WORLD ACADEMY OF CINEMATOGRAPHY

INTER-UNIVERSITY HIGHER ACADEMIC COUNCIL

ACADÉMIE MONDIALE DE LA CINÉMATOGRAPHIE

CONSEIL UNIVERSITAIRE SUPÉRIEUR INTERUNIVERSITAIRE

 

Sujet : Cinématographie hollywoodienne/

(Sujets supplémentaires) Français/Italien/Allemand/Russie / Cinématographie

Tout au long de son siècle d’existence, le cinéma a été à la fois un divertissement populaire, une forme d’art majeure, une industrie culturelle et une base pour l’identité sociale et nationale. Ce cours approfondit les études de cas historiques pour examiner ce que l’histoire du cinéma signifie comme une tentative d’expliquer la richesse du passé du cinéma. L’accent sera mis sur la recherche et l’argumentation. Sujets possibles pour inclure l’économie politique de l’industrie cinématographique, l’étude de la réception, l’histoire sociale du cinéma, le cinéma national et l’agence d’auteur ou de star dans le système de studio.

L’étude de cas pour ce semestre sera Hollywood cinématography. Le cours examinera l’œuvre de cinéastes sélectionnés de l’époque des studios, l’impact des nouvelles technologies et l’évolution des pratiques cinématographiques dans les studios.

TEXTES REQUIS

Richard Allen et Douglas Gomery, Histoire du cinéma : Théorie et pratique

Patrick Keating, l’éclairage hollywoodien de l’ère du Muet au Film Noir

Toutes les autres lectures sur Tableau noir

Introduction : L’Art caché de la Cinématographie

Projection: Visions of Light (Arnold Glassman, Todd McCarthy et Stuart Samuels, 1992, 92m, DP Nancy Schreiber)

Projection: Ann Carver’s Profession (Edward Buzzell, 1933, 70m, Columbia, DP Ted Tetzlaff)

David Bordwell “ ” Marguerites dans les crevasses”

Arthur Miller, entretien

Leon Shamroy, ” L’avenir de la cinématographie”

Keating, Hollywood de l’Éclairage, de l’introduction, ch. 1: “La Rhétorique de la Lumière” et ” Mécanique ou Artistes?”

Méthodes de l’Histoire du Film

 

Projection : Now Voyager (Irving Rapper, 1942, 118m, DP Sal Polito)

Kristin Thompson et David Bordwell, ” Histoire du film et comment Cela se fait”

Richard Allen et Douglas Gomery, Histoire du cinéma, ch. 1, 3

Richard Allen et Douglas Gomery, Histoire du cinéma, ch. 2

Jeanne Allen ” Now Voyager en tant que film féminine: Coming of Age Hollywood Style”

Histoire esthétique : Le Canonique contre Le Typique

Projection : le Vaisseau Fantôme (Mark Robson, 1943, 69, RKO, DP Nicolas Musaraca)

Richard Allen et Douglas Gomery, Histoire du cinéma, ch. 4

Andrew Sarris, d’un Cinéma Américain

Projection : Citizen Kane (Orson Welles, 1941, 112m, RKO, DP Gregg Toland)

David Bordwell, introduction à l’Histoire du style cinématographique

Bordwell, annexe, Cinéma Hollywoodien classique

 

Histoire Économique / Histoire de l’Exposition

Projection: Union Station (Rudolph Maté, 1950, 81m, Paramount, DP Daniel Fapp)

Richard Allen et Douglas Gomery, Histoire du cinéma, ch. 6

Michael Conant “ ” L’impact des décrets Paramount”

Paul Kerr, ” De quel passé ? Notes sur le B Noir”

Richard Allen et Douglas Gomery, Histoire du cinéma, ch. 8

Histoire Technologique

 

W 2/17. Projection : Ma meilleure fille (Sam Taylor, 1927, 79m, DP Charles Rosher)

Richard Allen et Douglas Gomery, Histoire du cinéma, ch. 5

 

F 2/19. Projection :  Tous les hommes du président (Alan Pakula, 1976, 138m, DP Gordon Willis)

Paul Ramaeker, ” Notes sur la dioptrie à champ divisé”

 

