Film History and Criticism 1945- Present AHIS 2810
History and Criticism of Film II
Gollum (Andy Serkis) from The Hobbit: An Unexpected Journey2013 (Dir) Peter Jackson
HISTORICAL AND CRITICAL STUDIES DIVISION.
Film History and Criticism II 1945-Present
Instructor: Prof. Bruce Barber
Teaching Assistant: Annie Onyi Cheung
Time: Tuesdays 6.00pm – 10.00pm
Place: Academy Auditorium (A208)
Office Hours: Monday 1.00pm-4.00pm. Other times by appointment (Ken Rice 494-8187) Bruce Barber, Room 113 Academy Building, Brunswick Street, Ground Floor Cineflux Centre (492-2455) firstname.lastname@example.org
Continuing the historical trajectory established in Film History Survey 1 (1890-1945), this second survey course is an introduction to the history, theory and criticism of film from 1945 to the present. Each class consists of a lecture, screening(s) and discussion of films and assigned readings from the course texts. The readings and lectures introduce various critical and theoretical approaches to the study of film: social historical, genre typing, auteurist, semiotic, feminist, psychoanalytic, narratological and deconstructive. Students should read the assigned book chapters and essays prior to class in order to participate in the discussion and take full advantage of the relationships among the assigned readings, lectures and film screenings.
N.b. Course pre-requisite: Film History and Criticism 1, 1890-1940.
Please check Inter-University Film Studies program: http://hfxfilm.textstyle.ca
and the NSCAD University Website for current eventswww.nscad.ca
Thompson, Kristin and Bordwell, David. Film History: an Introduction Third Edition, Boston, McGraw Hill (2010) Available NSCAD U Bookstore.
Text note: students may use either the 2nd or 3rd edition of this book for the course.
N.B page numbers change for several sections.
Supplementary Texts on Library Reserve
Corrigan, Timothy, White, Patricia, with Meta Mazaj, Critical Visions in Film Theory; Classical and Contemporary Readings Boston and New York Bedford/St Martins Press 2011
Hayward, Susan. Key Concepts in Film Studies. London and New York, Routledge (1996) On Library reserve.
Requirements for Course, Due Dates and Evaluation:
Attendance & Participation (10%)
Assignment 1: In class Film Glossary test (20%) Tuesday January 29th
Assignment 2: In class Film Sequence analysis (20%) Tuesday February 19th
Assignment 3: Research Essay (25%) Due: Tuesday March 26th
Take Home Exam (25% ) Due April 16th
n.b. Evaluation will be letter graded according to NSCAD University policy.
Office Hours: Monday’s 1.00pm-4.00pm. Other times by appointment (494-8149) Bruce Barber Room 113 Academy Building Brunswick Street Ground Floor Cineflux Centre (492-2445) email@example.com
Sideshows each week: As not all of the films listed will be screened in classwhy don’t you become a film buff? If you own a computer with a writable DVD drive consider legally downloading films fromwww.movielink.com, www.channel4.com; and film scripts from www.imsdb.com/or www.zzippeddskripptzz.com. Check out the NSCAD U Library Film Collection for an overnight loan…. hundreds to choose from: local public libraries (first become a member, and again hundreds to choose from); Khyber Carbon Arc Film Series, Dalhousie Art Gallery Film Series, cinema and cable television listings:And for those with a TV and someone paying optimum cable service, www.netflix.ca ($8 per month); The Movie Channel(s); and rentals through the University Film Studies section of Video Difference, Blockbuster -- Your choice! Both the NSCAD Library and Video Difference will have the films on this class list available for borrowing.
Late Assignments: Assignments are to be handed to the Instructor or into the Historical and Critical Studies Division Office by 4:30 p.m. on the date assigned. Late assignments will be deducted 5 marks per day (excluding weekends) up to 10 days. Extensions will be granted for medical emergencies or other extreme exigencies if the Instructor is notified before the assignment is due.
Students are required to keep an extra copy of all assignments and please do not email assignments to the instructor.
Learning Disability Policy: Students who want accommodations for learning disabilities must work within the College’s “Learning Disabilities Policy”. A copy of the policy is available from the Coordinator of Financial Aid and Student Counseling in the Office of Student and Academic Services. This policy requires students to begin the process of arranging accommodations within the first two weeks of classes.
Plagiarism: NSCAD has a policy on plagiarism. It is available from the Office of Student and Academic Services and on line from the NSCAD website.
