CINEMA HISTORY- SELECTED TOPICS

Transcription

1 Syllabus CINEMA HISTORY- SELECTED TOPICS Last update HU Credits: 4 Degree/Cycle: 1st degree (Bachelor) Responsible Department: Communication & Journalim Academic year: 1 Semester: Yearly Teaching Languages: Hebrew Campus: Mt. Scopus Course/Module Coordinator: Aner Preminger Coordinator aner.preminger@mail.huji.ac.il Coordinator Office Hours: Tyesday 10:00-11:30;By appointement Teaching Staff: Prof Aner Preminger page 1 / 5

2 Course/Module description: Class explores selected topics in film history from the early days to the French New Wave movement and its effects at the end of the sixties, the transitional design of modernism and postmodernism. The course examines the development of film utterance as a historical process, in which all film-schools and cinematic style are a necessary consequence of the preceding film-school, and are leading a new film-school, style or trend that follows them. Course/Module aims: Exposure to basic canon of film history. Canon of films, genres, and filmmakers. Understanding the major turning points in the development of the cinema history. Analyze films in their historical context. Expanding understanding of the relationship between different films and different filmmakers as well as between films and historical, cultural. Political and social processes. Learning outcomes - On successful completion of this module, students should be able to: Create and organize the order of cinema history. Ask questions and examine the issues that a given film brings up. Identify genres and film-schools and categorize films with the genres in - which they operate and film-school which they belong. Identify personal touch of filmmakers. Attendance requirements(%): 100 Teaching arrangement and method of instruction: View movie before each class and prepare a film-report. Interpretation of the film in its historical context, during the class. Discussion of the main issues of the film and its contribution to the history of cinema. Screening excerpts from the film, and sometimes from additional movies related to the relevant chapter in cinema history. Course/Module Content: Early days of the medium. Three films by the Lumiטre brothers: The card players, LArroseur arrose and their connection. Slapstick comedy and beyond: Mack Sennett; Buster Keaton. Cops/Buster Keaton. The Kid/Charlie Chaplin. Mixing between melodrama and comedy. The Circus/Charlie Chaplin. Silent film eulogizing page 2 / 5

3 itself. Reflexive cinema. Transition to sound. City Lights; Modern Times; The Great Dictator; Limelight/Charlie Chaplin. German Expressionism. Metropolis/Fritz Lang. Expression of camera movement. Faust/Murnau. Kammerspielfilm. The Last Man (The Last Laugh)/Murnau. Surrealism in plastic arts. Andre Breton. Surrealism in cinema and its influence on modern cinema. Un Chien Andalou; La voie lactיe; Le charme discret de la bourgeoisie; Le fantפme de la ;יlibert Cet obscur objet du dיsir/luis Buסuel. Cinema learns to talk. Der blaue Engel/Joseph von Sternberg. Genres and Film-schools. Film Noir. Sunset Boulevard/Billy Wilder. Film deals with Silent cinema heritage. The Musicals. Singin ' in the rain/stanley Donen, Gene Kelly..The Western. The Westerner/William Wyler. High Noon/Fred Zinnemann. Shane/George Stevens. Breaking codes of genres and stars as a cinematic mean of expression. The Red River/Howard Hawks. Fort Apache; The Searchers/John Ford. Alfred Hitchcock. Thriller. Spy films. Horror films. The spell bound; Rear Window; Vertigo; North by Northwest; Birds; Torn Curtain ; Frenzy/Alfred Hitchcock. Citizen Kane/Orson Welles. Breaking classical narrative - beginning of the modern script. French cinema in the thirties and forties: the poetic realism and psychological realism. La Grande Illusion/Jean Renoir. Italian Neorealism - antithesis to Hollywood. Roberto Rossellini. Cesare Zavattini. The Bicycle Thieves, Miracle in Milan, Umberto di/vittorio De Sica. Bellissima/Luchino Visconti. Modern Cinema grows out of Italian Neorealism. Blow Up / Michelangelo Antonioni. Nights of Cabiria/Federico Fellini. The French New Wave. Vivre Sa Vie/Jean-Luc Godard. Reexamination of manipulating cinema space. Hiroshima Mon Amour/Alain Resnais. Reexamination of manipulating cinematic time. New editing codes. A new narrative. The 400 Blows/Francois Truffaut. New themes. Personal Cinema. Auteur theory. Required Reading: Truffaut, F., 1967, Hitchcock by Franחois Truffaut, Simon & Schuster, New York. Truffaut, F., 1978, The Films in My Life, Simon & Schuster, New York. Additional Reading Material: Altman, R., eds., 1992, Sound Theory Sound Practice, Routledge, London. Bazin, A., 1967, What is cinema?, essays selected and translated by Hugh Gray, Vol. I, University of California Press, Berkeley, Los Angeles, London. Bazin, A.,1972, What is cinema?, essays selected and translated by Hugh Gray, Vol. 2, University of California Press, Berkeley, Los Angeles, London Bazin, A., 1992, Jean Renoir, Edited by Franחois Truffaut, Da Capo Press edition. Baecque, de A., & Toubiana, S., 1999, Truffaut - A Biography, Alfred A. Knopf, New York. Caughie J, Editor, 1990, Theories of Authorship, Chion, M., 1994, Audio-Vision: Sound on Screen, Trans. Claudia Gorbman. New York: Columbia University Press. Chion, M., 1999, The Voice in Cinema, New York: Columbia University Press. Comden, B. & Green, A., 1997, Singin In The Rain, Lorrimer Publishing Limited. page 3 / 5

