E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

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 (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

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 (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

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 (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

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 (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

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 (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

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 (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

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

No Readings for this lesson

Night and Fog

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

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

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

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

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 (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

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

No Readings for this lesson

Unforgiven

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

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

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

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

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 (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

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