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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:世界电影史(二)  

2010-04-17 07:27:37|  分类: 电影 |  标签: |举报 |字号 订阅

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Spring 2010

CMST 28600 History of International Cinema Part 2: Sound

Instr.: prof. Yuri Tsivian

TA for the course: CMS grad. student Zhang Ling

                      Office hours Tu/Th 2:30-3:30 or by email appointment at CWAC 254

 

SYLLABUS 

CLASS MEETINGS AND SCREENINGS:

 

Class meets: Tuesday/Thursday, 12 - 1:20, Cobb 307.

Screenings: Wednesday 3:30 - 6:30, Sunday 1:00 – 4: 00, both in Cobb 307. The same set of films will be shown first on a Wednesday, then on a Sunday. Typically, the films of the week will be discussed during the Thursday class. Films must be seen on the big screen in the format closest to the original; video versions available at the Film Study Center are only reserved for back-up viewings and close studies.

NOTE: Monday screenings is not taking place during week one. Wed March 28 is the only day to see the films to be discussed the next day.

 

REQUIREMENTS:  

 

1) A midterm (Tuesday May 4) and a final exam, both in class.

2) Around 50 pages of readings (assorted film history articles, book chapters and contemporary texts) assigned weekly. Purchase your reading packet for three first weeks at the copy shop at the basement of Walker Hall now; the readings for weeks 4-10 will be waiting there for you by Week 3.

 

3) Purchase Film History: An Introduction [FHAI] by Kristin Thompson and David Bordwell bookstore by the beginning of week 3 the latest at the Coop bookstore or online; this book will help you to keep in view the “big picture” of sound film history. Three editions (1993, 2003, 2010) of FHAI with three different paginations exist. For the benefit of those who go for the old one for a reduced price on the web I have inserted two versions of page numbers of the first two editions, one of them marked as “old.” The ‘newest” page numbers will be handed out to those who will have purchased the 3rd (this year’s) edition. 

 

4) Buy What Is Cinema (Volumes 1 & 2) by André Bazin, at the Coop bookstore by the beginning of week 4 the latest.

 

5) A specially compiled DVD with brief clips from the screened films is available on reserve at the FSC. You can view them on site before we discuss them at our class meetings.

 

6)  Discussion sections will be offered by Zhang Ling to undergraduate students and by Shannon Foskett to the MAPH students. A Chalk site for the course will facilitate the discussion sections. 

 

Week 1, RECORDED SOUND AND THE ENTERTAINMENT INDUSTRY

Read for Thursday, April 1: Packet:  “Case Study: The Background of Sunrise” by Allen & Gomery; “Meaning and Value in The Jazz Singer (Alan Crossland, 1927)” by Corin Willis.

Screening Week 1 WED March 31, SUN Apr 4:

Sunrise (F.W. Murnau, 1927); The Jazz Singer (Alan Crossland, USA, 1927).

 

Week 2, SOUND: A TOOL OR A HINDRANCE?

Read for Tuesday, April 6: Packet:  "Is the Cinema in Decline?" (1933) by Roman Jakobson;

Read for Thursday, April 8: Packet:  “Statement on Sound” (1928) by Pudovkin, Eisenstein and Aleksandrov; “A Rejection of the Talkies” (1931) by Charlie Chaplin; “Let’s Discuss Ukrainfilm’s First Sound Film: Symphony of the Donbass” (1931) and “First Steps” (1931) by Dziga Vertov.

Screening Week 2 WED Apr 7, SUN Apr 11:

Enthusiasm: Symphony of the Don Basin (Dziga Vertov, USSR, 1930); City Lights (Charlie Chaplin, USA, 1931)

 

Week 3, SOUND: HOLLYWOOD PRACTICE. MUSICAL AND GANGSTER FILMS

Read for Tuesday, April 13: FHAI 193-212 (old 211-232)

Packet:  Donald Crafton, “Mindshare: telephone and radio compete for the talkies” (2004); Robert Spadoni, “The Uncanny Body of Early Sound Film” (2003); Thomas

Schatz, “Film Genre and The Genre Film” (1999); Rick Altman “Where do genres come from?” (1999)

Read for Thursday, April 15: FHAI 228-235 (old 253-260)

Packet: Rick Altman, “The style of the American film musical” (1987);

