Poslední úprava: doc. Erik Sherman Roraback, D.Phil. (15.12.2023)
COURSE DESCRIPTION:<br>
<br>
The aim of this course is to awaken for the active spectator, in terms of aesthetics, cultural capital and politics, new utopian ways of being, dreaming, interpreting, looking, and thinking as so many forms of “labor” and of “movement”. Combining these will promote an ecology of dialectical questioning and thinking about new, utopian post-capitalist forms of beauty, equality, and freedom for the twenty-first century. These movement and labor forms are dialectically subject within the space of the cinematic frame and institution to both regressive-capitalist and progressive-emancipatory-post-capitalist forms of “circulation”. The seminar thus draws on, and explores egalitarian and novel non-hegemonic ways of engaging gestures, ideas, images, and scenes in films from a range of post-war star directors of narrative cinema: Chantal Akerman (Belgium), Michelangelo Antonioni (Italy), Rainer Werner Fassbinder (Germany), Terrence Malick (USA), Alain Resnais (France), Andrei Tarkovsky (USSR), Agnès Varda (France), and Orson Welles (USA), (i.e., post-1947 Occidental and Soviet cinema). Cinema as the art of forms of movement thus will be evaluated anew. Attention will be given to those cinematic moments and scenes that teach and that train us in new non-dominatory and emancipated viewing strategies of movement and circulation as so many forms of utopian thinking and looking. In so doing, we consider arts and forms of movement and circulation as not only subject to capitalist commodification, but also as modes of active and transformative engagement, interpretation, and thinking that take place precisely in a shared space for post-capitalist common content, creation, and thought for post-capitalist and emancipated utopian forms of circulation and circulationism. The role of cinematic silence and of the unconscious in film culture will also be assessed. Film criticism and philosophy, and philosophical criticism, will include texts from Giorgio Agamben (Italy), Nico Baumbach (USA), Jonathan Beller (USA), Walter Benjamin (Germany), Leo Bersani-Ulysse Dutoit (USA), Jan Campbell (UK), David A. Cook (USA), Gilles Deleuze (France), Georges Didi-Huberman (France), Mark Fisher (UK), Fredric Jameson (USA), Niklas Luhmann (Germany), Todd McGowan (USA), Ivone Margulies (USA), Edgar Morin (France), Hannah Patterson (USA), Jacques Rancière (France), Erik S. Roraback (USA/Czechia), Marion Schmid (France), Nicolás Salazar Sutil (UK), Steven Shaviro (USA), Bernard Stiegler, (France), Robert T. Tally Jr. (USA), François Truffaut (USA), and Slavoj Žižek (Slovenia/UK). All films are either in English or have English inter-titles or sub-titles. Clips and special features from DVD/Blu-ray discs will also be shown. The course is conducted in English and consists of three clock-hour-long sessions (i.e., four academic hours) to allow sufficient time for both the screenings and for seminar lecture/discussion. Strategically, we shall engage our target pictures in a counter chronological way in order to problematize facile teleological and linear ways of thinking and of reasoning; this will also provide us with a different perspective on the autopoietic development of the cultural system of film.
Literatura
Poslední úprava: doc. Erik Sherman Roraback, D.Phil. (15.12.2023)
Material:
DVD and Blu-ray videos: see schedule; selections from the following critical and theoretical texts will be available in a course-reader or: will be adduced in the lectures or readings authored by the instructor:
Agamben, Giorgio: Profanations, trans. Jeff Fort (Zone, 2007).
_____ . Infancy and History: On the Destruction of Experience, trans. Liz Heron (Verso, 2007).
Beller, Jonathan. The Cinematic Mode of Production: Attention Economy and the Society of the Spectacle (Dartmouth/New England, 2006).
Benjamin, Walter: selected texts from the series of volumes with Harvard Univ. Press to be announced.
Bersani, Leo and Ulysse Dutoit: Arts of Impoverishment: Beckett, Rothko, Resnais (Harvard, 1993).
_____ . Forms of Being: Cinema, Aesthetics, Subjectivity (BFI, 2004).
Bird, Robert: Andrei Rublev. (BFI, 2004).
