{"id":957,"date":"2021-03-04T23:28:33","date_gmt":"2021-03-04T23:28:33","guid":{"rendered":"http:\/\/filmacademy.fr\/?p=957"},"modified":"2021-03-07T00:11:38","modified_gmt":"2021-03-07T00:11:38","slug":"cinematography-advance-diploma-program","status":"publish","type":"post","link":"http:\/\/filmacademy.fr\/?p=957","title":{"rendered":"CINEMATOGRAPHY &#8211; Professional Diploma in Cinematography"},"content":{"rendered":"<h3 style=\"text-align: center;\"><strong>WORLD ACADEMY OF CINEMATOGRAPHY<\/strong><\/h3>\n<h3 style=\"text-align: center;\"><strong>INTER-UNIVERSITY HIGHER ACADEMIC COUNCIL<\/strong><\/h3>\n<p style=\"text-align: center;\">ACAD\u00c9MIE MONDIALE DE LA CIN\u00c9MATOGRAPHIE<\/p>\n<p style=\"text-align: center;\">CONSEIL UNIVERSITAIRE SUP\u00c9RIEUR INTERUNIVERSITAIRE<\/p>\n<p>&nbsp;<\/p>\n<p>Sujet : Cin\u00e9matographie hollywoodienne\/<\/p>\n<p>(Sujets suppl\u00e9mentaires) Fran\u00e7ais\/Italien\/Allemand\/Russie \/ Cin\u00e9matographie<\/p>\n<p>Tout au long de son si\u00e8cle d&#8217;existence, le cin\u00e9ma a \u00e9t\u00e9 \u00e0 la fois un divertissement populaire, une forme d&#8217;art majeure, une industrie culturelle et une base pour l&#8217;identit\u00e9 sociale et nationale. Ce cours approfondit les \u00e9tudes de cas historiques pour examiner ce que l&#8217;histoire du cin\u00e9ma signifie comme une tentative d&#8217;expliquer la richesse du pass\u00e9 du cin\u00e9ma. L&#8217;accent sera mis sur la recherche et l&#8217;argumentation. Sujets possibles pour inclure l&#8217;\u00e9conomie politique de l&#8217;industrie cin\u00e9matographique, l&#8217;\u00e9tude de la r\u00e9ception, l&#8217;histoire sociale du cin\u00e9ma, le cin\u00e9ma national et l&#8217;agence d&#8217;auteur ou de star dans le syst\u00e8me de studio.<\/p>\n<p>L&#8217;\u00e9tude de cas pour ce semestre sera Hollywood cin\u00e9matography. Le cours examinera l&#8217;\u0153uvre de cin\u00e9astes s\u00e9lectionn\u00e9s de l&#8217;\u00e9poque des studios, l&#8217;impact des nouvelles technologies et l&#8217;\u00e9volution des pratiques cin\u00e9matographiques dans les studios.<\/p>\n<p><iframe loading=\"lazy\" title=\"L&#039;histoire du Cin\u00e9ma Hollywoodien de 1930 \u00e0 1960 - MBstudio\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/iylyqIdEWVk?start=428&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>TEXTES REQUIS<\/p>\n<p>Richard Allen et Douglas Gomery, Histoire du cin\u00e9ma : Th\u00e9orie et pratique<\/p>\n<p>Patrick Keating, l&#8217;\u00e9clairage hollywoodien de l&#8217;\u00e8re du Muet au Film Noir<\/p>\n<p>Toutes les autres lectures sur Tableau noir<\/p>\n<p>Introduction : L&#8217;Art cach\u00e9 de la Cin\u00e9matographie<\/p>\n<p>Projection: Visions of Light (Arnold Glassman, Todd McCarthy et Stuart Samuels, 1992, 92m, DP Nancy Schreiber)<\/p>\n<p>Projection: Ann Carver&#8217;s Profession (Edward Buzzell, 1933, 70m, Columbia, DP Ted Tetzlaff)<\/p>\n<p>David Bordwell \u201c &#8221; Marguerites dans les crevasses\u201d<\/p>\n<p>Arthur Miller, entretien<\/p>\n<p>Leon Shamroy, &#8221; L&#8217;avenir de la cin\u00e9matographie\u201d<\/p>\n<p>Keating, Hollywood de l&#8217;\u00c9clairage, de l&#8217;introduction, ch. 1: &#8220;La Rh\u00e9torique de la Lumi\u00e8re&#8221; et &#8221; M\u00e9canique ou Artistes?