ࡱ> 574b bjbjb{x{x $b 2222222 $moooooo,R62a22aaaB22maF4z"2222maa22a 9(aa 0aaaa2D MA Reading List Film Studies Sergei Eisenstein: From Film Form (excerpts) Andr Bazin: The Evolution of the Language of Cinema The Ontology of the Photographic Image The Myth of Total Cinema Christian Metz: Some Points in the Semiotics of the Cinema Problems of Denotation in the Fiction Film The Imaginary Signifier (excerpts) Daniel Dayan: The Tutor-Code of Classical Cinema Kaja Silverman: On Suture (from The Subject of Semiotics) Nick Browne: The Spectator-In-the-Text: The Rhetoric of Stagecoach Siegfried Kracauer: The Cabinet of Dr. Caligari; Rudolf Arnheim: Film and Reality The Making of a Film Bla Blasz: The Close-up The Face of Man Jean-Louis Baudry: Ideological Effects of the Basic Cinematic Apparatus The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema Peter Wollen: Godard and Counter-Cinema: Vent dEst The Auteur Theory Robert Stam and Louise Spence: Colonialism, Racism, and Representation: An Introduction Christine Gledhill: Recent Developments in Feminist Criticism Laura Mulvey: Visual Pleasure and Narrative Cinema Mary Ann Doane: "Film and the Masquerade: Theorizing Female Spectators" The Voice in Cinema: The Articulation of Body and Space Manthia Diawara: Black Spectatorship: Problems of Identification and Resistance Teshome H. Gabriel: Towards a Critical Theory of Third World Films John Ellis: Stars as a Cinematic Phenomenon Miriam Hansen: Pleasure, Ambivalence, Identification: Valentino and Female Spectatorship Rick Altman: A Semantic/Syntactic Approach to Film Genre Thomas Schatz: Film Genre and the Genre Film Linda Williams: Film Bodies: Gender, Genre, Excess Walter Benjamin: The Work of Art in the Age of Mechanical Reproduction Jean-Luc Comolli and Jean Narboni: Cinema/Ideology/Criticism Theodor Adorno and Max Horkheimer: The Culture Industry: Enlightenment as Mass Deception Fredric Jameson: The Cultural Logic of Late Capitalism Reification and Utopia in Mass Culture Tom Gunning: An Aesthetic of Astonishment: Early Film and the Incredulous Spectator Bill Nichols: Axes of Orientation, from Representing Reality P. Adams Sitney: Introduction to The Avant-Garde Film Stan Brakhage: From Metaphors on Vision (excerpts) Maya Deren: Cinematography: The Creative Use of Reality  7@7N+F _`b hW|hJ h!hJh[*hJ6 hJ6hJh/ChJ5 hJ5 h/C5 hwsY51LMZ 7Z[j*J`gdJ$a$gdJbJK\p Z [ j    E F U | } gdJ^gdJ`gdJ}    U V k ) * 8 f g w  `gdJgdJ  > Z [  +tu$%2ab^gdJ`gdJ":pJ/ =!"#$%@@@ mNormalCJ_HaJmH sH tH DA@D Default Paragraph FontRiR Table Normal4 l4a (k( No List b  z z zub 1LMZ 7Z[j*JK\pZ[jEFU|}UVk)*8fgw>Z[+tu $ % 2 a d 0d@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@0@bJ}  b b 8@0(  B S  ? SX'>FRY&agLR  V]#*4;cir|* / d d d @`~b @ @UnknownGTimes New Roman5Symbol3 Arial7Cambria p'hc膡c[f!24 b K#H ?'525Film Studies MOffice 2004 Test Drive UserEd Tech Center Oh+'0"   @ L Xdlt|'Film Studies MOffice 2004 Test Drive UserNormalEd Tech Center2Microsoft Word 11.5.6@@L:@L:[G!PICT!d ,, MSWD , Cambria  2.(o MA Reading( -) L-)ist-)9 -(< Film Stud-)i-)es-)2 - Q(v, -*;Sergei Eisenstein:-`( -( From ) Film Form) (excerpts)-`) - Q(&, -*; Andr Bazin:- Q(a@ -(The Ev-)o-)lut-);i-) on- Q)7 -) of-)* t-)he- Q)4 -) Language-) -) of- Q)* -) Cinema-) - Q)  -(The On-)t-)ol-))o-)gy- Q)2 -) of-)* -) the- Q)E -) P-)h-)oto-)Gg-)raphic- Q) -) Image-) -( The Myth-) -) of- Q)* -) Total-)p -) Cin-)Fe-)ma- Q)U (K, -*;Christian Metz: - Q({ -(Some Points in the Sem-(i-) otics- Q)e -) of-)* -) the- Q)E -) Cinema -) -(Problems of Denotation in -(t-)he- Q)4 -) Fiction-\) -) Fil-)7m-))- Q) -)  -(6The Imaginary Sig-(6An-)if-)i-) er)+ (excerpts)-`) - Q(p, -*;Daniel Dayan: -`(^ -(The Tu-)t-)o-)r-)-)Code of Classical Cinema- Q( ( , -*;Ka- Q)7j-)a-) -) Silverman:- Q) - Q)  -(On Su-)t-)ure- Q)\ -) (fr-)7o-)m- Q)* -) T-)he- Q)2 -) Subject-) -) of- Q)( -) Semiot-)i-) cs)))-) - Q(, -*; Nick Browne: -( Y -(E The Spectato-(Er-)-)In),-)the-)E--)Text: The Rhet(Eoric-)T -) of- Q)* -) Stagecoach)-) - Q(, -*:Siegfried Kracauer: - Q( -()The Cab-)i-) net- Q)C -) of-)( -) Dr.- Q)> -) Caligari); -`)+ - Q(0, -*:Rud-)Wo-)lf- Q) -) Arnheim:-) -)  -(Film and Reality -(O -(The Making of a Fi-(\l-) m-)= - Q(, -*; Bla Blasz: - Q(U5 -( The Close)--)u-)p- Q)/ -)  -(The Face of Man- Q(C ( , -*:Jean)[-)Louis Baudry: -( ? -( zIdeol-)o-)gical- Q)c -) Effects-) -) of- Q)* -) the-)E -) Basic- Q)p -) Cinematic-) -) App- Q)Wa-)rat)>us - Q)O -( #The Apparatus: Metapsychological A-( p-)proaches- Q) -) to-), -) the- Q)E -) Impression-) -) of- Q)* -) Reality-) -) in- Q)* -) Cinema-) - Q( , -*;Peter Wollen: - Q( *Z -( dGoda-)r-)d- Q) -) and-)P -) Counte-)r-)-)Cinema: ) Vent dEst) - Q)  -(  The Auteur-(  -) Theory-) - Q( , -*:Robert Stam and Louise Spence: - Q(  -( OCol-)Xo-)nialism,- Q) -) Racism,-) -) and- Q)P -) Represen- Q)t-)ation:-){ -) An- Q); -) Intro-)md-)uctio-)ln-)-) - Q( ,  ! ! ! !  ! ! !  ! ! !  ! ! !  ! ! !  ! ! !  ! ! !  ! ! !  ! ! ! ՜.+,0  hp  '91̳  Film Studies M Title  !"#$%&'()*+-./01236Root Entry FmJ+:81TableWordDocument$SummaryInformation("DocumentSummaryInformation8,CompObjXObjectPoolmJ+:mJ+: FMicrosoft Word DocumentNB6WWord.Document.8