We will explore the breadth of mid-twentieth-century film, following transformations within the cinematic experience, as well as examining the relationship between the cinema and other modes of performance, whether in the theatre, radio or television. We shall investigate the opportunities provided by these other performance media and assess their impact on the cinematic experience. We shall consider these works of art in their cultural context, and scrutinize the ways in which popular film expressed, critiqued or questioned developments within American and British society.
Timetable
The timetable will be available from June 1st on the Internet
Method of Instruction
Two-hour seminar per week.
A la carte and contract teaching
More information for students who are interested in taking this course as a Contract student (with exam).
This class is not available as A la carte course.
Course objectives
We will explore the breadth of mid-twentieth-century film, following transformations within the cinematic experience, as well as examining the relationship between the cinema and other modes of performance, whether in the theatre, radio or television. We shall investigate the opportunities provided by these other performance media and assess their impact on the cinematic experience. We shall consider these works of art in their cultural context, and scrutinize the ways in which popular film expressed, critiqued or questioned developments within American and British society.
Required reading
- Leo Braudy and Marshall Cohen (editors), Film Theory and Criticism (Sixth Edition) (Oxford University Press, 2004).
Examination
Two essays of 2000 words (50% each); or, one longer essay on a comparative subject (dealing with at least two texts featured on the syllabus) of 4000-5000 words (100%).
The first shorter essay (if the student decides to do this) is due on the Tuesday of the week following the reading week (week 8); the long essay and the second shorter essay are due in on the Tuesday of week 15.
Information
Department of English, P.N. van Eyckhof 4, room 102c. Tel. 071-5272144. English@hum.leidenuniv.nl
Blackboard/webpage
This course is supported by blackboard.
Overview
WEEK 1: Orson Welles (director and script)/Herman J. Mankiewicz (script), Citizen Kane (1941).
WEEK 2: Michael Powell (director)/Emeric Pressburger (script), The Red Shoes (1948).
WEEK 3: Carol Reed (director)/Graham Greene (script), The Third Man (1949).
WEEK 4: John Ford (director)/Frank S. Nugent (script), The Searchers (1956).
WEEK 5: Alfred Hitchcock (director), Vertigo (1958).
WEEK 6: Billy Wilder (director and script)/I. A. L. Diamond (script), Some Like It Hot (1959).
WEEK 7: Michelangelo Antonioni, Blow-Up (1966).
WEEK 8: Mike Nichols (director), The Graduate (1967).
WEEK 9: Francis Ford Coppola (director and script), The Conversation (1974)
WEEK 10: Martin Scorsese (director)/Paul Schrader (script), Taxi Driver (1976).
WEEK 11: Stanley Kubrick (director and script), The Shining (1980).
WEEK 12: Bruce Robinson (director and script), Withnail and I (1986).
WEEK 13: David Lynch (director and script), Wild At Heart (1990).
There will be set reading each week from Leo Braudy and Marshall Cohen (editors), Film Theory and Criticism _(Sixth Edition) (Oxford University Press, 2004).