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LITERATURE AND FILM I. CINEMATIC REPRESENTATION/LITERARY REPRESENTATION. Sept. 20 Introduction. André Bazin, "The Myth of the Total Cinema", Siegfried Kracauer, "Basic Concepts", Stanley Cavell, "Ideas of Origin" in Film Theory. Sept. 27 Sign/Image/Cultural Myth Ferdinand de Saussure, "Nature of the Linguistic Sign" in Reader, Roland Barthes, "Rhetoric of the Image," "The Photographic Message." "The Third Meaning" in Reader (from Image-Music-Text,). How to Read Film, pp. 130-140. *Teresa de Lauretis, "Imaging" in Alice Doesn't. Sergei Eisenstein, "The Cinematographic Principle and the Ideogram," in Film Theory) Film: October Oct. 4 Subject/Narrative/Montage Dziga Vertov, excerpts in the Reader, David Bordwell "Narrative Approaches" in Reader How to Read Film, pp. 149-161 *Teresa de Lauretis, "Desire in Narrative" in Alice Doesn't *Robert Scholes, "Narration and Narrativity in Film," in Film Theory Start reading Gogol Film: The Man With the Movie Camera Oct. 11 How is "The Overcoat" Made? (Russian Formalist Theories of Literature and Film) Nikolaj Gogol, "The Overcoat", "Nose", "Nevskii Avenue", "Diary of a Madman" Boris Eikhenbaum, "How is Gogol's Overcoat Made?" Vladimir Nabokov, "Overcoat" in the Reader How to Read Film, pp. 161-183 Film: Overcoat Oct. 18-26 Lolita or Voyerism Across the Borders 1. Cinematic Pleasure and the Engendering of the Spectator Vladimir Nabokov, Lolita, Vladimir Nabokov, Lolita-screenplay Christian Metz, "Identification, Mirror, " "The Passion for Perceiving" in Film Theory, Roland Barthes, excerpts from The Pleasure of the Text in Reader, *Laura Mulvey, "Visual Pleasure and Narrative Cinema" in Film Theory, (discussed later) Film: Lolita 2. Lolita and American Mythologies Jean Baudrillard, excerpts from America in Reader Film: Stranger Than Paradise II. POETIC PRINCIPLE IN LITERATURE AND FILM Nov. 1 Poems by Charles Baudelaire, Guillaume Apollinaire, André Breton and Robert Desnos in the Reader, Dada and Surrealist Film, excerpts in the Reader, Maya Deren, "Cinematography: The Creative Use of Reality" in Film Theory Films: Andalucian Dog, Entr'acte, Meshes of the Afternoon, L'Étoile de mer, Un Chien Andalou, Ballet Mecanique III. REPRESENTATIONS OF HISTORY Nov. 8-15 History in the First Person Milan Kundera, The Book of Laughter and Forgetting, Andrej Tarkovsky, Sculpting in Time (excerpts) and Hayden White, "Fictions of Factual Representation" from Tropics of Discourse in Reader). Films: Man of Marble, Mirror, * I Served in Stalin's Guard IV. THE QUESTION OF POST-MODERNISM Nov. 29 Blowing-up Representation Julio Cortázar, Blow-up *Jean-Louis Baudry, "Ideological Effects of the Basic Cinematic Apparatus" in the Reader Film: Blow-up Dec. 6-13-20 Looking and Reading from the Feminine(ist) Perspective Cynthia Ozick, Levitations (selections xerox) Tatyana Tolstaya, On a Golden Pond (selection, xerox) Laura Mulvey, "Visual Pleasure and Narrative Cinema" in Film Theory, Craig Owen, "The Discourse of the Others: Feminism and Post-Modernism," Helene Cixous, "Laughter of the Medusa" in the Reader, Films: I've Heard the Mermaids Singing, Turnover, Vagabond Most of the films will be available on video in the Harvard Film Archives Library in the Carpenter Center. Books to be purchased in Coop: Nikolaj Gogol, Short Stories. Vladimir Nabokov, Lolita Milan Kundera, The Book of Laughter and Forgetting Julio Cortázar, Blow-up and Other Stories Film Theory and Criticism, ed. Mast and Cohen. David Monaco, How to Read Film *Teresa de Lauretis, Alice Doesn't The Reader to be purchased at Gnomon Copy 1110 Massachusetts Avenue (one block from Harvard Square) *Indicates not obligatory, but highly recommended and more advanced readings. « previous | ||
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