Course Purposes, Goals, and Objectives:
1) To examine significant aesthetic developments in film history from
World War II to 2010 by focussing upon individual films, filmmakers,
and
the emergence of specific national cinema movements; 2) to explore
aesthetic,
social, economic, and technological factors which stimulated the
emergence
of these national cinema movements; 3) to consider the connections
between
the rise of national cinemas, nation states and nationalism in an
international
context; and 4) to learn how to do research on technological, economic,
social, and aesthetic film history.
Required Texts:
Allen, Robert C. and Gomery, Douglas, Film History, Theory and
Practice, MacMillan, 1985.
Cook, David A., A History of Narrative Film, 4th Edition, Norton, 2004.
Kindem, Gorham, ed., The International Movie Industry, SIU Press, 2000.
Required Screenings:
Tuesdays from 3:30-5:50 pm in Murphy 314
TA for Screenings: Chung Kin Tsang ckintsang@gmail.com
Grade Percentages and Requirements:
Midterm Examination 25% (Mar 2)
Final Examination 25% (May 1, 8:00 am)
10-15 minute Oral Presentation, Class Participation, and Class and
Screening Attendance 20%
Research Paper 30% (April 15, 9:40 am)
Your historical research paper should examine
a limited aspect of a particular national cinema movement identified in
the syllabus schedule below, analyzing the aesthetic contribution of
several
films (at least three) which had an international impact and exploring
the aesthetic, social, economic, and technological factors which
stimulated
this aspect of the movement to emerge. Papers must be
typewritten,
properly footnoted, and 8 to 10 double-spaced pages in
length.
All papers and examination materials submitted in fulfillment of the
course
requirements listed above must be signed, indicating your familiarity
with
and adherence to the honor code. You will present a 10-15 minute
oral summary of your research findings to the class on the date for
that
particular national cinema movement listed in the schedule below.
A lack of participation in class discussions and absences from classes
and screenings may result in deductions from your oral presentation
grade.
Papers are due within the first ten minutes of class on April 15 and
drop
one letter grade or ten points (92.5+=A; 90to92.5=A-; 87.5to90=B+,
etc.)
after that time and then again for each additional day (24 hrs.) they
are
late.
Schedule:
Jan 12 Introduction; Screening: Rossellini’s ROMA, CITTA APERTA
14 Aesthetic Film History: Italian
Neorealism
19 Italian Neorealism continued (in class
Screening:
De Sica's
LADRI DI BICICLETTE); Screening: Kazan’s ON THE WATERFRONT
21 Social Film History; Hollywood
and Social Change
26 Economic Film History: Fall
of the Studio System and the Rise of Independent Production; Screening:
Donen and Kelly’s SINGIN’IN THE RAIN
28 Technological Film History:
Color, Widescreen, and the
Rise of Television
Feb 2 American Kammerspiel
and the Live-TV Generation of Hollywood Film Directors; Screening:
Mann’s
MARTY
4 American cinema in the
1950s continued
9 British “New Cinema” and
Kitchen
Sink Realism; Screening: Reisz's SATURDAY NIGHT AND SUNDAY MORNING
11 British cinema continued
16 Japan’s Postwar Renaissance:
Kurosawa, Mizoguchi, and Ozu; Screening: Ozu’s TOKYO STORY
18 Japanese cinema continued
23 French New Wave: Resnais, Truffaut, and
Godard; Screening:
Godard’s A BOUT DE SOUFFLE
25 French New Wave continued
Mar 2 MIDTERM EXAMINATION;
Screening: Bergman’s FANNY OCH ALEXANDER
4 Scandinavian Cinema and
Ingmar
Bergman
9 Spring Break
11 Spring Break
16 New German Cinema;
Screening:
Wenders’ DER HIMMEL UBER BERLIN
18 New German Cinema continued
23 Hungarian and Eastern European
Cinema; Screening: Szabo’s FATHER
25 Hungarian and Eastern European
Cinema continued
30 Third World Cinema: Latin American and
Cuban Cinema;
Screening: Sembene's XALA
Apr 1 West African and
Senegalese Cinema
6 Australian & New
Zealand
Cinema; Screening: Campion’s THE PIANO
8 Australian & New
Zealand
Cinema continued
13 Chinese Cinema; Screening:
Zhang’s TO LIVE
15 Chinese Cinema continued; RESEARCH
PAPER DUE
20 New American Cinema; Screening:
Penn’s BONNIE AND CLYDE
22 New American Cinema continued
27 Review
May 1 FINAL EXAMINATION (8:00 am)
REQUIRED & SUGGESTED READING History of Film II Com. Studies 547
Required Texts:
Allen, Robert C. and Gomery, Douglas, Film History: Theory
and
Practice, Knopf, 1985.
Cook, David A., A History of Narrative Film, 4th ed., W.W.
Norton, 2004.
Kindem #1, Gorham, ed., The International Movie Industry, SIU
Press, 2000.
Suggested Texts(on UL library reserve):
Kindem #2, Gorham, ed., The American Movie Industry, SIU
Press,
1982.
Kindem #3, Gorham, The Live Television Generation of
Hollywood
Film Directors, Jefferson, NC: McFarland, 1994.
Allen/Gomery
Cook
Kindem#1
Kindem#2&(#3)
Schedule:
Jan 12
3-42
1-6
xvii-xxv
14
67-108
355-368
223-233
19
531-555
21
153-189
368-384
215-253
26
131-152
309-324; 364-377 79-93;161-204;308-321
28
109-130
384-406;555-559
146-158;257-307
Feb 2
406-429
(1-217)
4
9
481-508
234-246
11
16
431-479
195-205
18
23
731-768
7-21
25
Mar 2
4
559-572
247-256
9
11
16
636-656
165-177
18
23
582-604
206-222
25
30
795-819
257-291
Apr 1
819-826
117-139
6
508-522
60-77
8
13
777-794
22-35
15
20
845-927
324-330
325-350
22
24
27