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Core course - Strand 1: Theorising Moving Images

Details for courses starting in 2019/20 will be updated shortly, please see below the current years' information as an example of what you are likely to expect. 

 

Strand 1: Theorising Moving Images (2018/19)

Michaelmas term, Thursdays, 2-4pm, weeks 1-8 (unless otherwise stated)

 

1.   Ontology

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

Reading:

  • Roland Barthes, Camera Lucida: Reflections on Photography, Richard Howard, trans. (London: Vintage, 2000 [1980]).
  • 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. (if possible, students should acquire their own copies of Camera Obscura).
  • Alessandra Raengo, On the Sleeve of the Visual: Race as Face Value (Dartmouth, NH: University Press of New England, 2013), pp. 21-51.
  •  Jean-Luc Nancy, "The image--the Distinct.” In Nancy, Jean-Luc. The Ground of the Image. Jeff Fort, trans. (New York: Fordham University Press, 2005), pp. 1-14.

Further Reading

 

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

  Further Reading

Screening  

  • Bamako (Abderrahmane Sissako, 2006)

3. Form and Medium

John David Rhodes

Reading

  • G.W.F. Hegel, Aesthetics: Lectures on Fine Art, 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. 85-109.

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.

Screenings

  • 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 (lcm31@cam.ac.uk)

Reading

  • Gilles Deleuze, Cinema 2: The Time-Image, translated by Hugh Tomlinson and Robert Galeta (London and New York: Continuum, 2005), chapters 1 and 4.
  • Mary Ann Doane, 'The Representability of Time', in The Emergence of Cinematic Time: Modernity, Contingency, the Archive (Cambridge, MA.: Harvard University Press, 2002), pp. 1-32.
  • Laura Mulvey, 'Passing Time', in Death 24x a Second: Stillness and the Moving Image (London: Reaktion, 2006), pp. 17-32.
  • Jacques Rancière, Béla Tarr, The Time After, translated by Erik Beranek (Minneapolis: Univocal, 2013).

 

Further reading

  • Claire Colebrook, Gilles Deleuze (London: Routledge, 2002).
  • Mary Ann Doane, 'Zeno's Paradox: The Emergence of Cinematic Time', in The Emergence of Cinematic Time: Modernity, Contingency, the Archive (Cambridge, MA; London: Harvard University Press, 2002), pp. 172-205.
  • David Rodowick, Gilles Deleuze’s Time Machine (Durham: Duke University Press, 1997).
  • Garrett Stewart, 'Introduction: An Optical Allusion', in Framed Time: Toward a Postfilmic Cinema, (Chicago: University of Chicago Press, 2007), pp. 1-19.

 

Screening 

  • La Jetée (Chris Marker, 1962)
  • The Turin Horse (Béla Tarr, 2011)

 


 

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 Dayan, The 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 Cherniavsky, Incorporations: 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)
  • 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), pages TBA
  • Cary Wolfe, What is Posthumanism? (Minneapolis and London: University of Minnesota Press, 2010), xi-xxxiv

Screening

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

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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...

Todd Solondz: Filmmaker in Residence 2019

11 April 2019

We are delighted to announce that the award-winning independent American filmmaker Todd Solondz will be at the Centre for Film and Screen in early May of the Easter Term, 2019. Solondz is one of the leading figures in what has come to be known as ‘independent cinema’—cinema produced outside the Hollywood studio system—a...