MODL1040 - Module Reading List
PROGRAMME: Week 1 (27) – 24/01
Lecture: ‘André Bazin, Siegfried Kracauer and Cinematic Realism’
Class discussion: What is the ‘ontology of the photographic image’? How does it elicit cinematic realism, according to Bazin? And how does Bazin’s realist thought compare with other views of realism in the cinema?
Readings:
Bazin, André (1967), ‘The Ontology of the Photographic Image’, in What is cinema? vol. 1, essays selected and translated by Hugh Gray. Berkeley/Los Angeles/London: University of California Press, pp. 9-16
Nagib, Lúcia and Cecília Mello (2009), Introduction, in L. Nagib and C. Mello (eds), Realism and the audiovisual media. Basingstoke: Palgrave, pp. xiv-xxv
Kracauer, Siegfried (1997), Theory of film : the redemption of physical reality. Princeton: Princeton University Press, chapter 1
Further reading:
Andrew, Dudley (1978), André Bazin. Oxford: Oxford University Press
Willis, Holly (2005), New digital cinema : reinventing the moving image. London: Wallflower Press.
Week 2 (28) – 31/01
Lecture: ‘Introduction to the politique des auteurs, the nouvelle vague and the world New Waves’Seminar question: What is the politique des auteurs? What are the other novelties introduced by the nouvelle vague and can they be identified in other world new waves?
Viewings:
Les quatre cents coups [videorecording], François Truffaut, 1959)
Further viewing:
Deus e o diabo na terra do sol [videorecording]. (Deus e o diabo na terra do sol, Glauber Rocha, 1964)
The loves of a blonde [videorecording] (Lásky jedné plavovlásky, Milos Forman, 1965)
Readings:
Truffaut, François (2008), ‘A certain tendency in French cinema’, in Barry Keith Grant (ed.), Auteurs and authorship : a film reader Malden, Mass/Oxford: Wiley Blackwell
Bazin, André (2008), ‘De la politique des auteurs’, in Barry Keith Grant (ed.), Auteurs and authorship : a film reader. Malden, Mass/Oxford: Wiley Blackwell
Nagib, Lúcia (2011), World cinema and the ethics of realism. New York/London: Continuum, Chapter 1
Further reading:
Xavier, Ismail (1997), Allegories of underdevelopment : aesthetics and politics in modern Brazilian cinema. Minneapolis/London: University of Minnesota Press, chapter on Black God, White Devil.
Hames, Peter (2005), The Czechoslovak new wave. London: Wallflower Press.
Hillier, Jim (ed.) (1985), Cahiers du cinéma. Vol.1, The 1950s : Neo-realism, Hollywood, new wave London/Melbourne/Henley: Routledge & Kegan Paul, pp. 1-20
Neupert, Richard (2002), A History of the French New Wave Cinema. Madison/London: University of Wisconsin Press, Introduction and Chapter 1
Greene, Naomi (2007), The French New Wave : a new look. London/New York: Wallflower, Chapter 1.
Monaco, James (1976), The New Wave : Truffaut, Godard, Chabrol, Rohmer, Rivette, Rivette. Oxford: Oxford University Press
Week 3 (29) – 07/02
Lecture: ‘Godard, alienation effect and Brecht’
Seminar question: How would you define Brecht’s alienation effect? How does it translate into the cinematic experiences of Breathless and My Life to Live? Please analyse an extract from one of the films to highlight its self-reflexive devices.
