skip to content
 

Core course - Strand 1: Theorising Moving Images

Please note that 2019/20 seminars are still subject to changes 

Strand 1: Theorising Moving Images (2019/20)

1.   Ontology

John David Rhodes (jdr42@cam.ac.uk) and

Laura McMahon (lcm31@cam.ac.uk)

 

Reading:

  • Roland Barthes, Camera Lucida: Reflections on Photography, Richard Howard, trans. (London: Vintage, 2000 [1980]). (If possible, students should acquire their own copies of Camera Obscura).
  • André Bazin, "The Ontology of the Photographic Image.” In What is Cinema?. Volume I. Hugh Gray, ed. and trans. (Berkeley: University of California Press, 1967), pp. 9-16.
  • Jonathan Beller, ‘Camera Obscura After All: The Racist Writing with Light’, The Message is Murder: Substrates of Computational Capital (London: Pluto Press, 2018), 99-114.

 

Further Reading

  • Phil Rosen, Change Mummified: Cinema, Historicity, Theory (Minneapolis and London: University of Minnesota Press, 2001).

 

Screening

  • Electrocuting an Elephant (Edison, 1903)
  • How It Feels to Be Run Over (Hepworth, 1900)
  • Mothlight (Stan Brakhage,1963)
  • Blow Job (Andy Warhol, 1963)
  • Dyketactics (Barbara Hammer, 1974)
  • The Girl Chewing Gum (John Smith, 1976)

 

2. The Aesthetic

John David Rhodes

Reading  

  • Immanuel KantThe Critique of the power of judgment, Paul Guyer and Eric Matthews, trans. (Cambridge: Cambridge UP, 2000 [1790]), pp. 89-127; 182-187.
  • Gilles Deleuze, 'Having an Idea in Cinema', G. Deleuze & F. Guattari,  New Mappings in Politics, Philosophy and Culture, Eleanor Kaufman and Kevin Jon Heller, eds. (Minneapolis and London: University of Minnesota Press, 1994), pp. 14-19.
  • Pier Paolo Pasolini, “The ‘Cinema of Poetry’”, in Heretical Empiricism, Louise K. Barnett, ed., Ben Lawton and Louise K. Barnett, trans. (Bloomington and Indianapolis: Indiana University Press, 1988), pp. 167-186.

 

 Further Reading

  • Jacques Rancière, The Politics of Aesthetics, Gabriel Rockhill, trans. (London: Continuum, 2004), pp. 12-34 and 42-45.

 

Screening  

  • Bamako (Abderrahmane Sissako, 2006)

 

3. Form and Medium

John David Rhodes

 

Reading

  • G.W.F. Hegel, Aesthetics: Lectures on Fine Art, Vol. I T.M. Knox, trans. (Oxford: Clarendon Press, 1975 [1835]), pp. 1-55.
  • Karl Marx, Capital, Vol. I, Ben Fowkes, trans. (London: Penguin 1990), Chapter 7, Part 1 'The Labour Process', pp. 283-292.
  • Maya Deren, An Anagram of Ideas on Art, Form, and Film, in Essential Deren, Bruce R. McPherson, ed. (Kingston, NY: Documentext, 2005), pp. 35-109.

Further Reading

  • Erwin Panofksy, Perspective as Symbolic Form, Christopher S. Wood, trans. (New York: Zone Books, 1997).
  • Peter Bürger, Theory of the Avant-Garde, Michael Shaw, trans. (Minneapolis: University of Minnesota Press, 1984), pp. 55-82.
  • David Bordwell, Narration in the Fiction Film (Madison, WI: University of Wisconsin Press, 1985), pp. 3-47; 48-62.
  • Bernard Siegert, ‘Doors: On the Materiality of the Symbolic’, John Durhan Peters, trans. Grey Room 47 (Spring 2012), pp. 6-23.
  • Lorenz Engell, ‘Ontogenetic machinery’, Radical Philosophy 169 (September-October 2011), pp. 10-12.
  •  

Screening

  • Ritual in Transfigured Time (Maya Deren, 1946)
  • Playtime (Jacques Tati, 1967)

 

4. Watching

John David Rhodes

 

Reading

 

Further Reading

 

Screening

  • Imitation of Life (Douglas Sirk, 1959)
  • Quality Control (Kevin Jerome Everson, 2011)

 

5. Time

Laura McMahon

 

Reading

  • Gilles Deleuze, Cinema 2: The Time-Image, translated by Hugh Tomlinson and Robert Galeta (London and New York: Continuum, 2005) - Preface, Translators’ Introduction and Chapter 1.
  • Elena del Río, ‘Performing the narrative of seduction: Claire Denis’ Beau Travail (Good Work, 1999)’, Kinoeye, 3:7 (2003), https://www.kinoeye.org/03/07/delrio07.php

 

