syllabus0001 - FILM 3043: British Cinema Spring 2008 Class...

Info iconThis preview shows pages 1–2. Sign up to view the full content.

View Full Document Right Arrow Icon
3043: British Cinema Spring 2008 Class meets: Tuesday/Thursday 12:30-1:45 pm, ATLAS 102 Screening: Wednesday 1:00-3:50 pm, ATLAS 102 Professor Jennifer Peterson Jenni fer. [email protected] Office Hours: Wednesday 10:00am-12:00pm (and by appointment) Office/Phone: ATLAS 335/303-735-2694 Course Description: Although British cinema has long been overshadowed by its major English-language rival, Hollywood, the British film industry has nonetheless managed to create a significant and popular national cinema with its own complex history. This course will examine British cinema from its emergence in the silent era up to its present renaissance. We will look at significant movements and styles in British cinema, such as the emergence of British cinema in the silent era, the British documentary movement, Ealing comedies, the "angry young men" films and the British New Wave, Heritage films, and British cinema's longstanding interest in realism. We will examine important figures such as Alfred Hitchcock, David Lean, the Korda brothers, Michael Powell and Emeric Pressburger, Peter Greenaway, Mike Leigh, Gurinder Chadha, and Stephen Frears. We will also explore the economic organization of the UK film industry, including the role government policy has played in promoting film production, and the exchange between Hollywood and UK production and financing. 3 credits. Prerequisite: FILM 1502, or consent of instructor. Recommended: FILM 3051. Required Texts: 1. The British Cinema Book, 2 nd edition 2. A Short Guide to Writing About Film, Timothy Corrigan 3. Electronic Reserve Readings ("RR" on syllabus), accessible at course CU Learn website Film Screenings: ~ .. - me Wakes (Mattriee Elwy, 1929)- ..:rheJ9. StJ;ps (Alfred Hitchcock, 1935) OJalEace (Alberto Cavalcanti, 1935) Housing Problems (Elton! Anstey, 1935) -bisten to Britain (Humphrey Jennings, 1942) -Tires Were Started (Humphrey Jennings, 1943) Jlhe-FottrFeatlrers"t,Zoltan Korda; l(}3-9) 1trief Encounter (David Lean, 1945) "P.assfWrt-toPimlfciJ'{HemyComelius, 1945) ~'7f Canterbury Tale (Powell/Pressburger, 1944) Saturday Night and Sunday Morning (Karel Reisz, 1961) Momma Don't Allow (Tony Richardson, 1956) Every Day Except Christmas (Lindsay Anderson, 1957) A Hard Day's Night (Richard Lester, 1964) Blowup (Michelangelo Antonioni, 1966) The Draughtsman 's Contract (Peter Greenaway, 1982) A Room With A View (James Ivory, 1985) Secrets Lies (Mike Leigh, 1996) I'm British, But . .. (Gurinder
Background image of page 1

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon
Image of page 2
This is the end of the preview. Sign up to access the rest of the document.

This note was uploaded on 04/06/2009 for the course FILM 3043 taught by Professor Peterson,jennifer during the Spring '08 term at Colorado.

Page1 / 6

syllabus0001 - FILM 3043: British Cinema Spring 2008 Class...

This preview shows document pages 1 - 2. Sign up to view the full document.

View Full Document Right Arrow Icon
Ask a homework question - tutors are online