La Configuration de l’Éclairage et l’Éclairage Glamour (Leon Shamroy)

Projection: Aventures de Sherlock Holmes (Alfred Werker, 1939, 85m,20th-Fox, DP Leon Shamroy)

John Alton, de la peinture avec la Lumière

Keating, Hollywood Éclairage, ch. 2 “ “Du Portrait au gros plan”, pp. 127-33 (”Figure Lighting ” du ch. 6)

Richard Dyer “ ” L’éclairage pour la blancheur”

Projection: Lillian Russell (Irving Cummings, 1940, 127m,20th-Fox, DP Leon Shamroy)

Charles Higham, entretien avec Leon Shamroy

 

Effets-et Genre-Éclairage (Charles Lang)

Projection : Desire (Frank Borzage, 1936, 92m, Paramount, DP Charles Lang, Jr)

Phil Tannura, “Que Voulons-Nous Dire Quand Nous Parlons D ‘”Effets-Éclairages

Keating, Hollywood Éclairage, ch. 3:Le drame de la lumière “pp. 133-51 (”Effet-Éclairage “et” Genre-Éclairage” de ch. 6)

Projection: The Uninvited (Lewis Allen, 1944, 99m, Paramount, DP Charles Lang, Jr)

Herb Lightman  ” Le Directeur du Caméraman”

PRATIQUE DE LA RÉALISATION D’UN COURT MÉTRAGE / RÉUNIONS D’INSTRUCTEURS POUR DES PROJETS DE RECHERCHE

Classicime et Composition (William Daniels)

 

Film: Anna Karénine (Clarence Brown, 1935, 95m, MGM, DP William Daniels)

Keating, Hollywood de l’Éclairage, de la sch. 4-7

 

Dépistage : la Boutique au Coin de la rue (Ernst Lubitsch, 1940, 99m, MGM, DP William Daniels)

 

Atelier d’Écriture

Atelier

Style de la maison : le look des Warners (Polito, Haller et Edeson)

Projection : Les infidèles (Vincent Sherman, 1947, 109m, WB, DP Ernest Haller)

Thomas Schatz , du Génie du système

 

Projection : Les Années folles (Raoul Walsh, 1939, 107m, WB, DP Ernest Haller)

Rudy Behlmer , de l’intérieur Warner Bros.

Barry Salt, du Style Cinématographique et de la technologie

Mise au point approfondie (Gregg Toland et Arthur Miller)

 

Keating, Hollywood Éclairage, ch. 9: “Le débit de la rivière”

Directeur de la photographie américain, ” Les as de la caméra : Gregg Toland”

Charles Clarke “ ” Dans quelle mesure la profondeur Focale est-elle souhaitable ?

 

Dépistage : qu’elle Était Verte Ma Vallée de John Ford, 1941, 119m, 20-Fox, DP Arthur Miller)

Directeur de la photographie américain, examen de la façon dont Ma Vallée Était verte

Technicolor (Howard Greene)

Présentations en classe

Projection : Le sentier du Pin solitaire (Henry Hathaway, 1936, 102m, UA-Wanger, DP)

Keating, Hollywood Éclairage, ch. 8: “Promesses et problèmes de Technicolor”

Scott Higgins, de Harnassing the Technicolor Rainbow

 

Présentations en Classe

 

EXAMEN FINAL POUR CHAQUE SEMESTRE

Russ / Litr 435 : Introduction au cinéma russe

T, TH 2 : 40-4: 00 PM

ELIOT 414

Projections : M, W 7 PM (les endroits varient ; voir le programme ci-dessous).

Instructeur : Evgenii (Zhenya) Bershtein.

Bureau  Vollum 128.

Heures de bureau M, W 2-3 PM et sur rendez-vous.

