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Here is a third and last post in connection with our new BYU/theatre & media arts autobiography class.  It’s the final paper.  Students are to ask themselves each of these questions, and answer them. In considerable detail!  You could try this too, or impose it on your poor, cowering loved ones…

 

Auto-interview:

Where are you from?  What is your village, or town, or city?

What state or province, county or duchy?

What country are you from?

What continent?

How, very specifically, have all and each of these locations formed and affected

you?

From whence your ancestors?

Father’s family (town, province, etc.)?

Mother’s family?

What have you inherited from your ethnic forebears? What else? What else, in addition to those first two things?

How long ago did your ancestors come from that old country?  How has the

passage of that amount of time affected you?

 

Describe your parents’ marriage, whether extant or defunct.  What are the

assumptions and aspirations, or the cautions and warnings, that you have

taken away from that union?

How many kids are in your family?  Which number are you?

What, very specifically, has each sibling done with, for, or to you? Answer that question again. And again.

 

Are you a man, or a woman? Define, thoroughly.

 

Describe the layout and culture of your elementary school/s.  How did it or

they form you?

Describe the layout and culture of your junior high school/s.  Ditto.

High school/s?

Did you sustain, or object to these school cultures?  What traces has that whole negotiation left upon you?

 

Who are the thinkers that have most affected your own thought?  What,

specifically, have you absorbed from their philosophy?  Or, what have you

adapted from them, and how, and what has it all turned into?

 

Identify and describe ten memorable experiences.  What makes them so?

Identify and describe ten more memorable experiences.

Identify and describe five personal triumphs.  How did they raise you up?

What followed?

Identify and describe five personal traumas.  What marks did they leave?

What do you do now, or avoid, that you didn’t previously?

What are three awards that you have received, and what did the receiving of

same do to you?

Describe your three most serious punishments.  Did you deserve them?  Did

they mark you, or your attitudes, or your relationships?

 

What is your most ardent desire?  The next most ardent desire?

What are you scared of?

Of what are you most proud?

Most ashamed?

What are you next most scared or proud or ashamed of?

 

With what event, or person, or character, do you most identify?  One more time.

To what historical period are you most drawn?  Why?

What is your native topography?  Ocean, forest, mountain, plain?  How has

landscape inflected or affected your personality, or the way you set about

doing things?

 

What is your race, or ethnicity?  How exactly are you Caucasion, or Asian, or

African, etc.?  What do you really know about your racial or ethnic backgrounds,

and how are they manifest in what you think and do?

Are you a person of colour?  What does that mean, or what has it meant?

What do you think and feel about the various other colours, races and

ethnicities?

Are you a combination, or hybrid, of ethnicities? What about that?

Or, do you most affiliate with an immigrant society, and with the idea of

assimilation?  Why is that?  What does it all mean?

 

What are your parents’ jobs?  How have parental vocations gone on to form or

affect your lifestyle?

Can you actually make anything, or do anything?  What effect does this

making/doing, or maybe your post-modern ineptitude, have upon you?

 

Are you a Mormon?  How did that happen?  When?  What parts of Mormonism,

exactly, are most important to or in your life?  And, or, what do you

resist?  Why?  How does that show up?

Do you have an especially beloved Sunday School or seminary teacher, a class

or quorum advisor?  Is there one that drove you crazy?  What do these

proclivities say about you, or maybe your discipleship?

What were you, or what was your family, before the LDS church came upon the

scene?  What are the virtues and contributions of that background, or

system?

 

What is your class background?  How far back was it that your forebears actually

rolled up the sleeves and worked by the sweat of their faces?  What were their specific

crafts or skills?  Are those crafts and skills presently a part of your life, or your family

members’ lives?

What educational inclinations or allegiances do your families have?  And, or, what

professional? How do all of these break down?  Is it Arts and Letters, or Humanities?  Are

there social scientists?  What of chemistry or biology, physics or astronomy? Agriculture?

Engineering? Manufacture?  Transportation?  Retail?

Do you match up with the general drift of your family, professionally

speaking?  Why, or why not?  What are you trying to say, or prove, by going

in your present direction?

 

What are your tastes?  Do you know how to describe them?  Where did your

tastes come from and how?

Why do you wear and like the clothes that you like and wear?  How did that happen?

Who are your favourite authors?  When you were five years old?  Ten?

Twenty?  Every year in between?

Why?  What do each of these authors describe, imply, desire, advocate?  What

in their tone or sensibility draws you to them?  What righteousness do they

model, that you want to replicate?  What rebellion draws you, and tempts to

waylay?

Which writers bug you, and why?  What does your resistance say about you?

If you don’t have favourite authors, what happened?

 

Do you like music?  Do you make it, or just take it?  What instrument,

ensemble, period or idiom or ensemble size most pleases you?

 

What caused you to prefer this film genre, or that televisual idiom?

Name ten favourite films.  Why?

Name ten favourite filmmakers.  What about them?

Do you think those are appropriate?   What does “appropriate” mean, or look like, to you?

 

What were your favourite sports teams when you were a kid?  List them by

individual sport.  What drew you to them? Which were your second and third favourites, and why?

Who were your most admired athletes?  What did you admire in them?  Do you

feel the same way now?  What does that mean?

What sport did you actually play?  How did that happen?

What was your position, or event?  How did that come about? How did it affect you?

Were you athletic, or not?  What effect did that have?

Which team did you hate?  What or who caused that?

How many other things do you actually despise?  Why?  What does that say

about you, or the things, or the world itself?

 

Name five painters that you love, or that fascinate you, and why.

Five paintings.

Five poets, and five poems.

Memorialize five pets.  What were their names?  What were they like, very

specifically?

Ten singers, or groups, or musical ensembles.

Ten more.

 

Your most influential grand/parent, aunt/uncle, boyfriend/girlfriend? Your other most influential grand/parent, aunt/uncle, boyfriend/girlfriend? One more time.

What family births do you actually and intensely remember?  What did they teach you about the world, or about yourselves?

What about death, or deaths?

 

List all of your jobs.  How did they help or hurt you, very specifically?

Ditto, church callings.

What are your three top interests, presently speaking?

More pointedly, are you obsessed with anything in particular?  How did that

happen?  How is it manifest?  How do you feel about that, seriously?

Is there a certain idea that somehow embodies you, or that you wish embodied

you?

 

Finally, and in sum, who are you?

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This list goes along with the syllabus for that autobiography class, just posted.  It pertains to one of the class assignments.  (Students are to pick three of these.)  Reading about cool people is cool…

 

(Film) Artists:

Bergman, The Magic Lantern

Bresson, Notes on Cinematography

Buñuel, My Last Sigh

Renoir, My Life and My Films

Truffaut, Hitchcock

Wenders, Emotion Pictures

 

Bildungsromans:

Franklin, My Brilliant Career

Gorky, My Apprenticeship

Hesse, Demian

Isherwood, Mr. Norris Changes Trains

Joyce, Portrait of the Artist as a Young Man

Mann, Tonio Kröger

Myers, Bad Boy

Muir, The Story of My Boyhood & Youth

Thomas, Portrait of the Artist as a Young Dog

Tolstoy, Youth

 

Childhood memoir:

Coetzee, Boyhood: Scenes from a Provincial Life

Dahl, Boy

Frank, The Diary of a Young Girl

Grahame, The Golden Age

Himmel, A Girl Named Zippy

Hunter, The Sound of Chariots

Jansson, The Summer Book

Mowat, Owls in the Family

Orwell, Such, Such Were the Joys

Soyinka, Aké: the Years of Childhood

Tolstoy, Boyhood

 

Emblem:

Douglas, Narrative of the Life of Frederick Douglas

Dylan, Chronicles, vol. 1

Facey, A Fortunate Life

Franklin, The Autobiography of Benjamin Franklin

Gorky, My Childhood

Keller, The Story of My Life

Mahfouz, Echoes of an Autobiography

Orr, Bobby Orr

Pepys, Diary (Abridged)

Pilkington, Under the Wintamarra Tree

Thompson, Fear and Loathing in Las Vegas

White, One Man’s Meat

 

Family, or community:

Agee, A Death in the Family

Bergman, Sunday’s Children

Coppola, Notes

Dryden, The Game

Gosse, Father and Son

Hanff, 84 Charing Cross Road

Khalid, Kampung Boy

Larsson, A Home

Mikita, I Play to Win

Singer, A Day of Pleasure

Wilder, By the Shores of Silver Lake

 

Intellect:

Barthes, Roland Barthes

Brown, My Left Foot

Freud, On Dreams

Goethe, Maxims and Reflections (Penguin)

Koestler, Darkness at Noon

Marcus Aurelius, Meditations

Orwell, A Collection of Essays

Washington, Up from Slavery

Woolf, A Room of One’s Own

 

Oral history:

Alexievich, Voices from Chernobyl

Broadfoot: Ten Lost Years, The Pioneer Years, Six War Years

Brownlow: The Parade’s Gone By

Cannon: Growing Up in Zion

Cook, Japan at War

Frazer, The Blood of Spain

Harrisson, Living Through the Blitz

Jennings, Pandaemonium

LeBaron, All Are Alike Unto God

McNeil/McCain, Please Kill Me

Metzger, The Bintel Brief

Terkel, Working, Hard Times, Race, The Good War

 

