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?>
Course Name: FILMVID 352
Instructor: Robert King
Winter 2006
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Andrew, Dudley. "'Demands of Realism' and 'Figures of the Poetic'," in Mists of Regret: Culture and Sensibility in Classic French Film. Princeton, NJ: Princeton University Press, 1995, pp. 195-231, 232-272 and notes 374-383.
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Bazin, Andre. "'Bicycle Thief' and 'De Sica: Metteur en Scene'," in What is Cinema? Volume 2, translated by Hugh Gray, Berkeley, CA: University of California Press, 1994, pp. 47-60 and 61-78.
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Bazin, Andre. "The Evolution of the Language of Cinema," in Film Theory and Criticism: Introductory Readings, 6th edition, edited by Leo Braudy and Marshall Cohen. New York: Oxford University Press, 2004, pp. 41-53.
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Belton, John. "'The Leisured Masses' and 'Cinemascope: A Poor Man's Cinerama'," in Widescreen Cinema. Cambridge, MA: Harvard University Press, 1992, pp. 69-84 and 254-259, 113-137 and 264-274.
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Bordwell, David. "Classical Hollywood Cinema: Narrational Principles and Procedures," in Narrative, Apparatus, Ideology: A Film Theory Reader, edited by Philip Rosen. New York: Columbia University Press, 1986, pp. 17-34.
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Bordwell, David . "The Art Cinema as a Mode of Film Practice." Film Criticism, Vol. 4, No. 1, 1979, pp. 56-64.
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Burch, Noel. "'A System of Contradictions', 'A Parenthesis on Film History', 'A Rule and its Ubiquity', 'Bulwarks of Tradition', 'Transformational Modules' and 'Lines and Spaces'," in To the Distant Observer: Form and Meaning in Japanese Cinema, edited by Annette Michelson. Berkeley, CA: University of California Press, 1979, pp. 25-34, 61-66, 67-74, 75-86, 89-92 and 93-99.
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Chakravarty, Sumita S. "National Identity and the Realist Aesthetic: Indian Cinema of the Fifties." Quarterly Review of Film and Video, Vol. 11, No. 3, 1989, pp. 31-48.
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Clair, Rene. "Talkie versus Talkie," in French Film History and Criticism: A History/Anthology, 1907-1939, edited by Richard Abel. Princeton, NJ: Princeton University Press, 1988, pp. 39-40.
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Cogley, John. "HUAC: The Mass Hearings," in The American Film Industry, Revised edition, edited by Tino Balio. Madison, WI: University of Wisconsin Press, 1985, pp. 487-509.
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Doherty, Thomas. "The Motion Picture Production Code of 1930' and 'Particular Applications of the Code and the Reasons Therefore'," in Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930-1934. (Film and Culture) New York: Columbia University Press, 1999, pp. 347-359 and 361-364.
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Elsaesser, Thomas. "Lifestyle Propaganda: Modernity and Modernisation in Early Thirties Films," in Weimar Cinema and After: Germany's Historical Imaginary. New York: Routledge, 2000, pp. 383-419.
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Geist, Kathe. "Playing with Space: Ozu and Two-Dimensional Design in Japan," in Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan, edited by Linda Ehrlich and David Desser. Austin, TX: University of Texas Press, 1994, pp. 283-298.
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Gomery, Douglas. "'The Hollywood Studio System: 1930-49' and 'Loew's and Metro-Goldwyn-Mayer'," in The Hollywood Studio System. (BFI Film Series) London: Macmillan, 1986, pp. 1-25, 51-75.
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Gomery, Douglas. "'The Warner Bros. Innovate Sound' and 'William Fox Innovates Sound'" in The Coming of Sound: A History. New York: Routledge, 2005, pp. 23-46, 47-54 and notes 159-162.
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Hill, John. "'British Socitey 1956-63' and 'Working-Class Realism I'," in Sex, Class and Realism: British Cinema, 1956-1963. London: BFI, 1986, pp. 5-34, 127-144.
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King, John. "'From Sound to New Cinema: 1930 to the 1950s' and exerpts from 'Mexico: Inside the Industrial Labyrinth'," in Magical Reels: A History of Cinema in Latin America. London: Verso, 1990, pp. 31-64, 129-135, 143-144.
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Koepnick, Lutz. "Berlin Noir: Robert Siodmak's Hollywood," in The Dark Mirror: German Cinema between Hitler and Hollywood. Berkeley, CA: University of California Press, 2002, pp. 164-200, 296-300.
