1/11 – 1/18: INTRODUCTION & THE CINEMA OF ATTRACTIONS
Martin Scorsese lecture, “The Persisting Vision: Reading the Language of Cinema”
Intro 0:00:00 – 09:26; lecture 09:26 – 0.50:54; Q&A 0:50:54 – 1:15:55
Optical toys (click image) Cook, pp. 2-3
Zoetrope demonstration
Eadweard Muybridge: Studies in Motion
Eadweard Muybridge’s Zoopraxiscope
The basics of film projection (a demonstration) Cook, pp. 11-13
Edison Kinetoscope shorts
Workers Leaving the Lumière Factory (dir. Lumière Brothers, 1895)
Workers Leaving the Lumière Factory (1895) 4K color restoration, with sound effects and music added
The Lumière brothers’ Actualities
The Lumière brothers’ L’arrivée d’un train en gare de La Ciotat (Arrival of a Train at the Station, 1896) – in 4K
Cinderella (George Méliès, 1899)
The Man With the Rubber Head (George Méliès, 1902)
Trip to the Moon (dir. George Méliès, 1902) – restored, original hand-tinted print
Life of an American Fireman–cross cut version, recreated (Edwin Porter, 1903)
Cook, pp. 18-19
Life of an American Fireman–copyright version (Edwin Porter, 1903)
Uncle Josh at the Moving Picture Show (Edwin Porter, 1902)
The Gay Shoe Clerk (Edwin Porter, 1903). See Gunning, p. 58
How the French Nobleman Got a Wife Through the New York Herald ‘Personal’ Column (Edwin Porter, 1904). See Gunning, pp. 60-61
The Great Train Robbery (Edwin Porter, 1903) Cook, pp. 20-21
D.W. Griffith, starring in Edwin Porter’s Rescued from an Eagle’s Nest (1908)
Bram Stoker’s Dracula (dir. Francis Ford Coppola, 1992) – cinema scene
1/23 – 1/30 : FILM NARRATIVE: D.W. GRIFFITH & BUSTER KEATON
The Lonely Villa (dir. D.W. Griffith, 1909)
Corner in Wheat (dir. D.W. Griffith, 1909)
The Birth of a Nation (dir. D.W. Griffith, 1915)
Sherman’s march sequence (begins at about 00:46:57)
Lincoln’s assassination sequence (begins at about 01:23:32) — see Cook, pp. 56-57
Within Our Gates (1919) – Oscar Micheaux’s answer to Griffith’s The Birth of a Nation
Way Down East (dir. D.W. Griffith, 1920) – see esp. 0:56:25 – 0:58:40 for Lillian Gish’s subtle and moving performance and Griffith’s acting direction (example of intraframe narrative)
A montage of Buster Keaton’s most amazing stunts
Cops (dir. Buster Keaton, 1922)
Our Hospitality (dir. Buster Keaton, 1923)
The General (dir. Buster Keaton, 1926)
James Agee, on Buster Keaton’s The Navigator (1924)
2/1 -2/6: FILM FORM I: GERMAN EXPRESSIONISM
The Cabinet of Dr. Caligari (dir. Robert Wiene, 1920).
Nosferatu (dir. F.W. Murnau, 1922) – see esp. 0:21:00 – 0:22:30 & 1:00:00 – 1:02:00 and David Cook, p. 78
Vincent (dir. Tim Burton, 1982)
The Golem: Horror’s First Franchise (video essay)
2/8 – 2/13: FILM FORM II: SOVIET MONTAGE
Battleship Potemkin (dir. Sergei M. Eisenstein, 1925)
Man with the Movie Camera (dir. Dziga Vertov, 1929) click title for link
October, aka Ten Days that Shook the World (dir. Sergei Eisenstein, 1928)
Old and New, aka The General Line – cream separator sequence (dir Sergei Eisenstein, 1929)
Bezhin Meadow (unfinished film from 1937–only stills survive)
The Untouchables – baby carriage scene (dir. Brian de Palma, 1987)
2/15 – 2/20: FILM SOUND
Vitaphone programme, August 6, 1926 – introduction by Will Hays
see Cook, pp. 154-155
Counterpoint in Soviet sound cinema. Enthusiasm (dir. Dziga Vertov, 1931) – see 0:26:44