FILM 4260 - History of Cinema II Prof. Rielle Navitski Spring 2018 [email protected]

Class: MWF 9:05 – 9:55 am in 53 Fine Arts Screening: W 3:35 – 5:30 pm in 53 Fine Arts Office hours: M 12:30 – 2:30 and W 10-12 or by appointment in 260 Fine Arts

Course Description: This course provides an overview of key developments in world cinema from World War II through the present, examining profound transformations in film style and narrative, in how films were made and found audiences across the globe, and in cinema’s relationship to politics and changing conceptions of art. Although the class focuses on narrative fiction film, we will also examine documentary and experimental cinema. We will first study the restructuring of the Hollywood industry in the late 1940s and early 1950s in response to the Paramount anti-trust case and the popularization of television. We will then examine how other postwar cinemas – Italian neorealism, Japanese film, and Mexican cinema – gained new prominence internationally through film festivals, arthouses, and new approaches to film criticism, including the celebration of the director as auteur. In the following unit, we will study the New Waves of the 1960s and 1970s, examining how filmmakers in Europe, Africa, and Latin America developed new narrative and stylistic strategies for both artistic and political reasons. In our third unit, we will focus on industrial and aesthetic shifts in Hollywood from the 1960s to the present, examining the emergence of the “New Hollywood,” the rise of the blockbuster, transformations brought about by home video, and the development of independent filmmaking. Finally, we will examine popular film industries beyond Hollywood—the “Bollywood” and Hong Kong industries— and contemporary global art cinema, reflecting on how film is produced, distributed and consumed in an increasingly digital and interconnected world. This course is designed to sharpen your skills in historical thinking, visual analysis, and research in primary and secondary sources, and to aid you in developing clear, persuasive writing. In order to develop these skills, you are expected to read assigned materials carefully (multiple times if needed), take detailed notes on readings and films, and come to class with questions and comments. The course may contain material you find distasteful or offensive, which has been included for educational purposes. Remaining in the class indicates a commitment to engage thoughtfully and critically with all course materials.

Required texts:

- David Bordwell and Kristin Thompson, Film History: An Introduction, Third Edition, available at the UGA bookstore.

- Packet of readings, available on ELC. Print and bind at Tate Copy Shop. Hard copies of readings are required for class discussion.

Complete readings before class on the date listed on the syllabus. If two dates are listed for a reading, complete it by the earlier date. Page numbers correspond to those of the original text, not the course reader.

Course Requirements

Scene Analysis 10% Primary Source Research Assignment 10% Attendance and Participation 15% Midterm Exam 20% Final Exam 20% Term paper (5-7 pages) (includes required paper proposal) 25%

Important Dates

1/29 – Scene Analysis Due 2/12 – Midterm Exam 3/5 – Primary Source Assignment Due 3/19 – Paper Proposal Due 4/23 – Term Paper Due 4/30 – Final Exam

Course Objectives: By the end of the course, students should be able to:

- identify key filmmaking movements and trends from 1945 to the present, describing key narrative themes, stylistic traits, and aesthetic goals

- explain how cinematic movements and trends have been shaped by political and social factors, as well as by the economic conditions of film industries and markets

- perform close readings of film texts that use specific film terms to describe individual scenes and make a persuasive argument about why certain aesthetic choices are meaningful (Paper 1)

- perform critical readings of historical documents relating to cinema, evaluating and summarizing the aesthetic and social ideals explicitly and implicitly expressed in these texts (Paper 2)

- write a persuasive research paper that analyzes one or two films in their social, historical, and industrial context by combining analysis of film style, analysis of historical documents, and thoughtful engagement with relevant secondary sources (Paper 3)

2 Course Schedule 1/5 – Welcome

UNIT 1: Postwar Film and the Rise of International Art Cinema

Week 1: Film Noir and Experimental Cinema in the Post-WWII Period

1/8 FH 451-463 Watch in class: Meshes of the Afternoon, Maya Deren and Alexander Hammid, U.S., 1943, 14 mins

1/10 Sheri Chinen Bisen, “Censorship, Hard-boiled Fiction and Hollywood’s ‘Red Meat’ Crime Cycle,” 96-111 (excerpt) Screening: Double Indemnity, dir. Billy Wilder, Paramount Pictures, U.S., 1944, 110 mins.