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Kracauer, Siegfried. "'Introduction' and 'Propaganda and the Nazi War Film," in From Caligari to Hitler: A Psychological History of German Film, Revised and Expanded edition, edited by Leonardo Quaresima. Princeton, NJ: Princeton University Press, 2004, pp. 3-11 and 273-307.
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Maltby, Richard. "The Production Code and the Hays Office," in Grand Design: Hollywood as a Modern Business Enterprise, 1930-1939, (History of the American Cinema) edited by Tino Balio. New York: Charles Scribner's Sons, 1990, pp. 37-72 and notes 416-420.
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Marie, Michel. "Let's Sing it One More Time: Rene Clair's Sous Les Toits de Paris (1930)," in French Film: Texts and Contexts, edited by Susan Hayward and Ginette Vincendeau. New York: Routledge, 1990, pp. 51-65.
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Marie, Michel. "It really makes you sick!: Jean-Luc Godard's A bout de souffle (1959)," in French Film: Texts and Contexts, edited by Susan Hayward and Ginette Vincendeau. New York: Routledge, 1990, pp. 201-215.
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May, Lary. "'The Recreation of America: Hybrid Moviemakers and the Multicultural Republic' and 'Outside the Groove of History: Film Noir and the Birth of a Counterculture'," in The Big Tomorrow: Hollywood and the Politics of the American Way. Chicago: University of Chicago Press, 2000, pp. 55-99, 215-256, 308-316, 331-338.
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Mishra, Vijay. "The Texts of 'Mother India'," in Bollywood Cinema: Temples of Desire. New York: Routledge, 2002, pp. 61-87.
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Neupert, Richard. "Cultural Contexts: Where Did the Wave Begin?," in A History of the French New Wave Cinema. (Wisconsin Studies in Film) Madison, WI: University of Wisconsin Press, 2002, pp. 3-44, 307-310.
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Paranagua, Paulo Antonio. "Ten Reasons to Love or Hate Mexican Cinema," in Mexican Cinema, translated by Ana M. Lopez edited by Paulo Antonio Paranagua. London: British Film Institute, 1995, pp. 1-13.
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Reeves, Nicholas. "National Socialist Film Propaganda in Germany, 1933-1945," in The Power of Film Propaganda: Myth or Reality?. New York: Cassell, 1999, pp. 83-135.
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Schatz, Thomas. "The Whole Equation of Pictures," in Film Theory and Criticism: Introductory Readings, 6th edition, edited by Leo Braudy and Marshall Cohen. New York: Oxford University Press, 2004, pp. 652-656.
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Schrader, Paul. "Notes on Film Noir," in Film Noir Reader, 5th Limelight edition, edited by Alain Silver and James Ursini. New York: Limelight Editions, 1996, pp. 52-63.
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Shumyatsky, Boris. "A Cinema for the Millions," in The Film Factory: Rusian and Soviet Cinema in Documents, translated by Richard Taylor, edited by Richard Taylor and Ian Christie. Cambridge, MA: Harvard University Press, 1988, pp. 358-367.
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Taylor, Richard. "Ideology as Mass Entertainment: Boris Shumyatsky and Soviet Cinema in the 1930s," in Inside the Film Factory: New Approaches to Russian and Soviet Cinema, (Soviet Cinema) edited by Richard Taylor and Ian Christie. New York: Routledge, 1991, pp. 193-216 and 243-247.
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Thompson, Kristin and David Bordwell. "Space and Narrative in the Films of Ozu." Screen, Vol. 17, No. 2, Summer 1976, pp. 41-73.
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Tomasulo, Frank P. "Bicycle Thieves: A Re-reading," in Vittorio de Sica: Contemporary Perspectives, (Toronto Italian Studies) edited by Howard Curle and Stephen Snyder. Buffalo, NY: University of Toronto Press, 2000, pp. 160-171.
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Truffaut, Francois. "A Certain Tendency of the French Cinema," in Movies and Methods: An Anthology, edited by Bill Nichols. Berkeley, CA: University of California Press, 1976, pp. 224-237.
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Zavattini, Cesare. "Some Ideas on the Cinema," in Vittorio de Sica: Contemporary Perspectives, (Toronto Italian Studies) edited by Howard Curle and Stephen Snyder. Buffalo, NY: University of Toronto Press, 2000, pp. 50-61.
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Zhang, Yingjin. "Cinema and the Nation-State in the PRC, 1949-78," in Chinese National Cinema. (National Cinemas) New York: Routledge, 2004, pp. 189-216, 304.
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