Graduate Courses for Fall 2020
CHIN 2088/FMST 2220 — NEW CHINESE CINEMA
This course introduces different ways of reading Chinese cinemas in greater China region (Mainland China, Taiwan, and Hong Kong), specifically focusing on issues related to history, modernity, spatial and temporal representations of national, gender, and cultural identities. Well-known Chinese directors such as Chen Kaige, Zhang Yimou, Hou Hsiao-hsien, Ang Lee, Edward Yang, and Wong Kar-wai will be studied through the 1980s and 1990s "New Wave Cinemas." We will also study the distinct techniques and styles of the rising "Sixth Generation" directors (such as Jiang Wen, Li Yang, Jia Zhangke) to see how key values of traditional Chinese culture and society have been contested and reinvented under the global conditions.
Thursdays 2:00 PM to 5:30 PM, 206 Eberly Hall with Kun Qian
ENGFLM 2452/FMST 2152 — FILM HISTORY/THEORY 2
This seminar will focus on the history and theory of cinema from 1960 to the present. While individual theorists and historians are discussed, special attention is paid to historical and theoretical arguments within film studies (psychoanalysis, spectatorship; apparatus theory; genre theory, new media, including video games). These arguments will be explored through major film movements and film-makers, taking up topics such as international art cinema, the Hollywood studio system, political cinema, and documentaries.
Tuesdays 1:00 PM to 4:50 PM, 204 Cathedral of Learning with Nancy Condee
ENGFLM 2493 — MEDIA/ECOLOGY
This seminar with explore media theory and practice through the lens of ecology. From the late twentieth century to the present, ecology as a scientific discipline and set of cultural narratives has risen to the forefront of knowledge production as a way to study and understand complex biological systems, their environments, and their internal dynamics. During the same period, media systems have grown exponentially in complexity until they too have begun to exhibit some of the behaviors of ecological systems, including self-organization, feedback, evolution, and emergent properties. The term "media ecology" captures both this new, nonlinear systems approach to understanding media itself as well as the intersection between natural ecosystems, the technological assemblages with which they are intertwined, and the human (and non-human) subjects that are produced molded within these structures. This seminar will explore both media that interface with natural ecosystems as well as works and theory that approach mediation from an ecological and systems theoretical perspective. The secret life of information, contagious media, and the post-natural ecologies of our present and future will challenge us to conceive of Media and Ecology as a single coupled system: the emblem of our contemporary environment and an important frontier in media studies of the present. [Graduate students from all disciplines are welcome. Participants may optionally produce creative projects in lieu of a seminar paper, in any medium.]
Mondays 6:00 PM to 8:50 PM, 312 Cathedral of Learning with Zach Horton
FR 2648 – CONTEMPORARY FRENCH CINEMA: HORROR AND THE QUESTION OF GENRE IN FRENCH CINEMA
“The weakness of the European film industries is that they cannot rely on genres for current production. […] [O]ne of the problems of the French cinema may arise from its inability to sustain good basic genres that thrive, the way they do in America.” André Bazin, “Six Characters in Search of Auteurs” (1957).
