21G.052 French Film Classics Prof. Kate Rennebohm Fall 2017 krenne@mit.edu MW: 7-9pm Office Hours: W 4-5pm and by appointment in 14N-426 14N-313 Course Description: This course offers a survey of French film classics from cinema s origins in the late nineteenth century to the latter half of the 20th century. The class queries the role of cinema in French culture and history and the role of culture and politics in the development of French cinema, asking how we define French cinema. We will move chronologically, studying the material contexts of films in relation to populist politics, the Second World War, the rise of consumerism, France s colonial history, emerging concepts of feminism, and more. We will study questions of aesthetics and film theory, as well as the history of film production, exhibition, and reception in France. We ll watch popular films, classic films, and avant-garde films, questioning what differentiates and unites them, as we learn what goes into analyzing films. Course taught in English. Films screened with English subtitles. Designations: HASS-H Course Goals Upon completion of this course students will be able to: Identify key figures, works, and aesthetic trends in French film. Situate film within the context of its production, exhibition, and reception. Analyze the role of film in modern society. Recognize important points in modern French history. Perform formal analysis of moving images. Craft effective oral and written arguments about audio-visual materials and texts. Assignments Class Participation: 15% Quizzes: 15% Blogs: 15% Film Analysis Presentation: 15% Film Analysis Short Paper: 15% Final Paper: 25% Assignment Breakdown Class Participation (15%): Evaluated based on student s attendance, the demonstration of adequate preparation in relation to readings and films, and the quality (not just quantity) of oral participation. Material preparation (see Technology policy below) will also be evaluated. Quizzes (15%): There will be 6 quizzes that test you on the content of readings, lectures, and films. These will not be announced in advance and cannot be made up if you miss them. Though
focused on that week, they will also cumulatively include the previous weeks of the course. Your lowest quiz score will be dropped. Blog Responses (15%): Each week students will write a 250-400 word response to the question posted on Stellar in relation to the texts/film(s) for the week. This question will be posted by the end of the screening on Monday nights. While grammar and structure will matter here, I will be looking more at the quality of your thought and argument in relation to the readings and films here. Students can skip one response (typically the week they give a presentation, but this is flexible). Your answer must be posted on Stellar by 3 pm on the Wednesday. Comparative Film Analysis Presentation (15%): Working alone or in a small group, students will give one 15-20 minute oral and visual presentation during the semester. Students will choose their presentation week from the syllabus during the second week of class. This presentation will consist of a comparative scene analysis. Presenting students will watch the alternate film for the week as well as the main film (it is recommended that everyone does this each week). They will choose two scenes, one from each film, both ~2 to 2.5 minutes in length, that they feel share a topic or concern of French history or culture between them. The topic should relate to the week s readings. In the presentation, the student(s) will: Show each clip to class (taking up 4-5 mins of the allotted presentation time) Utilize the film terminology from assigned readings in order to, Analyze the stylistic and aesthetic elements of the scenes. Posit how these formal elements reveal the scene s relation to the shared topic of these scenes. Make claims as to whether the two scenes have shared or opposed attitudes toward the topic Postulate whether and how these scenes relate to the films larger stances on the topic at hand Presentations will be graded on use of terminology, content, clarity, engagement with the topic, and oral communication skills. These presentations should be considered preparation for the next assignment (see below). *Students must submit a list of resources consulted for their oral presentations. Film Analysis Short Paper (15%): Students will write a 1500-2000 word (5-7 page) paper based on the research of their class presentation. This paper will focus on one of the films discussed, and will primarily focus on one scene (which can be different from the scene presented on). Using film terminology and analysis, the student will