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This list relates to the academic year Academic Year 2014/15 which ended on 01/07/2015
This list has been archived
  1. Week 1: 10 items
    PART ONE--INTRODUCTION. Beyond the survey course in film theory. Why film theory? Film theory and “practice”? Film as a theory? PART TWO--FILM THEORY AND ITS “SUBJECTS” – AUTHORSHIP Putting politics into back into ‘”La Politique des auteurs”? If the bath water of auteur theory is intentionality, what is the baby?
    1. Viewing before this class: Please watch on your own Citizen Kane (Orson Welles, 1941)

    2. Reading before our first class (see Moodle):

    3. “The Death of the Author” - Roland Barthes

      Chapter Essential

    4. “Ideas of Authorship” - Edward Buscombe

      Chapter Essential

    5. Excerpts from Cahiers du Cinéma on authorship

      Chapter Essential

    6. “Authorship” - James Naremore

      Chapter Essential

    7. “Comment on ‘The Idea of authorship’” - Stephen Heath

      Chapter Essential

    8. “The Unauthorized Auteur Today" - Andrew Dudley

      Chapter Optional

    9. The Author as Receiver - Kaja Silverman 2001

      Article Optional

    10. Assignment: Watch any Jean-Luc Godard film made after 1980 (examples: Passion, First Name Carmen,JLG/JLG, In Praise of Love) and think about how that work problematizes film theory. If you have difficulty finding a Godard film from this period, watch Le Mépris/Contempt with the same question in mind (nb: the Criterion version has a very good commentary by Robert Stam).

  2. Week 2 12 items
    SPECTATORSHIP. The construction of “the gaze” in 1970s film theory. Questions to prepare for class: What do we have to gain today from theories of the gaze? How might we move beyond theories of voyeurism to frameworks that engage a multitude of ways of looking?
    1. Viewing before class (Films marked "SCREENED" will be shown in the week prior to class; youshould watch the other film or films on your own):

    2. Paris, Texas (Wim Wenders, 1984) (SCREENED)

    3. Peeping Tom (Michael Powell, 1960) (recommended: Criterion Collection with Laura Mulvey commentary)

    4. Optional: Ali: Fear Eats the Soul (Rainer Werner Fassbinder, 1974)

    5. Reading before class:

    6. “Visual Pleasure and Narrative Cinema” - Laura Mulvey

      Chapter Essential

    7. “When a Woman Looks” - Linda Williams

      Chapter Essential

    8. “Fassbinder and Lacan: A Reconsideration of Gaze, Look, and Image,” - Kaja Silverman

      Chapter Essential

    9. Cinema and spectatorship - Mayne, Judith 1993

      Book Essential 1-104, especially 53-104.

    10. “Fetishism” - Sigmund Freud

      Chapter Optional

    11. (Optional reading: Doane and Modleski debate about "Film and the Masquerade," see Moodle)

  3. Week 3 12 items
    TECHNOLOGY AND THE APPARATUS. From voyeurism to the slippages of subjectivity. Questions to prepare for class: How have the changes in technology altered the possible ways we can talk about the apparatus? How does historicizing the subject positions of cinema make possible new kinds of questions for cinema studies? Is there still an apparatus in digital filmmaking?
    1. Viewing before class

    2. In the White City (Alain Tanner, 1983) (SCREENED)

    3. The Conversation (Francis Ford Coppola, 1974)

    4. Optional: Family Viewing (Atom Egoyan, 1987) or The Adjuster (Atom Egoyan, 1991)

    5. Reading before class:

    6. “The Imaginary Signifier” - Christian Metz

      Chapter Recommended

    7. “Suture” - Kaja Silverman

      Chapter Essential

    8. “Feminism, Film Theory, and the Bachelor Machines” - Constance Penley

      Chapter Essential

    9. *Kaja Silverman, “The Gaze” - Kaja Silverman

      Chapter Recommended

    10. ”Feminism, Film Theory, and the Bachelor Machines,” - Constance Penley

      Chapter Essential

    11. “Introduction to Apparatus Theory” - Toby Miller

      Chapter Optional for background

    12. Articles by Baudry, De Lauretis, and/or Heath in Philip Rosen,

      Chapter Optional for further background reading:

  4. Week 4 10 items
    SITE-SEEING. From the Voyeur to the Voyageur. 53 Questions to prepare for class: How can one use the lessons from 1970s-1980s spectatorship and apparatus theory in tandem with new work on motion, space, and cartography? How has Giuliana Bruno’s “journey” in art, architecture and film shifted the stakes for film theory?
    1. Viewing before class:

    2. It Happened One Night (Frank Capra, 1934)

    3. OR Sullivan's Travels (Preston Sturges,1941)

    4. AND Detour (Edgar Ulmer, 1945) (SCREENING TO BE ANNOUNCED)

    5. Optional viewing:

    6. Paris qui dort (René Clair, 1923)

    7. The Crowd (King Vidor, 1928)

    8. and/or The Man with theMovie Camera (Dziga Vertov, 1929)

    9. Reading before class:

    10. Atlas of emotion: journeys in art, architecture, and film - Bruno, Giuliana 2002

      Book Essential [NOTE: you must obtain your own copy of this work; no excerpts will be provided on Moodle]

  5. Week 5 11 items
    EXHIBITION AND SCREENS: Theories and Spaces of the other subjectivity of cinema Prepare for class: How does recent work on exhibition, reception, and cultural history help us retheorize the spectator and/or the apparatus in general?
    1. Viewing before class:

    2. Ulysses' Gaze (Theo Angelopoulos, 1995) (note: 173 min.) (SCREENED)

    3. The Last Picture Show (Peter Bogdanovich, 1971)

    4. or The Blob (Irvin Yeaworth, 1953)

    5. Reading before class:

    6. Exhibition: The FILM Reader - Ina Rae Hark 2002

      Book Essential (your choice of selections)

    7. “Horror for Sale: The Marketing and Reception of Classic Horror Cinema” - Rhona Berenstein

      Chapter Essential

    8. The show starts on the sidewalk: an architectural history of the movie theatre, starring S. Charles Lee - Valentine, Maggie c1994

      Book Essential (your choice of 2-3 chapters)

    9. “Architectural Exoticism and the Art Deco Picture Palace” - Lucy Fischer

      Chapter Essential

  6. [READING WEEK Week 6]

  7. Week 7 9 items
    POPULAR SPECTACLE. Circus/Theatre/Dancing Girls/Magicians/Tricksters/Cinema. From the cinema of attractions to a cinema representing the spectacle. Prepare for class: What can films about tricksters and magicians teach us about theorizing film?
    1. Viewing for class:

    2. Dr Mabuse The Gambler (Fritz Lang, 1922) (Extra time needed! DVD version is the onlyfull length one and it's over 3 hours!) (SCREENED)

    3. Gun Crazy (Joseph H. Lewis, 1950)

    4. or Mickey One (Arthur Penn, 1965)

    5. Recommended reading before class:

    6. Weimar surfaces: urban visual culture in 1920s Germany - Ward, Janet 2001

      Book Essential

    7. Why the French love Jerry Lewis: from cabaret to early cinema - Gordon, Rae Beth 2001

      Book Optional esp. Chapters 5 and 6

    8. “Cinematic Spectatorship” - Vanessa Schwartz

      Chapter Optional

  8. Week 8 10 items
    CINEMA’S WARPED ARCHITECTURES Haptics and buildings? urban space and uncanniness? Heterotopias and Non-Places? Invitations to thinking about cinematic space outside the gaze?
    1. Reading for class:

    2. Film noir and the spaces of modernity - Dimendberg, Edward 2004

      Book Essential

    3. Of Other Spaces - Michel Foucault and Jay Miskowiec 1986

      Article Essential

    4. Viewing before class:

    5. Touch of Evil (Orson Welles, 1958) (SCREENED)

    6. North by Northwest (Alfred Hitchcock, 1959)

    7. Recommended:

    8. D.O.A. (Rudolf Maté, 1950)

    9. or Call Northside 777 (Henry Hathaway, 1948)

  9. Week 9 11 items
    PAINTING AND/IN FILM. Film’s troubled account of the artist--from iconoclastic projection to the fragmented subject? Think about for class: How can our theoretical account of films about art make room for postmodern theories of representation? What can films about painting teach us about theorizing film practices?
    1. Viewing before class:

    2. Dream of Light / El Sol del Membrillo (Victor Erice, 1992) (133 min.)(SCREENED)

    3. See on your own: Andrei Roublev (Andrei Tarkovsky, 1966-67)

    4. ATTENTION!!! Budget extra time!!! total length is 3+ hours!!!

    5. Recommended reading before class:

    6. The order of things: an archaeology of the human sciences - Foucault, Michel 1989, c1970

      Book Essential

    7. Velázquez' "Las Meninas" - Leo Steinberg 1981

      Article Essential

    8. “The Work of Art in the Age of Mechanical Reproduction,” - Walter Benjamin

      Chapter Essential 217-52, esp. 232-42

    9. Incorporating images: film and the rival arts - Peucker, Brigitte c1995

      Book Optional Skim around in Brigitte Peucker, Incorporating Images: Film and the Rival Arts

  10. Week 10 8 items
    PHOTOGRAPHY’S MOVING OTHER: TRUTH HOW MANY TIMES A SECOND? Cinema’s “real” and the theory of the fixed image Prepare for class: How can we use these classic readings of photography to problematize the ways cinema theorizes its own relation to the real and not real?
    1. Viewing before class:

    2. The Blue Dahlia (SCREENED)

    3. See on your own:

    4. Blow Up (Michelangelo Antonioni, 1966)

    5. Recommended reading before class:

    6. Camera lucida: reflections on photography - Barthes, Roland, Howard, Richard 1993

      Book Essential

    7. Regarding the pain of others - Sontag, Susan 2003

      Book Essential

    8. Between film and screen: modernism's photo synthesis - Stewart, Garrett 1999

      Book Optional

  11. Week 11 11 items
    DEAD MEDIA ARCHIVES
    1. Viewing before class:

    2. Reconstruction (Irene Lusztig, )(SCREENED)

    3. and your choice of Tom, Tom, The Piper's Son (Ken Jacobs, 1969),

    4. Lyrical Nitrate (Peter Delpeut, 1990),

    5. or Decasia (Bill Morrison, 2002)

    6. [also recommended: Double Indemnity (Billy Wilder, 1944]

    7. Reading before class:

    8. Residual media - Acland, Charles R. c2007

      Book Essential (Introduction and your choice of 2-3 chapters)

    9. and either

    10. Gramophone, film, typewriter - Kittler, Friedrich A., Wutz, Michael, Winthrop-Young, Geoffrey c1999

      Book Recommended

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