Campbell, Jan. Film & Cinema Spectatorship (Polity, 2005).
Casetti, Francesco: Eye of the Century: Film, Experience, Modernity, trans. Erin Larkin with Jennifer Pranolo (Columbia, 2008).
Conrad, Peter: The Mysteries of Cinema: Movies and Imagination (Thames & Hudson, 2021).
_____ . The Stories of His Life: Orson Welles (Faber & Faber, 2003).
Cook, David A.: A History of Narrative Film (Norton, 2004).
Deleuze, Gilles: Cinema 1: The Movement-Image, trans. Hugh Tomlinson and Barbara Habberjam (Minnesota, 1986).
_____ . Cinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta(Minnesota, 1989).
Didi-Huberman, Georges: The Eye of History: When Images Take Positions, trans. Shane B. Lillis. (RIC, 2018)/MIT, 2018).
Docherty, Thomas: Literature and Capital (Bloomsbury, 2018).
Durham, Scott and Dilip Gaonkar, With an afterword by Jacques Rancière: Distributions of the Sensible: Rancière, between Aesthetics and Politics (Northwestern, 2019).
Fisher, Mark: The Weird And The Eerie (Repeater, 2016).
Heylin, Clinton. Despite the System: Orson Welles Versus the Hollywood Studios (Canongate, 2005).
Jameson, Fredric: Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions (Verso, 2005).
_____ . Raymond Chandler: The Detections of Totality (Verso, 2016).
_____ . The Geopolitical Aesthetic: Cinema and Space in the World System (Indiana, 1995).
Kline, T. Jefferson, ed. Agnès Varda: Interviews (Mississippi, 2014).
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.
Luhmann, Niklas: The Reality of the Mass Media, trans. Kathleen Cross (Stanford: Stanford UP, 2000).
McGowan, Todd: The Real Gaze: Film Theory after Lacan (SUNY, 2007).
Morin, Edgar: The Cinema, or The Imaginary Man, trans. Lorraine Morimer (Minnesota, 2005).
_____ . The Stars, trans. Richard Howard, foreword Lorraine Mortimer (Minnesota, 2005).
Morrison, James and Thomas Schur. The Films of Terrence Malick. (Praeger, 2003).
Nancy, Jean-Luc: The Creation of the World; or, Globalization, trans. with an intro. François Raffoul and David Pettigew (Albany: SUNY P, 2007).
Naremore, James: The Magic World of Orson Welles (Oxford: Oxford Univ. Press, 1978 reprinted at Dallas: Southern Methodist Univ. Press, 1989).
Patterson, Hannah: “Two Characters in Search of a Direction: Motivation and the Construction of Identity in Badlands” in The Cinema of Terrence Malick: Poetic Visions of America (Wallflower, 2003) pp. 24–36.
Rancière, Jacques: Film Fables, trans. Emiliano Battista (Berg, 2006).
_____ . The Future of the Image, trans. Gregory Elliott (Verso, 2007).
Richards, Rashna Wadia and David T. Johnson: For the Love of Cinema: Teaching our Passion In and Outside of the Classroom (Indiana, 2017).
Roraback, Erik S.: a select band of essays adduced below (some published and / or presented at conferences) from a two-volume work that is being prepared for publication.
Working title: Forms of Cinematic Cultural Capital: Circulation, Movement, and Thought.
Salazar Sutil, Nicolás: Motion and Representation: The Language of Human Movement (MIT, 2015).
Schmid, Marion. “The Visual Artist’s Gaze Agnès Varda’s Intermedial Layering” in Intermedial Dialogues: The French New Wave and the Other Arts (Edinburgh, 2019) pp. 95–105.
Shaviro, Steven: The Cinematic Body, Theory Out of Bounds, Volume 2 (Minnesota, 1993).
Stiegler, Bernard: Technics and Time, 3: Cinematic Time and the Question of Malaise, trans. Stephen Barker (Stanford, 2010).
Tally, Robert T. Jr.: Utopia in the Age of Globalization: Space, Representation, and the World-System (Palgrave
Macmillan, 2013).
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.
