24903. Cinema in Japan: Art and Commerce in a Transnational Medium. (=CMST 34903, EALC 24903/34903)

This course surveys Japanese cinema from its prehistory to the work of contemporary transnational auteurs. We will focus on both aspects of the object of study: Japan and the cinema. Each week will present, in roughly chronological order, a "moment" from the history of Japanese cinema and a methodological issue in film studies brought into focus by that week's films. For example, we will study vernacular modernism in 1930s Japan, the war film and theories of propaganda, genre theory and 1950s program pictures. We will of course pay attention to the Masters of Japanese cinema (Mizoguchi, Ozu, Kurosawa, et. al.) but we will also study film in relation to broader cultural movements such as the "new wave" and the "political modernist" turn. We will also interrogate theories of national cinema and study theories of ethnicity and recent Japanese representations of the Other. All readings on the course are in English; no Japanese is required, though accommodations will be made for students who wish to read original language material. M. Raine. Autumn.

28500.   History of International Cinema, Part I, Silent Era. (= CMST 48500, ArtH 28500/38500 , CMLT 22400/32400, DOVA 26500 , Engl 29300/48700, MAPH 33600 )  

PQ: CMST 10100 must be take before or concurrently with this course. This is the first part of a two-quarter course. The two parts may be taken individually, but taking them in sequence is helpful .   The aim of this course is to introduce students to what was singular about the art and craft of silent film. Its general outline is chronological. We will discuss main national schools and international trends of filmmaking .   J. Lastra.   Autumn.

28920. Introduction to Film Production. (=CMST 38920, ARTV 23850/33850)

This intensive laboratory will be an introduction to 16mm film production, experimenting with various film stocks and basic lighting designs. The class will be organized around a series of production situations and students will work in crews.   Each crew will learn to operate and maintain the 16mm Bolex film camera, tripod; Arri lights, gels, diffusion, and grip equipment.   The final project will be an in camera edit.   No prerequisites. Lab fee $100. J. Hoffman. Autumn.

33202.   Rome In Literature and Film.   (=CMST 23202, ITAL 23202/33202)

Description coming soon.   R. West.   Autumn

40000. Methods and Issues in Cinema Studies.   (=ARTH 39900, ENGL 48000, MAPH 33000)

This course offers an introduction to ways of reading, writing on, and teaching film. The focus of discussion will range from methods of close analysis and basic concepts of film form, technique and style; through industrial/critical categories of genre and authorship (studios, stars, directors); through aspects of the cinema as a social institution, psycho-sexual apparatus and cultural practice; to the relationship between filmic texts and the historical horizon of production and reception. Films discussed will include works by Griffith, Lang, Hitchcock, Deren, Godard. T. Gunning. Autumn.

41401. The Harlem Renaissance and Hollywood.   (=ENGL)  

This course will consider how African American artists and intellectuals of the Harlem Renaissance and beyond shaped and were shaped by the Hollywood film industry.   How were the aesthetic and political goals of African American artistic production affected by the economic and narrative practices of the studio system?   Our consideration will include writers who were employed by the studios, whose work was considered for studio adaptation, or who directly critiqued studio production, including Wallace Thurman, Zora Neale Hurston, Richard Wright, Frank Yerby, Chester Himes and James Baldwin.   E. Binggeli. Autumn

64608. Uprooting and Displacement in Chinese Literature and Film. (=EALC 48200)  

The experience of uprooting, which we will preliminarily define as the distancing oneself from one's native or familiar place, has often been seen as a constitutive element of the modern as well as the central feature in otherwise decentered modernist aesthetics. This course looks at various theoretical elaborations on the realities and myths of uprooting„on its pains but also on its promises and appeal„in relation with experiences of   displacement and marginality in and of contemporary Chinese fiction and film. Screenings will include Jia Zhangke's Still Life and Zhang Ming's In Expectations, organized in conjunction with the exhibition "Displacement" at the Smart Museum. Autumn. P. Iovene