Spring 2011 Courses

230. The Reality Effect: Documentary Film
Sarah Childress T 11:30 - 12:55, TH 11:30 - 12:55
Examines documentary history, theory, criticism, and practice. From the “actuality” films of the Lumiere Brothers to the theatrical “reality” of Errol Morris, documentaries work to persuade audiences to see the world in particular ways. Focuses on the debates that surround nonfiction narrative films, especially their contentious claims to represent reality, by examining films that work with and against notions of objectivity, subjectivity, power, knowledge, and truth. Explores the textual strategies that create documentary films’ all-important “reality effect.” Attendance at weekly evening screenings is required.
249. Film Noir
Ann Kibbie T 1:00 - 2:25, TH 1:00 - 2:25
A survey of film noir, from the hard-boiled detective films of the 1940s to later films that attempt to re-imagine the genre. Focuses on issues of gender and sexuality, the representation of women in film, and gender roles in the 1940s and 1950s. Films may include The Big Sleep, Double Indemnity, Strangers on a Train, In a Lonely Place, and Chinatown. Readings will include film criticism and theory, as well as some of the novels that were adapted for the screen. Attendance at weekly screenings is required.
315. New Waves in the New World: Latin American Cinema
Sarah Childress T 2:30 - 3:55, TH 2:30 - 3:55
Focuses on two “new waves” of film in Argentina, Brazil, Cuba, and Mexico: 1960–1970 and 2000–2010. Explores the works of Glauber Rocha, Tomás Gutiérrez Alea, Alejandro González Iñárritu, Lucrecia Martel, and others to examine how their films function as cultural, historical, political, and economic products that characterize distinct sensibilities and points of view. Also looks at the place of these films within the contexts of film history and world cinema. Attendance at weekly evening screenings is required.