\u201d<\/p>\n<p>M\u00e9thodes de l&#8217;Histoire du Film<\/p>\n<p>&nbsp;<\/p>\n<p>Projection : Now Voyager (Irving Rapper, 1942, 118m, DP Sal Polito)<\/p>\n<p>Kristin Thompson et David Bordwell, &#8221; Histoire du film et comment Cela se fait\u201d<\/p>\n<p>Richard Allen et Douglas Gomery, Histoire du cin\u00e9ma, ch. 1, 3<\/p>\n<p>Richard Allen et Douglas Gomery, Histoire du cin\u00e9ma, ch. 2<\/p>\n<p>Jeanne Allen &#8221; Now Voyager en tant que film f\u00e9minine: Coming of Age Hollywood Style\u201d<\/p>\n<p>Histoire esth\u00e9tique : Le Canonique contre Le Typique<\/p>\n<p>Projection : le Vaisseau Fant\u00f4me (Mark Robson, 1943, 69, RKO, DP Nicolas Musaraca)<\/p>\n<p>Richard Allen et Douglas Gomery, Histoire du cin\u00e9ma, ch. 4<\/p>\n<p>Andrew Sarris, d&#8217;un Cin\u00e9ma Am\u00e9ricain<\/p>\n<p><iframe loading=\"lazy\" title=\"Andrew Sarris and J. Hoberman\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/9K19b6hY3SQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>Projection : Citizen Kane (Orson Welles, 1941, 112m, RKO, DP Gregg Toland)<\/p>\n<p>David Bordwell, introduction \u00e0 l&#8217;Histoire du style cin\u00e9matographique<\/p>\n<p>Bordwell, annexe, Cin\u00e9ma Hollywoodien classique<\/p>\n<p>&nbsp;<\/p>\n<p>Histoire \u00c9conomique \/ Histoire de l&#8217;Exposition<\/p>\n<p>Projection: Union Station (Rudolph Mat\u00e9, 1950, 81m, Paramount, DP Daniel Fapp)<\/p>\n<p>Richard Allen et Douglas Gomery, Histoire du cin\u00e9ma, ch. 6<\/p>\n<p>Michael Conant \u201c &#8221; L&#8217;impact des d\u00e9crets Paramount\u201d<\/p>\n<p>Paul Kerr, &#8221; De quel pass\u00e9 ? Notes sur le B Noir\u201d<\/p>\n<p>Richard Allen et Douglas Gomery, Histoire du cin\u00e9ma, ch. 8<\/p>\n<p>Histoire Technologique<\/p>\n<p>&nbsp;<\/p>\n<p>W 2\/17. Projection : Ma meilleure fille (Sam Taylor, 1927, 79m, DP Charles Rosher)<\/p>\n<p>Richard Allen et Douglas Gomery, Histoire du cin\u00e9ma, ch. 5<\/p>\n<p>&nbsp;<\/p>\n<p>F 2\/19. Projection :\u00a0 Tous les hommes du pr\u00e9sident (Alan Pakula, 1976, 138m, DP Gordon Willis)<\/p>\n<p>Paul Ramaeker, &#8221; Notes sur la dioptrie \u00e0 champ divis\u00e9\u201d<\/p>\n<p>&nbsp;<\/p>\n<p>La Configuration de l&#8217;\u00c9clairage et l&#8217;\u00c9clairage Glamour (Leon Shamroy)<\/p>\n<p>Projection: Aventures de Sherlock Holmes (Alfred Werker, 1939, 85m,20th-Fox, DP Leon Shamroy)<\/p>\n<p>John Alton, de la peinture avec la Lumi\u00e8re<\/p>\n<p>Keating, Hollywood \u00c9clairage, ch. 2 \u201c &#8220;Du Portrait au gros plan&#8221;, pp. 127-33 (\u201dFigure Lighting &#8221; du ch. 6)<\/p>\n<p>Richard Dyer \u201c &#8221; L&#8217;\u00e9clairage pour la blancheur\u201d<\/p>\n<p>Projection: Lillian Russell (Irving Cummings, 1940, 127m,20th-Fox, DP Leon Shamroy)<\/p>\n<p>Charles Higham, entretien avec Leon Shamroy<\/p>\n<p>&nbsp;<\/p>\n<p>Effets-et Genre-\u00c9clairage (Charles Lang)<\/p>\n<p>Projection : Desire (Frank Borzage, 1936, 92m, Paramount, DP Charles Lang, Jr)<\/p>\n<p>Phil Tannura, &#8220;Que Voulons-Nous Dire Quand Nous Parlons D &#8216;&#8221;Effets-\u00c9clairages<\/p>\n<p>Keating, Hollywood \u00c9clairage, ch. 3:Le drame de la lumi\u00e8re &#8220;pp. 133-51 (\u201dEffet-\u00c9clairage \u201cet\u201d Genre-\u00c9clairage&#8221; de ch. 6)<\/p>\n<p>Projection: The Uninvited (Lewis Allen, 1944, 99m, Paramount, DP Charles Lang, Jr)<\/p>\n<p>Herb Lightman\u00a0 &#8221; Le Directeur du Cam\u00e9raman\u201d<\/p>\n<p><iframe loading=\"lazy\" title=\"MOUVEMENTS DE CAMERA - Mise en Pratique\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/bXDwbPZl2tA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>PRATIQUE DE LA R\u00c9ALISATION D&#8217;UN COURT M\u00c9TRAGE \/ R\u00c9UNIONS D&#8217;INSTRUCTEURS POUR DES PROJETS DE RECHERCHE<\/p>\n<p>Classicime et Composition (William Daniels)<\/p>\n<p>&nbsp;<\/p>\n<p>Film: Anna Kar\u00e9nine (Clarence Brown, 1935, 95m, MGM, DP William Daniels)<\/p>\n<p>Keating, Hollywood de l&#8217;\u00c9clairage, de la sch. 4-7<\/p>\n<p>&nbsp;<\/p>\n<p>D\u00e9pistage : la Boutique au Coin de la rue (Ernst Lubitsch, 1940, 99m, MGM, DP William Daniels)<\/p>\n<p>&nbsp;<\/p>\n<p>Atelier d&#8217;\u00c9criture<\/p>\n<p>Atelier<\/p>\n<p>Style de la maison : le look des Warners (Polito, Haller et Edeson)<\/p>\n<p>Projection : Les infid\u00e8les (Vincent Sherman, 1947, 109m, WB, DP Ernest Haller)<\/p>\n<p>Thomas Schatz , du G\u00e9nie du syst\u00e8me<\/p>\n<p>&nbsp;<\/p>\n<p>Projection : Les Ann\u00e9es folles (Raoul Walsh, 1939, 107m, WB, DP Ernest Haller)<\/p>\n<p>Rudy Behlmer , de l&#8217;int\u00e9rieur Warner Bros.