DECEMBER 5
Films:
Rules of the Game (Renoir 1939) BluRay 068
What's Opera Doc? (Vigo 1934) DVD1227
Excerpt:
Grand Illusion (Renoir 1937) DVD 519 - 26:28 to 29:36
Reading (to be done by December 11):
Terrence Rafferty - "The Essence of the Landscape," in course reader.
Assignment for the week, to be emailed to me at elkrugamigos@earthlink.net:
FINAL PAPERS!
NOVEMBER 28
Films:
Zero For Conduct (Vigo 1932) BluRay 039
L'Atalante (Vigo 1934) BluRay 039
Reading (to be done by December 4):
Robin Wood - "L'Atalante: The Limits of Liberation," in course reader.
Assignment for the week, to be emailed to me at elkrugamigos@earthlink.net:
Two more pages of progress on your final paper. This week, I care about what you turn in – I would like two pages of solid analysis of whatever film you’re discussing, working from a scene within the film. Since I’ve asked all of you to dedicate at least some of your paper to working with the films themselves, breaking down and discussing scenes in cinematic terms, THAT is what I expect in this week’s paper. Consider it another two pages out of the way to finishing your finals.
Please remember that ALL the short papers assigned since the first drop dead date are due next week. That means the papers comparing 2 performances, the proposal for your final, the paper on camera movement in Sunrise, and now, 4 pages total of work towards your final paper are due. It’s going to have serious consequences for your final grade if you don’t turn in the 4 pages of work on the final next week – if I get a final paper but none of the preliminary assigned work for it, you will NOT get an HP in the class.
Films:
Zero For Conduct (Vigo 1932) BluRay 039
L'Atalante (Vigo 1934) BluRay 039
Reading (to be done by December 4):
Robin Wood - "L'Atalante: The Limits of Liberation," in course reader.
Assignment for the week, to be emailed to me at elkrugamigos@earthlink.net:
Two more pages of progress on your final paper. This week, I care about what you turn in – I would like two pages of solid analysis of whatever film you’re discussing, working from a scene within the film. Since I’ve asked all of you to dedicate at least some of your paper to working with the films themselves, breaking down and discussing scenes in cinematic terms, THAT is what I expect in this week’s paper. Consider it another two pages out of the way to finishing your finals.
Please remember that ALL the short papers assigned since the first drop dead date are due next week. That means the papers comparing 2 performances, the proposal for your final, the paper on camera movement in Sunrise, and now, 4 pages total of work towards your final paper are due. It’s going to have serious consequences for your final grade if you don’t turn in the 4 pages of work on the final next week – if I get a final paper but none of the preliminary assigned work for it, you will NOT get an HP in the class.
NOVEMBER 21
Films:
Trouble in Paradise (Lubitsch 1932) DVD 622
Land Without Bread (Buñuel 1933) laser disc 463
Excerpts:
Design for Living (Lubitsch 1933) DVD 1896 - 1:16 to 8:41
Notorious (Hitchcock 1946) DVD 2026 - 23:08 to 26:01
Reading (to be done by November 27):
Thomas Schatz - "Hollywood: The Triumph of the Studio System," in course reader.
Richard Corliss - "Introduction: Notes on a Screenwriter’s Theory, 1973," in course reader.
Assignment for the week:
Enjoy Thanksgiving and catch up on any missing work and readings!
Films:
Trouble in Paradise (Lubitsch 1932) DVD 622
Land Without Bread (Buñuel 1933) laser disc 463
Excerpts:
Design for Living (Lubitsch 1933) DVD 1896 - 1:16 to 8:41
Notorious (Hitchcock 1946) DVD 2026 - 23:08 to 26:01
Reading (to be done by November 27):
Thomas Schatz - "Hollywood: The Triumph of the Studio System," in course reader.
Richard Corliss - "Introduction: Notes on a Screenwriter’s Theory, 1973," in course reader.
Assignment for the week:
Enjoy Thanksgiving and catch up on any missing work and readings!
