Note: This is an archive version of the 2006-7 website. Elements of the course will change in 2007-8
Thanks for a great year!
--The 115 Team
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JUMP TO TERM 2
Required Texts
David Bordwell and Kristin Thompson. Film Art: An Introduction. SEVENTH EDITION. New York: McGraw-Hill Inc., 2004.
Film Art is available at The Bob Miller Bookroom, on the basement level of 180 Bloor Street West, just west of Avenue Road on the north side of Bloor.
INI115Y Course Reader: Available at Quality Control Copy, 333 Bloor St. West
The contents of the course reader are noted below by the designation CR. A list of all readings on the CR is at the front of the CR, and can also be downloaded on the Assignments & Handouts page, along with the full course syllabus.
Schedule
Running times for films are provided except in the case of silent films.
*Film selections are subject to change*
Session I: Introduction--Film Study / Film Analysis
Screening /Sept. 13: Citizen Kane (U.S., 1941; 119 mins.)
Reading: Please purchase Film Art and begin reading for upcoming weeks. (You may want to survey the index and read those sections pertaining to Kane in advance.)
CR (Course Reader -- see above): James Naremore, “The Magician and the Mass Media”.
UNIT ONE: Film Form--Narrative and Style
Session II: Film Form
Screening /Sept. 20: Calendar (Canada, 1993; 75 mins.)
Reading: Film Art, pp. 47-67.
Session III: Narrative Principles and Construction
Screening / Sept. 27: Memento (U.S., 2000; 113 mins.)
Reading: Film Art, pp. 68-82; 91-100.
Session IV: Mise-en-Scène
Screening / Oct. 4: The Impossible Voyage / Le Voyage à travers
l’impossible (France, 1904)
The Kid Brother (U.S., 1927)
Reading: Film Art, pp. 176-228.
Session V: Cinematographic Properties
Screening / Oct. 11: Visions of Light: The Art of Cinematography
(U.S./Japan, 1992; 90 mins.)
Reading: Film Art, pp. 229-43; 252-83; 290-92.
Session VI: Editing, Pt. 1
Screening / Oct. 18: I am Cuba (U.S.S.R./Cuba, 1964; 141 mins.)
Reading: Film Art, pp. 284-289; 292-310.
Session VII: Editing, Pt. 2
Screening / Oct. 25: Short Fuse (U.S., 1990; 37 mins.)
Run, Lola Run / Lola rennt (Germany, 1998; 97 mins.)
Reading: Film Art, pp. 310-46.
Session VIII: Sound
Screening / Nov. 1: Land Without Bread / Las Hurdes (Spain, 1932; 27 mins)
A Man Escaped / Un Condamné à mort s’est échappé
(France, 1956; 102 mins.)
Reading: Film Art, pp. 347-88.
Session IX: Film Style
Screening /Nov. 8: Tokyo Story / Tokyo Monogatari (Japan, 1953; 135 mins.)
Reading: Film Art, pp. 389-401; 433-37.
CR : David Desser, “The Space of Ambivalence”.
N.B.: Assignment #1 is due on Nov. 14.
Session X: Film Narration
Screening /Nov. 15: Psycho (U.S., 1960; 109 mins.)
Reading: Film Art, pp. 82-89; 100-102.
UNIT TWO: Types of Film
Session XI: Documentary
Screening /Nov. 22: Night and Fog / Nuit et brouillard (France, 1956; 30 mins.)
and Bus 174 (Brazil, 2002; 118 mins)
Reading: Film Art, pp.128-132 (required); 171-172
CR : Bill Nichols, “Why Are Ethical Issues Central to Documentary Filmmaking?”.
Session XII: Avant-Garde and Experimental Film
Screening /Nov. 29:
Note: many of the films shown as part of this
week's screening are not available commercially nor are they held at Robarts on VHS or DVD.
In other words, this may be your only opportunity to see the films in question.
- Ballet mécanique (France, 1924)
- Meshes of the Afternoon (U.S., 1943; 13 mins.)
- A Movie (U.S., 1958; 12 mins.)
- Mothlight (U.S., 1963; 4 mins.)
- Kustom Kar Kommandos (U.S., 1965; 3 mins.)
- Sailboat (Canada, 1967; 3 mins.)
- T,O,U,C,H,I,N,G (U.S., 1968; 12 mins.)
- Mayhem (U.S., 1987; 17 mins.)
- The Girl from Moush (Canada, 1993; 6 mins.)
Reading: Film Art, pp.146-62; 407-12.
CR : Scott MacDonald, “Introduction” [excerpted from A Critical Cinema].
Session XIII: Test: Week of Dec 4 // Details TBA
* End of First Term *
UNIT THREE: Analytical Approaches to Hollywood Filmmaking
Session XIV: Production and Technology
Screening / Jan. 10: Singin’ in the Rain (U.S., 1952; 102 mins.)
Reading: Film Art, pp. 2-45; 243-52.