Wagner, Keith B., Jeremi Szaniawski, and Michael Cramer, eds.. afterword Fredric Jameson: Fredric Jameson and Film Theory: Marxism, Allegory, and Geopolitics in World Cinema (Rutgers, 2022).
Žižek, Slavoj, ed.: Everything You Always Wanted to Know About Lacan But Were Afraid to Ask Hitchcock (Verso, 2010).
Metody výuky
Poslední úprava: doc. Erik Sherman Roraback, D.Phil. (09.02.2019)
seminář
Sylabus
Poslední úprava: doc. Erik Sherman Roraback, D.Phil. (23.01.2024)
TIME AND PLACE:
Tues. 08.30–11.25, F.A.M.U.
Projection Hall first floor (room 124)
Lažanský palác, Smetanovo nábřeží 2, Praha 1
Mid-term essay due 9 April
Final essay due 21 May
Students also to sign up for one presentation
COURSE DESCRIPTION AND LEARNING OBJECTIVES:
The aim of this course is to awaken for the active spectator, in terms of aesthetics, cultural capital and politics, new utopian ways of being, dreaming, interpreting, looking, and thinking as so many forms of “labor” and of “movement”. Combining these will promote an ecology of dialectical questioning and thinking about new, utopian post-capitalist forms of beauty, equality, and freedom for the twenty-first century. These movement and labor forms are dialectically subject within the space of the cinematic frame and institution to both regressive-capitalist and progressive-emancipatory-post-capitalist forms of “circulation”. The seminar thus draws on, and explores egalitarian and novel non-hegemonic ways of engaging gestures, ideas, images, and scenes in films from a range of post-war star directors of narrative cinema: Chantal Akerman (Belgium), Michelangelo Antonioni (Italy), Rainer Werner Fassbinder (Germany), Terrence Malick (USA), Alain Resnais (France), Andrei Tarkovsky (USSR), Agnès Varda (France), and Orson Welles (USA), (i.e., post-1947 Occidental and Soviet cinema). Cinema as the art of forms of movement thus will be evaluated anew. Attention will be given to those cinematic moments and scenes that teach and that train us in new non-dominatory and emancipated viewing strategies of movement and circulation as so many forms of utopian thinking and looking. In so doing, we consider arts and forms of movement and circulation as not only subject to capitalist commodification, but also as modes of active and transformative engagement, interpretation, and thinking that take place precisely in a shared space for post-capitalist common content, creation, and thought for post-capitalist and emancipated utopian forms of circulation and circulationism. The role of cinematic silence and of the unconscious in film culture will also be assessed. Film criticism and philosophy, and philosophical criticism, will include texts from Giorgio Agamben (Italy), Nico Baumbach (USA), Jonathan Beller (USA), Walter Benjamin (Germany), Leo Bersani-Ulysse Dutoit (USA), Jan Campbell (UK), David A. Cook (USA), Gilles Deleuze (France), Georges Didi-Huberman (France), Mark Fisher (UK), Fredric Jameson (USA), Niklas Luhmann (Germany), Todd McGowan (USA), Ivone Margulies (USA), Edgar Morin (France), Hannah Patterson (USA), Jacques Rancière (France), Erik S. Roraback (USA/Czechia), Nicolás Salazar Sutil (UK), Marion Schmid (France), Steven Shaviro (USA), Bernard Stiegler, (France), Robert T. Tally Jr. (USA), François Truffaut (USA), and Slavoj Žižek (Slovenia/UK). All films are either in English or have English inter-titles or sub-titles. Clips and special features from DVD/Blu-ray discs will also be shown. The course is conducted in English and consists of three clock-hour-long sessions (i.e., four academic hours) to allow sufficient time for both the screenings and for seminar lecture/discussion. Strategically, we shall engage our target pictures in a counter chronological way in order to problematize facile teleological and linear ways of thinking and of reasoning; this will also provide us with a different perspective on the autopoietic development of the cultural system of film.
Material:
DVD and Blu-ray videos: see schedule; selections from the following critical and theoretical texts will be available in a course-reader or: will be adduced in the lectures or readings authored by the instructor:
Agamben, Giorgio: Profanations, trans. Jeff Fort (Zone, 2007).