NOVEMBER 14
Films:
M (Lang 1931) Blu-Ray 044
Excerpts:
Gold Diggers of 1933 (LeRoy 1933) DVD 2459 - opening 5 minutes
Love Me Tonight (Mamoulian 1932) DVD 1286 -1:43- 7:29, 11:14-18:52
Singin’ in the Rain (Donen/Kelly 1952) DVD 015 - 51:22-59:36
Une Femme est une femme (Godard 1960) DVD 1106 - first six minutes
Reading (to be done by November 20):
Rosenbaum, Jonathan. “Fascinating Rhythms.”
Paper topic (paper due November 20, emailed to me at elkrugamigos@earthlink.net:
Produce two pages of work towards the final paper. This can be virtually anything: an outline, a rough draft of an introduction, notes, a bibliography, etc. The point is to make 2 pages of progress and have it in by next Wednesday. Please note that the proposal and these pages are both REQUIRED assignments; it is impossible to pass the class without turning them both in.
Films:
M (Lang 1931) Blu-Ray 044
Excerpts:
Gold Diggers of 1933 (LeRoy 1933) DVD 2459 - opening 5 minutes
Love Me Tonight (Mamoulian 1932) DVD 1286 -1:43- 7:29, 11:14-18:52
Singin’ in the Rain (Donen/Kelly 1952) DVD 015 - 51:22-59:36
Une Femme est une femme (Godard 1960) DVD 1106 - first six minutes
Reading (to be done by November 20):
Rosenbaum, Jonathan. “Fascinating Rhythms.”
Paper topic (paper due November 20, emailed to me at elkrugamigos@earthlink.net:
Produce two pages of work towards the final paper. This can be virtually anything: an outline, a rough draft of an introduction, notes, a bibliography, etc. The point is to make 2 pages of progress and have it in by next Wednesday. Please note that the proposal and these pages are both REQUIRED assignments; it is impossible to pass the class without turning them both in.
NOVEMBER 7
Films:
Sunrise (Murnau 1927) DVD 3109
Ménilmontant (Kirsanoff 1926) DVD 1636
Excerpts:
Touch of Evil (Welles 1959) DVD 186 - opening shot
The Red and the White (Jansco 1968) DVD 901 - 1:20 to 4:52
Children of Men (Cuaron 2006) DVD 2517 - 26:11 to 30:19
La Ronde (Ophüls 1950) DVD 2982 - opening shot
Reading (to be done by November 13):
Robin Wood, “Sunrise: A Reappraisal,” in the course reader.
Paper topic (paper due November 14:
Take a scene using moving camera from Sunrise and think hard about how it works – what is the effect of the camera movement on the narrative. Then imagine the scene shot in the invisible style, broken down to several static shots rather than shot in motion. Having thought about the difference, write about the effect of camera movement in the scene. You will need to review the shots, either in the Film Resources Library on online - the film is available on You Tube.
Films:
Sunrise (Murnau 1927) DVD 3109
Ménilmontant (Kirsanoff 1926) DVD 1636
Excerpts:
Touch of Evil (Welles 1959) DVD 186 - opening shot
The Red and the White (Jansco 1968) DVD 901 - 1:20 to 4:52
Children of Men (Cuaron 2006) DVD 2517 - 26:11 to 30:19
La Ronde (Ophüls 1950) DVD 2982 - opening shot
Reading (to be done by November 13):
Robin Wood, “Sunrise: A Reappraisal,” in the course reader.
Paper topic (paper due November 14:
Take a scene using moving camera from Sunrise and think hard about how it works – what is the effect of the camera movement on the narrative. Then imagine the scene shot in the invisible style, broken down to several static shots rather than shot in motion. Having thought about the difference, write about the effect of camera movement in the scene. You will need to review the shots, either in the Film Resources Library on online - the film is available on You Tube.
OCTOBER 31
Films:
I Was Born, But… (Ozu 1932) DVD 2857
A Page of Madness (Kinugasa 1926) personal DVD Mairs
Reading (to be done by November 6):
Donald Richie, “Yasujiro Ozu,”in the course reader.
Thom Andersen, Ozu Yasujirô: the Master of Time.
Jasper Sharp and Mariann Lewinsky, A Page of Madness.
Paper topic (paper due November 7, via email to elkrugamigos@earthlink.net):
FINAL RESEARCH PAPER PROPOSAL
One paragraph summary of what you will write about in your final paper. The parameters are described below. I want to see your ideas so I can steer you in the direction of films and books to investigate.
