09/25/21 Film and Modernity (Paris version) | University of Kent
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This module investigates the relationship between film, modernity and modernism through the analysis of the works and career of Jean-Luc Godard, whose oeuvre can be largely defined by a desire to challenge the traditional boundaries between film and reality, fiction and documen-tary, autobiography and history, and film theory and film practice. In addition to being a pro-tagonist in the launching of a film movement preoccupied with the “here and now” of French society, Godard has engaged with a number of trends in film criticism and film theory. The analysis of his works will therefore allow for an examination of a number of questions that have defined the study of film, from auteurism to a more interdisciplinary approach to the cin-ema, from Bazin to Eisenstein, from filmmaking as sociology to filmmaking as self-investigation.
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history/anthology, 1907-1939. Princeton U.P. 95–124.
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Andrew, Dudley 1997. Jules, Jim, and Walter Benjamin. The image in dispute: art and cinema in the age of photography. University of Texas Press. 33–53.
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Burch, N. et al. 1990. Life to those shadows. University of California Press.
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Charney, Leo and Schwartz, Vanessa R. 1995. Unbinding Vision. Cinema and the invention of modern life. University of California Press. 46–71.
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dir: Georges Melies 1997. The Melomaniac. Arte Video.
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dir: Louis Feuillade 1915. Les Vampires - DVD. Artificial Eye.
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dir: Marcel L’Herbier 1928. L’Argent [1928] Masters of Cinema - DVD. Eureka Entertainment.
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