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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表:1960年以来的美国电影  

2009-09-30 02:15:35|  分类: 电影 |  标签: |举报 |字号 订阅

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AMERICAN CINEMA SINCE 1960                                     Autumn 2009

CMST 21900/31900, ENG 28702/38702 

Instructor:     Miriam Hansen

LECTURES:       Tu, Th 10:30-11:50 (Cobb 307)

SCREENINGS: W 7-10, Su 1-4 (Cobb 307)

 

READINGS: Neale & Smith, eds., Contemporary Hollywood Cinema (CHC)

              Electronic texts on chalk

              * = optional for undergraduates; required for graduate students

              **= recommended 

REQUIREMENTS: Regular attendance at lectures, discussion sections, and screenings is mandatory. You are expected to view the films at least once projected on the big screen. Over half the films will be shown in 35mm at the Wednesday evening screenings; the same films will be shown Sunday afternoons using DVDs, except three times during the quarter when we scheduled different films that are also required. Video copies of all films are on reserve at the FSC video check-out desk for study purposes. Unless there are exceptional reasons, viewing the films on the TV monitor or other platforms cannot substitute for attending the main screenings. Keeping a viewing journal is optional but highly recommended.

 

Even though this is primarily a lecture course, with the classroom being an auditorium, we are aiming to have at least some discussion in class, in addition to the undergraduate section run by the course assistant. It is therefore important that you not only attend the screenings but also do the readings for the week for which they are assigned (we will determine ad hoc for which of the two classes). Participation in class and section discussion will influence your final grade.

 

Writing requirements include a take-home midterm, due 10/26, and a take-home final, due 12/07. In place of the final exam, you can opt to write a final paper (8-10 pages for undergraduates, 13-15 pages for graduate students, also due 12/07), on a topic to be discussed with the instructor by 11/17. Due dates are firm, and you should plan your schedule accordingly. However, we are willing to grant short-term extensions, but only if you arrange them with the CA in advance. Unexcused late papers will be downgraded.  

 

9/29, 10/01        CLASSICAL CINEMA, STUDIO SYSTEM, PRODUCTION CODE;     SPECTATORSHIP & AUDIENCE PERFORMANCE  

              W: Psycho (Hitchcock, 1960; 108m), preceded by trailer

S:   Psycho (1960; 109m) or Medium Cool (Wechsler, 1970; 111m) 

Bordwell, “The Classical Hollywood Cinema”

Williams, “Discipline and Fun: Psycho and Postmodern Cinema”

Smith, “Theses on the Philosophy of Hollywood History” (CHC)

Gomery, “Hollywood Corporate Business Practice and Periodizing Contemporary Film History” (CHC)

Motion Picture Production Code (1930-1967) http://productioncode.dhwritings.com/multipleframes_productioncode.php            

*Neale & Smith, “Introduction” (CHC)

*Bordwell et al., The Classical Hollywood Cinema, 70-84, 367-77

*Bordwell, The Way Hollywood Tells It (Berkeley, 2006), 1-18

**Cowie, “Storytelling: Classical Hollywood Cinema & Class. Narrative (CHC)

 

10/06, 10/08      “NEW AMERICAN CINEMA,” NEW HOLLYWOOD; AUTEURISM, GENRE, STAR/ACTOR; ALLUSIONISM/REVISIONISM; VIETNAM 

              W: Taxi Driver (Martin Scorsese, 1976; 113m)                        

              S: Vietnam protest footage; Medium Cool (Wechsler, 1970; 111m)  

              Cook, “Auteur Cinema and the ‘Film Generation’ in 1970s Hollywood”

              Buscombe, “The Idea of Genre in the American Cinema”

Carroll, “The Future of Allusion: Hollywood in the Seventies (and Beyond)”

Fuchs, “‘All the Animals Come Out at Night’: Vietnam Meets Noir in Taxi Driver” 

*Neale, “Questions of Genre”

*Gledhill, Neale, Buscombe, “The History of Genre Criticism”

*Sergi, “A Cry in the Dark: The Role of Post-Classical Film Sound” (CHC)

              *Berg & Rowe, “The Vietnam War and American Memory”

              **James, Allegories of Cinema, 195-213

 

10/13, 10/15      NARRATION, KNOWLEDGE, CLOSURE; PRIVATE-EYE/DETECTIVE FILM, NOIR/NEO-NOIR; GENRE & GENDER; URBAN GEOGRAPHY  

              W, S: Chinatown (Polanski, 1974; 131m) – repeat viewing essential 

              Cawelti, “Chinatown and Generic Transformation in Recent American Films”

              Root & Neale, “Film Noir,” Cinema Book 184-191

              Harvey, “Woman’s Place: The Absent Family of Film Noir”

              Polan, “Chinatown: Politics as Perspective, Perspective as Politics”             

*Galperin, “‘Bad for the Glass’: Representation and Filmic Deconstruction in Chinatown and Chan Is Missing

**Cowie, “Film Noir and Women,” 121-37

 

