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Comparative Literature 302 |
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of Classes, Readings, and
Screenings: Weeks 1-4: Cinema and Modernity Week 1: Modernism/Modernity Reading: Siegfried Kracauer, “Basic Concepts” (FTC, 143); Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction” (FTC, 791; please read by Thursday of first week). T (1/3): Thinking theoretically about film: how, why, when, where. W (1/4): Irma Vep (Olivier Assayas, 1996). Th (1/5): Modernity/Modernism. Week 2: The Social Construction of Modernity Reading: Vsevolod Pudovkin, [On Editing] (FTC, 7); Sergei Eisenstein, “Beyond the Shot [The Cinematographic Principle and the Ideogram],” “The Dramaturgy of Film Form [The Dialectical Approach to Film Form],” and “Dickens, Griffith, and Ourselves” (FTC; 13, 23, 436). Additional Reading: Frank S. Nugent’s 1936 New York Times review of Modern Times at http://www.nytimes.com/books/97/03/30/reviews/chaplin-modern.html. M (1/09): The Man with a Movie Camera (Dziga Vertov, 1929). T (1/10): The flash of modernity. W (1/11): Modern Times (Charles Chaplin, 1936). Th (1/12): Modernity’s utopias and dystopias. Week 3: High and Low Modernism Reading: Miriam Hansen, “The Mass Production of the Senses: Classical Cinema as Vernacular Modernism” (Project Muse; http://muse.jhu.edu/journals/modernism-modernity/v006/6.2hansen.html), and “Fallen Women, Rising Stars, New Horizons: Shanghai Cinema as Vernacular Modernism” (please read by Thurs.; JSTOR; http://links.jstor.org/sici?sici=0015-1386%28200023%2954%3A1%3C10%3AFWRSNH%3E2.0.CO%3B2-J). M (1/16): Holiday: No Class T (1/17): Cinema’s global vernacular. W (1/18): Goddess (Wu Yonggang, 1934). Th (1/19): Cinema’s global vernacular. Week 4: The Ends of Modernism Reading: David Bordwell, “The Art Cinema as a Mode of Film Practice” (FTC, 774); Gilles Deleuze, “Preface to the English Edition,” “The Origin of the Crisis: Italian Neo-realism and the French New Wave,” and “Beyond the Movement-Image” (FTC; 240, 242, 250). M (1/23): Mon Oncle (Jacques Tati, 1958). T (1/24): Modernism and the emergence of “art cinema.” Weeks 4-6: Cinema and Reality Week 4 (continued): Realist Film Theory Reading: Rudolf Arnheim, “Film and Reality” (FTC, 322); André Bazin, “The Evolution of the Language of Cinema,” “The Ontology of the Photographic Image,” “The Myth of Total Cinema,” and “De Sica: Metteur-en-scène” (FTC; 41, 166, 170, 174). W (1/25): Bicycle Thieves (Vittorio de Sica, 1948). Th (1/26): The ontology of the photographic image. Week 5: The Illusion of Reality/The Reality of Illusion Reading: Stanley Cavell, “Photograph and Screen,” “Audience, Actor, and Star,” and “Ideas of Origin” (FTC; 344, 345, 352); Maya Deren, “Cinematography: The Creative Use of Reality” (FTC, 187). M (1/30): Nights of Cabiria (Federico Fellini, 1957). T (1/31): Challenges to Bazin’s realism. W (2/1): The Battle of Algiers (Gillo Pontecorvo, 1965). Th (2/2): The documentary aesthetic. Week 6: From the World to the Spectator Reading: Stephen Prince, “True Lies: Perceptual Realism, Digital Images, and Film Theory” (FTC, 270). M (2/6): Safe (Todd Haynes, 1997). T (2/7): Contemporary variations on realism. W (2/8): No Screening. Th (2/9): Midterm (Review Sheet). Weeks 7-8: Spectators, Audiences, Genres Week 7: The Spectator and the Gaze Reading: Laura Mulvey, “Visual Pleasure and Narrative Cinema” (FTC, 837); Tania Modleski, “The Master’s Dollhouse: Rear Window” (FTC, 849); Linda Williams, “Film Bodies: Gender, Genre, and Excess” (FTC, 727). M (2/13): Rear Window (Alfred Hitchcock, 1954). T (2/14): Watching ourselves watching. W (2/15): Peeping Tom (Michael Powell, 1960). Th (2/16): Theorizing the cinematic gaze. First Paper Due Friday (2/17). Week 8: Ideologies of Spectatorship Reading: Jean-Louis Baudry, “Ideological Effects of the Basic Cinematographic Apparatus” (FTC, 355); Daniel Dayan, “The Tutor-Code of Classical Cinema” (FTC, 106); Manthia Diawara, “Black Spectatorship: Problems of Identification and Resistance” (FTC, 892); Tom Gunning, “An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectator” (FTC, 862). Additional Screening: The Wizard of Oz (Victor Fleming, 1939). M (2/20): Holiday: No Class T (2/21): Ideology and classical Hollywood cinema. W (2/22): Strange Days (Kathryn Bigelow, 1995). Th (2/23): Interpretive communities and other spectators. Week 9: Authors, Studios, Stars Reading: Andrew Sarris, “Notes on the Auteur Theory in 1962” (FTC, 561); Peter Wollen, “The Auteur Theory” (FTC, 565); John Ellis, “Stars as a Cinematic Phenomenon” (FTC, 598); Robert C. Allen, “The Role of the Star in Film History [Joan Crawford]” (FTC, 606); Lisa Cohen, “The Horizontal Walk: Marilyn Monroe, CinemaScope, and Sexuality” (http://muse.jhu.edu/journals/yale_journal_of_criticism/v011/11.1cohen.html); Thomas Schatz, “The Whole Equation of Pictures” (FTC, 652). Additional Reading: For in formation on the life and afterlife of Marilyn Monroe, please see http://www.marilynmonroe.com/ M (2/27): The Magnificent Ambersons (Orson Welles, 1942). T (2/28): Auteur theory. W (3/1): Gentlemen Prefer Blondes (Howard Hawks, 1953). Th (3/2): Authors/Studios/Stars. Week 10: New Directions in Film Theory Reading: John Belton, “Digital Cinema: A False Revolution” (FTC, 901); Anne Friedberg, “The End of Cinema: Multimedia and Technological Change” (FTC, 914). M (3/6): Ed Wood (Tim Burton, 1994). T (3/7): Art, authorship, and trash. W (3/8): The Gleaners and I (Agnès Varda, 2000). Th (3/9): Thinking theoretically about film: here and now. Second Paper Due Tuesday (3/7) (may turn in by 4:00 p.m. on 3/10 without penalty). Final Exam: Thursday, March 16, 2006, 8:30-10:20 (Review sheet) Location: LAW 117 |
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Contact the instructor at: jtweedie@u.washington.edu
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