Viewings:
Breathless (A bout de souffle, Jean-Luc Godard, 1960)
My Life to Live (Vivre sa vie [videorecording] ; Masculin féminin ; Two or three things I know about her., Jean-Luc Godard, 1962)
Comparative viewing:
Class relations (Klassenverhältnisse, Jean-Marie Straub and Danièle Huillet, 1984)
To Whom Does the World Belong? (Kuhle Wampe [videorecording] : Wem gehört die Welt?, Slatan Dudow, 1932)
Readings:
Brecht, Bertolt (1978), ‘Alienation Effects in Chinese Acting’, in Brecht on theatre : the development of an aesthetic. NewYork/London: Methuen
Marie, Michel (2000), ‘“It really makes you sick!”: Jean-Luc Godard’s A bout de souffle’, in Hayward, Susan & Ginette Vincendeau (eds), French film : texts and contexts. London/New York: Routledge.
Sterritt, David (1999) The films of Jean-Luc Godard : seeing the invisible. Cambridge: Cambridge University Press. Chapters on Breathless and My Life to Live (pp. 39-88)
Further reading:
Stam, Robert (2006), ‘The Presence of Brecht’, in Stam, Robert, Film Theory: An Introduction. Malden, Mass/Oxford: Blackwell, pp. 145-150.
MacCabe, Colin (2003), Godard : a portrait of the artist at 70. London: Bloomsbury. Chapter 3: ‘A Certain Tendency of French Film Production: The New Wave of Karina and Coutard’, pp. 97-178.
Silberman, Marc (ed) (2000), Brecht on film and radio. London: Methuen.
Walsh, Martin (1981), The Brechtian aspect of radical cinema. London: BFI.
Week 4 (30) – 14/02
Lecture: ‘The Japanese New Wave: the Art Theatre Guild and Independent Cinema’Seminar question: How does the Japanese New Wave related to the other new waves we have examined? What is the meaning of independence cinema in the Japanese context?
Viewings:
Funeral parade of roses [videorecording] (Bara no Soretsu, Toshio Matsumoto, 1969)
Further viewing:
A man vanishes [videorecording] (Ningen Jōhatsu, Shōhei Imamura, 1967)
Double suicide [videorecording] = [Shinjk ten no Amijima] (Shinjū Ten no Amijimai, Masahiro Shinoda, 1969)
Readings:
Ko, Mika (2011), ‘Neo-documentarism’ in Funeral Parade of Roses: the new realism of Matsumoto Toshio’, Screen., 52, 3: 376-390.
Ross, Julian (2010), ‘The Story of the Art Theatre Guild’ in Directory of world cinema. Volume 1, Japan. Bristol: Intellect.
Further Readings:
Desser, David (1988), Eros plus massacre : an introduction to the Japanese new wave cinema. Bloomington: Indiana University Press, Introduction.
Domenig, Roland (2004), ‘The Anticipation of Freedom: Art Theatre Guild and Japanese Independent Cinema’, Midnight Eye http://www.midnighteye.com/features/art-theatre-guild.shtml
Hirasawa, Gō (2005), ‘Underground Cinema and the Art Theatre Guild’, Midnight Eye < http://www.midnighteye.com/features/underground_atg.shtml >
Turim, Maureen (1998), The films of Oshima Nagisa : images of a Japanese iconoclast. Berkeley/Los Angeles/London: University of California Press.
Week 5 (31) – 21/02
Lecture: ‘British Social Realism’Seminar question: What are the common stylistic devices and themes between the kitchen-sink dramas of the late 1950s/early 1960s and The Arbor? What are the main similarities and differences between the so-called British New Wave and the other new waves we have examined?
Viewings:
A taste of honey [videorecording] (Tony Richardson, 1961)
Further viewing:
The arbor [videorecording] (Clio Barnard, 2010)
Readings:
Hill, John (1986), Sex, class and realism : British cinema 1956-1963. London: British Film Institute. Chapters 1, 3, 6, 7.
Hill, John (2000), ‘From the New Wave to “Brit-grit”: Continuity and Difference in Working-class Realism’, in Ashby, Justine and Higson, Andrew (eds), British cinema, past and present London and New York: Routledge.
Lay, Samantha (2002), British social realism : from documentary to Brit grit. London: Wallflower Press. Chapters 1 & 4.
