| Mon. Sept. 13 | Introduction &
Course Mechanics
THE POLEMIC DUALISM OF FILM THEORY |
|---|---|
| Tue. Sept. 14 | Animals in Motion.
John Straiton, Canada, 1963 Early Edison shorts Lumiere program Melies program |
| Mon. Sept. 20 | CLASSICAL
FILM THEORY IN CONTEXT Rudolf Arnheim, "On the Nature of Photography", The Camera Viewed: Writings on 20th-Century Photography, vol. 2, ed. P.R. Petruck (New York: Dutton, 1979), 147-160. (xerox) Jonathan Crary, "Modernizing Vision", Viewing Positions, ed. Linda Willams (New Brunswick, N.J.: Rutgers University Press, 1994), 23-35. (xerox) |
| Tue. Sept.21 | Broken Blossoms. D.W. Griffith, USA, 1919. |
| Mon. Sept. 27 | PERCEPTION AND FORMATIVE
THEORY, cont'd Rudolph Arnheim, "Film and Reality", "The Making of a Film", & "The Complete Film", Film Theory and Criticism (FTC) 312-321 & 212-215. |
| Tue. Sept. 28 | Sunrise. F.W. Murnau, USA, 1927. |
| Mon. Oct. 4 | CRITICAL
THEORY: THE FRANKFURT SCHOOL Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction", FTC 731-751. |
| Tue. Oct. 5 | Berlin, Symphony
of a Great City. Walter Ruttman, Germany, 1927. Diving and Marathon sequences from Olympia, Leni Reifenstahl, Germany, 1936. |
| Mon. Oct. 11 | THANKSGIVING - NO CLASS |
| Tue. Oct. 12 | The Extraordinary
Adventures of Mr. West in the Land of the Bolsheviks. Lev Kuleshov,
Russia, 1923. Excerpts, Sennet and Keaton comedies. SOVIET THEORY: KULESHOV & RUSSIAN FORMALISM |
| Mon. Oct. 18 | SOVIET
THEORY: EISENSTEIN'S DISPUTE WITH KULESHOV Sergei Eisenstein, "Beyond the Shot," FTC 15-24. |
| Tue. Oct. 19 | Strike. Sergei Eisenstein, USSR, 1924. |
| Mon. Oct. 25 | SOVIET
THEORY: DIALECTICAL MONTAGE Sergei Eisenstein, "The Dramaturgy of Film Form,"FTC 25-42. Vsevolod Pudovkin, "On Editing," FTC 9-14. |
| Tue. Oct. 26 | The General Line. Sergei Eisenstein, USSR, 1929. |
| Mon. Nov. 1 | POST-WAR
CINEMA & REALIST THEORY: ONTOLOGIES AND HISTORIOGRAPHIES
Sigfried Kracauer, "Basic Concepts" & "The Establishment of Physical Existence", FTC 171-182 & 293-303. S. Kracauer, "Film in Our Time," Theory of Film, (New York: Oxford Univ. Press, 1960), 285-309. (xerox) |
| Tue. Nov. 2 | Pather Panchali. Satyajit Ray, India, 1955. |
| Mon. Nov. 8 | POST-WAR
CINEMA & REALIST THEORY: SOCIAL REALISM - AMERICAN STYLE
Andre Bazin, "The Ontology of the Photographic Image"& "The Myth of Total Cinema, FTC 195-202. Recommended Reading: Raymond Williams, "Realism, Naturalism and their Alternatives", Cine-Tracts vol. 1 no. 3, 1977-78. |
| Tue. Nov. 9 | The Magnificent Ambersons. Orson Welles, USA, 1942. |
| Mon. Nov. 15 | POST-WAR
CINEMA & REALIST THEORY: NEO-REALISM A. Bazin, "The Evolution of the Language of Cinema," FTC 43-56 & "De Sica: Metteur-en-Scene," FTC 203-211. |
| Tue. Nov. 16 | Umberto D. Vittorio De Sica, Italy, 1952. |
| Mon. Nov. 22 | POST-WAR
CINEMA & REALIST THEORY: REALISM, AUTEURISM & ART CINEMA
Andre Bazin, "La Politique des Auteurs", The New Wave, ed. Peter Graham (Garden City, NY: Doubleday, 1968), 137-155. (xerox) Andrew Sarris, "Notes on the Auteur Theory in 1962," FTC 515-518. Peter Wollen, "The Auteur Theory," FTC 519-535. |
| Tue. Nov. 23 | Only Angels Have Wings Howard Hawks, USA, 1939 |
| Mon. Nov. 29 | POST-WAR
CINEMA AND REALIST THEORY: CRITIQUE OF AUTEURISM Jean-Luc Godard, "9: Defence and Illustration of Classical Construction" & "19: The Wrong Man," Godard on Godard, ed. T. Milne & Jean Narboni (NY: Da Capo, 1992). (xerox) Christian Metz, "Modern Cinema and Narrativity," Film Language: A Semiotics of the Cinema (NY: Oxford, 1974), 185-227. (xerox) |
| Tue. Nov. 30 | Hiroshima, Mon Amour. Alain Resnais, France, 1959. |
| Mon. Dec. 6 | TERM WRAP-UP |
| Tue. Dec. 7 | TERM TEST
HAPPY HOLIDAYS! |
| Mon. Jan. 3 | SEMIOTICS & THE
CINEMA: INTRODUCTION Roland Barthes, "The Photographic Message,"Image, Music, Text (London: Fontana Press, 1977), 15-31. (xerox) Christian Metz, "Some Points in the Semiotics of the Cinema," FTC 68-75. |
|---|---|
| Tue. Jan. 4 | City of Gold.
