1. Week 8 March 3rd The Post-War Avant-garde The Post-War Avant-garde and Independent Cinema. Readings: Thompson & Bordwell Chapter 21 Documentary and Experimental Cinema in the Postwar Era 1945-Mid 1960’s pp 478-507. Maya Deren p 490 Hayward, Key Concepts Feminist film theory pp97-116; Supplementary Reading: Laura Mulvey “Visual Pleasure and Narrative Cinema”, (Braudy and Cohen pp 833-844).

2. Screening: Meshes of the Afternoon (1943) Maya Deren/ Alex Hammid; Fireworks (1947) Kenneth Anger; Last Year at Marienbad (1961), Alain Renais;

3. Other important films Cleo from 5-7 (1961) Agnes Varda; Scorpio Rising (1964) Kenneth Anger; Chelsea Girls (1966) Andy Warhol Weekend (1967) Jean Luc Godard; Wavelength (1967) Michael Snow; Performance (1970) Nicholas Roeg; Privilege (1990), Yvonne Rainer.

4. May 68 Society of the Spectacle (Guy Debord) Semiotic Theory (Saussure, Barthes) The Mirror Stage: Psychoanalysis and cinema. (Christian Metz). Godard, Ackerman, Jutra, Coppola, Altman

5. May 1968

8. Guy Debord and Situationism

11. Society of the Spectacle Theses “The entire life of societies in which modern conditions of production reign appears as an immense accumulation of spectacles. Everything that was expressed directly has been distanced in a representation.” (Thesis 1)

12. “Spectacle in general, as the concrete immersion of life is the autonomous movement of the non- living. Spectacle is not a collection of images, but a social relation between people mediated through images.” (Thesis 4)

14. “Among other possibilities the cinema lends itself particularly well to studying the present as an historical problem, to dismantling the processes of reification.”( René Vienet, 1959)

15. Debord and Godard were interested in a “politicized Brechtian Cinema” Wexman p363 A Marxist cinema? The Dziga Vertov Group Importance of Cahiers du Cinema. Semiology (Discourse on signs) Ferdinand de Saussure Roland Barthes The Death of the Author

16. Ferdinand de Saussure (1857-1913)

17. Signs According to Ferdinand De Saussure the Sign consists of: (1) signifier -- the material form of the sign for example the word red - and (2) the signified -- the concept it represents the colour red Denotation – denotative (indexical) plane of meaning r.e.d. = colour red Connotation – connotative (iconic and symbolic) plane of meaning Red, rose, love, passion, lust, hot, anger, blood, communism,… endless signification…… hence “the arbitrary nature of the sign”

18. 3 Categories 1. Iconic - a sign which resembles the signified (portrait, photo, diagram, map) 2. Symbolic - a sign which does not resemble the signified but which is purely conventional (the word stop, a red traffic light, or a national flag) 3. Indexical - a sign which is inherently connected in some way (existentially or causally) to the signified (e.g. smoke signifies fire; and all the little symbols on web pages -- mailboxes, speakers, envelopes, arrows).

19. sound/sense

22. Roland Barthes: The Death of the Author “the death of the author ensures the birth of the reader”

23. Christian Metz (1931 – 1993) The Imaginary Signifier: Psychoanalysis and the Cinema

24. The Mirror Stage The Imaginary, the Symbolic and the Real The dyad and split subjectivity. The one who is not one yes seeking the other un petit autre le petit object a in Lacanian terms. Subjectivity, identity formation and….. misrecognition. I am….. another to myself?! I seek an other to myself. Jouissance! I am necessarily incomplete until I bond with another…. and yet this bonding occurs in the realm of the imaginary or the symbolic.

25. Implications for 1.Spectatorship Desire/Fetishism….. 2.Narrative construction - The Oedipal Trajectory in classical narrative cinema 3.Character formation and identification. You become what you desire……

26. Jean-Luc Godard Weekend (1967) released in 1968 Begins: “ a film found on a scrap heap” Ends with “the end of cinema”

27. Francis Ford Coppola The Conversation (1974)

29. Robert Altman Nashville (1975)

32. Chantal Ackerman Je Tu Il Elle;

33. Claude Jutra 1930 - 1986 Mon Oncle Antoine (1971)

34. V2_: Je Tu Il Elle

35. Last Year in Marienbad dir. Alain Renais

36. Week 9 Contemporary Cinema Since the 1960’s Crime, Horror and Suspense. The Hollywood ‘B’ movie. Readings: Thompson & Bordwell Chapter 22 Hollywood’s Fall and Rise pp 505-533; Hayward, Key Concepts Horror pp174-178. Screening: Bucket of Blood (1960) Roger Corman, Night of the Living Dead (1968) George Romero; Breathless (1960) Jean Luc Godard.