Fall 2010 Film-related Graduate Seminars
Screening German Histories in Post-War Film: German Film from 1945 to the Present
16:195:609:01; Index 17576; T 4:30 - 7:10 PM GH-102; CAC
Taught in English
Cross-Listed with 16:470:672:01
Professor Fatima Naqvi
In this course, we will look at a variety of feature films by Fassbinder, Wenders, Herzog, Haneke, Schlöndorff, von Trotta, Tykwer, Ruzowitzky (among others), and focus on issues of guilt, remembrance, gender, homeland, and national self-fashioning in the wake of World War II. How does the Second World War and its legacy inflect these films? What socio-political and economic factors influence the private and collective identities that these films articulate? How do the predominant concerns shift with the passage of time?
Readings of classical film theory (Kracauer, Benjamin, Metz, Barthes, Doane, Mulvey) and current scholarship on German film (Kaes, Rentschler, Elsaesser, Santner, Kuzniar, Gemünden).
History of French Cinema: “La qualité française” and the Evolution of French Cinema, 1940-1960
16:420:678:01 F 1:10-3:50 SC 114/CAC
Professor Alan Williams
After a short overview of French film history, we will concentrate on the cinema of the German Occupation and of the postwar period (before the New Wave). We will consider not only the landmarks of the Tradition de la Qualité but also the other currents of the period(s), some of which will ultimately feed into the Nouvelle Vague.
The course is taught in English, and all films screened will have subtitles in English, but please note that the majority of the readings are in French, with no adequate translations available.
Noel Burch & Genevieve Sellier, La Drôle de guerre des sexes du cinéma français (1930-1956), Nathan, (978-2200343552).
André Bazin, Qu'est-ce que le cinéma?, Le Cerf, (978-2204024198).
Alan Williams, Republic of Images: A History of French Filmmaking, Harvard University Press, (978-0674762688).
Theory and Praxis in Transatlantic Revolutionary Filmmaking
16:195:519:02; Index 18311; M 3:55-6:35 PM CPH-103B; D/C
M 7:15-9:45 PM (Film Screening) RAB-001; D/C
Cross-Listed with 16:940:597:01
Professor Susan Martin-Márquez
Beginning in the late 1950s a number of radical filmmakers from Europe sought to create new forms of filmmaking that challenged both the aesthetic and ideological regimes of dominant film industries such as Hollywood, in many cases in order to promote revolutionary thinking and activism among viewers. At the same time, however, revolutionary conflicts and movements were occurring “on the ground” throughout Latin America and the African continent, and foreign and local filmmakers alike sought to engage with the dramatic events on film. In this course we will explore the complex networks of exchange and influence that resulted from the rise of both revolutionary movements and revolutionary filmmaking in the 1960s in Western Europe, Latin America, and Africa. We will discuss the evolution of revolutionary cinema out of politicized forms of “auteurist” filmmaking; the role of the manifesto in the consolidation of alternative strategies of production and reception; and the influences that resulted—or were rejected or denied—from the exchange of films, texts, equipment and people. In addition to critical readings on the films under consideration, we will study a number of theoretical explorations of ideological “interpellation,” and of the relationship between film and ideology.
Written exercises: midterm scene analysis paper; final seminar paper. Prior knowledge of film analysis welcome but not required; we will begin the semester with a “crash course” in the close reading of film.
This course will be taught in English. Required films will be shown with subtitles, and readings will be made available in English, though in some cases students who choose to do so may read them in the original language, or in translation in languages other than English.
Directors whose works are likely to be considered: Leopoldo Torre-Nilsson; Leonardo Favio; Fernando Solanas; Patricio Guzmán; Glauber Rocha; Tomás Gutiérrez Alea; Humberto Solás; Manuel Octavio Gómez; Sara Gómez; Ruy Guerra; Nelson Pereira dos Santos; Jean-Luc Godard; Chris Marker; Agnès Varda; Gillo Pontecorvo; Mikhail Kalatozov; Ousmane Sembène; Djibril Diop Mambety. Several “Barcelona School” filmmakers may also be discussed. We are likely to read theoretical and critical works by: Theodor Adorno; Walter Benjamin; Louis Althusser; Peter Wollen; Geoffrey Nowell-Smith; Michel de Certeau; Fredric Jameson; Stuart Hall; Judith Mayne; Robert Stam; Ismael Xavier; D.N. Rodowick. We will also read the major revolutionary film manifestos by Solanas and Gettino; Rocha; Gutiérrez Alea; and García.