Post-Studio Cinema

October Plan at Midterm

1 Entrance Card. American and International Cinema in the 1960s.

• The End of the Studio System
• The French New Wave 

Comparison and contrast activity. 

Midterm review game. 

Read chapter 14 in Flashback for Tuesday, October 8 and prepare for Midterm. 

3 Film Screening: Cleo from 5 to 7 (Dir. Agnes Varda, 1962). Take notes on narrative and style in film log.

8 Midterm. Film Log due (can use on Midterm) 

• American Cinema in the 1970s--The Blaxploitation Film. 
• Introduce Group Wiki Presentations and Wikispaces. 

Read chapter 15 in Flashback and prepare for Entrance Card. 

10 Film Screening: Coffy (Dir. Jack Hill, 1973). Take notes on narrative and style in film log. 

1950s Cinema

Cinema of the 1950s in the United States and the World

Fred Zinnemann (1907-1997)—realist with protagonists trapped in a social crisis that forces them to confront their own sense of identity

Elia Kazan (1909-2003)—story values rather than stars, more radical than Zinnemann—dedicated Communist for part of life, changed mind in 1939 with Stalin. A reformer

• Social Realism (Elia Kazan’s East of Eden (1955) and On the Waterfront (1954), http://youtu.be/fxXHHBefM1o
• Fred Zinnemann’s From Here to Eternity (1953), and http://youtu.be/4iTCDWQXYlY
• Stanley Kramer’s The Defiant Ones (1958) with Sidney Poitier. http://youtu.be/-Syk7FV55iw

Alfred Hitchcock-storyboarding and complex editing, varied genres and themes for suspense and thriller variation. Strangers on a Train: http://youtu.be/B70_R1igohw

Adolescence/ts in cinema—

• James Dean in Rebel Without a Cause (1955, Nicholas Ray)http://youtu.be/cAlzg0S51GY
•  and Marlon Brando in The Wild One (1953, Laslo Benedek http://youtu.be/yCENBce_dls 

Revisionist Genres (Westerns such as High Noon (1955 Fred Zinnemann) and John Ford's The Searchers, http://youtu.be/WI2AZb04HAc Horror such as Invasion of the Body Snatchers (1956, Don Siegel)http://youtu.be/WFnSxeDfENk

Golden Age of MGM Musical—Singin’ in the Rain (1952, Gene Kelly and Stanley Donen)http://youtu.be/jEKQwy13j_8

Japanese Directors

   1950: Akira Kurosawa (Rashomon and Seven Samurai (1954))—Emperor, adapted Western literaturehttp://youtu.be/sBn4cvHKPUc

   1953: Kenji Mizocuchi (Ugetsu) William Wyler, Chaplin, Lubitsch, Caprahttp://youtu.be/87NcQ9O0rlc

   1953: Yasujiro Ozu (Tokyo Story)http://youtu.be/LhpLrFLckqo

Italian Neorealist Epics

1954: Frederico Fellini (La Strada)http://youtu.be/cWyZk8s2oyg

Indian Cannes Film Festival Winner

1955: Satyajit Ray (Pather Panchall)http://youtu.be/d-JWZDALouI

Swedish

1955: Ingmar Bergman (Smiles of a Summer Night)http://youtu.be/suMQZRAOivo

French

1958: Jacques Tati (Mon Oncle)—sequel to Mr. Hulot’s Holiday establishes him as important French comic artisthttp://youtu.be/NHJcwMrqnJo

1959: Truffaut (400 Blows) Godard (Breathless)http://youtu.be/WCDEAu4R8hA

Film Noir/Italian Neorealism and the 1940s

Entrance Card:
American Cinema in the 1940s:choose 1 and write what you remember from the chapter--
a) Disney features
b) Film Noir 
European Cinema in the 1940s: choose 1 and write what you remember from the chapter--
a) Carol Reed
b) Italian Neorealism

American and European Cinema in the 1940s.

Fishbowl activity.

Read chapters 10 and 11 in Flashback for Tuesday, September 24 and prepare for entrance card.

September 10, 2013: 1930s film

I. Paper I due: Reflect on your writing on a separate sheet of paper--What are the strengths of your paper? If you had more time, what might you further develop or revise?

II. Sherlock, Jr. vs. Nosferatu--based on your film log notes, what do these films have in common? What are their differences and what are the sources of these differences?

III. European vs. American film of the 1930s:

A. Pair up with your neighbor (who read the chapter other than your own) and explain what you learned to each other.

B. After this initial discussion, form a group of with at least one other pair (who have read different chapters).

C. In your group, compare and contrast American and European Cinema in the 1930s.

• Outline characteristics of films and their country of origin (if applicable), genres, and major filmmakers.

• Also, talk about how the films respond to historical and cultural events. 

• With one person acting as note taker, scratch out your outline--a chart that compares and contrasts different cinemas, perhaps. 

• When you're finished, we'll discuss what you came up with. Everyone should place your names on the top of the outline and turn it in for credit.

D. Watch clips from the films to illustrate what you learned.

E. . Read chapters 8 and 9, Flashback for Tuesday, September 17 and prepare for entrance card.