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Home , Blowup, Jacques Tati, La Terra Trema, The American Friend, The Rules of the Game

Baylor University ● Dept. of Communication Studies, Film & Digital Media Division ● Spring 2011

Lecture: Tuesday / Thursday 11:00 a.m.–12:15 p.m., Castellaw 101 Screening: Wednesday 6:00–10:00 p.m., Castellaw 101

Professor: Dr. James Kendrick Office: Castellaw 119 Office Hours: Monday, Wednesday 12:00–2:00 p.m. All other times by appointment Phone: 710-6061 E-Mail: [email protected] Web Site: http://homepages.baylor.edu/james_kendrick

COURSE DESCRIPTION

This course offers an institutional, aesthetic, and cultural history of motion pictures across the world, starting with the invention of moving picture technologies in the late 19th century and concluding with the ever-rising dominance of the Hollywood blockbuster and the development of digital cinema in the 21st century. In studying the history of motion pictures, we will take into account not only the major figures who influenced their development both technologically and aesthetically, but also the cultural influences, politics, and economic factors that helped shape them. We will consider the development of motion pictures as a narrative form, cultural commodity, political object, art form, and avenue of escapist entertainment. One of the keys emphases in the class will be the historical intersections of various sites of cultural production (movies, television, advertising, censorship, political propaganda, etc.) and how they influence and shape each other. Because the breadth of international film history far exceeds what can be covered in a single semester, this course will focus most heavily on the in the United States, although we also look at various historical moments in the Soviet Union, Japan, France, Germany, , and Poland. By the end of the semester, you will

• understand the history of narrative film, both American and international;

• understand the economic and cultural development of various film industries;

• understand how different national film industries respond to social issues; and

• be able to analyze the cultural, aesthetic, and historical significance of various films.

REQUIRED TEXT

Cook, David A. A History of Narrative Film, 4th ed. New York: W. W. Norton, 2004.

COURSE REQUIREMENTS

Readings:

The reading load for some weeks may be fairly heavy, but it is important that you do the reading before coming to class as they will form the foundation on which lectures and discussions will be built. Any information in the assigned readings, but not covered in class, may appear on the exams.

Screenings:

Each Wednesday night from 6:00 to 10:00 p.m. we will screen one or more films that are relevant to the topics discussed that week. Many screening nights will be double features, so plan accordingly. Viewing these films is crucial to developing a full understanding of film history and the interrelationships among film production, social/political issues, artistic/aesthetic development, government involvement, and other external factors. Therefore, screenings are considered a class meeting and attendance will be taken.

Attendance for the screenings will be taken via sign-in and sign-out sheets. Screenings start promptly at 6:00 p.m. and sign-in sheets will be taken up at that point. It is extremely disruptive to those who arrived on time when others show up late and stumble around the room looking for a seat, especially with a class of this size. Therefore, if you arrive late to the screening and have not signed in, you will be counted absent for that screening, no exceptions. Similarly, if you leave early and do not sign out at the end of the screening, you will be counted absent.

Note: Some of the films we screen will contain instances of profanity, violence, and sexual situations/nudity. As adults in a university setting, I expect you to approach these films with the seriousness of any subject of study in college. If you have genuine objections to viewing such material, please come see me.

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Expected Behavior During Screenings:

● The films we watch will often provoke various responses, which is not only acceptable, but expected. Involuntary responses such as laughter and gasps are fine, but under no circumstances should you talk during the screening. It not only distracts you, but others around you.

● Because the films we will be screening in this course are of a historical nature, certain elements of them will seem anachronistic. While there may be a tendency to laugh at the outdated elements, remember that such a response puts up a barrier to your understanding and appreciation of the film. Some such responses may be unavoidable, but you will profit from viewing the films much more if you show them the proper respect by taking into account the historical, social, and industrial contexts in which they were made.

● You should take notes during or immediately after the in-class screening. We will usually take a short break after each screening, and this is a good time to jot down your thoughts, responses, feelings, etc. so you will be better prepared to engage in class discussion.

● If you must leave during a film screening for a bathroom break or some other emergency, please be as quiet as possible when exiting the room.

● Any and all electronic devices, including iPods, PDAs, and especially cell phones, must be turned off during class. You may use a laptop during class to take notes, but it must be shut off during any in-class screenings because the light from the screen is distracting to others.

