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黄小邪:芝加哥,城南影事

 
 
 

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在IOWA上课时一份课程提纲  

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048:273 Advanced Film Theory:Theories of Cinematic Spectacle

Fall 2004

Professor RosalindGalt

 

Class Times

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

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

 

Coursedescription

The category of spectacle iscentral to film theory, and yet is often taken for granted. Thisclass will interrogate the status of cinematic spectacle, assessingits significance in the history of film theory, and in critical andcultural theories as they pertain to cinema. Is spectacle aninherent component of the cinematic apparatus? Or it is a questionof style? How can we read spectacle historically, ideologically andaesthetically? In addressing these questions, we will readclassical film theory, Marxism, psychoanalysis, poststructuralisttheories and more; considering where spectacle fits into theirvarious 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 arange of film genres, texts and movements in which spectacle hasbeen a contested term: musicals, action films, European art film,South East Asian new waves and Third Cinemas; directors such asSternberg, 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 topurchase all of these texts. All will be available on reserve inthe library, and we will discuss in advance what chapters will becovered week by week.

course reading packet onWebCT
Edmund Burke,
A Philosophical Enquiry into the Origin of OurIdeas of the Sublime and Beautiful
SiegfriedKracauer,
Theory of Film
André Bazin, Whatis Cinema? 
Guy Debord,
The Society ofthe Spectacle
Linda Williams,
HardCore
Jonathan Crary,
Suspensions ofPerception: Attention, Spectacle and Modern Culture
ReyChow,
Primitive Passions
Matthew Tinkcom,Working Like a Homosexual

 

Requirements

Written assignments compriseweekly one-page response papers, due by 5pm each Wednesday, and afinal 20-25 page seminar paper, due December16th.

 

I need to hear from anyone who hasa disability, which may require some modification of seating,testing or other class requirements so that appropriatearrangements may be made. Please contact me during my officehours.

 

Schedule

 

26 August –Introduction

 

I: Spectaculartheories

 

1-2 September – Beauty and thesublime

Screening:     Hero (Zhang, 2002)

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

Edmund Burke, A PhilosophicalEnquiry into the Origin of Our Ideas of the Sublime andBeautiful (selections)

 

8-9 September – Classical filmtheory, ontology and the image

Screening:     Roma, Città Aperta (Rossellini, 1945)

Readings:      Siegfried Kracauer, Theory of Film

André Bazin, What isCinema? 

 

15-16 September – FrankfurtSchool and after

Screening:     Footlight Parade (Bacon, 1933)

Readings:      Siegfried Kracauer, “The Mass Ornament”

             Walter Benjamin, “A Small History of Photography” and ArtworkEssay

Miriam Hansen, “Benjamin, Cinemaand Experience: ‘The Blue Flower in the Land ofTechnology”

 

22-23 September – Marxism andpostmodernism

Screening:    TheHole (Tsai, 1998)

Readings:      Guy Debord, The Society of the Spectacle

             Fredric Jameson, “Introduction” to Signatures of theVisible

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: anIntroduction

Jacques Lacan, “The Unconsciousand Repetition”

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

 

6-7 October – Psychoanalysisand feminism II

Screening:     Peeping Tom (Powell, 1960)

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

Linda Williams, Hard Core(selections)

Parveen Adams, “Father, Can’tYou See I’m Filming?’

 

13-14 October – Visuality,History, Modernity

Screening:     no screening

Readings:         Jonathan Crary, Suspensions of Perception: Attention, Spectacleand Modern Culture

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

 

II: Spectaculartexts

 

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 tableauvivant 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 aHomosexual (selections)

 

10-11 November – Queerspectacles

Screenings:   Happy Together (Wong, 1997)

             Querelle (Fassbinder, 1982)

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

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

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

 

17-18 November – Action moviesand special effects

Screening:     The Perfect Stom (Peterson, 2000)

             Die Hard (McTiernan, 1988)

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

Aylish Wood, “Timespaces inSpectacular Cinema: crossing the great divide of spectacle versusnarrative”

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

 

Thanksgiving

 

1-2 December – Trauma and theimage of the Real

Screenings:   Camp de Thiaroye (Sembene, 1987)

             Night and Fog (Resnais, 1955)

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

             Hal Foster, “Obscene, Abject, Traumatic”

 

8-9 December

reading week

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