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Film and Modernity (Paris Version) | University of Kent 09/25/21 Film and Modernity (Paris version) | University of Kent Film and Modernity (Paris version) View Online 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. [1] Abel, R. 2000. Discourse, narrative, and the subject of capital: Marcel L’Herbier’s L’Argent. French film: texts and contexts. Routledge. 37–50. [2] Abel, R. 1984. The Alternate Cinema Network, Paris qui dort. French cinema: the first wave, 1915-1929. Princeton U.P. 241–275 and 377–80. [3] Abel, Richard 1996. Booming the Film Business: The Historical Specificity of Early French Cinema. Silent film. Athlone. 109–124. [4] Abel, Richard 1988. Photogénie and Company. French film theory and criticism: a 1/14 09/25/21 Film and Modernity (Paris version) | University of Kent history/anthology, 1907-1939. Princeton U.P. 95–124. [5] Abel, Richard 1994. The Rise of the Feature Film, 1911-1914. The cine goes to town: French cinema, 1896-1914. University of California Press. 298–428. [6] Allain, Marcel and Feuillade, Louis 1913. Fanto ̂ mas. Socie ́ te ́ des Etablissements L. Gaumont. [7] Andrew, Dudley 1995. Adolescents in an Adolescent Industry. Mists of regret: culture and sensibility in classic French film. Princeton University Press. 53–65. [8] 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. [9] Antliff, Mark and Leighten, Patricia Dee 2001. Cubism and culture. Thames & Hudson. [10] Benjamin, Walter and Tiedemann, Rolf 1999. Arcades. The arcades project. Belknap Press. 871–884. 2/14 09/25/21 Film and Modernity (Paris version) | University of Kent [11] Benjamin, Walter and Tiedemann, Rolf 1999. Paris, the Capital of the Nineteenth Century (Exposé of 1935). The arcades project. Belknap Press. 3–13. [12] Berman, Marshall 1983. Introduction: Modernity-Yesterday, Today and Tomorrow,. All that is solid melts into air: the experience of modernity. Verso. 15–36. [13] Bordwell, D. La Nouvelle Mission de Feuillade; or, What Was Mise-en-scène? Velvet Light Trap. 37. [14] Bratu Hansen, M. 2004. Room-for-Play: Benjamin’s Gamble with Cinema. October. 109, (2004), 3–45. [15] Brender, R. 1984. Functions of Film Léger’s Cinema on Paper and Cellulose, 1913-25. Cinema Journal. 24, 1 (1984), 41–64. [16] Breton, Andre 1969. Manifesto of Surrealism (1924). Manifestoes of surrealism. University of Michigan Press. 1–48. [17] Bun ̃ uel, Luis et al. 1924. Avant garde and experimental films. [s.n.]. [18] 3/14 09/25/21 Film and Modernity (Paris version) | University of Kent Burch, N. et al. 1990. Life to those shadows. University of California Press. [19] Callahan, Vicki 2005. Louis Feuillade and the Cinema of Uncertainty. Zones of anxiety: movement, Musidora, and the crime serials of Louis Feuillade. Wayne State University Press. 12–73. [20] Cardinal, Roger and Short, Robert Stuart The Surrealist Proposition. Surrealism: permanent revelation. Studio Vista. 32–36. [21] Cardinal, Roger and Short, Robert Stuart The Surrealist Sensibility. Surrealism: permanent revelation. Studio Vista. 54–61. [22] Carne ́ , Marcel 1938. Ho ̂ tel du Nord. Impe ́ rial Film, SEDIF. [23] Charney, Leo and Schwartz, Vanessa R. 1995. Cinematic Spectatorship before the Apparatus: The Public Taste for Reality in Fin-de-Siècle Paris. Cinema and the invention of modern life. University of California Press. 297–319. [24] Charney, Leo and Schwartz, Vanessa R. 1995. Unbinding Vision. Cinema and the invention of modern life. University of California Press. 46–71. 4/14 09/25/21 Film and Modernity (Paris version) | University of Kent [25] Clair, R. 1988. Coeur Fidèle (1924). French film theory and criticism: a history/anthology, 1907-1939. Princeton U.P. 303–305. [26] Clair, Rene ́ 1923. The crazy ray (Paris qui dort). Films Diamant. [27] Clair, Rene ́ 1930. Under the roofs of Paris. Socie ́ te ́ des Films Sonores Tobis. [28] Clair, Rene ́ and Auric, Georges 1924. Entr’acte. Criterion. [29] Clark, T. J 1999. Introduction to ‘The painting of modern life: Paris in the art of Manet and his followers’. The painting of modern life: Paris in the art of Manet and his followers. Thames & Hudson. 3–22. [30] Conley, Tom 2007. Icarian Cinema: Paris qui Dort. A Site of Immaculate Origin - a Film in 5/14 09/25/21 Film and Modernity (Paris version) | University of Kent Flux - Two Spatial Stories - Points of Comparison - Liberty: A Vanishing Point. Cartographic Cinema. University of Minnesota Press. [31] Crow, Thomas E. 1996. Modernism and Mass Culture in the Visual Arts. Modern art in the common culture. Yale University Press. 