71 - 80 of 106 results for: FILMSTUD

Social, historical, and aesthetic dimensions of the cinemas of Japan, Hong Kong, Taiwan, mainland China, and Korea. Topics such as nation and gender, form and genre, and local and transnational conditions of practice and reception. Screenings include popular and art films from the silent to contemporary eras, including, Zhang Yimou, Wong Kar-wai, Hou Hsiao-hsien, Ozu Yasujiro, Kurosawa Akira, and Im Kwon-taek.

This course will provide an overview of cinema from India, the world's largest producer of films. We will trace the history of Indian cinema from the silent era, through the studio period, to state-funded art filmmaking to the contemporary production of Bollywood films as well as the more unconventional multiplex cinema. We will examine narrative conventions, stylistic techniques, and film production and consumption practices in popular Hindi language films from the Bombay film industry as well as commercial and art films in other languages. This outline of different cinematic modes will throw light on the social, political, and economic transformations in the nation-state over the last century.

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.

This is an introductory-level course about the cinema as a global language. We will undertake a comparative study of select historical and contemporary aspects of international cinema, and explore a range of themes pertaining to the social, cultural, and political diversity of the world. A cross-regional thematic emphasis and inter-textual methods of narrative and aesthetic analysis, will ground our discussion of films from Italy, Japan, United States, India, China, France, Brazil, Nigeria, Russia, Iran, Mexico, and a number of other countries. Particular emphasis will be placed on the multi-cultural character and the regional specificities of the cinema as a "universal language" and an inclusive "relational network."nnThere are no prerequisites for this class. It is open to all students; non-majors welcome.

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.

Practical and theoretical approaches to editing and montage. The role of editing in film meaning, and cognitive and emotional impact on the viewer. Developments in the history and theory of cinema including continuity system, Soviet montage, French new wave, postwar and American avant garde. Aesthetic functions, spectatorial effects, and ideological implications of montage. Film makers include Eisenstein, Godard, and Conner.

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.

This class will offer a panorama of Iberian and Latin American experimental film cultures from the 1960 to the present. We will focus on developments and formations mainly in Mexico, Brasil, Argentina, and Spain, but will cast side glances at Bolivia, Peru, Cuba, Paraguay and Uruguay. Among our main thematic interests will be the representation of the body and sexuality; abstraction; politics; the reading of history; personal subgenres (the essay and the diary film); and collage and appropriation. Readings will range from general theoretical statements on experimental film aesthetics to specific historical and critical excavations of experimental film by contemporary critics and historians.

This course examines the practices of appropriation of archival material in cinema, and the problems of representation inherent to them. The practical component consists of a series of creative assignments in which students are asked to use archival material, including some from Stanford's collections, to produce short moving image pieces.