Course Description
An introduction to 100 years of film theory and criticism. Students are introduced to key concepts and major figures from Classical Film Theory (Eisenstein, Arnheim, Bazin) through Structuralism, Semiotics, Psychoanalysis, Feminism, and Cognitive Studies.
Additional Requirements for Graduate Students:
Students will read additional primary theory articles from FILM AND THEORY and present pertinent readings to class, covering assigned topics on special theoretical perspectives. Students will write a 15-page research paper and deliver a condensed 15-minute summary presentation to a special session of graduate and honors students during final week of semester. Note: There is no graduate degree in Film Studies; hence the graduate students come from a wide range of departments and programs, often with little training in film.
Athena Title
Film Theory
Prerequisite
FILM 4250/6250 or FILM 4260/6260 or FILM 4270/6270
Semester Course Offered
Offered every year.
Grading System
A - F (Traditional)
Course Objectives
Students will learn to read critically the key film theorists, but also situate those arguments within an historical context. The exams and writing components for this class require students to summarize, synthesize, and finally evaluate the major figures and trends in cinema theory.
Topical Outline
I. Silent Film Theory A. Early Theorists: Hugo Munsterberg, Bela Balazs B. French Criticism: Germaine Dulac and Louis Delluc C. Soviet Montage: Sergei Eisenstein and Lev Kuleshov II. Sound Film Theory: Politics, and "Realism" A. Siegfried Kracauer's Popular Psychology: From Caligari to Hitler B. Andre Bazin and Realist Film Language C. Jean Mitry, Psychology and Aesthetics III. Authorship, Signs, and Ideology A. Auteur Theory B. Structuralist Theory C. Christian Metz: From Semiotics to Psychoanalysis IV: Post Theory A. Post-Structural Alternatives B. Cultural Studies: Race, Class, Gender C. Cognitive Studies: Where does meaining really come from?
Syllabus