Bi-Weekly Screening Responses:

Every other week you are required to write a brief response to one or more of the films from the screenings of the past two weeks. The response should be no less than 300 words in length and should demonstrate a clear attempt to integrate the class screening(s) with the reading, lectures, and/or in-class discussions. That is, it should not be a listing of what you “liked” or “didn’t like” about the film. Instead, it is an opportunity for you to show me how you are connecting the films we screen with the topics we are covering in class. I will drop one screening response grade at the end of the semester, so you can miss one without penalty.

You must submit your response via Blackboard no later than the beginning of class (11:00 a.m.) on the Tuesday when they’re due (see the schedule for due dates). Screening responses are not accepted late for any reason, so do not e-mail me your response late. I will not accept it.

To submit your response, log in to Blackboard (http://my.baylor.edu) and click on this course. Click on “Assignments” in the lefthand column. This will bring you to the Assignments page where you should see a “View/Complete” link for that week’s screening response. Click on that link and upload your paper on the next page.

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Attendance/Participation:

Participation is essential to the learning process, so it is important that you attend class and be prepared to participate actively. The Wednesday night screenings are mandatory and are considered as part of the attendance policy; missing all or part of a screening is the same as missing a class. You are allowed a combined 4 personal/sick days to use at your discretion for the lectures and screenings (these include excused absences). You will lose 10 points off your attendance/participation grade for each additional absence. The university mandates that you attend at least 75% of all classes. Therefore, if you miss more than 10 classes, you automatically fail.

If you are not in your seat at the time attendance is taken, you will be counted absent, no excuses or exceptions. In other words, if you are late, then you may be counted absent, and if you leave early, you may be counted absent. Therefore, it is imperative that you get to class on time. This goes for the screenings, as well. If you do not arrive before the screening begins at 6 p.m. and stay through the end credits of the last film screened, you will not be counted present.

Exams:

There will be three multiple-choice exams in this class. The questions on the exams will come from lectures, in-class discussions, in-class screenings (both features and clips), and all assigned readings. The third and final exam is not cumulative, but it will have one cumulative essay question that you will be given a week before the exam is given.

Make-Up Exam Policy: The only valid excuses for missing a scheduled exam are serious illness or a death in the family. If you miss an exam for either of these reasons, you will need to let me know ahead of time, provide verifiable documentation, and schedule a make-up exam. Otherwise, there are no make-up exams for any reason. No exceptions.

GRADING

Your grade in this class will be based on the following:

• Exam #1 250 pts. • Exam #2 250 pts. • Exam #3 250 pts. • Bi-Weekly Screening Responses 150 pts. (25 pts. each) • Attendance/Participation 100 pts.

1,000 pts. total

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GRADE BREAKDOWN

900–1,0000 pts. = A 700–770 pts. = C 880–890 pts. = B+ 680–690 pts. = D+ 800–870 pts. = B 600–670 pts. = D 780–790 pts. = C+ 0–590 pts. = F

ACADEMIC INTEGRITY

In this class, there is an absolute zero tolerance policy on cheating in any form, including plagiarism. It is your responsibility to familiarize yourself with the university’s policies and what constitutes plagiarism and other forms of academic dishonesty in the Baylor Honor Code (http://www.baylor. edu/honorcode). If you are caught cheating in any way, at the minimum you will receive a zero for that assignment, although the penalty may be more severe, depending on the circumstances. All instances of cheating will be reported to the university’s Honor Council.

STUDENTS WITH SPECIAL NEEDS

If you have any special learning needs, please see me during the first week of class so we can be sure you get the proper accommodations. However, before seeing me you must first register with the Office of Access and Learning Accommodation (OALA) (http://www.baylor.edu/oala).

