Active Outline

General Information

Course ID (CB01A and CB01B)
F/TVD02CH
Course Title (CB02)
Contemporary World Cinema - HONORS
Course Credit Status
Credit - Degree Applicable
Effective Term
Fall 2023
Course Description
This course is a critical survey of contemporary world cinema as art, business, technology, and cultural artifact. It provides the critical methodology and practical tools for analyzing and interpreting the work of notable film artists, current international film movements and genres, and transnational and globalized media developments. The F/TV D2CWH course will cover expanded topics in historiography, such as problems and approaches to historical film research and analysis. Because this is an honors course, students will be expected to complete extra assignments to gain a deeper insight into world cinema today.
Faculty Requirements
Course Family
Not Applicable

Course Justification

This course is a major preparation requirement in the discipline of Cinema for at least one CSU or UC. The course meets a general education requirement for °®¶¹´«Ã½, CSUGE and IGETC. It belongs on the Film/TV: Production program. It is the third course in our film history series and offers a critical survey that focuses on international cinema today and its dynamic transnational and global developments. This course is the honors version and as a result, includes more advanced assignments and assessments.

Foothill Equivalency

Does the course have a Foothill equivalent?
No
Foothill Course ID

Course Philosophy

Formerly Statement

Course Development Options

Basic Skill Status (CB08)
Course is not a basic skills course.
Grade Options
  • Letter Grade
  • Pass/No Pass
Repeat Limit
0

Transferability & Gen. Ed. Options

Transferability
Transferable to both UC and CSU
°®¶¹´«Ã½ GEArea(s)StatusDetails
2GC1°®¶¹´«Ã½ GE Area C1 - ArtsApproved
2GC2°®¶¹´«Ã½ GE Area C2 - HumanitiesApproved
CSU GEArea(s)StatusDetails
CGC1CSU GE Area C1 - ArtsApproved
CGC2CSU GE Area C2 - HumanitiesApproved
IGETCArea(s)StatusDetails
IG3AIGETC Area 3A - ArtsApproved
IG3BIGETC Area 3B - HumanitiesApproved

Units and Hours

Summary

Minimum Credit Units
4.0
Maximum Credit Units
4.0

Weekly Student Hours

TypeIn ClassOut of Class
Lecture Hours4.08.0
Laboratory Hours0.00.0

Course Student Hours

Course Duration (Weeks)
12.0
Hours per unit divisor
36.0
Course In-Class (Contact) Hours
Lecture
48.0
Laboratory
0.0
Total
48.0
Course Out-of-Class Hours
Lecture
96.0
Laboratory
0.0
NA
0.0
Total
96.0

Prerequisite(s)

Corequisite(s)

Advisory(ies)

EWRT D001A or EWRT D01AH or ESL D005.

Limitation(s) on Enrollment

  • (Not open to students with credit in the non-Honors related course.)
  • (Admission into this course requires consent of the Honors Program Coordinator.)

(Not open to students with credit in F/TV D002C, F/TV D02CW or F/TV D2CWH.)

Entrance Skill(s)

General Course Statement(s)

(See general education pages for the requirements this course meets.)

Methods of Instruction

Lecture and visual aids

Discussion of assigned reading

In-class essays

In-class exploration of Internet sites

Quiz and examination review performed in class

Homework and extended projects

Guest speakers

Collaborative learning and small group exercises

Other: Media screenings and facilitated group discussions

Assignments

  1. Assigned reading
    1. Required textbook
    2. Periodicals, journals, and scholarly articles on Internet sites
    3. Class pdfs
  2. Writing
    1. Research paper of formally evaluated writing, identifying a body of relevant materials besides the required and recommended course textbooks and in-class media screenings, including library books, periodicals, motion pictures and multimedia; interpreting and synthesizing these materials in the critical analysis of a special problem from within the course, selected by the student using course guidelines; presented in a standard research format of documentary-note or parenthetical citation style and bibliography
    2. Written evaluation of outside film screenings: recognition and application of formal, contextual, and normative standards from lecture and readings to relevant short and feature films in a 3-5 page written critical analysis
    3. If more time, analytical paper on a topic dealing with issues of historiography
  3. Viewing films and other forms of the moving image
  4. The Honors project assignment should require 10 or more hours of work on a topic/project selected by and of individual interest to the student, approved by the instructor, and include one of the following:
    1. Written research project (10-15 pages), using primary and secondary sources and proper documentation
    2. Oral presentation of research project, including use of primary and secondary sources and proper documentation
    3. Close analysis of a film text(s) by applying an advanced critical methodology or contemporary film theory (10-15 pages)
    4. Service learning/civic engagement that includes reflection and analysis

Methods of Evaluation

  1. Midterm and two-hour final examination using a combination of objective, short answer and essay questions to evaluate the student's grasp of the terminology, theories, core concepts, and methods of analysis that comprise the course content. The essay component will require critical thinking and analysis.
  2. Written research or critical analysis paper demonstrating the student's ability to synthesis the new knowledge and a greater understanding of contemporary world cinema, and applying this knowledge to selected films and artists, as viewed and discussed in the course; additional research or critical paper at the instructor's discretion.
  3. Participation in classroom discussions and in-class collaborative work, including analyses of in-class screenings, to demonstrate the student's ability to place media in the context of aesthetic, social, cultural, and normative frameworks and foreground issues of mass/minority audiences, culture, class, race/ethnicity, gender, and ability.
  4. Honors project assignment must demonstrate the depth of research or analysis, critical-thinking skills, comprehensive discussion of the research topic or close analysis of the film text(s), a minimum of ten (10) scholarly sources for a research paper, and the highest writing standards.

