SCREEN-L Archives

August 1997, Week 1

SCREEN-L@LISTSERV.UA.EDU

Options: Use Monospaced Font
Show Text Part by Default
Show All Mail Headers

Message: [<< First] [< Prev] [Next >] [Last >>]
Topic: [<< First] [< Prev] [Next >] [Last >>]
Author: [<< First] [< Prev] [Next >] [Last >>]

Print Reply
Subject:
From:
Irene Upshur <[log in to unmask]>
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Date:
Sat, 2 Aug 1997 12:20:48 -0400
Content-Type:
TEXT/PLAIN
Parts/Attachments:
TEXT/PLAIN (78 lines)
One would assume the student got info on the mechanics, movements, etc of
the film medium when they took "The History of..." class. If they didn't,
they simply cannot take Contemporary Film Criticism. That's that!
However, to show a little mercy for the students who maneuvers this
pre-requisite, insist they read something like "the cookbook," The History
of Narrative Film by David Cook. It's a good, straightforward read, I
believe. Further, if I were teaching a course in beyond a survey, no
student would be allowed in who had not picked-up a camera and
well...touched the medium they are about to desconstruct. Most of my
career I shot still/mo-pic (film and video) and then had the profound
privilege to get a MA in film theory. I had extraordinary teachers/mentors
but I found that when their discussions of theory necessarily HAD to
directly collide with film mechanics, it was giggle time.
 
 
 
 
 
 
On Fri, 1 Aug 1997, Mike Frank wrote:
 
> while all the topics suggested in the query below seem interesting and
> important, i note that none of them deal in any way  with the cienmatic
> specificity of the film medium, instead dealing with certain thematics that in
> principle [and no doubt in practice as well] surely are presetn in other
> expressions of contemporary culture . .  it's possible to argue -- on even
> numbered days i make the argument myself -- that these themes are the "most
> important" element in the package of the film experience . . . but i would
> imagine that a course called "Contemporary Film Criticism" really owes it to
> those enrolled to devote at least a little attention to such issues as montage
> theory, the gaze, the construction of ideology via images, film as document
> vs. film as art,  reception theory, questions of images as a language, to
> choose just a few issues that come immediately to mind . . .
>
> . . . perhaps the simplest way to do this is to use an anthology [the latest
> FILM GENRE READER, or the latest version of the gerald mast, or bordwell's
> recent revisionist collection]
>
>
> mike frank
> *************************************************
>
> ORIGINAL MESSAGE:
>
> I would appreciate any suggestions anyone may have in developing
> a course titled "Contemporary Film Criticism"  I am teaching
> a three-credit undergraduate (junior level) course which has
> not been taught in years.  The six week course, according
> to the catalogue, is an analysis and evaluation of contemporary
> films and criticism.  "Students trace current feature films
> to their artistic and cinematic roots and assess the value of
> the new offerings.  At the same time they evaluation national
> criticism (not reviews) of new offerings.
>
> After giving an overview of film reviews/criticism/analysis
> in terms of style and purpose, I thought I would address
> specific issues in relation to current films.  For example
> how the us vs. them mentality has resurface in alien
> films (MEN IN BLACK, INDEPENDENCE DAY), which can be
> examined in relation to 1950's sci-fi.  I am also thinking
> of devoting a session to recent films (like Greg Arraki's
> NOWHERE and CHASING AMY) which deal with the bisexual
>
> ----
> Online resources for film/TV studies may be found at ScreenSite
> http://www.sa.ua.edu/screensite
>
 
Irene C. Upshur, Director
Instructional Media Center
Marymount University
2807 N. Glebe Rd.
Arlington, Virginia 22207
 
----
To sign off SCREEN-L, e-mail [log in to unmask] and put SIGNOFF SCREEN-L
in the message.  Problems?  Contact [log in to unmask]

ATOM RSS1 RSS2