剑桥大学

University of Cambridge

MPhil Film and Screen Studies

电影与屏幕研究硕士

Course Details

课程设置说明

核心课程

Michaelmas Term(秋季学期）

核心课程由两条脉络组成。第一条主线是“移动影像理论化”（Theorizing Moving Images）将古典和当代电影/媒体理论与美学理论相结合。第二主线是“电影和屏幕研究的主题”，探讨了一系列特定的研究领域（例如，早期电影）和方法论问题（例如，电影研究在历史背景下的解释）。

电影和屏幕研究研究研讨会

Michaelmas-Lent(秋季-春季学期)

我们预期是学生将参加我们所有的研讨会。通常，在这些研讨会之前，需要与该周的（通常是来访的）演讲者进行非正式对话。在四旬期和复活节期开始之前，将要求学生提交对这些大师班和研讨会的回应/反思的档案。如果由于任何紧迫的原因而无法在给定的一周内工作，则必须选择另一个与主题有关的研究研讨会（在剑桥或其他地方），以作为回应的对象。每篇档案应在250到500个字之间。该档案未经评估，但硕士项目的召集人将提供反馈。

口头报告

学业评估

学生将选择一个独立的论文主题，并由核心课程的教师教学（以及在特定年份不进行核心课程教学的电影和屏幕研究的教师指导）。论文必须以某种有意义的方式参与其中任一环节中至少一个核心环节的要求阅读。

主线1：移动影像理论化

Strand 1: Theorising Moving Images (2019/20)

1. Ontology

John David Rhodes (jdr42@cam.ac.uk) and

Laura McMahon (lcm31@cam.ac.uk)

Reading:

Roland Barthes，Camera Lucida: Reflections on Photography，Richard Howard，trans. (London: Vintage，2000 [1980]). (If possible，students should acquire their own copies of Camera Obscura).

André Bazin，"The Ontology of the Photographic Image.” In What is Cinema?. Volume I. Hugh Gray，ed. and trans. (Berkeley: University of California Press，1967)，pp. 9-16.

Jonathan Beller，‘Camera Obscura After All: The Racist Writing with Light’，The Message is Murder: Substrates of Computational Capital (London: Pluto Press，2018)，99-114.

Further Reading

Martin Heidegger，&39;，The Question Concerning Technology and Other Essays，William Lovitt，trans. (New York: Harper Perennial，1977)，3-35.

Stanley Cavell，The World Viewed. Cambridge，Massachusetts: Harvard University Press，1979)，pp. 10-25; 118-133.

Laura Mulvey，‘The Index and the Uncanny: Life and Death in the Photograph’，Death 24x a Second: Stillness and the Moving Image (Reaktion: London，2006)，54-66.

Jean-Luc Nancy，"The image--the Distinct.” In Nancy，Jean-Luc. The Ground of the Image. Jeff Fort，trans. (New York: Fordham University Press，2005)，pp. 1-14.

Alessandra Raengo，On the Sleeve of the Visual: Race as Face Value (Dartmouth，NH: University Press of New England，2013)，pp. 21-51.

Phil Rosen，Change Mummified: Cinema，Historicity，Theory (Minneapolis and London: University of Minnesota Press，2001).

Screening

Electrocuting an Elephant (Edison，1903)

How It Feels to Be Run Over (Hepworth，1900)

Mothlight (Stan Brakhage，1963)

Blow Job (Andy Warhol，1963)

Dyketactics (Barbara Hammer，1974)

The Girl Chewing Gum (John Smith，1976)

2. The Aesthetic

John David Rhodes

Reading

Immanuel Kant，The Critique of the power of judgment，Paul Guyer and Eric Matthews，trans. (Cambridge: Cambridge UP，2000 [1790])，pp. 89-127; 182-187.

Gilles Deleuze，&39;，G. Deleuze & F. Guattari，New Mappings in Politics，Philosophy and Culture，Eleanor Kaufman and Kevin Jon Heller，eds. (Minneapolis and London: University of Minnesota Press，1994)，pp. 14-19.

Pier Paolo Pasolini，“The ‘Cinema of Poetry’”，in Heretical Empiricism，Louise K. Barnett，ed.，Ben Lawton and Louise K. Barnett，trans. (Bloomington and Indianapolis: Indiana University Press，1988)，pp. 167-186.

Further Reading

Jacques Rancière，The Politics of Aesthetics，Gabriel Rockhill，trans. (London: Continuum，2004)，pp. 12-34 and 42-45.

Jacques Rancière，&39;，From an Aesthetic Point of View: Philosophy，Art and the Sciences，Peter Osborne，ed. (London: Serpent's Tail，2000)，13-33.

Douglas Burnham，An Introduction to Kant's Critique of Judgement (Edinburgh University Press，2000)

Fiona Hughes，Kant&39;s Guide (London: Continuum，2010).

Screening

Bamako (Abderrahmane Sissako，2006)

3. Form and Medium

John David Rhodes

Reading

G.W.F. Hegel，Aesthetics: Lectures on Fine Art，Vol. I T.M. Knox，trans. (Oxford: Clarendon Press，1975 [1835])，pp. 1-55.

Karl Marx，Capital，Vol. I，Ben Fowkes，trans. (London: Penguin 1990)，Chapter 7，Part 1 &39;，pp. 283-292.

Maya Deren，An Anagram of Ideas on Art，Form，and Film，in Essential Deren，Bruce R. McPherson，ed. (Kingston，NY: Documentext，2005)，pp. 35-109.

Further Reading

Erwin Panofksy，Perspective as Symbolic Form，Christopher S. Wood，trans. (New York: Zone Books，1997).

Peter Bürger，Theory of the Avant-Garde，Michael Shaw，trans. (Minneapolis: University of Minnesota Press，1984)，pp. 55-82.

David Bordwell，Narration in the Fiction Film (Madison，WI: University of Wisconsin Press，1985)，pp. 3-47; 48-62.

Bernard Siegert，‘Doors: On the Materiality of the Symbolic’，John Durhan Peters，trans. Grey Room 47 (Spring 2012)，pp. 6-23.

