This course will present a critical survey of the
principal authors, concepts, movements, and films in the classical period of
film theory from roughly 1915 to 1960. Weekly readings and discussion will
examine major film movements and technological developments of the period—for
example, Soviet montage and the advent of the sound film—as well as the work of
major figures such as Sergei Eisenstein, Dziga Vertov, Esfir Shub, Lev
Kuleshov, Hugo Münsterberg, Rudolf Arnheim, Jean Epstein, Riciotto Canudo,
Germaine Dulac, Béla Balázs, Erwin Panofsky, Hans Richter, John Grierson, Paul
Rotha, Siegfried Kracauer, Walter Benjamin, Maya Deren, and André Bazin. Our study of the aesthetic and political debates surrounding the
emergent medium will be animated by the following questions: What is cinema?
What can cinema do? What is cinema’s social function? Is cinema an art? If so,
how is cinema different from other art forms? What will cinema become?
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The Connection (Shirley Clarke, USA, 1961,…
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Eye/Machine I (Harun Farocki, 2001, Germany,…
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The Life and Death of a Hollywood Extra (Robert…
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World War Z (Marc Forster, 2013, USA, 116’)
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Waking Life (Richard Linklater, USA, 2001,…
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Emak Bakia (Man Ray, France, 1927, 6’)
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Límite (Mario Peixoto, Brazil, 1931,…
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Man with a Movie Camera (Dziga Vertov, 1929,… 10 of 15
Man with a Movie Camera (Dziga Vertov, 1929,…
Man with a Movie Camera (Dziga Vertov, 1929,…
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Sunrise (F.W. Murnau, Germany, 1927, 95’)
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A Page of Madness (Teinosuke Kinugasa, Japan,…
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Sherlock Jr. (Buster Keaton, USA, 1924, 45’)
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Camera (David Cronenberg, Canada, 2000, 6’)
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