_______ North Seattle Community College _______________________________________
Arts, Humanities, and ABE
Course Establishment Form
Outline
Effective Date: Fall Quarter 2011
Division:
Arts, Humanities, and
ABE
Program/Dept:
Humanities
Course Number:
HUM 135
Credits: 5
Variable: No
Course Title:
History of Film
Inst. Intent:
11 Academic Transfer
Fee: Yes
No X
Degree/Certificate Requirement:
CIP:
24.0103
Type
Yes
No: X
Name of Degree/Certificate:
Distribution Requirement for AA/AS:
VLPA
Transfer Status to 4-year institution:
Yes X
No:
If yes, please describe:
Transfers as 200C LIT Cinema Studies Course, VLPA
Course length:
1 quarter
Course Contact Hours:
Lecture: 55
Prerequisite:
Class Size:
55 hours
Lab:
Yes: X
28
Clinical:
Other:
System:
No:
If yes, please describe:
Placement into ENGL 101 or ENGL 101 completion.
Required Placement Tests:
No
If yes, please describe:
Comments:
Course Description
This survey course gives students a historical overview of the origins and development of world
cinema from 1900 to the present. It examines the various influential directors, major film
movements, and national cinemas that have most influenced the progression of world cinema.
Page 2
Course Goals:
This course examines the history of film:
 to situate world cinema in a global historical and cultural context.
 to trace the historical developments of world cinema in the context of both mainstream
and independent film.
 to gain familiarity with and appreciation of the major film movements around the world
and how they influenced and informed each other.
 to understand how historical events such as World War II shaped who made films, how
films were made, and what films were about.
 to look at the use of movies as ideological tools and as propaganda
 to understand film’s power to reflect, reveal, critique, and challenge cultural systems.
 to explore how technological innovations have changed who makes films and how.
 to investigate the ways in which films have (or have not) presented diverse voices.
NSCC Essential Learning Outcomes (ELO’s):
This course meets the following campus-wide Essential Learning Outcomes:
Knowledge:
 Facts, theories, perspectives, and methodologies within and across disciplines [FTPM]
Intellectual and Practical Skills, including:
 Communication and self-expression [CSE]
Personal and Social Responsibility, including:
 Intercultural knowledge and competence [ICC]
Course Outcomes/Learning Objectives:
 Explain how sociopolitical, technological, and industrial circumstances have influnced
the aesthetics of cinema at given junctures of history. [FTPM, CSE]
 Explain the role of film as an art form expressing and reflecting historical context. [CSE,
ICC]
 Identify and evaluate international film movements and genres and their roles in
producing and communicating meaning within and between nations. [FTPM]
 Describe ideologies, attitudes, governments, filmmakers, economics and historical
events that have shaped international film. [FTPM]
 Analyze film as a vehicle for uncovering and understanding a nation’s perception of
itself. [CSE, ICC]
 Recognize and analyze key elements of the language of film at work in film texts. [CSE]
Topical Outline and/or Major Divisions:
I. Rise of Film and Studio Systems (1880-1940)
A. Invention of Motion Pictures (1880-1900)
B. National Cinemas, Hollywood Classicism, and World War I (1900-1914)
C. Silent Films (1919-1929)
D. German Studio System
E. Soviet Montage Cinema
F. French Cinema (1920’s and 1930’s)
G. Golden Years of Hollywood Studio System vs. the ‘International Style’ (1930s)
II. The War Years (1940’s)
III.
IV.
V.
VI.
