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Poslední úprava: UAAZNOJE (30.05.2008)
This seminar is a select assessment of seven major films from the post war era with special emphasis given to those cinematic moments that might teach and train us in new non-dominatory viewing strategies, in new creative ways of circulating, and in new non-sadistic ways of engaging with the most basic element of cinema: the image. Film criticism and film philosophy from Leo Bersani-Ulysse Dutoit, Gilles Deleuze, Jacques Ranciere, Erik Roraback, Steven Shaviro, and Francois Truffaut will be employed toward this end. All films are either in English or have English inter-titles or sub-titles. Clips from other films and special features from the DVDs will also be shown. The course is conducted in English. ASSESSMENT To receive credit for the seminar students must: have no more than three absences, give one oral presentation on a film and on the required text(s) for that week, submit a mid-term essay and a final essay in response to one of several subjects/questions that will be given two weeks before the essay is due. Final essay (3000 words): 40%, Mid-term essay (2000 words): 20%, Oral presentation: 20%, Attendance and participation: 20%. MATERIAL DVD and VHS tapes: see schedule |
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Poslední úprava: UAAZNOJE (30.05.2008)
Extracts from the following critical and theoretical texts will be available in a course-reader: Bersani, Leo and Ulysse Dutoit: "Art and Authority" and "Resnais: Stalled Movement" in Arts of Impoverishment: Beckett, Rothko, Resnais (Harvard, 1993) pp. 1-9, 147-208 and pp. 221-25. Conrad, Peter: Orson Welles: The Stories of His Life (Faber & Faber, 2003). Cook, David A.: A History of Narrative Film (Norton, 1996). Deleuze, Gilles: Cinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta (Minnesota, 1989). Lambert, Gregg: "The Brain is the Screen: An Interview with Gilles Deleuze" in Flaxman, Gregory, ed., The Brain is the Screen: Deleuze and the Philosophy of Cinema (Minnesota, 2000). Le Fanu, Mark. "Stalker" in The Cinema of Andrei Tarkovsky (BFI, 1987) pp. 92-107. Morin, Edgar. The Cinema, or The Imaginary Man, trans. Lorraine Mortimer (Minnesota, 2005). _____ . The Stars, trans. Richard Howard, foreword Lorraine Mortimer (Minnesota, 2005). Ranciere, Jacques: Film Fables, trans. Emiliano Battista (Oxford: Berg, 2006). Roraback, Erik S.: a selection of essays from a work in progress, Circulatings within the Guilty Cinematic Image. Shaviro, Steven: The Cinematic Body, Theory Out of Bounds (Minnesota, 1993). Thomsen, Christian Braad: "The Double Man", "Bavaria and Hollywood" and "Querelle" in Fassbinder: The Life and Work of a Provocative Genius, trans. Martin Chalmers (Faber and Faber, 1997) pp. 1-44, 101-10 and 302-11. Truffaut, François: "Foreword" to André Bazin's Orson Welles: A Critical View (Acrobat, 1978), pp. 1-27. |
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Poslední úprava: UAAZNOJE (30.05.2008)
seminář |
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Poslední úprava: UAAZNOJE (30.05.2008)
1 Hand out syllabi/students sign up for in-class presentation; dish out copy of article on Mr. Arkadin/Confidential Report to read for 14.2; Recommended (not required) viewing related to the first four weeks of the course that students may wish to find and to pursue on their own, e.g. FAMU film library, etc.: classic American film noir such as: Dark Passage; In a Lonely Place; Mildred Pierce; Murder, My Sweet; Out of the Past; The Big Heat; The Night of the Hunter; The Postman Always Rings Twice Screening: The Lady from Shanghai (1948, 87 minutes, dir. Orson Welles). 