Manual Revolution and Rebellion in Mexican Film (Topics and Issues in National Cinema)

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The invention of cinema's roots in the magic lantern and other "philosophical toys" which trick the senses into seeing visual illusions will be explored in relation to traditions of "Natural Magic" as well as a secularization of magical practices into entertainment from the Renaissance on.

The relation between cinema and hypnosis, both as a social concern and as metapsychological description of spectatorship will also be explored. A consideration of the appeal of magic systems of thought spiritualism, theosophy, ritual magic for Avant-Garde movement and their relation to experimental films by Epstein, Artaud, Deren, Anger, Smith, Fischinger, and others.

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In a climate in which the borders differentiating media continue to collapse into something now referred to as "transmedia," what does it actually mean for us to move between mediums-particularly mediums that raise familiar issues of representation, temporality, and narrative? The objective of this course is to provide the necessary tools to enable critical reflection on the respective values and mutual relationships of comics, art and film. To achieve this, the course is divided into two units. After developing a core vocabulary for thinking about comics as a medium we will then look at how artists and directors have drawn on that vocabulary in a range of different contexts.

Retaining a sense of the specificity of both comics and film as artistic mediums, we will consider topics ranging from cross-cultural translation, ontologies of otherness, and modes of mediated history. Beyond questions of fidelity, we will look at what it means to adapt particular stories at particular moments. How does an X-Men comic from adapt to meet the historical needs of its film adaptation in ? What do we mean when we say a particular adaptation is "good" or that another attempt "failed"? The works this course will consider are meant to challenge our understanding of what the art of comics can be.

This course addresses three distinct but related critical problems in the contemporary understanding of film and fiction. The most general is the question of how we might go about linking the practice of criticism in the literary arts with that of the screen arts. Where are the common issues of structure, form, narration, point of view management, and the like?

Where, on the other hand, are the crucial differences that lie in the particularities of each domain-the problem that some have labeled "medium specificity" in the arts? The second problem has to do more specifically with questions of adaptation. Adaptation is a fact of our cultural experience that we encounter in many circumstances, but perhaps in non more insistently as when we witness the reproduction of a literary narrative in cinematic or televisual form?

Adaptation theory has taught us to look beyond the narrow criterion of "fidelity" a far too limiting in scope?

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But when we look beyond, what do we look for, and what other concepts guide our exploration? The third and final problem has to do with the now rampant genre of the "film based on fact," especially when the facts derive from a particular source text, as in the recent case of Spike Lee's BlacKkKlansman? What has this genre become so popular? What are its particular genre markings e.

How does fictionalization operate on the facts in particular cases?


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There will be written exercise at midterm pp. Only in his mids when he made Citizen Kane, Orson Welles became one of the great directors and actors of the mid twentieth century. This course will explore the various aspects of his career, including his early work in radio and theater, and focusing on both his career in Hollywood and his work as an independent director.

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We'll screen and discuss the films Welles made, including major releases and incomplete projects, using them to think about topics such as authorship, genre, film and politics, magic, theater and cinema, adaptation, genius and virtuosity, image and sound, styles of acting, and ideas of cinematic realism and artifice. These directors were singled out at that time by the critics writing for the French journal Cahiers du Cinema as auteurs, directors with a consistent style. Critics in France, England, and the USA used the term mise en scene to discuss their use of framing, performance, editing, and camera movement and especially their use of new technologies such as wide screen and color.

This course will explore the concept of directors' style as well as the mode of close analysis criticism that grew out of this concept. Controversies fuel American politics and culture. One hundred years ago, Intolerance shook the world, if not the most famous, then the most the most expensive and seminal movie ever made.

One hundred and one, The Birth of a Nation generated the loudest controversy on the issue of race; at the same time, its powerful suspense sequence in the finale made this movie a fundamental of action-movie filmmaking for the century to come. Griffith came to movie industry in and dropped out of it in This course offers a quarter-of-a-century vast panorama of inventions and innovations, shames and triumphs, brilliant successes and spectacular failures connected with D.