argue for what stance the scene/film takes on a particular topic (which can also be different from the presented-on topic), and how this stance is presented by the film. The presentation should be considered research for this paper students will posit claims there and gather feedback and ideas from the discussion. Students will then improve and develop their claim here as they put it into written form. This paper will be graded on use of terminology, organization of analysis, argumentation, grammar and writing style. Students will reference and properly cite course readings in their description of the film s topic(s) (see citation policy below). This paper is due at the start of class on Wednesday, the week following your class presentation. Final Paper Proposal: Due Nov 29th. This document will include:
The title, director, and year of your chosen film (picked from the provided list). 2-3 sentences describing the topic that you feel this film is engaging (you will analyze the relation between the film and this topic in the paper). A properly cited bibliography of three course readings you will be addressing in the paper. These will relate to the topic you choose and describe here. A new reading, directly related to the film of choice, included in the bibliography. This document will not be graded in and of itself. But if you do not hand it in, you subject yourself to a possible full letter grade removal from the final paper, at the professor s discretion. Final Paper (25%): Due Dec 11th. The final paper will test the knowledge of French film and history that students acquire over the course of the semester and their ability to construct arguments about the ideas we discuss. Students will write a 2700-3300 word (9-11 page) paper on one film, chosen from a provided list of films. Using film terminology and analysis, the student will argue for the film s relation to one or more topics discussed in the class. The student will focusing on either a small set of scenes, or a set of particular formal devices and patterns that occur through the film, in order to develop this claim. Through their choice of topic(s) and discussion of the film, the student will demonstrate their wider knowledge of French film history and their analytic and argumentation abilities in relation to their film. The paper must engage with at least three readings from the course, and (at least) one new reading, to be found by the student, on their film of choice. All readings must be properly cited, and included in a bibliography (see citation policy below). Class Guidelines and Policies Attendance Policy: Attendance at class meetings is mandatory, and students presence and participation will affect their participation grade. Students who miss more than 2 classes without valid excuses will automatically receive a failing grade. Citations: All written assignments must employ the citation systems of the MLA or Chicago Style Guides, and include a properly formatted bibliography. Late assignments will lose one-third of a letter grade for each day past the deadline. Assignments handed more than a week late will automatically receive no credit. No extensions will be granted after an assignment s due date has passed. Screenings All films (with 2 exceptions) will be screened Monday evenings. While not mandatory, attendance at the Monday screenings is expected. Watching these films collectively, in a space with focused attention, is a necessary part of the experience. These films will also be available on the online server. Technology: This class will be focused on learning the skills to engage with moving images, readings, and one s fellow students. As such, with the exception of the one film screen, this will be a screen-free space. Cell phones, laptops, and tablets will not be used. As part of their participation grade, students must arrive prepared for class with 1) writing materials and 2) printed copies of all readings for that week. I recommend starting a binder in the first week and creating a course reader for yourself as you go.