Essential Student Materials/Essential College Facilities

Essential Student Materials: 
  • None.
Essential College Facilities:
  • Lecture room with 16mm film projection equipment in the control booth, Blu-ray/DVD deck and 1/2-inch VHS tape deck

Examples of Primary Texts and References

AuthorTitlePublisherDate/EditionISBN
*Cook, David A. "A History of Narrative Film." 5th ed. New York: W. W. Norton, 2016.
Kawin, Bruce F. and Gerald Mast. "A Short History of the Movies." 11th ed. New York: Pearson, 2010.

Examples of Supporting Texts and References

AuthorTitlePublisher
Belton, John. "American Cinema/American Culture." 4th ed. New York: McGraw-Hill, 2012.
Benshoff, Henry M. and Sean Griffin. "Queer Images: A History of Gay and Lesbian Film in America." Rowman & Littlefield Publishers, Inc., 2005.
Benyahia, Sarah Casey. "Teaching Contemporary British Cinema." British Film Institute, 2008.
Bingham, Adam. "Contemporary Japanese Cinema Since Hana-Bi." Edinburgh University Press, 2015.
Blaim, Artur and Ludmila Gruszewska-Blaim. "Imperfect Worlds and Dystopian Narratives in Contemporary Cinema." Peter Lang International Academic Publishers, 2011.
Bordwell, David. "The Way Hollywood Tells It: Story and Style in Modern Movies." University of California Press, 2006.
Buckland, Warren. "Puzzle Films: Complex Storytelling in Contemporary Cinema." Wiley-Blackwell, 2009.
Chaudhuri, Shohini. "Contemporary World Cinema: Europe, the Middle East, East Asia and South Asia." Edinburgh University Press, 2006.
Chow, Rey. "Sentimental Fabulations, Contemporary Chinese Films: Attachment in the Age of Global Visibility." Columbia University Press, 2007.
Dwyer Rachel and Jerry Pinto, eds. "Beyond the Boundaries of Bollywood: The Many Forms of Hindi Cinema." Oxford University Press, 2011.
Falicov, Tamara L. "The Cinematic Tango: Contemporary Argentine Film." Wallflower Press, 2006.
Halle, Randall. "German Film after Germany: Toward a Transnational Aesthetic." University of Illinois Press, 2008.
Holohan, Conn. "Cinema on the Periphery: Contemporary Irish and Spanish Film." Irish Academic Press, 2009.
Khorana, Sukhmani. "Crossover Cinema: Cross-Cultural Film from Production to Reception (Routledge Advances in Film Studies)." Routledge, 2013.
Khosronejad, Pedram. "Iranian Sacred Defence Cinema: Religion, Martyrdom and National Identity." Sean Kingston Publishing, 2012.
Kim, Kyung Hyun. "Virtual Hallyu: Korean Cinema of the Global Era." Duke University Press Books, 2011.
McLoone, Martin. "Irish Film: The Emergence of a Contemporary Cinema." British Film Institute, 2008.
Nestingen, Andrew and Trevor G. Elkington, eds. "Transnational Cinema In A Global North: Nordic Cinema In Transition." Wayne State University Press, 2005.
Prabhu, Anjali. "Contemporary Cinema of Africa and the Diaspora." Wiley-Blackwell, 2014.
Shafik, Viola. "Arab Cinema: History and Cultural Identity." Revised, Updated edition. American University in Cairo Press, 2017.
Shaw, Deborah and Sarah Barrow, Nuala Finnegan and David William Foster. "Contemporary Latin American Cinema: Breaking into the Global Market." Rowman & Littlefield Publishers, 2007.
Waldron, Darren. "Queering Contemporary French Popular Cinema: Images and Their Reception." Peter Lang Publishing, 2009.
Xu, Gary G. "Sinascape: Contemporary Chinese Cinema." Rowman & Littlefield Publishers, 2006.

Learning Outcomes and Objectives

Course Objectives

  • Identify, examine, and evaluate the discipline and methods of film history
  • Identify and evaluate moving-picture narrative, visual and aural aesthetics, and the constituent creative techniques in contemporary works of the cinematic arts
  • Recognize and evaluate the evolution of the art of motion pictures, including significant works of contemporary film artists of diverse nations, class, race/ethnicity, gender, sexuality and ability
  • Examine the evolving art of the moving image in social, cultural, technological, and economic contexts, which necessarily foreground transnational and global media developments
  • Examine how media, both directly and indirectly, reveal information about experience, identity, and culture
  • Formulate critical/historical analyses and evaluations of moving-image works and issues
  • Demonstrate advanced-level understanding of the discipline and methods of film history through examples and application

CSLOs

  • Identify significant contemporary films, filmmakers, genres and national cinemas and explain major trends in the international evolution of film as an art form, technology, and industry.