4 Dixon, W. W., 1993, The Early Film Criticism of Franחois Truffaut, Indiana University Press, Bloomington & Indianapolis. Douchet, J., 1999, French New Wave, D.A.P. Inc.Insdorf, A., 1989, Franחois Truffaut, Touchstone, New-York, U.S.A. Hedges, I., 1991, Breaking The Frame, Film Language and the Experience of Limits, Bloomington: Indiana UP. Fischer, L., 1989, Shot/Counter Shot, Film Tradition and Women's Cinema, Princeton, N.J.: Princeton University Press. Godard, J. L. & Ishaghpour, Y., 2005, Cinema The Archeology of Film and the Memory of a Century, Trans. John Howe, Berg, Oxford, New-York. Hillier J., Editor, 1985, Cahiers du Cinיma The 1950s, Harvard University Press. Hillier J., Editor, 1985, Cahiers du Cinיma The 1960s, Harvard University Press. Horton, A.S. & Magretta, J., 1981, Modern European Filmmakers and the Art of Adaptation, New York: Ungar Publishing Co. Insdorf, A., 1997, Franחois Truffaut, Cambridge University Press. Lopate Phillip., Editor, 2006, American Movie Critics An Anthology From the Silents Until Now, The Library of America, New-York. Milne T., Editor, 1972, Godard On Godard, The Viking Press New-York. Monaco, J., 1979, Alain Resnais, Oxford University Press, New York. Monaco, J., 1976, The new wave, Oxford University Press, New York. Nichols, B., 1976, Movies and Methods, Volume 1, An Anthology, Editor, University of California Press, Berkeley, L.A., London. Nichols, B., 1985, Movies and Methods, Volume 2, An Anthology, Editor, University of California Press, Berkeley, L.A., London. Paris, R. J., 1983, The Great French Films, The Citadel Press Secaucus, N.J. Preminger, A., 2013, Charles Chaplin sings a silent requiem: Chaplin's cinema from as a cinematic statement on the transition from silent Cinema to the talkies, In: Howe Lawrence, Caron James E., and Click Benjamin, eds., Refocusing Chaplin: A Screen Icon Through Critical Lenses, Lanham, MD: Scarecrow Press. Robinson, D., 1981, The History of World Cinema, Stein and Day Publishers, N.Y. Sarris, A., 1967, Interviews With Film Directors, Franחois Truffaut, The Bobbs-Merrill Company, Inc. Stam, R., 1992, Reflexivity in Film and Literature, From Don Quixote to Jean-Luc Godard, Columbia University Press. New York. Stam, R., 2000, Film Theory: An Introduction, Blackwell Publishers Ltd. Oxford, UK. Truffaut, F., 1967, Hitchcock by Franחois Truffaut, Simon & Schuster. Tudor, A., 1973, Theories of Film, Cinema One, The Viking Press, New York. Weis, E., & Belton, J., Eds., Film sound: Theory and Practice, Columbia UP, New-York. Course/Module evaluation: End of year written/oral examination 80 % Presentation 0 % page 4 / 5

5 Powered by TCPDF ( Participation in Tutorials 10 % Project work 0 % Assignments 10 % Reports 0 % Research project 0 % Quizzes 0 % Other 0 % Additional information: N/A page 5 / 5