COURSE CALENDAR (n.b screenings may be subject to change according to availability of films and distributor’s screening agreement restrictions).
Week 1, January 8th
The War Years 1939- 1945
Reading: Thompson and Bordwell Film History: An Introduction 2nd Edition. Glossary,pp 731- 735 (n.b. for glossary test January 29th) and Part 3 Chapter 13 pp 260-276 & Chapter 14, pp 277 - 295
Supplementary Readings: Hayward, Key Concepts: Theory pp 380-384. Also downloadable as a pdf.
Corrigan, Timothy, White, Patricia, with Meta Mazaj, Critical Visions in Film Theory; Classical and Contemporary Readings Part I Experiencing Film: From perception to reception. Hugo Münsterberg “Why we go to the Movies” pp.9-16
Screening: Casablanca (Michael Curtiz, 1943).
Week 2, January 15th
The Post War Era 1945-1960.
Readings: Thompson & Bordwell Part 4 The Post War Era Chapter 15 American Cinema in the Postwar Era 1945-1960. pp 299-323; and Alfred Hitchcock Box p. 320
Supplementary reading: Corrigan, Timothy, White, Patricia, with Meta Mazaj, Critical Visions in Film Theory; Classical and Contemporary Readings Part I Experiencing Film: From perception to reception. Judith Mayne “Paradoxes of Spectatorship”pp.88-110 and Part 4 Auteurism: Tania Modelski “Hitchcock, Feminism and the Patriarchal Unconscious” pp 375-386
Hayward, Key Concepts Hays Code pp 171 and Hollywood Black List “Orson Welles: Boy Genius and Films of the Period” pp143-147; Hayward Key Concepts: Realism pp. 298-300
Screening: Strangers on a Train (1951) Rear Window (1954), Director: Alfred Hitchcock www.hitchcockwiki.com/Night and Fog (1955) Alain Renais
Week 3, January 22nd
Readings: Thompson & Bordwell Chapter 16 Neorealism and its Context pp.330-341 and Visconti Rossellini Box, p338
Supplementary Readings: Hayward, S. Key Concepts: Italian Neo-Realism pp.191-2.
Supplementary reading: Corrigan, Timothy, White, Patricia, with Meta Mazaj, Critical Visions in Film Theory; Classical and Contemporary Readings Part 3 Modernism and Realism: Debates in Classical Film Theory. Andre Bazin “The Evolution of the Language of Cinema” pp 309-325 & Cesare Zavattini “Some ideas on the Cinema pp 915 -924
Screening: Rome, Open City (Roberto Rossellini dir. 1945) and clips from Miraculo a Milano(Miracle in Milan) (1950) and Ladri di Biciclette (Bicycle Thieves, 1948) dir. Vittorio De Sica. www.robertorossellini.it/official site
Week 4, January 29th
Readings: Thompson & Bordwell pp 228, 233-235; and Chapter 17 pp 373-390.
Supplementary reading: Corrigan, Timothy, White, Patricia, with Meta Mazaj, Critical Visions in Film Theory; Classical and Contemporary Readings Part 5 Genre Classifying Stories Thomas Schatz Film Genre and the Genre Film” pp454-464; Commoli J-L; and Narboni, J., “Cinema/Ideology/ Criticism” pp478-487 and Rick Altman “A Semantic/ Syntactic/ Pragmatic Approach to Film Genre” pp 488-496
Screening: Scarlet Street(1945) Fritz Lang; The Big Sleep (1946) Howard Hawks; Rebel without a Cause (1955) Nicholas Ray. www.filmnoirstudies.com/more/index.asp An excellent noir site with links.
Assignment 1: In Class Glossary Review Test. Tuesday, January 29th (20%)
Week 5, February 5th
Film Genres and Auteurs:
Readings: Thompson & Bordwell Chapter 19, Art Cinema and the Idea of Authorship pp. 381-402
Supplementary reading: Corrigan, Timothy, White, Patricia, with Meta Mazaj, Critical Visions in Film Theory; Classical and Contemporary Readings Part 4 Auteurism: Directors, Stars and Beyond Alexandre Astruc “The Birth of a New Avant-Garde: La Caméra- Stylo”; Andrew Sarris “The Auteur theory Revisited”
Library Reserve. Hayward, Susan Gaze/Look pp149-152;
Screening: The Third Man Carol Reed (1949)The Seventh SealIngmar Bergman
(1957); Peeping Tom Michael Powell (1960); Psycho(1960) Alfred Hitchcock.