A. Cinema and the State in the U.S., USSR, Germany, and Italy
B. Other Studio Systems of the World
C. Leftist, Documentary, and Experimental Cinemas
Post-War Cinemas
A. Hollywood Post-war Propaganda and Paranoia
B. Italian Neo-Realism in the post-war years (1945-1954)
C. Post-war Japanese Cinema (1950-1990)
D. Post-war British New Cinema (1956-1972)
E. Neorealism in Spain and Scandanavia (1945-1959)
“New Wave” and “Young” Cinemas
A. French New Wave (1957-1980)
B. Italian Cinema of Fellini, Antonioni, Pasolini, and Bertolucci (1960’s and 1970’s)
C. New German Cinema (1960’s and 1970’s)
D. International Documentary and Experimental Cinema
Postcolonial and Postmodern Cinemas (1980s-)
A. New Hollywood blockbusters, American Auteurs, and Blaxploitation (1960s)
B. Emergence of Third-World Cinema and Post-Colonial Narratives of Africa, Latin
America, the Middle East, and the Asia-Pacific Region
C. The Rise of Bollywood in India (1990s)
D. Postmodernism (1990s)
Towards a Global Film Culture (1990s- )
A. Cinema in the Age of Electronic Media (1990s-)
B. Rise of Independent Films, Filmmakers, and Film Festivals (1990s-)
D. Globalization Asia-Pacific genre films (anime, horror, action, etc.)
E. Global film subcultures
Course Requirements (Expectations of Students)
Students will be expected to demonstrate the ability to perform specific competencies listed
under “Course Outcomes/Learning Objectives.”
 View in their entirety, analyze, and discuss at least ten films representing a range of
different national film tradition (at least 5-7 different film traditions at a minimum).
Additionally, at least one film should be shown representing each major topical division
of the course (I-VI).
 Read and apply relevant theoretical texts to their readings of course films
 Read/listen to lectures and apply key concepts to their readings of course films
 Various writing activities may include essays, exams, film reviews, study questions,
journals, research reports, or seminar papers
Methods of Assessment/Evaluation:
Assignments may include essays, exams, film reviews, study questions, journals, research
reports, seminar papers and/or presentations.
Final grades are assigned according to published grading standards for the course.
Required Text(s) and/or Materials: As determined by instructor.
Possible written texts may include:
 Gazetas, Aristides. An Introduction to World Cinema. 2nd ed. McFarland: London, 2008.
 Nowell-Smith, Geoffrey. The Oxford History of World Cinema. Oxford UP, 1996.
 Thompson, Kristen, and David Bordwell. Film History: An Introduction. 2nd Edition. 2003.
Page 4
Possible film texts may include:
Rise of Film and Studio Systems
France:
Melies, Le Voyage dans la lune [A Voyage to the Moon] [1902]
Renoir, Régle de jeu [The Rules of the Game] (1930)
Germany:
Lang, M (1931)
Lang, Metropolis (1927)
Murnau, Nosferatu (1922)
Wiene, Das Cabinet des Dr Caligari [The Cabinet of Dr Caligari] (1920)
Japan:
Kinguasa, Kurutta Ippeiji [A Page of Madness] (1926)
Spain:
Buñuel, Un Chien andalou [Andulusian Dog] (1929)
The Netherlands:
Dreyer, The Passion of Joan of Arc (1928)
USSR:
Eisenstein, Bronenosets Potemkin [Battleship Potemkin] (1925)
Eisentstein, October (1928)
United States:
Capra, It Happened One Night (1934)
Chaplin, The Tramp (1915)
Chaplin, Modern Times (1936)
Griffith, Birth of a Nation (1915)
Vidor, The Crowd (1928)
The War Years