_____ . Infancy and History: On the Destruction of Experience, trans. Liz Heron (Verso, 2007).
Beller, Jonathan. The Cinematic Mode of Production: Attention Economy and the Society of the Spectacle (Dartmouth/New England, 2006).
Benjamin, Walter: selected texts from the series of volumes with Harvard Univ. Press to be announced.
Bersani, Leo and Ulysse Dutoit: Arts of Impoverishment: Beckett, Rothko, Resnais (Harvard, 1993).
_____ . Forms of Being: Cinema, Aesthetics, Subjectivity (BFI, 2004).
Bird, Robert: Andrei Rublev. (BFI, 2004).
Campbell, Jan. Film & Cinema Spectatorship (Polity, 2005).
Casetti, Francesco: Eye of the Century: Film, Experience, Modernity, trans. Erin Larkin with Jennifer Pranolo (Columbia, 2008).
Conrad, Peter: The Mysteries of Cinema: Movies and Imagination (Thames & Hudson, 2021).
Cook, David A.: A History of Narrative Film (Norton, 2004).
Deleuze, Gilles: Cinema 1: The Movement-Image, trans. Hugh Tomlinson and Barbara Habberjam (Minnesota, 1986).
_____ . Cinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta(Minnesota, 1989).
Didi-Huberman, Georges: The Eye of History: When Images Take Positions, trans. Shane B. Lillis. (RIC, 2018)/MIT, 2018).
Docherty, Thomas: Literature and Capital (Bloomsbury, 2018).
Durham, Scott and Dilip Gaonkar, With an afterword by Jacques Rancière: Distributions of the Sensible: Rancière, between Aesthetics and Politics (Northwestern, 2019).
Fisher, Mark: The Weird And The Eerie (Repeater, 2016).
Heylin, Clinton. Despite the System: Orson Welles Versus the Hollywood Studios (Canongate, 2005).
Jameson, Fredric: Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions (Verso, 2005).
_____ . Raymond Chandler: The Detections of Totality (Verso, 2016).
_____ . The Geopolitical Aesthetic: Cinema and Space in the World System (Indiana, 1995).
Kline, T. Jefferson, ed. Agnès Varda: Interviews (Mississippi, 2014).
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.
Luhmann, Niklas: The Reality of the Mass Media, trans. Kathleen Cross (Stanford: Stanford UP, 2000).
McGowan, Todd: The Real Gaze: Film Theory after Lacan (SUNY, 2007).
Morin, Edgar: The Cinema, or The Imaginary Man, trans. Lorraine Morimer (Minnesota, 2005).
_____ . The Stars, trans. Richard Howard, foreword Lorraine Mortimer (Minnesota, 2005).
Morrison, James and Thomas Schur. The Films of Terrence Malick. (Praeger, 2003).
Nancy, Jean-Luc: The Creation of the World; or, Globalization, trans. with an intro. François Raffoul and David Pettigew (Albany: SUNY P, 2007).
Naremore, James: The Magic World of Orson Welles (Oxford: Oxford Univ. Press, 1978 reprinted at Dallas: Southern Methodist Univ. Press, 1989).
Patterson, Hannah: “Two Characters in Search of a Direction: Motivation and the Construction of Identity in Badlands” in The Cinema of Terrence Malick: Poetic Visions of America (Wallflower, 2003) pp. 24–36.
Rancière, Jacques: Film Fables, trans. Emiliano Battista (Berg, 2006).
_____ . The Future of the Image, trans. Gregory Elliott (Verso, 2007).
Richards, Rashna Wadia and David T. Johnson: For the Love of Cinema: Teaching our Passion In and Outside of the Classroom (Indiana, 2017).
Roraback, Erik S.: a select band of essays adduced below (some published and / or presented at conferences) from a two-volume work that is being prepared for publication.
Working title: Forms of Cinematic Cultural Capital: Circulation, Movement, and Thought.
Salazar Sutil, Nicolás: Motion and Representation: The Language of Human Movement (MIT, 2015).
Schmid, Marion. “The Visual Artist’s Gaze Agnès Varda’s Intermedial Layering” in Intermedial Dialogues: The French New Wave and the Other Arts (Edinburgh, 2019) pp. 95–105.
