Summer Season Schedule

Theme 1: European cinema

Week 1—Screening of  La dolce vita (Italy, 1959)

Readings:

Bondanella, P (1990), Italian Cinema: from Neorealism to the Present; Rondhouse publishing, any edition.  Ch. 3 (pp. 59-92)

Bondanella, P (1992), The Cinema of Federico Fellini, Princeton, N.J. : Princeton University Press, Chapter 4 (section of dolce vita)

Toni Maraini’s interview with Fellini:

http://www.brightlightsfilm.com/26/fellini1.php

Week 2- Screening of Run Lola Run (Germany, 1998)

Readings:

Elsaesser, T(1989). New German Cinema: A History. New Brunswick, Rutgers University Press, Page: 8-35.

Corrigan, T (1994). New German Film: The Displaced Image. Bloomington: Indiana University Press.

Pages: 1-17. ( A History, a Cinema: Hollywood, Audience Codes, and the New German Cinema).

Garrett, S(2007). Framed time : toward a postfilmic cinema, Chicago : University of Chicago Press, Cahpter 2

Buckland, W (2009) Puzzle films : complex storytelling in contemporary cinema . Chichester, West Sussex, U.K. ; Malden, MA : Wiley-Blackwell. Pages: 129-151.

Week 3—Screening of Breathless (France, 1959)

Readings:

Linda Badley et al (2006) Traditions in World Cinema,  Rutgers University Press

Pages to read: Ch. 3 Richard Neupert, “The French new wave.”

Braudy, Leo and Marshall Cohen, editors. Film Theory and Criticism: Introductory Readings. 6th edition. New York: Oxford University Press, 2004.

Pages to read: “Toward a Non-Bourgeois Camera Style,” pp. 54-63, and Peter Wollen’s “Godard and the Counter Cinema: Vent d’Est,” pp. 525-533.

Dudley Andrew (1987) Breathless, New Brunswick, N.J. : Rutgers University Press, 3-21 (old as new)

Theme 2: Central, eastern and northern European traditions

Week 4- Screening: Daisies (Czechoslovakia 1966)

Readings:

Linda Badley et al (2006) Traditions in World Cinema, Rutgers University Press

Pages to read: Ch. 5 Peter Hames, “The Czechoslovak New Wave.”

Bliss Cua Lim (2001) Dolls in Fragments: Daisies as Feminist Allegory, Camera Obscura 47 (16). pp. 1-77

Week 5- Dancer in the Dark (Denmark 2000)

Readings:

Linda Badley et al (2006) Traditions in World Cinema, Rutgers University Press

Pages to read: Ch. 6 Linda Badly, “Danish dogma.”,

Week 6- Cranes are Flying (Russia. 1957)

Linda Badley et al (2006) Traditions in World Cinema, Rutgers University Press

Pages to read: Ch. 6 Linda Badly, “Post-communist cinema.”

Gillespie, D(2002) Russian Cinema. NY: Longman,. 12-33, 128-145

Theme 3: South American cinema

Week 7- Screening of Black God, White Devil (Brazil, 1964)

Readings:

Linda Badley et al (2006) Traditions in World Cinema, Rutgers University Press.

Pages to read: Ch. 9, Randel Johnson, “Post cinema novo Brazilian cinema”

Johnson, Randall, and Stam, Robert (1994), Brazilian Cinema, pp. pp. 68-71 and pp. 134-148.

Mast, Gerald et al., Film Theory and Criticism: Introductory Readings, pp. 210-225.

Week 8- SCREENING: La historia oficial- The Official Story (Argentina 1985)

Readings:

Linda Badley et al (2006) Traditions in World Cinema, Rutgers University Press.

Pages to read: Ch. 9, Myrto Konstantarakos, “New Argentine Cinema”

David Oubiña, “Between Breakup and Tradition: recent Argentinean Cinema.” Accesible at: http://archive.sensesofcinema.com/contents/04/31/recent_argentinean_cinema.html

Week 9- Screening of “Strawberry and Chocolate.” (Cuba, 1994)

Readings:

King, John, Magical Reels: A History of Cinema in Latin America, pp. 145-67.