Week 6 February 12th
The New Waves and the cinematic avant-garde.
The nouvelle vague, counter culture...Debord, Godard, Truffaut, Chabrol, Tati and the International avant-garde: Cassevetes, Frank, Kubrick, Antonioni et al.
Readings: Thompson & Bordwell Chapter 20 New Wave and Young Cinemas 1958-1967 pp 403-422 Hayward, Key Concepts “Auteur Theory” pp 12-20“French New Wave” pp135-141
Supplementary reading: Corrigan, Timothy, White, Patricia, with Meta Mazaj, Critical Visions in Film Theory; Classical and Contemporary Reading: part 6 Screenings: Wolf Koenig and Roman Kroitor Lonely Boy (1961), Robert FrankPull My Daisy excerpts from: John Cassevetes Shadows(1959);Les quartre cents coups(The 400 Blows) (1959-60), Jean-Luc Godard Breathless : À bout de souffle (1960); Francois Truffaut, Blow Up (1966) Michelangelo Antonioni.
Assignment #2: In Class Film Sequence analysis Tuesday, February 19th (20%)
Assignment #3 library Research Essay handout (1 page abstract with short bibliography, due March 5th: Final Essay due Tuesday March 26th.
Week 7 February 18th -- 22nd Mid Term Reading Week. NO CLASS
Screening: Your choice of Local Film Offerings!
Week 8 February 26th
Avant-garde and Independent Cinema.
Readings: Thompson & Bordwell Chapter 21 Documentary and Experimental Cinema in the Postwar Era 1945-Mid 1960’s pp. 440-469. Maya Deren p 452
Hayward, Key Concepts Feminist film theory pp97-116;
Supplementary reading: Corrigan, Timothy, White, Patricia, with Meta Mazaj, Critical Visions in Film Theory; Classical and Contemporary Readings Part 2 Maya Deren “Cinematography: The Creative use of Reality” pp 144-156 & Part 8 Sexuality and Gender in Cinema: From Psychoanalysis to Performativity Laura Mulvey “Visual Pleasure and Narrative Cinema” pp 713-725.
Screening: Meshes of the Afternoon(1943) Maya Deren/ Alex Hammid; www.sensesofcinema.com/2002/great-directors/deren-2/
Fireworks (1947) Kenneth Anger; Last Year at Marienbad (1961), Alain Renais; Cleo from 5-7 (1961) Agnes Varda; Scorpio Rising (1964) Kenneth Anger; Chelsea Girls (1966) Andy Warhol; Weekend (1967) Jean Luc Godard; Wavelength (1967) Michael Snow;www.medienkunstnetz.de/works/wavelength/
Performance(1970) Nicholas Roeg; Privilege (1990), Yvonne Rainer.www.filmref.com/directors/dirpages/rainer.html
Week 9, March 5th
The 1960’s and Beyond
Crime, Horror and Suspense. The Hollywood ‘B’ movie.
Readings: Thompson & Bordwell Chapter 22 Hollywood’s Fall and Rise pp 473-493
Hayward, Key Concepts Horror pp174-178.
Corrigan, Timothy, White, Patricia, with Meta Mazaj, Critical Visions in Film Theory; Classical and Contemporary Readings Part 9 Race and Ethnicity in Cinema Richard Dyer “White” pp 822-839
Screening: Bucket of Blood (1960) Roger Corman; www.rogercorman.com/
Night of the Living Dead (1968) George Romero.www.homepageofthedead.com/
Week 10, March 12th
New Theories, New Films: France 1968 and into the 1970’s
Reading: Thompson & Bordwell Part 5 The Contemporary Cinema since the 1960’s Chapter 25 “New Cinemas and New Developments; Europe and USSR since the 1970’s “ pp 566-598;.