  • Demonstrate the ability to analyze and synthesize the narrative, visual and aural language of film.

  • Analyze representations of class, race/ethnicity, gender and sexuality, demonstrating an understanding of the politics of representation learned in class.

Outline

  1. Identify, examine, and evaluate the discipline and methods of film history
    1. Examine the nature of historical inquiry
      1. Debate issues of objectivity and interpretation
      2. Examine differences in philosophical orientations among film historians
      3. Identify key concepts of national and transnational cinema, post-colonial theory and post-colonial cinema in a mass-mediated world
      4. Examine developments in historical inquiry from grand/master narratives towards multiple histories of the cinema
    2. Analyze the economic context of production, distribution and exhibition
      1. Examine the type (mass market, niche, avant-garde), scale (factory, workshop), organization (studio, independent), and resources (private, government) of production
      2. Compare distribution and exhibition models
    3. Analyze the social/cultural context and impact of a collaborative art form that reaches a global audience
      1. Appraise how film reflects the producer-writer-director's values in respect to political ideology, race/ethnicity, gender, identity and culture
      2. Appraise how film shapes the values of majority, minority and international audiences in respect to political ideology, race/ethnicity, gender, identity and culture
  2. Identify and evaluate moving-image narrative, visual and aural aesthetics, and the constituent creative techniques in contemporary works of the cinematic arts
    1. Apply evolving aesthetics terms (shot, scene, sequence, diegesis, exegesis) and concepts (continuity, deep focus, montage, interactivity) manifest in notable contemporary works
    2. Appraise the impact of evolving technology on aesthetics
      1. Materials such as film stock, lenses, HD cameras, digital software and technology for CGI, sound recording and editing, IMAX and 3D technology
      2. Techniques such as interactive narrative, animatics, digital sets, virtual camerawork, CGI
      3. Distribution methods such as the Internet, 4G technologies, digital delivery for theatrical, television and home video markets
    3. Examine and analyze the historical poetics of classicism, post-classicism, postmodernism and post-structuralism
      1. Classicism: 3-act and 5-act dramatic structure; narrative closure; goal-oriented, likable protagonists; verisimilitude; continuity editing conventions; spectator identification
      2. Post-classicism and postmodernism: media-conscious cinema of multiple styles and hybridity; loosening of causal connections between narrative events; introduction of aimless protagonists; foregrounding of style; lack of narrative closure
      3. Post-structuralism and decolonization: decentering Europe as "normative culture of reference"
      4. Analyze the unique elements of individual films in relation to the norms embodied in a larger body of motion pictures
  3. Recognize and evaluate the evolution of the art of motion pictures, including significant works of contemporary film artists of diverse nations, class, race/ethnicity, gender, sexuality and ability
    1. Cinema of Eastern Europe and the Russian Federation after the fall of communism: significant events, themes, movements, genres, artists and films selected from the following
      1. Poland
        1. In October 1989, the zespoly system of film units were transformed into independent production companies, owning their motion pictures for the first time and controlling distribution and export rights
        2. Despite state subsidies, the studios increasingly concentrate on commercial productions to avoid bankruptcy
        3. Domestically produced comedy-thrillers and relatively big-budget blockbusters dominate the box office, while serious low-budget films receive critical acclaim
        4. Representative artists and their films selected from the following list: Andrzej Wajda ("Colonel Tadeusz," "Katyn"), Jerzy Kawalerowicz ("Quo Vadis"), Krzysztof Zanussi ("Love as a Sexually Transmitted Disease"), among others
      2. Czech Republic
        1. State-supported national television coproduces most features in exchange for broadcast rights
        2. Comedies of moral courage and feminist attacks on consumer society tend to be critical rather than popular successes, as Czech films rarely return their costs through theatrical distribution
        3. Representative artists and their films selected from the following list: Jan Sverak ("Kolya"), Jan Hrebejk ("Divided We Fall," "Cosy Dens"), Vera Chytilova ("Banned from Paradise"), among others
      3. Hungary
        1. In 1991 the state-funded Motion Picture Foundation of Hungary was created to fund individual projects on the basis of artistic merit
        2. Oriented towards art films with dramas and satires set during troubled eras in 20th-century Hungary; dramas dealing with the subjugation of women in a patriarchal system, the dissolution of traditional family structures, the plight of children raised without parental affection or control; psychological dramas and epics of bleakness and apocalyptic despair
