CTCS 403: Studies in National and Regional Cinema

CTCS 403: Studies in National and Regional Cinema: PostWall European Media
Fall 2008
W 9:00-12:50, RZC 111
Instructor: Anikó Imre E-mail: [email protected]
Office Hours: M 9-10 W 1-2, LUC 411
TA: Amelia Guimarin
Description and Goals:
CTCS 403 investigates traditions, achievements, and trends of film and media in
a particular country or region. It focuses on issues of national and cultural
identity, genre, aesthetics, industry, spectatorship, or on particular themes. This
fall, we will track cinematic and other media trends in contemporary Europe and
its peripheries, with an emphasis on globalization, migration and identities.
Since 1989, the fall of the Berlin Wall and the collapse of communism,
globalization has accelerated around the world. Europe – as a geopolitical entity
as well as an idea – has been affected with particular intensity. The European
Union has expanded its borders to incorporate some of the former Soviet satellite
countries. At the same time, the end of the Cold War reignited national, ethnic,
religious and regional affiliation, most violently in the course of the postYugoslav wars. These changes have set in motion large-scale migrations and
have thrown Europe into a state of intense transformation.
The films and other media texts we will discuss this fall help us analyze this
European identity crisis. The issues we will discuss, however, are not specific to
Europe: the changing world order is thoroughly interwoven with globally
converging transnational media forms and technologies. In a similar vein, mass
migration, anxieties about borders, the resurgence of nationalism, the
prominence of memory and nostalgia, and the war on terror are globally linked
Weekly readings are available on Blackboard under “Course Documents”. You
can download and print out each article at your convenience. Please bring the
readings to class when they are due for discussion.
1. Film Reviews
I will ask you to turn in 6 reviews. Each review will discuss two films or
television shows together. This means that you will have to identify some points
of comparison between the two texts. These points can be thematic, industrial,
aesthetic or theoretical. In the review, you can also refer to other films or media
texts; but the bulk of the review should deal with the two texts in focus. The
review should include the following: (1) a brief introduction of the film plots and
socio-economic conditions of production, distribution and exhibition (e.g. it
might be relevant to mention whether they are were produced in cooperation,
whether they have been successful in the festival circuit or on (trans)national
television networks, etc.); (2) an analysis that compares the two films along the
axis of your choice. The bulk of the review should be devoted to the analysis. In
this part, draw on class discussions and cite relevant readings. The review
should also contain a brief evaluation (3), which explains why you would (not)
recommend the film to specific audiences. Each review should be about 500
words= 2 double-spaced pages in 12-point font, 1-inch margins, Times New
Roman. Please bring hard copies of these reviews to class on their due date.
2. Participation
Active contribution to in-class work:
This is a collaborative class, where much of the learning material will come from
what we produce together. You will need to be present, prepared, and engaged
in order to benefit the most from the course. In-class work will count towards
your participation grade.
3. Group Teaching Project
Since this is an advanced and elective course, I would like you to take increasing
ownership for the success of the class and for your own learning as we proceed
through the semester. To conclude this process, I will ask you to teach the last
two sessions of the course in groups of three or four. Each group will select a
topic central to the theme of post-Wall European media, and draw upon their
preparation to have the rest of the class critically and analytically process new
information. These last sessions will be planned and coordinated entirely by
student leaders. Groups will need to provide us with visual material using the
media of their choice, and readings (one or two articles) electronically, or in hard
copy, one week before their scheduled teaching session. They will also need to
post questions and ideas on Blackboard at least three days before the date of
their teaching session.
While the methods of facilitating discussion and other class activities are up to
you, bear in mind that this is not a presentation. The emphasis is on engaging
and teaching your classmates. By Monday, December 8, I will ask you to turn in
your individual assessment of your contribution to these teaching sessions,
including a list of sources consulted, your notes or other preparations for the
teaching session, or collectively created media texts. This material, along with
your performance during the teaching sessions, will provide the basis of your
grade percentage for this portion of your course work. Do start thinking about
possible topics and networking with potential collaborators early on. A list of
suggestions is included at the end of the syllabus. I will meet with each group to
discuss plans during the week before the teaching sessions.