Cours complet pour un semestre. Conférence. Le cours offre une introduction à l’histoire et à la poétique du cinéma russe dans la double perspective des contextes culturels russes et du développement du cinéma en tant que médium artistique. Tout en étudiant les chefs-d’œuvre du cinéma russe, nous accorderons une attention particulière au cinéma muet, de Bauer et Protazanov à Kuleshov, Vertov et Dovzhenko. Les films de Sergei Eisenstein seront examinés en détail, ainsi que ceux d’Andrei Tarkovsky. Les lectures se concentreront sur les travaux de la théorie du film et de l’histoire du cinéma. Charge de travail : la participation à toutes les projections de films et sections de discussion est requise ; lecture approfondie ; quatre courts documents (environ 3 pages chacun) et un document final (10 pages); présentations en classe. Prérequis : les étudiants qui souhaitent suivre le cours pour le crédit russe doivent avoir complété Russian 220 ou obtenir le consentement de l’instructeur. Il y aura une réunion hebdomadaire supplémentaire pour les étudiants qui suivent ce cours pour le crédit russe. Votre évaluation sera fondée sur votre contribution à la conférence et sur vos observations écrites.

Tous les films sont disponibles dans la réserve IMC. Les livres pour cette classe sont disponibles en plusieurs exemplaires dans la réserve de la bibliothèque.

Livres à acheter (disponible à la librairie Reed):

Bordwell et Thompson, Film Art: Une introduction (8e édition). Recommandé. 5 exemplaires de ce texte se trouve nt dans la réserve de la bibliothèque.

Tsivian, Le Cinéma précoce en Russie et sa réception culturelle. Requis.

Eisenstein, Forme de film. Requis.

Tarkovsky, Sculptant dans le temps. Requis.

Leyda, Kino: Une histoire du cinéma russe et soviétique. Requis.

Tsivian, Ivan le Terrible. Requis.

Taylor et Christie, éd., The Film Factory: L’histoire du cinéma russe et soviétique dans les Documents, 1896-1939. Ce livre est essentiel, mais il est épuisé; il y a cinq exemplaires sur la réserve; essayez d’acheter votre propre copie sur internet.

 

La bibliographie complète de la littérature scientifique sur le film russe et soviétique peut être trouvée à l’adresse suivante http://www.pitt.edu / ~slavic/video/cinema_biblio.html.

 

SYLLABUS IN ENGLISH

Topic: Hollywood Cinematography/

(Additional Subjects) French /Italian/German/Russia/Cinematography

 

Throughout its century-plus of existence, the cinema has been at once a popular entertainment, a major art form, a culture industry, and a basis for social and national identity. This course goes into depth into historical case studies to examine what film history means as an attempt to the richness of explain cinema’s past. The emphasis will be on research and argumentation. Possible topics to include the political economy of the film industry, reception study, social history of cinemagoing, national cinema, and auteur or star agency in the studio system.

 

The case study for this semester will be Hollywood cinematography. The course will examine the oeuvre of select cinematographers from the studio era, the impact of new technologies, and the change in cinematographic practice across studios.

TEXTES REQUIS

Richard Allen and Douglas Gomery, Film History: Theory and Practice

Patrick Keating, Hollywood Lighting from the Silent Era to Film Noir

All other readings on Blackboard

Introduction: The Hidden Art of Cinematography

Screening: Visions of Light (Arnold Glassman, Todd McCarthy, and Stuart Samuels, 1992, 92m, DP Nancy Schreiber)

 

Screening: Ann Carver’s Profession (Edward Buzzell, 1933, 70m, Columbia, DP Ted Tetzlaff)

David Bordwell, “Daisies in the Crevices”

Arthur Miller, interview

Leon Shamroy, “The Future of Cinematography”

Keating, Hollywood Lighting, introduction, ch. 1: “The Rhetoric of Light” and “Mechanics or Artists?”

 

Methods of Film History

 

Screening: Now Voyager (Irving Rapper, 1942, 118m, DP Sal Polito)

Kristin Thompson and David Bordwell, “Film History and How It Is Done”

Richard Allen and Douglas Gomery, Film History, ch. 1, 3

Richard Allen and Douglas Gomery, Film History, ch. 2

Jeanne Allen, “Now Voyager as Women’s Film: Coming of Age Hollywood Style”

 

Aesthetic History: The Canonical vs. The Typical

Screening: Ghost Ship (Mark Robson, 1943, 69m, RKO, DP Nicholas Musaraca)

Richard Allen and Douglas Gomery, Film History, ch. 4

Andrew Sarris, from An American Cinema

Screening: Citizen Kane (Orson Welles, 1941, 112m, RKO, DP Gregg Toland)

