FILM THEORY AND CRITICISM PDF

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Gerald Mast, Marshall Cohen & Leo Braudy - Film Theory and Criticism ~ Introductory Readings (Fourth Ed.) - Free ebook download as PDF File .pdf) or view. Film theory and criticism: introductory readings / edited by Leo Braudy, Marshall Cohen. th ed. p. cm. Includes bibliographical references and index. Title: Film theory and criticism: introductory readings / edited by Leo DUDLEY ANDREW Concepts in Film Theory by Andrew () from "Adapta-.


Film Theory And Criticism Pdf

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MACS // Film Theory and Criticism Dr. Alicia Kozma // [email protected] Fall // Wednesday pm – pm // Armory COURSE DESCRIPTON . Film Theory and Criticism: Introductory Readings. 6th edition. All other readings listed below will be available as Portable Document Format (PDF) files via. Download the Book:Film Theory And Criticism PDF For Free, Preface: Since publication of the first edition in , Leo Braudy and Marshall Cohen's Fi.

Eisenstein, Sergei. Introductory Readings 8th Edition. Edited by Leo Braudy and Marshall Cohen.

Cinema Language Reading s: Metz, Christian. Aesthetics Reading s: Thompson, Kristin. Edited by Phillip Rosen. New York: Columbia University Press, Williams, Linda. Gender, Genre, and Excess. An Anthology. Edited by Robert Stam and Toby Miller. Malden, MA: Blackwell Publishing, Film Analysis and Criticism Wednesday September 21st: Bordwell, David.

Narrational Principles and Procedures. Thanouli, Eleftheria. Cinematic Space and Its Different Articulations. Post-Classical Cinema: An International Poetics of Film Narration.

Wallflower Press, Formal Analysis Reading s: Gunning, Tom. Criticism Reading s: Comolli, Jean-Luc and Jean Narboni. Kilkenny, Katie. Tangerine Sean Baker, 1 hour 28 minutes Wednesday October 12th: Film and Reality Reading s: Shohat, Ella and Robert Stam.

Crank Mark Nevaldine, 1 hour 28 min Wednesday October 19th: Altman, Rick. Braudy, Leo. The Conventions of Connection. Interpretative Frameworks Wednesday October 26th: Auteurism Reading s: Sarris, Andrew.

Wood, Robin. Baudry, Jean-Louis. Metaphysical Approaches to the Impression of Reality in the Cinema. Silverman, Kaja. Feminist Film Theory Reading s: Aesthetics and Feminist Theory.

Willaims, Linda. Gaines, Jane. Race and Gender in Feminist Film Theory.

What is Film Theory?

A Reader. Edited by Sue Thornham. New York University Press, Audience and Spectatorship Reading s: Black Female Spectators. Doane, Mary Ann. Theorising the Female Spectator. All assignments are due on the assigned date and time unless otherwise stated by me.

Course assignments are outlined and explained in detail in this document. Technology in the Classroom: Please never use your cell phone during class. It is disruptive and rude, and despite how stealthy you think you are, I can see you using it. If you use it, I will take it away from you and return it after class. You may not use laptops or tablets to take notes in class.

I do not put my PowerPoint slides online or give them out to students. Part of your responsibility as a member of this class is to come to every session ready and prepared to take notes. Class Communication: I want you to do as well as you possible can in the class. If you require particular accommodations for this class, please let me know as soon as possible. You are never required to tell me personal information.

I may be able to help you or direct you to someone else who can help you. Plagiarism is strictly forbidden. All writing you turn in absolutely must be your own. In the time you spend disguising your plagiarism you could have just written your own work. Plagiarism can have serious consequences to your standing as a student. For more information, see Article 1, Section 4 d of the Student Code.

Title IX: Title IX makes it clear that violence and harassment based on sex and gender are Civil Rights offenses subject to the same kinds of accountability and the same kinds of support applied to offenses against other protected categories such as race, national origin, etc.

If a student chooses to disclose sexual assault to any faculty or staff member of the University, the faculty or staff member is required to make a report to the Campus Title IX office, who then works the student moving forward.

If you or someone you know has been harassed or assaulted, you can find the appropriate resources here: Assistant Dean Amy Thomson, akthomsn illinois. Discrimination and Harassment: UIUC does not tolerate discrimination or harassment, against any person because of the following protected categories: If you or someone you know have been a victim of discrimination or harassment, contact the Office of Diversity, Equity, and Access [ I take attendance every class.

You are allowed two 2 unexcused absences. Any absence after that which is not accompanied by a note from a doctor or the emergency dean, specifying the exact date you missed class, reduces your final grade by half a step ex: If you miss attendance at the beginning of class it is your responsibility to let me know at the break or at the end of class that you are, indeed, present.

