Kino: Russia at the Movies|
Fall 2013 not offered
REES 265, FILM 365, RULE 265|
Soon after the cinemas first opened in Russia in 1910, moviegoing became the primary entertainment for people of all social classes. In the 1920s avant-garde writers, theater directors, and musicians fell in love with the movies, encouraging the brilliant formalist experiments of directors like Eisenstein. By the end of the 1920s, Soviet leaders had realized the power of movies to communicate their beliefs to the citizens of the Soviet Union. They had already nationalized studios and theaters, so it was easy for them to impose tight control over the political-ideological content of movies. Nevertheless, throughout the Soviet period, Russian movies created a vision of continuity and change that was broader and richer than the ideological formulae of Communist politics. They also provided a venue for cultural media such as popular songs that, in other countries, might lead a more independent existence outside the movies. This course will look at the culture-building role of Russian movies from its beginnings in tsarist times through the Soviet period and into the post-Soviet present.
||Gen Ed Area Dept:
|Course Format: Lecture / Discussion||Grading Mode: Student Option|
||Fulfills a Major Requirement for: (FILM-MN)(FILM)(REES-MN)
S. Eisenstein, "The Film Sense" & "Film Form"
D. Bordwell, K. Thompson, FILM ART
A. Tarkovsky "Sculpting in Time"
Directors whose films will be viewed include: Bauer, Vertov, Eisenstein, Pudovkin, Aleksandrov, Dovzhenko, Mikhalkov, Konchalovsky, Paradzhanov, Abuladze, Tarkovsky, Bodrov, German, and Sokurov.
|Examinations and Assignments: |
Five short papers and final take-home project.
|Additional Requirements and/or Comments: |
In addition to the regular class meeting time at 1:10-2:30pm., students will also be required to meet Monday and Wednesday evenings from 8 - 10 p.m. for film screenings.
Students will learn to interpret film by writing analyses. Films in the course require learning about Russian history and culture, as well as the particular theories of film developed by groundbreaking artists in an atmosphere of cultural and political ferment.
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