<\/p>\n<p>Barry Salt, du Style Cin\u00e9matographique et de la technologie<\/p>\n<p>Mise au point approfondie (Gregg Toland et Arthur Miller)<\/p>\n<p>&nbsp;<\/p>\n<p>Keating, Hollywood \u00c9clairage, ch. 9: &#8220;Le d\u00e9bit de la rivi\u00e8re\u201d<\/p>\n<p>Directeur de la photographie am\u00e9ricain, &#8221; Les as de la cam\u00e9ra : Gregg Toland\u201d<\/p>\n<p>Charles Clarke \u201c &#8221; Dans quelle mesure la profondeur Focale est-elle souhaitable ?<\/p>\n<p>&nbsp;<\/p>\n<p>D\u00e9pistage : qu&#8217;elle \u00c9tait Verte Ma Vall\u00e9e de John Ford, 1941, 119m, 20-Fox, DP Arthur Miller)<\/p>\n<p>Directeur de la photographie am\u00e9ricain, examen de la fa\u00e7on dont Ma Vall\u00e9e \u00c9tait verte<\/p>\n<p>Technicolor (Howard Greene)<\/p>\n<p>Pr\u00e9sentations en classe<\/p>\n<p>Projection : Le sentier du Pin solitaire (Henry Hathaway, 1936, 102m, UA-Wanger, DP)<\/p>\n<p>Keating, Hollywood \u00c9clairage, ch. 8: &#8220;Promesses et probl\u00e8mes de Technicolor\u201d<\/p>\n<p>Scott Higgins, de Harnassing the Technicolor Rainbow<\/p>\n<p>&nbsp;<\/p>\n<p>Pr\u00e9sentations en Classe<\/p>\n<p>&nbsp;<\/p>\n<p>EXAMEN FINAL POUR CHAQUE SEMESTRE<\/p>\n<p>Russ \/ Litr 435 : Introduction au cin\u00e9ma russe<\/p>\n<p>T, TH 2 : 40-4: 00 PM<\/p>\n<p>ELIOT 414<\/p>\n<p>Projections : M, W 7 PM (les endroits varient ; voir le programme ci-dessous).<\/p>\n<p>Instructeur : Evgenii (Zhenya) Bershtein.<\/p>\n<p>Bureau\u00a0 Vollum 128.<\/p>\n<p>Heures de bureau M, W 2-3 PM et sur rendez-vous.<\/p>\n<p>Cours complet pour un semestre. Conf\u00e9rence. Le cours offre une introduction \u00e0 l&#8217;histoire et \u00e0 la po\u00e9tique du cin\u00e9ma russe dans la double perspective des contextes culturels russes et du d\u00e9veloppement du cin\u00e9ma en tant que m\u00e9dium artistique. Tout en \u00e9tudiant les chefs-d&#8217;\u0153uvre du cin\u00e9ma russe, nous accorderons une attention particuli\u00e8re au cin\u00e9ma muet, de Bauer et Protazanov \u00e0 Kuleshov, Vertov et Dovzhenko. Les films de Sergei Eisenstein seront examin\u00e9s en d\u00e9tail, ainsi que ceux d&#8217;Andrei Tarkovsky. Les lectures se concentreront sur les travaux de la th\u00e9orie du film et de l&#8217;histoire du cin\u00e9ma. Charge de travail : la participation \u00e0 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); pr\u00e9sentations en classe. Pr\u00e9requis : les \u00e9tudiants qui souhaitent suivre le cours pour le cr\u00e9dit russe doivent avoir compl\u00e9t\u00e9 Russian 220 ou obtenir le consentement de l&#8217;instructeur. Il y aura une r\u00e9union hebdomadaire suppl\u00e9mentaire pour les \u00e9tudiants qui suivent ce cours pour le cr\u00e9dit russe. Votre \u00e9valuation sera fond\u00e9e sur votre contribution \u00e0 la conf\u00e9rence et sur vos observations \u00e9crites.<\/p>\n<p>Tous les films sont disponibles dans la r\u00e9serve IMC. Les livres pour cette classe sont disponibles en plusieurs exemplaires dans la r\u00e9serve de la biblioth\u00e8que.<\/p>\n<p>Livres \u00e0 acheter (disponible \u00e0 la librairie Reed):<\/p>\n<p>Bordwell et Thompson, Film Art: Une introduction (8e \u00e9dition). Recommand\u00e9. 