5 COURSE SCHEDULE

Date Topic Reading

Tues., Course Introduction / The Origins of the Cinema Chpt. 1 Jan. 11

Wed., Screening: Actualitiés and other one-shot films; A Trip to the Moon (Georges Jan. 12 Méliès, 1902); Life of an American Fireman (Edwin S. Porter, 1902); The Great Train Robbery (Edwin S. Porter, 1903); The Suburbanite (Wallace McCutcheon, 1904); The Wonderful Wizard of Oz (Otis Turner, 1910)

Thurs., No class—Dr. Kendrick out of town Jan. 13

WEEK 2

Tues., Expansion of the Cinema Chpt. 2 Jan. 18

Wed., Screening: The Country Doctor (D.W. Griffith, 1909); Suspense (Lois Weber and Jan. 19 Phillips Smalley, 1913); The Immigrant (Charles Chaplin, 1917); Second half of The Birth of a Nation (D.W. Griffith, 1915)

Thurs., The Development of Narrative Film Chpt. 3, pp. 51–63 Jan 20

WEEK 3

Tues., German Cinema of the Weimar Period’ Chpt. 4 Jan. 25 **Screening Response #1 due**

Wed., Screening: Nosferatu (F.W. Murnau, 1922); (Sergei Jan. 26 Eisenstein, 1925)

Thurs., Soviet Silent Cinema Chpt. 5 Jan. 27

WEEK 4

Tues., Hollywood in the 1920s Chpt. 6 Feb. 1

6 Wed., Screening: Manslaughter (Cecil B. DeMille, 1922); Sherlock Jr. (, Feb. 2 1924)

Thurs., Hollywood in the 1920s continued Feb. 3

WEEK 5

Tues., Exam #1 Feb. 8 **Screening Response #2 due**

Wed., Screening: The Public Enemy (William A. Wellman, 1931); 42nd Street (Lloyd Feb. 9 Bacon, 1933)

Thurs., The Development of Synchronized Sound Chpt. 7 Feb. 10

WEEK 6

Tues., The American Studio System of the 1930s and ’40s Chpt. 8, pp. 231–250, Feb. 15 255–288

Wed., Screening: Stagecoach (John Ford, 1939); Grand Illusion (, 1938) Feb. 16

Thurs., European Film in the 1930s Chpt. 9 Feb. 17

WEEK 7

Tues., The Margins of the Studio System: Chpt. 8, pp. 250–255 Feb. 22 Race Films and Classical Exploitation

**Screening Response #3 due**

Wed., Screening: The Blood of Jesus (Spencer Williams, 1941) (Orson Feb. 23 Welles, 1941)

Thurs., The Modern Sound Film Chpt. 10 Feb. 24

7 WEEK 8

Tues., Italian Chpt. 11, pp. 355–368 Mar. 1

Wed., Screening: (, 1948); Double Indemnity (Billy Mar. 2 Wilder, 1944)

Thurs., World War II, Postwar U.S. Cinema, and Chpt. 11, pp. 368–385 Mar. 3

SPRING BREAK—No classes March 8 & 10

WEEK 9

Tues., Hollywood in the 1950s Chpt. 12 Mar. 15 **Screening Response #4 due**

Wed., Screening: Singin’ in the Rain (Stanley Donen & Gene Kelly, 1952); The Blob Mar. 16 (Irvin S. Yeaworth, Jr., 1958)

Thurs., Hollywood in the 1950s continued Mar. 17

WEEK 10

Tues., Exam #2 Mar. 22

Wed., Screening: (, 1954) Mar. 23

Thurs., Postwar Japanese Cinema Chpt. 18, pp. 731–767 Mar. 24

WEEK 11

Tues., The Rise of European Art Cinema: Chpt. 15, pp. 531–582 Mar. 29 France, Italy, Scandinavia, Spain

**Screening Response #5 due**

8 Wed., Screening: M. Hulot’s Holiday (Jacques Tati, 1953); Blowup (Michelangelo Mar. 30 Antonioni, 1966)

Thurs., European Renaissance: Germany and Poland Chpt. 15, pp. 582–604, Mar. 31 Chpt. 16, pp. 605–621

WEEK 12

Tues., A Brief Interlude: A History of Animation Apr. 5

Wed., Screening: Snow White and the Seven Dwarfs (1937); Breathless (Jean-Luc Apr. 6 Godard, 1959);

Thurs., The Chpt. 13, pp. 431–465 Apr. 7

WEEK 13

Tues., The New American Cinema of the and 1970s Chpt. 20, pp. 845–856 Apr. 12 **Screening Response #6 due**

Wed., Screening: Bonnie and Clyde (Arthur Penn, 1967); The Graduate (Mike Nichols, Apr. 13 1967)

