COURSE SCHEDULE


week 1 | week 2 | week 3 | week 4 | week 5 | week 6 | week 7
week 8 | week 9 | week 10 | week 11 | week 12 | week 13 | week 14 | week 15

ERES = Availabe from the Electronic Reserve System at Washington University. For complete bibliographical information, click here. Entries in this color indicate recommended readings.
Week 1
W 1/19
  • Introduction
  • In-class screening: Decalogue 6 (dir. Krzysztof Kieslowski, 1988)
Week 2
M 1/24
  • Screening: Decalogue 9 (dir. Krzysztof Kieslowski, 1988)
W 1/26
  • Insdorf, Double Lives, Second Chances 1-124
  • Danusia Stock, Kieslowski on Kieslowski. London: Faber and Faber, 1993. 143-159. [ERES]
  • Slavoj Zizek, “Displaced Commandments.” The Fright of Real Tears: Krzysztof Kieslowski between Theory and Post-Theory. London: BFI, 2001. 118-119.
Week 3

M 1/31
  • Screening: The Double Life of Veronique (dir. Krzysztof Kieslowski, 1991)
W 2/2
  • Insdorf, Double Lives, Second Chances 125-138.
  • Danusia Stock, Kieslowski on Kieslowski. London: Faber and Faber, 1993. 172-203. [ERES]
  • Marek Haltof, Polish National Cinema. New York: Berghahn Books, 2002. 146-206. [ERES]
Week 4
M 2/7
  • Screening: Blue (dir. Krzysztof Kieslowski, 1993)
W 2/9
  • Insdorf, Double Lives, Second Chances 139-152.
  • Danusia Stock, Kieslowski on Kieslowski. London: Faber and Faber, 1993. 212-228. [ERES]
Week 5
M 2/14
  • Screening: White (dir. Krzysztof Kieslowski, 1993)
W 2/16
  • ESSAY 1 DUE
  • Insdorf, Double Lives, Second Chances 153-165.
  • Phil Powrie, “Heritage, History, and ‘New Realism’: French Cinema in the 1990s.” French Cinema in the 1990s: Continuity and Difference. Ed. Phil Powrie (Oxford: Oxford University Press, 1999. 1-21. [ERES]
Week 6
M 2/21
  • Screening: Red (dir. Krzysztof Kieslowski, 1994)
W 2/23
  • Insdorf, Double Lives, Second Chances 166-182
  • Julia Dobson, ”Nationality, Authenticity, Reflexivity: Kieslowski’s Trois coleurs: Bleu (1993), Blanc (1993), and Rouge (1994).” French Cinema in the 1990s: Continuity and Difference. Ed. Phil Powrie (Oxford: Oxford University Press, 1999. 234-245. [ERES]
Week 7
M 2/28
  • Screening: Zentropa (dir. Lars von Trier, 1991)
W 3/2
  • Stevenson, Lars von Trier 1-32.
  • Mette Hjort and Ib Bondebjerg, “Danish Cinema: A Small Nation in a Global Culture.” The Danish Directors: Dialogues on a Contemporary National Cinema. Eds. Mette Hjort and Ib Bondebjerg. Bristol: Intellect Books, 2001. 8-22. [ERES]
Week 8
M 3/14
  • Screening: Breaking the Waves (dir. Lars von Trier, 1996)
W 3/16
  • Stevenson, Lars von Trier 76-101.
  • Stephen Crofts, “Concepts of National Cinema.” The Oxford Guide to Film Studies. Eds. John Hill and Pamela Church Gibson. Oxford: Oxford University Press, 1998. 385-394. [ERES]
  • Ginette Vincendeau, “Issues in European Cinema.” The Oxford Guide to Film Studies. Eds. John Hill and Pamela Church Gibson. Oxford: Oxford University Press, 1998. 440-448. [ERES]
Week 9
M 3/21
  • Screening: Dancer in the Dark (dir. Lars von Trier, 2000)
W 3/23
  • Stevenson, Lars von Trier 148-163.
  • “The Manifesto” & “The Vow of Chastity.” Digital Babylon: Hollywood, Indiewood & Dogme 95. Ed. Shari Roman. Hollywood: Ifilm Publishing, 2001. 40-41. [ERES]
  • “Cinema Purite.” Digital Babylon: Hollywood, Indiewood & Dogme 95. Ed. Shari Roman. Hollywood: Ifilm Publishing, 2001. 217-222. [ERES]
  • Rick Altman, The American Film Musical. Bloomington: Indiana University Press, 1987. 16-27 & 59-80. [ERES]
Week 10
M 3/28
  • Screening: Dogville (dir. Lars von Trier, 2003)
W 3/30
  • ESSAY 2 DUE
  • Stevenson, Lars von Trier 164-191.
Week 11
M 4/4
  • Screening: Winter Sleepers (dir. Tom Tykwer, 1997)
W 4/6
  • Thomas Elsaesser, “German Cinema in the 1990s.” The BFI Companion to German Cinema. Ed. Thomas Elsaesser. London: BFI, 1999. 3-16. [ERES]
  • “Tom Tykwer.” The BFI Companion to German Cinema. Ed. Thomas Elsaesser. London: BFI, 1999. 238. [ERES]
  • Susan Sontag, “In Plato’s Cave.” On Photography. New York: Picador, 1990. 1-24. [ERES]
Week 12
M 4/11
  • Screening: Run Lola Run (dir. Tom Tykwer, 1998)
W 4/13
  • Lev Manovich, “The New Language of Cinema.” The Language of New Media. Cambridge, Mass: MIT Press, 2000. 309-333. [ERES]
  • A. L. Rees, A History of Experimental Film and Video. London: BFI, 1999. 1-14. [ERES]
Week 13
M 4/20
  • Screening: The Princess and the Warrior (dir. Tom Tykwer, 2000)
W 4/22
  • “Distribution,” “Exhibition,” “Export,” “Production.” The BFI Companion to German Cinema. Ed. Thomas Elsaesser. London: BFI, 1999. 67-68, 80-82, 82-84, 194-197. [ERES]
  • Murray Smith, “Modernism and the avant-gardes.” The Oxford Guide to Film Studies. Eds. John Hill and Pamela Church Gibson. Oxford: Oxford University Press, 1998. 395-412. [ERES]
  • John Hill, “Film and postmodernism.” The Oxford Guide to Film Studies. Eds. John Hill and Pamela Church Gibson. Oxford: Oxford University Press, 1998. 96-105. [ERES]
Week 14
M 4/25
  • Screening: Heaven (dir. Tom Tykwer, 2002)
W 4/27
  • ESSAY 3 DUE
  • Slavoj Zizek, “Run, Witek, Run.” The Fright of Real Tears: Krzysztof Kieslowski between Theory and Post-Theory. London: BFI, 2001. 78-92. [ERES]
  • Final Discussion