This is not a contract; you are not bound to do the work you propose. BUT…if you change topics, you need to submit another proposal!
FINAL RESEARCH PAPER
Due: December 14
Undergraduates: 8-10 pages
Graduates: 15-20 pages
You are to write your paper about any film or filmmaker from the period covered in the class (1895 to 1948). I expect specific reference to at least four films and one substantial critical text. (Wikipedia does not count: go to the library!) You are to develop a specific, original argument about the work.
As an example, let’s say you’re interested in dance and decide to research the ‘30’s Hollywood musical. After watching a few, you find yourself particularly intrigued by Fred Astaire, and you decide to write an analysis of Follow the Fleet. I would expect you to watch and reference at least three other films, and to investigate and make reference to the critical literature (Arlene Croce, for instance, or Rick Altman). You can approach the films you discuss however you like, but you need to give evidence of research.
Ideally, your final paper should evolve from your own creative work, whether or not you are a filmmaker. I encourage papers that attempt to find common ground between métiers, to find means of approaching film from the perspective of theater, dance, fine art, music or literature.
Here are examples: if you are a graphic designer, you might find it useful to research set design or to do a close analysis of a particular director’s compositional strategies. A musician might consider looking at the use of musical structuring devices in the editing of a particular film. The possibilities are endless and I encourage you to find a subject that will push you into useful, unexpected realms in your own artistic practice.
Whatever your topic, I expect you to carry through the lessons of the assignments thus far. Your writing must be cogent, lucid and direct. You are to speak specifically and with direct reference to the actual films in making your argument.
I do not want, and will not accept, vague, grand arguments about the general nature of a filmmaker’s style or unsubstantiated sociopolitical arguments. The more specific and focused your subject, the better your paper will be.
Films:
I Was Born, But… (Ozu 1932) DVD 2857
A Page of Madness (Kinugasa 1926) personal DVD Mairs
Reading (to be done by November 6):
Donald Richie, “Yasujiro Ozu,”in the course reader.
Thom Andersen, Ozu Yasujirô: the Master of Time.
Jasper Sharp and Mariann Lewinsky, A Page of Madness.
Paper topic (paper due November 7, via email to elkrugamigos@earthlink.net):
FINAL RESEARCH PAPER PROPOSAL
One paragraph summary of what you will write about in your final paper. The parameters are described below. I want to see your ideas so I can steer you in the direction of films and books to investigate.
This is not a contract; you are not bound to do the work you propose. BUT…if you change topics, you need to submit another proposal!
FINAL RESEARCH PAPER
Due: December 14
Undergraduates: 8-10 pages
Graduates: 15-20 pages
You are to write your paper about any film or filmmaker from the period covered in the class (1895 to 1948). I expect specific reference to at least four films and one substantial critical text. (Wikipedia does not count: go to the library!) You are to develop a specific, original argument about the work.
As an example, let’s say you’re interested in dance and decide to research the ‘30’s Hollywood musical. After watching a few, you find yourself particularly intrigued by Fred Astaire, and you decide to write an analysis of Follow the Fleet. I would expect you to watch and reference at least three other films, and to investigate and make reference to the critical literature (Arlene Croce, for instance, or Rick Altman). You can approach the films you discuss however you like, but you need to give evidence of research.
Ideally, your final paper should evolve from your own creative work, whether or not you are a filmmaker. I encourage papers that attempt to find common ground between métiers, to find means of approaching film from the perspective of theater, dance, fine art, music or literature.
Here are examples: if you are a graphic designer, you might find it useful to research set design or to do a close analysis of a particular director’s compositional strategies. A musician might consider looking at the use of musical structuring devices in the editing of a particular film. The possibilities are endless and I encourage you to find a subject that will push you into useful, unexpected realms in your own artistic practice.
Whatever your topic, I expect you to carry through the lessons of the assignments thus far. Your writing must be cogent, lucid and direct. You are to speak specifically and with direct reference to the actual films in making your argument.
I do not want, and will not accept, vague, grand arguments about the general nature of a filmmaker’s style or unsubstantiated sociopolitical arguments. The more specific and focused your subject, the better your paper will be.