Britiain:
Hitchcock, The Lady Vanishes (1938)
Powell and Pressburger, 49th Parallel (1941)
China
Xiling, Shízì jiētóu [Crossroads] (1937)
Germany
Harlan, Jüd Suss [Jew Süss] (1940)
Hippler, Der Erwige Jude [The Eternal Jew] (1940)
Reifenstahl, Triumph des Willens, [Triumph of the Will] (1934)
India
Irani, Alam Ara [The Beauty of the World] (1931)
Sinha, Sant Tukaram [Saint Tukaram] (1936)
Italy
Blasetti, La corona di ferro [The Iron Crown] (1941)
Rossellini, La nave Bianca [The White Ship] (1941)
Visconti, Ossessione [Obsession] (1943)
Japan
Kurosawa, Sanshiro Sugata [Judo Saga] (1943)
Mizoguchi, Zangiku monogatari [The Story of the Last Chrysanethemums] (1939)
Yamamoto, Hawai Mare oki kaisen [The War at Sea from Hawaii to Malaya] (1942)
Yamanaka, Ninjo kami fusen [Humanity and Paper Balloons] (1937)
USSR
Donskoy, Raduga [The Rainbow] (1944)
Minkin and Rappaport, Professor Mamlok [Professor Mamlock] (1938)
United States:
Curtiz, Casablanca (1942)
Huston, The Maltese Falcon (1941)
Wells, Citizen Kane (1941)
Wilder, Double Idemnity (1944)
Postwar Cinemas
Britain:
Crichton, The Lavender Hill Mob (1951)
Powell and Pressburger, Black Narcissus (1947)
Powell and Pressburger, The Red Shoes (1948)
France:
Cocteau, Orphée [Orpheus] (1949)
Tati, Mon oncle ][My Uncle] (1958)
Germany:
Lang, Die tausend Augen des Dr. Mabuse [The Thousand Eyes of Dr. Mabuse] (1960)
Lorre, Der Verlorene [The Lost Ones] (1951)
Greece:
Kakogiannis, Stella (1955)
Kakogiannis, Alexis Zorbas [Zorba the Greek] (1964)
India:
Ray, Pather Panchali [Song of the Little Road] (1955)
Italy:
deSica, Ladri di bicilette [The Bicycle Thief] (1948)
Fellini, Le notti di Cabiria [Nights of Cabiria](1956)
Fellini, La Strada [The Road] (1954)
Japan:
Kurosawa, Kumonosu-jo [Throne of Blood] (1957)
Mizoguchi, Ugetsu [Tales of the Moon and Rain] (1955)
Ozu, Ukigusa [Floating Weeds] (1959)
Spain:
Bardem, Calle Mayor [Main Street] (1955)
Berlanga, ¡Bienvenido, Mr. Marshall! [Welcome, Mr. Marshall] (1951)
Sweden:
Bergman, Sommarnattens leende, [Smiles of a Summer Night] (1955)
Bergman, Det sjunde inseglet [The Seventh Seal] (1956)
Bergman, Smultronstället [Wild Strawberries] (1957]
Dreyer, Vredens Dag [Day of Wrath] (1943)
United States:
Ford, The Man Who Shot Libery Valance (1962)
Hitchcock, Psycho (1962)
Ray, Rebel Without a Cause (1955)
Wilder, Some Like it Hot (1959)
Zinnemann, From Here to Eternity (1953)
New Wave and ‘Young’ Cinemas
England:
Powell, Peeping Tom (1960)
Lester, A Hard Day’s Night (1964)
Boorman, Point Blank (1967)
Roeg, Don’t Look Now (1973)
France:
Franju, Les Yeux sans la visage [Eyes Without a Face] (1959)
Godard, À bout de soufflé [Breathless] (1960)
Godard, Alphaville (1965)
Godard, Le Mépris [Contempt] (1963)
Resnais, Hiroshima, mon amour [Hiroshima, My Love](1959)
Truffaut, Jules et Jim [Jules and Jim] (1962)
Spain:
Buñuel, Ese oscuro objeto del deseo [That Obscure Object of Desire] (1977)
Italy:
Antonioni, L’avventura [The Adventure] (1960)
Fellini, La dolce vita [The Good Life] (1960)
Antonioni, Blow-Up (1966)
Page 6
Germany:
Herzog, Herz aus Glas [Heart of Glass] (1976)
Schlöndorff, Die Blechtrommel [The Tin Drum] (1979)
Sweden:
Bergman, Säsom I en spegel [Through a Glass Darkly] (1961)
Poland:
Polanski, Repulsion (1965)
USSR:
Kalatozov, Ya Cuba [I am Cuba] (1963)
Tarkovsky, Solaris (1971)
United States:
Allen, Annie Hall (1977)
Coppolla, The Godfather (1972)