*Students may use laptops during their presentations. **If you need accommodations regarding this policy, please come and discuss with me. Enrollment Limits: Enrollment limited to 18 for pedagogical purposes. Priority will be given to pre-registered students, including pre-registered undergraduates who were cut from the same class the previous semester due to the enrollment cap. In case of over enrollment, preference given to pre-registered declared French majors, minors and concentrators, followed by juniors, seniors, sophomores, continuing students, and freshmen (in that order), who attend the first day of class. Academic Integrity: Students are expected to adhere to MIT s Academic Integrity policies (integrity.mit.edu). All work (research papers, weekly papers, presentations) must be completed independently, unless otherwise cleared by the instructor. Students are encouraged to discuss the readings and their papers with each other (they may, for example, want to practice their presentations for their classmates or have a classmate look over a draft of their paper), but they are individually responsible for all written work. Violating the Academic Integrity policy in any way (e.g., plagiarism) will result in official Institute sanction. Possible sanctions include receiving a failing grade on the assignment, being assigned a failing grade in the course, having a formal notation of disciplinary action placed on your MIT record, suspension from the Institute, and expulsion from the Institute for very serious cases. Please review the Academic Integrity policy and related resources (e.g., working under pressure; how to paraphrase, summarize, and quote; etc.) and contact me if you have any questions about appropriate citation methods, the degree of collaboration that is permitted, or anything else related to the Academic Integrity of this course. Required Book Alan Williams, Republic of Images: A History of French Filmmaking (Cambridge: Harvard University Press, 1992). Course Organization: WEEK 1: INTRODUCTION 9/06: In-class screening of early cinema classics with class discussion. WEEK 2: THE 1920S: IMPRESSIONISM AND THE AVANT-GARDE 9/11: Un Chien andalou (Luis Buñuel, Salvador Dalí, 1929, 21 mins.), L Étoile de mer (Man Ray, 1928, 21 mins.), Finis terrae (Jean Epstein, 1929, 80 min.), 9/13: Discussion Impressionism, Photogenie, Surrealism Jean Goudal, Surrealism and the Cinema (1925) in French Film Theory and Criticism, Vol 1, 353-362. Jean Epstein, Magnification (1921), French Film Theory and Criticism, Vol 1, 235-240
Jean Epstein, On Certain Characteristics of Photogenie (1926) in Jean Epstein: Critical Essays and New Translations, 292-296. Rachel Moore, A Different Nature in Jean Epstein: Critical Essays and New Translations (2012), 184-188 [Excerpt]. Vanessa Schwartz, Paris and Magnetic Appeal in Modern France: A Very Short Introduction (2011), 56-80 (small pages) WEEK 3: THE TRANSITION TO SOUND 9/18: Paris qui dort (René Clair, 1925, 35 mins.), À nous la liberté (René Clair, 1931, 104 mins) *Sous le toit de Paris (René Clair, 1930, 96 mins.) as alternate. 9/20: Discussion Jean-Pierre Boon, Narrative Voices in Nous la liberté in The French Review, Vol. 55, No. 4 (Mar., 1982), pp. 514-519 Jean Epstein, Seeing and Hearing Thought, (1955) in Jean Epstein: Critical Essays and New Translations, 359-362. Alan Williams, Republic of Images, Chapter 7: An Unexpected Upheaval in Republic of Images (1992), 157-183. Michel Chion, Birth of the Talkies or of the Sound Film? (1927-1935) in Film, A Sound Art (2003), 44-56 [Excerpt]. Yale Film Analysis Site (http://filmanalysis.yctl.org), Sections: Sound, Editing, Basic Terms WEEK 4: SOCIAL CINEMA AND THE POPULAR FRONT 9/25: L Atalante (Jean Vigo, 1934, 89 mins.), Zéro de conduite (Jean Vigo, 1933, 41 mins.) *Le Crime de monsieur Lange (Jean Renoir, 1936, 80 mins) as alternate 9/27: Discussion Jean Vigo, Toward a Social Cinema (1930) in French Film Theory and Criticism, vol. 2, pp 60-63. Michel Chion, Jean Vigo: The Material and The Ideal, in Film, A Sound Art (2003), 59-65 Alan Williams, Republic of Images (1992), 213-226 Louis Chavance, The Cinema in the Service of the Popular Front, (1936) in French Film Theory and Criticism, vol 2, 213-217. Jonathan Buchsbaum, Cinema Engagé: Film in the Popular Front (1988), 1-13. WEEK 5: WAR THREATENS 10/2: La Grande Illusion (Jean Renoir, 1937, 114 mins.) *La Règle du jeu (Jean Renoir, 1939, 110 mins.) as alternate. 10/4: Discussion Marc Ferro, La Grande Illusion and its Receptions, in Cinema and History (1988), 132-136. Julian Jackson, Boundaries and Border Crossings in La Grande Illusion (2009), 50-72 Alan Williams, Republic of Images (1992), 226-242. Yale Film Analysis Site (http://filmanalysis.yctl.org), Sections: Mise-en-scène, Cinematography
