Note: The readings, located in E-Reserves for each week, should be done at the beginning of each lesson. Regardless of where you live, all assignments are due by Sunday at 11:59 PM (ET).
Unit 1: History of Cinema
| Readings: |
E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)
- Bordwell, D. & Thompson, K. (2001). Readings on Mise-en-scene. In Film Art: An Introduction (pp. 169-171). New York. McGraw Hill.
- Mast, G., & Kawin, B. F. (2006). Film Narrative, Commercial Expansion. In A Short History of the Movies (pp. 28-37). New York. Longman.
|
|---|
| Feature Films: |
- The Great Train Robbery
- Voyage dans la Lune
- A Corner in Wheat
- The Girl and Her Trust
- Bangville Police
|
|---|
| Assignments: |
Unit 1 Response: Voyage dans la Lune
|
|---|
Unit 2: The Development of Cinematic Language: Modern Times
| Readings: |
E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)
- Giannetti, L. (2008). American Cinema in the 1920s - "Chaplin Giannetti." In Understanding Movies (pp. 46-51). Upper Saddle River. Prentice Hall.
- Winokur, M. (1987). Modern Times and the Comedy of Transformation. Literature/Film Quarterly, 15(4), 219-226.
|
|---|
| Feature Film: |
Modern Times
|
|---|
| Assignments: |
Unit 2 Response: Modern Times
|
|---|
Unit 3: Frank Capra and Populist Cinema: Mr. Smith Goes to Washington
| Readings: |
E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)
- 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.
- Toplin, R. et al. (1999). Frank Capra's America. Journal for MultiMedia History, Vol. 2, 1-12.
|
|---|
| Feature Film: |
Mr. Smith Goes to Washington
|
|---|
| Assignments: |
Unit 3 Response: Mr. Smith Goes to Washington
|
|---|
Unit 4: John Ford and Classic Hollywood Cinema: The Grapes of Wrath
| Readings: |
E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)
- Giannetti, L. (2008). On John Ford. In Understanding Movies (pp. 152-157). Upper Saddle River. Prentice Hall.
- 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.
- 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.
- Sobchack, V. (1979). Grapes of Wrath (1940): Thematic Emphasis Through Visual Style. American Quarterly, 31(5), 596-615.
|
|---|
| Feature Film: |
The Grapes of Wrath
|
|---|
| Assignments: |
Unit 4 Response: The Grapes of Wrath
|
|---|
Unit 5 Lesson 5.1: Romantic Comedy and Cinema as an Ethical Tool: The Philadelphia Story
| Readings: |
E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)
- 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.
|
|---|
| Feature Film: |
The Philadelphia Story
|
|---|
| Assignments: |
Unit 5 Lesson 5.1 Response: The Philadelphia Story
|
|---|
Unit 5 Lesson 5.2: Romantic Comedy and Cinema as an Ethical Tool: Do The Right Thing
| Readings: |
E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)
- Sullivan, D. & Boehrer, F. (2003) Spike Lee's Do The Right Thing: Filmmaking in the American Grain. Contemporary Justice Review, 6:2, 143-167, DOI: 10.1080/10282580302704
|
|---|
| Feature Film: |
Do The Right Thing
|
|---|
| Assignments: |
Unit 5 Lesson 5.2 Response: Do The Right Thing
|
|---|
Unit 6 Lesson 6.1: Elia Kazan: A Face In the Crowd
| Readings: |
E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)
- 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/
- Wolcott, J. (2007). Unforgettable Face. Vanity Fair. Iss. 559, 228.
|
|---|
| Feature Film: |
A Face in the Crowd
|
|---|
| Assignments: |
Unit 6 Lesson 6.1 Response: A Face in the Crowd
|
|---|
Unit 6 Lesson 6.2: Elia Kazan: On The Waterfront
| Readings: |
Other Readings
- Schulberg, B. (1954). On The Waterfront. Daily Script. https://www.dailyscript.com/scripts/onthewaterfront.html
|
|---|
| Feature Film: |
On The Waterfront
|
|---|
| Assignments: |
Unit 6 Lesson 6.2 Response:On The Waterfront
|
|---|
Unit 7: Hitchcock: Rear Window
| Readings: |
E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)
- 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.
- 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.
- Giannetti, L. (2008). Hitchcock. In Understanding Movies (pp. 254-258). Upper Saddle River. Prentice Hall.
- 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.
|
|---|
| Feature Film: |
Rear Window
|
|---|
| Assignments: |
Unit 7 Response: Rear Window
|
|---|
Unit 8 Lesson 8.1: Documentaries: Night and Fog
| Readings: |
None
|
|---|
| Feature Film: |
Night and Fog
|
|---|
| Assignments: |
Unit 8 Lesson 8.1 Response: Night and Fog
|
|---|
Unit 8 Lesson 8.2: I Am Not Your Negro
| Readings: |
E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)
- Scott, A.O. (2017). Review: "I Am Not Your Negro" Will Make Your Rethink Race. New York Times, 2(2).
