This seminar examines 'critical' aspects of the cinematic medium and its 'culture.' This semester will focus broadly upon the status of the "image" and the "end of cinema" in the work of Jean-Luc Godard. Screenings will be accompanied by discussion and consideration of the filmmakers' broader contextual placement with regard to radical independent cinema in Europe, the US and elsewhere.
*Assessment will be based upon a 3000 word *research paper* focused upon the work of one or both of the film makers within a critical theoretical framework (topic proposal due 30 May; essay due June 26, to be submitted in hardcopy ONLY -- essay guildelines should be consulted here); attendance (max. absences: 2); in-class discussion (credits will only be given to students who show initiative in participating in after-screening discussions!), and; a weekly 500-1000 word review of each of the screened titles (to be submitted on paper no later than the following Wednesday in class). Consultations are available on request: Tuesdays 14:00 - 15:00 room 219b.
room/time: Room 131 / Wednesday 17.30-20.40 (each session approx. 2 1/2 hrs).
SCHEDULE (SPRING 2018)
TBA
REQUIRED READING
Louis Armand, VIDEOLOGY 1 (2015) & VIDEOLOGY 2 (2017) https://www.litterariapragensia
Jean-Luc Godard, Godard on Godard, trans. and ed. Tom Milne (New York: Da Capo, 1972).
Colin MacCabe, Godard: A Portrait of the Artist at 70 (London: Bloomsbury, 2003).
Jean-Luc Godard and Youssef Ishaghpour, Cinema (Oxford: Berg, 2005).
Erich Kuersten, “Hell is a Postcard of Heaven: Godard’s Sympathy for the Devil (One Plus One),” Acidemic (http://www.acidemic.com/id98.html).
Richard Brody, Everything Is Cinema: The Working Life Of Jean-Luc Godard (London: Faber, 2008).
- Teacher: Louis Armand
- Teacher: Helena Znojemská