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Comparative Literature 312 |
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Weeks
1-3: The French New Wave
Week
1: A Certain Tendency Reading:
François Truffaut, “A Certain Tendency of the French Cinema” (from Bill
Nichols, ed., Movies and Methods);
Richard Neupert, “Introduction” & “Cultural Contexts: Where Did the
Wave
Begin?” (from A History of the French New
Wave Cinema); Vanessa Schwartz, “The Cannes Film Festival and the
Marketing
of Cosmopolitanism” (from It’s So French);
selected reviews of Breathless (from
Dudley Andrew, ed., Breathless);
Jean-Luc Godard, “Les 400 Coups”
& Fereydoun Hoveyda, “The First Person Plural” (from Jim Hillier,
ed., Cahiers du Cinéma: The 1950s) M
(1/03): Introduction / T
(1/04): A Slogan from
France W
(1/05): Breathless (Jean-Luc Godard, 1960; 90
min.) R
(1/06): The New Wave
Has Arrived Week 2: The Left
Bank School Reading: Cahiers
du
cinéma roundtable on Hiroshima mon
amour (from Jim Hillier, ed., Cahiers
du Cinéma: The 1950s); Sandy Flitterman-Lewis, “Varda in Context:
French
Film Production in the Early Sixties—the New Wave,” & “From Déesse to Idée: Cléo from
5 to 7”
(from To Desire Differently: Feminism and
the French Cinema) M
(1/10): Hiroshima
mon
amour (Alain Resnais, 1959; 90 min.) T (1/11): La
Jetée (Chris Marker, 1962; 28 min.) /
W
(1/12): Cléo
from 5
to 7 (Agnès Varda, 1961; 90 min.) R
(1/13): Feminism and
the French New Wave Week
3:
From the New Wave to Political Modernism
Reading: Antoine de
Baecque & Serge Toubiana,
“New Wave: 1958-1962” (from Truffaut);
Ginette Vincendeau, “Jeanne Moreau and the Actresses of the New Wave:
New Wave,
new stars” (from Stars and Stardom in
French Cinema”); David Sterrit, “Weekend”
(from The Films of Jean-Luc Godard) M
(1/17): NO
CLASS:
UNIVERSITY HOLIDAY T
(1/18): Jules
and
Jim (François Truffaut, 1962; 105 min.) W
(1/19): Weekend
(Jean-Luc
Godard, 1967; 105 min.) R
(1/20): Stars Behind
the Camera and on the Screen; Politics
and Form in Weeks
4-6: The Global Sixties
Week
4: A Wave of New Waves Reading:
Steve Neale, “Art
Cinema as Institution” (from European Films and Theory);
Michael
Raine, “Imagining a New Japan: The Taiyozoku
Films” (http://www.criterion.com/current/posts/373-crazed-fruit-imagining-a-new-japanthe-taiyozoku-films);
Dina Iordanova, “State Socialist Modernity: The Urban and the Rural”
(from Cinema of the Other Europe); Peter
Hames, “Closely Observed Trains”
(from Hames, ed., The Cinema of Central
Europe) M
(1/24): Tokyo
Drifter
(Seijun Suzuki, 1966; 83 min.) T (1/25): The Japanese
New
Wave W
(1/26): Closely
Watched
Trains (Jiří Menzel,
1966; 92 min.) R
(1/27): The
Czechoslovak New Wave Week
5:
Third Cinema and the New German Cinema
Reading:
Fernando Solanas & Octavio Gettino, “Towards a Third Cinema” (from
Bill
Nichols, ed., Movies and Methods);
Julio García Espinosa, “For an imperfect cinema” (from Jump
Cut: http://www.ejumpcut.org/archive/onlinessays/JC20folder/ImperfectCinema.html); Michael
Chanan, excerpt from “Four Films” (from Cuban
Cinema); Thomas Elsaesser, “The New German Cinema” (from Elizabeth
Ezra,
ed., European Cinema) M
(1/31): Memories
of Underdevelopment
(T. G.
Alea, 1968; T
(2/01): Imperfect Cinema W
(2/02): Ali:
Fear
Eats the Soul (R. W. Fassbinder, 1974; R
(2/03): “Perfect”
Cinema and Its Others Week
6: The Future Seen from the 1960s Reading:
Renata Adler, “2001: A Space Odyssey”
(http://movies.nytimes.com/movie/review?res=9A04E6DA1530EE3BBC4C53DFB2668383679EDE) M
(2/07): 2001:
A
Space Odyssey (Stanley Kubrick, 1968; T
(2/08): Stanley Kubrick
and the Future of Cinema W
(2/09): No
Screening R
(2/10): First
Midterm Weeks
7-8: The New Hollywood Week
7:
The Cinema of Outsiders
Reading:
Geoff King, “Introduction: Dimensions and Definitions of New Hollywood”
and
“New Hollywood, Version 1” (from New
Hollywood Cinema: An Introduction); Robert Ray, “The 1960s:
Frontier
Metaphors, Developing Self-Consciousness, and New Waves” (from A Certain Tendency of the Hollywood Cinema,
1930-1980) M
(2/14): Bonnie
and
Clyde (Arthur Penn, 1967; 111 min.) T
(2/15): The Gangster’s
Guide to American History W
(2/16): The
Graduate
(Mike Nichols, 1967; 105 min.) R
(2/17): An America of
Plastic and Pools Week
8: Martin Scorsese’s America Reading:
Robert Kolker, “Expressions of the Streets: Martin Scorsese” (from A Cinema of Loneliness); Cynthia Fuchs,
“I got some bad ideas in my head” (from Film
Analysis) M
(2/21): NO CLASS: UNIVERSITY HOLIDAY
T
(2/22): Taxi
Driver (Martin
Scorsese, 1976; 113 min.) W
(2/23): Raging
Bull
(Martin Scorsese, 1980; 129 min.) R
(2/24): The Film
Generation; The Cinematography of
Violence Week
9: The Blockbuster through the Looking Glass Reading:
Geoff King, “New Hollywood, Version 2” (from New Hollywood Cinema: An
Introduction); Hannah Paterson, “Two Characters in Search of a
Direction:
Motivation and the Construction of Identity in Badlands”
(from Peterson, ed., The
Cinema of Terrence Malick) M
(2/28): Badlands
(Terrence Malick, 1973; 95 min.) T
(3/01): The Blockbuster
and the Masterpiece W
(3/02): The
Killer (John Woo, 1989;
111 min.) R
(3/03): Hong Kong Action
Cinema and the Blockbuster Week
10: New Cinemas in East Asia Reading:
Zhang Yingjin, “Cinema and national/regional cultures, 1979-89” (from Chinese National Cinema); Sheldon Hsiao-Peng
Lu, “Historical Introduction: Chinese Cinemas (1896-1996) and
Transnational
Film Studies” (from Transnational Chinese
Cinemas) M
(3/07): Red
Sorghum (Zhang Yimou,
1987; 95 min.) T
(3/08): The Fifth
Generation at Home and Abroad W
(3/09): NO
SCREENING R
(3/10):
NO
CLASS
Papers
Due Friday (3/11) FINAL EXAM: Wednesday, March 16;
2:30-4:20 pm, THO 101 |
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Contact the instructor at: jtweedie@u.washington.edu
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