Thur., The New American Cinema continued Apr. 14

WEEK 14

Tues., Modern Hollywood and the High Concept Film Chpt. 20, pp. 857–871 Apr. 19

Wed., Screening: Jaws (, 1975) Apr. 20

Thurs., No class—Diadeloso Apr. 21

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WEEK 15

Tues., The New American Independent Film and Off- Chpt. 20, pp. 871–880 Apr. 26 Hollywood Cinema

**Screening Response #7 due**

Wed., Screening: Slacker (Linklater, 1991); Moulin Rouge! (Luhrmann, 2001) Apr. 27

Thurs., Hollywood in the Digital Age Chpt. 21 Apr. 28

Final Exam: Friday, May 6 at 2:00 p.m. in Castellaw 101

10 SCREENING LIST

Week 1 Exiting the Factory Lumière Bros. 1895 45 sec.

Arrival of a Train at La Ciotat Lumière Bros. 1895 45 sec.

The Baby’s Meal Lumière Bros. 1895 40 sec.

The Sprinkler Sprinkled Lumière Bros. 1895 40 sec.

The Kiss Thomas A. Edison 1896 18 sec.

Serpentine Dances Thomas A. Edison 1895 34 sec.

Sandow (Strong Man) Thomas A. Edison 1894 22 sec.

Cock Fight Thomas A. Edison 1896 40 sec.

The Leonard-Cushing Fight Thomas A. Edison 1894 40 sec.

The Execution of Mary, Queen Thomas A. Edison 1895 20 sec. of Scotts

The Untamable Whiskers Georges Méliès 1905 3 min.

A Trip to the Moon Georges Méliès 1902 12 min.

Life of an American Fireman Edwin S. Porter 1903 6 min.

The Great Train Robbery Edwin S. Porter 1903 10 min.

The Suburbanite Wallace McCutcheon 1904 9 min.

The Wonderful Wizard of Oz Otis Turner 1910 13 min.

Recommended outside screening for early cinema: All films in the DVD box sets The Movies Begin: A Treasury of Early Cinema 1894–1913 (Kino Video), Edison: The Invention of the Movies (1891–1918) (Kino Video), Origins of Film (Image), Treasures From the American Films Archives and More Treasures From the American Film Archives (1894–1931) (Image), Unseen Cinema: Early American Avant Garde Film 1894–1941 (Image)

Week 2 The Country Doctor D.W. Griffith 1909 14 min.

Suspense Lois Weber 1913 10 min. and Phillips Smalley

The Immigrant Charles Chaplin 1917 24 min.

11 The Birth of a Nation (“2nd D.W. Griffith 1915 100 min. Part—Reconstruction”)

Recommended outside screening for silent cinema: The Invaders (Ford & Ince, 1912), The Squaw Man (DeMille, 1913), The Perils of Pauline (Gasnier & MacKenzie, 1914), The Cheat (DeMille, 1915), Hell’s Hinges (Swickard, 1916), Intolerance (Griffith, 1916), (Flaherty, 1922), Broken Blossoms (Griffith, 1922), Greed (von Stroheim, 1924), Seven Chances (Keaton, 1925), Napoleon (Gance, 1927), Un Chien Andalou (Dali & Buñuel, 1928), The Passion of Joan of Arc (Dreyer, 1929), Blackmail (Hitchcock, 1929)

Week 3 Nosferatu, eine Symphonie F.W. Murnau 1922 94 min. des Grauens

Battleship Potemkin Sergei Eisenstein 1925 69 min. (Bronenosets Potyomkin)

Recommended outside screening for German Weimar cinema: Der Golem (Galeen & Wegener, 1915), The Cabinet of Dr. Caligari (Wiene, 1920), Siegfried (Lang, 1923), The Last Laugh (Muranu, 1924), Joyless Street (Pabst, 1925), Metropolis (Lang, 1927), Spies (Lang, 1928), Pandora’s Box (Pabst, 1929)

Recommended outside screening for Soviet silent cinema: Strike (Eisenstein, 1924), Mother (Pudovkin, 1926), October (Eisenstein, 1927), Man With the Movie Camera (Vertov, 1929), Arsenal (Dovzhenko, 1929)

Week 4 Manslaughter Cecil B. DeMille 1922 100 min.

Sherlock Jr. Buster Keaton 1924 44 min.