5 exemplaires de ce texte se trouve nt dans la r\u00e9serve de la biblioth\u00e8que.<\/p>\n<p>Tsivian, Le Cin\u00e9ma pr\u00e9coce en Russie et sa r\u00e9ception culturelle. Requis.<\/p>\n<p>Eisenstein, Forme de film. Requis.<\/p>\n<p>Tarkovsky, Sculptant dans le temps. Requis.<\/p>\n<p>Leyda, Kino: Une histoire du cin\u00e9ma russe et sovi\u00e9tique. Requis.<\/p>\n<p>Tsivian, Ivan le Terrible. Requis.<\/p>\n<p>Taylor et Christie, \u00e9d., The Film Factory: L&#8217;histoire du cin\u00e9ma russe et sovi\u00e9tique dans les Documents, 1896-1939. Ce livre est essentiel, mais il est \u00e9puis\u00e9; il y a cinq exemplaires sur la r\u00e9serve; essayez d&#8217;acheter votre propre copie sur internet.<\/p>\n<p>&nbsp;<\/p>\n<p>La bibliographie compl\u00e8te de la litt\u00e9rature scientifique sur le film russe et sovi\u00e9tique peut \u00eatre trouv\u00e9e \u00e0 l&#8217;adresse suivante http:\/\/www.pitt.edu \/ ~slavic\/video\/cinema_biblio.html.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>SYLLABUS IN ENGLISH<\/strong><\/p>\n<p><strong>Topic: Hollywood Cinematography\/ <\/strong><\/p>\n<p><strong>(Additional Subjects) French \/Italian\/German\/Russia\/Cinematography<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>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&#8217;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.<\/p>\n<p>&nbsp;<\/p>\n<p>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.<\/p>\n<p><strong>TEXTES REQUIS<\/strong><\/p>\n<p>Richard Allen and Douglas Gomery, <em>Film History: Theory and Practice<\/em><\/p>\n<p>Patrick Keating, <em>Hollywood Lighting from the Silent Era to Film Noir<\/em><\/p>\n<p>All other readings on Blackboard<\/p>\n<p><strong>Introduction: The Hidden Art of Cinematography<\/strong><\/p>\n<p>Screening: <em>Visions of Light<\/em> (Arnold Glassman, Todd McCarthy, and Stuart Samuels, 1992, 92m, DP Nancy Schreiber)<\/p>\n<p>&nbsp;<\/p>\n<p>Screening: <em>Ann Carver&#8217;s Profession<\/em> (Edward Buzzell, 1933, 70m, Columbia, DP Ted Tetzlaff)<\/p>\n<p>David Bordwell, \u201cDaisies in the Crevices\u201d<\/p>\n<p>Arthur Miller, interview<\/p>\n<p>Leon Shamroy, \u201cThe Future of Cinematography\u201d<\/p>\n<p>Keating, <em>Hollywood Lighting<\/em>, introduction, ch. 1: \u201cThe Rhetoric of Light\u201d and \u201cMechanics or Artists?\u201d<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Methods of Film History <\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p>Screening: <em>Now Voyager <\/em>(Irving Rapper, 1942, 118m, DP Sal Polito)<\/p>\n<p>Kristin Thompson and David Bordwell, \u201cFilm History and How It Is Done\u201d<\/p>\n<p>Richard Allen and Douglas Gomery, <em>Film History<\/em>, ch. 1, 3<\/p>\n<p>Richard Allen and Douglas Gomery, <em>Film History<\/em>, ch. 2<\/p>\n<p>Jeanne Allen, \u201c<em>Now Voyager<\/em> as Women&#8217;s Film: Coming of Age Hollywood Style\u201d<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Aesthetic History: The Canonical vs. The Typical<\/strong><\/p>\n<p>Screening:<em> Ghost Ship <\/em>(Mark Robson, 1943, 69m, RKO, DP Nicholas Musaraca)<\/p>\n<p>Richard Allen and Douglas Gomery, <em>Film History<\/em>, ch. 4<\/p>\n<p>Andrew Sarris, from <em>An American Cinema<\/em><\/p>\n<p>Screening: <em>Citizen Kane <\/em>(Orson Welles, 1941, 112m, RKO, DP Gregg Toland)<\/p>\n<p>David Bordwell, introduction to <em>On the History of Film Style<\/em><\/p>\n<p>Bordwell, appendix, <em>Classical Hollywood Cinema<\/em><\/p>\n<p><strong>Economic History \/ Exhibition History<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p>Screening: <em>Union Station<\/em> (Rudolph Mat\u00e9, 1950, 81m, Paramount, DP Daniel Fapp)<\/p>\n<p>Richard