PLEASE NOTE THAT OCTOBER 24 WAS THE DROP DEAD DATE - THE FIRST FIVE PAPERS (INCLUDING LAST WEEK'S ASSIGNMENT) MUST BE TURNED IN OR YOU WILL BE DROPPED FROM THE CLASS WITH A GRADE OF "NC." EMAIL ME AT elkrugamigos@earthlink.net IF YOU HAVE ANY QUESTIONS!
OCTOBER 24
Films:
Un Chien Andalou (Buñuel/Dali 1929) DVD 1905
The Passion of Joan of Arc (Dreyer 1928) DVD 171
The Smiling Madame Beudet (Dulac 1922) personal DVD Mairs
Reading (to be done by October 30):
Luis Buñuel, “Cinema, Instrument of Poetry” and Germaine Dulac, “The Avant-Garde Cinema,” both in the course reader.
Paper topic (paper due October 31):
In the class thus far, we have seen a number of remarkable performances in a wide range of styles, from the iconic Hollywood acting of Cary Grant, Ingrid Bergman and Claude Rains in Notorious to the more transparent and emotive work of Renee Falconetti in The Passion of Joan of Arc. Take two performances in films shown thus far in the class that have affected you in some way and compare how they worked. Take two short scenes to compare and try to frame your discussion purely in terms of the acting. Was it naturalistic or performative (i,e: could you tell they were acting)? Were the emotions presented broadly or subtly? Did the performances feel "theatrical" or "cinematic," and how?
OCTOBER 24
Films:
Un Chien Andalou (Buñuel/Dali 1929) DVD 1905
The Passion of Joan of Arc (Dreyer 1928) DVD 171
The Smiling Madame Beudet (Dulac 1922) personal DVD Mairs
Reading (to be done by October 30):
Luis Buñuel, “Cinema, Instrument of Poetry” and Germaine Dulac, “The Avant-Garde Cinema,” both in the course reader.
Paper topic (paper due October 31):
In the class thus far, we have seen a number of remarkable performances in a wide range of styles, from the iconic Hollywood acting of Cary Grant, Ingrid Bergman and Claude Rains in Notorious to the more transparent and emotive work of Renee Falconetti in The Passion of Joan of Arc. Take two performances in films shown thus far in the class that have affected you in some way and compare how they worked. Take two short scenes to compare and try to frame your discussion purely in terms of the acting. Was it naturalistic or performative (i,e: could you tell they were acting)? Were the emotions presented broadly or subtly? Did the performances feel "theatrical" or "cinematic," and how?
OCTOBER 17
Films:
Sherlock, Junior (Keaton 1924) BluRay 041
The Kid (Chaplin 1921) DVD 1962
One Week (Keaton/Cline 1920) DVD 3703
Reading (to be done by October 23):
Walter Kerr, “The Keaton Quiet” and J. Hoberman, “After the Gold Rush: Chaplin at One Hundred,” both in course reader.
Paper topic (paper due October 24):
Take whatever single moment made you laugh the hardest in today’s films and talk about how it works as CINEMA – how is the gag framed or edited (or not edited) or choreographed to make it funny. A good starting point might be to imagine the same joke shot or edited in a different way.
PLEASE NOTE THAT NEXT WEEK, OCTOBER 24, IS THE DROP DEAD DATE - THE FIRST FIVE PAPERS (INCLUDING THIS WEEK'S ASSIGNMENT) MUST BE TURNED IN OR YOU WILL BE DROPPED FROM THE CLASS WITH A GRADE OF "NC." EMAIL ME AT elkrugamigos@earthlink.net IF YOU HAVE ANY QUESTIONS!
Films:
Sherlock, Junior (Keaton 1924) BluRay 041
The Kid (Chaplin 1921) DVD 1962
One Week (Keaton/Cline 1920) DVD 3703
Reading (to be done by October 23):
Walter Kerr, “The Keaton Quiet” and J. Hoberman, “After the Gold Rush: Chaplin at One Hundred,” both in course reader.
Paper topic (paper due October 24):
Take whatever single moment made you laugh the hardest in today’s films and talk about how it works as CINEMA – how is the gag framed or edited (or not edited) or choreographed to make it funny. A good starting point might be to imagine the same joke shot or edited in a different way.
