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Instructor: Dr. Patrick Duffey, Associate Professor of Spanish | ||
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Office: AD 309 |
Office Hours: MWF 9-10am and by appt. | |
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Office
Phone:
2364 |
HomePage
Address: |
texts, chronology, description, attendance, grading, academic integrity policy, course outline |
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Suite number: 61555 |
Email: pduffey@austinc.edu |
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Basinger, Jeanine. Silent Stars. Hanover, NH:
Wesleyan UP, 2000.
Brownlow, Kevin. The Parade's Gone
By. 1968. Berkeley: U of California P,
1997.
Kerr, Walter. The Silent
Clowns. 1975. New York: Da Capo,
1990.
On reserve:
Bordwell, David. The
Cinema of Eisenstein. Cambridge: Harvard U
P,1994.
Card, James. Seductive Cinema : The Art of
Silent Film. Minneapolis: Uof Minnesota P,
1999.
Eisner, Lotte. Haunted Screen:
Expressionism in the German Cinema.
Berkeley: U of California P, 1973.
Elsaesser, Thomas. Weimar Cinema and After:
Germany's Historical Imaginary. New York:
Routledge, 2000.
Finler, Joel W. Silent Cinema: World Cinema
before the Coming of Sound. London:
Batsford, 1997.
Gunning, Tom. The Films of Fritz Lang :
Allegories of Vision and Modernity. Bloomington: Indiana U P, 2000.
Katz, Steven D. Film Directing Shot by
Shot: Visualizing from Concept to Screen.
Studio City, CA: Michael Wiese Productions, 1991.
Klepper, Robert K. Silent Films, 1877-1996
: A Critical Guide to 646 Movies. New
York: McFarland, 1999.
Kracauer, Siegfried. From Caligari to
Hitler: A Psychological History of German Film. Princeton: Princeton U P, 1966.
Magid, Ron."Dark Shadows." American
Cinematographer 81.12 Dec (2000):
68-75.
Minden, Michael, and Holger Bachmann. eds. Fritz Lang's Metropolis : Cinematic Views of Technology and
Fear (Studies in
German Literature, Linguistics, and Culture). Boydell & Brewer, 2000.
Potter, Nicole. "The Passion of Joan of
Arc/Voices of Light." Films in Review 47.3-4 (1996);
28-31.
Prager, Brad. "Taming Impulses: Murnau's Sunrise and the Exorcism of
Expressionism." Literature Film
Quarterly 28.4 (2000): 284, 9.
Turvey, Malcolm. "Can the Camera Eye See? Mimesis in Man with a Movie Camera."
October 89
(1999): 25-51.
Usai, Paolo Cherchi, and Emma Sansone Rittle. Burning Passions : An Introduction to the Study of Silent
Cinema. London: British Film
Inst,1994.
Wagenknecht, Edward. The Movies in the Age
of Innocence. Norman: U of Oklahoma P,
1962.
Youngblood, Denise J. Soviet Cinema in the
Silent Era, 1918-1935. Austin: Uof Texas
P, 1991.
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1. Cabiria
(Italy , 1914) Giovanni
Pastrone |
19. Sunrise 1927 F.W.
Murnau |
This course is for those who understand that art is really about dealing creatively with limitations. During the 10s, 20s, and 30s, the absence of sound in film produced a special kind of visual creativity: the creepy shadows of Murnau´s Nosferatu; Garbo´s seductive gaze in The Flesh and the Devil; the razor blade slicing an eyeball in Buñuel´s Un chien andalou; Chaplin´s split-second facial expression in City Lights that perfectly communicates his anguish as he realizes that curing the girl´s blindness could also end their relationship; the most beautiful train wreck ever captured on film in Keaton´s The General (in the days before computer-generated special effects). Students will view and analyze the breathtaking images of about thirty films in glorious silence and black and white, including films by Griffith, Eisenstein, Lang, Dreyer, Sjöström, Vidor, Chaplin, and Keaton. Students will also make their own silent films, creating images in the styles of their favorite directors and actors.
It is mandatory that students attend all film screenings.
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40% | |
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10% | |
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30% | |
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20% |
About three times a week, students will email me their thoughts on the films we see and the texts we read. The commentaries will be 300-500 words in length.
To receive full credit for this portion of the grade, students must have perfect attendance and must participate enthusiastically in discussions. Participation in official AC athletic events and serious illness are valid excuses, but students must make arrangements with me IN ADVANCE to see the films they miss. One unexcused absence will give the student a "0" for 5% of the total semester grade. Two will result in a zero for the full 10%.