Colin Low and Wolf Koenig, Canada, 1957. Une Femme Mariee. Jean-Luc Godard, France, 1964. |
| Mon. Jan. 10 | SEMIOTICS
OF THE CINEMA: IMAGE OR MONTAGE? Christian Metz, "Cinema: Language or Language System?" Film Language: A Semiotics of the Cinema (New York: Oxford, 1974), 31-91. (xerox) |
| Tue. Jan. 11 | Point Blank. John Boorman, USA, 1967. |
| Mon. Jan. 17 | SEMIOTICS
OF THE CINEMA: A PARADIGM OF SYNTAGMAS Christian Metz, "Problems of Denotation in the Fiction Film," FTC 75-90. |
| Tue. Jan. 18 | The Metz Tape |
| Mon. Jan. 24 | SEMIOTICS OF THE
CINEMA: TEXTUAL ANALYSIS Raymond Bellour, "The Obvious and the Code," Narrative, Apparatus, Ideology: A Film Theory Reader, ed. Philip Rosen (New York: Columbia, 1991), 93-101. (xerox) |
| Tue. Jan. 25 | The Big Sleep. Howard Hawks, USA, 1946. |
| Mon. Jan. 31 | IDEOLOGY
AND APPARATUS Jean-Louis Baudry, "Ideological Effects of the Basic Cinematographic Apparatus," FTC 345-356. Stan Brakhage, ""From Metaphors on Vision," FTC 228-235. |
| Tue. Feb. 1 | Titicut Follies. Frederick Wiseman, USA, 1967. |
| Mon. Feb. 7 | IDEOLOGY
& APPARATUS cont'd. J. L. Comolli & J. Narboni, "Cinema/Ideology/Criticism," FTC 752-760. Jean-Louis Baudry, "The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema", FTC 760-778. |
| Tue. Feb. 8 | Spellbound. Alfred Hitchcock, USA, 1945. |
| Mon. Feb. 14 | READING WEEK |
| Tue. Feb. 15 | READING WEEK |
| Mon. Feb. 21 | IDEOLOGY & APPARATUS:
SOUND Christian Metz, "Aural Objects," FTC 356-360. S. Eisenstein, V. Pudovkin, G. Alexandrov, "Statement on Sound," FTC 360-363. Mary Ann Doane, "The Voice in the Cinema: The Articulation of Body and Space," FTC 363-376. |
| Tue. Feb. 22 | The Chronicle of Anna Magdalena Bach. Jean-Marie Straub & Danielle Huillet, France, 1967. |
| Mon. Feb. 28 | PSYCHOANALYSIS
AND FILM THEORY: CINEMA, DESIRING MACHINE Christian Metz, "Identification, Mirror," "The Passion for Perceiving, & "Disavowal, Fetishism," FTC 800-818. Supplementary Reading: Terry Eagleton, "Psychoanalysis," Literary Theory (London: Basil Blackwell, 1983), 151-193 (on reserve). |
| Tue. Feb. 29 | Mildred Pierce. Michael Curtiz, USA, 1945. |
| Mon. Mar. 6 | SUTURE:
SPECTATOR POSITIONS Daniel Dayan, "The Tutor-Code of Classical Cinema," FTC 118-129. Kaja Silverman, "On Suture," FTC 137-147. |
| Tue. Mar. 7 | Rear Window. Alfred Hitchcock, USA, 1959. |
| Mon. Mar. 13 | GENDERED
SPECTATORSHIP Laura Mulvey, "Visual Pleasure and Narrative Cinema," FTC 833-845. |
| Tue. Mar. 14 | Blonde Venus. Joseph von Sternberg, USA, 1932. |
| Mon. Mar. 20 | FILM THEORY &
ITS DISCONTENTS Gilbert Harman, "Semiotics and the Cinema: Metz and Wollen," FTC 90-98. Stephen Prince, "The Discourse of Pictures: Iconicity and Film Studies," FTC 99-117. Christine Gledhill, "Recent Developments in Feminist Criticism," FTC 251-272. |
| Tue. Mar. 21 | Sans Soleil. Chris Marker, France, 1982. |
| Mon. Mar. 27 | DISPERSAL: CULTURAL
STUDIES Robert Stam, "Colonialism, Racism and Representation: An Introduction," FTC 235-251. Richard Dyer, "White," Screen 29:4, 1988. (xerox) Manthia Diawara, "Black Spectatorship: Problems of Identification and Resistance," FTC 845-853. |
| Tue. Mar. 28 | Double Happiness. Mina Shum, Canada, 1996. |
| Mon. Apr. 3 | TERM WRAP-UP |
| Tue. Apr. 4 | TERM TEST |