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黄小邪:芝加哥,城南影事

 
 
 

日志

 
 

芝加哥大学电影系课程表:第七艺术  

2009-01-18 06:38:05|  分类: 默认分类 |  标签: |举报 |字号 订阅

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The 7thArt

GraduateSeminar Winter 2009:  CMST 43405/ARTH47609

 

Professor JenniferWild       

Class:         Th: 3:00-6:00, Cobb 310

Screeing:    M: 3:30-6:20, Cobb 425 

 

Coined byRicciotto Canudo in 1911, the term “the 7th art” (1911)was part of a legitimizing discourse on the film medium as art, butit was also a way of situating the film form’s radical synthesis oftemporal and spatial media within a lineage of classic aestheticthought. In this seminar, we will explore the film’s challenge toclassically conceived medial divisions, and examine how the movingphotographic image has contributed to aesthetic thought over thecourse of the 20th century especially in terms of therepresentation of motion and its perception.

 

Texts forpurchase at the Seminary Coop:

-Lessing,Gotthold, Laocoön (Johns Hopkins)

-Riegl,Alios, The Historical Grammar of Visual Arts(Zone)

-Michaux,Philippe Allain, Aby Warburg and the Image in Motion(Zone)

-Arheim,Rudolf, Art and Visual Perception (*suggested; University ofCalifornia); Film as Art (University ofCalifornia).

-Panofsky,Erwin, Perspective as Symbolic Form (Zone)

-Malraux,André, Voices of Silence (Princeton)

 

Requirements:

-seminardiscussion leadership

-seminarpaper (15-20 pages)

 

Week 1)

M Jan 5 La Belle Noiseuse (JacquesRivette, 1991, 240 min)

 

Thu  Jan 8: Canudo “Birth of a Sixth Art;”“Reflections on the Seventh Art”

Ranciere, “Preface,” FilmFables

 

Week 2)

M Jan 12ATTENTION:  This week only, to accommodate a35mm print, the screening will take place at 7:30, Cobb307.  El Sol del membrillo (The Sunof the Quince Tree, Victor Enrice, 1992).

 

Thu Jan 15 Lessing 

 

Week 3)

M Jan 19  Martin Luther KingDay, no screening.

 

Thu Jan 22: Reigl

Toute la Mémoire du Monde (Resnais, 1956,21 min)

Guernica (Resnais, 1959, 13 min;DVD001222)

 

Week 4)

M Jan 26Histoires du cinema (1A, 1B, about 90 min;DVD0001955)

 

Thu Jan 29 Michaux, Aby Warburg and the Imagein Motion

 

Week5)

M Feb 2    

The Pawnshop (Chaplin, 1916, 32min)

The Rink (Chaplin, 1916, 24min)

Sunnyside (Chaplin, 1919, 34min) 

Ballet Mécanique (Léger/Murphy, 1924, 14min)

 

Thu Feb 5Warburg con’t

Faure,“The Art of Charlie Chaplin” (Chalk)

Faure,“The Art of Cineplastics” (Chalk)

Lindsay,Vachel, “Sculpture in Motion;” “Painting in Motion;” “Furniture,Trappings, and Inventions in Motion;” “Architecture in Motion”(Chalk)

*Supplementary texts in French by Faure are in the Faure folderon Chalk.

 

Week 6)

M Feb 9The General Line (S. Eisenstein, 1929, 76 min, print0058)

 

Thu Feb 12Arnheim, Film as Art [1932]

Recommended: Arnheim, Art and VisualPerception: A Psychology of the CreativeEye

 

Week 7)

M Feb 16The Navigator (Buster Keaton, 1924, 60 min,DVD000386);  Anémic Cinéma (Marcel Duchamp,1926).

 

Thu Feb 19Panofsky, “Style and Medium in the Motion Pictures”(Chalk)

Panofsky, Perspective as Symbolic Form[1927]

 

Week 8)

M Feb 23The Russian Ark (Sukorov, 2002, 90 min)

 

Thu Feb 26Malraux, “Sketch for a Psychology of the Moving Pictures”(Chalk)

Malraux, The Voices ofSilence

 

Week 9)

M Mar 2: Iwill be gone on Mar 5. Hence, I would like to run the seminar onMonday during the screening time.

Malrauxcontinued.