Recommended outside screening for 1920s American cinema: Robin Hood (Dwan, 1922), Foolish Wives (von Stroheim, 1922), Safety Last (Newmeyer & Taylor, 1923), The Ten Commandments (DeMille, 1923), Greed (von Stroheim, 1924), The Thief of Bagdad (Walsh, 1924), (Chaplin, 1925), Son of the Sheik (Fitzmaurice, 1926), The General (Bruckman & Keaton, 1927), The Unknown (Browning, 1927), King of Kings (DeMille, 1927), Sunrise (Murnau, 1927), Steamboat Bill, Jr. (Reisner & Keaton, 1928), Big Business (McCarey, 1929)

Week 5 The Public Enemy William A. Wellman 1931 83 min.

42nd Street Lloyd Bacon 1933 89 min.

Recommended outside screening for 1930s American cinema: Morocco (von Sternberg, 1930), Scarface (Hawks, 1932), Trouble in Paradise (Lubitsch, 1932), I Am a Fugitive From a Chain Gang (Leroy, 1932), Freaks (Browning, 1932), King Kong (Cooper & Schoedsack, 1933), Twentieth Century (Hawks, 1934), It Happened One Night (Capra, 1934), Bride of Frankenstein (Whale, 1935), Top Hat (Mark Sandrich, 1935), Modern Times (Chaplin, 1936), Snow White and the Seven Dwarfs (Disney, 1937), The Wizard of Oz (Fleming, 1939), Mr. Smith Goes to Washington (Capra, 1939)

Week 6 Stagecoach John Ford 1939 97 min.

Grand Illusion (La grande Jean Renoir 1938 114 min. illusion)

Recommended outside screening for 1930s and early 1940s European cinema: Blood of a Poet (Cocteau, 1930), À Nous la Liberté (Clair, 1931), The Threepenny Opera (Pabst, 1931), M (Lang, 1931), The Testmament of Dr.

12 Mabuse (Lang, 1933), Triumph of the Will (Riefenstahl, 1934), (Riefenstahl, 1936), Pépé le Moko (Duvivier, 1937), Alexander Nevsky (Eisenstein, 1938), (Renoir, 1939), The 39 Steps (Hitchcock, 1939), Day of Wrath (Dreyer, 1943), (Carne, 1945), Ivan the Terrible Parts I and II (Eisenstein, 1945, 1946), Beauty and the Beast (Cocteau, 1946)

Week 7 The Blood of Jesus Spencer Williams 1941 57 min.

Citizen Kane Orson Welles 1941 119 min.

Recommended outside screening for early 1940s American cinema: Rebecca (Hitchcock, 1940), The Philadelphia Story (Cukor, 1940), His Girl Friday (Hawks, 1940), Fantasia (Disney, 1940), Sullivan’s Travels (Sturges, 1941), The Maltese Falcon (Huston, 1941), Sergeant York (Hawks, 1941), The Magnificent Ambersons (Welles, 1942), Casablanca (Curtiz, 1942), Cat People (Tourneur, 1942), Shadow of a Doubt (Hitchcock, 1943), Meet Me in St. Louis (Minnelli, 1944)

Week 8 Bicycle Thieves (Ladri di biciclette) Vittorio De Sica 1948 93 min.

Double Indemnity 1944 107 min.

Recommended outside screening for : (Visconti, 1943), Rome, Open City (Rossellini, 1943), Paisà (Rosselini, 1946), (Visconti, 1948), Umberto D. (De Sica, 1952), Momma Roma (Pasolini, 1962)

Recommended outside screening for American film noir: The Maltese Falcon (John Huston, 1941), Laura (Preminger, 1944), Detour (Edgar G. Ulmer, 1945), The Killers (Siodmak, 1946), Out of the Past (Jacques Tourneur, 1947), Crossfire (Edward Dmytryk, 1947), Brute Force (Dassin, 1947), The Lady From Shanghai (Welles, 1947), Night and the City (Dassin, 1950), Pickup on South Street (Fuller, 1953), The Big Heat (Lang, 1953), Kiss Me Deadly (Robert Aldrich, 1955), Touch of Evil (Welles, 1958)

Recommended outside screening for World War II-era U.S. cinema: The Why We Fight series (Capra and Litvak, 1942–44), Mission to Moscow (Curtiz, 1943), Destination Tokyo (Daves, 1943), Lifeboat (Hitchcock, 1944), Guadalcanal Diary (Seiler, 1944), Objective, Burma! (Walsh, 1945), The Story of G.I. Joe (Wellman, 1945), The Lost Weekend (Wilder, 1945), The Best Years of Our Lives (Wyler, 1946), Gentleman’s Agreement (1947), Home of the Brave (Robson, 1949)

Week 9 Singin’ in the Rain Stanley Donen & 1952 103 min. Gene Kelly

The Blob Irving S. Yeaworth, 1958 82 min. Jr.