        3. Representative artists and their films selected from the following list: Istvan Szabo ("Sunshine"), Marta Meszaros ("Little Vilma: The Last Diary"), Bela Tarr ("Werckmeister Harmonies," "Satan's Tango"), among others
      4. Former Yugoslav Cinema
        1. In 1992 wartime inflation and UN economic sanctions nearly ruined the domestic markets, and in 1999 the war in Kosovo and NATO bombing of Belgrade seriously inhibited the Serbian film industry
        2. Black comedies function as eulogies for the former Yugoslav nation and cinema; grim anti-war satires and war dramas
        3. Representative artists and their films selected from the following list: Bosnia (Emir Kusturica's "Underground," Srdjan Dragonjevic's "Wounds," Danis Tanovic's "No Man's Land"); Croatia (Vinko Bresan's "Marshal Tito's Spirit"), among others
      5. Romania
        1. In 1989, after the overthrow of the Ceausescu dictatorship, the film industry moved from state monopoly to private industry; Castel Film became the largest full-service studio in Romania, attracting American and French runaway productions
        2. Gloomy meditations on dictatorship, hard-edged looks at contemporary Romanian politics, dark dramas on the psychology of authoritarian repression
        3. Representative artists and their films selected from the following list: Dan Pita ("Hotel de Luxe," "The Man of the Day"), Sergiu Nicolaescu ("Deadly Triangle"), Lucian Pintilie ("Last Stop Paradise," "The Afternoon of a Torturer"), Cristian Mungiu ("4 Months, 3 Weeks and 2 Days," "Beyond the Hills"), among others
      6. Cinema of the Russian Federation
        1. Private enterprise without any free-market regulation, resulting in widespread video piracy
        2. Mosfilm, Lenfilm and other studios became service facilities for runaway Western productions
        3. Major U.S. companies set up distribution offices and built multiplex theaters
        4. Costume films, ultraviolent black comedies equating social corruption and deviant pornography and antiwar comedies
        5. Representative artists and their films selected from the following list: Nikita Mikhalkov ("Burnt by the Sun"), Sergei Bodrov ("Prisoner of the Mountains"), Pavel Chukharai ("The Thief"), Pavel Lounguine ("The Wedding"), Alexei Balabanov ("The Brother," "Of Freaks and Men"), Alexander Sokurov ("Russian Ark"), Nana Djordjadze ("Missing Kisses"), Kakhaber Kakabidze ("The Lake"), Nodar Managadze ("Angels Fly Over"), Edgar Baghdasaryan ("Mariam"), among others
    2. Japanese Cinema: significant events, themes, movements, genres, artists and films
      1. Notable filmmakers began in sex films (about 5,000 X-rated films produced in Japan per year)
      2. Mainstream cinema dominated by American productions and anime, but extremely violent low-budget thrillers and horror have influenced global cinema
      3. Representative artists and their films selected from the following list: Shohei Imamura, Nagisa Oshima, Yoshimitsu Morita ("Colorful"), Ishii Sogo ("Electric Dragon 80,000 V"), Takeshi Kitano ("Sonatine," "Fireworks"), Kiyoshi Kurosawa ("Pulse"), Takashi Ishii ("Black Angel" series), Hideo Nakata ("Ring" series), Takashi Miike ("Audition"), Shinji Aoyama ("Eureka"), Hirozaku Kore-Eda ("Wonderful Life"), Shunji Iwai ("All About Lily Chou-Chou"), Higuchinsky ("Spiral"), among others
    3. Indian Cinema: significant events, themes, movements, genres, artists and films selected from the following
      1. Largest film-producing nation in the world, accounting for one-fourth of the total global output each year
      2. 90% of films produced in "Bollywood" are rigidly conventionalized musicals ("a star, six songs and three dances") and mythological romances; most fail at the box office as demand for Hollywood product grows
      3. Nonstar parallel-cinema movement and regional industries subsidize art films and independent productions with social and political concerns
      4. Representative artists and their films selected from the following list: Ashutosh Gowariker ("Lagaan"), Santosh Sivan ("The Terrorist"), Mira Nair ("Monsoon Wedding," "The Namesake"), Shyam Benegal ("The Making of the Mahaatma," "Conflict"), Shekhar Kapur ("Bandit Queen"), Deepa Mehta ("Fire," "Earth," "Water"), among others
    4. Chinese Cinema after the 1997 transformation: significant events, themes, movements, genres, artists and films selected from the following
      1. People's Republic of China
        1. Protected by the Chinese government through subsidies and control over distribution and marketing
        2. Sumptuous Technicolor and widescreen films usually adapted from published literary work
        3. Representative artists and their films selected from the following list: Chen Kaige ("Farewell My Concubine"), Zhang Yimou ("Hero," "House of Flying Daggers"), Tian Zhuangzhuang ("Springtime in a Small Town"), Zhang Yang ("Shower"), Wang Xiaoshuai ("Beijing Bicycle"), Lou Ye ("Suzhou River"), among others
      2. Hong Kong
        1. Important production center and "Hollywood East" site for digital postproduction
        2. Martial-arts, action, fantasy adventure and gangster films
        3. Representative artists and their films selected from the following list: Producer Tsui Hark, John Woo ("The Killer"), Ringo Lam ("Victim"), Sammo Hung ("Once Upon a Time in China IV"), Ann Hui ("Summer Snow," "A Simple Life"), Stanley Kwan ("Rouge"), Wong Kar-wai ("In the Mood for Love," "2046"), Andrew Lau ("Infernal Affairs" series), among others