Shaviro, Steven: The Cinematic Body, Theory Out of Bounds, Volume 2 (Minnesota, 1993).
Stiegler, Bernard: Technics and Time, 3: Cinematic Time and the Question of Malaise, trans. Stephen Barker (Stanford, 2010).
Tally, Robert T. Jr.: Utopia in the Age of Globalization: Space, Representation, and the World-System (Palgrave Macmillan, 2013).
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.
Wagner, Keith B., Jeremi Szaniawski, and Michael Cramer, eds.. afterword Fredric Jameson: Fredric Jameson and Film Theory: Marxism, Allegory, and Geopolitics in World Cinema (Rutgers, 2022).
Žižek, Slavoj, ed.: Everything You Always Wanted to Know About Lacan But Were Afraid to Ask Hitchcock (Verso, 2010).
COURSE REQUIREMENTS:
To receive credit for the seminar all students must 1) have no more than two absences; arriving more than ten minutes late at the beginning of the seminar or leaving early will be considered an absence for that full session. 2) give one oral presentation on a film and on the required text(s) for that week 3) submit a mid-term essay and 4) produce a final essay. This final essay will count as the graded essay for the Charles University students who sign up for it. Final essay (3000 words): 30%, Mid-term essay (1500 words): 20%, Oral presentation: 20%, Attendance and participation: 30%. Essay topics will be distributed at least two weeks before they are due. Erasmus students will receive credit and a grade in the respective credit and E boxes on the SIS so long as they sign up for both. During class time, mobile phones are to be off and computers may be on for note-taking only and not for doing work online.
Weekly Schedule:
Week 1 and Week 2 / 13 and 20 February: American Neo-Noir, and the American Sublime
Pre-film lecture and screening: Badlands (1974, 95 min., dir. Terrence Malick); The Thin Red Line (1998, 170 min., dir. Terrence Malick)
Post-film lecture/discussion
Readings: J. Morrison and Thomas Schur: The Films of Terrence Malick. (Praeger, 2003) pp. 59–67. H. Patterson: “Two Characters in Search of a Direction: Motivation and the Construction of Identity in Badlands” in The Cinema of Terrence Malick: Poetic Visions of America (Wallflower, 2003) pp. 24–36. E. Roraback: Revised version of an essay first presented as “The Dialectic of Cinema and Silence; or, Forms and Structures for Moving Across Badlands (1974)” at the Olomouc International Symposium on American Studies, ‘America in Motion’, 7–10 September 2008, Palacky University, Olomouc, Czech Republic. E. Roraback: Revised version of “Terrence Malick’s The Thin Red Line (1998) and Circulating within the Heideggerian Cinematic Image” first presented as a guest lecture, 16 May 2006, Philosophy Dept., Universität Wien, Austria.
Week 3 / 27 February: The Chantal Akerman Phenomenon
Je Tu Il Elle (I You He She, 1974, French with English subtitles, 86 minutes, dir. Chantal Akerman). Rdgs: To be announced.
Week 4 / 5 March: Das Neue Kino: 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). Rdgs: D. Cook: A History, pp. 582–604. E. Roraback: “Keep to Your Dreams: Fassbinder's Movements of 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.
Will discuss: Berlin Alexanderplatz (1980, German with English subtitles, 940 minutes, dir. Rainer Werner Fassbinder), inter alia.
Week 5 and Week 6 / 12 and 19 March: Soviet Cinema, Icon Art, and the Medieval
Pre-film lecture and screening: Andrei Rublev (1966, Russian with English subtitles, 205 minutes, dir. Andrei Tarkovsky). Rdgs: D. Cook: A History, pp. 696–98. E. Roraback: “Medieval Immobilizings and the Atheological Unconscious in Tarkovsky’s Andrei Rublev (1966)”. CD extract: F. Couturier: “Andreï” (to Eduard Artemiev) 7:05 minutes from F. Couturier, Nostalghia—Song for Tarkovsky (Munich: ECM, 2006).