Lorenz Engell，‘Ontogenetic machinery’，Radical Philosophy 169 (September-October 2011)，pp. 10-12.

Screening

Ritual in Transfigured Time (Maya Deren，1946)

Playtime (Jacques Tati，1967)

4. Watching

John David Rhodes

Reading

Karl Marx，Capital，Vol. I，Ben Fowkes，trans. (London: Penguin 1990); Chapter 1，Section 4，&39;，pp. 163-177.

Sigmund Freud，&39; (1927)，The Complete Psychological Works of Sigmund Freud，Vol. XXI，James Strachey，trans. (London: Hogarth and the Institute of Psychoanalysis，1950)，pp. 147-157.

Laura Mulvey，&39;，Screen 16:3 (Autumn 1975)，pp. 6-18.

bell hooks，&39;. In Black Looks: Race and Representation (Boston: South End Press，1992)，pp. 115-152.

Nicholas Mirzoeff，The Right to Look: A Counterhistory of Visuality (Durham，NC: Duke University Press，2011)，1-34.

Further Reading

Theodor Adorno and Max Horkheimer，&39;，in Dialectic of Enlightenment，John Cumming，trans. (London: Verso，1997 [1944])，pp. 120-167.

Jean-Louis Baudry，&39;，trans. Alan Williams，Film Quarterly，28.2 (Winter 1974-5)，pp. 39-47.

Jean-Louis Baudry，&39;，Camera Obscura 1 (Fall 1976)，pp. 104-128.

Jonathan Beller，The Cinematic Mode of Production: Attention Economy and the Society of the Spectacle (Dartmouth College Press，2006)，pp. 1-33.

Christian Metz，Psychoanalysis and Cinema: The Imaginary Signifier. Celia Britton，trans. (Basingstoke: Macmillan，1982).

Fred Camper，‘The Films of Douglas Sirk’，Screen (Summer 1971)，pp. 44-62.

Paul Willemen，‘Distanciation and Douglas Sirk’，Screen 12 (Summer 1971)，pp. 63-67.

Paul Willemen，‘Towards and an Analysis of the Sirkian System’ Screen 13 (Winter 1972)，pp. 128-134.

Screening

Imitation of Life (Douglas Sirk，1959)

Quality Control (Kevin Jerome Everson，2011)

5. Time

Laura McMahon

Reading

Gilles Deleuze，Cinema 2: The Time-Image，translated by Hugh Tomlinson and Robert Galeta (London and New York: Continuum，2005) - Preface，Translators’ Introduction and Chapter 1.

Elena del Río，‘Performing the narrative of seduction: Claire Denis’ Beau Travail (Good Work，1999)’，Kinoeye，3:7 (2003)。

Further reading

Martine Beugnet，Claire Denis (Manchester: Manchester University Press，2004); Cinema and Sensation: French Film and the Art of Transgression (Edinburgh: Edinburgh University Press，2007)

Claire Colebrook，Gilles Deleuze (London: Routledge，2002).

Mary Ann Doane，The Emergence of Cinematic Time: Modernity，Contingency，the Archive (Cambridge，MA.: Harvard University Press，2002)，pp. 1-32.

Douglas Morrey，ed.，‘Special Issue: Claire Denis and Jean-Luc Nancy’，Film-Philosophy，12.1 (2008) <;

Laura Mulvey，&39;，in Death 24x a Second: Stillness and the Moving Image (London: Reaktion，2006)，pp. 17-32.

Jean-Luc Nancy，‘A-religion’，Journal of European Studies，34:1/2 (2004)，14-18.

Elena del Río，Deleuze and the Cinemas of Performance: Powers of Affection (Edinburgh: Edinburgh University Press，2008)

David Rodowick，Gilles Deleuze’s Time Machine (Durham: Duke University Press，1997).

Screening

Beau Travail (Claire Denis，1999)

6. Sensation

Emma Widdis (ekw1000@cam.ac.uk)

Reading

Viktor Shklovskii，&39;，(1919)，in Theory of Prose，trans. and ed. Benjamin Sher (Illinois: Dalkey Archive Press，1990)，pp. 1-15.

Dziga Vertov，&39;，(1923)，in Richard Taylor and Ian Christie，eds.，The Film Factory: Russian and Soviet Cinema in Documents (London: Routledge，1994)，pp. 89-94.

Sergei Eisenstein，&39; (1925)，in Richard Taylor，ed.，S. M. Eisenstein: Selected Writings 1922-34，Selected Works，Vol.1 (London: BFI，1998)，pp. 59-64.

Béla Bálazs，Béla Bálazs: Early Film Theory，Erica Carter，ed.; Rodney Livingstone，trans. (Oxford: Berghahn，2010)，pp. 1-15; 40-45. See also Erica Carter，&39; pp. xxiv-xxv.

Walter Benjamin，&39;，in Illuminations，Hannah Arendt，ed.; Harry Zohn，trans. (New York: Schocken，1969)，pp. 217-251.

Malcolm Turvey，&39;，October 115 (2006)，pp. 77-87.

Screening

Man with a Movie Camera (Dziga Vertov，1929)

Further screening

Film Eye (Dziga Vertov，1924)

Three Songs of Lenin (Dziga Vertov，1934)

The New World (Terence Malick，2005)

7. Exclusions

John David Rhodes

Reading

Frank Wilderson，Red，White，Black: Cinema and the Structure of U.S. Antagonisms (Durham，NC: Duke University Press，2009)，pp. 1-32.

Lee Edelman，No Future: Queer Theory and the Death Drive (Durham，NC: Duke University Press，2004)，pp. 1-31.

Hito Steyerl，&39;，in The Wretched of the Screen (Berlin: Sternberg Press，2012)，pp. 31-45.

Further reading

Saskia Sassen，Expulsions: Brutality and Complexity in the Global Economy (Cambridge，MA: The Belknap Press of Harvard University Press，2014).

Colin Dayan，The Law is a White Dog: how legal rituals make and unmake persons (Princeton: Princeton University Press，2011)

Judith Butler，Bodies That Matter: On the Discursive Limits of Sex (Routledge: 1993)，pp. 121-140.

bell hooks，‘Is Paris Burning?’. In Black Looks: Race and Representation，(Boston: South End Press，1992) ，pp. 145-156.

