Course Purposes, Goals, and Objectives:
1) To examine significant aesthetic developments in film history from
World War II to 2008 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: Rolien Hoyng hoyng@email.unc.edu
Grade Percentages and Requirements:
Midterm Examination 25% (Mar 3)
Final Examination 25% (May 2, 8:00 am)
10-15 minute Oral Presentation, Class Participation, and Class and
Screening Attendance 20%
Research Paper 30% (April 16, 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 17 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 13 Introduction; Screening: Rossellini’s ROMA, CITTA APERTA
15 Aesthetic Film History: Italian
Neorealism
20 Italian Neorealism continued (in class
Screening:
De Sica's
LADRI DI BICICLETTE); Screening: Kazan’s ON THE WATERFRONT
22 Social Film History; Hollywood
and Social Change
27 Economic Film History: Fall
of the Studio System and the Rise of Independent Production; Screening:
Donen and Kelly’s SINGIN’IN THE RAIN
29 Technological Film History:
Color, Widescreen, and the
Rise of Television
Feb 3 American Kammerspiel
and the Live-TV Generation of Hollywood Film Directors; Screening:
Mann’s
MARTY
5 American cinema in the
1950s continued
10 British “New Cinema” and
Kitchen
Sink Realism; Screening: Reisz's SATURDAY NIGHT AND SUNDAY MORNING
12 British cinema continued
17 Japan’s Postwar Renaissance:
Kurosawa, Mizoguchi, and Ozu; Screening: Ozu’s TOKYO STORY
19 Japanese cinema continued
24 French New Wave: Resnais, Truffaut, and
Godard; Screening:
Godard’s A BOUT DE SOUFFLE
26 French New Wave continued
Mar 3 MIDTERM EXAMINATION;
Screening: Bergman’s FANNY OCH ALEXANDER
5 Scandinavian Cinema and
Ingmar
Bergman
10 Spring Break
12 Spring Break
17 New German Cinema;
Screening:
Wenders’ DER HIMMEL UBER BERLIN
19 New German Cinema continued
24 Hungarian and Eastern European
Cinema; Screening: Szabo’s FATHER
26 Hungarian and Eastern European
Cinema continued
31 Third World Cinema: Latin American and
Cuban Cinema;
Screening: Sembene's XALA
Apr 2 West African and
Senegalese Cinema
7 Australian & New
Zealand
Cinema; Screening: Campion’s THE PIANO
9 Australian & New
Zealand
Cinema continued
14 Chinese Cinema; Screening:
Zhang’s TO LIVE
16 Chinese Cinema continued; RESEARCH
PAPER DUE
21 New American Cinema; Screening:
Penn’s BONNIE AND CLYDE
23 New American Cinema continued
May 2 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 13
3-42
1-6
xvii-xxv
15
67-108
355-368
223-233
20
531-555
22
153-189
368-384
215-253
27
131-152
309-324; 364-377 79-93;161-204;308-321
29
109-130
384-406;555-559
146-158;257-307
Feb 3
406-429
(1-217)
5
10
481-508
234-246
12
17
431-479
195-205
19
24
731-768
7-21
26
Mar 3
5
559-572
247-256
10
12
17
636-656
165-177
19
24
582-604
206-222
26
31
795-819
257-291
Apr 2
819-826
117-139
7
508-522
60-77
9
14
777-794
22-35
16
21
845-927
324-330
325-350
23