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.
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.
Tuesdays from 3:30-5:50 pm in Murphy 314
TA for Screenings: Chung Kin Tsang firstname.lastname@example.org
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
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
May 1 FINAL EXAMINATION (8:00 am)
REQUIRED & SUGGESTED READING History of Film II Com. Studies 547
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
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
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