printer friendly pageFILMSTUD 122: Kubrick (FILMSTUD 322)
Thematic and stylistic richness of the cinema of Stanley Kubrick. Methodological approaches to the subject. Emphasis is on questions of close textual analysis, authorship and genre, and critique of ideology. Focus is on
A Clockwork Orange. Other films include:
2001: A Space Odyssey, Barry Lyndon, Killer's Kiss, and
The Shining.
Terms: Win
| Units: 4
Instructors:
Levi, P. (PI)
;
Simpson, R. (TA)
FILMSTUD 133A: Latin American Cinema (FILMSTUD 333A)
Emphasis is on Mexico, Brazil, Argentina, and Cuba. How filmmakers represent and sometimes rewrite key moments in national history. When have filmmakers constructed a dialogue with older cinematic traditions versus breaking from past practices? How have political concerns shaped cinematic practices. Directors include Fernando de Fuentes, Luis Buñuel, Leopoldo Torre Nilsson, Patricio Guzmán, Humberto Solas, Nelson Pereira dos Santos, Lucrecia Martel, and Héctor Babenco.
Last offered: Spring 2008
FILMSTUD 134A: Poetic Cinema: The Soviet School (FILMSTUD 334A)
The poetic or archaic school of Soviet cinema which emerged primarily in the non-Russian Soviet Republics in the 60s and 70s and traced its aesthetic to the films of Aleksandr Dovzhenko. Films by Dovzhenko, Andrei Tarkovsky, Sergei Parajanov, Tengiz Abuladze, and Otar Ioseliani.
Last offered: Spring 2009
| UG Reqs: GER:DB-Hum
FILMSTUD 135: History of Video Art (FILMSTUD 335)
Focus is on artists who have contributed to the history of video art. Topics include: theoretical analyses of the medium; challenges to the performer-spectator dynamic (Dan Graham and Vito Acconci); feminist culture critique (Martha Rosler and Dara Birnbaum); closed-circuit installations and performances (Peter Campus and Joan Jonas); combinations of linguistic and bodily investigations (Bruce Nauman and Gary Hill); representations of girl culture (Sadie Benning); guerrilla television (TVTV and Ant Farm); image processing (Woody and Steina Vasulka); the turn toward cinematic installations (Stan Douglas and Douglas Gordon); and more recent trends (Cory Arcangel and Ryan Trecartin).
Last offered: Spring 2009
FILMSTUD 136: Gender and Sexuality in Chinese Cinema (FILMSTUD 336)
Representations of gender and sexuality in the cinemas of China, Taiwan, and Hong Kong, covering key periods and genres such as the golden age of Shanghai film, Hong Kong action pictures, opera films, post-socialist art films, and new queer cinema. Historical and contemporary perspectives on cinematic constructions of femininity, masculinity, and sexuality as they relate to issues of nationalism, modernity, globalization, and feminist and queer politics. Weekly screening required.
Terms: Aut
| Units: 4
| UG Reqs: GER:EC-Gender
FILMSTUD 145: Politics and Aesthetics in East European Cinema (FILMSTUD 345)
From 1945 to the mid-80s, emphasizing Polish, Hungarian, Czech, Slovak, and Yugoslav contexts. The relationship between art and politics; postwar establishment of film industries; and emergence of national film movements such as the Polish school, Czech new wave, and new Yugoslav film. Thematic and aesthetic preoccupations of filmmakers such as Wajda, Jancso, Forman, and Kusturica.
Terms: Spr
| Units: 4
| UG Reqs: WAY-A-II, GER:DB-Hum
Instructors:
Levi, P. (PI)
FILMSTUD 150: Cinema and the City (FILMSTUD 350)
Utopian built environments of vast perceptual and experiential richness in the cinema and city. Changing understandings of urban space in film. The cinematic city as an arena of social control, social liberation, collective memory, and complex experience. Films from international narrative traditions, industrial films, experimental cinema, documentaries, and musical sequences. Recommended: 4 or equivalent.
Last offered: Winter 2009
| UG Reqs: GER:DB-Hum, GER:EC-GlobalCom
FILMSTUD 153A: Transmedia TV (FILMSTUD 353A)
Beginning from theoretical questions about the structure of media texts and their production, distribution, reception, and regulation, this course analyzes how the collision of broadcast and broadband is reshaping the media landscape. Course investigates the definition of television and its articulation across multiple platforms, including streaming video, online tie-ins, fan remixes, and web shows. Such convergence involves both intensified corporate consolidation and intensified viewer participation. As the boundary between producers and consumers of entertainment breaks down, course explores renegotiating the possibilities of the TV experience.
Terms: Spr
| Units: 4
Instructors:
Russo, J. (PI)
FILMSTUD 220: Being John Wayne
John Wayne's imposing corporeality and easy comportment combined to create an icon of masculinity, the American West, and America itself. Focus is on the films that contributed most to the establishment, maturation, and deconstruction of the iconography and mythology of the John Wayne character. The western and war film as genres; the crisis of and performance of masculinity in postwar culture; gender and sexuality in American national identity; relations among individualism, community, and the state; the Western and national memory; and patriotism and the Vietnam War.
Last offered: Spring 2009
FILMSTUD 231: Contemporary Chinese Auteurs
New film cultures and movements in Taiwan, Hong Kong, and mainland China in the 80s. Key directors including Jia Zhangke, Wu Wenguang, Tsai Ming-liang, Hou Hsiao-hsien, Wong Kar-wai, Ann Hui. Topics include national cinema in the age of globalization, the evolving parameters of art cinema, and authorship.
Last offered: Autumn 2008
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