Eva Cherniavsky，Incorporations: Race，Nation，and the Body Politics of Capital (Minneapolis; London: University of Minnesota Press，2006)，pp. 71-99.

Meg Wesling，‘Queer Value’，glq: A Journal of Lesbian and Gay Studies，18:1 (2012)，pp. 107-125.

Susan Sontag，‘Notes on Camp’. In Against Interpretation (New York: Dell Publishing，1966)，pp. 275-292.

Silvia Federici，Revolution at Point Zero: Housework，Reproduction，and Feminist Struggle (Oakland，CA; Brooklyn，NY: PM Press; Autonomedia，2012).

Alyson Nadia Field，Jan-Christopher Horak，and Jacqueline Najuma Stewart，L.A. Rebellion: Creating a New Black Cinema (Oakland: University of California Press，2015).

Cheryl Harris，&39;，Harvard Law Review 106:8 (June 1993)，pp. 1707-91.

Screening

Several Friends (Charles Burnett，1969)

Sodom (Luther Price，1989)

Atlantiques (Mati Diop，2009)

Formation (Beyoncé Knowles，Melina Matsoukas，2016)

Further Screening

Paris is Burning (Jenny Livingston，1990)

Mariposas en el Andamio (Butterflies on the Scaffold，Margaret Gilpin and Luis Felipe Bernaza; 1996)

Daughters of the Dust (Julie Dash，1991)

8. Post-

John David Rhodes and Laura McMahon

Reading

Fredric Jameson，Postmodernism，Or the Cultural Logic of Late Capitalism (Durham，NC: Duke University Press，1991)，pp. 1-54.

Steven Shaviro，Post Cinematic Affect (London: Zero Books，2010)，pp. 11-34.

Rosi Braidotti，‘Introduction’，The Posthuman (Cambridge: Polity Press，2013)，pp. 1-12

Screening

Tropical Malady (Apichatpong Weerasethakul，2004)

Further reading

Donna J. Haraway，When Species Meet (Minneapolis and London: University of Minnesota Press，2007)

Cary Wolfe，What is Posthumanism? (Minneapolis and London: University of Minnesota Press，2010)，pp. xi-xxxiv.

主线2：电影与屏幕研究主题

Strand 2: Topics in Film and Screen Studies

1.Early Cinema: Time，Space，and the Aesthetic of Attraction

Dr. Maite Conde

This seminar will examine early cinema，considering especially how the novelty displayed what Tom Gunning calls an ‘aesthetic of attractions’. The seminar will be divided into two parts: first we will explore questions of time and space in early films，as well as their links with wider contemporary cultures of display and entertainment，with scientific advances and technology and how these were part of the invention of modern life. We will also consider how the aesthetics of attraction，rather than disappear，is manifested in contemporary cinema，from the avant-garde to new digital movies. In the second part，the seminar will crucially consider what the very concept of early cinema itself raises about technologies of the body and gender. Specifically，we will consider the body and role of women in early cinema，including as spectators，and how this intersects with questions of time and space in early films and also raises further questions regarding ways of looking and early forms of spectatorship. We will end by considering how questions of gender are implicated in the development of narrative films.

Screening

Early Cinema: Primitives and Pioneers (BFI) – students to watch independently

Early films to be discussed in the seminar (these are all available on youtube):

The Corbert Fitzsimmons Fight (Enoch Rector，1897)

Man with India Rubber Head (Melies，1901)

The Big Swallow(James Williamson，1901)

Sprinkler Sprinkled (Lumiere，1895)

The Kiss (William Heise，1896)

The Gay Shoe Clerk (Edwin Porter，1903)

The Teddy Bears (Edwin Porter，1907)

Grandma’s Reading Glass (George Albert Smith，1900)

The X-rays (George Albert Smith，1896)

Mary Jane’s Mishap (George Albert Smith，1903)

The Lonely Villa (Griffiths，1909)

Reading

Balides，C. (1993). Scenarios of exposure in the practice of everyday life: Women in the cinema of attractions. Screen，Xxxiv(1)，19-37.

Bruno，G.，& American Council of Learned Societies. (1993). Streetwalking on a ruined map [electronic resource] : Cultural theory and the city films of Elvira Notari / Giuliana Bruno. (ACLS Humanities E-Book). Princeton，N.J.: Princeton University Press. 3-8; 58-79; 255-309.

Cartwright，L. (1995). Screening the body : Tracing medicine's visual culture / Lisa Cartwright.Minneapolis，Minn. ; London: University of Minnesota Press. 1-17.

Charney，L.，Schwartz，V.，& American Council of Learned Societies. (1995). Cinema and the invention of modern life / edited by Leo Charney，Vanessa R. Schwartz. Berkeley: University of California Press. 1-15.

Tom Gunning，&34;Now you See It，Now You Don&34;: The Temporality of the Cinema of Attractions，'pp. 41-50.

Tom Gunning，&39;，in Early Cinema: Space，Frame，Narrative，ed. Thomas Elsaesser (London: BFI Publishing，1990)，pp. 56-65.

Further Reading:

Auerbach，J.，& American Council of Learned Societies. (2007). Body shots: Early cinema's incarnations / Jonathan Auerbach. Berkeley: University of California Press. Introduction.

Bean，J.，& Negra，D. (2009). A feminist reader in early cinema/ edited by Jennifer M. Bean and Diane Negra. Durham: Duke University Press. 1-29.

Miriam Hansen，Babel and Babylon: Spectatorship in American Silent Film (Cambridge，MA: Harvard University Press，1991).

Colin Harding and Simon Popple，&39;，in In the Kingdom of Shadows: a Companion to Early Cinema (London; Madison，NJ: Cygnus Arts; Fairleigh Dickinson University Press，1996)，pp. 5-17.

Natale，S.，Lefebvre，M.，Gervais，B.，Straw，W.，& Vaillancourt，D. (2011). The Cinema of Exposure: Spiritualist Exposés，Technology，and the Dispositif of Early Cinema. Recherches Sémiotiques，31(1-2-3)，113-129.