PLEASE NOTE THAT NEXT WEEK, OCTOBER 24, IS THE DROP DEAD DATE - THE FIRST FIVE PAPERS (INCLUDING THIS WEEK'S ASSIGNMENT) MUST BE TURNED IN OR YOU WILL BE DROPPED FROM THE CLASS WITH A GRADE OF "NC." EMAIL ME AT elkrugamigos@earthlink.net IF YOU HAVE ANY QUESTIONS!
OCTOBER 10
Films:
Man With a Movie Camera (Vertov 1929) DVD 3693
excerpt from Arsenal (Dovzhenko 1928) DVD 860, chapter 9 to end
excerpt from Potemkin (Eisenstein 1926) DVD 984, chapters 7-9
Reading (to be done by October 16):
Sergei Eisenstein, “A Dialectic Approach to Film Form” and Dziga Vertov, “Provisional Instructions to Kino-Eye Groups (1926),” both in course reader.
No new assignment this week: catch up on your reading and past due assignments. Remember - the first five short assignments (including the one I will assign next class) must all be in on October 24 for you to remain in the class.
Films:
Man With a Movie Camera (Vertov 1929) DVD 3693
excerpt from Arsenal (Dovzhenko 1928) DVD 860, chapter 9 to end
excerpt from Potemkin (Eisenstein 1926) DVD 984, chapters 7-9
Reading (to be done by October 16):
Sergei Eisenstein, “A Dialectic Approach to Film Form” and Dziga Vertov, “Provisional Instructions to Kino-Eye Groups (1926),” both in course reader.
No new assignment this week: catch up on your reading and past due assignments. Remember - the first five short assignments (including the one I will assign next class) must all be in on October 24 for you to remain in the class.
OCTOBER 3
Films:
Faust (Murnau 1926) DVD 4292
Les Vampires, ep. 2: The Ring That Kills (Feuillade 1916) DVD 1645
Cabinet of Doctor Caligari (Weine 1920) DVD 3299, 38:40-47:44
Reading (to be done by October 9):
Thomas Elsaesser, “Germany: The Weimar Years” and Janet Bergstrom, “Friedrich Wilheim Murnau,” both in course reader.
Ed Gonzalez, http://www.slantmagazine.com/film/review/les-vampires/592
Paper topic (paper due October 10:
Compare one small aspect of the formal style of Broken Blossoms with the style of either Faust, The Cabinet of Doctor Caligari or Les Vampires. Think very small – compare two shots, two performers or two short scenes. Don’t try to do the whole films and their formal styles, just an element you can handle exhaustively in two short pages. And take into account the notes you’ve received on the papers thus far as well as the advice in the handout on writing about film – be as concrete as possible.
Films:
Faust (Murnau 1926) DVD 4292
Les Vampires, ep. 2: The Ring That Kills (Feuillade 1916) DVD 1645
Cabinet of Doctor Caligari (Weine 1920) DVD 3299, 38:40-47:44
Reading (to be done by October 9):
Thomas Elsaesser, “Germany: The Weimar Years” and Janet Bergstrom, “Friedrich Wilheim Murnau,” both in course reader.
Ed Gonzalez, http://www.slantmagazine.com/film/review/les-vampires/592
Paper topic (paper due October 10:
Compare one small aspect of the formal style of Broken Blossoms with the style of either Faust, The Cabinet of Doctor Caligari or Les Vampires. Think very small – compare two shots, two performers or two short scenes. Don’t try to do the whole films and their formal styles, just an element you can handle exhaustively in two short pages. And take into account the notes you’ve received on the papers thus far as well as the advice in the handout on writing about film – be as concrete as possible.
SEPTEMBER 26
Films:
Broken Blossoms (Griffith 1919) DVD 244
excerpts from Birth of a Nation (Griffith 1915) DVD 1179, chapters 15-16
Intolerance (Griffith 1916) DVD 1156, chapters 24-25
Way Down East (Griffith 1920) Blu-Ray 113, chapter 8
Reading (to be done by October 2):
Roberta Pearson, “Transitional Cinema” and Vsevolod Pudovkin, “On Editing,” both in course reader.
Paper topic (paper due October 3):
Write again about the scene you explored last week, this time focusing on the editing. Instead of describing the content of each shot, talk about how the shots work together. The crucial questions are: how long is each shot held, and why? And why do you think the filmmakers change from one camera position to the next in the course of the scene – what does the audience get from these shifts in perspective? Finally, how noticeable are these cuts as you watch the film?
