Difference between revisions of "JCM312 International Cinema"

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JCM 312 assumes the student understands generally the contours of international cinema history. The course's objective therefore is to investigate in some depth the cinematic work of a particular nation and the historical/theoretical issues pertaining to it. This term our topic will be the French cinema.
 
JCM 312 assumes the student understands generally the contours of international cinema history. The course's objective therefore is to investigate in some depth the cinematic work of a particular nation and the historical/theoretical issues pertaining to it. This term our topic will be the French cinema.
  
The online syllabus ('''Fall 2018'''): http://bit.ly/j312f18
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The online syllabus ('''Fall 2019'''):  
  
 
==Study groups==
 
==Study groups==
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| valign="top" |
 
'''Group 1'''
 
'''Group 1'''
* Ziying Wu
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*
* Ross Thrash
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* Taylor Thomas
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* Audrey Stephens
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| valign="top" |
 
| valign="top" |
 
'''Group 2'''
 
'''Group 2'''
* Timothy Skipper
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*
* Michael Rankin
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* Sam Quinn
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* Nick Pavlakovic
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* Andrew Oliver
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| valign="top" |
 
| valign="top" |
 
'''Group 3'''
 
'''Group 3'''
* Caroline Moore
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*
* Sigmund Majekodunmi
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* Huming Liu
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* Mitchell Kraus
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* Nate Kovar
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| valign="top" |
 
| valign="top" |
 
'''Group 4'''
 
'''Group 4'''
* Jennifer Johns
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*
* Rivers Jackson
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* Nick Gehrdes
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* Addison Cossey
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| valign="top" |
 
| valign="top" |
 
'''Group 5'''
 
'''Group 5'''
* V Garmon
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*
* Joe Will Field
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* Sam Durley
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* Brianne Dunn
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| valign="top" |
 
| valign="top" |
 
'''Group 6'''
 
'''Group 6'''
* Savannah Colbert
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*
* Mario Cirinese
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* Colby Barron
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* Patrick Barkley
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|}
 
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Latest revision as of 15:19, 14 August 2019

JCM 312 International Cinema is a discussion-oriented course taught by Jeremy Butler.

Course objectives

JCM 312 assumes the student understands generally the contours of international cinema history. The course's objective therefore is to investigate in some depth the cinematic work of a particular nation and the historical/theoretical issues pertaining to it. This term our topic will be the French cinema.

The online syllabus (Fall 2019):

Study groups

Group 1

Group 2

Group 3

Group 4

Group 5

Group 6

Online study guides

Chronological order

  1. Film Analysis: Narrative Structure, Television
  2. Film Analysis: Mise-en-scene, Television
  3. Film Analysis: Cinematography, Television
  4. Film Analysis: Editing, Television
  5. Film Analysis: Sound, Television
  6. Film Analysis: Discussion of Analytical Exercise
  7. Early French Cinema
  8. The Avant-Garde (Discussion)
  9. French Cinema Between the Wars I: Popular Front (Discussion)
  10. Bazinian Realism (Discussion)
  11. French Cinema Between the Wars II: Poetic Realism (discontinued)
  12. French New Wave I: Alain Resnais (Discussion)
  13. French New Wave II: François Truffaut (Discussion)
  14. French New Wave III: Éric Rohmer (Discussion)
  15. French Modernism: Jean-Luc Godard & Bertolt Brecht (Discussion)
  16. Godard and Contemporary Feminism (Discussion)
  17. French Feminism, Continued: Agnès Varda (Lecture, Discussion)
  18. Claire Denis (Discussion)
  19. Godard Since 1968 (Discussion)
  20. Cinema Ascetic: Robert Bresson

List of lecture notes

Category:JCM312 Lecture

List of discussion notes

Category:JCM312 Discussion

Extra credit

Shot Logger

Prepare frame grabs for Shot Logger, using a French film.

More details will be announced later.

Texts & resources

Books

  1. Jeremy Butler, Television: Visual Storytelling and Screen Culture

Articles and book chapters

In alphabetical order, not the order in which they are assigned.

  1. Armes, Roy. French Cinema. NY: Oxford University, 1985.
  2. Bazin, André. "The Era of the Popular Front." In Jean Renoir, pp. 36-52. Edited and with an introduction by Francois Truffaut. Translated by W. W. Halsey II and William H. Simon. NY: Simon & Schuster, 1973.
  3. Bazin, André. "The Evolution of Film Language." In The New Wave, pp. 24-51. Edited and translated by Peter Graham. Garden City, NY: Doubleday, 1968.
  4. Bazin, André. "LE JOUR SE LÊVE . . . Poetic Realism." In LE JOUR SE LÊVE: A Film by Marcel Carné and Jacques Prévert, pp. 5-12. Translated by Dinah Brooke and Nicola Hayden. NY: Simon and Schuster, 1970.
  5. Brecht, Bertolt. "The Modern Theatre is the Epic Theatre." In Brecht on Theatre, pp. 33-42. Edited and translated by John Willett. New York: Hill and Wang, 1964.
  6. Bresson, Robert. Notes on Cinematography. Translated by Jonathan Griffin. NY: Urizen, 1977.
  7. Crisp, C. G. Eric Rohmer: Realist and Moralist. Bloomington, IN: Indiana University Press, 1988.
  8. Fofi, Goffredo. "The Cinema of the Popular Front in France (1934-38)." In Screen Reader I, pp. 172-224. London: SEFT, 1977.
  9. Kuhn, Annette. Women's Pictures: Feminism and Cinema. Boston: Routledge & Kegan Paul, 1982.
  10. Hughes, Robert. The Shock of the New. NY: Alfred A. Knopf, 1980.
  11. MacCabe, Colin. Godard: Images, Sounds, Politics. Bloomington, IN: Indiana University, 1980.
  12. MacCabe, Colin. Godard: A Portrait of the Artist at Seventy. New York: Faber & Faber, 2003.
  13. Monaco, James. Alain Resnais. NY: Oxford University, 1979.
  14. Monaco, James. The New Wave. NY: Oxford University, 1976.
  15. Penley, Constance. "Les Enfants de la Patrie." Camera Obscura, 8-9-10, pp. 32-59.
  16. Wollen, Peter. "Godard and Counter Cinema: VENT D'EST." In Readings and Writings: Semiotic Counter-Strategies. London: Verso, 1982.