2. Media Archaeology

Caroline Bassett

This seminar will explore Media Archaeology，understood as a theoretical intervention into media history and as a methodology for undertaking research into contemporary techno-cultural forms and practices. Media archaeology has taken a distinct form in film studies，notably via the work of Thomas Elsaesser. But it has also developed in expansive ways in associated fields，becoming increasingly influential in software studies，critical medium theory，and code studies. This session explores the claims of media archaeology through a consideration of Kittler as a representative of early German medium theory，through an engagement with contemporary media archaeology drawing on Wolfgang Ernst and Jussi Parikka’s definitional work，and by exploring intersections between media archaeological approaches and critical digital and code studies (via the work of Wendy Chun). Finally，we will consider what these medium specific approaches enable – and what they foreclose on. Does the focus on the materiality of media systems and the claim to provide a form of post-ideological analysis found in some of this work mean matters of race，class，and gender bias，are systematically excluded from consideration?

Reading

Wolfgang Ernst，Digital Memory and the Archive，Jussi Parikka，ed. (Minneapolis: University of Minnesota Press，2013). Read: ‘Introduction’ (by Jussi Parikka) and Chapter 5，‘Between Real Time and Memory on Demand’

Kittler Friedrich，‘Thinking Colours and/or Machines’，Theory，Culture & Society，Vol 23 (7-8): 39 – 50 (2006).

Thomas Elsaesser，‘Media Archaeology as Symptom’，New Review of Film and Television Studies，Vol 14，2016，issue 2.

Wendy Hui Kyong Chun，‘On Sourcery or Code as Fetish’，Configurations，Volume 16，Number 3，Fall，(2008)，pp. 299-324.

Objects

Please explore any or all of the below (via YouTube etc):

The Clock (Christian Marclay，installation，2010)

(e.g. )

24 Hour Psycho (Douglas Gordon，1993)

The Clock of the Long Now (project) ()

Powers of Ten (Charles and Ray Eames，1977)

Further Reading

Caroline Bassett，‘Not now?: Feminism，Technology，Post-digital’，in Berry and Dieter (eds)，Postdigital Aesthetics: Art，Computation and Design (London: Macmillan，2015).

Caroline Bassett，‘After Images of Cinema: Kittler and the Mobile Screen’，chapter in Kittler Now: Current Perspectives in Kittler Studies. Eds. Stephen Sale and Laura Salisbury (London: Polity，2015).

Walter Benjamin，‘On the Concept of History’，in Selected Writings，4: 1938-1940 (London: Harvard UP，2006) (also found in Illuminations [London，Fontana，1992]).

Wendy Hui Kyong Chun，‘Programmability’，in Matt Fuller (ed)，Software Studies: A Lexicon (London: MIT，2008)，pp.224-228.

Thomas Elsaesser，Film History as Media Archaeology (Amsterdam: Amsterdam University Press，2017).

Martin Eve，Close Reading with Computers (London: Stanford UP，2019).

Michel Foucault，The Archaeology of Knowledge (London: Routledge，1972).

Alex Galloway and Thacker Eugene，The Exploit: A Theory of Networks (Minneapolis: University of Minnesota Press，2007).

Lisa Gitelman，Always Already New: Media，History and the Data of Culture (Cambridge，MA: MIT Press，2007).

Mark Goodall and Ben Roberts，eds.，New Media Archaeologies (London: Amsterdam University Press 2019).

Erkki Huhtamo，Illusions in Motion: Media Archaeology of the Moving Panorama and Related Spectacles (Cambridge，MA: MIT Press，2013).

Jussi Parikka，What is Media Archaeology? (London: Polity Press，2012).

Kara Keeling，‘Queer OS’，Cinema Journal，Volume 53，No 2，Winter (2014)，pp 152-157.

Friedrich Kittler，‘Code (or，How You Can Write Something Differently)’，in Matt Fuller (ed)，Software Studies: A Lexicon (London: MIT，2008).

Friedrich Kittler，Literature，Media，Information Systems (London: Routledge，1997).

Rita Raley，Tactical Media (London: Minnesota UP，2009).

Siegfried Zielinksi，The Deep Time of the Media (London: MIT Press，2008).

3. Cinema and Decolonization

Joanna Page (jep29@cam.ac.uk)

This seminar will explore filmmaking as a tool of political revolution and liberation in colonial and neocolonial contexts. We will focus primarily on two major films of the 1960s: Pontecorvo’s The Battle of Algiers (Italy-Algeria，1966) and Solanas and Getino’s The Hour of the Furnaces (Argentina，1968)，widely considered to be the best example of ‘Third Cinema’，a movement that emerged in Latin America as a political and aesthetic response to neocolonialism. Drawing on the work of postcolonial thinkers such as Aimé Césaire and Frantz Fanon，we will examine the extent to which these directors succeed in producing a ‘cinema of decolonization’. Their strategies will be compared with very different ones employed in other key political films of the 1960s，by Jorge Sanjinés (Bolivia) and Glauber Rocha (Brazil)，among others. These films continue to incite controversy in our own time for their depiction of political violence and its role in revolution，and/or for their representation of indigenous culture and subjectivity. In the final part of the seminar，we will trace the relationship between these theories and practices，arising in the 1960s，with more contemporary decolonial thought emerging from /on Latin America，and with more recent productions such as Estrellas/Stars (Argentina，2007).

Reading

Fernando Solanas and Octavio Getino，‘Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World’，in Michael T. Martin，ed.，New Latin American Cinema [Vol. One: Theory，Practices and Transcontinental Articulations] (Detroit: Wayne State University Press，1997)，pp. 33-58. Please bring a copy of this essay to the seminar with you (in print or on screen).

Robert Stam，‘The Hour of the Furnaces and the Two Avant-Gardes’，in Julianne Burton，ed.，The Social Documentary in Latin America (Pittsburgh: University of Pittsburgh Press，1990)，pp. 251-66

Nicholas Harrison，‘Pontecorvo’s “Documentary” Aesthetics’，in Interventions 9:3 (2007): 389-404.