Films:
Broken Blossoms (Griffith 1919) DVD 244
excerpts from Birth of a Nation (Griffith 1915) DVD 1179, chapters 15-16
Intolerance (Griffith 1916) DVD 1156, chapters 24-25
Way Down East (Griffith 1920) Blu-Ray 113, chapter 8
Reading (to be done by October 2):
Roberta Pearson, “Transitional Cinema” and Vsevolod Pudovkin, “On Editing,” both in course reader.
Paper topic (paper due October 3):
Write again about the scene you explored last week, this time focusing on the editing. Instead of describing the content of each shot, talk about how the shots work together. The crucial questions are: how long is each shot held, and why? And why do you think the filmmakers change from one camera position to the next in the course of the scene – what does the audience get from these shifts in perspective? Finally, how noticeable are these cuts as you watch the film?
SEPTEMBER 12
Films:
Notorious (Hitchcock 1946)
The "Po River Valley" sequence from Paisan (Rossellini 1946).
Both films are available on DVD in the Film Services Library on my reserve shelf: DVD 2026 (Notorious) and DVD 3701 (Paisan). The relevant sequence in Paisan begins at Chapter 21 and is twenty minutes long; it ends at the conclusion of the entire film.
Reading (to be done by September 18):
Andre Bazin, "The Evolution of the Language of Cinema," in course reader.
Paper topic (paper due September 19, via email to elkrugamigos@earthlink.net):
In both of tonight's films, a central issue that I want you to consider is identification. I would argue that the art of narrative filmmaking is the art of positioning the audience to the story, leading us, through the use of various formal devices – editing structures, composition, the use of appealing stars – to experience the story viscerally, to identify so completely with the characters that we are swept away into the world of the story. Hitchcock’s best work uses these devices to extraordinary effect, sometimes, as in Notorious, to make these processes of identification and perspective deeply unsettling. Paisan, on the other hand, avoids many of these devices, preferring a documentary-like observation of characters. That’s not to say that it aims to be uninvolving – it is a deeply moving film. But it does encourage a very different relationship to the people we watch onscreen.
Your assignment for the week is to watch both films carefully and to think about your relationship to the characters, how involved you become as you watch the films. Focus your discussion on a single scene in each film in order to talk in greater depth about how these scenes make you respond to one of the characters. If you find yourself tempted to dismiss Paisan because it’s not as fun or as slick as Notorious, I want you to think hard about that response – are you troubled by a film not doing something that it is explicitly not setting out to do?
Films:
Notorious (Hitchcock 1946)
The "Po River Valley" sequence from Paisan (Rossellini 1946).
Both films are available on DVD in the Film Services Library on my reserve shelf: DVD 2026 (Notorious) and DVD 3701 (Paisan). The relevant sequence in Paisan begins at Chapter 21 and is twenty minutes long; it ends at the conclusion of the entire film.
Reading (to be done by September 18):
Andre Bazin, "The Evolution of the Language of Cinema," in course reader.
Paper topic (paper due September 19, via email to elkrugamigos@earthlink.net):
In both of tonight's films, a central issue that I want you to consider is identification. I would argue that the art of narrative filmmaking is the art of positioning the audience to the story, leading us, through the use of various formal devices – editing structures, composition, the use of appealing stars – to experience the story viscerally, to identify so completely with the characters that we are swept away into the world of the story. Hitchcock’s best work uses these devices to extraordinary effect, sometimes, as in Notorious, to make these processes of identification and perspective deeply unsettling. Paisan, on the other hand, avoids many of these devices, preferring a documentary-like observation of characters. That’s not to say that it aims to be uninvolving – it is a deeply moving film. But it does encourage a very different relationship to the people we watch onscreen.
Your assignment for the week is to watch both films carefully and to think about your relationship to the characters, how involved you become as you watch the films. Focus your discussion on a single scene in each film in order to talk in greater depth about how these scenes make you respond to one of the characters. If you find yourself tempted to dismiss Paisan because it’s not as fun or as slick as Notorious, I want you to think hard about that response – are you troubled by a film not doing something that it is explicitly not setting out to do?
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