Allen and Douglas Gomery, Film History, ch. 6<\/p>\n<p>Michael Conant, \u201cThe Impact of the Paramount Decrees\u201d<\/p>\n<p>Paul Kerr, \u201cOut of What Past? Notes on the B Noir\u201d<\/p>\n<p>Richard Allen and Douglas Gomery, <em>Film History<\/em>, ch. 8<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Technological History<\/strong><\/p>\n<p>W 2\/17. Screening: <em>My Best Girl <\/em>(Sam Taylor, 1927, 79m, DP Charles Rosher)<\/p>\n<p>Richard Allen and Douglas Gomery, <em>Film History<\/em>, ch. 5<\/p>\n<p>&nbsp;<\/p>\n<p>F 2\/19. Screening: <em>All the President&#8217;s Men<\/em> (Alan Pakula, 1976, 138m, DP Gordon Willis)<\/p>\n<p>Paul Ramaeker, \u201cNotes on the split-field diopter<strong>\u201d <\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><strong>The Lighting Setup and Glamour Lighting (Leon Shamroy)<\/strong><\/p>\n<p>Screening: <em>Adventures of Sherlock Holmes<\/em> (Alfred Werker, 1939, 85m, 20th-Fox, DP Leon Shamroy)<\/p>\n<p>John Alton, from <em>Painting with Light<\/em><\/p>\n<p>Keating, <em>Hollywood Lighting<\/em>, ch. 2: \u201cFrom the Portrait to the Close-Up\u201d, pp. 127-33 (\u201cFigure Lighting\u201d from ch. 6)<\/p>\n<p>Richard Dyer, \u201cLighting for Whiteness\u201d<\/p>\n<p>&nbsp;<\/p>\n<p>Screening: <em>Lillian Russell<\/em> (Irving Cummings, 1940, 127m, 20th-Fox, DP Leon Shamroy)<\/p>\n<p>Charles Higham, interview with Leon Shamroy<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Effects- and Genre-Lighting (Charles Lang)<\/strong><\/p>\n<p>Screening: <em>Desire <\/em>(Frank Borzage, 1936, 92m, Paramount, DP Charles Lang, Jr)<\/p>\n<p>Phil Tannura, \u201cWhat Do We Mean When We Talk About &#8216;Effects-Lightings&#8217;?\u201d<\/p>\n<p>Keating, <em>Hollywood Lighting<\/em>, ch. 3: \u201cThe Drama of Light\u201d pp. 133-51 (\u201cEffect-Lighting\u201d and \u201cGenre-Lighting\u201d from ch. 6)<\/p>\n<p>Screening: <em>The Uninvited <\/em>(Lewis Allen, 1944, 99m, Paramount, DP Charles Lang, Jr)<\/p>\n<p>Herb Lightman, \u201cThe Cameraman&#8217;s Director\u201d<\/p>\n<p>PRACTICE OF MAKING A SHORT FILM\/INSTRUCTOR MEETINGS FOR RESEARCH PROJECTS<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Classicism and Composition (William Daniels)<\/strong><\/p>\n<p><strong>\u00a0<\/strong>Screening: <em>Anna Karenina<\/em> (Clarence Brown, 1935, 95m, MGM, DP William Daniels)<\/p>\n<p>Keating, <em>Hollywood Lighting<\/em>, chs. 4-7<\/p>\n<p>Screening: <em>Shop Around the Corner<\/em> (Ernst Lubitsch, 1940, 99m, MGM, DP William Daniels)<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Writing Workshop<\/strong><\/p>\n<p><strong>\u00a0<\/strong>Workshop<\/p>\n<p><strong>\u00a0<\/strong><strong>House Style: the Warners&#8217; Look (Polito, Haller, and Edeson)<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>Screening: <em>The Unfaithful<\/em> (Vincent Sherman, 1947, 109m, WB, DP Ernest Haller)<\/p>\n<p>Thomas Schatz, from <em>Genius of the System<\/em><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p>Screening: <em>The Roaring Twenties<\/em> (Raoul Walsh, 1939, 107m, WB, DP Ernest Haller)<\/p>\n<p>Rudy Behlmer, from <em>Inside Warner Bros.<\/em><\/p>\n<p>Barry Salt, from <em>Film Style and Technology<\/em><\/p>\n<p><strong>Deep Focus (Gregg Toland and Arthur Miller)<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>Keating,<em> Hollywood Lighting, <\/em>ch. 9: \u201cThe Flow of the River\u201d<\/p>\n<p><em>American Cinematographer, <\/em>\u201cAces of the Camera: Gregg Toland\u201d<\/p>\n<p>Charles Clarke, \u201cHow Desirable is Focal Depth?