Supplementary Reading: Corrigan, Timothy, White, Patricia, with Meta Mazaj, Critical Visions in Film Theory; Classical and Contemporary Readings Christian Metz “Loving the Cinema”, “Identification Mirror,” “The Passion for Perceiving” pp17-33
Screening: One Plus One (Sympathy for the Devil, 1968) Jean Luc Godard; Je Tu Il, Elle(1970) Chantal Ackerman;www.egs.edu/faculty/chantal-akerman/biography/
Week 11, March 19th
Eastern Europe; Asian and Third World Cinema
Readings: Thompson & Bordwell, Chapter 18 Postwar Cinema beyond the West pp 358-377; Chapter 25 New Cinemas and New Developments: Europe and the USSR since the 1970’s pp 567-598; Chapter 26 A Developing World: Continental and Subcontinental Cinema since 1970 599-621 & 27 Cinema Rising: Pacific Asia and oceania since 1970 pp 627-658
Supplementary reading: Corrigan, Timothy, White, Patricia, with Meta Mazaj, Critical Visions in Film Theory; Classical and Contemporary Readings Part 10 National and Transnational Film Histories. Fernando Solanis and Octavio Getino, “Towards a Third Cinema…” pp924-938 and Stephen Crofts Reconceptualising National Cinema/s pp 939-958
Screening: Rashomon(1950) Akira Kurosawa; Ran (1985)Akira Kurosawa;The man who left his will on film(1970) Nagisa Oshima; Yellow Earth (1984) Chen Kaige; Farewell my Concubine (1992), Chen Kaige; Red Sorghum (1988) Zhang Yimou. A Short Film about Killing (1988); Three Colours: Blue (1993); White (1994), Red(1994) Krzystof Kieslowskiwww.kurosawamovies.com/
Week 12, March 26th
The 1980’s and Beyond
Readings: Thompson & Bordwell, Part Six Chapter 28 American Cinema and the Entertainment Economy: The 1980’s and after. pp 661-693
Supplementary reading Corrigan, Timothy, White, Patricia, with Meta Mazaj, Critical Visions in Film Theory; Classical and Contemporary Readings Richard Dyer “Stars” pp 401- 416 and Timothy Corrigan “The Commerce of Auteurism” pp416-429Taxi Driver Screenplaywww.lc.ncu.edu.tw/learneng/script/TaxiDriver.pdf
Screening: Eraserhead (1976) David Lynchwww.davidlynch.de/ Taxi Driver (1976) Martin Scorsese;www.scorsesefilms.com/or Bladerunner (1982) Ridley Scott The Decline and Fall of the American Empire (1986) Denys Arcand.
Assignment #3 ESSAYS DUE THIS DATE :Tuesday, March 26th
Take Home EXAM Due April 16th Final Class
Return April 10th
Week 13, April 2nd
Reading: Thompson & Bordwell Chapter 25 New Cinemas and Developments Europe and the USSR since the 1970’s; & Chapter 26 Beyond the Industrialized West Asia Pacific, Middle East and Africa since the 1970’s pp 605- 676.
Hayward, Deconstruction pp 63-64.
Supplementary Reading: Corrigan, Timothy, White, Patricia, with Meta Mazaj, Critical Visions in Film Theory; Classical and Contemporary Readings Part 11Dudley Andrew “An Atlas of World Cinema” pp999-1011
Screening: Vagabond (1985) Agnes Vardawww.filmref.com/directors/dirpages/varda.html
The Draughtsman’s Contract (1982) Peter Greenaway The Cook, the Thief, His Wife and Her Lover Peter Greenaway (1989); Z&00 Peter Greenaway;
The Piano (1993) Jane Campion; www.allmovie.com/artist/jane-campion-p83988
Dead Ringers (1986) David Cronenberg.www.davidcronenberg.de/
Week 14 April 9th
The Perverse Present: Globalization, Digitalization, YouTube and the Future(s) of Cinema.
Reading: Thompson & Bordwell; Chapter 29 Towarda Global Film Culture pp 694-736.and Chapter 30 Digital Technology and The Cinema pp 713-736
Supplementary Reading: Corrigan, Timothy, White, Patricia, with Meta Mazaj, Critical Visions in Film Theory; Classical and Contemporary part 11 Screen Culture: Current Dates Readings Lev Manovich “What is Digital Cinema?” pp1058-1070
Screening TBA: Once, John Carney (2007); Run Lola Run (1999) Tom Tykwer;www.tomtykwer.com/
Waking Life (2001)Richard Linklater; www.detourfilm.com/
Time Code (1999) Mike Figgis; www.egs.edu/faculty/mike-figgis/biography/
The Matrix(1999) Lana and Andy Wachowski; www.matrixfans.net/
Crouching Tiger, Hidden Dragon(2000) Ang Lee; The Lord of the Rings Trilogy (2000-4) Peter Jackson. The Social Network David Fincher (2010) Zero Dark Thirty (2013) Katherine Bigelow 2013www.zerodarkthirty-movie.com/
The Hobbit Trilogy 2013-15 Peter Jackson.www.thehobbitblog.com/category/peter-jackson/
Week 15 April 16th
Final Class JTake-Home Exams Due This Date. Screening: TBA TERM END
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