1. Six film reviews
2. Effective participation in class discussion:
3. Teaching project:
6x8=48 points
26 points
26 points
100 points
Grading Scale:
Under 30
Week1 Introductions.
is Europe?
Wk 2
Transnational and
European Media
Reading Due
Elsaesser, Thomas, “Double Occupancy: Space, Place
and Identity in European Cinema of the 1990s” Third
Text 83, vol. 20, issue 6, Nov. 2006, 647-658.
Zentropa (Lars
von Trier, 1991,
112 mins.)
Lamerica (Gianni
Amelio, 1994,
116 mins)
Galt, Rosalind, The New European Cinema, pp. 175-197.
Wk 3
Wk 4
Wk 5
Wk 6
Old and New
(N)ostalgia and
First Review due, of
Lamerica and
War, History and
Fortress Europe
Second review due,
of Good Bye Lenin
and No Man’s Land
Wk 7
Wk 8
Wk 9
Postcolonial Europe
Hybridity and
Third Review, of
Dirty Pretty Things
and Caché
Immigrant Identities
Luisa Rivi, “Introduction: For an Imperfect Europe”
pp. 1-8 in her European Cinema After 1989.
Morley, David and Kevin Robins, Spaces of Identity.
Chapter 1: “Globalisation as Identity Crisis.” 10-42.
Rivi, European Cinema pp. 115-122.
Bach, Jonathan. “The Taste Remains: Consumption,
(N)ostalgia, and the Production of East Germany.”
Public Culture 14.3 (2002)
Loshitzky, Yosefa. “Constructing and Deconstructing
the Wall.” CLIO 26:3, 1997: 275-296
Articles on No Man’s Land and other post-Yugoslavwar films:
Bjelic, Dusan. “Global Aesthetics and the Serbian
Cinema of the 1990s.” in Imre, ed. East European
Cinemas: 103-120.
Gibson, Sarah. “’The Hotel Business is About
Strangers: Border Politics and Hospitable Spaces in
Stephen Frears’s Dirty Pretty Things.” Third Text 20:6,
Nov. 2006: 693-702.
Loshitzky, Yosefa, “Journeys of Hope to Fortress
Europe.” Third Text 20:6, Nov. 2006, 745-754.
Rivi, European Cinema After 1989: pp. 111-114.
Christopher Sharrett, “Michael Haneke and the
Discontents of European Culture”
[Access article in HTML] [Access article in PDF]
Stan Jones, “Turkish-German Cinema Today” in
Rings and Morgan-Tamosunas, eds. European Cinema:
Inside-Out: 75-91.
Good Bye Lenin
Becker, 2003, 121
No Man’s Land
(Danis Tanovic,
2001, 98 mins)
Dirty Pretty
Things (Stephen
Frears, 2002, 97
Caché (Michael
Haneke, 2005,
117 mins.)
In July (Fatih
Akin, 2000, 99
Flowers of
Another World
(Iciar Bollain,
1999, 108 mins.)
Verstraete, Ginette, “Mobilities”
Parvarti Nair, "In Modernity's Wake: Transculturality,
Deterritorialization and the Question of Community
in Iciar Bollain's Flores de Otro Mundo (Flowers from
Another World)" Postscript 21.2 (Winter/Spring 2002)
Wk 10
Wk 11
Wk 12
Wk 13
Wk 14
Television in
Europe: Public
Service Broadcasting
Sassen, Saskia, “Europe’s Migrations: The Numbers
and the Passions are Not New” Third Text 20.6 (Nov
2006): 635-645.
Collins, Richard. “Ises and Oughts: Public Service
Broadcasting in Europe.” Robert C Allen and Annette
Hill, Eds. The Television Studies Reader. London:
Routledge, 2004.
Fourth Review, of IN
July and Flowers of
Mark Wheeler, “Supranational Regulation: Television
Another World, due
and the European Union.” European Journal of
Communication (2004), Vol. 19:3: 349-369.
Dogar, “For Decades, Americans Sold TV
Programs…” Newsweek June 7, 1999.