Shebang:

Dante, Inferno (try trans. Ciardi)

Dinesen, Out of Africa

Orwell, Down and Out in Paris and London

Pagnol, My Father’s Glory, My Mother’s Castle

Robinson, I Never Had it Made

St. Exupery, Wind, Sand, and Stars

Thoreau, Walden

Whitman, Song of Myself

Wordsworth, The Prelude

 

Spiritual autobiography and moral history:

Augustine, Confessions

Bunyan, Grace Abounding Unto the Chief of Sinners

Confucius, The Analects

Dalai Lama, My Land & My People

Kerouac, The Dharma Bums

Luther, On Christian Liberty

Neibuhr, Black Elk Speaks

Pascal, Pensées

St. Thérèse, Story of a Soul

 

Travail:

Angelou, I Know Why the Caged Bird Sings

B., Epileptic

De Quincey, Confessions of an Opium Eater

Frame, An Angel at My Table

Herr, Dispatches

Kincaid, A Small Place

Rilke, Duino Elegies

Rushdie, Haroun & the Sea of Stories

Wiesel, Night

Wilder, The Long Winter

Wilde, De Profundis

 

Vocation:

Bagnold, A Diary Without Dates

Beliveau, My Life in Hockey

Bouton, Ball Four

Herriott, If Only They Could Talk

Marco Polo, Travels

Markham, West with the Night

Muir, My First Summer in the Sierras

Nabokov, Speak, Memory

Peet, Bill Peet: an Autobiography

Hey, friends, here is the syllabus for a brand new class.  It is taking its maiden voyage, this very semester.  As you can see, it is called Film, the Arts, and Your Autobiography.

The class focuses on three things.  It is alternatively encouraging and bullying on the subject of literacy, or people’s partial or somewhat lack thereof.  Next it pretends to engage in and with modern social/media platforms.  Finally it addresses how the disciplines of history, and the forms of the documentary film, can contribute to the autobiographical project.

A key objective, young people, is to establish differences between legitimate autobiographical impulse and some pretty epidemical age and income-specific narcissism/exhibitionism.  Take that, if you dare!

 

BYU/TMA 477: ISSUES IN THE MEDIA ARTS

Film, the Arts, and Your Autobiography

F-566 HFAC, Tues, 12:00-1:50, Thurs. 12:00-2:50

Course Description: This class will explore the ways in which art experiences contribute to the formation of each individual, of each family, and of societies generally.

Students will explore the part played by images and stories in their own lives.

They will also gather and generate media in order to establish or refine their own autobiographical and family historical regimes.

 

Course Objectives:

  1. Identify and categorize the wide range of edifying art and media that is available to individuals, for all of the naysaying, sky-is-falling discourse that generally prevails around here.  Categories explored will include the Popular, the Popular-Celebrated, the Canonical, the Serendipitous, the Sittin’-On-the-Dock-of-the-Bay, the Personally-Evocative, and the Liken-it-to-Yourself Cumulative.
  1. Establish and understand the wheat/chaff, gold/dross possibilities in each of these categories.
  1. Compile an archive of texts and textual experiences that pertain to these categories; OR, explore and establish an alternative set of categories, and identify the books and films and such that pertain thereto.
  1. Establish a literacy regime: what are some of the things that I need to read and see, and how am I going to make sure that I get around to reading and seeing them?
  1. Understand the disciplines of history, and the place of autobiography therein.  Identifying the differences between autobiography and narcissism.
  1. Consider the place of prose, poetry, photography and film in the historical and autobiographical project.
  1. Establish an historico-autobiographical regime: how—when, where—will I account for myself, and for my loved ones?  What technologies and media platforms are available to me, and most useful for me, as I pursue this project?

Class Calendar:

Week 1           Introduction; Family History in the Present Tense

Screen: To Sweep the Earth as if with a Flood (2014; http://bit.ly/1oOioKV )

Discuss: technology and the gospel, the spirit of Elijah, inward-turned, great works reading lists (BYU, Harvard Classics, Modern Library, David Denby’s Great Books, Guardian/Observer, Time, etc.), literature as an entrée to everything

Week 2           High and low, fast and slow, and accounting for it all

Screen: Stone Reader (2002)

Discuss: self-interviewing, the key questions, Thomas Carlyle’s heroes and Robert Burns’ mouse

Read: On Heroes, introduction, “To a Mouse,” “The Cotter’s Saturday Night”

Week 3           The Proustian Text

Screen: The Railrodder (1965), The Rise and Fall of the Great Lakes (1968); Distant Voices, Still Lives (1988)

Discuss: Marcel Proust, intellectual, intertextual and indeterminate montage, identifying personal touchstones

Week 4           Platforms, Applications, Venues & Sites

Screen: Wall-E (2008)

Discuss: Technology, as end and as mean, Blogs, Facebook, Instagram, Snap Chat, Texting, Tumblr, Twitter; correspondence, journals, photographs, digital photographs, Vines

Week 5           Narcissism

Screen: Portrait of Jason (1967), This Is It (2009); Justin Bieber: Never Say Never (2011)

Week 6           Not narcissism, but charming or even poignantly youthful self-absorption, leading to the knowing of the self

Screen: Flawed (2010), Only the Pizza Man Knows (2007); Sherman’s March (1985)

Discuss: the stages of moral and emotional development, self and other, the concept of the auto-frag

Week 7           The Other, pt. 1

Screen: Shoah (1985)

Week 8           The Other, pt. 2

Screen: Shoah , cont’d, concluded; Foster Child (1985)

Discuss: Great Men and Huddled Masses, trauma, fundamentalism and pluralism, centres and margins

Week 9           Work

Screen: Window Water Baby Moving (1959), Home Movies (website); Leviathan (2012)

Discuss: hierarchical notions of art and artmaking, decorative and domestic arts, St Therésa/Dorothea Brooke as models, or as us

Week 10         Artifactual options; the documentary film and the autobiographical project

Screen: Listen to Britain (1942); In the Street (1947), House, After Five Years of Living (1955), Notebook (1963); The Chronicle of Anna Magdalena Bach (1968)

Discuss: documentary genres, the fact and implication of archive, identifying and cataloguing your family photos, and films, things…

Week 11         Rest, recreation, and enrichment: supplementary screenings

Screen: “For Russell, My Brother, Whom I Slept With” (1968), Daguerreotypes (1976); Le Quattro Volte (2010)

Week 12         Autobiographical and familial cinema as an alternative to every mainstream idiom

Screen: Wavelength (1967), Strangers in Good Company (1990)

Discuss: commerce and art, abundance and sparse, Domesticity as Mean, Genealogy as Summation

Week 13         AMERICAN THANKSGIVING

Week 14         Autobiographical Cinema

Screen: Home Movies (2012)

Discuss: and so …

Week 15         Final presentations, consisting of a report on the great big interview that you have been conducting with yourselves during the whole of the semester

ASSIGNMENTS:

Our assignments relate to three overall, general objectives, which are these:

  1. Each student will establish a coherent, purposeful auto-bibliography, made up of books and films, museums and National Parks and such, that they have read and seen and known.
  1. Each student will establish a coherent, purposeful reading/seeing/visiting plan, in order to insure that her heretofore scattershot literacy efforts firm up into something much more useful.
  1. Each student will initiate and begin to establish a story archive that comprises narratives from her past, as well as from her own family history.  In other words, each student will begin her autobiography, as well as taking upon herself the writing of her own family history.

These general objectives will be accomplished by performing these specific tasks, which is to say, by completing these specific assignments:

  1. Complete and post a reasonably thorough list of books read/films seen/world heritage sites visited: Goodreads, I √ Movies, UNESCO, etc. Due on Tuesday, September 16.
  2. Students will read two autobiographies, chosen from any of the categories listed below.   They will submit a 1000 word review of each. These reviews are due on Thursday, October 2 and Thursday, November 6. Students will also read and annotate 200 pp. worth of material from the oral histories category. Annotations are due upon completion of the readings, during the last third of the semester. These oral history books will be on reserve at the HBLL library.
  3. Identify and annotate a trans-media list of 100 personal touchstone texts (10 buildings, 10 books, 10 stories, 10 poems, 10 movies, 10 songs [short form, contemporary/ popular], 10 classical compositions/recordings, 10 albums/CDs, 10 paintings, 10 photographs). Annotations are to describe something of the nature and quality of each of these texts, as well as indicating why they are significant to you. Each one should be 75 to 100 words. This assemblage is due on Tuesday, October 14.
  4. Complete a personal technological profile: what platforms are you on, and how often are you on them; describe and then critique your conduct on each platform. Each platform report should be from 75 to 150 words. The tech profile is due on Tuesday, October 21.
  5. Identify 100 autobiographical incidents, 100 account-worthy events from various of the times and places in your life. You may, occasionally, also draw from the lives of family members and ancestors. (Say, two out of every ten titles.) Fashion potential titles for these 100 incidents. A list of titles is due on Tuesday, October 28.
  6. Start a family media register. What photographs, films, tapes, cards, recordings, journals, daily planners and artifacts have you got? Where are they? And in what shape? And what are you going to do about it all? A detailed first stab at this list, together with an approximately 500 word plan of action for further detailing, organizing, preserving and disseminating the whole thing to your other family members, is due on Tuesday, November 18.
  7. Complete and submit an advanced draft of the genealogical survey/self-interview, as assigned in week 2, and as outlined below. This draft is due on Tuesday, December 2.
  8. Complete and submit one 1000 word autobiographical sketch, or anecdote, or fragment, or narrative. This is to be taken from the 100 titles assignment, given in week 9. It is due on Tuesday, December 9.

