Listed in: English, as ENGL-95
Dale M. Hudson (Section 02)
Acknowledging that cinema is always already transnational, this course explores tensions between "the national" and "the global" in narrative, documentary, and experimental films produced in Africa, Asia, Australia, Europe, and the Americas in the postcolonial era of cultural hybridity and global capitalism. The course begins by examining the nationalist ideologies of Hollywood production in tandem with Third Cinema's radical decentering of the assumptions of both Hollywood and auteurist cinemas. The course examines ways that minor, feminist, avant-garde, and third world cinemas respond to the regional and global domination of the commercial industries in Hollywood, Mumbai, Hong Kong, Cairo, Mexico and elsewhere, either by appropriating and reconfiguring cinematic conventions within indigenous pre-cinematic traditions, by parodying and satirizing them, or by outright rejecting them. The course explores ways that political economy relates to filmic aesthetics and styles; different historical and cultural conceptions of cinema; different theoretical models for the analysis of national and global cultures; and implications of an increasing standardization of world film into an "international style" particularly since the 1990s. Films produced in, or financed with state or private funds from, Algeria, Argentina, Australia, Brazil, Burkina Faso, Cameroon, Canada, France, India, Iran, Kenya, Mali, Martinique, Mexico, Senegal, South Korea, the U.K., and the U.S. will be screened. Requisite: A prior film studies course, preferably a solid introduction to basic cinematic terms, such as cinematography, editing, mise en scene, and sound. Visiting Professor Hudson.