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黄小邪:芝加哥,城南影事

 
 
 

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芝加哥大学电影系课程:Max Ophuls电影  

2009-06-12 08:57:46|  分类: 默认分类 |  标签: |举报 |字号 订阅

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THE CINEMA OF MAXOPHULS                                                            Spring 2009

CMS 26500/36500; ENG28101/48101                            Miriam Hansen

 

Instructor:    MiriamHansen

 

Max Ophuls has variously been discussed asa master of the long take and mise-en-scene, of theatricaladaptation and self-conscious narration; as director of the"woman's film," of melodramatic pathos and irony; and as artist andanalyst of erotic -- and cinematic -- obsession. Following thetrajectory of his life and work from Germany through France, Italy,Hollywood, and back to Europe, we will consider Ophuls' films interms of cinematic style, and genre; the question of hisgynocentric aesthetic and the feminist debate surrounding it;authorship and industrial production; and the challenge diasporicfilm practice poses to paradigms of national cinema and nationalfilm history. 

 

MEETINGS:     Tu, Th 10:30-11:50 (Cobb 310)

SCREENINGS: Su 1-4, W 7-10 (Cobb307)

 

READINGS:     Susan M. White, The Cinema of Max Ophuls (usedcopies)

             Virginia Wexman, ed., Letter from an Unknown Woman (Sem.Coop)

             Books on reserve at Regenstein Library (res.)

             * = optional for undergrads; required for graduatestudents

             **= recommended

 

REQUIREMENTS:

Readings, screenings, and class attendanceare essential components of the course. Active participation inseminar discussion will count toward your final grade (20%).Writing requirements include a take-home midterm (4-5pp.),due April 27 (30%); a final paper (8-10pp. forundergraduates, 12-15pp. for graduate students), due June 9 (50%),outline due May 28. Keeping a viewing journal is optionalbut highly recommended.

 

 

Mar. 31/Apr.2  WHYOPHULS? LOVE, CLASS & THEATER; CINEMATIC MOBILITY& AFFECT

 

April1             Liebelei (Germany 1932/33; 88m, 35mm)

 

             Karen Hollinger, “Max Ophuls: A Biographical Sketch” (Wexman15-21)

             Andrew Sarris, “Max Ophuls” (Wexman 217-19)

Robin Wood, “Ewig hin der Liebe Glück”(Wexman220-26)         

Paul Willemen, “The Ophuls Text: A Thesis”(Wexman237-43)            

             White, 43-50; *”Introduction”

             *Alan Williams, “Reading Ophüls Reading Schnitzler: Liebelei(1933)”

*Arthur Schnitzler, Liebelei /Dalliance, or Playing with Love (1895) – res.

             

April 2, 6:30  Lecture:Laura Mulvey, “Desire and Death in Three Films of MaxOphuls”

 

April 7/9        CINEMA & CIRCUS; WOMAN AS SUBJECT/OBJECT OF DESIRE& MOVEMENT; MODERNISM IN CINEMASCOPE& COLOR

 

April 5/8 Lola Montès(France, Germany 1955; 110m ; Su DVD, W16mm)

 

             Frieda Grafe, “Theatre, Cinema, Audience: Liebelei andLola Montès

Alan Williams, Max Ophuls: The Cinemaof Desire, chap. 6 (137-64)

             White, chap. 7, 276-304

             Tom Gunning, “Loïe Fuller and the Art of Motion”

Max Ophuls, “The Pleasure of Seeing,”“Thoughts on Film: An Improvisation”

*Gilles Deleuze, Cinema 2: The TimeImage, chap. 4

 

April14/16      AUTEURISM & FEMINIST FILM THEORY; SOUND, SPACE;STARDOM & SUBJECTIVITY; LONG TAKE &CAMERA MOVEMENT

 

                      La Signora di tutti (Italy 1934; 97m)

 

             Sarris, “La Signora di tutti

Mary Ann Doane, “The Abstraction of aLady: La Signora di tutti,” Cinema Journal 28.1(1988) 65-84 [online]

             Laura Mulvey, “Visual Pleasure and Narrative Cinema,”

White, chap. 5, especially 195-218;“Introduction”

David Bordwell, “Camera Movement andCinematic Space”

 

April21/23      EXILE CINEMA & POETIC REALISM; PROSTITUTION,PERFORMANCE, MISE-EN-SCENE, LIGHTING; SNOW, WATER, TEARS

 

                      Sans lendemain (France 1939; 82m)

                       Divine (France 1935; 82m)

 

             White, chap. 7, 259-76; chap. 2, 96-101

             Barry Salt, “Stylistic Analysis of the Films of MaxOphuls”