Recommended outside screening for 1950s American cinema: Pinky (Kazan, 1949), Sunset Blvd. (Wilder, 1950), On the Waterfront (Kazan, 1954), (Hitchcock, 1954), Rebel Without a Cause (Ray, 1954), The Blackboard Jungle (Brooks, 1955), The Man With the Golden Arm (Preminger, 1955), All That Heaven Allows (Sirk, 1955), (Ford, 1956), Invasion of the Body Snatchers (Siegel, 1956), Vertigo (Hitchcock, 1957), I Was a Teenage Werewolf (Fowler, Jr., 1957), Ben-Hur (Wyler, 1959)

Week 10 Seven Samurai Akira Kurosawa 1954 207 min. (Shichinin no samurai)

Recommended outside screening for postwar Japanese cinema: Stray Dog (Kurosawa, 1949), Ikiru (Kurosawa, 1952), (Mizoguchi, 1953), (Ozu, 1953), Seven Samurai (Kurosawa, 1954), Crazed Fruit (Nakahira, 1956), Throne of Blood (Kurosawa, 1957), The Hidden Fortress (Kurosawa, 1958), Harakiri

13 (Kobayashi, 1962), Gate of Flesh (Suzuki, 1964), Kwaidan (Kobayashi, 1965), Tokyo Olympiad (Ichikawa, 1965)

Week 11 M. Hulot’s Holiday Jacques Tati 1953 87 min. (Les Vacances de MonsieurHulot)

Blowup Michelangelo 1966 111 min. Antonioni

Recommended outside screening for European art cinema: And God Created Woman (Vadim, 1957), Wild Strawberries (Bergman, 1957), The Seventh Seal (Bergman, 1957), (Tati, 1958), (Fellini, 1960), L’Avventura (Antonioni, 1960), (Buñuel, 1961), L’Eclisse (Antonioni, 1962), 8 ½ (Fellini, 1963), Loves of Blonde (Forman, 1965), Au hasard Balthazar (Bresson, 1966), Persona (Bergman, 1966), (Tati, 1967), Z (Costa-Garvas, 1969), The Conformist (Bertolucci, 1970), Cries and Whispers (Bergman, 1972), The Phantom of Liberty (Buñuel, 1974)

Recommended outside screening for German Renaissance cinema: Young Törless (Schlondorff, 1966), Aguirre: The Wrath of God (Herzog, 1972), Ali: Fear Eats the Soul (Fassbinder, 1974), The American Friend (Wenders, 1977), In a Year With 13 Moons (Fassbinder, 1978), The Tin Drum (Schlondorff, 1979), The Marriage of Maria Braun (Fassbinder, 1979), Berlin Alexanderplatz (Fassbinder, 1980), (Herzog, 1982), (Wenders, 1987)

Recommended outside screening for Polish Renaissance cinema: A Generation (Wajda, 1955), Kanal (Wajda, 1957), Ashes and Diamonds, (Wajda, 1957), Knife in the Water (Polanski, 1962), Repulsion (Polanski, 1965), Man of Marble (Wajda, 1977), Dekalog (Kieslowski, 1989)

Week 12 Snow White and the Seven Dwarfs David Hand 1937 83 min.

Breathless (À bout de soufflé) Jean-Luc Godard 1959 87 min.