The following quite exhaustive, definitely exhausting assembly pertains to a just previous posting of a film class syllabus, and to one of its main assignments.

You can see what the students in this class have been assigned to do with this material.  Visitors to this blog are not, of course, under any obligation to do anything.  They might still try watching though.  Or, they might think about the two films that they would have chosen, or of what rationale might have led to the choices made here.

 

Here’s a link to that previous blog post:

http://bit.ly/1q7mkpF

 

Here’s the class assignment, with the list immediately following.

I have compiled two big fat lists with the names of a ton of significant directors.  They are from long ago and recent, and from all over the world. Almost every name has two titles attached to it.  Students are to pick a name from the first list and two names from the second. They are see the two titles listed with each name.  (Only one title listed?  That’s either for a single-film filmmaker, or because I thought that only one title belonged on this list.  You can write about those guys too.)  That is three names, six titles in total.  They are to write and submit a 1000 word paper on what these two films have taught them about the director, and the way that he or she directs. 

 

A TON OF DIRECTORS, AND A PAIR OF FILMS FOR MOST EACH ONE 

Pt. 1: Short films of an activist or animated or avant garde or documentary nature

Alexeieff, Alexander & Parker, Claire: Night on Bald Mountain (1933), Le Nez (1963)

Álvarez, Santiago: Now! (1965), LBJ (1968)

Anderson, Lindsay: Thursday’s Children (1954), Everyday Except Christmas (1957)

Anger, Kenneth: Fireworks (1947), Scorpio Rising (1964)

Anstey, Edgar: Granton Trawler (1934), Housing Problems (et al., 35)

Arbuckle, Roscoe: Fatty and Mabel Adrift (1916), The Cook (1918)

Avery, Tex: I Love to Singa (1936), King-Size Canary (1947)

 

Back, Frédérick: Crac! (1981), The Mighty River (1993)

Baillie, Bruce: Here I Am (1962), Castro Street (1966)

Barker, Cordell: Strange Invaders (2002), Runaway (2009)

Berman, Wallace: Aleph (1966)

Blank, Les: A Well-Spent Life (1972), Garlic is as Good as Ten Mothers (1980)

Borowczyk, Walerian: Les Astronautes (1959), Renaissance (1964)

Brakhage, Stan: Window Water Baby Moving (1959), The Dante Quartet (1987)

Brault, Michel: La Lutte (1961), Éloge de Chiac (1969)

Broughton, James: This is it (1971), High Kukus (1973)

Buñuel, Luis: Un Chien Andalou (with Salvador Dalí, 1929), Land Without Bread (1932)

Bute, Mary Ellen: Sycnchromy No. 2 (1935), Tarantella (1940)

 

Chomón, Segundo de: Les Kiriki—Acrobates Japonais (1907), The Golden Beetle (1907)

Clampett, Robert: Porky in Wackyland (1938), Kitty Cornered (1946)

Clark, Shirley: Dance in the Sun (1953), Bridges-Go-Round (1958)

Condie, Richard: The Big Snit (1985)

Connor, Bruce: A MOVIE (1958), Report (1963-67)

Cornell, Joseph: Rose Hobart (1936), Children’s Party (1938)

 

Deren, Maya: Meshes in the Afternoon (1943), At Land (1944)

Duchamp, Marcel: Anemic Cinema (1926)

Dulac, Germaine: The Smiling Madame Beudet (1923), La Coquille et le Clergyman (1928)

Durand, Jean: Onésime, Clockmaker (1912), The Railway of Death (1912)

 

Eames, Charles & Ray: Parade (1952), Day of the Dead (1957)

Emshiller, Ed: Thanatopsis (1962)

Epstein, Jean: La Glace à trois faces (1927), Le Tempestaire (1947)

 

Farrokhzad, Forugh: The House is Black (1963)

Feuillade, Louis: The Colonel’s Account (1907), A Very Fine Lady (1908)

Fischinger, Oscar: An Optical Poem (1937)

Fleisher, Dave & Max: A Dream Walking (1934), Choose Yer ‘Weppins’ (1935)

Frank, Robert: Pull My Daisy (1959)

Freleng, Friz: Little Red Riding Rabbit (1944), Ballot Box Bunny (1951)

Franju, Georges: Blood of the Beasts (1949), Hotel des Invalides (1952)

 

Gehr, Ernie: Serene Velocity (1970), Eureka (1974)

Griffith, D.W.: The Musketeers of Pig Alley (1912), The Mothering Heart (1913)

Guy, Alice: Faust and Mephistopheles (1903), The Consequences of Feminism (1906)

 

Harris, Hilary: Nine Variations (1966), Organism (1975)

Hubley, John & Faith: Moonrise (1961)

Huston, John: The Battle of San Pietro (1945), Let There Be Light (1946)

 

Ivens, Joris: Misére au Borinage (1933), …A Valparaiso (1965)

Iwerks, Ub: The Gallopin’ Gaucho (1928), Fiddlesticks (1930)

 

Jackson, Wilfred: Santa’s Workshop (1932), The Wise Little Hen (1934), Woodland Café (1937)

Jacobs, Ken: Little Stabs at Happiness (1960), Perfect Film (1986)

Jennings, Humphrey: Listen to Britain (1942), A Diary for Timothy (1945)

Jones, Chuck: Feed the Kitty (1952), There They Go-Go-Go (1956)

 

Kiarostami, Abbas: Bread and Alley (1970), Two Solutions to One Problem (1975)

Kirsanoff, Dmitri: Ménilmontant (1926), Brumes d’automne (1928)

Koenig, Wolf: City of Old (et al., 1957), Lonely Boy (1961)

Kove, Torril: My Grandmother Ironed the King’s Shirts (2001), The Danish Poet (2006)

Kroiter, Roman: Paul Tomkowicz, Street-railway Switchman (1953), Stravinsky (1965)

Kuchar, George/Mike: Sins of the Fleshapoids (1965), Hold Me While I’m Naked (1966)

 

Lamorisse, Albert: White Mane (1953), The Red Balloon (1956)

Lawder, Standish: Corridor (1970), Necrology (1971)

Leacock, Ricky: Jane (with D.A. Pennebaker, 1962), Happy Mother’s Day (1963),

Léger, Fernand: Ballet Méchanique (1924)

Legg, Stuart: The Case of Charlie Gordon (1939), Warclouds in the Pacific (1941)

Levitt, Helen: In the Street 1948)

Leyda, Jay: A Bronx Morning (1931)

Lipsett, Arhur: Very Nice, Very Nice (1961), 21-87 (1964)

Lorentz, Pare: The Plow that Broke the Plains (1936), The River (1937)

Low, Colin: The Hutterites (1964), Standing Alone (1982)

Lye, Len: Rainbow Dance (1936), Trade Tattoo (1937)

 

Maddin, Guy: The Heart of the World (2000), Night Mayor (2009)

Malle, Louis: Vive le Tour (1962), Humaine, Trop Humaine (1974)

Man Ray: Emak-Bakia (1927), L’Etoile de Mer (1928)

Mason, Bill: Paddle to the Sea (1966), The Rise and the Fall of the Great Lakes (1968)

McCartney-Filgate, Terence: The Days Before Christmas (et al., 1958), The Back-Breaking Leaf (1959)

McKimson, Robert: Gorilla My Dreams (1948), Devil May Hare (1954)

Meliés, Georges: The Magic Lantern (1903), The Impossible Voyage (1904)

Menken, Marie: Notebook (1963), Go! Go! Go! (1964)

Mitry, Jean: Pacific 231 (1949)

 

Quay brothers: Nocturna Artificiala (1979), Street of Crocodiles (1986)

 

Painléve, Jean: The Struggle for Survival (1937), Sea Urchins (1954)

Park, Nick: The Wrong Trousers (1993), A Matter of Loaf and Death (2008)

Parker, Gudrun: Before They Are Six (1943), The Stratford Adventure (1954)

Pennebaker, D.A.: Daylight Express (1953), Primary (1960)

Polanski, Roman: Two Men in a Wardrobe (1958), The Lamp (1959)

Porter, Edwin: The Life of an American Fireman (1903), The Dream of a Rarebit Fiend (1906)

Potter, Sally: Thrille (1979)

 

Rafelson, Bob: Head (1968), Five Easy Pieces (1970)

Ramsay, Lynne: Small Deaths (1996), Gasman (1998)