\u201d<\/p>\n<p>&nbsp;<\/p>\n<p>Screening: <em>How Green Was My Valley<\/em> (John Ford, 1941, 119m, 20th-Fox, DP Arthur Miller)<\/p>\n<p><em>American Cinematographer<\/em>, review of <em>How Green Was My Valley<\/em><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Technicolor (Howard Greene)<\/strong><\/p>\n<p>Class presentations<\/p>\n<p>&nbsp;<\/p>\n<p>Screening: <em>The Trail of the Lonesome Pine<\/em> (Henry Hathaway, 1936, 102m, UA-Wanger, DP)<\/p>\n<p>Keating,<em> Hollywood Lighting, <\/em>ch. 8: \u201cPromises and Problems of Technicolor\u201d<\/p>\n<p>Scott Higgins, from <em>Harnassing the Technicolor Rainbow<\/em><\/p>\n<p><strong>Class Presentations<\/strong><\/p>\n<p>Class presentations<\/p>\n<p>EXAMEN FINAL PAR TRIMESTRE<\/p>\n<p>&nbsp;<\/p>\n<p>Russ\/Litr 435: <strong>Introduction to Russian Film<\/strong><\/p>\n<p>T, TH\u00a0 2:40\u20134:00 PM<\/p>\n<p>ELIOT 414<\/p>\n<p>Screenings: M, W 7 PM (locations vary; see the syllabus below).<\/p>\n<p>Instructor: Evgenii (Zhenya) Bershtein.<\/p>\n<p>Office: Vollum 128.<\/p>\n<p>Office Hours M, W 2-3 PM and by appointment.<\/p>\n<p>&nbsp;<\/p>\n<p>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\u2019s 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. <u>Workload<\/u>: 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. <u>Prerequisite<\/u>: 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.\u00a0 Your <u>evaluation<\/u> will be based on your contribution to the conference and written submissions.<\/p>\n<p>&nbsp;<\/p>\n<p>All films are available from the IMC reserve. Books for this class are available in multiple copies from the library reserve.<\/p>\n<p>&nbsp;<\/p>\n<p><u>Books to buy (available from the Reed bookstore):<\/u><\/p>\n<p>Bordwell and Thompson, <em>Film Art: An Introduction<\/em> (8<sup>th<\/sup> edition). Recommended. 5 copies of this text are on the library reserve.<\/p>\n<p>Tsivian, <em>Early Cinema in Russia and Its Cultural Reception<\/em>. Required.<\/p>\n<p>Eisenstein, <em>Film Form<\/em>. Required.<\/p>\n<p>Tarkovsky, <em>Sculpting in Time<\/em>. Required.<\/p>\n<p>Leyda, <em>Kino: A History of Russian and Soviet Film<\/em>. Required.<\/p>\n<p>Tsivian, <em>Ivan the Terrible<\/em>. Required.<\/p>\n<p>Taylor and Christie, eds., <em>The Film Factory: The History of Russian and Soviet Cinema in Documents, 1896 \u2013 1939. <\/em>This book is essential but it is out of print; there are five copies on reserve; try buying your own copy on the internet.<\/p>\n<p>&nbsp;<\/p>\n<p>The comprehensive bibliography of scholarly literature on Russian and Soviet film can be found at <a href=\"http:\/\/www.pitt.edu\/~slavic\/video\/cinema_biblio.html\">http:\/\/www.pitt.edu\/~slavic\/video\/cinema_biblio.html<\/a>.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<h2>Syllabus IN ENGLISH<\/h2>\n<h1>Topic One: Early Russian Film<\/h1>\n<p>&nbsp;<\/p>\n<p>Early Film\u00a0 (screenings in class)<\/p>\n<p>Early Film Reception<\/p>\n<p>Screening: <em>A Life for a Life (1916<\/em>, dir. Evgenii Bauer)<\/p>\n<p>Screening: <em>Silent Witnesses<\/em> (1914, dir. Evgenii Bauer)<\/p>\n<p>Film Genres.<\/p>\n<p><em>Film Art<\/em><\/p>\n<p>Writing assignment #1: The Genre of \u201cSilent Witness\u201d (5 pages)<\/p>\n<p>Screening:\u00a0 <em>After Death <\/em>(1915, dir. Evgenii Bauer)<\/p>\n<p>Narrative.<\/p>\n<p>&nbsp;<\/p>\n<p>Screening: <em>The Dying Swan <\/em>(1917, dir. Evgenii Bauer)<\/p>\n<p>Writing assignment #2: Mis-en-Sc\u00e8ne in \u201cThe Dying Swan\u201d (5 pages).<\/p>\n<p>Screening: <em>The Queen of Spades<\/em> (1916, dir. Yakov Protazanov, 1916). PSYCH 105<\/p>\n<p>The Shot.<\/p>\n<p><strong>Early Soviet Avant-Garde Film<\/strong><\/p>\n<p>Formation of Soviet Film Industry (clips from Eisenstein\u2019s <em>Strike <\/em>[1924] will be screened in class).