Hopper, Easy Rider (1969)
Kubrick, 2001: A Space Odyssey (1968)
Nichols, The Graduate (1967)
Penn, Bonnie and Clyde (1967)
Schlesinger, Midnight Cowboy (1969)
Postcolonial and Postmodern Cinemas:
Australia:
Campion, An Angel at My Table (1990)
Brazil:
Meirelles and Lund, Cidade de Deus [City of God] (2002)
Britain:
Frears, My Beautiful Laundrette (1985)
Gilliam, Brazil (1985)
Greenaway, Prospero’s Books (1991)
Potter, Orlando (1992)
Canada:
Arcand, Le Déclin de l'empire américain [The Decline of the American Empire] (1986)
Cronenberg, Videodrome (1983)
China:
Kaige, Bàwáng Bié Jī [Farewell My Concubine] (1993)
Zhang, Dahong denglong gaogao gua [Raise the Red Lantern] (1991)
France:
Caro and Jeunet, La Cité des enfants perdus [The City of Lost Children] (1995)
Dumon, L’Humanité [Humanity] (1999)
Duras, India Song (1975)
Kassovitz, La Haine [Hatred] (1995)
Germany:
Fassbinder, Lola (1981)
Wenders, Der Himmel über Berlin [Wings of Desire] (1987)
Hong Kong:
Wong, Congqing Senlin [Chungking Express] (1994)
India:
Barjatya, Hum Aapke Hain Kaun…! [Who Am I to You?] (1994)
Mehta, Mirch Masala [Spices] (1985)
Nair, Monsoon Wedding (1997)
Italy:
Bernini, La vita e bella [Life is Beautiful ] (1997)
Japan:
Kurosawa, Ran (1985)
Mexico:
Cuaron, Y tu mama también [And Your Mother, Too] (2001)
Iñárritu, Amores perros [Love of Dogs / Life’s a Bitch] (2000)
Poland:
Kieślowski. Trzy kolory. [Three Colors Trilogy: Blue, White and Red] (1994)
Spain:
Almodovar, Mujeres al borde de un ataque de “nervios” [Women on the Verge of a Nervous
Breakdown] (1988)
Sweden:
August, Den goda viljan [The Best Intentions] (1992)
United States:
Altman, Short Cuts (1993)
Lynch, Blue Velvet (1986)
Scott, Blade Runner (1982)
Soderbergh, Traffic (2000)
Stone, Natural Born Killers (1994)
Tarantino, Pulp Fiction (1994)
Towards a Global Film Culture:
Britain:
Boyle, Trainspotting (1996)
Chadha, Bend it Like Beckham (2002)
Canada:
Haggis, Crash (2004)
China:
Kar-Wai, Huāyàng niánhuá [In the Mood for Love] (2001)
Colombia:
Marston, María llena eres de gracia [Maria, Full of Grace] (2004)
Denmark:
von Trier, Breaking the Waves (1996)
von Trier, Dancer in the Dark (2000)
Germany:
Donnersmarck, Das Leben der Anderen [The Lives of Others] (2006)
France:
Breillat, À ma sœur! [Fat Girl] (2001)
Ozon, 8 femmes [8 Women] (2002)
Ozon, La Piscine [Swimming Pool] (2003)
Japan:
Koreeda, Dare mo shiranai [As Nobody Knows] (2004)
Miyazaki, Sen to Chihiro no Kamikakushi [Spirited Away] (2002)
Nakata, Ringu [The Ring] (1998)
Mexico
del Toro, El laberinto del fauno [Pan’s Labyrinth] (2006)
Nigeria:
Ojukwu, Sitanda (2007)
Palestine:
Abu-Assad, Paradise Now (2005)
Romania:
Mungiu, 4 luni, 3 săptămâni şi 2 zile [4 Months, 3 Weeks and 2 Days] (2007)
Spain:
Almodovar, Hable con ella [Talk to Her] (2002)
South Africa:
Roodt, Yesterday (2004)
South Korea:
Chan-wook, Oldboy (2003)
Sweden:
Alfredson, Låt den rätte komma in [Let the Right One In] (2008)
Taiwan:
Lee, Crouching Tiger, Hidden Dragon (2000)
Lee, Lust, Caution (2007)
United States:
Anderson, The Royal Tenenbaums (2001)
Gondry, Eternal Sunshine of the Spotless Mind (2004)
Page 8
Lee, Bamboozled (2000)
Lynch, Mulholland Drive (2001)
Tarantino, Kill Bill (2003-2004)
Tarantino, Inglorious Basterds (2009)
Outline Developed by:
JC Clapp and Bradley Lane
Outline Revised by:
Course Establishment Form 2001le 10/11/01
Date:
Date:
November 2010