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Comparative Literature 312 |
Schedule of Classes, Readings, and Screenings: Weeks 1-3: The French New Wave Week 1: A Certain Tendency Reading: François Truffaut, “A Certain Tendency of the French Cinema” (from Bill Nichols, ed., Movies and Methods); Richard Neupert, “Introduction” & “Cultural Contexts: Where Did the Wave Begin?” (from A History of the French New Wave Cinema); Anne Gillain, “The Script of Delinquency: François Truffaut’s Les 400 coups” (from Susan Hayward and Ginette Vincendeau, eds., French Film: texts and contexts); Jean-Luc Godard, “Les 400 Coups” & Fereydoun Hoveyda, “The First Person Plural” (from Jim Hillier, ed., Cahiers du Cinéma: The 1950s); selected reviews of Breathless (from Dudley Andrew, ed., Breathless) M (3/27): Introduction to the course / A Slogan from France T (3/28): The 400 Blows (François Truffaut, 1959) W (3/29): Breathless (Jean-Luc Godard, 1960) R (3/30): The New Wave Has Arrived Week 2: The Left Bank School Reading: Cahiers du cinéma roundtable on Hiroshima mon amour (from Jim Hillier, ed., Cahiers du cinéma: The 1950s); Sandy Flitterman-Lewis, “Varda in Context: French Film Production in the Early Sixties—the New Wave,” & “From Déesse to Idée: Cléo from 5 to 7” (from To Desire Differently: Feminism and the French Cinema) M (4/03): Hiroshima mon amour (Alain Resnais, 1959) T (4/04): La Jetée (Chris Marker, 1962) / The Archive of the New Wave W (4/05): Cléo from 5 to 7 (Agnès Varda, 1961) R (4/06): Feminism and the French New Wave Week 3: New Wave Stars Reading: Antoine de Baecque & Serge Toubiana, “New Wave: 1958-1962” (from Truffaut); Ginette Vincendeau, “Jeanne Moreau and the Actresses of the New Wave: New Wave, new stars” (from Stars and Stardom in French Cinema) M (4/10): Jules and Jim (François Truffaut, 1962) T (4/11): Stars Behind the Camera and on the Screen W (4/12): Pierrot le fou (Jean-Luc Godard, 1965) R (4/13): From the New Wave to Political Modernism Weeks 4-6: The Global Sixties Week 4: A Wave of New Waves Reading: Steve Neale, “Art Cinema as Institution” (from European Films and Theory); Noel Burch, “Postscriptum” (from To the Distant Observer); Dina Iordanova, “State Socialist Modernity: The Urban and the Rural” (from Cinema of the Other Europe); Peter Hames, “Closely Observed Trains” (from Hames, ed., The Cinema of Central Europe) M (4/17): Cruel Story of Youth (Nagisa Oshima, 1960) T (4/18): The Japanese New Wave W (4/19): Closely Watched Trains (Jiří Menzel, 1966) R (4/20): The Czechoslovak New Wave Week 5: Third Cinema Reading: Fernando Solanas & Octavio Gettino, “Towards a Third Cinema” (from Bill Nichols, ed., Movies and Methods); Julio García Espinosa, “For an imperfect cinema” (from Jump Cut: available online at: http://www.ejumpcut.org/archive/onlinessays/JC20folder/ImperfectCinema.html); Thomas Elsaesser, “The New German” (from Elizabeth Ezra, ed., European Cinema). M (4/24): Memories of Underdevelopment (Tomás Gutiérrez Alea, 1968) T (4/25): Imperfect Cinema W (4/26): Ali: Fear Eats the Soul (Rainer Werner Fassbinder, 1974) R (4/27): “Perfect” Cinema and Its Others Week 6: Towards Postmodernism M (5/01): Blow-Up (Michelangelo Antonioni, 1966) T (5/02): The Beginnings of Postmodern Cinema W (5/03): No Screening R (5/04): Midterm Weeks 7-8: American Independent Cinema Week 7: The Cinema of Outsiders Reading: Geoff King, “Introduction: Dimensions and Definitions of New Hollywood” and “New Hollywood, Version 1” (from New Hollywood Cinema: An Introduction); Barbara Klinger, “The Road to Dystopia: Landscaping the Nation in Easy Rider” (from The Road Movie Book) M (5/08): Bonnie and Clyde (Arthur Penn, 1967) T (5/09): The Gangster’s Guide to American History W (5/10): Easy Rider (Dennis Hopper, 1969) R (5/11): Road Movies and the Search for America First Paper Due Friday (5/12) Week 8: Martin Scorsese’s America Reading: Robert Kolker, “Expressions of the Streets: Martin Scorsese” (from A Cinema of Loneliness); Cynthia Fuchs, “I got some bad ideas in my head” (from Film Analysis) M (5/15): Taxi Driver (Martin Scorsese, 1976) T (5/16): Are You Looking at Me? W (5/17): Raging Bull (Martin Scorsese, 1980) R (2/18): The Cinematography of Violence Week 8.5: The Blockbuster through the Looking Glass Reading: Geoff King, “New Hollywood, Version 2” (from New Hollywood Cinema: An Introduction); Hannah Paterson, “Two Characters in Search of a Direction: Motivation and the Construction of Identity in Badlands” (from Peterson, ed., the cinema of Terrence Malick) M (5/22): Badlands (Terrence Malick, 1973) T (5/23): The Blockbuster and the Masterpiece Weeks 9-10: China’s Fifth Generation Week 9 Reading: Zhang Yingjin, “Cinema and national/regional cultures, 1979-89” (from Chinese National Cinema); Sheldon Hsiao-Peng Lu, “Historical Introduction: Chinese Cinemas (1896-1996) and Transnational Film Studies” (from Transnational Chinese Cinemas); Helen Hok-Sze Leung, “Yellow Earth: Hesitant Apprenticeship and Bitter Agency” (from Chris Berry, ed., Chinese Films in Focus: 25 New Takes) W (5/24): Yellow Earth (Chen Kaige, 1984) R (5/25): The River Elegy Week 10 Reading: Sheldon Hsiao-Peng Lu, “National Cinema, Cultural Critique, and National Capital: The Films of Zhang Yimou (from Transnational Chinese Cinemas); Jerome Silbergeld, “Ruins of a Sorghum Field, Eclipse of a Natioon: Red Sorghum on Page and Screen” (from China into Film); New Reading (replaces Silbergeld): Jonathan Spence, "Unjust Desserts" (from The New York Review of Books) M (5/29): Holiday: No Class T (5/30): China’s New Wave W (5/31): Schedule Change: The Story of Qiu Ju (Zhang Yimou, 1992) R (6/01): The Open Window: Contemporary Chinese Cinema Second Paper Due Friday (6/01) FINAL EXAM: Final Review JUNE 8, 2006, 230-420P Location: JHN 075 |
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Contact the instructor at: jtweedie@u.washington.edu
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