Robert Warshow, “The Gangster as Tragic Hero” (1948) and “Movie Chronicle: the Westerner” (1954); Jonathan Munby, “The Gangster’s Silent Backdrop” and “The Enemy Goes Public” (1999)

Screenings Week 3 WED Apr 14 SUN Apr 18:

Love Me Tonight (Rouben Mamoulian, USA, 1932); Scarface (Howard Hawks, USA, 1932)

 

Week 4, THE CLASSICAL HOLLYWOOD CINEMA

Read for Tuesday, April 20:  FHAI 213-226 (old 233-250)

Packet: Bordwell, “Classical Hollywood Narration” (157-166)

Bazin: “The Western, or the American Film par excellence” (vol. 2, 140-148), “The Evolution of the Western,” (vol. 2, 149-157)

Read for Thursday April 22: Packet: Eisenstein, “Mr. Lincoln by Mr. Ford” (139-149); Browne, “The Spectator-in-Text: The Rhetoric of Stagecoach

Screenings Week 4 WED Apr 21, SUN Apr 25:

Young Mr Lincoln (John Ford, USA, 1939); Stagecoach (John Ford, USA, 1939)

 

 

 

Week 5, ALTERNATIVE STYLES: JEAN VIGO

Read for Tuesday April 27: FHAI 283-289 (old 322-328)

Read for Thursday April 29: Packet: Agee reviews in Nation, 1947 (257-262); Warner L’Atalante (22-46); Roman Jakobson, “On Realism and Art”

Screenings Week 5 WED Apr 26, SUN May 2:

Zero for Conduct (Jean Vigo, France, 1933); L’Atalante (Jean Vigo, France, 1934)

 

Week 6, THE REVISION OF CLASSICAL EDITING AND THE EMPHASIS ON DEEP FOCUS

Tuesday May 4: Midterm

Read for Thursday May 6: FHAI 226-228 (old 250-252); 328-330 (old 388-391)

Bazin: “The Evolution of the Language of Cinema” (vol. 1, 23-40); Packet: Bazin, “The Technique of Citizen Kane” (from Bazin at Work, 231-239); Toland, “How I broke rules in Citizen Kane”; Narremore, “Citizen Kane”

Screenings Week 6 WED May 5, SUN May 9: Citizen Kane (Orson Welles, USA, 1941)

 

Week 7, NEO-REALISM

Read for Tuesday May 11: FHAI  303-322 (old 344-368); 353-372 (old 406-433)

Packet: Roland Barthes, "The Reality Effect" (1968); Thompson, “Realism in Cinema: Bicycle ThievesBTGA 197-217)

Read for Thursday May 13: Bazin: “Bicycle Thief” (vol. 2, 47-60); “De Sica: Metteur en Scene” (vol. 2, 61-78); “Umberto D: A Great Work” (vol. 2, 79-82)

Packet: Nowell-Smith, Bicycle Thieves (Film Analysis)

Screenings Week 7 WED May 12 SUN May 16:

Bicycle Thieves (Vittorio De Sica, Italy, 1949); Umberto D. (Vittorio De Sica, Italy, 1952)

 

Week 8, VISIONARY CINEMA

Read for Tuesday May 18: FHAI 239-244 (old 265-273); Bazin: “The Ontology of the Photographic Image” (vol. 1, 9-16); “The Myth of Total Cinema” (vol. 1, 17-22);

Read for Thursday May 20: Packet: Ian Christie, A Matter of Life and Death (9-28); Cocteau on the Film (99-131)

Screenings Week 8 WED May 19, SUN May 23:

A Matter of Life and Death (Michael Powell, Emeric Pressburger, UK, 1946);

Orpheus (Jean Cocteau, France, 1949)

 

Week 9, THE AUTEUR CINEMA TO THE NEW WAVE

Read for Tuesday May 25: FHAI; 415-438 (old 492-516); 439-465 (old 517-557)

Packet: Bordwell, “Our Dream Cinema: Western Historiography and the Japanese Film”

Read for Thursday May 27: Packet: Richie, Rashomon (1-21);

Screenings Week 9 WED May 26: Rashomon (Akira Kurosawa, Japan, 1950); Breathless (Jean-Luc Godard, France, 1959)

 

Week 10, CONCLUSIONS

Read for Tuesday June 1: FHAI  Packet: Astruc, “The Birth of a New Avant-garde: La Camera-stylo”

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