Critics have not always agreed with Bazin’s characterization of the French film industry, and even those who have pursued the idea have not come to consensus about the reasons for the French industry’s seeming aversion towards genre filmmaking. Possible explanations include a lack of infrastructure, insufficient capitalization, and inadequate industry regulation. Many of Bazin’s young collaborators at the Cahiers du cinéma, and those that followed them, took the opposite view, preferring to see this “weakness” as a strength in that it represented a cultural rejection of industrial scales of film production for artisanal modes of filmmaking that favored a more artistic and diverse cinema. However, these various positions do not mean that the French cinema lacks a history of genre filmmaking and of engaging with genre. This course will offer an alternative trajectory through French film history oriented around one of the most marginalized of film genres, horror. As we will see, genre films in France rarely limit themselves to one genre, and so we will examine other genres that abut and mix with horror, including film noir, the suspense thriller, and science fiction. We will also consider alternative genealogies for thinking about horror in France focusing around the notion of le fantastique. We will begin with some early and isolated instances of genre filmmaking in the silent and early sound period (Méliès, Feuillade, and Dreyer) and then move to post-WWII efforts into film noir, the suspense thriller, and horror (Melville, Dassin, Clouzot, and Becker). We will then consider the French New Wave in the 1960s and investigate auteurist engagements with science fiction and horror (Franju, Marker, Godard, Truffaut, and Resnais) before working our way towards the contemporary period. Here, we will examine how French efforts in genre filmmaking interact with the global marketplace and transnational trends in horror, science fiction, and film policier (Besson, Gans, Gens, Kassovitz, Aja, Chapiron, Laugier, Maury, Fargeat, and Bustillo) and how contemporary French directors in the auteurist and art cinema tradition work in and with European and transnational genres (Denis, Noé, Dumont, de Van, Assayas, and Ducournau). Finally, we will look at how France has been a part of the migration of horror into long-form serial television in the 2010s. The course will offer a theoretical and historical investigation of what genre means in the French context but also an examination of how French filmmakers have used genre codes in distinctive ways to explore other concerns including cinematic spectatorship, embodiment, violence, politics, and questions of national belonging, class, race, gender, and sexuality. The course will be taught in English and most readings will be available in English.
Thursdays, 1:00 PM to 4:50 PM, 319 Cathedral of Learning with David Pettersen
JPNSE 2057/FMST 2235 — JAPANESE CULTURE AND SOCIETY THROUGH CINEMA
Wednesdays, 10:00 AM to 12:50 PM, 407 Cathedral of Learning with Charles Exley
RUSS 2639 — SOVIET CINEMA 1934-1953: STALIN AT THE MOVIES
The imposition in 1934 of socialist realism as the exclusive method available to soviet cultural producers and the release of the Vasil'ev brothers’ Chapaev later that year permanently transformed the soviet film industry. Stalin established total control of the industry both by appointing his personal representatives to control all stages of film production and by consolidating himself as "spectator number one," not only prescreening all films prior to their release, but eventually by establishing himself as a dominant presence on the silver screen. Films to be screened include Alexandrov's Circus (1936), Kozintsev and Trauberg's "Maxim trilogy" (1935-39), Dovzhenko's Aerograd (1935), Dzigan's We Are from Kronstadt (1936), Romm's Lenin in October (1937), Lukov's Two Soldiers (1943), Eisenstein's Alexander Nevsky (1938) and Ivan the Terrible (1944-46), Pyr'ev's Cossacks of the Kuban (1949), and Chiaureli's trilogy devoted to comrade Stalin (1946, 1949, and 1951).
Wednesdays 6:00 PM to 9:30 PM, 407 Cathedral of Learning with Volodia Padunov
Graduate Courses Previously Taught in Spring 2020
CHIN 2059 - New Adapted for the Screen: Chinese Literature and Film
M 12:00PM - 2:30PM with Kun Qian
ENGFLM 2459 - Documentary Theory & Practice
This course will explore documentary film and video from critical and creative vantage points. Students will be introduced to key discussions from within the interdisciplinary field of documentary studies while also working on individual and collaborative short documentary projects and exercises. Hands-on training in audiovisual recording and editing techniques will be provided. No prior production experience is required.
M 6:00PM - 9:50PM with Robert Clift
ENGFLM 2467 - Cinema and Trauma
Trauma studies now stands at the forefront of contemporary cultural theory, straddling such disciplines as history, psychology, sociology, philosophy, and literary criticism. This seminar invites students to examine and contribute to the research surrounding the provocative intersection of cinema/media studies and trauma studies. We will focus on the two mid-twentieth century events that continue to anchor many accounts of historical trauma: the Holocaust and Hiroshima. What do films that address these events teach us about the politics and ethics of representing experiences often referred to as "unrepresentable"? How does cinema force us to refigure debates about the "limits of representation" and the nature of "the event" itself? Is cinema an agent of memory or memory's eraser? A broad range of films will inform our discussion of such questions -- documentary and fiction, tragedy and comedy, mass cultural successes and lesser-known art films, 1940s films and contemporary films. Films from France, Germany, Italy, Japan, the US and other countries will be juxtaposed to raise questions regarding historical trauma's national or transnational character. The seminar will also touch on more recent events that have entered the purview of trauma studies, such as climate change, as important new coordinates for mapping the ways cinema and trauma can shape and challenge each other's definitions. Students will have the opportunity in their own essays to extend the seminar's concerns to their own particular areas of research. No previous work in cinema/media studies is required to enroll in this seminar.