             Bordwell & Thompson, “Lighting,” chap. 6, FilmArt, 7th ed., 191-98

             Doug Tomlinson, “Eugen Schüfftan“

             Jan-Christopher Horak, “German Exile Cinema, 1933-1950”

             *Helmuth Plessner, Laughing and Crying chap. 4(116-137)

             *Colette, Backstage at the Music Hall

             *Dudley Andrew, Mists of Regret 171-77

 

April27           TAKE-HOME MIDTERM DUE

 

April28/30      PERVERTING THE HOLLYWOOD WOMAN’S FILM: POINT OF VIEW; VOICE,WRITING, MUSIC; DESIRE & DEATH

 

             Letter from an Unknown Woman (US 1948;87m)

 

Stefan Zweig, “Brief einer Unbekannten“(Letter from an Unknown Woman,1922) (Wexman 157-85)

             George Wilson, Narration in Light, chap. 6

             Victor Perkins, “Same Tune Again: Repetition and Framing inLetter from an                           Unknown Woman,”http://www.16-9.dk/2003-09/side11_inenglish.htm

             Stephen Heath, “The Question Oshima” (Wexman 244-48)

             Tania Modleski, “Time and Desire in the Woman’s Film” (Wexman249-62)

Gaylyn Studlar, “Masochistic Performanceand Female Subjectivity in Letter from an Unknown Woman,”Cinema Journal 33.3 (1994) 35-57

             *White, chap. 4

**Stanley Cavell, Contesting Tears: TheHollywood Melodrama of the Unknown Woman (res.), chap. 2, ORCities of Words, chap. 21

             **“The Production,” “Reviews” (Wexman 187-207, 213-16)

 

May5/7          “DEN SCHÖNEN, GUTEN WAREN”: HOLLYWOOD EXILE &CRITIQUE OF COMMODITY CULTURE

 

                       Caught (US 1948/49; 88m)

 

             G. Gemünden & A. Kaes, intro., Film and Exile,New German Critique 89 (2003)

             Doane, “The Economy of Desire: The Commodity Form in/of theCinema”

             Diane Waldman, “‘At last I can tell it to someone!’: Feminine Pointof View and                        Subjectivityin the Gothic Romance Film of the 1940s,” CJ 23.3(1983):29-40

             White 241-57

             Doane, “Female Spectatorship and Machines of Projection”

             David Bordwell, “Camera Movement and Cinematic Space”(rep.)

             **Lutz Bacher, Max Ophuls in the Hollywood Studios (res.),chaps. 3, 1, 4 & intro.

 

May12/14   REWRITING FAMILY MELODRAMA; GENDER & RACE;TEMPORALITY & TEARS

 

             The Reckless Moment (US 1949;82m)       

 

             Pam Cook, “Melodrama and the Woman’s Picture”

             Robert Lang, "Lucia Harper's Crime: Family Melodrama and film noirin The                      Reckless Moment"

             Doane, “The Moving Image: Pathos and theMaternal”        

             White 100-106

                       *Christine Gledhill et al., “Melodrama,” The Cinema Book,2nd ed., 157-66

                       **Elizabeth Cowie, Representing the Woman, chap. 4, esp.152-65

                       **Robin Wood, “Plunging off The Deep End into TheReckless Moment

             **Bacher, chap. 5

 

May19/21   RETURNING TO ‘VIENNA’: LOVE &DEATH IN POSTWAR EUROPE

 

             La Ronde (France 1950; 97m)


             Le Plaisir (France 1951/52; 99m)

 

             Williams, “The Circles of Desire: Narration and Representation inLa Ronde

             Williams, “Keeping the Circle Turning: Ophuls’ La Ronde(1950)”

             Douglas Pye, “Falling Women and Fallible Narrators,”                                        White, chap. 6, 225-241

             *Schnitzler, Reigen / La Ronde (res.)

             *Guy de Maupassant, “Le Masque”; “La Maison Tellier”; “Le Modèle”(res.)

 

May 24  No screening(Memorial Day weekend)

 

May28           OUTLINE FOR FINAL PAPER DUE

 

May26/28      THE POWER OF LOVE & THINGS: CHARACTER, AGENCY& LOGICS OF EXCHANGE; CRYSTAL IMAGE& DE-FORMATION

 

May27/31   Madame de ... (France 1953; 99m)

 

             Williams, Max Ophuls and the Cinema of Desire, chap. 5(105-35)

             Andrew Britton, “Metaphor and Mimesis: Madamede…

             White 51-96

Tag Gallagher, “Max Ophuls: A New Art –But Who Notices?”                        *Gilles Deleuze, Cinema 2: The Time Image, chap. 4(rep.)

        

June 2            REVIEW; OPHULS TODAY

 

June3             Lola Montès (France, Germany 1955; 110m) ORLiebelei

 

June9             FINAL PAPER DUE

 

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