David Bordwell, introduction to On the History of Film Style

Bordwell, appendix, Classical Hollywood Cinema

Economic History / Exhibition History

 

Screening: Union Station (Rudolph Maté, 1950, 81m, Paramount, DP Daniel Fapp)

Richard Allen and Douglas Gomery, Film History, ch. 6

Michael Conant, “The Impact of the Paramount Decrees”

Paul Kerr, “Out of What Past? Notes on the B Noir”

Richard Allen and Douglas Gomery, Film History, ch. 8

 

Technological History

W 2/17. Screening: My Best Girl (Sam Taylor, 1927, 79m, DP Charles Rosher)

Richard Allen and Douglas Gomery, Film History, ch. 5

 

F 2/19. Screening: All the President’s Men (Alan Pakula, 1976, 138m, DP Gordon Willis)

Paul Ramaeker, “Notes on the split-field diopter”

 

The Lighting Setup and Glamour Lighting (Leon Shamroy)

Screening: Adventures of Sherlock Holmes (Alfred Werker, 1939, 85m, 20th-Fox, DP Leon Shamroy)

John Alton, from Painting with Light

Keating, Hollywood Lighting, ch. 2: “From the Portrait to the Close-Up”, pp. 127-33 (“Figure Lighting” from ch. 6)

Richard Dyer, “Lighting for Whiteness”

 

Screening: Lillian Russell (Irving Cummings, 1940, 127m, 20th-Fox, DP Leon Shamroy)

Charles Higham, interview with Leon Shamroy

 

Effects- and Genre-Lighting (Charles Lang)

Screening: Desire (Frank Borzage, 1936, 92m, Paramount, DP Charles Lang, Jr)

Phil Tannura, “What Do We Mean When We Talk About ‘Effects-Lightings’?”

Keating, Hollywood Lighting, ch. 3: “The Drama of Light” pp. 133-51 (“Effect-Lighting” and “Genre-Lighting” from ch. 6)

Screening: The Uninvited (Lewis Allen, 1944, 99m, Paramount, DP Charles Lang, Jr)

Herb Lightman, “The Cameraman’s Director”

PRACTICE OF MAKING A SHORT FILM/INSTRUCTOR MEETINGS FOR RESEARCH PROJECTS

 

Classicism and Composition (William Daniels)

 Screening: Anna Karenina (Clarence Brown, 1935, 95m, MGM, DP William Daniels)

Keating, Hollywood Lighting, chs. 4-7

Screening: Shop Around the Corner (Ernst Lubitsch, 1940, 99m, MGM, DP William Daniels)

 

Writing Workshop

 Workshop

 House Style: the Warners’ Look (Polito, Haller, and Edeson)

 

Screening: The Unfaithful (Vincent Sherman, 1947, 109m, WB, DP Ernest Haller)

Thomas Schatz, from Genius of the System

 

Screening: The Roaring Twenties (Raoul Walsh, 1939, 107m, WB, DP Ernest Haller)

Rudy Behlmer, from Inside Warner Bros.

Barry Salt, from Film Style and Technology

Deep Focus (Gregg Toland and Arthur Miller)

 

Keating, Hollywood Lighting, ch. 9: “The Flow of the River”

American Cinematographer, “Aces of the Camera: Gregg Toland”

Charles Clarke, “How Desirable is Focal Depth?”

 

Screening: How Green Was My Valley (John Ford, 1941, 119m, 20th-Fox, DP Arthur Miller)

American Cinematographer, review of How Green Was My Valley

 

Technicolor (Howard Greene)

Class presentations

 

Screening: The Trail of the Lonesome Pine (Henry Hathaway, 1936, 102m, UA-Wanger, DP)

Keating, Hollywood Lighting, ch. 8: “Promises and Problems of Technicolor”

Scott Higgins, from Harnassing the Technicolor Rainbow

Class Presentations

Class presentations

EXAMEN FINAL PAR TRIMESTRE

 

Russ/Litr 435: Introduction to Russian Film

T, TH  2:40–4:00 PM

ELIOT 414

Screenings: M, W 7 PM (locations vary; see the syllabus below).