Screening

The Battle of Algiers (Gillo Pontecorvo，Italy-Algeria，1966)

La hora de los hornos/The Hour of the Furnaces (Fernando Solanas and Octavio Getino，Argentina，1968) – Part I only (90 mins)

Further Reading

Nicholas Harrison，‘Yesterday’s Mujahiddin: Gillo Pontecorvo’s The Battle of Algiers (1966)’，in Rebecca Weaver-Hightower and Peter Hulme，eds，Postcolonial Film: History，Empire，Resistance (New York and London: Routledge，2014)，pp. 23-46

Patrick Harries，‘The Battle of Algiers: Between Fiction，Memory and History’，in Vivian Bickford-Smith and Richard Mendelsohn，eds，Black and White in Colour: African History on Screen (Oxford: James Curry and Athens，OH: Ohio University Press，2007)，pp. 203-222

David William Foster，Latin American Documentary Filmmaking: Major Works (Tucson: The University of Arizona Press，2013) – chapter on La hora de los hornos

Jorge Sanjinés，‘Problems of Form and Content in Revolutionary Cinema’，in Michael T. Martin，ed.，New Latin American Cinema [Vol. One: Theory，Practices and Transcontinental Articulations] (Detroit: Wayne State University Press，1997)，pp. 62-70

§ Frantz Fanon，‘On Violence’，in The Wretched of the Earth，trans. Richard Philcox. New York: Grove Press，2004.

Aimé Césaire，Discourse on Colonialism，trans. Joan Pinkham (New York: Monthly Review Press，1972)

Ranjana Khanna，‘The Battle of Algiers and The Nouba of the Women of Mont Chenoua: From Third to Fourth Cinema’ in Third Text，12:43 (1998): 13-32.

Mike Wayne，chapter on ‘Third Cinema as Critical Practice: A Case Study of The Battle of Algiers’，in Political Film: The Dialectics of Third Cinema (London: Pluto Press，2001)，pp. 5-24

David M. J. Wood，‘Indigenismo and the Avant-garde: Jorge Sanjinés’ Early Films and the National Project’，in Bulletin of Latin American Research，vol. 25，no. 1 (2006): 63-82.

Jonathan Buchsbaum，‘A Closer Look at Third Cinema’，in Historical Journal of Film，Radio and Television，21:2 (2001): 153-66.

Ella Shohat and Robert Stam，Unthinking Eurocentrism: Multiculturalism and the Media (London and New York: Routledge，1994)，especially pp. 248-91.

4. Hollywood Stardom: Greta Garbo in Grand Hotel (1932)

Kasia Boddy (kjb18@cam.ac.uk)

This seminar provides an introduction to the Hollywood studio system of the early sound era and the importance of stardom within it. It focuses on Greta Garbo，one of the few actors who made a successful transition from silent films to talkies，and on Grand Hotel (MGM，1932)，a film which exploits Garbo’s earlier star persona (in particular her much quoted desire to ‘be alone’). We’ll explore Grand Hotel as a multi-star vehicle，fulfilling MGM’s promise to provide ‘more stars than there are in heaven’. In particular，we’ll consider how Garbo’s star persona contrasts with that of Joan Crawford，and how the hotel setting works to bring them together. We’ll look at the relationship between star personae and characterisation - how，for example，might a star’s interaction with space and particular objects work? - and consider how acting styles evolved from the silent to the sound era. We will also briefly discuss the impact of Hollywood’s Production Code (which came after Grand Hotel was made)，the role of fashion and make-up in the making and selling of stars，and the importance of fan magazines (and particular communities of fans). Finally，we’ll investigate the elusive notions of ‘aura’ and ‘charisma’.

Screening

Grand Hotel (Edmund Goulding，MGM，1932)

Reading

In Leo Braudy and Marshall Cohen (eds) Film Theory and Criticism: Introductory Readings，8th edition (2016)：

（1）Roland Barthes，‘The Face of Garbo’

（2）John Ellis，‘Stars as a Visible Phenomenon’

（3）Robert C. Allen，‘The Role of the Star in Film History’ (Joan Crawford)

Siegfried Kracauer，‘The Hotel Lobby’，in Thomas Y Levin (ed and trans)，The Mass Ornament: Weimar Essays (1995)

David Trotter，Literature in the First Media Age (Harvard UP，2013)

Brian Gallagher，‘“Greta Garbo is Sad”’: Some Historical Reflections on the Paradoxes of Stardom in the American Film Industry，1910-1960’，Images，3.7 (1997):

Further Screening (or at least watch the trailers)

Silent Garbo: Flesh and the Devil (1926); The Mysterious Lady (1928); A Woman of Affairs (1928)

Garbo talks: Anna Christie (1930); Mata Hari (1932); Queen Christina (1933)

Garbo laughs: Ninotchka (1939)

Joan Crawford pre-Code: Possessed (1931)，and then look at her later incarnations eg. in Mildred Pierce (1945); Johnny Guitar (1954)

European hotels: F.W. Murnau，Der Letze Mann (The Last Laugh，1924)

Stardom: A Star is Born (1937) and as many of the later versions as you like.

Further Reading

Charles Affron，Star Acting: Gish，Garbo，Davis (1977)

Tino Balio，Grand Design: Hollywood as a Modern Business Enterprise (1993)，ch.6 ‘Selling Stars’

Jeanine Basinger，The Star Machine (2007)

Matthew Bernstein，Controlling Hollywood: Censorship and Regulation in the Studio Era (1999)

Sarah Berry，Screen Style: Fashion and Femininity in 1930s Hollywood

Gregory Black，Hollywood Censored: Morality Codes，Catholics，and the Movies (1994)

David Bordwell，Janet Staiger and Kristen Thompson，The Classical Hollywood Cinema (1985)

Richard Brody，“The Essence of Stardom”，The New Yorker，July 25，2014:

Richard de Cordova，Picture Personalities: The Emergence of the Star System in America (1990)

Donald Crafton，The Talkies: American Cinema’s Transition to Sound 1926-1931 (1997)

H.D.，&34; Close Up，1 (July 1927)，in Close Up，1927-1933: Cinema and Modernism，ed. James Donald，Anne Friedberg，and Laura Marcus (1998)