CR : Richard Maltby, “Technology” [excerpted from Hollywood Cinema]; Jane Feuer, “Winking at the Audience”.
Session XV: The Classical Film
Screening / Jan. 17: The 39 Steps (Britain, 1935; 81 mins.)
Reading: Film Art, pp. 89-91; [313-26]; 415-18.
CR : Annette Kuhn, “The Classic Narrative System”.
Session XVI: Constructing Authorship
Screening / Jan. 24: North by Northwest (U.S., 1959; 136 mins.)
Reading: Film Art, 40-41; 418-23.
CR : Andrew Tudor, "Auteur;" Peter Lehman and William Luhr, “Authorship” [excerpted from Thinking About Movies]; David Sterritt, “Introduction” [from The Films of Alfred Hitchcock].
Session XVII: Genre I: Identifying Genres--The Western
Screening / Jan 31: Shane (U.S., 1953; 117 mins.)
Reading: Film Art, pp. 108-11; 115-16; 118-20; 123-27.
CR : Andrew Tudor, "Genre;" Robert Warshow, “Movie Chronicle: The Westerner;” Jim Kitses, “Authorship and Genre: Notes on the Western” [excerpted].
Session XVIII: Genre II: Genre and Society-- The Horror Film
Screenings /Feb. 7: Mark of the Vampire (U.S., 1935; 60 mins.) and Cat People (U.S., 1942; 73 mins.)
Reading: Film Art, pp. 116-118; 120-23.
CR : Morris Dickstein, “The Aesthetics of Fright;” Paul Wells, “Configuring the Monster” [excerpted]; Mark Jancovich, “ ‘A Real Shocker’: Authenticity, Genre and the Struggle for Distinction.”
Session XIX: Genre III: Genre, Style and Ideology--Film Noir
Screening / Feb. 14: Double Indemnity (U.S., 1944; 107 mins.)
Reading: CR : Paul Schrader, "Notes on Film Noir;" J.A. Place and L.S. Peterson, "Some Visual Motifs of Film Noir;" Janey Place, “Women in Film Noir;” Gaylyn Studlar, “Hard-Boiled Film Noir”.
Reading Week: Feb. 19-23
UNIT FOUR: Analytical Approaches to Alternatives to Hollywood
Session XX: Formal Resistance: The Art Film
Screening / Feb. 28: Hiroshima Mon Amour (France, 1959; 90 mins.)
Reading: CR : David Bordwell, "The Art Cinema as a Mode of Film Practice;" Annette Kuhn, “Alternative Narrative Systems.”
Session XXI: Ideological Resistance: The Radical Text
Screening / Mar. 7: Tout Va Bien (France, 1972; 95 mins.)
Reading: CR : Jean-Luc Comolli and Jean Narboni, “Cinema/Ideology/Criticism;” Kristin Thompson, “Tout Va Bien”.
Session XXII: Cultural Resistance: Indigenous Filmmaking
Screening / Mar. 14: Ceddo (Senegal; 1977; 120 mins.)
Reading: CR : Joseph Ki-Zerbo, “Cinema and Development in Africa;” Nixon K. Kariithi, “Misreading Culture and Tradition: Western Critical Appreciation of African Films;” Mbye Cham, et al., “Can African Cinema Achieve the Same Level of Indigenisation as Other Popular African Art Forms?”; Phil Rosen, “Discursive Space and Historical Time.”
Session XXIII: Gendered Resistance: Feminist Filmmaking
Screening / Mar. 21: Daughter Rite (U.S., 1978; 48 mins.)
Orlando (Great Britain, 1992; 93 mins.)
Reading: CR : Laura Mulvey, “Visual Pleasure and Narrative Cinema;” Linda Ruth Williams, “Everything in Question: Women and Film in Prospect.”
UNIT FIVE: Beyond Form, Returning to Form
N.B.: Assignment #3 is has been extended to Mar. 27.
Session XXIV: Audiences and Spectators
Screening / Mar. 28: Thelma and Louise (U.S., 1991; 130 mins.)
Reading: CR : Peter Lehman and William Luhr, “Audiences and Reception” [excerpted from Thinking About Movies]; Henry Jenkins, “Reception Theory and Audience Research: The Mystery of the Vampire’s Kiss;” Sharon Willis, “Hardware and Hardbodies, What Do Women Want?: A Reading of Thelma and Louise.”
Session XXV: Film in the Postmodern Moment
Screening / Apr. 4: Chungking Express (Hong Kong, 1995; 97mins.)
Reading: Film Art , pp. 437-42.
CR : John Hill, “Film and Postmodernism.”
Session XXVI: The End of Cinema, The Future of Cinema
Screening / Apr. 11: The Celebration / Festen (Denmark, 1998; 106 mins.)
Reading: CR : “Dogme 95 Manifesto”; Wheeler Winston Dixon, “Twenty- five Reasons Why It’s All Over.”
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