Danto,Arthur C.  Moving Pictures. Quarterly Review ofFilm Studies 4.1 (Winter 1979): 1–21. (Chalk)

SuzanneLanger, “A Note on the Film” from Feeling and Form(Chalk)

Souriau,Etienne, “Time in the Plastic Arts” (Chalk)

 

Thu Mar 5No seminar

 

Week 10)

M Mar9  Spectres of the Spectrum (Craig Baldwin, 2003,90 min)

 

Tue Mar 10synthesis

 

Seminarpapers due by end of week 11, March 18

 

SelectedBibliography:

 

Agamben,Giorgio, “Aby Warburg and the Nameless Science”, inPotentialities, trans. Daniel Heller-Roazen (Stanford:Stanford University Press, 1999).

 

Arnheim,Rudolf. Art and Visual Perception (Berkeley: University ofCalifornia Press, 1974).

 

Visual Thinking (Berkeley, CA,1969)

 

The Power of the Center: A Study ofComposition in the Visual Arts (Berkeley, CA,1982)

 

The Split and the Structure: Twenty-EightEssays. Berkeley, 1996.

 

Toward a Psychology of Art: CollectedEssays. Berkeley, 1966

 

Danto,Arthur Coleman. Narration and Knowledge. New York:1985.

 

The End of Art. In The PhilosophicalDisenfranchisement of Art. New York,1986.

 

After the End of Art: Contemporary Art and thePale of History. Princeton, N.J.,1997.

 

Dillon,Brian, “Collected Works. Aby Warburg's Mnemosyne Atlas”, inFrieze Issue 80 (January-February 2004).http://www.frieze.com/issue/article/collected_works/

 

Faure, Elie. Histoire de l'art (Paris, G.Crès & Cie, 1911-21).

 

      Histoire de l'art, l'esprit des formes (Paris, G. Crès,1927).

 

Fonction du cinéma : de la cinéplastique à sondestin social introd. de Yves Lévy (Paris : Gonthier, 1964,c1953).

 

Focillion,Henri The Life of Forms in Art (New Haven: Yale UniversityPress; London, H. Milford, Oxford University Press,1942).

 

Gombrich,Ernst Hans. Aby Warburg. An Intellectual Biography (WarburgInstitute : London 1970).

 

Gubser,Mike. Time's Visible Surface: Alois Riegl And the Discourse onHistory And Temporality in Fin-de-siecle Vienna (Detroit, Mich:Kritik).

 

Ingarden,Roman. In Ontology of the Work of Art: The Musical Work, thePicture, the Architectual Work, the Film, translated by RaymondMeyer and John T.  [1962] (Goldthwait. Athens,Ohio, 1989)

 

Kracauer,Siegfried. Theory of Film: The Redemption of PhysicalReality. New York and Oxford, 1960.

 

Kubler,George. The Shape of Time: Remarks on the History of Things.New Haven, 1962.

 

Langer, Susanne Knauth. Philosophy in a NewKey: A Study in the Symbolism of Reason, Rite and Art(Cambridge, MA, 1942, 3/1978)

 

Feeling and Form: A Theory of ArtDeveloped from ‘Philosophy in a New Key’ (New York andLondon, 1953)

 

Problems of Art: Ten Philosophic Lectures(New York and London, 1957)

 

Philosophical Sketches (Baltimore andLondon, 1962)

      

Mind: An Essay in Human Feeling, 3 vols(Baltimore, 1967–82; abridged by G. van den Heuvel, Baltimore andLondon, 1988)

 

Malraux,André. La Psychologie de l’art, i: Le Muséeimaginaire (Geneva, 1947; Eng. trans. as Museum withoutWalls, New York, 1949), ii: La Création artistique(Geneva, 1948; Eng. trans. as The Creative Act, London,1949/R New York, 1950), iii: La Monnaie de l’absolu (Geneva,1950; Eng. trans. as The Twilight of the Absolute, New York,1951); rev. as Les Voix de silence, 4 vols (Paris, 1951;Eng. trans., New York, 1953) 

 

Michaud, Philippe-Alain. “Passage des frontières.Mnemosyne entre histoire de l'art et cinema,” in Trafic.Revue du Cinéma 45 (2003) 87-96.

 

Panofsky,Erwin. Studies in Iconology: Humanist Themes in the Art of theRenaissance (New York, 1939/R 1962)

 

Warburg,Aby. Der Bilderatlas Mnemosyne, ed. Martin Warnke andClaudia Brink, (Akademie Verlag, Berlin, 2000).

 

Images from the region of the Pueblo Indiansof North America Translated with an interpretive essay byMichael P. Steinberg.    (Ithaca : Cornell University Press, 1995).

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