David Dessler and Garth S. Jowett (eds)，Hollywood Goes Shopping (2000)

Richard Dyer，Stars (1979)

Richard Dyer，Heavenly Bodies (1987)

Charles Eckert，‘The Carole Lombard in Macy’s Window’ in John Belton (ed)，Movies and Mass Culture (1996)，95-118

Scott Eyman，The Speed of Sound: Hollywood and the Talkie Revolution (1997)

Lucy Fischer，‘Greta Garbo and Silent Cinema: The Actress as Art Deco Icon’，Camera Obscura，16.3 (2001)，83-111

Lucy Fischer and Marcia Landy (eds)，Stars (2004)

Kathryn H. Fuller，At the Picture Show: Small-Town Audiences and the Creation of Movie Fan Culture (1996)

Jane Gaines，‘The Queen Christina Tie-Ups: Convergence of Show Window and Screen’，Quarterly Review of Film and Video (1989)，11.1，35-60.

Barbara Gelman，Photoplay Treasury (1972)

Christine Geraghty，‘Re-examining Stardom’，in Reinventing Film Studies，eds. Christine Gledhill and Linda Williams (2000).

Christine Gledhill (ed)，Stardom (1991)

Mark Goble，‘Cameo Appearances; or，When Gertrude Stein Checks into Grand Hotel’

Modern Language Quarterly，62，no. 2 (June 2001)，117-163

Howard Gutner，Gowns by Adrian: The MGM Years 1928-1941

James Harvey，Watching Them Be: Star Presence on the Screen from Garbo to Balthazar (2014)

Richard B. Jewell，The Golden Age of Cinema: Hollywood 1929-1945 (2007)

Marc Katz，‘The Hotel Kracauer’，differences: A Journal of Feminist Cultural Studies 11。

Matthew Kennedy，Edmund Goulding: Hollywood’s Genius Bad Boy (2004)

Barry King，‘Stardom as Occupation’，in Paul Kerr (ed)，The Hollywood Film Industry (1986)

Siegfried Kracauer，Theory of Film: The Redemption of Physical Reality (1960)

Michaela Krützen，The Most Beautiful Woman on the Screen: Greta Garbo: The Fabrication of the Star Greta Garbo (1992)

Arne Lund，“‘Garbo Talks!’: Scandinavians in Hollywood，the Talkie Revolution，and the Crisis of Foreign Voice，” in Screen Culture: History and Textuality，ed. John Fullerton (2004)，21-39

Paul McDonald，The Star System (2001)

Peter Matthews，‘Garbo and Phallic Motherhood: A “Homosexual” Visual Economy’，Screen 29.3 (1988): 14-42.

James Naremore，Acting in the Cinema (1992)

Robert B. Ray，The ABCs of Classic Hollywood (2008)

Vito Russo，The Celluloid Closet (1981)

Thomas Schatz，The Genius of the System: Hollywood Filming in the Studio Era (1988)

Martin Shingler，Star Studies: A Critical Guide

Jackie Stacey，Star Gazing: Hollywood Cinema and Female Spectatorship (1994)

Janet Staiger (ed)，The Studio System (1995)

Melissa Szaloky，‘“As You Desire Me”': Reading “The Divine Garbo” through Movement，Silence and the Sublime’，Film History，18:2 (2006)，196-208

David Trotter，Literature in the First Media Age (2013)

Patricia White，‘Black and White: Mercedes de Acosta’s Glorious Enthusiasms’，Camera Obscura 15.3 (2000) 227-264

Many of the fan magazines can be found at the Media History Digital Library:

5. Screening Gender

Leila Mukhida (lm783@cam.ac.uk)

This seminar will explore the aesthetic strategies employed by filmmakers in three films whose protagonists have genders different from those assigned to them at birth: Tangerine (2015)，Boys Don’t Cry (1999) and XXY (2008). The films studied in this seminar may fall under the category of ‘queer cinema’; they are interested in both gender identity (location of the self as a gendered subject) and its intersections with sexual identity (location of desire). This seminar will ask students to refer to key theories on gender and sexuality in their close readings of the films. We will ask: what kind of a spectatorial ‘gaze’ and pleasure is produced when we watch trans bodies on screens? What kinds of visual language and expression are employed，e.g. what role does colour play in the images of trans women of colour in Tangerine? Is it possible to identify a queer or trans temporality in the films?

Priority Screening

Boys Don’t Cry (Kimberly Peirce，1999) Content warning: please note that some of the films discussed in this seminar depict sexual violence.

Further Screenings

Tangerine (Sean Baker，2015)

XXY (Lucía Puenzo，2007)

Reading (theory)

Jack Halberstam，‘Trans* - Gender Transitivity and New Configurations of Body，History，Memory and Kinship’，Parallax 22:3 (July 2016)，366–375

Eve Kosofsky Sedgwick，‘Queer and Now’，in Tendencies (London: Routledge，1994)，pp. 1-20

Judith Butler，‘Critically Queer’，GLQ (1993) 1 (1): 17-32

Jay Prosser，‘Judith Butler: Queer Feminism，Transgender，and the Transubstantiation of Sex’，Section: ‘Queer gender and performativity’ (pp. 36-40)，in Donald E. Hall and Annamarie Jagose (eds)，The Routledge Queer Studies Reader (New York: Routledge，2013)

Gayle Salamon，Assuming a Body: Transgender and Rhetorics of Materiality (New York: Columbia University Press，2010)，Chapter 3: ‘Boys of the Lex: Transgender and Social Construction’ pp. 69-94

micha cárdenas，‘Shifting Futures: Digital Trans of Color Praxis’，Section 2: ‘Passing’ []

Reading (case studies)

On Boys Don’t Cry:

Judith Halberstam，In a Queer Time and Place: Transgender Bodies，Subcultural Lives (New York: New York University Press，2005): Chapter 4: ‘The Transgender Look’，pp. 76-96

On Tangerine：

Edward Lawrenson，‘City of Fallen Angels’，Sight and Sound 25:12 (Dec 2015)，36–38

Further reading

Butler，Judith，Bodies That Matter: On the Discursive Limits of Sex (New York: Routledge，1993)