1/12 Lloyd Shearer, “Crime Certainly Pays on the Screen,” 9-13

Week 2: From the Small Screen to Widescreen

1/15 NO CLASS - MARTIN LUTHER KING JR. DAY

1/17 FH 296-315 Screening: The Girl Can’t Help It, dir. Frank Tashlin, Fox, U.S., 1956, 99 mins.

1/19 Ariel Rogers, “Smothered in Baked Alaska,” 74-83 (excerpt)

Week 3: Italian Neorealism

1/22 FH 324-341

1/24 Screening: Roma città aperta (Rome, Open City), dir. Roberto Rossellini, Excelsa Films, Italy, 1945, 100 mins

1/26 Cesare Zavattini, “Some Ideas on the Cinema,” 50-61

3 Week 4: Postwar Japanese Cinema

1/29 SCENE ANALYSIS DUE Read: FH 226-235, 358-363, 381-383

1/31 Screening: Rashomon, dir. Akira Kurosawa, Daiei, Japan, 1950, 88 mins.

2/2 Greg M. Smith, “Critical Reception of Rashomon in the West,” 1-9

Week 5: Mexican Film as Popular Industry and Art Cinema

2/5 FH 358-360, 377-380

2/7 Robert McKee Irwin and Maricruz Castro Ricalde, Global Mexican Cinema (excerpt), 1-14 Screening: Maria Candelaria, dir. Emilio Fernández, Films Mundiales, Mexico, 1944, 102 mins

2/9 Rogelio Agrasánchez Jr., Mexican Movies in the United States (excerpt), 8-12

UNIT 2 – New Waves of the 1960s and Beyond

Week 6: The French New Wave 2/12 MIDTERM EXAM

2/14 FH 403-414 Screening: Vivre sa vie (My Life to Live), dir. Jean-Luc Godard, prod. Pierre Braunberger, France, 1962, 83 mins.

2/16 Alexandre Astruc, “The Birth of a New Avant-Garde: La caméra stylo,” 603-607

Week 7: Direct Cinema and Cinema Verité

2/19 Read: FH 439-451

2/21 Screening: Chronique d’un été (Chronicle of a Summer), dir. Edgar Morin and Jean Rouch, Argos Films, France, 1961, 90 mins.

2/23 Edgar Morin, “Chronicle of a Film,” 4-29

4 Week 8: New German Cinema

2/26 FH 420-421, 531-534, 581-583 Alexander Kluge et al, “The Oberhausen Manifesto” (1962), 152-153

2/28 Screening: Die Ehe der Maria Braun (The Marriage of Maria Braun), dir. Rainer Werner Fassbinder, Albatros, West Germany, 1979, 120 mins.

3/2 Joyce Rheuban, “The Marriage of Maria Braun: History, Melodrama, Ideology,” 3-20

Week 9: Anti-Colonial Cinema in Africa and Latin America

3/5 PRIMARY SOURCE ASSIGNMENT DUE FH 494-509

3/7 Guy Hennebelle, “Ousmane Sembene: For Me, the Cinema is an Instrument of Political Action, But...,” 7-17 Screening: Now (1965) and LBJ (1968), dir. Santiago Álvarez, Instituto Cubano del Arte e Industria Cinematográficos, Cuba, 5 mins/18 mins La noire de... (Black Girl), dir. Ousmane Sembene, prod. André Zwoboda, Senegal/France, 1966, 55 mins

3/9 Julio García Espinosa, “For an Imperfect Cinema,” 72-82

SPRING BREAK

UNIT 3 – New Business Models: Blockbusters, Indies, and Global Markets

Week 10: The “New Hollywood”

3/19 TERM PAPER PROPOSAL DUE FH 472-493

3/21 Screening: Bonnie and Clyde, dir. Arthur Penn, Tatira-Hiller (distr. Warner Bros.), U.S., 1967, 112 mins

3/23 Bosley Crowther, “Bonnie and Clyde,” 1-2 and Pauline Kael, “Bonnie and Clyde,” 141-157

5 Week 11: Blockbusters and Home Video

3/26 FH 661-680

3/28 Screening: Jaws, dir. Steven Spielberg, Universal, U.S., 1975, 130 mins.