Further reading:
Wollen, Peter (2006), ‘The Last New Wave: Modernism in the British Films of the Thatcher Era’, in Friedman, Lester (ed), Fires were started: British cinema and Thatcherism. Minneapolis: University of Minnesota Press.
Lovell, Terry (1996), ‘Landscapes and Stories in 1960s British Realism’, in Andrew Higson (ed), ‘Dissolving views : key writings on British cinema ’. London: Cassell.
Week 6 (32) – 28/02
Lecture: ‘Indigenous Cinema: the African Case’
Seminar question: How can we describe African cinema?
Viewing:
Touki bouki [videorecording] (Djibril Diop Mambéty, 1973)
Comparative viewings:
Black girl : Borom Sarret (Ousmane Sembene, 1966)
Reading:
Pfaff, Francoise (ed) (2004), Focus on African films. Bloomington, Indiana University Press. Introduction
Further Reading:
Bakari, Imruh and Mbye Cham (ed) (1996), African experiences of cinema. London: BFI.
Busch, Annett (ed) (2008), Ousmane Sembène : interviews (Conversations with Filmmakers). Mississippi: University Press of Mississippi.
Diawara, Manthia (1992), African cinema : politics & culture. Bloomington: Indiana University Press.
Gadjigo, Samba (2010), Ousmane Sembène : the making of a militant artist. Bloomington/Indianapolis: Indiana University Press.
Grayson, Sandra M. (2001), ‘In Memorium: Djibril Diop Mambéty A Retrospective’, Research in African literatures., 32, 4: 136-139.
Murphy, David and Parick Williams (eds) (2007), Postcolonial African cinema : ten directors. Manchester: Manchester University Press. Section on Djibril Diop Mambéty
Week 7 (33) – 06/03
Lecture: ‘Dogma 95 and World Reactions’
Seminar question: How does the Dogma 95 Manifesto compare with previous waves in film history such as Italian Neorealism and the French New Wave? Explain how the Dogma films spring from a realist impulse in tune with other world cinema waves in the 1990s/2000s.
Viewings:
Festen [videorecording]. (Thomas Vinterberg, 1998)
The idiots [videorecording] (Idioterne, Lars von Trier, 1998)
Further viewing:
Julien Donkey-Boy [videorecording] (Harmony Korine, 1999)
Gypo [videorecording] (Jan Dunn, 2005)
Readings:
Bainbridge, Caroline (2007) The cinema of Lars von Trier : authenticity and artiface. London/New York: Wallflower Press. Chapters 5 & 6.
Jerslev, Anne (2002), ‘Dogma 95, Lars von Trier’s The Idiots and the “Idiot Project”’, in Jerslev, Anne (ed.) Realism and "reality" in film and media. Denmark: Museum Tusculanum Press/University of Copenhagen.
Stevenson, Jack (2002) Lars von Trier. London: BFI. Chapters 4 & 6.
Further Reading:
Hjört, Mette and MacKenzie, Scott (2003), Purity and provocation : Dogma 95. London: British Film Institute.
Stevenson, Jack (2003), Dogme uncut : Lars von Trier, Thomas Vinterberg, and the gang that took on Hollywood. Santa Monica, CA: Santa Monica Press.
Week 8 (34) – 13/03
Lecture: ‘Contemporary world cinema: Taiwan new cinema’Seminar question: What are the realist characteristics of Taiwanese cinema from early 1980s to the present?
Viewings:
Yi Yi [videorecording] (Yi Yi, Edward Yang, 2000)
Further viewing:
Vive l'amour [videorecording] (Ai qing wan sui, Tsai Ming-liang, 1994)
Readings:
Ming-yeh T. Rawnsley (2009), ‘Obsevational Realism in New Taiwan Cinema’, in L. Nagib and C. Mello (eds), Realism and the audiovisual media. Basingstoke: Palgrave, pp. 96-107.