Olivera，Guillermo，‘The Violence of (In)Visibility: Queer Adolescence and Space in Lucia Puenzo's XXY’，Chasqui 46:2 (Nov 2017)，207–226

Halberstam，Jack，Trans* A Quick and Quirky Account of Gender Variability (Oakland CA: University of California Press，2018)

Harding，Xavier，‘Keeping ‘Insecure’ lit: HBO cinematographer Ava Berkofsky on properly lighting black faces’，September 2016 []

Israeli-Nevo，Atalia，Taking (My) Time: Temporality in Transition，Queer Delays and Being (in the) Present，Somatechnics 7:1 (February 2017)，34–49

Rigney，Melissa，‘Brandon Goes to Hollywood: Boys Don't Cry and the Transgender Body in Film’，Film Criticism 28:2 (Winter 2003/2004)，4–23

Rosario，Vernon，section ‘Intersex and gender identity’ (pp. 273-276) in ‘The History of Aphallia and the Intersexual Challenge to Sex/Gender’，George E. Haggerty and Molly McGarry (eds)，A Companion to Lesbian，Gay，Bisexual，Transgender，and Queer Studies (Oxford，UK: Blackwell，2007)

Salamon，Gayle，Assuming a Body: Transgender and Rhetorics of Materiality (New York: Columbia University Press，2010)

6. Cinema and (Urban) Space

Geoffrey Kantaris (egk10@cam.ac.uk)

This seminar will examine the symbiosis between film and space，with a particular focus on the urban，taken as part of a broader problematic concerned with representations of space and spaces of representation (to use the terms coined by Lefebvre). We will look at theories of urban and global/geopolitical space，from David Harvey and Ed Soja to Fredric Jameson，and consider some key moments in which the mutual constitution of cinema and city is manifest，with a major film from the silent era，a 1950s film noir parody set in Mexico，and a key example of cyberpunk from the 1980s.

Screening

§ Metropolis (dir. Fritz Lang，1926 – try to watch the version restored from footage found in Buenos Aires in 2008，dated 2010)

The Criminal Life of Archibaldo de la Cruz (dir. Luis Buñuel，1955)

Blade Runner (dir. Ridley Scott，1982/1992/2007 – watch the Final Cut version from 2007)

Reading

David Harvey，“Time-space Compression and the Rise of Modernism as a Cultural Force” and “Time-space Compression and the Postmodern Condition”，The Condition of Postmodernity (Oxford: Blackwell，1990)，pp. 260-307

Edward W. Soja，“Six Discourses on the Postmetropolis”，in Westwood and Williams，ed.，Imagining Cities: Scripts，Signs，Memory (Routledge: London & New York，1997) pp. 19-30.

Fredric Jameson，“Totality as Conspiracy”，The Geopolitical Aesthetic: Cinema and Space in the World System (London: BFI，1992)，pp. 9-82.

Further Reading

Marc Augé，Non-Places: An Introduction to Supermodernity (London: Verso，2008 [1992])

Certeau，Michel de，The Practice of Everyday Life (Berkeley & Los Ángeles: University of California Press，1984)

Manuel Castells，“The Space of Flows”，The Rise of the Network Society (Oxford: Blackwell，1996)

David B. Clarke，ed.，The Cinematic City (London: Routledge，1997)

Derek Gregory，Geographical Imaginations (Oxford: Blackwell，1994)

David Harvey，The Condition of Postmodernity (Oxford: Blackwell，1990)

-------------------，Spaces of Capital: Towards a Critical Geography (Edinburgh: Edinburgh University Press，2001)

-------------------，Spaces of Hope (Edinburgh: Edinburgh University Press，2000)

Henri Lefebvre，The Production of Space (Oxford: Blackwell，1991 [1974])

Christoph Lindner，ed.，Globalization，Violence，and the Visual Culture of Cities (London: Routledge，2009)

Doreen Massey，Space，Place and Gender (Minneapolis: University of Minnesota Press，1994)

-------------------，For Space (London: Sage，2005)

Barbara Mennel，Cities and Cinema (London: Routledge，2008)

Vincent Mosco，The Digital Sublime: Myth，Power，and Cyberspace (Cambridge MA: MIT，2004)

Neil Smith，Uneven Development: Nature，Capital and the Production of Space (Oxford: Blackwell，1984)

Edward W. Soja，Postmodern Geographies: The Reassertion of Space in Critical Social Theory (London: Verso，1989)

-------------------，Thirdspace: Journeys to Los Ángeles and Other Real-and-Imagined Places (Oxford: Blackwell，1996)

-------------------，Postmetropolis: Critical Studies of Cities and Regions (Oxford: Blackwell，2000) Barney Warf and Santa Arias，eds.，The Spatial Turn: Interdisciplinary Perspectives (New York: Routledge，2009)

Sophie Watson and Katherine Gibson，eds.，Postmodern Cities and Spaces (Oxford: Blackwell，1995)

7. Adaptation，Intermediality and Transmedia Storytelling

Heather Inwood (hi208@cam.ac.uk)

This seminar will explore ways of approaching cinema’s relationship to and dependency on other forms of media，drawing upon examples of East Asian cinema as our main case studies (alongside a recent Spielberg blockbuster!). By employing theoretical terms such as adaptation，intermediality，remediation and transmedia storytelling，scholars aim to understand how different media relate to each other and，in both conscious and unconscious，explicit and implicit ways，draw upon pre-existing cultural forms in the process of aesthetic (re)creation and storytelling. Some of the questions we will come across in this seminar include: is there such a thing as “pure” cinema? What is meant by a supposedly medium-specific term such as “visual media” and does it hold up to scrutiny? What kinds of things should we pay attention to when considering the ways in which cinema adapts or remediates other media and cultural texts – and how，in particular，can we move beyond the longstanding obsession with fidelity? How does the concept of intermediality differ from that of intertextuality? How is cinema today，as in the past，situated within a broader network or “mix” of media forms and what are the social，philosophical，aesthetic and commercial considerations that underpin such a network? And，finally，how should all of this affect the way we study cinema and other forms of screen-based media now and in the future?