3/30 Nigel Morris, “Jaws: Searching the Depths,” 43-55 (excerpt)

Week 12: From Indie Films to “Indiewood”

4/2 FH 680-693

4/4 Screening: My Own Private Idaho, dir. Gus van Sant, Fine Line, U.S., 1991, 105 mins.

4/6 B. Ruby Rich, “New Queer Cinema,” 75-80

Week 13: Global Bollywood 4/9 FH 373-377, 621-626

4/11 Begin viewing in class, finish in screening: Screening: Dilwale Dulhania Le Jayenge (The Brave-Hearted Will Take Away the Bride), dir. Aditya Chopra, Yash Raj Films, India, 1995, 190 mins.

4/13 Ashish Rajadhyaksha, “The ‘Bollywoodization of Indian Cinema,” 1-16

Week 14: From Hong Kong Cinema to Global Co-productions

4/16 FH 647-652

4/18 Screening: Crouching Tiger, Hidden Dragon, dir. Ang Lee, China/Hong Kong/Taiwan/U.S., Asian Union Film & Entertainment/Good Machine, 2000, 120 mins

4/20 Sheldon H. Lu, “Crouching Tiger, Hidden Dragon, Bouncing Angels,” 220-233

6 Week 15: Global Art Cinema and the Shift to the Digital

4/23 TERM PAPER DUE FH 705-709, 713-724 Lars von Trier and Thomas Vinterberg, “Dogme ’95 Manifesto and Vow of Chastity,” 201-203

4/25 Screening: Melancholia, dir. Lars von Trier, Zentropa, Denmark/Sweden/France/Germany, 2011, 135 mins.

FINAL EXAM: MONDAY, APRIL 30, 8 – 11 AM, 53 Fine Arts

***Have a great summer!***

Course Policies

The course syllabus is a general plan for the course; deviations announced to the class by the instructor may be necessary.

Disability Notice If you plan to request accommodations for a disability, please register with the Disability Resource Center. They can be reached by visiting Clark Howell Hall, calling 706-542-8719 (voice) or 706- 542-8778 (TTY), or by visiting http://drc.uga. The DRC sends automated notifications regarding accommodations to the instructor. If you have ability-related questions or concerns, please speak to the professor privately during the first two weeks of the course.

Scheduling Conflicts If your religious beliefs present a direct conflict with an exam or assignment due date, you must notify me within the first two weeks of class so that I may determine an alternate date for the assignment/exam. Otherwise, with the exception of a documented medical or family emergency, missed examinations may not be made up.

Academic Honesty As a University of Georgia student, you have agreed to abide by the University’s academic honesty policy, “A Culture of Honesty,” and the Student Honor Code. All academic work must meet the standards described in “A Culture of Honesty” found at: www.uga.edu/honesty.

Lack of knowledge of the academic honesty policy is not considered a reasonable explanation for a violation. Questions related to course assignments and the academic honesty policy should be directed to the instructor. More detailed information about academic honesty can be found at: http://www.uga.edu/ovpi/honesty/acadhon.htm

- Make sure to cite ALL sources, even when you are rephrasing or summarizing others’ ideas rather than quoting them directly. - Individual direct quotations must not exceed 50 words; direct quotations should not, under any circumstances, make up more than 20 – 25% of a given page. - Unauthorized collaboration on written assignments or submission of similar work for more than one class is not allowed.

7 Assignment Policies Written assignments are due in ELC Assignments by the beginning of class on the due date.

All written assignments must be double-spaced with one-inch margins in 12 pt. Times New Roman font. They must include citations (either Chicago or MLA style) with page numbers. See the course bibliography at the end of the syllabus for citation information for course readings.

Except in the case of a documented medical, psychiatric, or family emergency, no extensions will be granted. If work is submitted late, one-third of a letter grade will be deducted for each day (twenty- four hours beginning with class start time) after the due date. For example, an otherwise “A” paper submitted three days late will be graded a “B.”

Electronics Policy With the exception of occasional pre-announced class activities, no portable electronic devices (cell phones, tablets, or laptop computers) are to be used during class time or screening. Please speak to me privately if you need a special accommodation to the laptop policy for documented medical or ability reasons.