Further reading

  • Martine Beugnet, Claire Denis (Manchester: Manchester University Press, 2004); Cinema and Sensation: French Film and the Art of Transgression (Edinburgh: Edinburgh University Press, 2007)
  • Claire Colebrook, Gilles Deleuze (London: Routledge, 2002).
  • Mary Ann Doane, The Emergence of Cinematic Time: Modernity, Contingency, the Archive (Cambridge, MA.: Harvard University Press, 2002), pp. 1-32.
  • Douglas Morrey, ed., ‘Special Issue: Claire Denis and Jean-Luc Nancy’, Film-Philosophy, 12.1 (2008) <http://www.film-philosophy.com/index.php/f-p/issue/view/11>
  • Laura Mulvey, 'Passing Time', in Death 24x a Second: Stillness and the Moving Image (London: Reaktion, 2006), pp. 17-32.
  • Jean-Luc Nancy, ‘A-religion’, Journal of European Studies, 34:1/2 (2004), 14-18.
  • Elena del Río, Deleuze and the Cinemas of Performance: Powers of Affection (Edinburgh: Edinburgh University Press, 2008)
  • David Rodowick, Gilles Deleuze’s Time Machine (Durham: Duke University Press, 1997).

 

Screening 

  • Beau Travail (Claire Denis, 1999)

 

6. Sensation

Emma Widdis (ekw1000@cam.ac.uk)

 

Reading

 

Screening

  • Man with a Movie Camera (Dziga Vertov,1929)

 

Further screening

  • Film Eye (Dziga Vertov, 1924)
  • Three Songs of Lenin (Dziga Vertov, 1934)
  • The New World (Terence Malick, 2005)

 

7. Exclusions

John David Rhodes

 

Reading

 

Further reading

  • Saskia Sassen, Expulsions: Brutality and Complexity in the Global Economy (Cambridge, MA: The Belknap Press of Harvard University Press, 2014).
  • Colin DayanThe Law is a White Dog: how legal rituals make and unmake persons (Princeton: Princeton University Press, 2011)
  • Judith Butler, Bodies That Matter: On the Discursive Limits of Sex (Routledge: 1993), pp. 121-140.
  • bell hooks, ‘Is Paris Burning?’. In Black Looks: Race and Representation, (Boston: South End Press, 1992) , pp. 145-156.
  • Eva CherniavskyIncorporations: Race, Nation, and the Body Politics of Capital (Minneapolis; London: University of Minnesota Press, 2006), pp. 71-99.
  • Meg Wesling, ‘Queer Value’glqA Journal of Lesbian and Gay Studies, 18:1 (2012), pp. 107-125.
  • Susan Sontag, ‘Notes on Camp’. In Against Interpretation (New York: Dell Publishing, 1966), pp. 275-292.
  • Silvia Federici, Revolution at Point Zero: Housework, Reproduction, and Feminist Struggle (Oakland, CA; Brooklyn, NY: PM Press; Autonomedia, 2012).
  • Alyson Nadia Field, Jan-Christopher Horak, and Jacqueline Najuma Stewart, L.A. Rebellion: Creating a New Black Cinema (Oakland: University of California Press, 2015).
  • Cheryl Harris, 'Whiteness as Property'Harvard Law Review 106:8 (June 1993), pp. 1707-91.

 

Screening

  • Several Friends (Charles Burnett, 1969)
  • Sodom (Luther Price, 1989)
  • Atlantiques (Mati Diop, 2009)
  • Formation (Beyoncé Knowles, Melina Matsoukas, 2016)

 

Further Screening

  • Paris is Burning (Jenny Livingston, 1990)
  • Mariposas en el Andamio (Butterflies on the Scaffold,  Margaret Gilpin and Luis Felipe Bernaza; 1996)
  • Daughters of the Dust (Julie Dash, 1991)

 

8.  Post-

John David Rhodes and Laura McMahon

 

Reading

  • Fredric Jameson, Postmodernism, Or the Cultural Logic of Late Capitalism (Durham, NC: Duke University Press, 1991), pp. 1-54.
  • Steven Shaviro, Post Cinematic Affect (London: Zero Books, 2010), pp. 11-34.
  • Rosi Braidotti, ‘Introduction’, The Posthuman (Cambridge: Polity Press, 2013), pp. 1-12

 

Screening

  • Tropical Malady (Apichatpong Weerasethakul, 2004)
  • Corporate Cannibal (Grace Jones [performer] and Nick Hooker [director], 2008)

 

Further reading

  • Donna J. Haraway, When Species Meet (Minneapolis and London: University of Minnesota Press, 2007)
  • Cary Wolfe, What is Posthumanism? (Minneapolis and London: University of Minnesota Press, 2010), pp. xi-xxxiv.

 

Screenings and Events

Ironies of Web 2.0

2 May 2019

Ironies of Web 2.0 Professor Damon Young Film & Screen Studies MPhil Conference Monday May 6th at 6pm in the McCrum Lecture Theatre, Corpus Christi College Keynote Lecture Contemporary media cultures evince a crisis of authorial perspective, experienced as a collapse of the distinction between sincerity and satire...

Vertigo Effects: Film, Flight, and Simulation Sickness

1 May 2019

Vertigo Effects: Film, Flight, and Simulation Sickness Dr Patrick Ellis Georgia Institute of Technology 4pm, Wednesday 8th May 2019 McCrum Lecture Theatre, Corpus Christi College One of the first media pathologies associated with cinema was “camera sickness,” a vestibular malady that shared symptoms with other newly...