Graduate Courses for Fall 2019
CHIN 2088 New Chinese Cinema
This course focuses on how film lends itself to capturing visually distinct features of cultural ethos, social customs and personal psychology encompassing the greater China region (mainland, Hong Kong, and Taiwan) in the global era. The aim of this course is to introduce different ways of reading Chinese cinema in relation to issues of modernity, nationalism, gender, cultural identities and beyond. 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, Wang Xiaoshuai) to see how key values of traditional Chinese culture and society have been contested and reinvented under the global conditions. Different genres, including romance, action, and martial arts movies will be explored.
Th 1pm - 4:50pm with Kun Qian
FMST 2151 & ENGFLM 2451 - Film History/Theory 1
This seminar considers the critical terrain of the moving image for the period 1890 to 1950 as it informs the discipline of film and media studies today. While contemporary work on both the histories of cinema and the elusive nature of film and screen practices remains deeply indebted to classical film theory, researchers have also sought to rethink the standard historical construction of the cinema through recontextualization, historiographical critique, and genealogical investigation. Part introduction to an established film theory canon (Hugo Münsterberg, Sergei Eisenstein, Béla Balázs, Walter Benjamin, Siegfried Kracauer, and André Bazin) and part survey of early film history, this seminar aspires to demonstrate the continuing richness and relevance of a cinema of modernity for media studies by reading some of today’s most important voices on moving-image culture (Miriam Hansen, Jonathan Crary, Lisa Cartwright, Katherine Groo, Noam Elcott, Zhen Zhang, Jussi Parikka, Catherine Russell, and others). No previous coursework in media studies is required or necessary.
Tu 1pm - 4:50pm with Mark Lynn Anderson
Film and Media Studies Core Requirement. Counts for Cultural Studies Category B
FMST 2440 & ENGFLM 2491 - Film Sound: History, Theory, and Aesthetics
Questions framing the course include the relation of sound and image, aural and visual pleasures, soundscapes and theories of shock and modernity, the relation of voice and body to subject formation, sound in silent cinema, the aesthetics of analog and digital sound in cinema, sound technologies and imperialism, theories of non-cinematic audio technology such as radio and gramophone, debates over the ontological status of recorded sound, film sound and space, sound in documentary cinema, and culturally specific theories of sound.
Tu 6pm - 9pm with Neepa Majumdar
Counts for Cultural Studies Category D
MUSIC 2038 - Music, Culture & Technology: Sounds of Romantic Comedy
Sometime between Ernst Lubitsch's The Shop Around the Corner (1940) and Nora Ephron's You've Got Mail (1998), romance changed in the United States. Where class and wealth used to be deciding factors for romantic love, there now emerged the concept of the soulmate, who could be anyone. In this course, we will watch American romantic comedies of the last 100 years, paying particular attention to how the development of the soundtrack has changed what love sounds and feels like. Students will develop skills in closely analyzing sound and image in film, critically interpreting popular culture in relation to broader events in society, and thinking about the relation between music, identity, and politics. In particular, we will together develop answers to the following questions: how did capitalism, social justice movements, the changing nature of work, and other cultural transformations affect what people expected from intimate union? What aesthetic norms for representing romance changed alongside cultural norms? How is the narrative of love inflected by race, gender, ethnicity, sexuality, religious difference, ability difference, and/or economic disparity? Movies include The Lady Eve, Harold and Maude, Notting Hill, How Stella Got Her Groove Back, Crazy Rich Asians, To All the Boys I've Loved Before, among others. Note: students must attend at least one class in the first two weeks in order to enroll in this course.
This is a combined course with MUSIC 1238.
MoWe 1:30pm- 2:45pm with Dan Wang
Counts for Gender, Sexuality, and Women's Studies
RUSS 2638 - Russian and Soviet Cinema 1896-1934: Lumiere to Lenin
Although the Russian film industry does not begin to take shape until Aleksandra Drankov's Sten'ka Razin (1907), moving images were first introduced to the Russian empire in May 1896, when the Lumiere brothers both screened the first films in the empire and arranged to shoot the first film footage in the country - the coronation of Tsar Nikolai II. The course will examine the history of the russo-soviet film from 1896 through the displacement of the cult of Lenin by Stalin's image in the late 1930s. Films to be screened include Chardynin's and Protazanov's adaptations of queen of spades (1910 and 1917), Bauer's the revolutionary (1917), room's bed and sofa (1927), Alexandrov's circus (1936), and Kalatozov's Chkalov (1941). Special emphasis will be placed on the work of the soviet directors associated with "soviet expressive realism": Kuleshov, Eisenstein, Pudovkin, Vertov, and Dovzhenko.
We 2:30pm- 5:25pm with Volodia Padunov