Resnais, Alaine: Toute le Mémoire du Monde (1956), Chant du Styrene

Richter, Hans: Rhythmus 21 (1923),

Rouch, Jean: Le Maitre Fous (1955), Moi, un Noir (1958)

Russell, Ken: Amelia and the Angel (1959), London Moods (1961)

 

Snow, Michael: Wavelength (1967), La Région Centrale (1971)

Starewicz, Wladyslaw: The Cameraman’s Revenge (1912), The Voice of the Nightingale (1923)

Steiner, Ralph: H2O (1929), Mechanical Principles (1930)

Sucksdorff, Arne: The Gull (1944), The Rhythm of the City (1948)

Svankmajer, Jan: The Flat (1968), The Fall of the House of Usher (1982)

 

Templeton, Suzie: Peter and the Wolf (2006)

Tezuka, Osamu: Story of a Certain Street Corner (1962), The Drop (1965)

Trnka, Jiri: The Emperor’s Nightingale (1949), The Hand (1965)

 

Vigo, Jean: Taris (1931), Zero de Conduite (1933)

Vorkapich, Slavko: The Life and Death of 9413, a Hollywood Extra (1928), Moods of the Sea (1941)

 

Watt, Harry: North Sea (1938), Target for Tonight (1941)

Weinberg, Herman: Autumn Fire (1931)

Wilder, Donald: Nahanni (1962)

Wright, Basil: O’er Hill and Dale (1932), Song of Ceylon (1934)

 

Part 2: Feature length films

Achbar, Mark, et al.: Noam Chomsky: Manufacturing Consent (1994), The Corporation (2003)

Akerman, Chantal: Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (1975)

Aldrich, Robert: Kiss Me Deadly (1955), The Big Knife (1955)

Alfredson, Thomas: Let the Right One In (2008), Tinker Tailor Soldier Spy (2011)

Algar, James: The Living Desert (1953), White Wilderness (1958)

Allen, Woody: Broadway Danny Rose (1984), Hannah and her Sisters (1987)

Almodovar, Pedro: All About My Mother (1999), Volver (2006)

Altman, Robert: California Split (1974), Popeye (1980)

Anders, Allison: Border Radio (1987), Gas Food Lodging (1992)

Anderson, Lindsay: This Sporting Life (1963), If… (1968)

Anderson, Paul Thomas: Magnolia (1999), There Will Be Blood (2007)

Anderson, Wes: Rushmore (1998), The Royal Tennenbaums (2001)

Angelopoulos, Theo: Landscape in the Mist (1988), Eternity and a Day (1998)

Antonioni, Michelangelo: Le Amiche (1955), L’Eclisse (1962)

Apted, Michael: 42 Up (1998), Amazing Grace (2006)

Arcand, Denys: On est au Coton (1976), Jesus of Montréal (1989)

Argento, Dario: The Bird with the Crystal Plumage (1970), Deep Red (1975)

Armstrong, Gillian: My Brilliant Career (1979), Oscar and Lucinda (1997)

Ashby, Hal: Harold and Maude (1971), Shampoo (1975)

Audiard, Jacques: Ready My Lips (2001), A Prophet (2009)

Avildsen, John G.: Rocky (1976), The Power of One (1992)

 

Ballantyne, Tania: The Things I Cannot Change (1966)

Ballard, Carol: The Black Stallion (1979), Duma (2005)

Bardem, Juan Antonio: Death of a Cyclist (1955), Seven Days in January (1977)

Barnet, Boris: The House on Trubnaya (1928), Okraina (1933)

Bauer, Evgeni: After Death (1915), The Dying Swan (1916)

Bava, Mario: Black Sunday (1960), Kill Baby, Kill (1966)

Beatty, Warren: Reds (1981), Bulworth (1998)

Beauvoir, Xavier: Of Gods and Men (2010)

Becker, Jacques: Casque d’Or (1952), Le Trou (1960)

Benigni, Roberto: The Monster (1994), Pinocchio (2002)

Benton, Robert: Places in the Heart (1984), Nobody’s Fool (1994)

Beresford, Bruce: Breaker Morant (1980), Tender Mercies (1983)

Bergman, Ingmar: Smiles of a Summer Night (1955), Cries and Whispers (1972)

Berri, Claude: The Two of Us (1967), Germinal (1993)

Bertolucci, Bernardo: Before the Revolution (1964), The Conformist (1970)

Besson, Luc: The Fifth Element (1997), The Extraordinary Adventures of Adèle Blanc-Sec (2010)

Bigelow, Kathryn: Point Break (1991), The Hurt Locker (2008)

Bird, Brad: The Iron Giant (1999), Ratatouille (2007)

Blomkamp, Neill: District 9 (2009), Elysium (2013)

Boetticher, Budd: Seven Men from Now (1956), Comanche Station (1960)

Bogdanovich, Peter: Paper Moon (1973), Daisy Miller (1974)

Boorman, John: Point Blank (1967), The General (1998)

Borsos, Philip: The Grey Fox (1982), One Magic Christmas (1985)

Borzage, Frank: Bad Girl (1931), After Tomorrow (1932)

Boyle, Danny: Sunshine (2007), 127 Hours (2010)

Branagh, Kenneth: Henry V (1989), A Midwinter’s Tale (1995)

Brakhage, Stan: Dog Star Man (1962-4), 23rd Psalm Branch (1967)

Brando, Marlon: One-Eyed Jacks (1961)

Brault, Michel: Pour la Suite du Monde (1963), Les Ordres (1974)

Bresson, Robert: Pickpocket (1959), The Devil, Probably (1977)

Brittain, Donald: Memorandum (1967), Volcano: an Enquiry Into the Life and Death of Malcolm Lowry (1976)

Brooks, Albert: Real Life (1979), Lost in America (1985)

Brooks, James L.: Broadcast News (1987), I’ll Do Anything (1994)

Brooks, Mel: The Producers (1967), History of the World, pt. 1 (1981)

Brooks, Richard: Sweet Bird of Youth (1962), The Professionals (1966)

Brown, Clarence: The Yearling (1946), Intruder in the Dust (1949)

Browning, Tod: The Unknown (1927), Freaks (1932)

Brownlow, Kevin: It Happened Here (co-directed with Andrew Mollo, 1964), Unknown Chaplin (co-directed with David Gill, 1983)

Buñuel, Luis: Nazarin (1959), The Exterminating Angel (1962)

Burton, Tim: Ed Wood (1994), Frankenweenie (2012)

 

Cameron, James: The Abyss (1989), Avatar (2009)

Campion, Jane: An Angel at My Table (1990), Bright Star (2009)

Capra, Frank: Lady for a Day (1933), Prelude to War (1942)

Carax, Léos: The Lovers on the Bridge (1992), Holy Motors (2012)

Carné, Marcel: Le Jour se lève (1939), Children of Paradise (1945)

Carpenter, John: Dark Star (1974), Assault on Precinct 13 (1976)

Cassavetes, John: Faces (1968), The Killing of a Chinese Bookie (1976)

Cavalcanti, Alberto: Rien que les Heurs (1926), Went the Day Well? (1942)

Chabrol, Claude: Le Boucher (1969), Le Cérémonie (1995)

Chomet, Sylvain: The Triplets of Belleville (2003), The Illusionist (2010)

Chen Kaige: Farewell, My Concubine (1993), The Emperor and the Assassin (1998)

Chow, Stephen: Kung Fu Hustle (2004), CJ7 (2008)

Cimino, Michael: The Deer Hunter (1978), Heaven’s Gate (1980)

Clair, René: Le Million (1931), À Nous la Liberté (1931)

Clark, Shirley: The Cool World (1963), Portrait of Jason (1967)

Clayton, Jack: Room at the Top (1959), The Innocents (1961)

Clouzot, Henri-Georges: Quai des Orfèvres (1947), The Mystery of Picasso (1956)

Cocteau, Jean: Beauty and the Beast (1946), Orpheus (1950)

Coen, Ethan & Joel: Intolerable Cruelty (2003), A Serious Man (2009)

Coolidge, Martha: Valley Girl (1983), Rambling Rose (1991)

Cooper, Merian C., & Ernest Schoedsack: Chang (1927), King Kong (1933)

Coppola, Francis Ford: The Rain People (1969), The Conversation (1974)

Coppola, Sofia: Lost in Translation (2003), Marie Antoinette (2006)

Corman, Roger: A Bucket of Blood (1959), X-The Man with the X-Ray Eyes (1963)

Costa-Gavras, Konstantin: Z (1969), Missing (1972)

Crichton, Charles: Hue and Cry (1947), A Fish Called Wanda (1988)

Cronenberg, David: Naked Lunch (1991), Spider (2002)

Crow, Cameron: Say Anything… (1989), Almost Famous (2000)

Cuarón, Alfonso: A Little Princess (1995), Gravity (2013)

Cukor, George: The Women (1939), Pat and Mike (1952)

Curtiz, Michael: Doctor X (1932), Angels with Dirty Faces (1938)

 

Dante, Joe: Piranha (1978), Gremlins 2: A New Batch (1990)

Davaa, Byambasuren, & Falorni, Luigi: The Story of the Weeping Camel (2003)