Participation Your participation grade will be based on the following: Preparation for class – arriving with questions and comments on the readings and films. Respectful listening and active engagement in class discussions. In-class assignments such as group activities, writing exercises, and quizzes. Optional visits to office hours to discuss course materials.

Attendance You are allowed FOUR absences from all class meetings (this includes both classes and screenings). I do not distinguish between excused and unexcused absences, except in the case of medical, psychiatric, or family emergencies that span several days or weeks. The latter MAY be excused on a case-by-case basis at my discretion.

After you have accumulated four absences, each additional absence will lower your attendance and participation grade one full letter grade. If you accumulate more than SIX absences from class and screening combined, this will be considered grounds for failure of the course.

Each instance of significant lateness to class (more than 1-2 minutes) will be counted as 1/3 absence.

Extra Credit - You may complete up to two extra credit projects (to be announced); each successfully completed project will raise your final grade one percent.

8 Course Bibliography

Astruc, Alexander. “The Birth of a New Avant-Garde: Le caméra stylo.” In Film Manifestos and Global Cinema Cultures: A Critical Anthology, edited by Scott MacKenzie, 603-607. Berkeley: University of California Press, 2014.

Bisen, Sheri Chinen, “Censorship, Hard-boiled Fiction and Hollywood’s ‘Red Meat’ Crime Cycle.” In Blackout: World War II and the Origins of Film Noir, 96-111. Baltimore: John Hopkins University Press, 2005.

Crowther, Bosley. “Bonnie and Clyde.” New York Times, April 14, 1967.

Kael, Pauline. “Bonnie and Clyde” in For Keeps: 30 Years at the Movies (Plume, 1996), 141-157.

Kluge, Alexander, et. al. “Oberhausen Manifesto.” In Film Manifestos and Global Cinema Cultures: A Critical Anthology, edited by Scott MacKenzie, 152-153. Berkeley: University of California Press, 2014.

Lu, Sheldon H., “Crouching Tiger, Hidden Dragon, Bouncing Angels: Hollywood, Taiwan, Hong Kong, and Transnational Cinema.” In Chinese-Language Film: Historiography Poetics, Politics, edited by Sheldon H. Lu and Emily Yueh-yu Yeh, 220-233. Honolulu: University of Hawaii Press, 2005.

Morris, Nigel. “Jaws: Searching the Depths.” In The Cinema of Steven Spielberg: Empire of Light, 43-61. London: Wallflower Press, 2007.

Rajadhyaksha, Ashish. “The ‘Bollywoodization of the Indian Cinema: Cultural Nationalism in a Global Arena.” Inter-Asia Cultural Studies 4, no. 1 (2003): 26-39.

Rich, B. Ruby. “New Queer Cinema.” In New Queer Cinema: The Film Reader, edited by Harry M. Benshoff and Sean Griffin, 53-59. New York: Routledge, 2004.

Rheuban, Joyce. “The Marriage of Maria Braun: History, Melodrama, Ideology” in The Marriage of Maria Braun: Rainer Werner Fassbinder, Director, edited by Joyce Rheuban (New Brunswick, NJ: Rutgers University Press, 1986), 3-20.

Rogers, Ariel. “Smothered in Baked Alaska: The Anxious Appeal of Widescreen Cinema.” Cinema Journal 51, no. 3 (2012): 74-96.

Shearer, Lloyd, “Crime Certainly Pays on the Screen” [1945] in Film Noir Reader 2, ed. Alain Silver and James Ursini (Limelight Editions, 2003), 9-13.

Smith, Greg A. “Critical Reception of Rashomon in the West.” Asian Cinema 13, no. 2 (2002): 115-128.

Von Trier, Lars and Thomas Vinterberg. “Dogme ’95 Manifesto and Vow of Chastity.” In Film Manifestos and Global Cinema Cultures: A Critical Anthology, edited by Scott MacKenzie, 152- 153. Berkeley: University of California Press, 2014.

Zavattini, Cesare, “Some Ideas on the Cinema,” trans. Peter Luigi Lanza. In Vittorio de Sica: Contemporary Perspectives, edited by Stephen Snyder and Howard Curle, 50-61. Toronto: University of Toronto Press, 2000.

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