Week 7 / 26 March: Agnès Varda & the French New Wave
Pre-film lecture and screening: Cléo from 5 to 7 (Cléo de 5 à 7, 1962, French with English subtitles, dir. Agnès Varda)
Readings: T. J. Kline, ed.: Agnès Varda: Interviews (Mississippi, 2014). Pages to be announced in class. E. Roraback: “General Intellectual Circulation Within Vardes’s Cléo de 5 à 7 (Cléo from 5 to 7)”.
M. Schmid: “The Visual Artist’s Gaze Agnès Varda’s Intermedial Layering” in Intermedial Dialogues: The French New Wave and the Other Arts (Edinburgh UP, 2019): pp. 95–105.
Week 8 and Week 9 / 2 and 9 April: Post French New Wave Cinema, Life, and Death
Pre-film lecture and screening: Providence (1976, English, 102 minutes, dir. Alain Resnais). Readings: L. Bersani and U. Dutoit: pp. 147–208, 221-25. E. Roraback: Revised version of an essay “Aesthetic Regions: or, The Double-Edges, Folds & Visions of Time & of Memory of Alain Resnais’s Muriel (1963) & Providence (1976)” first presented at the 33rd annual conference of the International Association of Philosophy and Literature, conference them: “Double Edges: rhetorics, rhizomes, regions”, Brunel University, West London, UK, 1–7 June 2009. Will discuss: Lancelot of the Lake (Lancelut du lac, 1974, French with English subtitles, dir. Robert Bresson). The French New Wave and Cinematic Hallucinations Pre-film lecture and screening: Muriel or the Time of Return (Muriel ou le temps d'un retour, 1963, French with English subtitles, 119 minutes, dir. Alain Resnais). Post-film lecture/discussion Rdgs: 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: Revised version of an essay “Aesthetic Regions: or, The Double-Edges, Folds & Visions of Time & of Memory of Alain Resnais’s Muriel (1963) & Providence (1976)” first presented at the 33rd annual conference of the International Association of Philosophy and Literature, conference them: “Double Edges: rhetorics, rhizomes, regions”, Brunel University, West London, UK, 1–7 June 2009.
Mid-Term Essay Due 9 April.
Week 10 and Week 11 / 16 and 23 April: After Italian Neorealism and Contemporary Eros
Pre-film lecture and screening: L’Avventura (The Adventure or The Fling, 1959, English, 141 minutes, dir. Michelangelo Antonioni). Post-film lecture/discussio Rdgs: D. Cook: A History, pp. 535–39. E. Roraback: Revised version of an essay first published as “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 Will discuss: La Notte (The Night, 1960, dir. Michelangelo Antonioni), L’Eclisse (The Eclipse, 1962, dir. Michelangelo Antonioni), Il deserto rosso (Red Desert, 1964, dir. Michelangelo Antonioni), Blow-Up (1966, dir. Michelangelo Antonioni), The Passenger (1975, dir. Michelangelo Antonioni).
Week 12 and Week 13 / 30 April and 7 May: American Film Noir II Screening: Touch of Evil (1958, year 2000-released 111 minute version) Rdgs/will discuss: Erik Roraback., “The Cinematic Baroque: Excessively Noirish Film: Orson Welles’s Early-Style The Lady from Shanghai (1948) and Mid-Style Touch of Evil (1958)”. Pre-film talk and screening: The Lady from Shanghai (1948, 87 minutes, dir. Orson Welles). Recommended (not required) viewing related to the Film Noir component 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 Post-film lecture/discussion Rdgs/will discuss.:E. Roraback, “The Cinematic Baroque; or, Excessively Noirish Film: Orson Welles’s Early-Style The Lady from Shanghai (1948) and Mid-Style Touch of Evil (1958)” later version of a paper first presented at the University of Szeged, Hungary, on 20 November 2003: on “Deleuze, Orson Welles, and the Cinematic Baroque”.
Week 14 / 14 May: The Global Sublime Pre-film talk and screening Mr. Arkadin/Confidential Report (The Comprehensive Version, 1955, 105 minutes, dir. Orson Welles). Post-film lecture/discussion Readings: G. Deleuze: pp. 98–155 in Cinema 2: The Time-Image. E. Roraback: Revised version of an essay first published as “Circulating within Orson Welles’s Mr. Arkadin/Confidential Report for a Newly Armed Eye” 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.