Berry, Chris and Lu, Feii (eds) (2005), Island on the edge : Taiwan new cinema and after Hong Kong: Hong Kong University Press. Introduction and Chapter 7.
Further reading:
Anderson, John (2005), Edward Yang (Contemporary Film Directors). Illinois: University of Illinois Press.
Yip, June (2004), Envisioning Taiwan : fiction, cinema, and the nation in the cultural imaginary. Durham/London: Duke University Press.
Week 9 (39) – 20/03
Lecture: ‘Contemporary World Cinema: Iran’Seminar question:
Viewings:
Crimson gold [videorecording] (Talaye sorkh, Jafar Panahi, 2003)
Further viewings:
Persepolis [videorecording] (Vincent Paronnaud and Marjane Satrapi, 2007)
A Separation [videorecording] (Jodaeiye Nader az Simin, Asghar Farhadi, 2011)
Close-up [videorecording] (Nema-ye Nazdik, Abbas Kiarostami, 1990)
Readings:
Sheibani, Khaterh (2011), The poetics of Iranian cinema : aesthetics, modernity and film after the revolution. London; New York: I.B. Tauris. Introduction & Chapter 1.
Further Reading:
Naficy, Hamid (2011), A social history of Iranian cinema Vol. 1 & 2. Durham/Londres: Duke University Press.
Week 10 (40) – 27/03
Lecture: ‘Accented Cinema and Contemporary World Cinema’Seminar question: What is accented cinema? What is accented cinema's contribution to our current conception of world cinema?
Viewing:
Gegen die Wand [videorecording] (Gegen die Wand, Fatih Akin, 2004)
Comparative viewing:
I for India [videorecording] (Sadhya Suri, 2005)
Lost, Lost, Lost (Jonas Mekas, 1976)
Readings:
Naficy, Hamid (2001), An accented cinema : exilic and diasporic filmmaking. Princeton: Princeton University Press. Introduction.
Further Readings:
Luca, Tiago de (2011), ‘Realism of the Senses: a tendency in contemporary world cinema’, in L. Nagib, C. Perriam & R. Dudrah (eds.), Theorizing world cinema. London/New York: I.B. Tauris
Week 11 (41) – 01/05 Revision
General Bibliography
Anderson, John (2005), Edward Yang (Contemporary Film Directors). Illinois: University of Illinois Press.
Andrew, Dudley (1978), André Bazin. Oxford: Oxford University Press
Andrew, Dudley (1984) Film in the aura of art. Princeton: Princeton University Press
Ashby, Justine and Higson, Andrew (eds.) (2000) British cinema, past and present. London and New York: Routledge.
Aumont, Jacques, Alain Bergala, Michel Marie & Marc Vernet (1999) Aesthetics of film. Austin: University of Texas Press
Bacon, Henry (1998) Visconti : explorations of beauty and decay. Cambridge: Cambridge Universiy Press
Bainbridge, Caroline (2007) The cinema of Lars von Trier : authenticity and artiface . London/New York: Wallflower Press.
Bakari, Imruh & Mbye Cham (eds.) (1996) African experiences of cinema. London: BFI Publishing.
Barry Keith Grant (ed.) (2008) Auteurs and authorship : a film reader. Malden, Mass/Oxford: Wiley Blackwell.
Bazin, André (1971) What is cinema? Berkeley/Los Angeles: University of California Press.
Berry, Chris and Lu, Feii (eds) (2005), Island on the edge : Taiwan new cinema and after. Hong Kong: Hong Kong University Press.
Bordwell, David and Noel Carroll (eds.) (1996) Post-theory : reconstructing film studies. Madison: The University of Wisconsin Press.
_____________ (1985) Narration in the Fiction Film. London: Methuen.
_____________ and Kristin Thompson (2003) Film History: An Introduction. New York: McGraw-Hill, second edition.
____________ Janet Staiger and Kristin Thompson (1988) The classical Hollywood cinema : film style & mode of production to 1960. London: Routledge.