The class will be divided into three film crews of 7 to 9 students. The requierments are as follows:
1. The film must be at least
fifteen minutes in length.
2. The film must mimic the styles and/or themes of at
least six silent film directors whose films we are
watching at the time of the crew's filming (see chart, below).
3. The general theme of the film will fit into the general scheme of
the class film, 3 1/2
Silent Films about AC, to
be shown at the end of the semester.
**4. students will sign equipment out. if it is lost or damaged, students will be held responsible.
The shooting schedule will generally be as follows:
Mon., Jan. 7, after class, Crew 1
camera orietation.
Fri., Jan. 11, after class, Crew 1 editing orientation.
Tue., Jan. 15, TURN IN COMPLETED FILM.
Tue., Jan. 15, after class, Crew 2
camera orietation.
Thu., Jan. 17, after class, Crew 2 editing orientation.
Mon., Jan. 21, TURN IN COMPLETED FILM.
Mon., Jan. 21, after class, Crew 3
camera orietation.
Thu, Jan. 24, after class, Crew 3 editing orientation.
Mon., Jan. 28, 10am, TURN IN COMPLETED FILM.
****7pm, Mon., Jan. 28. Premiere of 3 1/2 Silent Films about AC (location TBA)
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Crew # |
Crew 1 |
Crew 1 |
Crew 1 |
Crew 2 |
Crew 2 |
Crew 2 |
Crew 3 |
Crew 3 |
Crew 3 |
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Dates |
7, 8 |
9, 10 |
11, 14 |
15, 16 |
17 |
18 |
21 |
22, 23 |
24, 25 |
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Film styles to be pastiched |
Wegener, Wiene, Murnau, Lang, Pastrone |
Griffith, Sjöström |
Vidor, Dreyer, Buñuel/Dalí |
Pabst, von Stroheim, von Sternberg |
Murnau |
Gance |
Eisenstein, Vertov |
Keaton,
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Chaplin |
There will be brief quizzes almost every day, testing students' knowledge of the films and readings.
It is understood that all students are subject to the rules of conduct set forth in the Austin College academic integrity policy. It is also understood that the instructor reserves the right to modify this syllabus as needed during the semester.
Th 3 Introduction. Der Golem [The Golem] (Germany, 1920) Paul Wegener. Das Kabinett des Dr. Caligari [The Cabinet of Dr. Caligari] (Germany, 1920) Robert Wiene
F 4 Nosferatu (Germany, 1922) F.W. Murnau; Shadow of the Vampire (2001) E. Elias Merhige
M 7 Doctor Mabuse (Germany, 1922) Fritz Lang; Metropolis (Germany, 1927) Fritz Lang
T 8 Cabiria (Italy , 1914) Giovanni Pastrone
W 9 Intolerance (1916) D.W. Griffith
Th 10 Broken Blossoms (1919) D.W. Griffith; The Wind 1928 Victor Sjöström
F 11 The Big Parade 1925 King Vidor; The Crowd 1928 King Vidor
M 14 La Passion et la Mort de Jeanne d'Arc [The Passion of Joan of Arc] 1928 Carl Theodor Dreyer France; Un Chien Andalou [The Andalusian Dog] 1928 Luis Buñuel and Salvador Dali France/Spain
T 15 Die Büchse der Pandora [Pandora's Box] (Germany, 1929) G.W. Pabst; The Wedding March 1928 Erich von Stroheim [Sunset Boulevard (1950) Billy Wilder]
W 16 The Docks of New York 1928 Josef von Sternberg; The Last Command 1928 Josef von Sternberg; Sunrise 1927 F.W. Murnau
Th 17 Tabu 1931 F.W. Murnau and Robert J. Flaherty
F 18 Napoleon (France, 1927) Abel Gance
M 21 Bronenosets 'Potyomkin' [The Battleship Potemkin]1925 Sergei Eisenstein USSR; Chelovek s kinoapparatom [Man with a Movie Camera] 1929 Dziga Vertov USSR
T 22 Sherlock, Jr. 1924; The General 1926 Buster Keaton and Clyde Bruckman
W 23 Our Hospitality (1925); The Cameraman (1928) Buster Keaton
Th 24 Chaplin Mutuals (1916-17); The Kid 1921; The Gold Rush 1925 Charles Chaplin
F 25 The Circus 1928; City Lights 1931; Modern Times 1936 Charles Chaplin
M 28 Flesh and the Devil 1927 Clarence Brown
T 29 The Thief of Bagdad 1924 Raoul Walsh