010
I. Pollman

From the first films on, animals have been a constant presence on the screen, whether in safari films, popular science films, avant-garde films, horror and sci-fi films, anthropomorphizing narrative films with animal stars, or wildlife documentaries. What is this fascination of the cinema with animals? How do our encounters with animals in the movie theater differ from encounters in zoos, at home, or in the wild? What happens to animals when they are technologically mediated, and what happens to (human) spectators in the film experience of wild, cute, strange, or horrifying creatures? In this course, we will examine films including Electrocution of an Elephant (1903), Starewicz’s insect stop motion animations, American creature features such as Tarantula, as well as Tourneur’s Cat People, Bresson’s Au Hasard Balthazar, Herzog’s Grizzly Man, and others. With the help of these films, we will investigate relationships among humans, animals and technology in modernity, as well as concepts of animation, life, and wildlife. This course will familiarize students with the philosophical background of the “question” of the animal and engage film criticism that focuses on the ways in which film communicates, mediates, and transforms creaturely life. The course will incorporate readings by André Bazin, Jacques Derrida, Giorgio Agamben, J.M. Coetzee, Donna Haraway, Akira Lippit, Mary Ann Doane, Gilles Deleuze, Dudley Andrew, and others. 

Pickford and the American Film Industry

21901
  • Undergraduate
  • Autumn
  • 2009-2010
E. Binggeli

Reading Course

29700
  • Undergraduate
  • Autumn
  • 2009-2010
Staff

Consent of faculty adviser and Director of Undergraduate Studies. Students are required to submit the College Reading and Research Course Form. This course may be used to satisfy distribution requirements for Cinema and Media Studies concentrators.

Senior Colloquium

29800
  • Undergraduate
  • Autumn
  • 2009-2010
J. Lastra

CMST 10100. Required of all Cinema and Media Studies concentrators. This seminar is designed to provide senior concentrators with a sense of the variety of methods and approaches in the field (such as formal analysis, cultural history, industrial history, reception studies, psychoanalysis). Students will present material relating to their B.A. project, which will be discussed in relation to the issues of the course.

B.A. Research Paper

29900
  • Undergraduate
  • Autumn
  • 2009-2010
Staff

PQ: Consent of instructor. Students are required to submit the College Reading and Research Form. This course may not be counted toward distribution requirements for the concentration, but may be counted as a free-elective credit.

American Cinema Since 1960

31900
  • Graduate
  • Autumn
  • 2009-2010
M. Hansen

The year 1960 is commonly understood as a watershed in United States film history, marking the end of the so-called "classical" Hollywood cinema. We will discuss this assumption in terms of the break-up of the studio system; the erosion of the Production Code; the crisis of audience precipitated by television's mass spread; and the changing modes of film reception, production, and style under the impact of video, cable, and other electronic communication technologies. We will also relate cinema to social and political issues of the post-1960s period (Civil Rights, student and women's movements, the Vietnam war, urban crisis, reproductive freedom, AIDS, the Reagan/Bush era, and the end of the Cold War) and ask how films reflected upon and intervened in contested areas of public and private experience. With the help of the concept of "genre" (and the changed "genericity" of 1980s and '90s films) and of the notion of "national cinema" (usually applied to film traditions other than the United States), we will attempt a dialogue between industrial/stylistic and cultural-studies approaches to film history.

Neorealism: Space, Culture, History

23000
33000
  • Graduate/Undergraduate
  • Autumn
  • 2009-2010
N. Steimatsky

Following the traumatic devastations of Fascism, the physical and moral collapse of World War II, filmmakers such as Rossellini, Visconti, and De Sica (to cite only the most famous) offered the most immediate and influential responses to reconstruction of postwar Europe.  Neorealism thus became a model for the renewal of cinemas everywhere, binding a new ethic and aesthetic of filmmaking in ways that remain exemplary for other nations and minorities to this day.  In its renewed exploration of space and location, temporality and history, neorealism was also a central reference for artists, architects, and writers.  This course will interlace key neorealist feature films with lesser known works, including documentaries and shorts, offering fresh perspectives on one of the most influential movements in film history.  All readings in English.

From La Dolce Vita to the Murder of Pasolini

23001
33001
  • Graduate/Undergraduate
  • Autumn
  • 2009-2010
N. Steimatsky

Following the traumatic devastations of Fascism, the physical and moral collapse of World War II, filmmakers such as Rossellini, Visconti, and De Sica (to cite only the most famous) offered the most immediate and influential responses to reconstruction of postwar Europe.  Neorealism thus became a model for the renewal of cinemas everywhere, binding a new ethic and aesthetic of filmmaking in ways that remain exemplary for other nations and minorities to this day.  In its renewed exploration of space and location, temporality and history, neorealism was also a central reference for artists, architects, and writers.  This course will interlace key neorealist feature films with lesser known works, including documentaries and shorts, offering fresh perspectives on one of the most influential movements in film history.  All readings in English.

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