<\/p>\n<p>Screening: <em>October<\/em> (1927, dir. Sergei Eisenstein) PSYCH 105.<\/p>\n<p>Editing.<\/p>\n<p>Screening: <em>Battleship Potemkin<\/em> (1926, dir. Sergei Eisenstein) ELIOT 314.<\/p>\n<p>Eisenstein\u2019s Intellectual Montage.<\/p>\n<p>\u201cMontage of Film Attractions,\u201d <em>The Eisenstein Reader<\/em>, 35-52 (e-reserve);\u00a0 also his \u201cMethods of Montage\u201d in <em>The Film Form<\/em>, 82-83.<\/p>\n<p>Writing assignment #3: Analysis of Eisenstein\u2019s Use of Intellectual Montage (3 pages).<\/p>\n<p>&nbsp;<\/p>\n<p>Screening: <em>The Extraordinary Adventures of Mister West in the Land of Bolsheviks<\/em> (1924, dir. Lev Kuleshov)<\/p>\n<p>TH, March 1: Kuleshov: Amerikanizm and Montage.<\/p>\n<p>Reading: Kuleshov\u2019e essays in <em>The Film Factory<\/em>, 72-74; 108 .<\/p>\n<p>Screening: <em>Man with a Movie Camera<\/em> (1929, dir. Dziga Vertov) VOL 120.<\/p>\n<p>T,\u00a0 March 6: Vertov\u2019s Cinematic Techniques.<\/p>\n<p>Reading: <em>Film Art<\/em>, 410-413.<\/p>\n<p>&nbsp;<\/p>\n<p>TH, March 8: Vertov and the Avant-Garde (clips screened in class).<\/p>\n<p>Additional study material: Yuri Tsivian\u2019s commentary on the extra soundtrack on the DVD of <em>Man with the Movie Camera<\/em>.<\/p>\n<p>Reading: Vertov\u2019s essays in <em>The Film Factory<\/em>, \u00a069-72, 89-94, 112-114, 129-131, 150-151, 200-203, 299-305, 335-337.<\/p>\n<p>&nbsp;<\/p>\n<p>SPRING BREAK<\/p>\n<p>&nbsp;<\/p>\n<p>Week 8<\/p>\n<p>M, March 19: Screening: <em>Aelita, Queen of Mars<\/em> (1924, dir. Yakov Protazanov) ELIOT\u00a0 314.<\/p>\n<p>T, March 20: Constructivist Sci-Fi.<\/p>\n<p>Reading: Ian Christie, \u201cDown to Earth: <em>Aelita<\/em> Relocated,\u201d <em>Inside the Film Factory<\/em>,\u00a0 80-102 (e-reserve).<\/p>\n<p>Writing Assignment #4: Utopian Design in <em>Aelita<\/em> (3 pages).<\/p>\n<p>&nbsp;<\/p>\n<p>W, March 21: Screening: <em>Earth<\/em> (1930, dir. Aleksandr Dovzhenko) ELIOT 314.<\/p>\n<p>TH: March 22: The Notion of Lyrical Cinema.<\/p>\n<p>Reading: Elizabeth Papazian, \u201cOffscreen Dreams and Collective Synthesis in Dovzhenko&#8217;s Earth ,\u201d<u>Russian Review<\/u> 2003: 62 (3), 411\u2013428 (e-reserve).<\/p>\n<p>&nbsp;<\/p>\n<h1>Topic 3: Cinema under Stalin<\/h1>\n<p>&nbsp;<\/p>\n<p>Week 9<\/p>\n<p>M, March 26: Screening: <em>Alexander Nevsky<\/em> (1938, dir. Sergei Eisenstein) ELIOT 314.<\/p>\n<p>T, March 27: Sound in Film.<\/p>\n<p>Reading: <em>Film Art<\/em>, 264-303; Eisenstein et al., \u201cA Statement,\u201d in Eisenstein, <em>The Film Form<\/em>, 257-260.<\/p>\n<p>&nbsp;<\/p>\n<p>W, March 28: Screening: <em>Volga-Volga<\/em> (1938, dir. Grigorii Aleksandrov) PSYCH 105.<\/p>\n<p>TH, March 39, March : Musical Comedy the Soviet Way.<\/p>\n<p>Reading: Maya Turovskaya, &#8220;The Strange Case of the Making of <em>Volga, Volga,<\/em>&#8221; <em>Inside Soviet Film Satire: Laughter with a Lash.<\/em> Ed. Andrew Horton. NY: Cambridge UP, 1993 (e-reserve).<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Saturday, March 31 &#8211; Sunday, April 1, Reed College, Psychology 105.<\/strong><\/p>\n<p><strong>The Mellon Workshop: <em>Understanding Russian Culture through Film<\/em><\/strong><\/p>\n<p><strong>including the keynote lectures by Yuri Tsivian and Anne Nesbet, full schedule TBA.<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>Week 10<\/p>\n<p>M, April 2: Screening: <em>Ivan the Terrible<\/em>, Part One (1944, dir. Sergei Eisenstein), ELIOT 314.<\/p>\n<p>T, April 3: Eisenstein.<\/p>\n<p>Reading: Tsivian, <em>Ivan the Terrible<\/em> (begin reading).<\/p>\n<p>&nbsp;<\/p>\n<p>W, April 4: Screening: <em>Ivan the Terrible<\/em>, Part Two (1946, released in 1958, dir. Sergei Eisenstein), ELIOT 314.