I do not provide notes for any class sessions you may have missed. It is your responsibility to get them from another student in the class.

It is also your responsibility to make-up any missed screenings. Course Materials: All readings on the syllabus are required. All readings are subject to change. If any reading is changed I will let you know in advance.

Braudy Leo, Cohen Marshall. Film Theory and Criticism

In a class on film theory, a particularly strong emphasis will be placed on discussing the readings. You must come to class prepared to discuss the readings. If it is clear that students are not completing the readings, then we will have weekly reading quizzes to ensure that is the case.

I consider audio-visual material no different than information from readings and lectures. If you use technology during any screening, you will be asked to leave class and counted as absent for the day.

If you are unable to stay awake during screenings you will be asked to leave class and counted as absent for the day. You may eat snacks etc. Missed Screenings: Screenings missed for any reason must be made up. Every screening that is not made up reduces your final grade by 5 points. A screening can only be made up by first by seeing the film s on course reserve at the undergraduate library and second, by writing three 3 pages, on a topic I provide you for EACH film missed.

Make up papers are due via email to me by the start of the next class meeting. There are no exceptions to this policy outside of a note from the emergency dean or a doctor specifying the exact date being excused. Your course grade is based out of points. To fully earn those points, you must satisfactorily complete the assignments on time.

I do not accept late assignments. I do not accept any assignment by email unless explicitly approved by me ahead of time. All assignments are due on the assigned dates and times unless otherwise stated by me.

If you fail to turn in any assignment on time, you will receive a zero for that assignment grade. They may also include religious themes. Form, Aesthetic, and Language Wednesday August 24th: If you or someone you know have been a victim of discrimination or harassment, contact the Office of Diversity, Equity, and Access [ I take attendance every class. You are allowed two 2 unexcused absences.

Any absence after that which is not accompanied by a note from a doctor or the emergency dean, specifying the exact date you missed class, reduces your final grade by half a step ex: If you miss attendance at the beginning of class it is your responsibility to let me know at the break or at the end of class that you are, indeed, present.

I do not provide notes for any class sessions you may have missed. It is your responsibility to get them from another student in the class. It is also your responsibility to make-up any missed screenings.

Course Materials: All readings on the syllabus are required. All readings are subject to change. If any reading is changed I will let you know in advance. In a class on film theory, a particularly strong emphasis will be placed on discussing the readings.

You must come to class prepared to discuss the readings. If it is clear that students are not completing the readings, then we will have weekly reading quizzes to ensure that is the case.

I consider audio-visual material no different than information from readings and lectures.

About Adaptation Theory and Criticism

If you use technology during any screening, you will be asked to leave class and counted as absent for the day. If you are unable to stay awake during screenings you will be asked to leave class and counted as absent for the day. You may eat snacks etc. Missed Screenings: Screenings missed for any reason must be made up. Every screening that is not made up reduces your final grade by 5 points.

A screening can only be made up by first by seeing the film s on course reserve at the undergraduate library and second, by writing three 3 pages, on a topic I provide you for EACH film missed.

Make up papers are due via email to me by the start of the next class meeting. There are no exceptions to this policy outside of a note from the emergency dean or a doctor specifying the exact date being excused. Your course grade is based out of points. To fully earn those points, you must satisfactorily complete the assignments on time.

I do not accept late assignments. I do not accept any assignment by email unless explicitly approved by me ahead of time. All assignments are due on the assigned dates and times unless otherwise stated by me. If you fail to turn in any assignment on time, you will receive a zero for that assignment grade. They may also include religious themes. Form, Aesthetic, and Language Wednesday August 24th: Form Reading s: Pudovkin, Vsevolod.

Introductory Readings. Oxford University Press, Eisenstein, Sergei.

Introductory Readings 8th Edition. Edited by Leo Braudy and Marshall Cohen. Cinema Language Reading s: Metz, Christian. Aesthetics Reading s: Thompson, Kristin. Edited by Phillip Rosen. New York: Columbia University Press, Williams, Linda.

Gender, Genre, and Excess. An Anthology. Edited by Robert Stam and Toby Miller. Malden, MA: Blackwell Publishing, Film Analysis and Criticism Wednesday September 21st: Bordwell, David. Narrational Principles and Procedures. Thanouli, Eleftheria.If you use it, I will take it away from you and return it after class. How you analyze the scene, what you discuss, what aspects of the theory you use, etc. I would learn a lot. Students are expected to participate in class during every class session with thoughtful, meaningful and contributive questions, comments, ideas etc.

Screen published hugely influential translations of Christian Metz, whose psychoanalytic semiology of cinema held sway for several years.

If you require particular accommodations for this class, please let me know as soon as possible. Some Film Theory Focuses: Now that you have the basics of Film Theory, it's time to look at some of the more nuanced approaches to the topic.

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