Gerald Mast, Marshall Cohen & Leo Braudy - Film Theory and Criticism ~ Introductory Readings (Fourth Ed.) - Free ebook download as PDF File .pdf) or view. Film theory and criticism: introductory readings / edited by Leo Braudy, Marshall Cohen. th ed. p. cm. Includes bibliographical references and index. Title: Film theory and criticism: introductory readings / edited by Leo DUDLEY ANDREW Concepts in Film Theory by Andrew () from "Adapta-.
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Film Theory and Criticism. By Leo Braudy and Marshall Cohen, eds. (Oxford: Oxford University. Press, , sixth edition. Pp. ix+, ISBN ). FILM THEORY. AND. CRITICISM. Introductory Readings. FOURTH EDITION. GERALD MAST. MARSHALL COHEN. LEO BRAUDY. New York Oxford. OXFORD. Film theory and criticism: introductory readings / edited by Leo Braudy, .. Jakobson, Louis Hjelmslev, and Noam Chomsky, film theorists and critics explored.
I do not provide notes for any class sessions you may have missed. It is your responsibility to get them from another student in the class. It is also your responsibility to make-up any missed screenings. All readings on the syllabus are required. All readings are subject to change. If any reading is changed I will let you know in advance. In a class on film theory, a particularly strong emphasis will be placed on discussing the readings.
You must come to class prepared to discuss the readings. If it is clear that students are not completing the readings, then we will have weekly reading quizzes to ensure that is the case. I consider audio-visual material no different than information from readings and lectures. If you use technology during any screening, you will be asked to leave class and counted as absent for the day.
If you are unable to stay awake during screenings you will be asked to leave class and counted as absent for the day.
You may eat snacks etc.
Missed Screenings: Screenings missed for any reason must be made up. Every screening that is not made up reduces your final grade by 5 points. A screening can only be made up by first by seeing the film s on course reserve at the undergraduate library and second, by writing three 3 pages, on a topic I provide you for EACH film missed.
Make up papers are due via email to me by the start of the next class meeting. There are no exceptions to this policy outside of a note from the emergency dean or a doctor specifying the exact date being excused. Assignments: Your course grade is based out of points.
To fully earn those points, you must satisfactorily complete the assignments on time. I do not accept late assignments. I do not accept any assignment by email unless explicitly approved by me ahead of time. All assignments are due on the assigned dates and times unless otherwise stated by me. If you fail to turn in any assignment on time, you will receive a zero for that assignment grade.
They may also include religious themes. Oxford: Oxford University Press, Eisenstein, Sergei. Edited by Leo Braudy and Marshall Cohen.
Metz, Christian. Edited by Phillip Rosen. New York: Columbia University Press, Williams, Linda.
Film theory and criticism : introductory readings
Edited by Robert Stam and Toby Miller. Malden, MA: Blackwell Publishing, Thanouli, Eleftheria.
Kilkenny, Katie. Braudy, Leo. Wood, Robin. Baudry, Jean-Louis. Willaims, Linda. Gaines, Jane. Edited by Sue Thornham. Doane, Mary Ann. All assignments are due on the assigned date and time unless otherwise stated by me. Course assignments are outlined and explained in detail in this document.
Students are expected to participate in class during every class session with thoughtful, meaningful and contributive questions, comments, ideas etc.
All assignments are due on the assigned dates and times unless otherwise stated by me. If you fail to turn in any assignment on time, you will receive a zero for that assignment grade. They may also include religious themes. Form, Aesthetic, and Language Wednesday August 24th: Form Reading s: Pudovkin, Vsevolod.
Introductory Readings. Oxford University Press, Eisenstein, Sergei. Introductory Readings 8th Edition. Edited by Leo Braudy and Marshall Cohen.
Cinema Language Reading s: Metz, Christian. Aesthetics Reading s: Thompson, Kristin. Edited by Phillip Rosen. New York: Columbia University Press, Williams, Linda.
Gender, Genre, and Excess. An Anthology. Edited by Robert Stam and Toby Miller. Malden, MA: Blackwell Publishing, Film Analysis and Criticism Wednesday September 21st: Bordwell, David. Narrational Principles and Procedures.
Thanouli, Eleftheria. Cinematic Space and Its Different Articulations. Post-Classical Cinema: An International Poetics of Film Narration. Wallflower Press, Formal Analysis Reading s: Gunning, Tom. Criticism Reading s: Comolli, Jean-Luc and Jean Narboni.
Kilkenny, Katie. Tangerine Sean Baker, 1 hour 28 minutes Wednesday October 12th: Film and Reality Reading s: Shohat, Ella and Robert Stam.
Crank Mark Nevaldine, 1 hour 28 min Wednesday October 19th: Altman, Rick. Braudy, Leo. The Conventions of Connection.
Interpretative Frameworks Wednesday October 26th: Auteurism Reading s: Sarris, Andrew. Wood, Robin. Baudry, Jean-Louis. Metaphysical Approaches to the Impression of Reality in the Cinema.
Silverman, Kaja. Feminist Film Theory Reading s: Aesthetics and Feminist Theory.
Willaims, Linda. Gaines, Jane. Race and Gender in Feminist Film Theory. A Reader. Edited by Sue Thornham.
Film theory and criticism : introductory readings
New York University Press, Audience and Spectatorship Reading s: Black Female Spectators. Doane, Mary Ann. Theorising the Female Spectator.
All assignments are due on the assigned date and time unless otherwise stated by me. Course assignments are outlined and explained in detail in this document. Weekly in class Description: This class requires active and thoughtful participation as part of its learning process. Students are expected to participate in class during every class session with thoughtful, meaningful and contributive questions, comments, ideas etc.
In class at various times during the semester Description: Each student will sign up for an in-class presentation on an assigned article. Students may choose whatever article they like, however, only one student may present on each article.
They must also prepare two questions to ask the class regarding said idea, facilitate discussion around those questions, and be prepared to take questions from me as well. Article presentations should be minutes long and will take place on the day the article is assigned in the syllabus.
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Article presentations are not summaries of the reading. October 19th The formal scene analysis paper is meant to help you practice thinking and writing critically about film and film theory. You will choose one option from the list below a film and a theoretical concept to write your paper on.
From the film you will choose one scene and analyze it through the lens of the theory it is linked to. You may not choose a scene we discussed in class. How you analyze the scene, what you discuss, what aspects of the theory you use, etc. All ideas, quotes, etc. The bibliography page does not count towards your 5-page requirement.
November 9th The National Film Registry at the Library of Congress selects 25 films each year that highlight the diversity and range of U. December 7th in class Description:Article presentations should be minutes long and will take place on the day the article is assigned in the syllabus.
Post-Classical Cinema: Auteurism Reading s: Roland Barthes The Face of Garbo 4. Add a tag.
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