SP24-FILM-ST

If the cinema is a deeply collaborative artform, what can we learn about a film, or a set of films, by considering the director as an “auteur,” a single creative vision guiding all aspects of the filmmaking process?  In this class, we will study the work Alfred Hitchcock in the context of cinema in the early-to-mid-twentieth century.  Hitchcock’s prolific career exerts a profound influence on the history of cinema and on filmmaking, television, and pop-culture today.  From his origins and early career in Britain, to his move to Hollywood where his thrillers earned him the moniker “Master of Suspense,” to the success of his television projects, Hitchcock pushed against—and past—limits of censorship, filmmaking techniques, and the conventions of both film narrative and of moviegoing culture, cultivating along the way his distinctive “Hitchcockian” style and cinematic sensibility. We will explore a selection of works from Hitchcock’s filmography, contextualize his work in film history, address the dark aspects of his character and career, and examine auteur theory, its value, and its limits. 

CW: Hitchcock’s films involve themes of rape, murder, abduction, abuses of power, and often-disturbing attitudes toward race (such as use of blackface).  

The Western is one of the oldest of film genres. Usually considered the first Western movie, The Great Train Robbery, released in 1903, is arguably the film that established cinema as a commercial industry of formidable potential. From its earliest instances the Western has been a key cultural expression of the American mythos and has played an integral role in the formation of American identity. We can look at the Western as a cultural form rich in themes concerning: the construction of gender identity; racial politics; the establishment of social order in conflict with the lure of frontier self-determination; the romance of the outlaw; narratives of redemption; vigilante retribution versus the rule of law; human resiliency in and conquest of the natural world; the subjugation (or extermination) of indigenous peoples' and this is to name only an obvious few. But the Western has also been a pivotal form in the history of storytelling media in a very diverse range of nations and cultural contexts, from Japan to India to Italy to Germany to Australia to South Africa to Brazil to Mexico. This course will, on the one hand, examine the cultural history and legacy of the Western genre in the cinema of the United States. We will study iconic and revisionist examples, looking at both formal and thematic aspects of this cinema as well as its historical relationship to American identity and its social policies and politics. On the other hand, a large part of this course will focus on the Western in relation to a highly diverse range of cinema cultures throughout the world. In particular, we will study the genre's impact on, but also its inheritance from, the cinema traditions of Italy, Japan, China, India, South Korea, and nations of the Global South. This course is designed to challenge conventional understanding of the Western genre by exposing students to interdisciplinary theories oriented toward comprehending the diverse cultural, social, and political perspectives embod