      3. Taiwan
        1. Low-to-medium budget films dealing with daily reality but stylistically experimental
        2. Representative artists and their films selected from the following list: Edward Yang ("Yi yi"), Hou Hsiao-hsien ("Millenium Mambo"), Ang Lee ("Eat Drink Man Woman"), Tsai Ming-liang ("What Time Is It There?"), among others
    5. Latin American Cinema: significant events, themes, movements, genres, artists and films selected from the following
      1. Mexico
        1. Wide range of themes and genres increasingly shot on digital video and transferred to 35mm
        2. Representative artists and their films selected from the following list: Guillermo del Toro ("Pan's Labyrinth," "The Shape of Water"), Alfonso Cuaron ("Y tu mama tambien," "Children of Men"), Alejandro Gonzalez Inarritu ("Amores Perros," "Birdman"), Arturo Ripstein ("That's Life"), Alfonso Arau ("Like Water for Chocolate"), among others
      2. Brazil
        1. Government stimulates domestic production with tax breaks for companies investing in films, including art film
        2. Representative artists and their films selected from the following list: Walter Salles, Jr. ("Central Station"), Carlos Diegues ("Orfeu"), Fernando Meirelles ("City of God"), among others
      3. Argentina
        1. Privatized in 1989 but production funding from tax levied on video rentals; growth industry
        2. Representative artists and their films selected from the following list: Fernando Solanos ("The Voyage," "The Dignity of the Nobodies"), Eliseo Subiela ("The Dark Side of the Heart," "The Adventures of God"), Raul de la Torre ("Funes: A Great Love"), Maria Luisa Bemberg ("I Don't Want to Talk About It"), Juan José Campanella ("The Secret in Their Eyes"), among others
      4. Chile
        1. In 1990 film production officially resumed and exiled Chilean filmmakers returned, producing films of political content
        2. Representative artists and their films selected from the following list: Miguel Littin ("Dawson Isla 10"), Ricardo Larrain ("La frontera"), Pablo Perelman ("Archipiélago"), Cristian Galaz ("The Sentimental Teaser"), among others
      5. Cuba
        1. Revival in 1998 due to European and Canadian investment in tourism and mining industries, new leadership of ICAIC and coproduction deals with Spain
        2. Marxist-Leninist content or banned as counterrevolutionary
        3. Aggressively promoting digital video, only Latin American country with its own animation industry and first to convert to 3-D digital imagery
        4. Representative artists and their films selected from the following list: Tomas Gutierrez Alea ("Strawberry and Chocolate"), Pastor Vega ("The Prophecies of Amanda"), Juan Carlos Tabio ("The Waiting List"), Humberto Solas ("Miel para Oshun"), Fernando Perez ("Life is to Whistle"), among others
    6. Cinemas of North, Sub-Saharan, and West Africa: significant events, themes, movements, genres, artists and films selected from the following
      1. North Africa: Algeria, Tunisia, Morocco, Egypt
        1. Relatively small film market with Morocco the leading producer due to state funding and cine-club tradition, and Egypt as most commercial and star oriented
        2. Representative artists and their films selected from the following list: Ferid Boughedir ("Halfaouine: Boy of the Terraces"), Kalthoum Bornaz ("The Lost Thread"), Moufida Tlatli ("The Season of Men"), Souheil Ben-Barka ("Shadow of the Pharoah"), Farida Ben Lyazid ("Women's Wiles"), Youssef Chahine ("Alexandria, Again and Forever," "Quiet, We're Rolling"), Ahmed Atef ("Omar 2000"), Khaled Youssef ("Desert Storm"), among others
      2. Sub-Saharan Africa: Senegal, Mali, Burkino Faso
        1. Many films produced outside the system of French assistance available to most former colonies and characterized by oral storytelling traditions, anti-colonial themes and domestic dramas
        2. Representative artists and their films selected from the following list: Ousmane Sembene ("Guelwaar"), Souleymane Cisse ("Waati"), Cheick Oumar Sissoko ("Genesis"), Adama Drabo ("Skirt Power"), Gaston Kabore ("Buud yam"), Idrissa Ouedraogo ("Tilai"), among others
      3. West Africa: Nigeria/Nollywood
        1. Home-grown film industry began in late 1980s, when rampant street crime in big cities such as Lagos forced mainstream cinemas to shut, and import restrictions made foreign films scarce
        2. Second-largest producer of feature films after India
        3. Representative artists and their films selected from the following list: Kingsley Ogoro ("Osuofia in London"), Chico Ejiro ("Tears in My Eyes"), among others
    7. Middle Eastern Cinema: significant events, themes, movements, genres, artists and films selected from the following
      1. Iran
        1. One of the world's pre-eminent national cinemas, consisting of populist and art cinema of deceptively simple, allegorical stories produced within a fundamentalist Islamic state
        2. Representative artists and their films selected from the following list: Abbas Kiarastomi ("Taste of Cherry," "Ten," "Certified Copy"), Dariush Mehrjui ("The Pear Tree"), Bahram Beizai ("Travellers"), Majid Majidi ("The Color of Paradise"), Jafar Panahi ("The Circle," "Offside," "This Is Not a Film"), Mohsen Makhmalbaf ("Kandahar"), Samira Makhmalbaf ("Blackboards"), Tahmineh Milani ("The Hidden Half," "Cease Fire"), Asghar Farhadi ("A Separation," "The Salesman"), among others