Brecht, Bertolt (1978), ‘Alienation Effects in Chinese Acting’, in Brecht on theatre : the development of an aesthetic. NewYork/London: Methuen.
Burch, Noel (1979) To the distant observer : form and meaning in the Japanese cinema Los Angeles: University of California Press.
Caughie, John (ed.) (1996) Theories of authorship : a reader. London: Routledge.
Chapman, James (2003) Cinemas of the world : film and society from 1895 to the present. London: Reaktion.
Charney, Leo and Vanessa Schwartz (eds.) (1995), Cinema and the Invention of Modern Life. Los Angeles: University of California Press.
Cook, David A. (2004) A History of Narrative Film ( Third Edition). New York/London: W.W. Norton & Company.
Desser, David (ed.) (1997) Ozus Tokyo Story. Cambridge: Cambridge University Press.
___________ & Arthur Nolletti, Jr. (eds.) (1992) Reframing Japanese cinema : authorship, genre, history Bloomington/Indianapolis: Indiana University Press.
_____________ (1988), Eros plus massacre : an introduction to the Japanese new wave cinema. Bloomington: Indiana University Press.
Deleuze, Gilles (1989) L'image-temps. London: Athlone.
Dennison, Stephanie & Lisa Shaw (2004) Popular cinema in Brazil, 1930-2001. Manchester/New York: Manchester University Press.
Diawara, Manthia (1992), African cinema : politics & culture. Bloomington: Indiana University Press.
Elsaesser, Thomas (ed.) (1997) Early cinema : space, frame, narrative. London: BFI Publishing.
Friedman, Lester (ed) (2006), Fires were started: British cinema and Thatcherism. Minneapolis: University of Minnesota Press.
Gledhill, Christine and Williams, Linda (eds.) (2000) Reinventing film studies. London: Arnold.
Guneratne, A. R. and Dissanayake, W. (eds.) (2003) Rethinking Third Cinema. New York and London: Routledge.
Greene, Naomi (2007), The French New Wave : a new look. London/New York: Wallflower Press.
Hames, Peter (2005), The Czechoslovak New Wave. London: Wallflower Press.
Higson, Andrew (ed), ‘Dissolving views : key writings on British cinema ’. London: Cassell.
Hill, John and Gibson, Pamella Church (2000) World cinema : critical approaches. Oxford: Oxford University Press.
_________ (1986), Sex, class and realism : British cinema 1956-1963. London: British Film Institute.
Hjört, Mette and MacKenzie, Scott (2003), Purity and provocation : Dogma 95 . London: BFI Publishing.
Jameson, Fredric (1992) The geopolitical aesthetic : cinema and space in the world system. London: BFI Publishing.
Johnson, Randal & Robert Stam (1995) Brazilian cinema (expanded edition). New York: Columbia University Press.
King, John (2000) Magical reels : a history of cinema in Latin America. London/New York: Verso.
_________ , Ana M. López & Manuel Alvarado (eds.) (1993) Mediating two worlds : cinematic encounters in the Americas. London: BFI Publishing.
Kracauer, Siegfried (1997), Theory of film : the redemption of physical reality. Princeton: Princeton University Press.
Lay, Samantha (2002), British social realism : from documentary to Brit grit. London: Wallflower Press.
Lim, Song Hwee and Stephanie Dennison (2006) (eds.) Remapping world cinema : identity, culture and politics in film London and New York: Wallflower Press.
Margulies, Ivone (ed.) (2003) Rites of realism : essays on corporeal cinema. Durham/Londres: Duke University Press.
MacCabe, Colin (2003), Godard : a portrait of the artist at 70. London: Bloomsbury.
Monaco, James (1976), The New Wave : Truffaut, Godard, Chabrol, Rohmer, Rivette. Oxford: Oxford University Press.