T 1:00PM - 4:50PM with Adam Lowenstein
ITAL 2701 - Italian Apocalyptic Cinema: After the End
The course provides a historical introduction to the past forty-five years of Italian cinema, focusing on films that portray the end of the world. They deal with zombies, nuclear wastelands, post-industrial landscapes, but also with the crisis of language, the breaking up of society, the uncertainty of modern humanity. The apocalypse in cinema can be explicit (Ferreri, Lenzi, Bava) or implicit (Moretti, Crialese, Antonioni): some films may feature atomic explosions and deadly plagues, others are concerned just with the emotional consequences, with the more intimate drama of a collapsing universe. We will situate the films in the historical and cultural contexts that have shaped the past several decades of Italian social life, in the attempt to understand why the apocalypse is a necessary post-modern metaphor and how it is not limited to a sub-genre of science fiction. We will watch many films strictly belonging to the Italian post-apocalyptic kind, and some others that show no (apparent) connection with the genre. Taught in English. Prerequisites: graduate standing or permission of the instructor.
Th 4:00PM - 7:50 PM with Alberto Iozzia
SPAN 2452 & FMST 2341 - Contemporary Latin American Film: From Third Cinema to Global Cinema
Beginning with an examination of the militant Latin American films of the 1960's and 70's, this course explores the ways in which the various film industries of Latin America have established and negotiated their position(s) in the global arena. Combining political radicalism with artistic innovation, the concept of Third Cinema -- in conjunction with other Marxist-inspired film theories of the late 60's and 70's -- immediately gained international recognition and became the vanguard revolutionary cinematic movement of that time. The influence of Third Cinema continues to the present where individual filmmakers and alternative film industries question and challenge dominant Western cinematic practices. The focus of this course is two-fold: first, how do Latin American films connect and relate to Third Cinemas from other Global South locations, such as those from Africa and Asia? Second, how do the Latin American cinemas of today position themselves vis-à-vis Third Cinema as they negotiate with the current conditions of economic and cultural globalization? Is this political and cultural idea still relevant for Latin American film industries that target the global market? Looking also at Latin American films produced in the last two decades, this course will examine the ways in which recent Latin American cinemas deploy and re-fashion certain thematic, aesthetic and stylistic aspects of Third Cinema not only as a mode of critique, but also with the effect of creating a marketable "global" cinema. As such, we will examine the relations and distinctions between national cinema, world cinema, and global cinema. What is the relationship between world cinema and national/regional cinemas? What, in fact, is national about national cinemas? Moreover, what differing technologies of spatialization underlie the distinction between world cinema and global cinema? This course provides a critical context and mapping strategies for the study of contemporary cinema and introduces students to theoretical debates about the categorization and global circulation of films, aesthetics, audiences, authorship, and concepts of the transnational and diasporic. Films studied will include Tomás Gutiérrez Alea's Memories of Underdevelopment (1968), Jorge Sanjinés's The Blood of the Condor (1969), Ousmane Sembene's Black Girl (1966), Forough Farrokhzad's The House is Black (1962), Emad Burnat and Guy Dividi's 5 Broken Cameras (2001), Lucrecia Martel's La ciénaga (2001), Pablo Larraín's No (2012), Ciro Guerra's Embrace of the Serpent (2015), Alfonso Cuarón's Roma (2018) among others. Theoretical and critical texts will be culled from Fernando Solanas and Octavio Getino, Gilles Deleuze, Henri Bergson, Guy DeBord, Ella Shohat, Freya Schiwy, Hamid Naficy, Gayatri Gopinath and Gonzalo Aguilar.
Th 6:00PM - 8:55PM with Junyoung Verónica Kim