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HU Credits:
2
Degree/Cycle:
2nd degree (Master)
Responsible Department:
Communication & Journalism
Semester:
1st Semester
Teaching Languages:
Hebrew
Campus:
Mt. Scopus
Course/Module Coordinator:
Prof Raya Morag
Coordinator Office Hours:
Tuesday, 1600-1700
Teaching Staff:
Prof Raya Morag
Course/Module description:
The course addresses fundamental issues in contemporary world cinema – changing definitions of national cinema in the age of globalization; nationalism and trans-nationalism; identity and identification; homeland, diaspora, and immigration. Discussion will be based on textual analysis of narrative and documentary films from a number of countries and regions: The Milk of Sorrow (Claudia Llosa, Peru, 2009), Caché (Austria, Michael Haneke, 2005), Coming Home (Zhang Yimou, China, 2014), and others.
Course/Module aims:
Introduction to world cinema and issues of nationalism and globalization and their aesthetic and ethic representation, including subversive models.
Learning outcomes - On successful completion of this module, students should be able to:
By the end of this course the students will be familiar with non-mainstream world cinema and will have developed tools for interpreting it. In addition, they will be introduced to major approaches to issues of nationalism/globalism in cinema.
Attendance requirements(%):
100%
Teaching arrangement and method of instruction:
Lectures, discussions, film analysis.
Course/Module Content:
Lesson no. Date Topic
1. Introduction: Memory and nationalism - The Milk of Sorrow - Claudia Llosa
2. Continued
3. Iranian Cinema: A Separation - Asghar Farhadi
4. Continued
5. Return of the repressed: Caché - Michael Haneke
6. Continued
7. Chinese Cinema and the Cultural Revolution: Coming Home - Zhang Yimou
8. Continued
9. Contemporary European Cinema and the Holocaust: Ida - Paweł Pawlikowski
10. Continued
11. Post Khmer Rouge Cambodian Cinema: TBA
12. Continued
13. The Refugees Question: Le Havre - Aki Kaurismäki
14. Summation
Required Reading:
1. 1. Hayward, Susan (2005) Framing National Cinemas Cinema and Nation by Mette Hjort (Editor), Scott Mackenzie (Editor) Routledge: 88-102. - למבוא
2. בנדיקט, אנדרסון (2000) "מבוא", קהילות מדומיינות האוניברסיטה הפתוחה תל אביב: 31-38.2.
3. 3. Jarvie, Ian (2000) "National Cinema A Theoretical Assessment" Cinema & Nation eds. Mette Hjort and Scott MacKenzie London Routledge: 75-87. למבוא -
4. 4. Hirsch, Marianne (2001) "Surviving Images: Holocaust Photographs and the Work of Postmemory", Yale Journal of Criticism, 14.1: 5-37. – לדיון ב"חלב הצער"
5. Rugo, Daniele (2016) "Asghar Farhadi Acknowledging Hybrid Traditions: Iran, Hollywood and Transnational Cinema", Third Text, 30.3-4: 173-187. – לדיון ב"פרידה"
6. Caché Dossier (2007) Screen 48.2: 211-249. – לדיון ב"מחבואים"
7. Elsaeeser, Thomas (2009) "Mind Game film" Puzzle Films: Complex Storytelling in Contemporary Cinema ed. Warren Buckland Wiley-Blackwell: 13-41. – לדיון ב"מחבואים"
8. Fredric Jameson (1986) "Third-World Literature in the Era of Multinational Capitalism" Social Text 15: 65-88. – לדיון ב"לחזור הביתה"
9. Aijaz, Ahmad (1987) "Jameson's Rhetoric of Otherness and the National Allegory" Social Text 17: 3-25. – לדיון ב"לחזור הביתה"
10. Ratner, Megan (2014) "Displaced Persons IDA’s Window on Vanished Lives" Film Quarterly 67.3 (Spring): 30-34. לדיון ב"אידה" -
11. הפריט לגבי הקולנוע הקמבודי יימסר מאוחר יותר.
12. Andrew, Dudley (2010) "Time Zones and Jetlag The Flows and Phases of World Cinema" World Cinemas, Transnational Perspectives eds. Nataša Ďurovičová and Kathleen Newman NY and London Routledge: 59-89. - לסיכום
13. Landsberg, Alison (2003) "Prosthetic Memory: The Ethics and Politics of Memory in an Age of Mass Culture" In Memory and Popular Film, ed. Paul Grainge, Manchester New York: Manchester University Press: 144–161. - לסיכום
Additional Reading Material:
Supplementary reading material:
1. 2. Andrew, Dudley (2010) "Time Zones and Jetlag The Flows and Phases of World Cinema" World Cinemas, Transnational Perspectives eds. Nataša Ďurovičová and Kathleen Newman Routledge NY and London: 59-89. 1.
3. 4. Benedict, Anderson (1983) "Introduction" Imagined Communities, London: Verso: 48-59. 2.
5. 6. Jarvie, Ian (2000) "National Cinema A Theoretical Assessment" Cinema & Nation eds. Mette Hjort and Scott MacKenzie Routledge London: 75-87. 3.
7. 8. Hirsch, Marianne (2001) "Surviving Images: Holocaust Photographs and the Work of Postmemory" Yale Journal of Criticism, 14.1: 5-37. 4.
9. Caché Dossier (2007) Screen 48.2: 211-249. 5.
Elsaeeser, Thomas (2009) "Mind Game film" Puzzle Films: Complex Storytelling in Contemporary Cinema ed. Warren Buckland Wiley-Blackwell: 13-41. 6.
Shohat, Ella (2006) "Post-Third-Worldist Culture: Gender, Nation, and the Cinema" Transnational Cinema The Film Reader eds. Elizabeth Ezra and Terry Rowden Routledge London: 39-56. 7.
Course/Module evaluation:
End of year written/oral examination 0 %
Presentation 0 %
Participation in Tutorials 0 %
Project work 90 %
Assignments 10 %
Reports 0 %
Research project 0 %
Quizzes 0 %
Other 0 %
Additional information:
Course Requirements:
• Required reading – one journal article for each class meeting.
• Submission of paper 1 - An analysis of a scene in Asghar Farhadi's A Separation (2011). Length of paper: 1 page, 12 point font, double spaced. Support your argument. (10% of the final grade) Submission date: 9.12.19 by the beginning of class,. Do not submit by email. No extensions will be granted.
• Required viewing of all films independently:
• Final Paper integrating lecture materials, the films, and the bibliography (90%). Worksheet will be passed out during the final class. Submission date: 30.2.20 Before 13:00 on to the Communication Department office. Do not submit by email. No extensions will be granted.
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