Fiction, Drama and Film
This course is designed to study film as narrative. Students will also be introduced to the history of cinema including its cultural, political and artistic contexts.
Repro text edited by Prof. Donovan. Students must pay for the text at the registrar's office.
Class mark 10%
In-class essay 40%
A more informal style of writing, your journal should record notes from class, conversations with fellow students, family, friends et. al. about cinema. The journal/notebook should also highlight some research and reading you may have done in the library or on the net. This is the independent learning section of the course. There are two deadlines for this journal: for students wishing feedback the first deadline is October 13; the second deadline is the last day of class. There is no penalty associated with the second deadline, but papers handed in after October 13 will not be corrected until the end of the semester-at which time they will receive a letter grade only. Remember, too, these are large senior classes so if you don't speak up in class then make sure you approach the professor after.
For your essay, (minimum two thousand words) due on the last day of class, you must compare and contrast at least two films watched in class with two or more films of your own choosing. Remember, you will be judged on the films you choose, so choose wisely.
Attendance: Students who miss four (4) classes without an excuse from the registrar will be awarded a golden F by the Academy. So remember to sign the attendance sheet beside your name.
Lectures and Topics
What's all this sitting in the dark?
Run Lola Run: culture, politics, art and entertainment-from Bergman to blockbuster. Eisenstein and the theory of Montage. The dilemma of aesthetics: D.W. Griffith's, John Ford, Leni Riefienstahl and racism. German expressionism and The Cabinet of Dr. Caligari. The French New Wave. Theory: Astruc, Bazin, and Cahiers du Cinema, Francois Truffaut, Jean Luc Godard, Alain Resnais, The Czech New Wave.
2. The European Tradition:
Auteurs and Cahier du Cinema.
Renoir, Godard , Truffaut
Closely Watched Trains
The Czech New Wave
3. Arthur Penn and the
politics of film.
Little Big Man, Vietnam and John Wayne
4. Peter Bogdanovich:
the politics of sex and the Hayes Code.
The Last Picture Show to Blue Velvet : freedom from the Code.
The Celluloid Closet
5. American Cinema
and the Independents: fighting the studios.
Robert Altman, John Cassavetes/Gina Rowlands, and John Sayles.
6. Don't Frighten the
Children! Animation: From Chuck Jones to Matt Groening.
7. Hidden Auteurs in
Hollywood: the Coen brothers.
The Big Lebowski and the First Gulf War
8. Avoiding the Icon:
Mike Leigh's Secrets and Lies
British "New Cinema" and Social Realism.
9. Deflating the blockbuster:
Art House Cinema on the installment plan.
Dogma 95 and The Celebration
10. Tarantino as auteur: violence, race and the seduction of hard-core cool; or, "Am I getting this?"
11. Out of Mexico: Y Tu Mama Tambien
12. Bergman light and
the Nordic image
13. Eisenstien's Dream
Atanarjuat: The Fast Runner
ENGL 3426 Modern Irish Literature
ENGL 3573 Film and Narrative II
ENGL 3623 The Literature of Politics
ENGL 3963 Irish Film
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