Reading (theory)

Bazin，André. “Adaptation，or the Cinema as Digest.” In J. Naremore (ed)，Film Adaptation，New Brunswick: Rutgers University Press，2000，pp.19-27

Bolter，Jay David and Grusin，Richard A. “Introduction: The double logic of remediation.” In J.D. Bolter and R.A. Grusin，Remediation: Understanding New Media，Cambridge，MA: MIT Press，1999: 2-15

Jenkins，Henry. “Transmedia Storytelling and Entertainment: An annotated syllabus，” Continuum: Journal of Media and Cultural Studies 24:6 (2010)，943-958

Mitchell，W.J.T. “There Are No Visual Media，” Journal of Visual Culture 4:2 (2005)，257-266

Rajewsky，Irena O. “Intermediality，Intertextuality，and Remediation: A Literary Perspective on Intermediality，” Intermédialités no.6 (2005)，43-64

Rippl，Gabriele. “Introduction.” In G. Rippl (ed)，Handbook of Intermediality: Literature – Image – Sound – Music，Berlin and Boston: De Gruyter，2015，pp. 1-31

Readings (case studies)

Donald，Stephanie Hemelryk. “Red Aesthetics，Intermediality and the Use of Posters in Chinese Cinema after 1949，” Asian Studies Review 38:4 (2014)，658-675

Inwood，Heather. “Screening the In-Between: Intermediality and Digital Dystopianism in Contemporary Chinese Film and Fiction，” Concentric: Literary and Culture Studies 43:2 (2017)，193-219

Rojas，Carlos. “Chapter 19: Viral Contagion in the Ringu Intertext.” In D. Miyao (ed)，The Oxford Handbook of Japanese Cinema，Oxford: Oxford University Press，2012，pp.416-437

Sell，Mike. “A Professorial Review of Steven Spielberg’s Ready Player One.” April 2018. URL:

Zeng，Li. “Adaptation as an Open Process: Dahua Fandom and the Reception of A Chinese Odyssey，” Adaptation 6:2 (2012)，187-201

Screening

Ringu (Hideo Nakata，1998)

Mystery (Lou Ye，2012)

Ready Player One (Steven Spielberg，2017)

8. Sound and Music

Ian Cross (ic108@cam.ac.uk)

This seminar will explore the ways in which sound and music have been conceptualised and employed in cinema. Significant (and often mutually resistant) strands in the literature will be surveyed and analyzed with specific reference to Carol Reed&39;s Tale of Tales (1979)，which all students should experience prior to the class.

Reading

On sound and music

Cohen，A. 'Film Music from the Perspective of Cognitive Science’. In D. Neumeyer (Ed.)，The Oxford handbook of film music studies (Oxford: Oxford University Press，2014)，pp. 96-130.

On The Third Man

Drazin，C. In search of The Third Man (London: Methuen，1999).

On The Tale of Tales

Kitson，C. Yuri Norstein and Tale of Tales: an Animator's Journey. (Bloomington and Indianapolis，IN: Indiana University Press，2005).

Further reading

On sound and music

Boltz，M. G. &39;，Memory & Cognition，32:7 (2004)，1194-1205.

Buhler，J.，& Neumeyer，D. &39;. In D. Neumeyer (Ed.)，The Oxford handbook of film music studies (Oxford: Oxford University Press，2014)，pp. 17-43.

Cohen，A. 'Film Music from the Perspective of Cognitive Science’. In D. Neumeyer (Ed.)，The Oxford handbook of film music studies (Oxford: Oxford University Press，2014)，pp. 96-130.

Costabile，K. A.，& Terman，A. W. &39;，Basic and Applied Social Psychology，35:3 (2013)，316-324.

Hasson，U.，Landesman，O.，Knappmeyer，B.，Vallines，I.，Rubin，N.，& Heeger，D. J. &39;. Projections，2:1 (2008)，1-26.

Hoeckner，B.，Wyatt，E. W.，Decety，J.，& Nusbaum，H. &39;. Psychology of Aesthetics，Creativity，and the Arts，5:2 (2011)，146-153.

Kassabian，A. Hearing film: tracking identifications in contemporary Hollywood film music (London: Routledge，2001).

Katz，M. B. Drawing the Iron Curtain: Jews and the Golden Age of Soviet Animation (New Brunswick，NJ: Rutgers University Press，2016).

Tan，S.-L.，Spackman，M. P.，& Bezdek，M. A. &39; Interpretations of Film Characters&39;. Music Perception，25:2 (2007)，135-152.

Winters，B. &39;. Music and Letters，91:2 (2010)，224-244.

On The Third Man

Gomez，J. A. &39;，Literature/Film Quarterly，2:4 (1974)，332-340.

O’Connell，D. C.，& Kowal，S. &34;The Third Man&39;，Pragmatics，16:2/3 (2006)，305-327.

Scholz，A.-M. &34;Eine Revolution des Films&39;，Film & History: An Interdisciplinary Journal of Film and Television Studies 31:1 (2001) ，44-53.

Schwab，U. &34;The Third Man&39;，Literature/Film Quarterly，28:1 (2000)，2-6.

Van Wert，W. F. &39;，Literature/Film Quarterly，2:4 (1974)，341-346.

On The Tale of Tales

Katz，M. B. Drawing the Iron Curtain: Jews and the Golden Age of Soviet Animation (New Brunswick，NJ: Rutgers University Press，2016).

Landesman，O.，& Bendor，R. &39;，Animation，6:3 (2011)，353-370.

MacFadyen，D. &34;Skazka skazok&34;Tale of Tales&39;. In S. Bodrov & B. Beumers，eds.，The cinema of Russia and the former Soviet Union (London: Wallflower Press，2007)，pp. 183-192.

Moritz，W. &39;. In J. Pilling，ed.，A Reader in Animation Studies (New Barnet: John Libbey Publishing，1997)，pp. 38-47.

Wells，P. Understanding animation. (London: Routledge，1998).

Screening

The Third Man (Carol Reed，1949)

Tale of Tales (Yuri Norstein，1979)