<\/p>\n<p>TH, April 5: Eisenstein.<\/p>\n<p>Reading: Tsivian, <em>Ivan the Terrible<\/em> (finish reading); \u201cStalin, Molotov and Zhdanov on Ivan the Terrible, Part Two,\u201d in <em>The Eisenstein Reader<\/em>, 160-166 (e-reserve).<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<h1>Topic 4: Soviet Film after Stalin<\/h1>\n<p>&nbsp;<\/p>\n<p>Week 11<\/p>\n<p>M, April 9: Screening <em>Andrei Rublev<\/em> (1969, dir. Andrei Tarkovsky),\u00a0 VOL 120.<\/p>\n<p>T, April 10: Tarkovsky\u2019s Lyrical Cinema.<\/p>\n<p>Reading: Tarkovsky,\u00a0 <em>Sculpting in Time<\/em>, 7-80.<\/p>\n<p>&nbsp;<\/p>\n<p>W, April 11: Screening <em>Ivan Vasilievich Changes Career <\/em>(1973, dir. Leonid Gaigai) PSYCH 105.<\/p>\n<p>TH, April 12: Satire in Film.<\/p>\n<p>Reading: Aleksandr Prokhorov, \u201cCinema of Attractions versus Narrative Cinema: Leonid Gaidai&#8217;s Comedies and El&#8217;dar Riazanov&#8217;s Satires of the 1960s,\u201d <em>Slavic Review<\/em>, Vol. 62,\u00a0 No. 3 (Autumn, 2003), 455-472 (e-reserve).<\/p>\n<p>&nbsp;<\/p>\n<p>Week 12<\/p>\n<p>M, April 16: Screening: <em>Solaris<\/em> (1972, dir. Andrei Tarkovsky),\u00a0 VOL 120.<\/p>\n<p>T, April 17: Tarkovsky\u2019s Sci-Fi.<\/p>\n<p>Reading: Tarkovsky,\u00a0 <em>Sculpting in Time<\/em>, 82-163.<\/p>\n<p>&nbsp;<\/p>\n<p>W, April 18: Screening <em>Mimino <\/em>(1977, dir. Georgii Danelia), ELIOT 314.<\/p>\n<p>TH, April 19: The Comedy of Empire.<\/p>\n<p>&nbsp;<\/p>\n<p>Week 13<\/p>\n<p>M, April 23: Screening: <em>Sacrifice<\/em> (1986, dir. Andrei Tarkovsky), ELIOT 314.<\/p>\n<p>T, April 24: Metaphysical Cinema.<\/p>\n<p>Reading: Tarkovsky,<\/p>\n<p><em>Sculpting in Time<\/em>, 164-230.<\/p>\n<p>&nbsp;<\/p>\n<p>W, April 25: Screening: Film TBA, BIO 19.<\/p>\n<p>TH, April 27: Summing-Up.<\/p>\n<p>&nbsp;<\/p>\n<p>Final papers, containing a comprehensive analysis of a single film, are due in Prof. Bershtein\u2019s office (Vol 128) by <strong>noon on Monday, May 7<\/strong>. Electronic submissions are not accepted.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>WORLD ACADEMY OF CINEMATOGRAPHY INTER-UNIVERSITY HIGHER ACADEMIC COUNCIL ACAD\u00c9MIE MONDIALE DE LA CIN\u00c9MATOGRAPHIE CONSEIL UNIVERSITAIRE&#8230;<\/p>\n","protected":false},"author":1,"featured_media":251,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[],"class_list":["post-957","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-programs"],"_links":{"self":[{"href":"http:\/\/filmacademy.fr\/index.php?rest_route=\/wp\/v2\/posts\/957","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/filmacademy.fr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/filmacademy.fr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/filmacademy.fr\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/filmacademy.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=957"}],"version-history":[{"count":7,"href":"http:\/\/filmacademy.fr\/index.php?rest_route=\/wp\/v2\/posts\/957\/revisions"}],"predecessor-version":[{"id":969,"href":"http:\/\/filmacademy.fr\/index.php?rest_route=\/wp\/v2\/posts\/957\/revisions\/969"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/filmacademy.fr\/index.php?rest_route=\/wp\/v2\/media\/251"}],"wp:attachment":[{"href":"http:\/\/filmacademy.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=957"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/filmacademy.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=957"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/filmacademy.fr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=957"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}