Miller, Toby and Stam, Robert (eds.) (2004) A companion to film theory. Malden and Oxford: Blackwell.
Mulvey, Laura (2005) Death 24x a second : stillness and the moving image London: Reaktion.
____________ (1996) Fetishism and curiosity. London: BFI Publishing.
____________ (2009) Visual and other pleasures Basingstoke: Palgrave Macmillan.
Murphy, David and Parick Williams (eds) (2007), Postcolonial African cinema : ten directors. Manchester: Manchester University Press.
Naficy, Hamid (2011), A social history of Iranian cinema Vol. 1 & 2. Durham/Londres: Duke University Press.
____________ (2001), An accented cinema : exilic and diasporic filmmaking Princeton: Princeton University Press.
Nagib, Lúcia (2007) Brazil on screen : cinema novo, new cinema, utopia. London/New York, I.B. Tauris.
___________ (2011) World cinema and the ethics of realism. New York/London: Continuum.
___________, Chris Perriam and Rajinder Dudrah (eds) (2011) Theorizing world cinema. London/New York: I.B. Tauris.
___________ (ed.) (2003) The new Brazilian cinema. London/New York: I.B. Tauris.
Neupert, Richard (2002), A History of the French New Wave Cinema. Madison/London: University of Wisconsin Press.
Nowell-Smith, Geoffrey (ed.) (1999) The Oxford history of world cinema. Oxford: Oxford University Press.
Oshima, Nagisa (1980) Cinema, censorship, and the state : the writings of Nagisa Oshima, 1956-1978. Cambridge/London: The MIT Press.
Overbey, David (1978) 'Introduction', in Springtime in Italy : a reader on neo-realism, London: Talisman, pp. 1-33.
Sheibani, Khaterh (2011),The poetics of Iranian cinema : aesthetics, modernity and film after the revolution. London; New York: I.B. Tauris.
Shohat, Ella and Stam, Robert (eds.) (1994) Unthinking Eurocentrism : multiculturalism and the media. London and New York: Routledge.
Silberman, Marc (ed) (2000), Brecht on film and radio. London: Methuen.
Stam, Robert (2006) Film Theory: An Introduction. Malden and Oxford: Blackwell.
__________ (1997) Tropical multiculturalism : a comparative history of race in Brazilian cinema and culture. Durham/London: Duke University Press.
Stevenson, Jack (2003),Dogme uncut : Lars von Trier, Thomas Vinterberg, and the gang that took on Hollywood. Santa Monica, CA: Santa Monica Press.
_____________ (2002) Lars von Trier. London: BFI Publishing.
Sterritt, David (1999) The films of Jean-Luc Godard : seeing the invisible. Cambridge: Cambridge University Press.
Strauven, Wanda (ed.) (2006) The cinema of attractions reloaded. Amsterdam: Amsterdam University Press.
Turim, Maureen (1998) The films of Oshima Nagisa : images of a Japanese iconoclast. Berkely/Los Angeles/London: University of California Press.
Ukadike, Nwachukwu Frank (1994) Black African cinema. Berkeley/Los Angeles/London: University of California Press.
Xavier, Ismail (1997) Allegories of underdevelopment : aesthetics and politics in modern Brazilian cinema. Minneapolis/London: University of Minnesota Press.
Walsh, Martin (1981), The Brechtian aspect of radical cinema. London: BFI.
Willemen, Paul (1993) Looks and frictions : essays in cultural studies and film theory London: BFI.
_____________ & Valentina Vitali (2006) Theorising national cinema. London: BFI.
Willis, Holly (2005), New digital cinema : reinventing the moving image. London: Wallflower Press.
Wollen, Peter (1998) Signs and meaning in the cinema. London: BFI.
Yip, June (2004), Envisioning Taiwan : fiction, cinema, and the nation in the cultural imaginary. Durham/London: Duke University Press.
This list was last updated on 07/12/2011