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Introduction to Film Analysis |
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| Home | Schedule of Classes, Readings, and
Screenings: Week 1 Reading: Film Art,
“Preface,”
Chapters 1 & 2 (“Film as Art” & “Film Form”), 454-8 M (01/04): Introduction; Sherlock Junior (Buster Keaton, 1924; 45
min.) T (01/05): Duck Amuck
(Chuck
Jones, 1953); Screens, Mirrors, Windows:
Film as Illusion
and Reality W (01/06): The Player
(Robert
Altman, 1992; 124 min.) R (01/07): The Whole Equation of Motion
Pictures: Film as Art and
Industry. Week 2
Reading: Film Art,
78-104
(Narrative), Chapter 5 (Cinematography), 458-61; M (01/11): Double Indemnity
(Billy Wilder, 1944; 107 min.) T (01/12): Film Narrative and Classical
Hollywood Cinema W (01/13): The
Usual Suspects (Bryan Singer, 1995; 106 min.) R (01/14): Film
Narrative and
Classical Hollywood Cinema.
Week 3 Reading: Film Art,
223-255
(Editing), Chapter 9 (Genres), 470-3 M (01/18): NO CLASS:
UNIVERSITY
HOLIDAY T (01/19): The Searchers
(John
Ford, 1956; 119 min.) W (01/20): Written on the Wind
(Douglas Sirk, 1956; 99 min.) R (01/21): Continuity Editing, Genres, and
“Classical” Hollywood Cinema. Week 4
Reading: Film Art,
256-68,
467-9 M (01/25): The Battleship
Potemkin
(Sergei Eisenstein, 1925; 75 min.) T (01/26): Montage and Alternative Modes of
Film Editing W (01/27): Psycho (Alfred
Hitchcock, 1960; 109 min.) R (01/28): Cutting a Film. Week 5
Reading: Film Art, Chapter 4 (Mise-en-scene),
461-7, *404-8;
*Victoria E Johnson, “Polyphony
and Cultural Expression: Interpreting Musical
Traditions in Do the Right Thing”
(from Film Quarterly) M (02/01): The Cabinet of
Doctor
Caligari (Robert Wiene, 1920; 71 min.) T (02/02): Impressionism, Expressionism,
and Mise-en-scène W (02/03): Do the Right Thing
(Spike Lee, 1989; 120 min.) R (02/04): Mise-en-scène and the World
Outside the Film. Week 6 Reading: Film Art,
Chapter 7
(Sound), 473-85; *Stephen Teo, “Wong
Kar-wai’s In the Mood for Love: Like a Ritual in
Transfigured Time” M (02/08): In the Mood for
Love (Wong
Kar-wai, 2000; 98 min.) T (02/09): In-Class Midterm W (02/10): The Conversation
(Francis Ford Coppola, 1974; 113 min.) R (02/11): Echo and Narcissus: Film Sound Week 7
Reading: Film Art,
Chapter 8
(Style) M (02/15): NO CLASS: UNIVERSITY HOLIDAY
T (02/16): Cinema as a Formal and Cultural
System W (02/17): The Rules of the
Game
(Jean Renoir, 1939; 110 min.) R (02/18): Cinema as a Formal and Cultural
System. Week 8
Sequence Analysis Due at
Beginning of Class on Tuesday (02/23) Reading: Film Art,
*104-114,
349-65 (Documentary), *425-31 *Linda
Williams,
“Mirrors
without Memories: Truth, History, and the New Documentary” (from Film Quarterly) M (02/22): Citizen Kane
(Orson
Welles, 1941; 119 min.) T (02/23): Cinema as a Formal and Cultural
System W (02/24): The River (Pare
Lorentz,
1938; 31 min.); Night and Fog
(Alain Resnais,
1955; 32 min.) R (02/25): The Art of Documentary Film. Week 9 Reading: Film Art,
366-81
(Experimental film) Please also explore the online
archive of
avant-garde films at http://www.ubu.com/film/ M (03/01): The Thin Blue Line
(Errol Morris, 1990; 103 min.) T (03/02): Truth, Falsity, and the
Documentary W (03/03): Wed. and Thurs. screenings will
include selections of the following:
Rhythmus 21 (Hans Richter, 1921; 3
min.); Ballet mécanique (Fernand
Léger and Dudley Murphy, 1924; 19 min.); Anemic
Cinema (Marcel Duchamp, 1926; 7 min.); Un
chien andalou (Luis Bunuel, 1928; 16 min.); Meshes of
the Afternoon (Maya Deren, 1943; 14 min.); A Movie (Bruce
Conner, 1958; 12 min.);
[nostalgia] (Hollis Frampton,
1971; 36 min.); excerpts from Stan Brakhage R (03/04): Experimental cinema and the limits
of film. Week 10
Reading: Film Art,
382-94
(Animation) M (03/08): Spirited Away
(Hayao
Miyazaki, 2001; 125 min.) T (03/09): Animation: The Reimagined World W (03/10): No
Screening R (03/11): Second Midterm. Return to Top |
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Contact the instructor at: jtweedie@u.washington.edu
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