2 Screening session only of Mr. Arkadin/Confidential Report (The Comprehensive Version, 1955, 105 minutes, dir. Orson Welles). Hand out syllabi/students sign up for in-class presentation.The Lady from Shanghai (1948, 87 minutes, dir. Orson Welles). 3 Orson Welles & American Film Noir I Post-film lecture and discussion on The Lady from Shanghai Readings: D. Cook: pp. 327-53; J. Naremore: pp. 125-35. Clips: 2006 Criterion Collection 3-disc version of Mr. Arkadin/Confidential Report. Post-film lecture/discussion on Mr. Arkadin/Confidential Report Readings: G. Deleuze: pp. 98-155 in Cinema 2: The Time-Image. E. Roraback: "Circulating within Orson Welles's Mr. Arkadin/Confidential Report for a Newly Armed Eye" published in the conference proceedings from the 8th Brno Conference of English, American and Canadian Studies, 2005. F. Truffaut: "Foreword" to André Bazin's Orson Welles: A Critical View, pp. 1-27 Clips: The Stranger (1946, dir. OW), The Trial (1963, dir. OW); F for Fake (1975, dir. OW). 4 Orson Welles and American Film Noir II Screening: Touch of Evil (1958, recently released 111 minute version) Readings: Deleuze; Naremore pp. 146-71; Lecture to be given in class: E.R.: "Excessively Noirish Film: Orson Welles´s Early-Style The Lady from Shanghai (1948) and Mid-Style Touch of Evil (1958)" 5 After Italian Neorealism and Contemporary Eros Pre-film lecture and screening: L'Avventura (1959, English,141 minutes, dir. Michelangelo Antonioni). 13 March: Post-film lecture/discussion on L'Avventura Readings: D. Cook: A History, pp. 553-59. E. Roraback: "The Colors and the Spinozist Bodies of Michelangelo Antonioni's L'Avventura (The Adventure or The Fling, 1959)" EREA 3.1 (printemps 2005): ix-xviii, Univ. de Provence. S. Shaviro: The Cinematic Body, pp. 255-69 Clips: L'Eclisse (1962, dir. MA); Blow-Up (1966, dir. MA), The Passenger (1975, dir. MA). 6 The French New Wave and Cinematic Hallucinations Pre-film lecture and screening Muriel, 1965, French with English subtitles, 119 minutes, dir. Alain Resnais. 7 Post-film lecture/discussion on Muriel Readings: L. Bersani and U. Dutoit: pp. 1-9, 147-208, 221-25. D. Cook: A History, pp. 456-58. G. Deleuze: pp. 116-25 and 204-16 in Cinema 2. E. Roraback: "Time and Memory in Alain Resnais". 8 Post French New Wave Cinema, Life and Death Pre-film lecture and screening: Providence (1976, English, 102 minutes, dir. Alain Resnais). 17 April: Post-film lecture and discussion on Providence Readings: L. Bersani and U. Dutoit: pp. 147-208, 221-25. E. Roraback: "Time and Memory in Alain Resnais". Clips: Lancelot of the Lake (1974, dir. Robert Bresson). 9 Soviet Cinema and Medieval Art Pre-film lecture and screening: Andrei Rublev (1966, Russian with English subtitles, 205 minutes, dir. Andrei Tarkovsky). 10 Screening contd. and post-film lecture/discussion on Andrei Rublev Readings: D. Cook: A History, pp. 696-98. E. Roraback: "Medieval Immobilizings in Tarkovsky's Andrei Rublev". CD extract: F. Couturier: "Andrei" (to Eduard Artemiev) 7:05 minutes from F. Couturier, Nostalghia-Song for Tarkovsky (Munich: ECM, 2006) 11 Das Neue Kino I: Fassbinder (New German Cinema) Pre-film lecture and screening: The Merchant of Four Seasons (Der Händler der vier Jahreszeiten, 1971, German with English subtitles, 88 minutes, dir. Rainer Werner Fassbinder). 12 Das Neue Kino II: Fassbinder (New German Cinema) Readings: D. Cook: A History, pp. 582-604. E. Roraback: "Fassbinder and Cinematic Intensity". C. B. Thomsen: "The Double Man", "Bavaria and Hollywood" and "Querelle" in Fassbinder: The Life and Work of a Provocative Genius, trans. Martin Chalmers (Faber and Faber, 1997) pp. 1-44, 101-10 and 302-11. Clips: Berlin Alexanderplatz (1980, German with English subtitles, dir. RWF, 940 minutes). |