HISTORY OF FILM II 1945 to 2010 Communication Studies 547  9:30-10:45 TR Murphy 314
Prof.Kindem 962-4960  Bingham Hall 315 Office hrs: 11:00-12:00 am TR  kindemg@email.unc.edu

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.

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
       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)
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)
       9                                     481-508                           234-246
      16                                     431-479                           195-205
      23                                     731-768                               7-21
Mar 2
       4                                      559-572                           247-256
      16                                     636-656                           165-177
      23                                     582-604                           206-222
      30                                     795-819                           257-291
Apr 1                                     819-826                           117-139
       6                                      508-522                             60-77
      13                                     777-794                             22-35
      20                                     845-927                           324-330                          325-350