E-Reserves:

1. Bordwell, D. & Thompson, K. (2001). Readings on Mise-en-scene. In Film Art: An Introduction (pp. 169-171). New York. McGraw Hill.
2. Mast, G., & Kawin, B. F. (2006). Film Narrative, Commercial Expansion. In A Short History of the Movies (pp. 28-37). New York. Longman.

1. The Great Train Robbery
2. Voyage dans la Lune
3. A Corner in Wheat
4. The Girl and Her Trust
5. Bangville Police

1. Lesson 1 Response: Voyage dans la Lune
2. Lesson 1 Discussion

E-Reserves:

1. Giannetti, L. (2008). American Cinema in the 1920s - "Chaplin Giannetti." In Understanding Movies (pp. 46-51). Upper Saddle River. Prentice Hall.
2. Winokur, M. (1987). Modern Times and the Comedy of Transformation. Literature/Film Quarterly, 15(4), 219-226.

Modern Times

1. Lesson 2 Response: Modern Times
2. Lesson 2 Quiz

E-Reserves:

1. Richards, J. (1976). Frank Capra and the Cinema of Populism. In B. Nichols (Ed.), Movies and Methods (pp. 65-77). Berkeley. University of California Press.
2. Toplin, R. et al. (1999). Frank Capra's America. Journal for MultiMedia History, Vol. 2, 1-12. Retrieved September 5, 2013, from http://www.albany.edu/jmmh/vol2no1/Capra1.html

Mr. Smith Goes to Washington

1. Lesson 3 Response: Mr. Smith Goes to Washington
2. Lesson 3 Discussion

E-Reserves:

1. Giannetti, L. (2008). On John Ford. In Understanding Movies (pp. 152-157). Upper Saddle River. Prentice Hall.
2. Gossage, L. (1990). Artful propaganda of Ford's The Grapes of Wrath. In D. Wyatt (Ed.), New Essays on The Grapes of Wrath (pp. 101-125). New York. Cambridge University Press.
3. Mast, G., & Kawin, B. F. (2006). American Studio Years: 1930-1945 "Ford and the Studio System.” In A Short History of the Movies (pp. 186-210). New York. Longman.
4. Sobchack, V. (1979). Grapes of Wrath (1940): Thematic Emphasis Through Visual Style. American Quarterly, 31(5), 596-615.

The Grapes of Wrath

1. Lesson 4 Response: The Grapes of Wrath
2. Lesson 4 Quiz

E-Reserves:

1. Cavell, S. (1981). Importance of Importance: The Philadelphia Story. In Pursuits of Happiness: The Hollywood Comedy of Remarriage (pp. 133-160). Cambridge, MA. Harvard University Press.

The Philadelphia Story

1. Lesson 5 Response: The Philadelphia Story
2. Lesson 5 Discussion

E-Reserves:

1. Beltzer, T. (2004). A Face in the Crowd. Senses of Cinema. Retrieved September 5, 2013, from http://sensesofcinema.com/2004/cteq/face_in_the_crowd/
2. Wolcott, J. (2007). Unforgettable Face. Vanity Fair. Iss. 559, 228. Retrieved September 5, 2013, from http://www.vanityfair.com/news/2007/03/wolcott200703?currentPage=all

A Face in the Crowd

1. Lesson 6 Response: A Face in the Crowd
2. Lesson 6 Quiz

E-Reserves:

1. Bonitzer, P. (1992). Hitchcockian Suspense. In S. Zizk (Ed.), Everything You Always Wanted to Know About Lacan: But Were Afraid to Ask Hitchcock (pp. 15-19). London. Verso.
2. Chion, M., & Bozovie, M. (1992). 4th Side and Man Behind his own Retina. In S. Zizk (Ed.), Everything You Always Wanted to Know About Lacan: But Were Afraid to Ask Hitchcock (pp. 155-177). London. Verso.
3. Giannetti, L. (2008). Hitchcock. In Understanding Movies (pp. 254-258). Upper Saddle River. Prentice Hall.
4. Mast, G., & Kawin, B. F. (2006). American Studio Years: 1930-1945. "Hitchcock and 50s Cinema." In A Short History of the Movies (pp. 211-214). New York. Longman.

Rear Window

1. Lesson 7 Response: Rear Window
2. Lesson 7 Discussion Forum

No Readings for this lesson

Night and Fog

1. Lesson 8 Response: Night and Fog
2. Lesson 8 Quiz

E-Reserves:

1. Siano, B. (1995). A Commentary on Dr. Strangelove. Retrieved September 3, 2013, from http://www.visual-memory.co.uk/amk/doc/0017.html

Dr. Strangelove

1. Lesson 9 Response: Dr. Strangelove
2. Lesson 9 Discussion Forum

E-Reserves:

1. Beuka, R. (2000). Just one Word...."Plastics." Journal of Popular Film & Television, 28(1), 12-21.
2. Mast, G. & Kawin, B.F. (2006). Hollywood Renaissance: 1964-76. In A Short History of the Movies (pp. 344-349). New York. Longman.

The Graduate

1. Lesson 10 Response: The Graduate
2. Lesson 10 Quiz

E-Reserves:

1. Raymond, M. (2002). Martin Scorsese. Senses of Cinema. Retrieved September 5, 2013, from http://web.archive.org/web/20100130094630/http://archive.sensesofcinema.com/contents/directors/02/scorsese.html
2. Viano, M. (1991). Goodfellas by Martin Scorsese. Film Quarterly. 44(3), 43-50.

Goodfellas

1. Lesson 11 Response: Goodfellas
2. Lesson 11 Discussion Forum

No Readings for this lesson

Unforgiven

1. Lesson 12 Response: Unforgiven
2. Lesson 12 Quiz

E-Reserves:

1. Davis, N. Z. (2002). Witnesses of Trauma: Amistad and Beloved. In Slaves on Screen: Film and Historical Vision (pp. 69-93). Cambridge. Harvard University Press.
2. Linder, D. O. (2000). The Amistad Case. Retrieved September 5, 2013, from http://law2.umkc.edu/faculty/projects/ftrials/amistad/ami_act.htm

Amistad

1. Lesson 13 Response: Amistad
2. Lesson 13 Discussion Forum

E-Reserves:

1. Silverman, K. (1991). Back to the Future. Camera Obscura, 9(3 27), 108-132.

Blade Runner

1. Lesson 14 Response: Blade Runner
2. Lesson 14 Quiz

E-Reserves:

1. Friday, K. (2003). Generation of Men Without History: Fight Club, Masculinity, and the Historical Symptom. Postmodern Culture, 13(3).
2. Ta, L. M. (2006). Hurt So Good: Fight Club, Masculine Violence, and the Crisis of Capitalism. Journal of American Culture, 29(3), 265-277.

Fight Club

1. Lesson 15 Response: Fight Club
2. Lesson 15 Discussion Forum