      2. Israel
        1. Financial aid from the Fund for the Promotion of Quality Israeli Films has also supported the work of Israeli-Palestinian filmmakers, and a Cinema Law allocates taxes on commercial broadcasters to underwrite cinema
        2. Themes and subjects deal with the Arab-Israeli conflict, Palestinian dispossession, the Yom Kippur War, the invasion of Lebanon, the occupation of the West Bank and Gaza
        3. Representative artists and their films selected from the following list: Amos Gitai ("Kippur"), Michel Khleifi ("Wedding in Galilee," "Canticle of the Stones"), Elia Suleiman ("Chronicle of a Disappearance"), Ari Folman ("Waltz with Bashir"), among others
    8. Pacific Rim Cinemas: significant events, themes, movements, genres, artists and films selected from the following
      1. Thailand: star-studded and genre-based gangster (Nonzee Nimibutr's "Dang Bireley and the Young Gangsters"), ghost-story (Nonzee Nimibutr's "Mrs. Nak"), and spectacle films (Prince Chatrichalerm Yukol's "Suriyothai," Tanit Jitnukul's "Bangrajan," Bhandit Bittakol's "The Moonhunter"), among others
      2. Indonesia: films address formerly taboo political and social issues (Garin Nugrobo's "Unconcealed Poetry," Slamet Rahardjo's "Marsinah"), mother-daughter relationships (Nan T. Achnas's "Whispering Sands") and interracial marriage (Nia Di Nata's "Woman"), among others
      3. Malaysia
        1. By 2000, over 100 international companies had joined the Multimedia Super Corridor (MSC) to use its state-of-the-art facilities
        2. Emergence of independent directors such as Aziz M. Osman ("Lt. Adnan"), Yusof Haslam ("Special Force: The Movie"), S. Mohan ("The Deadly Disciples"), among others
      4. Republic of Korea
        1. Korean New Wave combined art-film aesthetics with social commitment in films examining Korean identitiy
        2. Social satire and action-oriented dramas deal with caustic views of Korean history, horror films with contemporary issues, and dramas reinforce traditional Korean culture
        3. Representative artists and their films selected from the following list: Jang Sun-Woo ("A Petal," "Bad Movie," "Lies"), Park Kwang-su ("The Uprising"), Kang Je-gye ("Tae Guk Gi: The Brotherhood of War"), Park Chan-wook ("Oldboy," "Lady Vengeance," "Thirst," "The Handmaiden"), Ki-duk Kim ("Spring, Summer, Fall, Winter...and Spring"), Im Kwon-taek ("Chunhyang"), Chang-dong Lee ("Poetry"), among others
    9. European Cinema: significant events, themes, movements, genres, artists and films selected from the following
      1. France
        1. One of the most productive film industries in the world due to high level of government protectionism and subsidy
        2. Emergence of the New New Wave in the 1990s, whose directors engage in contemporary social issues, distinctive social and geographical settings and a naturalistic acting style favoring nonprofessional performers
        3. Rise of the big-budget historical costume drama, "cinema du look" youth-oriented films with high production values and flashy visual styles, "film policier" crime thrillers, "Banlieue" films focusing on ethnically diverse neighborhoods and subcultures at the outskirt of large cities
        4. Representative artists and their films selected from the following list: Bertrand Tavernier ("On the Other Side of the Tracks"), Claude Chabrol ("La ceremonie," "Flower of Evil"), Jean-Luc Godard ("In Praise of Love"), Pierre Jeunet ("Amelie"), Catherine Breillat ("Fat Girl"), Claire Denis ("Beau travail"), Virginie Despentes and Coralie Trinh Thi ("Baise-moi"), Mathieu Kassovitz ("La Haine"), Erick Zonca ("The Dreamlife of Angels"), Julie Lopes-Curval ("Bord de mer"), Bruno Dumont ("L'Humanite"), Olivier Assayas ("Irma Vep"), Francois Ozon ("Under the Sand," "Swimming Pool"), Roman Polanski ("The Pianist"), Jacques Audiard ("A Prophet"), Michel Hazanavicius ("The Artist"), Michael Haneke ("Amour"), Abdellatif Kechiche ("Blue Is the Warmest Color"), among others
      2. Italy
        1. Dominated by two major distributors, Vittorio Cecchi Gori and Silvio Berlusconi
        2. Wide range of subjects, themes and genres in mainstream and small independent projects
        3. Representative artists and their films selected from the following list: Bernardo Bertolucci ("Beseiged"), Maurizio Nichetti ("The Icicle Thief," "Honolulu Baby"), Nanni Moretti ("The Son's Room"), Carlo Verdone ("My Best Enemy"), Roberto Benigni ("Life is Beautiful"), Pupi Avanti ("The Best Man"), Dario Argento ("Trauma," "Sleepless"), Paolo Benvenuti ("Gostanza da Libbiano"), among others
      3. Scandinavian or Nordic Cinema: Sweden, Finland, Denmark, Norway
        1. Small, state-subsidized film industries
        2. Danish directors formed an influential production collective and spawned an international movement, Dogme95, in response to the decadence and artificiality of world cinema
        3. Representative artists and their films selected from the following list: Bille August ("The Best Intentions"), Lasse Hallstrom ("Chocolat"), Lukas Moodysson ("Show Me Love," "Together"), Aki Kaurismaki ("The Man Without a Past"), Mika Kaurismaki ("Match Factory Girl," "Leningrad Cowboys"), Auli Mantila ("The Geography of Fear"), Thomas Vinterberg ("The Celebration"), Lars von Trier ("Dancer in the Dark," "Dogville," "Melancholia"), Kristian Levring ("The King Is Alive"), Erik Skoldbjaerg ("Insomnia"), Tomas Alfredson ("Let the Right One In"), Niels Arden Oplev ("The Girl with the Dragon Tattoo"), among others