Television in Europe
Chalaby, “Transnational Television in Europe”
Europe and
Fifth Review, on
Europe and
Groups teach class
Van der Rijt et al, “Young People and Music
Television in the Netherlands” European Journal of
Communication 15.1 (2000): 79-91.
Elsaesser, Thomas. European Cinema: Face to Face with
Hollywood. “European Cinema as World Cinema: A
New Beginning?” 485-512.
Imre, “Play in the Ghetto: Global Entertainment and
the European ‘Roma Problem’” Third Text 83 (20.6),
Nov. 2006, 659-671.
Lawson, Mark, “Why Baftas not make benefit
glorious UK film?” The Guardian January 17, 2007.
Groups assign reading
Sixth Review due
Wk 15
Groups teach class
Group and SelfEvaluations due
Groups assign reading
creator: Kieran
Prendiville, BBC
Ireland, BBC,
Ballykea, World
National Musical
Idols, reality
Da Ali G Show
The District
(2004. d. Áron
Borat (Larry
Charles, 2006, 84
Da Ali G Show
Further Reading:
Petrie, Duncan, ed. Screening Europe: Image and Identity in Contemporary European
Cinema. 1992.
Elsaesser, Thomas. European Cinema: Face to Face with Hollywood. Amsterdam UP,
Pavle, Levi, Aesthetics and Ideology in the Yugoslav and Post-Yugoslav Cinema.
Stanford UP, 2007.
Iordanova,, Dina. Cinema of Flames: Balkan Film, Culture and the Media. London: BFI
Publishing, 2001.
Iordanova, Dina. Cinema of the Other Europe. 2003
Imre, Aniko, ed. East European Cinemas. London: Routledge, 2005.
Rivi, Luisa, ed. “Quo Vadis European Cinema?” Special issue of Spectator, 2004.
Mazierska, Eva and Laura Rascaroli, From Moscow to Madrid: Postmodern Cities,
European Cinema. 2002
Mazierska and Rascaroli, Crossing New Europe: Postmodern Travel and the European
Road Movie. 2006.
Eli, Noam. Television in Europe. Oxford UP, 1992. [e-book]
Richardson, Kay and Ulrike Meinhof. Worlds in Common? Television Discourse in a
Changing Europe. Routledge, 1999.
Sepstrup, Preben. Transnationalization of Television in Western Europe. London,
Kaid, Lunda Lee (ed) 1999. Television and Politics in Evolving European
Democracies. Nova Science Publishers.
Media, General
Sparks, Colin. 1998. Communism, Capitalism and the Mass Media. London: Sage.
Casmir, Fred L (ed), 1995, Communication in Eastern Europe: the role of history,
culture and media in contemporary conflicts. London: Erlbaum.
O’Neil, Patrick H. 1997. Post-Communism and the Media in Eastern Europe. Frank
Sparks, Colin and Anna Reading, 1997. Communism, Capitalism and the Media in
Eastern Europe. L: Sage.
Splichal, Slavko. 1994. Media Beyond Socialism: Theory and Practie in East-Central
Europe. Westview Press.
Giorgi, Liana, ed. 1995. The Post-Socialist Media: What Power the West? Aldershot:
Lengel, Laura. Ed. 2000. Culture and Technology in the New Europe: Civic Discourse
in Transformation in Post-communist Nations.
Neumann, Iver B. 1998. Uses of the Other. The East in European Identity Formation.
U of Minnesota P.
Berezin and Schain, eds. Europe Without Borders: Remapping Territory, Citizenship,
and Identity in a Transnational Age. Baltimore: Johns Hopkins UP, 2003.
Sample themes and resources for group teaching sessions:
Children’s Media
Cities and regions, regional media
Avant-garde and Animation:
Documentary and fiction
Genre Films
The European auteur
Art vs popular cinema
Food and Consumption
Music industry
European peripheries
Postcolonial Films
Media and sports
History and Heritage Movies
National cinemas
Game films
Media policy
Media (and) citizenship
The EU and technological
Gender, sexuality, ethnicity and the
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