File Name: film theory and criticism leo braudy .zip
- Film Theory and Criticism
- Film Theory and Criticism, Ed Leo Braudy, Marshall Cohen, Oxford Press 2004
- Film theory and criticism : introductory readings
- Film Theory and Criticism
Film Theory and Criticism
Alicia Kozma. Download PDF. A short summary of this paper. Throughout the semester, we will address questions such as: What is cinema, and what are film studies?
How do we relate to and interact with films and media? What are the relationships among film, media, and the larger global society? We will discuss the historical and cultural context in which particular theories emerged, and we will reflect on the role of film theory in the development of film studies as a discipline. Additionally, we will look at how film studies has both taken up and influenced theoretical lines of thought such as ideology, Marxism, semiotics, Russian formalism, psychoanalysis, poststructuralism, feminism, critical race theory, sexuality studies, queer theory, and critiques of neocolonialism.
Classroom time combines lecture, discussion, and film screenings. Because some of the reading material we will cover is difficult, all students are expected to participate in the process of making sense of and coming to terms with class topics. Writing assignments are designed to facilitate this process. These emails will be sent to your illinois. I am operating on the assumption that you all have access to email. If this is not the case, please notify me immediately and we can make other arrangements.
Instructor Contact: Email is by far the best way to reach me. I will respond to emails Monday- Friday between 9am-5pm. If you email me after pm, do not expect an answer until the following day.
I will hold office hours on Wednesdays from 10amam in Gregory Hall room 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. 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. Accommodations: 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. 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: race, color, religion, sex, pregnancy, disability, national origin, citizenship status, ancestry, age, order of protection status, genetic information, marital status, sexual orientation including gender identity, arrest record status, military status, and unfavorable discharge from military service.
If you or someone you know have been a victim of discrimination or harassment, contact the Office of Diversity, Equity, and Access [ You are allowed two 2 unexcused absences.
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. 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. 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. Assignments: 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. Oxford: Oxford University Press, Eisenstein, Sergei. Edited by Leo Braudy and Marshall Cohen. Metz, Christian. Edited by Phillip Rosen. New York: Columbia University Press, Williams, Linda. Edited by Robert Stam and Toby Miller. Malden, MA: Blackwell Publishing, Thanouli, Eleftheria. Kilkenny, Katie. Braudy, Leo. Wood, Robin. Baudry, Jean-Louis.
Willaims, Linda. Gaines, Jane. Edited by Sue Thornham. Doane, Mary Ann. 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. Students are expected to participate in class during every class session with thoughtful, meaningful and contributive questions, comments, ideas etc. Students may choose whatever article they like, however, only one student may present on each article. They must also prepare two questions to ask the class regarding said idea, facilitate discussion around those questions, and be prepared to take questions from me as well.
Article presentations should be minutes long and will take place on the day the article is assigned in the syllabus. Article presentations are not summaries of the reading. You will choose one option from the list below a film and a theoretical concept to write your paper on. From the film you will choose one scene and analyze it through the lens of the theory it is linked to.
You may not choose a scene we discussed in class. How you analyze the scene, what you discuss, what aspects of the theory you use, etc.
Film Theory and Criticism, Ed Leo Braudy, Marshall Cohen, Oxford Press 2004
Hou Hsiao-hsien: A new video lecture! How Motion Pictures Became the Movies. Constructive editing in Pickpocket : A video essay. Rex Stout: Logomachizing. Lessons with Bazin: Six Paths to a Poetics.
Film theory and criticism : introductory readings
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Book Description Since publication of the first edition in , Leo Braudy and Marshall Cohen's Film Theory and Criticism has been the most widely used and cited anthology of critical writings about film. Now in its eighth edition, this landmark text continues to offer outstanding coverage of more than a century of thought and writing about the movies.
Film Theory and Criticism
The most widely used and cited anthology of critical writings about film. Since publication of the first edition in , Leo Braudy and Marshall Cohen's Film Theory and Criticism has been the most widely used and cited anthology of critical writings about film. Now in its eighth edition, this landmark text continues to offer outstanding coverage of more than a century of thought and writing about the movies. Incorporating classic texts by pioneers in film theory and cutting-edge essays by contemporary scholars, the text examines both historical and theoretical viewpoints on the subject. Building upon the wide range of selections and the extensive historical coverage that marked previous editions, this new compilation stretches from the earliest attempts to define the cinema to the most recent efforts to place film in the contexts of psychology, sociology, and philosophy, and to explore issues of gender and race. Reorganized into ten sections-each comprising the major fields of critical controversy and analysis-this new edition features reformulated introductions and biographical headnotes that contextualize the readings, making the text more accessible than ever to students, film enthusiasts, and general readers alike. A wide-ranging critical and historical survey, Film Theory and Criticism remains the leading text for undergraduate courses in film theory.
Film Theory and Criticism. By Leo Braudy and Marshall Cohen, eds. (Oxford: Oxford University Press, , sixth edition. Pp. ix+, ISBN ).