      4. Spain
        1. 80% of production relies on some form of public and private television co-financing in exchange for broadcast rights
        2. Unique for dark, surreal popular entertainment and art films
        3. Representative artists and their films selected from the following list: Pilar Miro ("The Dog in the Manger"), Mateo Gil ("Nobody Knows Anybody"), Alejandro Amenabar ("The Others"), Pedro Almodovar ("All About My Mother," "Talk to Her"), Santiago Segura ("Torrente 2: Mission in Marbella"), Julio Medem ("The Lovers of the Arctic Circle"), J. J. Bigas Luna ("Jamon, Jamon"), Jose Luis Garci ("You're the One"), Carlos Saura ("Tango," "Goya"), Vicente Aranda ("Mad Love"), among others
      5. Germany
        1. Reunited German film industry struggles against American and European distributors, capturing only about 17% of the box office
        2. Films dealing with Nazi era anti-Semitism, horror, critiques of the media's debasement of human values, light comedy and escapist genres
        3. Representative artists and their films selected from the following list: Wim Wenders ("Buena Vista Social Club"), Werner Herzog ("Rescue Dawn," "Encounters at the End of the World"), Tom Tykwer ("Run Lola Run," "The International"), Michael Haneke ("Code Unknown," "Funny Games"), Stefan Ruzowitzky ("The Counterfeiters"), Florian Henckel von Donnersmarck ("The Lives of Others"), among others
    10. Contemporary cinema in Britain and the English-Speaking Commonwealth: significant events, themes, movements, genres, artists and films selected from the following
      1. Great Britain and Ireland
        1. In 1998 British production reached its highest level in fifty years but with 50% only appearing on television or straight to video
        2. Second only to Hollywood as a center for international productions
        3. John Boorman ("The Tailor of Panama"), Michael Apted ("42 Up" series), Peter Greenaway ("The Pillow Book"), Mike Figgis ("Leaving Las Vegas," "Time Code"), Mike Leigh ("Secrets & Lies"), Mike Hodges ("Croupier"), Mike Newell ("Donnie Brasco"), Ken Loach ("My Name is Joe"), Stephen Frears ("Dirty Pretty Things"), Danny Boyle ("Slumdog Millionaire," "Steve Jobs"), Guy Ritchie ("Snatch"), Neil Jordan ("The Crying Game," "Michael Collins"), Jim Sheridan ("In the Name of the Father"), Steve McQueen ("Hunger," "Shame," "12 Years a Slave"), among others
      2. Australia and New Zealand
        1. Government protective legislation and subsidy help the industries survive against Hollywood competition
        2. Directors work with foreign investment capital under major American distributors or migrate to Hollywood
        3. Representative artists and their films selected from the following list: Peter Weir ("Master and Commander"), Phillip Noyce ("Rabbit-Proof Fence"), Jane Campion ("The Piano," "In the Cut"), Paul Cox ("Innocence"), Baz Luhrmann ("Moulin Rouge"), Roger Donaldson ("The Bank Job"), Vince Ward ("Map of the Human Heart," "What Dreams May Come"), Peter Jackson ("The Lord of the Rings" trilogy), Lee Tamahori ("Once Were Warriors"), Don Selwyn ("Te Tangata Whai Rawa o Weniti"), Alison Maclean ("Jesus' Son"), Niki Caro ("Whale Rider"), John Hillcoat ("The Proposition"), among others
      3. Canada
        1. Major center for international production dominated by the American majors, but several directors emerged with a distinctly Canadian vision
        2. In 1998, 80% of Hollywood runaway productions shot in Canada due to variety of locations, skilled film crews, state-of-the-art postproduction facilities in NY and LA time zones, favorable exchange rate, lower wages, tax breaks and subsidies
        3. Representative artists and their films selected from the following list: David Cronenberg ("eXistenZ," "A History of Violence"), Atom Egoyan ("The Sweet Hereafter"), Guy Maddin ("The Heart of the World," "The Saddest Music in the World"), Denys Arcand ("Jesus of Montreal," "The Barbarian Invasions"), among others
    11. American Cinema: significant events, themes, movements, genres, artists and films
      1. Analyze the extent of Hollywood's global marketplace dominance
        1. New Hollywood business strategies for expanded domestic and foreign markets: vertical expansion by striking deals with independent production companies; horizontal expansion by upgrading international operations and overseas partnerships
        2. Synergy in the conglomerated film industry for enhanced profits
      2. Appraise the impact of evolving digital technology in Hollywood production, distribution and exhibition
      3. Analyze Hollywood's strategy of producing blockbuster spectacles, "tentpole" or franchise films with ancillary markets; selling movie stars; and aggressive marketing
      4. Representative artists and films selected from the following list: Martin Scorsese ("The Departed"), Woody Allen ("Blue Jasmine"), George Lucas ("Star Wars" franchise), Steven Spielberg ("Ready Player One"), James Cameron ("Avatar"), Spike Lee ("25th Hour," "BlacKkKlansman"), Tim Burton ("Corpse Bride"), Ridley Scott ("Gladiator"), Joel and Ethan Coen ("No Country for Old Men"), Quentin Tarantino ("Pulp Fiction"), David Lynch ("Mulholland Drive"), Wachowskis ("The Matrix" franchise), Sam Raimi ("Spider-Man" franchise), Christopher Nolan ("Inception"), David Fincher ("The Social Network"), Chris Columbus ("Harry Potter" franchise), Ron Howard ("A Beautiful Mind"), Gus van Sant ("Elephant"), Kathryn Bigelow ("Zero Dark Thirty"), Damien Chazelle ("La La Land"), Barry Jenkins ("Moonlight"), Greta Gerwig ("Lady Bird"), among others