Davies, Terence: Distant Voices, Still Lives (1988), The House of Mirth (2000)

Dardenne, Luc and Jean-Pierre: Rosetta (1999), The Kid with a Bike (2011)

Dassin, Jules: Thieves’ Highway (1949), Night and the City (1950)

De Antonio, Emile: In the Year of the Pig (1968), Millhouse (1971)

DeMille, Cecil: King of Kings (1927), This Day and Age (1933)

Demme, Jonathan: Melvin and Howard (1980), Married to the Mob (1988)

Demy, Jacques: Bay of Angels (1963), Model Shop (1969)

Denis, Claire: Beau Travail (1999), White Material (2009)

De Palma, Brian: Sisters (1973), The Fury (1978)

De Sica, Vittorio: Shoeshine (1946), Umberto D. (1952)

Dickinson, Thorold: Gaslight (1940), Queen of Spades (1949)

Dieterle, William: Dr. Ehrlich’s Magic Bullet (1940), Portrait of Jennie (1948)

Dmytryk, Edward : Tender Comrade 1943), Crossfire (1947)

Donen, Stanley: It’s Always Fair Weather (1955), Two for the Road (1967)

Douglas, Bill: My Ain Folk (1973), Comrades (1986)

Dovzhenko, Alexander: Zvenigora (1928), Earth (1930)

Duvall, Robert: The Apostle (1997)

Dwan, Alan: Silver Lode (1954), Cattle Queen of Montana (1954)

 

Eastwood, Clint: Bronco Billy (1980), White Hunter, Black Heart (1990)

Edwards, Blake: The Great Race (1965), Micki + Maude (1984)

Egoyan, Atom: The Adjuster (1991), The Sweet Hereafter (1997)

Eisenstein, Sergei: Old and New (1929), Ivan the Terrible, pt. 2 (1958)

 

Farrelly, Bobby & Peter: Shallow Hal (2001), Stuck on You (2003)

Farrow, John: The Big Clock (1948), Hondo (1953)

Fassbinder. R.W.: Love is Colder than Death (1969), The Bitter Tears of Petra von Kant (1972)

Favreau, Jon: Elf (2003), Chef (2014)

Fellini, Federico: La Dolce Vita (1960), Juliet of the Spirits (1965)

Feuillade, Louis: Les Vampires (1915), Judex (1916)

Feyder, Jacques: Faces of Children (1925), La Kermesse Héroique (1935)

Fincher, David: The Game (1997), Zodiac (2007)

Flaherty, Robert: Moana (1926), Louisiana Story (1948)

Ford, John: Young Mr. Lincoln (1938), The Sun Shines Bright (1953)

Forman, Milos: The Fireman’s Ball (1967), Taking Off (1971)

Forsythe, Bill: That Sinking Feeling (1979), Breaking In (1989)

Frampton, Hollis: Zorns Lemma (1970), (nostalgia) (1971)

Frankenheimer, John: All Fall Down (1962), Seven Days in May (1964)

Franju, Georges: Eyes Without a Face (1960), Judex (1963)

Frears, Stephen: Dangerous Liaisons (1993), High Fidelity (2000)

Freund, Karl: The Mummy (1932), Mad Love (1935)

Friedkin, William: The French Connection (1971), Sorcerer (1977)

Fuller, Samuel: The Steel Helmet (1951), The Big Red One (1980)

 

Gance, Abel: J’Accuse (1918), La Roue (1923)

Gardner, Robert: Dead Birds (1963), Forest of Bliss (1985)

Gibson, Mel: The Passion of the Christ (2004), Apocalpyto (2006)

Gilliam, Terry: Jabberwocky (1977), Twelve Monkeys (1995)

Gilliatt, Sidney: Millions Like Us (co-directed with Frank Launder, 1943), I See a Dark Stranger (1946)

Girard, François: Thirty-Two Short Films About Glenn Gould (1993)

Godard, Jean-Luc: Vivre Sa Vie (1962), Pierrot le Fou (1965)

Gondry, Michel: Be Kind Rewind (2008), Is the Man Who is Tall Happy? (2013)

Gorris, Marleen: Antonia’s Line (1995), Mrs. Dalloway (1997)

Greenaway, Peter: The Draughtsman’s Contract (1982), Prospero’s Books (1991)

Greengrass, Paul: United 93 (2006), Captain Phillips (2013)

Grierson, John: Drifters (1929), Industrial Britain (with Robert Flaherty, 1933)

Griffith, D.W.: True Heart Susie (1919), Orphans of the Storm (1921)

Guest, Christopher: Best in Show (2000), A Mighty Wind (2003)

Guitry, Sacha: The Story of a Cheat (1936), The Pearls of the Crown (1937)

Guzmán, Patricio: The Battle of Chile (1975-79), Nostalgia for the Light (2010)

 

Hallström, Lasse: Once Around (1991), The Cider House Rules (1999)

Haneke, Michael: Caché (2005), Amour (2012)

Hanson, Curtis: LA Confidential (1997), The Wonder Boys (2000)

Haskin, Byron: The Naked Jungle (1954), Robinson Crusoe on Mars (1964)

Hathaway, Henry: Call Northside 777 (1948), The Sons of Katie Elder (1965)

Hawks, Howard: Only Angels Have Wings (1939), To Have and Have Not (1944)

Heckerling, Amy: Clueless (1995)

Herzog, Werner: Aguirre, the Wrath of God (1972), The Enigma of Kaspar Hauser (1974)

Hess, Jared: Nacho Libre (2006), Gentleman Broncos (2009)

Hill, George Roy: The Sting (1973), The Great Waldo Pepper (1975)

Hitchcock, Alfred: The Farmer’s Wife (1928), Stage Fright (1950)

Holland, Agnieszka: Angry Harvest (1985), The Secret Garden (1993)

Howard, Ron: Night Shift (1982), Splash! (1984)

Hsiao-Hsien Hou: City of Sadness (1989), The Puppetmaster (1993

Huston, John: Key Largo (1948), Fat City (1972)

 

Ichikawa, Kon: Fires on the Plain (1959), Being Two Isn’t Easy (1962)

Imamura, Shohei: Pigs and Battleship (1961), The Insect Woman (1963)

Ivory, James: Shakespeare-Wallah (1965), The Remains of the Day (1993)

 

Jackson, Peter: Heavenly Creatures (1994), King Kong (2005)

Jacobs, Ken: Star Spangled to Death (2004)

James, Steve: Stevie (2002), The Interrupters (2011)

Jancsó, Miklós: The Red and the White (1967), Red Psalm (1971)

Jarman, Derek: Jubilee (1978), Blue (1993)

Jarmusch, Jim: Stranger than Paradise (1984), Coffee and Cigarettes (2003)

Jewison, Norman: The Cincinnati Kid (1965), In the Heat of the Night (1967)

Jia Zhangke: Platform (2000), The World (2004)

Joffé, Roland: The Killing Fields (1984), The Mission (1986)

Johnson, Rian: Brick (2005), Looper (2012)

Jonze, Spike: Adaptation (2002), Where the Wild Things Are (2009)

Jordan, Neil: Mona Lisa (1986), The Butcher Boy (1997)

 

Kalatazov, Mikhail: The Cranes are Flying (1957), I Am Cuba (1964)

Karlson, Phil: 99 River Street (1953), The Phenix City Story (1955)

Kasdan, Lawrence: The Accidental Tourist (1988), Wyatt Earp (1994)

Kaurismaki, Aki: The Man Without a Past (2002), Le Havre (2011)

Kazan, Elia: Boomerang! (1947), A Face in the Crowd (1957)

Keaton, Buster: Our Hospitality (1923), The Cameraman (1928)

Kiarostami, Abbas: Where Is the Friend’s House (1987), Life, and Nothing More… (1992)

Kieslowski, Krzysztof: Camera Buff (1979), A Short Film About Killing (1988)

King, Allan: Warrendale (1967), A Married Couple (1969)

King, Henry: Tol’able David (1921), The Gunfighter (1950)

Kitano, Takeshi: Sonatine (1993), Kikujiro (1999)

Kon, Satoshi: Perfect Blue (1997), Paprika (2006)

Kopple: Winter Soldier (Kopple et al., 1972), Harlan Couty, USA (1976)

Kozintsev, Grigori: Hamlet (1964), King Lear (1971)

Kramer, Stanley: The Defiant Ones (1958), It’s a Mad, Mad, Mad, Mad World (1963)

Kubrick, Stanley: The Killing (1956), Barry Lyndon (1975)

Kuleshov, Lev: The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924), By the Law (1926)

Kunuk, Zacharias: Atanarjuat, the Fast Runner (2001)

Kurosawa, Akira: Ikiru (1952), High and Low (1963)

 

Lang: The Woman in the Window (1944), Clash by Night (1952)

Lang, Walter: The Blue Bird (1940), Cheaper by the Dozen (1950)

Lanzmann, Claude: Shoah (1985), The Last of the Unjust (2013)

Laughton, Charles: Night of the Hunter (1955)

Launder, Frank: Millions Like Us (co-directed with Sidney Gilliat, 1943), Green for Danger (1946)

