SUMMER 2012 COURSE SCHEDULE

• No appointment is required for undergraduate or graduate students to register for Summer 2012 classes through Albert
• Others, please click here for information about Summer at Tisch

FIRST SESSION

May 21 – June 29 (Session I)

HONG KONG CINEMA

CINE-UT 231 c#4310

Dominic Gavin

TR, 12:30-4:30pm

The Hong Kong movie industry is one of the success stories of world cinema. From The Matrix to Crouching Tiger, Hidden Dragon, from the video game to comic books, its influence is tangible but so widespread that the pioneering work of Hong Kong filmmakers over the decades risks being unacknowledged by a wider audience. In this course we will examine the developments of five film genres from the 1970s on. These include the wuxia ‘sword and chivalry’ films of King Hu and Tsui Hark, and the kung fu film, whose most iconic actors (Bruce Lee, Jackie Chan, Jet Li, and Stephen Chow) also embody the genre’s moments of transition. We will be looking at innovations in the crime film by John Woo, and in Andrew Lau and Alan Mak’s Infernal Affairs trilogy. ‘Asian horror’ has also made its mark thanks to the Hong Kong brand. Finally, in contrast to the gourmet treatment of violence in much of Hong Kong’s popular cinema, the stylish nostalgia films of Stanley Kwan and Wong Kar-wai provide further insights into the identity politics of a regional, yet global cinema in a rapidly changing world.

May 21 – June 8 (Session IA)

HITCHCOCK AND HIS INFLUENCE

Open to both graduate and undergraduate students

• CINE-GT 1225 c#4710
• CINE-UT 205 c#4307

Richard Allen

MTWR, 6:00-10:00pm

Hitchcock is the most recognized and imitated film director in the history of movies. The course will seek to examine and explain his influence. The class will begin by closely examining key works of Hitchcock (Rear Window, Vertigo, and Psycho) in order to understand the elements that make up Hitchcock’s universe, in particular, the complex role and function of suspense. We shall then examine the nature and scope of Hitchcock’s influence upon American and European Cinema, including films by Chabrol, Truffaut, Godard, Almodóvar, Argento, Spielberg, Lynch, Demme and de Palma.

June 11 – June 29 (Session IB)

SCORSESE’S NEW YORK

Open to both graduate and undergraduate students

• CINE-GT 1230 c#4270
• CINE-UT 230 c#4269

MTWR, 6:00-10:00pm

This course will focus on the New York City films of Martin Scorsese. We shall approach several of the films (e.g. Gangs of New York, The Age of Innocence) as filmic examples of historical fiction and most of the other films in terms of their socio-cultural representations of New York City phenomena (e.g. immigration, crime, the art and entertainment industries). As well, we will be concerned with exploring Scorsese’s “narrative method” – his usages of film form and style – in relation to the above issues.

SECOND SESSION

July 2 – August 10

INTRO TO CINEMA STUDIES

CINE-UT 10 c#4308

Michelle Kelley

TR, 12:30-4:30pm

In the summer this course this course is open to non-majors and those looking for an introduction to the field. The course aims to provide Cinema Studies majors, Film & TV majors, and others with the knowledge and skills needed to think and write critically about film. This course introduces students to the study of cinema as an industry, art form and cultural practice. By learning about aspects of film form and style, such as narrative, cinematography, and editing, students gain familiarity with key terms and concepts in film studies. Students are also introduced to critical methods of film analysis and topics in film history. Screenings represent a wide range of genres and national cinemas spanning the history of the medium.

July 2 – August 10

COMIC BOOK MOVIES

CINE-UT 169 c#4497

Wyatt Phillips

MW, 12:30-4:30pm

The presence on movie screens of stories that originated in comic books or graphic novels seems, over the past several years, to have increased considerably. Are these films representative of a new movie genre or are they merely one form of adaptation among many? This course will address both the long history of the relationship between comics and the cinema as well as survey theories of adaptation that allow for a greater understanding of the changes which occur as these stories are translated from sequential art to moving images. Particular attention will be paid to the dynamics of contemporary Hollywood filmmaking and its effect on this process. We will view several versions of the Superman story (radio, animation, television and theatrical film) as well as other ‘superhero’ movies (Batman, The Punisher, Iron Man), but will also consider adaptations from other graphic sources such as 30 Days of Night and Ghost World.

July 2 – August 10

PEDRO ALMODÓVAR

Open to both graduate and undergraduate students

• CINE-GT 2220 c#4711
• CINE-UT 220 c#4309

Chris Straayer

TR, 12:30-4:30pm

Pedro Almodóvar is the most notorious Spanish filmmaker since Luis Buñuel and, like Buñuel, rapidly gained international acclaim. This course will attend to Almodóvar’s appealing body of work (What Have I Done to Deserve This, Matador, Law of Desire, Tie Me Up Tie Me Down, All About My Mother, Talk to Her, Bad Education, Volver, Women on the Verge of a Nervous Breakdown, among others) in relation to: national political history; international film exhibition; intertextual popular culture; comedy-thriller-melodrama genre mixing; convoluted narrative structures; theatrical uses of color, music, acting, and scale; interrelated themes of family, desire, and identity; and an aesthetics of excess. Finally we will consider the “outstanding” Almodóvar within a context of "influence."