Other Readings
|
|---|
| Feature Film: |
I Am Not Your Negro
|
|---|
| Assignments: |
Unit 8 Lesson 8.2 Response: I Am Not Your Negro
|
|---|
Unit 9 Lesson 9.1: Stanley Kubrick and the Cold War Hollywood: Dr Strangelove
| Readings: |
E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)
- Siano, B. (1995). A Commentary on Dr. Strangelove.
|
|---|
| Feature Film: |
Dr. Strangelove
|
|---|
| Assignments: |
Unit 9 Lesson 9.1 Response: Dr. Strangelove
|
|---|
Unit 9 Lesson 9.2: Stanley Kubrick and the Cold War Hollywood: 2001: A Space Odyssey
| Readings: |
None
|
|---|
| Feature Film: |
2001: A Space Odyssey
|
|---|
| Assignments: |
Unit 9 Lesson 9.2 Response: 2001: A Space Odyssey
|
|---|
Unit 10 Lesson 10.1: The Graduate
| Readings: |
E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)
- Beuka, R. (2000). Just one Word...."Plastics." Journal of Popular Film & Television, 28(1), 12-21.
- Mast, G. & Kawin, B.F. (2006). Hollywood Renaissance: 1964-76. In A Short History of the Movies (pp. 344-349). New York. Longman.
|
|---|
| Feature Film: |
The Graduate
|
|---|
| Assignments: |
Unit 10 Lesson 10.1 Response: The Graduate
|
|---|
Unit 10 Lesson 10.2: Sidney Lumet, Network, and the Golden Age of Television
| Readings: |
E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)
- Chayefsky, P. (1975) Network script.
Other Readings
|
|---|
| Feature Film: |
Network
|
|---|
| Assignments: |
Unit 10 Lesson 10.2 Response: Network
|
|---|
Unit 11 Lesson 11.1: Martin Scorsese and the Gangster Film: Goodfellas
| Readings: |
E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)
- Raymond, M. (2002). Martin Scorsese. Senses of Cinema.
- Viano, M. (1991). Goodfellas by Martin Scorsese. Film Quarterly. 44(3), 43-50.
|
|---|
| Feature Film: |
Goodfellas
|
|---|
| Assignments: |
Unit 11 Lesson 11.1 Response: Goodfellas
|
|---|
Unit 11 Lesson 11.2: Martin Scorsese and the Gangster Film: Double Indemnity
| Readings: |
E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)
- Schrader, P. (1972). Notes on Film Noir. Film Comment, 8(1). p. 8.
Other Readings
|
|---|
| Feature Film: |
Double Indemnity
|
|---|
| Assignments: |
Unit 11 Lesson 11.2 Response: Double Indemnity
|
|---|
Unit 12: Clint Eastwood, The Western and Unforgiven
| Readings: |
None
|
|---|
| Feature Film: |
Unforgiven
|
|---|
| Assignments: |
Unit 12 Response: Unforgiven
|
|---|
Unit 13 Lesson 13.1: Spielberg and Film as History: Amistad
| Readings: |
E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)
- 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.
- Linder, D. O. (2000). The Amistad Case. Retrieved September 5, 2013, from http://law2.umkc.edu/faculty/projects/ftrials/amistad/ami_act.htm
|
|---|
| Feature Film: |
Amistad
|
|---|
| Assignments: |
Unit 13 Lesson 13.1 Response: Amistad
|
|---|
Unit 13 Lesson 13.2: Speilberg and Film as History: Lincoln
| Readings: |
E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)
- Kushner, T. (2011). Lincoln Final Shooting Script.
Other Readings
|
|---|
| Feature Film: |
Lincoln
|
|---|
| Assignments: |
Unit 13 Lesson 13.2 Response:Lincoln
|
|---|
Unit 14 Lesson 14.1: Science Fiction and the Unreliable Narrator: Blade Runner
| Readings: |
E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)
- Silverman, K. (1991). Back to the Future. Camera Obscura, 9(3 27), 108-132.
|
|---|
| Feature Film: |
Blade Runner
|
|---|
| Assignments: |
Unit 14 Lesson 14.1 Response: Blade Runner
|
|---|
Unit 14 Lesson 14.2: Science Fiction and the Unreliable Narrator: Fight Club
| Readings: |
E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)
- Friday, K. (2003). Generation of Men Without History: Fight Club, Masculinity, and the Historical Symptom. Postmodern Culture, 13(3).
- Ta, L. M. (2006). Hurt So Good: Fight Club, Masculine Violence, and the Crisis of Capitalism. Journal of American Culture, 29(3), 265-277.
|
|---|
| Feature Film: |
Fight Club
|
|---|
| Assignments: |
Unit 14 Lesson 14.2 Response: Fight Club
|
|---|
Unit 15 Lesson 15.1: Foreign Films: Parasite
| Readings: |
None
|
|---|
| Feature Film: |
Parasite
|
|---|
| Assignments: |
Unit 15 Lesson 15.1 Response Parasite
|
|---|
Unit 15 Lesson 15.2: Rashomon
| Readings: |
E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)
- Boyd, D. (1987). Rashomon: From Akutagawa to Kurosawa. Literature/Film Quarterly. 15(3). pp. 155-158
Other Readings
- Prince, S. (2012). The Rashomon Effect. The Criterion Collection. https://www.criterion.com/current/posts/195-the-rashomon-effect1
|
|---|
| Feature Film: |
Rashomon
|
|---|
| Assignments: |
Unit 15 Lesson 15.2 Response:Rashomon
|
|---|