10/20, 10/22      WOMEN DIRECTORS; HARDWARE/ACTION/HORROR; TACTILITY, EMBODIED PERCEPTION; FEMINISM & COUNTER CINEMA 

              W: Mutiny (Child, 1982; 10m); Blue Steel (Bigelow, 1990, 102m)

S: Repeat screening of Blue Steel or *Desperately Seeking Susan (Seidelman, 1986), *Born in Flames (Borden, 1983), or Daughters of the Dust (Dash, 1991) 

Cook, “No Fixed Address: The Women’s Picture from Outrage to Blue Steel” (CHC)

Williams, “Body Genres: Gender, Genre and Excess”

Shaviro, The Cinematic Body 1-13, *1-65 

*Islam, “‘I Wanted to Shoot People’: Genre, Gender and Action in the Films of Kathryn Bigelow”

**Lane, “Kathryn Bigelow,” Feminist Hollywood, 99-123         

 

10/26             Take-home Midterm due

 

10/27, 10/29      AFRICAN AMERICAN CINEMA: L.A. SCHOOL, BLAXPLOITATION; REALISM/MODERNISM; AUTEURISM, POLITICS, THE PUBLIC SPHERE 

              W: When It Rains (Burnett, 1995;12m); Do the Right Thing (Lee, 1989; 120m)

              S: Car Wash (Shultz, 1976; 97m), Killer of Sheep (Burnett, 1977; 87m)  

              Diawara, “Black American Cinema: The New Realism”

              Lott, “Hollywood and Independent Black Cinema” (CHC)

Dyer, “Is Car Wash a Musical?”

Massood, “An Aesthetic Appropriate to Conditions: Killer of Sheep, (Neo)Realism, and the Documentary”             

*Masila, “The Los Angeles School of Black Filmmakers”

*Corrigan, A Cinema without Walls 101-115

*Mitchell, “The Violence of Public Art: Do the Right Thing

**Guerrero, “The Rise and Fall of Blaxploitation”

              **James, Allegories of Cinema , 177-95

 

11/03, 11/05      FUTURE PASTS; TECHNOLOGY & MEMORY, SUBJECTIVITY & THE POSTHUMAN; URBAN & VIRTUAL SPACE 

W: Blade Runner (Scott, 1982; 116m)

              S: Repeat screening OR *AI Artificial Intelligence (2001) 

              Bruno, “Ramble City: Postmodernism and Blade Runner

              Landsberg, Prosthetic Memory, 25-48, *1-24

              Bukatman, Terminal Identity, 130-37, *119-30

             

*Haraway, “A Manifesto for Cyborgs”

*Allen, “Technology in Contemporary Hollywood Cinema” (CHC, ch. 7)

              *Neale, “Widescreen Composition in the Age of Television” (CHC)

 

11/10, 11/12      BLOCKBUSTER, SEQUEL; ALLUSIONISM & GENRE; POSTMODERN NOSTALGIA, HISTORY AS FILM

              W: Back to the Future III (1990; 119m)

              S: Repeat screening OR *Batman 

              Schatz, “The New Hollywood”

              Wyatt, High Concept: Movies and Marketing in Hollywood, 1-22

Elsaesser, “Everything Connects, but Not Everything Goes”

              Buckland, “A Close Encounter with Raiders of the Lost Ark” (CHC)                    

              *Collins, “Genericity in the Nineties: Eclectic Irony & New Sincerity”

              *Jameson, “The Cultural Logic of Late Capitalism”

 

11/17, 11/19      STYLIZED DOCUMENTARY, DOCUMENTARY STYLE; INDEPENDENT CINEMA (I), DOGME 

        W: Fast, Cheap, and Out of Control (1997; 79m); Kids (1995; 91m)

              S:  Slacker (1991; 105m, DVD) 

Schamus, “To the Rear of the Back End: The Economics of Independent Cinema” (CHC)

Sklar, “The Case of Harmony Korine”

Price, “Richard Linklater” http://archive.sensesofcinema.com/contents/directors/03/linklater.html

              Roman, Digital Babylon: Hollywood, Indiewood & Dogme 95, 58-63 

*Williams, “Mirrors without Memories: Truth, History, and The Thin Blue Line

 

11/24                INDEPENDENT CINEMA (II): COMEDY NOIR; AMERICAN LANDSCAPE, REGIONALISM, THE WEIRDNESS OF THE EVERYDAY    

              W: Fargo (Joel & Ethan Coen, 1996; 98m) 

Palmer, Joel and Ethan Coen, 1-14

Radner, “New Hollywood’s New Women: Murder in Mind – Sarah & Margie (CHC)

      

11/26-29           Thanksgiving Break (Sunday screening will be rescheduled)

 

12/01                A NEW WORLD: DIGITAL DYSTOPIA; HOLLYWOOD & THE TRANSNATIONAL MARTIAL ARTS FILM  

The Matrix (Andy & Larry Wachowski, 1999) 

              Readings & Screening TBA

 

Allen, “Technology in Contemporary Hollywood Cinema” (CHC, ch. 7) 

               W: The New World (2005; 135/150m, DVD) -- optional

      

12/07             Final Due

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