WEEK 6: OCCUPATION 10/9: Le Corbeau (Henri-Georges Clouzot, 1943, 93 mins) *Columbus Day, Students to watch film on their own *Les Enfants du paradis (Marcel Carné, 1945, 190 mins.) as alternate 10/11: Discussion Alan Williams War and Occupation in Republic of Images (1992), 246-271 Judith Mayne Henri-Georges Clouzot s Le corbeau and the Crimes of Women in Sites: The Journal of Twentieth-Century/Contemporary French Studies revue d'études français, 4:2 (2000), 319-341 Noël Burch and Geneviève Sellier, Le Corbeau in The Battle of the Sexes in French Cinema, 1930-1956 (2014), 203-211 WEEK 7: LIBERATION & LOOKING BACK 10/16: Orphée (Jean Cocteau, 1950, 95 mins) *Jeux interdits (René Clément, 1952, 86 minutes) as alternate 10/18: Discussion Alan Williams, Republic of Images (1992), 272-286 Jonathan Fenby, France (2016), 281-301 Wikipedia Entry on Radio Londres, https://en.wikipedia.org/wiki/radio_londres Mark Polizzoti, Through a Glass, Amorously (2011), https://www.criterion.com/current/posts/1971-orpheus-through-a-glass-amorously WEEK 8: THE NEW WAVE 10/23: À bout de souffle (Jean-Luc Godard, 1960, 90 mins.) *Les Quatre Cents Coups (François Truffaut, 1959, 99 mins.) as alternate 10/25: Discussion Alan Williams, Republic of Images: A History of French Filmmaking (1992), 327-340. James Monaco, Introduction: The Camera Writes, in The New Wave: Godard, Truffaut, Chabrol, Rohmer, Rivette (1977), 13-21. Alexandre Astruc, The Birth of a New Avant-Garde: La Caméra-Stylo (1948) Dudley Andrew, "Breathless: Old as New," in Breathless: Jean-Luc Godard, director (1987), 3-20. WEEK 9: REVERSE ETHNOGRAPHY AND (ANTI-)COLONIAL CINEMA 10/30: Chronique d un été (Edgar Morin, Jean Rouch, 1961, 90 mins), La Noire de (Ousmane Sembène, 1966, 55 mins) *Le Joli Mai (Chris Marker, 1963, 145 mins.) as alternate 11/1: Discussion J. M. Tyree, Anthropology at Home, Film Quarterly 66.3 (Spring 2013): 44-48. Sam Di Iorio, Chronicle of a Summer: Truth and Consequences, Criterion.com (2013) (https://www.criterion.com/current/posts/2674-chronicle-of-a-summer-truth-andconsequences) Rachel Langford, Black and White in Black and White Identity and Cinematography in Ousmane Sembène s La Noire de.../black Girl (1966) in Studies in French Cinema 1.1 (2001):13-21 Aimé Césaire, Discourse on Colonialism (1950/1955) in Discourse on Colonialism
WEEK 10: LEFT BANK 1: THE POLITICS OF MEMORY AND REPRESENTATION 11/6: Hiroshima mon amour (Alain Resnais, 1960, 92 mins.), Nuit et brouillard (Resnais, 1956, 32 mins.) *Kapò (Gillo Pontecorvo, 1964, 118 mins.) as alternate 11/8: Discussion Christian Delage, Nuit et Brouillard: A Turning Point in the History and Memory of the Holocaust, Holocaust and the Moving Image: Representations in Film and Television Since 1933, 127-139 (2005) Libby Saxton, Introduction, Haunted Images, 1-18 (2008) [Excerpt] Serge Daney, The Tracking Shot in Kapò, Postcards from the Cinema (1992), 17-25 [excerpt] Andrew Sarris, Movie Journal: Hiroshima Mon Amour, The Village Voice, Nov 24th, 1960, pg 11 and 15. WEEK 11: A HEXAGON-SHAPED WORLD 11/13: Le Monde du silence (Jacques Cousteau, 1956, 86 mins.) 11/15: Discussion with special guest Professor James Cahill. Maurice Merleau-Ponty, The World of Perception and the World of Science, The World of Perception, trans. Oliver Davis (1948; repr., New York: Routledge, 2004), 39-45. Bazin, Cinema and Exploration (1955/1958), What is Cinema, vol. 1, trans. Hugh Gray (Berkeley: University of California Press, 1967), 154-163. Roland Barthes, Nautilus and the Drunken Boat (1957) Review Aimé Césaire, Discourse on Colonialism (1950/1955) 11: 22 -------------------THANKSGIVING: NO CLASS------------------------------------------------- WEEK 12: LEFT BANK 2: MODERNIZATION AND THE ALGERIAN WAR 11/27: Les Parapluies de Cherbourg (Jacques Demy, 1964, 95 mins.), La Jetée (Chris Marker, 1962, 29 mins.) Cléo de 5 à 7 (Agnès Varda, 1962, 90 mins.) as alternate. 11/29: Discussion ***Final Paper Proposal Due at the Start of Class*** Matthew Croombs, La Jetée in Historical Time: Torture, Visuality, Displacement, Cinema Journal, 56.2 (2017): 25-45 Nancy Virtue, Jacques Demy s Les Parapluies de Cherbourg: A National Allegory of the French-Algerian War, Studies in French Cinema, 13:2 (2013), 127-140. Philip Dine, Cinema Images of the Algerian Conflict, 1954-1992, Images of the Algerian War (1994), 216-224 [Excerpt]. WEEK 13: FEMINISM, THE POST-NEW WAVE, AND COUNTER-CINEMA 12/4: Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (Chantal Akerman, 1975, 201 minutes) 12/6: Discussion
Alan Williams, Republic of Images: A History of French Filmmaking (1992), 379-392 (Godard and May 68) Marion Schmid, Chantal Akerman, 16-22 (2010), 32-50. Claire Duchen, Beginnings, Feminism in France: From May 68 to Mitterrand, (1986), 1-25. WEEK 14: PREVIEW OF CONTEMPORARY FRENCH CINEMA: GENRE AND THE BANLIEUE 12/11: Un Prophète (Jacques Audiard, 2009, 155 minutes) ***Final Paper Due at the start of the screening*** 12/13: Discussion Ginette Vincendeau, Between the Walls, Sight and Sound 20.2 (Feb 2010): 16-18. Carrie Tarr, Introduction, Reframing Difference: Beur and Banlieue Filmmaking in France (2005), 1-25.