  4. Examine the evolving art of the moving image in social, cultural, technological, and economic contexts, which necessarily foreground transnational and global media developments
    1. Examine the filmic representations and cinematic histories of specific groups
      1. Identify and analyze stereotypical images, tracing the emergence of important issues about representation and difference, the power structure and labor practices of the industry, spectatorship and identification, and the relationship between motion pictures and culture
      2. Compare the relationship of stereotypes to broad historical and political processes
      3. Examine forms of self-expression and self-definition in the democratized, transnational and interactive world of new media
    2. Examine technological developments that have changed production, distribution and exhibition
      1. Identify significant developments in digital technology and software for motion picture production that began in 1997
      2. Examine evolving distribution methods such as the Internet, 4G technologies, digital delivery for theatrical, television and home video markets
      3. Examine evolving forms of exhibition including theatrical (IMAX, 3-D), television (HDTV, 4K, DVR), gaming computers, Internet websites, mobile phones, MP3 players, billboards and other screens used for contemporary moving-image works
    3. Examine economic developments affecting production, distribution and exhibition
      1. Analyze the "new internationalism" or the extent of the international market
        1. Compare the number of runaway productions and international co-productions with national, regional and local productions
        2. Examine the proliferation of international film festivals
        3. Examine the number of directors working outside their native industries
      2. Assess the impact of Hollywood dominance in the global media market
  5. Examine how media, both directly and indirectly, reveal information about experience, identity, and culture
    1. Examine how media preserve audio-visual information, functioning as a social and historical document
    2. Analyze how popular films and other forms of media comprise a record of the aspirations, obsessions, and frustrations of those spending time and money making or viewing them
    3. Appraise how media mirror and shape a society
      1. Record the frequency with which various social types crop up in the moving images of a particular time and place
      2. Interpret the way groups are depicted and, therefore, valued
      3. Question how domestic and foreign-language films become the mechanism for massive dissemination of significant cultural and ideological values
    4. Recognize how government policies, including funding and censorship, affect expression
    5. Assess the impact of transnational cinema, such as the cross-fertilization of themes and style, the openness to world culture, multiculturalism and postcolonial hybridity
  6. Formulate critical/historical analyses and evaluations of moving-image works and issues
    1. Realism as a theory of the history of cinematic arts
      1. The past as having an existence independent of the historian
      2. Historical evidence as the partial, mediated, yet indispensable record of the past
      3. Film and media as an open system, an interrelated set of components that condition and are conditioned by each other, such as artistic effects being dependent in part on the state of moving-image technology and technological developments being conditioned by economic factors
    2. If more time, examine issues of historiography, such as problems and approaches to historical film research and analysis
    3. If more time, analyze and interpret the cinematic arts using critical and theoretical approaches to analysis such as neoformalism, genre study, authorship/auteurism, reception/spectator theory, psychological criticism (Freudianism, cognitive psychology) and ideological criticism (Marxism, feminism, queer and cultural studies)
  7. Demonstrate advanced-level understanding of the discipline and methods of film history through examples and application
    1. Demonstrate advanced-level understanding of contemporary film theory by evaluating the writings of film theorists such as Saussure, Lacan, Althusser, Barthes, Bordwell, Doane, Mulvey, Žižek, Gunning, Hansen, among others
    2. Apply the writings of a contemporary film theorist to analyze a specific film(s)
    3. Evaluate how the digital revolution has affected film theory in many ways, including refocusing on the ability of celluloid film to capture an "indexical" image of a moment in time; new aspects of "the gaze"; the revisiting of early cinema screenings, practices and spectatorship modes; and the specificity of philosophical concepts for cinema as a medium distinct from such experiences as watching a film at home, in an art gallery or on a mobile device
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