Griffith, the most famous pioneer in the history of film. Scandinavian Cinema in the Classic Period Units. During the s Scandinavian cinema was among the most popular cinemas in the world. The best directors, actresses, and actors developed a mastery of cinematic expression and screen appearance never seen before in cinema. Erotically charged melodramas and comedies were the most popular genres, but also poetic masterpieces such as The Passion of Joan of Arc are key works from this era.

The course will explore the breathtaking appearances of such celebrated female stars as Asta Nielsen and Greta Garbo, and analyze silent masterpieces such as Blom's early science fiction films, the dramas of Christensen, Stiller, Sjostrom, and Dreyer, and the early films of Tancred Ibsen and Ingmar Bergman. All readings are in English.

Instructor s : E. Each part of the series contests the absolutism of moral axioms through narrative twists and reversals in a wide, universalized sphere. This course examines the work of one of the most significant directors working in France today. From the s to the present day, Varda's films have been crucial to the development of new film practices: both in the past-as with the birth of the French New Wave Cinema-and in the present by exploring new forms of visual narration and by working with moving images in gallery spaces.

Filming the police" as a research topic has been taken up in a range of disciplines and subfields from legal and information studies to surveillance and police studies. In film and media studies, the George Holliday video of the beating of Rodney King by the LAPD played an important and controversial role in the formation of documentary studies as a subfield and in debates about indexicality, the nature of photographic evidence, and realism-issues at the core of the discipline. While this course will survey the topic of the filming of police from multiple perspectives, it aims to construct a specifically disciplinary framework for research on police violence.

Topics to include dashboard and body cameras; surveillance, sousveillance, and the regime of visibility; investigative and citizen journalism; records management and archiving; evidence in court proceedings and in the public sphere; police, media, and ideology; the ethics and politics of looking at black suffering; art about police violence; filming the police in an international frame. Instructor s : S. This production-based class will explore the possibilities and limits of capturing the world with imaging approaches that go beyond the conventional camera.

What new and experimental image-based artworks can be created with technologies such as laser scanning, structured light projection, time of flight cameras, photogrammetry, stereography, motion capture, sensor augmented cameras or light field photography? This hands-on course welcomes students with production experience while being designed to keep established tools and commercial practices off-kilter and constantly in question.

This production-oriented class will examine contemporary approaches to the performed digital moving image. Through studying the range of tools and conceptual frameworks that have sought to fuse live visuals in performance in contexts spanning theater, dance, music, installation and public art, students will complete a series of critical sketches leading towards a final project using custom software developed in and for the class. Film production, music composition, and computer programming experience are welcome but none are prerequisites for the course.

Students will be expected to ultimately use the techniques they learn in a final performance.

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Since the s, movies have become increasingly dependent on digital technologies. This course explores a range of issues related to the digitization of cinema's production, distribution, and exhibition, including the cultural contexts and aesthetic practices surrounding these technological shifts as well as their experiential and political dimensions. In particular, we will explore such topics as digital cinematography's relation to cinematic realism, emerging trends in editing practices, the political implications of digital special effects, and the ways that other digital media influence cinematic techniques.

Note s : This course does not satisfy the general education requirement in the arts.


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That movies move Is one of the most basic facts about the medium. This course investigates various aesthetic dimensions of movement throughout the history of the moving image-from early cinema and the avant garde to Hollywood musicals and Disney cartoons. Combining philosophical, critical, and historical readings with careful analysis of films, we will cover topics that include early spectators' fascination with the moving image itself, the relation between the natural perception of movement and cinematic movement, the history and poetics of camera movement, different technologies for recording and simulating movement including cel animation and CGI , and the problems that movement has posed as an object of aesthetic analysis.

Slavoj Zizek has used film as the great expositor of his theories of ideology, perversion, sexuality, politics, nostalgia, and otherness.

Revolution and Rebellion in Mexican Film

The course examines why for the man who has been called the "Elvis of cultural theory" film is such a perfect lens through which to examine social situatedness and intersubjective "aporia. The course is conducted seminar style and participants are expected to be vocal, prepared, and somewhat ornery. The main questions to be discussed are: the bearing of cinema on philosophy; or in what sense, if any, is cinema a form of philosophical thought? What sort of distinctive aesthetic object is a film, or what is the "ontology" of film?