Lean, David: This Happy Breed (1944), The Sound Barrier (1952)

Lee, Spike: Get On the Bus (1996), 25th Hour (2002)

Leigh, Mike: Secrets and Lies (1996), Happy-Go-Lucky (2008)

Leisen, Mitchell: Easy Living (1937), Midnight (1939)

Leni, Paul: Waxworks (1924), The Man Who Laughs (1928)

Leonard, Robert Z.: The Great Ziegfeld (1936), Maytime (1937)

Leone, Sergio: The Good, the Bad and the Ugly (1966), Once Upon a Time in the West (1968)

LeRoy, Mervyn: Five Star Final (1931), (1932)

Lester, Richard: Petulia (1968), Juggernaut (1974)

Levinson, Barry: Diner (1982), The Bay (2012)

Linklater, Richard: Slacker (1991), Bad News Bears (2005)

Litvak, Anatole: Mayerling (1936), The Battle of Russia (1943)

Loach, Ken: Kes (1969), Black Jack (1979)

Logan, Joshua: Picnic (1955), Bus Stop (1956)

Losey, Joseph: Accident (1967), Don Giovanni (1979)

Lubitsch, Ernst: The Doll (1919), One Hour with You (1932)

Lucas, George: American Graffiti (1973), Star Wars: Revenge of the Sith (2005)

Luhrmann, Baz: Romeo + Juliet (1996), The Great Gatsby (2013)

Lumet, Sidney: The Verdict (1982), Running On Empty (1988)

Lupino, Ida: The Hitchhiker (1953), The Bigamist (1953)

Lynch, David: Elephant Man (1980), Inland Empire (2006)

 

Mackendrick, Alexander: The Man in the White Suit (1951), The Maggie (1954)

McQueen, Steve: Hunger (2008), 12 Years a Slave (2013)

Maddin, Guy: Careful (1992), My Winnipeg (2007)

Makhmalbaf, Mohsen: The Cyclist (1987), Gabbeh (1996)

Malick, Terrence: Badlands (1973), Days of Heaven (1978)

Malle, Louis: Zazie dans le Metro (1960), My Dinner with Andre (1981)

Mamoulian, Rouben: Dr. Jekyll and Mr. Hyde (1931), Love Me Tonight (1932)

Mankiewicz, Joseph: No Way Out (1950), Guys and Dolls (1955)

Mann, Anthony: Bend of the River (1952), El Cid (1961)

Marker, Chris: Le Joli Mai (1963), Grin Without a Cat (1977)

Marshall, John: The Hunters (1962), N!ai, the Story of a K!ung Woman (1980)

Marshall, Penny: Big (1988), A League of Their Own (1992)

May, Elaine: A New Leaf (1971), The Heartbreak Kid (1972)

Maysles, Albert & David: Salesman (1968), Gimme Shelter (1970)

Mazursky, Paul: Harry and Tonto (1974), An Unmarried Woman (1978)

McCarey, Leo: The Awful Truth (1937), An Affair to Remember (1957)

McKellar, Don: Last Night (1998)

Melville, Jean-Pierre: Le Deuxième Souffle (1966), Army of Shadows (1969)

Mehrjui, Darius: The Cow (1969), Leila (1997)

Milestone, Lewis: Hallelujah, I’m a Bum (1933), A Walk in the Sun (1945)

Miller, George: Lorenzo’s Oil (1992), Babe, Pig in the City (1998)

Minelli, Vincente: The Clock (1945), Some Came Running (1958)

Minghella, Anthony: Truly, Madly, Deeply (1990), Cold Mountain (2003)

Miyazaki, Hayao: The Castle of Cagliostro (1979), The Wind Rises (2013)

Mizoguchi, Kenji: Sisters of the Gion (1936), Five Women Around Utamaro (1947)

Moore, Michael: Bowling for Columbine (2002), Sicko (2007)

Moore, Thom, & Nora Twomey: The Secret of Kells (2009)

Morris, Errol: Mr. Death (1999), The Fog of War (2002)

Moskowitz, Mark: Stone Reader (2002)

Mulligan, Robert: To Kill a Mockingbird (1962), Inside Daisy Clover (1965)

Mungiu, Cristian: 4 Months, 3 Weeks and 2 Days (2007)

Murnau. F.W.: Faust (1926), City Girl (1930)

 

Nair, Mira: Salaam, Bombay! (1988), Monsoon Wedding (2001)

Needham, Hal: Hooper (1978), Stoker Ace (1983)

Negulesco, Jean: The Mask of Dimitrios (1944), Humoresque (1946)

Neill, Roy William: Frankenstein Meets the Wolf Man (1943), Sherlock Holmes and the House of Fear (1945)

Newman, Paul: Rachel, Rachel (1968), Sometimes a Great Notion (1970)

Nichols, Mike: Who’s Afraid of Virginia Woolf? (1966), Silkwood (1983)

Noyce, Phillip: Rabbit Proof Fence (2002), The Quiet American (2002)

 

Obomsawin, Alanis: Kanehsatake: 270 Years of Resistance (1993), Is the Crown at War with Us? (2002)

Olivier, Laurence: Hamlet (1948), Richard III (1955)

Olmi, Ermanno: Il Posto (1961), The Tree of the Wooden Clogs (1978)

Ophuls, Marcel: The Sorrow and the Pity (1969), Hotel Terminus (1988)

Ophuls, Max: Caught (1949), La Ronde (1950)

O’Rourke, Dennis: Cannibal Tours (1988), Land Mines: a Love Story (2005)

Oz, Frank: The Muppets Take Manhattan (1984), The Indian in the Cupboard (1995)

 

Pabst, G.W.: The Love of Jeanne Ney (1927), Westfront, 1918 (1930)

Pagnol, Marcel: César (1936), The Baker’s Wife (1938)

Pakula, Alan: The Parallax View (1974), All the President’s Men (1976)

Paley, Nina: Sita Sings the Blues (2008)

Panahi, Jafar: The Circle (2000), Offside (2006)

Parajanov, Sergei: Shadows of Forgotten Ancestors (1964), The Legend of Suram Fortress (1984)

Park, Nick: Chicken Run (2000), The Curse of the Were-Rabbit (2005)

Parker, Alan: Bugsy Malone (1976), Shoot the Moon (1982)

Pasolini, Pier Paolo: Accatone (1961), Teorema (1968)

Payne, Alexander: Election (1999), The Descendants (2011)

Peckinpah, Sam: Ride the High Country (1962), The Ballad of Cable Hogue (1970)

Penn, Arthur: Mickey One (1965), Night Moves (1975)

Pennebaker, D.A.: Don’t Look Back (1967), Company (1970)

Perry, Frank: The Swimmer (1968), Diary of a Mad Housewife (1970)

Petersen, Wolfgang: In the Line of Fire (1993), Air Force One (1997)

Polanski, Roman: Tess (1979), The Ghost Writer (2010)

Pollack, Sydney: The Way We Were (1973), Tootsie (1982)

Polley, Sarah: Away from Her (2006), Stories We Tell (2012)

Polonsky, Abraham: Force of Evil (1948), Tell Them Willie Boy Is Here (1969)

Pontecorvo, Gillo: Battle of Algiers (1966), Burn! (1970)

Powell, Dick: Split Second (1953)

Powell, Michael: 49th Parallel (1941), Tales of Hoffman (1951)

Preminger, Otto: Whirlpool (1949), Bonjour Tristesse (1958)

Protazanov, Yakov: Father Sergius (1917), Aelita, Queen of Mars (1924)

Pudovkin, V.I.: The End of St. Petersburg (1928), Deserter (1933)

Puiu, Cristi: The Death Of Mr. Lazarescu

 

Raimi, Sam: A Simple Plan (1998), The Gift (2000)

Ray, Nicholas: They Live By Night (1948), Bigger Than Life (1956)

Redford, Robert: Ordinary People (1980), Quiz Show (1994)

Reed, Carol: The Fallen Idol (1948), The Agony and the Ecstasy (1965)

Reiner, Rob: The Sure Thing (1985), Misery (1990)

Reiniger, Lotte: The Adventures of Prince Achmed (1926)

Reisz, Karel: Saturday Night and Sunday Morning (1960), Who’ll Stop the Rain (1978)

Resnais, Alain: Last Year at Marienbad (1961), Same Old Song (1997)

Richardson, Tony: The Entertainer (1960), Tom Jones (1963)

Riggs, Marlon: Ethnic Notions (1986), Tongues Untied (1989)

Ritchie, Michael: The Candidate (1972), Smile (1975)

Ritt, Martin: Hud (1963), Hombre (1967)

Rivette, Jacques: Celine and Julie Go Boating (1974), La Belle Noiseuse (1991)

Robbins, Tim: Dead Man Walking (1995), Cradle Will Rock (1999)

Robson, Mark: The Seventh Victim (1943), The Ghost Ship (1943)

Roeg, Nicolas: Walkabout (1971), The Witches (1990)

Rohmer, Eric: My Night at Maud’s (1969), The Green Ray (1986)

Romero, George: The Crazies (1973), The Knightriders (1979)

