注册 登录  
 加关注
   显示下一条  |  关闭
温馨提示!由于新浪微博认证机制调整,您的新浪微博帐号绑定已过期,请重新绑定!立即重新绑定新浪微博》  |  关闭

黄小邪:芝加哥,城南影事

 
 
 

日志

 
 

鍦↖OWA涓婅鏃朵竴浠借绋嬫彁绾?  

2007-05-23 01:17:00|  分类: 默认分类 |  标签: |举报 |字号 订阅

  下载LOFTER 我的照片书  |

048:273 Advanced Film Theory: Theories of Cinematic Spectacle

Fall 2004

Professor Rosalind Galt

 

Class Times

Screening: 8:00P - 10:00P W 203 BCSB

Seminar: 1:30P - 4:00P Th 203 BCSB

 

Course description

The category of spectacle is central to film theory, and yet is often taken for granted. This class will interrogate the status of cinematic spectacle, assessing its significance in the history of film theory, and in critical and cultural theories as they pertain to cinema. Is spectacle an inherent component of the cinematic apparatus? Or it is a question of style? How can we read spectacle historically, ideologically and aesthetically? In addressing these questions, we will read classical film theory, Marxism, psychoanalysis, poststructuralist theories and more; considering where spectacle fits into their various accounts of image, narrative, spectatorship, aesthetics, form and style. Topics will include cinematic specificity, realism, trauma, queer theory and technologies of vision. We will view a range of film genres, texts and movements in which spectacle has been a contested term: musicals, action films, European art film, South East Asian new waves and Third Cinemas; directors such as Sternberg, Powell, Wong Kar-Wai, Fassbinder, Sembène and Jarman. Readings include Bazin, Adorno, Freud, Crary, Doane, Foster, Chow.

 

Required texts

 

Note: You may or may not wish to purchase all of these texts. All will be available on reserve in the library, and we will discuss in advance what chapters will be covered week by week.

course reading packet on WebCT
Edmund Burke,
A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
Siegfried Kracauer,
Theory of Film
André Bazin, What is Cinema? 
Guy Debord,
The Society of the Spectacle
Linda Williams,
Hard Core
Jonathan Crary,
Suspensions of Perception: Attention, Spectacle and Modern Culture
Rey Chow,
Primitive Passions
Matthew Tinkcom, Working Like a Homosexual

 

Requirements

Written assignments comprise weekly one-page response papers, due by 5pm each Wednesday, and a final 20-25 page seminar paper, due December 16th.

 

I need to hear from anyone who has a disability, which may require some modification of seating, testing or other class requirements so that appropriate arrangements may be made. Please contact me during my office hours.

 

Schedule

 

26 August – Introduction

 

I: Spectacular theories

 

1-2 September – Beauty and the sublime

Screening:      Hero (Zhang, 2002)

Readings:       Immanuel Kant, The Critique of Judgement (selections)

Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (selections)

 

8-9 September – Classical film theory, ontology and the image

Screening:      Roma, Città Aperta (Rossellini, 1945)

Readings:       Siegfried Kracauer, Theory of Film

André Bazin, What is Cinema? 

 

15-16 September – Frankfurt School and after

Screening:      Footlight Parade (Bacon, 1933)

Readings:       Siegfried Kracauer, “The Mass Ornament”

              Walter Benjamin, “A Small History of Photography” and Artwork Essay

Miriam Hansen, “Benjamin, Cinema and Experience: ‘The Blue Flower in the Land of Technology”

 

22-23 September – Marxism and postmodernism

Screening:     The Hole (Tsai, 1998)

Readings:       Guy Debord, The Society of the Spectacle

              Fredric Jameson, “Introduction” to Signatures of the Visible

T.J. Clark, “Afflicted Powers: The State, the Spectacle and September 11”

 

29-30 September – Psychoanalysis and feminism I

Screening:      Morocco (von Sternberg, 1930)

Readings:       Laura Mulvey, “Visual Pleasure and Narrative Cinema”

Sigmund Freud, “On Narcissism: an Introduction

Jacques Lacan, “The Unconscious and Repetition”

Mary Ann Doane, “Veiling Over Desire: Close Ups of the Woman”

 

6-7 October – Psychoanalysis and feminism II

Screening:      Peeping Tom (Powell, 1960)

Readings:       Sigmund Freud, “Fetishism” and “Medusa’s Head”

Linda Williams, Hard Core (selections)

Parveen Adams, “Father, Can’t You See I’m Filming?’

 

13-14 October – Visuality, History, Modernity

Screening:      no screening

Readings:          Jonathan Crary, Suspensions of Perception: Attention, Spectacle and Modern Culture

Angela Miller, “The Panorama, The Cinema and the Emergence of the Spectacular”

 

II: Spectacular texts

 

20-21 October – Art/History

Screenings:    Caravaggio (Jarman, 1986)

              A Zed and Two Noughts (Greenaway, 1985)

Readings:          James Tweedie, “The Suspended Spectacle of History: the tableau vivant in Derek Jarman’s “Caravaggio””

                        Brigitte Peucker, “Filmic Tableau Vivant: Vermeer, Intermediality, and the Real”

 

27-28 October – Space, Nation, Translation

Screenings:    Ju Dou (Zhang, 1990)

              I am Cuba (Kalatozishvili, 1964)

Readings:       Rey Chow, Primitive Passions

 

3-4 November – Musicals

Screenings:    The Pirate (Minnelli, 1947)

              Moulin Rouge (Luhrmann, 2000)

Readings:       Richard Dyer, “Entertainment and Utopia”

Matthew Tinkcom, Working Like a Homosexual (selections)

 

10-11 November – Queer spectacles

Screenings:    Happy Together (Wong, 1997)

              Querelle (Fassbinder, 1982)

Readings:          Helen Hok-sze Leung, “Queerscapes in Contemporary Hong Kong Cinema”

                        Al LaValley, “The Gay Liberation of Rainer Werner Fassbinder: Male Subjectivity, Males Bodies, Male Love.”

Kaja Silverman, "Fassbinder and Lacan: A Reconsideration of the Gaze, Look and Image"

 

17-18 November – Action movies and special effects

Screening:      The Perfect Stom (Peterson, 2000)

              Die Hard (McTiernan, 1988)

Readings:          Sean Cubitt, “Le réel, c’est impossible – the sublime time of special effects.”

Aylish Wood, “Timespaces in Spectacular Cinema: crossing the great divide of spectacle versus narrative”

Yvonne Tasker, Spectacular Bodies: Gender, Genre and the Action Cinema (selections)

 

Thanksgiving

 

1-2 December – Trauma and the image of the Real

Screenings:    Camp de Thiaroye (Sembene, 1987)

              Night and Fog (Resnais, 1955)

Readings:         Radstone, Elsaesser, Kaplan, Turim, Walker, “Trauma and Screen Studies: special debate”

              Hal Foster, “Obscene, Abject, Traumatic”

 

8-9 December

reading week

  评论这张
 
阅读(30)| 评论(0)
推荐 转载

历史上的今天

评论

<#--最新日志,群博日志--> <#--推荐日志--> <#--引用记录--> <#--博主推荐--> <#--随机阅读--> <#--首页推荐--> <#--历史上的今天--> <#--被推荐日志--> <#--上一篇,下一篇--> <#-- 热度 --> <#-- 网易新闻广告 --> <#--右边模块结构--> <#--评论模块结构--> <#--引用模块结构--> <#--博主发起的投票-->
 
 
 
 
 
 
 
 
 
 
 
 
 
 

页脚

网易公司版权所有 ©1997-2017