3–38. [32] Desnos, R. 1989. Spectacles of the Street—Eugène Atget (1928). Photography in the modern era: European documents and critical writings, 1913-1940. Metropolitan Museum of Art. 16–17. [33] dir: Georges Melies 1997. The Melomaniac. Arte Video. [34] dir: Jean-Luc Godard Bande A Part - DVD [1964]. Bfi. [35] dir: Jean Vigo 1934. L’Atalante - DVD [1934]. New Yorker Films. [36] dir: Louis Feuillade 1915. Les Vampires - DVD. Artificial Eye. [37] dir: Marcel L’Herbier 1928. L’Argent [1928] Masters of Cinema - DVD. Eureka Entertainment. [38] 6/14 09/25/21 Film and Modernity (Paris version) | University of Kent Duchamp, M. 2005. Anemic Cinema. Unseen Cinema: early American avant-garde film, 1894-1941. Anthology Film Archives. [39] Dulac, G. 1978. From Visual and Anti-visual Films; The Essence of Cinema: The Visual Idea;The Avant-Garde Cinema. The Avant-garde film: a reader of theory and criticism; ed P Adams Sitney. New York U.P. 31–48. [40] Dulac, Germaine 1922. La Souriante Mme Beudet. Smiling Madame Beudet, and, The seashell and the clergyman. [s.n.]. [41] Duvivier, Julien 1936. Pe ́ pe ́ le moko. Paris Film. [42] Duvivier, Julien and Gabin, Jean 1937. Pe ́ pe ́ le Moko. Paris Film Production. [43] Epstein, J. 1988. Magnification (1921). French film theory and criticism: a history/anthology, 1907-1939. Princeton U.P. 235–240. [44] Epstein, Jean 1923. Coeur 7/14 09/25/21 Film and Modernity (Paris version) | University of Kent fid ̀ ele. Pathe ́ Consortium Cine ́ ma. [45] Farmer, R. 2010. Jean Epstein. http://www.sensesofcinema.com/2010/great-directors/jean-epstein/ . 57, (2010). [46] Feuillade, Louis and Moget, Alain 1915. Les vampires: accompagnement musical original au piano. Gaumont. [47] Fieschi, J.-A. 1968. The Difficulty of Being Jean-Luc Godard. Jean-Luc Godard, a Critical Anthology. E. P. Dutton. [48] Fischer, L. 2006. The Shock of the New’: Electrification, Illumination, Urbanization, and the Cinema. Cinema and modernity. Rutgers University Press. 19–37. [49] Flitterman-Lewis, S. 2000. Poetry of the unconscious: La Souriante Mme Beudet (1923) and La Coquille et le clergyman (1927). French film: texts and contexts. Routledge. 7–24. [50] Foucault, M. 1986. Nietzsche, Genealogy, History. The Foucault reader. Penguin. 76–100. 8/14 09/25/21 Film and Modernity (Paris version) | University of Kent [51] Freeman, J. 1996. Léger’s Ballet mécanique. Dada and surrealist film. MIT Press. 28–45. [52] Garrity, H.A. 1992. Narrative Space in Julien Duvivier’s Pépé-le-Moko. The French Review. 65, 4 (1992), 623–628. [53] Gaudreault, A. 1990. Film, Narrative, Narration: The Cinema of the Lumière Brothers. Early cinema: space, frame, narrative. BFI Publishing. 68–75. [54] Giddens, A. 1992. Modernity and Self-Identity: Self and Society in the Late Modern Age. Art in modern culture: an anthology of critical texts. Phaidon P. in association with the Open University. 17–22. [55] Godard, Jean Luc and British Film Institute 1964. Bande a ̀ part. Anouchka/Orsay. [56] Gorky, M. 1983. A Review of the Lumière Program at Nizhni-Novgorod . Kino: a history of the Russian and Soviet film. Allen & Unwin. [57] Greenaway, Peter 1989. Death in the Seine. Allarts TV Productions, Erato Films. 9/14 09/25/21 Film and Modernity (Paris version) | University of Kent [58] Gunning, T. 1989. An Aesthetic of Astonishment. Art and Text. Spring (1989), 31–45. [59] Gunning, T. 2006. Modernity and Cinema. A Culture of Shocks and Flows. Cinema and modernity. Rutgers University Press. 297–315. [60] Gunning, T. 2006. Modernity and Cinema: A Culture of Shocks and Flows. Cinema and modernity. Rutgers University Press. 297– 316. [61] Harvey, David 2003. Consumerism, Spectacle, and Leisure. Paris, capital of modernity. Routledge. [62] Harvey, David 2003. Introduction to Paris, capital of modernity. Paris, capital of modernity. Routledge. 1–22. [63] Hauptman, J. 1998. Imagining Cities. Fernand Le ́ ger. Museum of Modern Art. [64] Judovitz, D. 1996. Anemic Vision in Duchamp: Cinema as Readymade. Dada and surrealist film. MIT Press. 46–57. [65] 10/14 09/25/21 Film and Modernity (Paris version) | University of Kent Kirsanoff, D. 1924. Menilmontant. Avant-garde: experimental cinema of the 1920s and 1930s : films from the Raymond Rohauer collection. Kino on Video. [66] Kuenzli, Rudolf E. 1996. Introduction to Dada and surrealist film. Dada and surrealist film.
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