Instructor: Evgenii (Zhenya) Bershtein.

Office: Vollum 128.

Office Hours M, W 2-3 PM and by appointment.

 

Full course for one semester. Conference. The course provides an introduction to the history and poetics of Russian film from the double perspective of Russian cultural contexts and the development of cinema as artistic medium. While studying the masterpieces of Russian film, we will pay special attention to silent cinema, from Bauer and Protazanov to Kuleshov, Vertov, and Dovzhenko. Sergei Eisenstein’s films will be considered in detail, as well those by Andrei Tarkovsky. The readings will focus on the works of film theory and film history. Workload: the attendance of all film screenings and discussion sections is required; extensive reading; four short papers (about 3 pages each) and a final paper (10 pages); presentations in class. Prerequisite: students who wish to take the course for Russian credit must have completed Russian 220 or obtain the consent of the instructor. There will be an additional weekly meeting for students who take this class for Russian credit.  Your evaluation will be based on your contribution to the conference and written submissions.

 

All films are available from the IMC reserve. Books for this class are available in multiple copies from the library reserve.

 

Books to buy (available from the Reed bookstore):

Bordwell and Thompson, Film Art: An Introduction (8^th edition). Recommended. 5 copies of this text are on the library reserve.

Tsivian, Early Cinema in Russia and Its Cultural Reception. Required.

Eisenstein, Film Form. Required.

Tarkovsky, Sculpting in Time. Required.

Leyda, Kino: A History of Russian and Soviet Film. Required.

Tsivian, Ivan the Terrible. Required.

Taylor and Christie, eds., The Film Factory: The History of Russian and Soviet Cinema in Documents, 1896 – 1939. This book is essential but it is out of print; there are five copies on reserve; try buying your own copy on the internet.

 

The comprehensive bibliography of scholarly literature on Russian and Soviet film can be found at http://www.pitt.edu/~slavic/video/cinema_biblio.html.

 

 

Syllabus IN ENGLISH

Topic One: Early Russian Film

 

Early Film  (screenings in class)

Early Film Reception

Screening: A Life for a Life (1916, dir. Evgenii Bauer)

Screening: Silent Witnesses (1914, dir. Evgenii Bauer)

Film Genres.

Film Art

Writing assignment #1: The Genre of “Silent Witness” (5 pages)

Screening:  After Death (1915, dir. Evgenii Bauer)

Narrative.

 

Screening: The Dying Swan (1917, dir. Evgenii Bauer)

Writing assignment #2: Mis-en-Scène in “The Dying Swan” (5 pages).

Screening: The Queen of Spades (1916, dir. Yakov Protazanov, 1916). PSYCH 105

The Shot.

Early Soviet Avant-Garde Film

Formation of Soviet Film Industry (clips from Eisenstein’s Strike [1924] will be screened in class).

Screening: October (1927, dir. Sergei Eisenstein) PSYCH 105.

Editing.

Screening: Battleship Potemkin (1926, dir. Sergei Eisenstein) ELIOT 314.

Eisenstein’s Intellectual Montage.

“Montage of Film Attractions,” The Eisenstein Reader, 35-52 (e-reserve);  also his “Methods of Montage” in The Film Form, 82-83.

Writing assignment #3: Analysis of Eisenstein’s Use of Intellectual Montage (3 pages).

 

Screening: The Extraordinary Adventures of Mister West in the Land of Bolsheviks (1924, dir. Lev Kuleshov)

TH, March 1: Kuleshov: Amerikanizm and Montage.

Reading: Kuleshov’e essays in The Film Factory, 72-74; 108 .

Screening: Man with a Movie Camera (1929, dir. Dziga Vertov) VOL 120.

T,  March 6: Vertov’s Cinematic Techniques.

Reading: Film Art, 410-413.

 

TH, March 8: Vertov and the Avant-Garde (clips screened in class).

Additional study material: Yuri Tsivian’s commentary on the extra soundtrack on the DVD of Man with the Movie Camera.

Reading: Vertov’s essays in The Film Factory,  69-72, 89-94, 112-114, 129-131, 150-151, 200-203, 299-305, 335-337.