Room, Abram: Bed and Sofa (1927)

Rosi, Francesco: Salvatore Giuliano (1962), Mani Sulla Città (1963)

Ross, Herbert: The Sunshine Boys (1975), Pennies from Heaven (1981)

Rossen, Robert: Body and Soul (1947), The Hustler (1961)

Rouch, Jean: Chronique d’un Éte (1961), Jaguar (1971)

Rubbo, Michael: Sad Song of Yellow Skin (1970), Wet Earth, Warm People (1971)

Ruiz, Raul: The Hypothesis of the Stolen Painting (1979), Mysteries of Lisbon (2011)

Russell, David O.: The Fighter (2010), Silver Linings Playbook (2012)

Russell, Ken: The Debussy Film (1965), The Music Lovers (1970)

 

Salles, Walter: Central Station (1998), The Motorcycle Diaries (2004)

Sandrich, Mark: The Gay Divorcée (1934), Top Hat (1935)

Saura, Carlos: Peppermint Frappé (1967), Blood Wedding (1981)

Sautet, Claude: Class Tous Risques (1960), A Simple Story (1978)
Sayles, John: Return of the Secaucus Seven (1979), Lone Star (1996)

Schaffner, Franklin: The Best Man (1964), Patton (1970)

Schepisi, Fred: The Chant of Jimmy Blacksmith (1978), A Cry in the Dark (1988)

Schlesinger, John: Billy Liar (1963), Sunday, Bloody Sunday (1971)

Schrader, Paul: Light of Day (1987), Affliction (1997)

Scorcese, Martin: Alice Doesn’t Live Here Anymore (1974), King of Comedy (1982)

Scott, Cynthia: The Company of Strangers/Strangers in Good Company (1990)

Scott, Ridley: The Duellists (1977), White Squall (2006)

Scott, Tony: Man on Fire (2004), Unstoppable (2010)

Sembéne, Ousmane: Black Girl (1966), Mooladé (2004)

Shyamalan, M. Night: Unbreakable (2000), Signs (2002)

Sidney, George: The Harvey Girls (1946), Scaramouche (1952)

Siegel, Don: Riot in Cell Block 11 (1954), The Beguiled (1971)

Sirk, Douglas: All That Heaven Allows (1955), Written on the Wind (1956)

Siodmak, Robert: People on Sunday (Siodmak et al., 1930), The Killers (1946)

Sheridan, Jim: In the Name of the Father (1993), The Boxer (1997)

Shindo, Kaneto: The Naked Island (1960), Onibaba (1964)

Sjostrom, Victor: Ingeborg Holm (1913), The Sons of Ingmar (1919)

Soderbergh, Steven: Contagion (2011), Haywire (2011)

Spheeris, Penelope: The Decline of Western Civilization (1981), Wayne’s World (1992)

Spielberg, Steven: Sugarland Express (1974), The Terminal (2004)

Stevens, George: Swing Time (1936), I Remember Mama (1948)

Stone, Oliver: Salvador (1986), W. (2008)

Stoney, George: All My Babies (1949), How the Myth Was Made (1978)

Streisand, Barbra: Yentl (1983), The Prince of Tides (1991)

Sturges, Preston: Christmas in July (1940), The Miracle of Morgan’s Creek (1944)

Sucksdorff, Arne: The Great Adventure (1953), My Home is Copacabana (1965)

Suzuki, Seijun: Youth of the Beast (1963), Tokyo Drifter (1966)

Syberberg, Hans-Jurgen: Hitler: a Film from Germany (1977), Parsifal (1982),

Szabó, István: Mephisto (1981), Colonel Redl (1984)

 

Takahata, Isao: Pom Poko (1994), My Neighbors the Yamadas (1999)

Tarantino, Quentin: Reservoir Dogs (1992), Kill Bill: Vol. 2 (2004)

Tarkovsky, Andrei: Ivan’s Childhood (1962), Solaris (1972)

Tarr, Béla: Satantango (1994), Werckmeister Harmonies (2000)

Tashlin, Frank: Son of Paleface (1952), Hollywood or Bust (1956)

Tati, Jacques: Jour de Féte (1947), Mon Oncle (1958)

Taurog, Norman: Boys Town (1938), Girl Crazy (1943)

Tavernier, Bertrand: The Clockmaker (1974), Life and Nothing But (1989)

Taviani, Paolo & Vittorio: Padre, Padrone (1977), The Night of the Shooting Stars (1982)

Taymor, Julie: Titus (1999), Frida (2002)

Teshigahara, Hiroshi: Pitfall (1962), Antonio Gaudi (1985)

Téchiné, André: My Favorite Season (1993), Wild Reeds (1994)

Thornton, Billy Bob: Sling Blade (1996)

To, Johnnie: Election (2005), Vengeance (2009)

Tourneur, Jacques: The Flame and the Arrow (1950), Wichita (1955)

Tourneur, Maurice: The Wishing Ring (1914), The Last of the Mohicans (1920)

Trinh T. Min-ha: Naked Spaces: Living is Round (1985), Surname Viet Given Name Nam (1989)

Troell, Jan: The Emigrants (1971), Everlasting Moments (2008)

Truffaut, François: The Bride Wore Black (1968), The Wild Child (1970)

Tsui Hark: Peking Opera Blues (1986), Once Upon a Time in China II (1992)

 

Van Dyke, W.S.: The Thin Man (1934), San Francisco (1936)

Van Sant, Gus: Drugstore Cowboy (1989), Elephant (2003)

Varda, Agnes: Cleo from 5 to 7 (1962), Vagabond (1985)

Verbinski, Gore: Mousehunt (1997), Rango (2011)

Vertov, Dziga: Kino Eye (1924), One Sixth of the World (1926)

Vidor, King: The Crowd (1927), Stella Dallas (1937)

Visconti, Luchino: La Terra Trema (1948), Rocco and his Brothers (1960)

Von Sternberg, Josef: The Last Command (1928), The Scarlet Empress (1934)

Von Stroheim, Erich: Foolish Wives (1922), The Wedding March (1925)

Von Trier, Lars: Breaking the Waves (1996), Dancer in the Dark (2000)

 

Wachowski, Larry & Lana: The Matrix (1999), Speed Racer (2008)

Wajda, Andrzej: Kanal (1957), Man of Iron (1981)

Walsh, Raoul: High Sierra (1941), Colorado Territory (1949)

Walters, Charles: Lili (1953), High Society (1956)

Weir, Peter: The Last Wave (1977), Master and Commander (2003)

Welles, Orson: Othello (1952), The Trial (1961)

Wellman, William: Story of GI Joe (1945), The Track of the Cat (1954)

Wenders, Wim: The American Friend (1977), Lisbon Story (1994)

Whale, James: The Invisible Man (1933), Show Boat (1936)

Wilde, Cornell: The Naked Prey (1965), Beach Red (1967)

Wilder, Billy: A Foreign Affair (1948), Avanti! (1972)

Wise, Robert: The Set Up (1949), Odds Against Tomorrow (1959)

Wiseman, Frederick: Law and Order (1969), Hospital (1970)

Wong Kar Wai: In the Mood for Love (2000), The Grandmaster (2013)

Woo, John: The Killer (1989), Hard Target (1993)

Wood, Sam: A Night at the Opera (1935), Kings Row (1935)

Wyler, William: Dead End (1937), Jezebel (1938)

 

Yates, Peter: Bullitt (1968), Breaking Away (1979)

Young, Terence: Dr. No (1962), From Russia with Love (1963)

 

Zanussi, Krzysztof: The Illumination (1973), The Constant Factor (1980)

Zemeckis, Robert: Used Cars (1980), Flight (2012)

Zhang Yimou: Raise the Red Lantern (1991), To Live (1994)

Zinneman, Fred: Oklahoma! (1955), The Nun’s Story (1959)

 

TMA 498, FALL 2014

TOPICS IN THE MEDIA ARTS: GREAT DIRECTORS

W, F-201 HFAC, 5-9 PM,

CLASS OBJECTIVE: to consider, take the measure of, and wrestle to the ground one of film’s most beguiling, confounding and potentially satisfying topics: the Director! We will consider this organism, this institution, this mythical beast in a number of its many guises and iterations. The Romance of auteurism has a place in our conversation, as does a ringing, enthusiastic critique thereof. It will be proper to genuflect—if only a little—before the altars of genius. It will then be even more proper to flee idolatry, not to mention ideological misrecognition, and cut those groves right down.

In learning about film directors and about film directing we will consider the place of the craftsman, the collaborator, and the collective. Alternatively—sort of alternatively—we will also have occasion to admire the mavericks, independents, and outright free men. We may also be annoyed by them. The dialectical discussion continues: equally, and with as much interest and even admiration, we will meet reliable employees, weary functionaries, even subjugated work beasts.

The Arts and Crafts movement will be lurking around back there, and the Bauhaus too, if only to snap those Victorians out of their morbidly nostalgic reverie. There will be Art, and Aesthetics, along with Product, and Commerce. We will be concerned not only with the director, but that which he directs, and how, as well as some of the ways that audiences can then respond to all of that. Intention. Reception. Semiotics. Phenomenology. The work of the hands, the simultaneous curse and blessing of industrialization, the most unapologetic product, and the most miraculously fashioned jewel: all fall within the confines of this semester’s searching study.