Recommended outside screening for feature animated films: Pinocchio (Luske & Sharpsteen, 1940), Fantasia (Disney, 1940), Animals Farm (Halas & Batchelor, 1954), The Thief and the Cobbler (Williams, 1964–2006), Yellow Submarine (Dunning, 1968), Heavy Traffic (Bakshi, 1973), Watership Down (Rosen, 1978), When the Wind Blows (Murakami, 1988), Akira (Ôtomo, 1988), Grave of the Fireflies (Takahata, 1988), The Nightmare Before Christmas (Selick, 1993), The Lion King (Allers & Minkoff, 1994), The Iron Giant (Bird, 1999), Waking Life (Linklater, 2001), Spirited Away (Miyazaki, 2001), The Triplets of Bellville (Chomet, 2003)

Recommended outside screening for French New Wave: (Resnais, 1959), The 400 Blows (Truffaut, 1959), Shoot Player (Truffaut, 1960), Last Year at Marienbad (Resnais, 1961), Jules and Jim (Truffaut, 1962), Contempt (Godard, 1963), Pierre le fou (Godard, 1965), Masculin féminine (Godard, 1966), The Unfaithful Wife (Charbol, 1968), Week-End (Godard, 1967), Six Moral Tales (Rohmer, 1963–1972)

Week 13 Bonnie and Clyde Arthur Penn 1967 111 min.

The Graduate Mike Nichols 1967 105 min.

Recommended outside screening for American Renaissance cinema: Psycho (Hitchcock, 1960), Shadows (Cassavetes, 1958/1961), Night of the Living Dead (Romero, 1968), 2001: A Space Odyssey (Kubrick, 1968), The Graduate (Nichols, 1968), The Wild Bunch (Peckinpah, 1969), Midnight Cowboy (Schlesinger, 1969), Sweet Sweetback’s Baadasssss Song (Van Peebles, 1971), The French Connection (Friedkin, 1971), A Clockwork Orange (Kubrick, 1971), and The Godfather Part II (Coppola, 1972, 1974), (Coppla, 1974), Chinatown (Polanski, 1974), Nashville (Altman, 1975), (Scorsese, 1976), (Allen, 1977), The Deer Hunter (Cimino, 1978), (Coppola, 1979), Dressed to Kill (De Palma, 1980), (Scorsese, 1980), Polyester (John Waters, 1981)

14 Week 14 Jaws Steven Spielberg 1975 124 min.

Recommended outside screening for American blockbuster era cinema: The Exorcist (Friedkin, 1973), Close Encounters of the Third Kind (Spielberg, 1977), Saturday Night Fever (Badham, 1977), Star Wars (Lucas, 1977), The Shining (Kubrick, 1980), Heaven’s Gate (Cimino, 1980), Raiders of the Lost Ark (Spielberg, 1981), Blade Runner (Scott, 1982), E.T. (Spielberg, 1982), The Terminator (Cameron, 1984), Top Gun (Scott, 1986), Aliens (Cameron, 1986), The Untouchables (De Palma, 1987), RoboCop (Verhoeven, 1987), Die Hard (Tiernan, 1988), Who Framed Roger Rabbit? (Zemeckis, 1988), Batman (Burton, 1989)

Week 15 Slacker Richard Linklater 1991 97 min.

Moulin Rouge! Baz Luhrmann 2001 127 min.

Recommended outside screening for new American independent and off-Hollywood cinema: El Norte (Nava, 1983), (Jarmusch, 1984), Blood Simple (Coen, 1984), Down by Law (Jarmusch, 1986), Blue Velvet (Lynch, 1986), House of Games (Mamet, 1987), Do the Right Thing (Lee, 1989), sex, lies, and videotape (Soderbergh, 1989), El Mariachi (Rodriguez, 1992), Reservoir Dogs (Tarantino, 1992), (Tarantino, 1994), Kicking and Screaming (Baumbach, 1995), Bottle Rocket (Anderson, 1996), The English Patient (Minghella, 1996)

Recommended outside screening for digital-era cinema: Tron (Lisberger, 1984), The Abyss: Director’s Cut (Cameron, 1989/1993), Terminator 2: Judgment Day (Cameron, 1991), Jurassic Park (Spielberg, 1993), Forrest Gump (1994), Babe (Noonan, 2005), Toy Story (Lasseter, 1995), Titanic (Cameron, 1997), The Matrix trilogy (Wachowski Bros., 1999–2003), O Brother, Where Art Thou? (Coen, 2000), The Lord of the Rings trilogy (Jackson, 2001–03), Sin City (Rodriguez/Miller, 2005), WALL·E (Stanton, 2008), Avatar (James Cameron, 2009)

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