 

SPRING BREAK

 

Week 8

M, March 19: Screening: Aelita, Queen of Mars (1924, dir. Yakov Protazanov) ELIOT  314.

T, March 20: Constructivist Sci-Fi.

Reading: Ian Christie, “Down to Earth: Aelita Relocated,” Inside the Film Factory,  80-102 (e-reserve).

Writing Assignment #4: Utopian Design in Aelita (3 pages).

 

W, March 21: Screening: Earth (1930, dir. Aleksandr Dovzhenko) ELIOT 314.

TH: March 22: The Notion of Lyrical Cinema.

Reading: Elizabeth Papazian, “Offscreen Dreams and Collective Synthesis in Dovzhenko’s Earth ,”Russian Review 2003: 62 (3), 411–428 (e-reserve).

 

Topic 3: Cinema under Stalin

 

Week 9

M, March 26: Screening: Alexander Nevsky (1938, dir. Sergei Eisenstein) ELIOT 314.

T, March 27: Sound in Film.

Reading: Film Art, 264-303; Eisenstein et al., “A Statement,” in Eisenstein, The Film Form, 257-260.

 

W, March 28: Screening: Volga-Volga (1938, dir. Grigorii Aleksandrov) PSYCH 105.

TH, March 39, March : Musical Comedy the Soviet Way.

Reading: Maya Turovskaya, “The Strange Case of the Making of Volga, Volga,” Inside Soviet Film Satire: Laughter with a Lash. Ed. Andrew Horton. NY: Cambridge UP, 1993 (e-reserve).

 

Saturday, March 31 – Sunday, April 1, Reed College, Psychology 105.

The Mellon Workshop: Understanding Russian Culture through Film

including the keynote lectures by Yuri Tsivian and Anne Nesbet, full schedule TBA.

 

Week 10

M, April 2: Screening: Ivan the Terrible, Part One (1944, dir. Sergei Eisenstein), ELIOT 314.

T, April 3: Eisenstein.

Reading: Tsivian, Ivan the Terrible (begin reading).

 

W, April 4: Screening: Ivan the Terrible, Part Two (1946, released in 1958, dir. Sergei Eisenstein), ELIOT 314.

TH, April 5: Eisenstein.

Reading: Tsivian, Ivan the Terrible (finish reading); “Stalin, Molotov and Zhdanov on Ivan the Terrible, Part Two,” in The Eisenstein Reader, 160-166 (e-reserve).

 

 

Topic 4: Soviet Film after Stalin

 

Week 11

M, April 9: Screening Andrei Rublev (1969, dir. Andrei Tarkovsky),  VOL 120.

T, April 10: Tarkovsky’s Lyrical Cinema.

Reading: Tarkovsky,  Sculpting in Time, 7-80.

 

W, April 11: Screening Ivan Vasilievich Changes Career (1973, dir. Leonid Gaigai) PSYCH 105.

TH, April 12: Satire in Film.

Reading: Aleksandr Prokhorov, “Cinema of Attractions versus Narrative Cinema: Leonid Gaidai’s Comedies and El’dar Riazanov’s Satires of the 1960s,” Slavic Review, Vol. 62,  No. 3 (Autumn, 2003), 455-472 (e-reserve).

 

Week 12

M, April 16: Screening: Solaris (1972, dir. Andrei Tarkovsky),  VOL 120.

T, April 17: Tarkovsky’s Sci-Fi.

Reading: Tarkovsky,  Sculpting in Time, 82-163.

 

W, April 18: Screening Mimino (1977, dir. Georgii Danelia), ELIOT 314.

TH, April 19: The Comedy of Empire.

 

Week 13

M, April 23: Screening: Sacrifice (1986, dir. Andrei Tarkovsky), ELIOT 314.

T, April 24: Metaphysical Cinema.

Reading: Tarkovsky,

Sculpting in Time, 164-230.

 

W, April 25: Screening: Film TBA, BIO 19.

TH, April 27: Summing-Up.

 

Final papers, containing a comprehensive analysis of a single film, are due in Prof. Bershtein’s office (Vol 128) by noon on Monday, May 7. Electronic submissions are not accepted.