This subject is too big to cover properly. It is too big to cover improperly as well. At the same time, there are a number of accessible, comprehensible director-related ideas that we can quite easily get our heads around. Watch us do it!

We will look closely at seven quite distinct, quite multiple, quite exemplary film directors (two weeks per each). As we do so we will read up on each individual, at the same time that we avoid unhealthy imbalance by reading up on bigger issues as well. An individual comes from a community, even when she resists said community. Texts, however unique or shining, always have contexts. Forests. Trees. Hockey.

In addition to our Seven Great Men, and in addition to the Art Cinema and the infinite and glorious vulgarity of Hollywood/s, we will also take more than a gander at all the immeasurable rest of it. Docs, animation, avant-garde, activism—you name it, some one, or some couple, or some bunch, directed it.

 

CLASS SCHEDULE:

 

FIRST TRIMESTER, UNIT I: CHARLIE CHAPLIN

 Week 1: The Vagabond (1916), A Dog’s Life (1918); The Circus (1929)

Week 2: Limelight (1952)

Read: Truffaut, Sarris

 

UNIT II: CARL THEODOR DREYER

Week 3: The Passion of Joan of Arc (1928), The Parson’s Widow (1920); Master of the House (1925)

Week 4: H2O (1929), Misére au Borinage (1931), Vampyr (1932); Day of Wrath (1943)

Read: Perkins, Durgnat; “Allan Dwan”

Due: 1st supplemental essay and annotated bibliography (September 24).

 

SECOND TRIMESTER, UNIT III: YASUJIRO OZU

Week 5: Gallopin’ Gaucho, The Terrible Toreador; I Was Born, but… (1932)

Week 6: Late Spring (1949)

Read: Bordwell; “Howard Hawks”

 

UNIT IV: JEAN RENOIR

Week 7: Our Wife (1931), Helpmates (1932); Boudu, Saved from Drowning (1932)

Week 8: Grand Illusion (1937), Rules of the Game (1939); The Southerner (1946)

Read: Elsaesser, Wood

Due: 2nd supplemental essay and annotated bibliography; proposal for the director autobiography that you would like to read (October 22).

 

THIRD TRIMESTER, UNIT V: ROBERTO ROSSELLINI

Week 9: Boogie Doodle (1948), Hen Hop (1942); Paisan (1946)

Week 10: Toute la Mémoire du Monde, (1956), Stromboli (1950), Voyage to Italy (1954); India: Matri Bhumi (1959)

Read: Eisenstein; Wollen

UNIT VI: JERRY LEWIS

Week 11: Artists and Models (1955), The Girl Can’t Help It (1956), Will Success Spoil Rock Hunter? (1957), Happy Anniversary (1962); The Bellboy (1960)

Week 12: The Ladies Man (1961), The Disorderly Orderly (1964); The Patsy (1965)

Read: Stam, Andrew

Due: 3rd supplemental essay and annotated bibliography (November 19).

 

CULMINATION AND CONCLUSION

WEEK 13, AMERICAN THANKSGIVING

Read: selected director autobiography

UNIT VII: SATYAJIT RAY

 Week 14: Pather Panchali (1955), The World of Apu (1958); The Master (1965)

Due: Final film journals due.

Week 15: Lines: Horizontal (1962), Pas de Deux (1968); Charulata (1964)

 

TEXTS AND READINGS:

Much of our reading this semester comes from plain, encyclopedic sources. People are inclined to get all carried away with this subject. They even start thinking that they are, or are just on the brink of being, great artists themselves. Nothing like having to sit in the reference section of the library to cool those jets down a bit.

  1. For each of our seven directors, students will thoroughly read the pertinent and related entries in each of the following publications, both print and electronic:

 Bawden, Liz. The Oxford Companion to Film. 1976. HumRef PN 1993.45 .09.

Katz, Ephraim. The Film Encyclopedia. 2008. HumRef PN 1993.45 .K34 2008.

Pendergast, Tom and Sara. International Dictionary of Films and Filmmakers. 2000. 4 vols. HumRef PN 1997.8 .I58 2000.

 Roud, Richard. Cinema: A Critical Dictionary. 1980. 2 vols. HumRef PN 1993.45 .C5.

Sadoul, Georges. Dictionary of Film Makers. 1972. HumRef PN 1993.45 .S313.

Thomson, David. The new biographical dictionary of film. 2010. HumRef PN 1998.A2 T55 1981.

Senses of Cinema: http://sensesofcinema.com/great-directors/

The most recent edition of these works is preferable. If, by any chance, the text is out, or in use, you may use an earlier edition.

With the exception of our first unit (Chaplin), these encyclopedic selections should be completed by the first of the two weeks we will be spending on each individual artist. An e-mail confirming same should go to our TA by the beginning of each class.

  1. Students will also read the essays that are listed on the class schedule. They can be found in the following books, which will either be on reserve or in the reference shelves at the HBLL. Many of these essays can also be found in several other places. Feel free to be resourceful by finding and reading them there.

“A Certain Tendency in the French Cinema,” by François Truffaut, “Towards a Theory of Film History,” by Andrew Sarris, “The Cinema of Nicholas Ray,” by V.F. Perkins, “Six Films of Josef von Sternberg,” by Raymond Durgnat, “Citizen Kane,” by David Bordwell, “Shock Corridor,” by Thomas Elsaesser and “To Have (written) and Have Not (directed),” by Robin Wood.

All of the foregoing essays are in Nichols, Bill (ed.), Movies and Methods. Berkeley: University of California Press, c1976. Two copies of Movies and Methods can be found in the reference section on the fifth floor of the HBLL.

“Allan Dwan” and “Howard Hawks” are in Bogdanovich, Peter, Who the Devil Made It. New York: Alfred A. Knopf, 1997.

“Dickens, Griffith and the Film Today,” by Sergei Eisenstein, is in Film Form. New York: Meridian Books, 1957.

“The Auteur Theory,” by Peter Wollen, and “How Howard Hawks Brought Baby Up: an Apologia for the Studio System,” by Richard Jewell, are in the 6th edition of Braudy, Leo and Marshall Cohen, Film Theory and Critcism. New York; Oxford: Oxford University Press, 2004.

“Introduction,” (from part 1, The Author), by Robert Stam, and “The Unauthorized Auteur Today,” by Dudley Andrew, are in Stam, Robert, and Toby Miller, Film and Theory: an Anthology. Malden, Mass.: Blackwell Pub., 2000.

All of these essays, which are distributed throughout the semester and clearly marked out in the class calendar, should be read by 4 PM on the afternoon of the second class session on each respective director. Again, an e-mail to confirm completion should go to our TA on that day.

 

ASSIGNMENTS:

  1. Attend, punctually, all sessions of class.  Attendance will be taken; non-attendance and habitual tardiness will have an impact on your grade.
  1. All readings, as described just above, as laid out in the class calendar, to be reported as requested.
  1. Prepare and submit ten journal entries in response to the films screened in class.  Talk about the film. Talk about the film’s director, and his film directing. Think about it. Do some research. Don’t just guess, though you can extrapolate, or posit educated hypotheses. What is happening with regard to text, performance, visualization, space, time? Is there a message, or theme, or philosophy? Is there a statement, a set of intertextual references, or maybe an expectation that the viewer provides some or most of the meaning herself? Feel free to use ideas from our readings. Be sure to cite them. Ideas from our class discussions are also welcome. You don’t have to cite those.  These journal responses should be about 600 words long.  Nearly weekly?  You will submit ten film journals in total.  These journals are due on the Wednesday after the pertinent film screening. Unless you want to write about our very last film, the last of these journals are due on the last day of class (Wednesday, December 10, 2014).
  1. I have compiled two big fat lists with the names of a ton of significant directors. They are from long ago and recent, and from all over the world. Almost every name has two titles attached to it. Students are to pick a name from the first list and two names from the second. They are see the two titles listed with each name. (One title? That’s either for a single-film filmmaker, or because only one title belonged on the list. You can write about those guys too.) That is three names, six titles in total. They are to write and submit a 1000 word paper on what these two films have taught them about the director, and the way that he or she directs. These papers are due in three installments: September 24, October 22, November 19.  Don’t ask me if you can see alternative titles. You can’t! You might think about why these two films were chosen out of what were sometimes a ton of options (Ford!). You might, you must definitely be sure to do a little research on the filmmakers and the films, before actually doing any work on them. Each of these is significant, and of merit. Still, some of you may find some of them to be offensive.
  1. Read a film director autobiography. Or, read a book length interview with a film director (Truffaut, on Hitchcock, Malle on Malle, etc.) Send your instructor a brief e-mail proposing the autobiography/interview you’d like to read, and why you’d like to read it, on October 22. You will account for this reading in an essay in our final exam. Lots of film director biographies are pretty long. Some of these long ones (Capra, Chaplin, Powell, etc.) are really good. Long though. If I were you I’d probably pick a shorter one (Buñuel, Renoir, etc.).