Theme 4: African cinema

Week 10- Screening of “Faces of Women” ( Ivory Coast, 1985)

Readings:

Shohat, Ella and Stam, Robert, Unthinking Eurocentrism: Multiculturalism and the Media, pp. 292-333.

Ukadike, Nwachukwu Frank, Black African Cinema, pp. 59-104.

Pfaff, Francoise, Twenty-five Black African Filmmakers, pp. 95-106.

Week 11. SCREENING: Xala (Senegal 1974)

Readings:

David Murphy, “Africans Filming Africa: Questioning Theories of an Authentic African Cinema, Journal of African cultural studies 13(2):239-249.

Laura Mulvey (1974) ‘The Carapace that Failed: Ousmane Sembene’s Xala. In: Reading the Contemporary: African Art from Theory to the Marketplace(Edited by Olu Oguibe and Okwui Enwezor). London: Institute of International Visual Arts, 1999, pp. 400-420.

Theme 5: Asian cinema

Week 12—Screening of Dil Se/From the Heart (India 1998)

Readings:

Ellis, Jack C. and Virginia Wright Wexman. A History of Film. 6th edition. Boston: Allyn and Bacon, 2002.

Pages to read: chapters 15 and 21 (“India: A People’s Cinema” and “China: Three Cinemas”)

Linda Badley et al (2006) Traditions in World Cinema Rutgers University Press

Pages to read: Ch. 13, Corey Creekmur, “Popular Hindi Cinema and the Film Song”

Ananya Jahanara Kabir (2003) Allegories of Alienation and Politics of Bargaining: Minority Subjectivities in Mani Ratman’s Dil Se, South Asian Popular Culture 1 (2), pages 141 – 159

Week 13- SCREENING: Life and Nothing More (Iran 1991).

Readings:

Tapper, Richard. “Introduction.” The New Iranian Cinema: Politics, Representation and Identity. Richard Tapper, ed. New York: Palgrave, 2002. 1-25.

Stephen Bransford, “Days in the Country: Representations of Rural Space and Place in Abbas Kiarostami’s Life and Nothing More, Through the Olive Trees, and The Wind Will Carry Us”

Week 14—Screening of Rashomon (Japan, 1951)

Readings:

Ellis, Jack C. and Virginia Wright Wexman. A History of Film. 6th edition. Boston: Allyn and Bacon, 2002.

Pages to read: Chapter 11 (“Japanese Film: A Pictorial Tradition and a Modernist Edge”).

Braudy, Leo and Marshall Cohen, editors. Film Theory and Criticism: Introductory Readings. 6th edition. New York: Oxford University Press, 2004.

Pages to read: Gilles Deleuze’s “Preface to the English Edition” and “Beyond the Movement-Image,” pp. 240-241 and pp. 250-269 only; and Christian Metz’s “Aural Objects,” pp. 366-369.

Week 15- SCREENING: In the mode of love (Hong Kong 2000).

Readings:

Linda Badley et al (2006) Traditions in World Cinema Rutgers University Press

Pages to read: Ch. 14, Stephen Teo, “Chinese Melodrama.”

Buckland, W (2009) Puzzle films : complex storytelling in contemporary cinema . Chichester, West Sussex, U.K. ; Malden, MA : Wiley-Blackwell. Pages: 167-187.

Week 16- Screening Peppermint Oldboy (North Korea, 2003)

Readings:

Jeeyoung Shin, “Globalization and New Korean Cinema” in New Korean Cinema, co-edited by Chi-Yun Shin and Julian Stringer. New York University Press (2005).

Buckland, W (2009) Puzzle films : complex storytelling in contemporary cinema . Chichester, West Sussex, U.K. ; Malden, MA : Wiley-Blackwell. Pages: 217-233.