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.
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.
Subscribe to:
Posts (Atom)