Roll over Beethoven

COURSE SCHEDULE

ARES = Available from the Automatic Reserve System at Washington University.

Week 1: Introduction / The Golem (1920)

W 8/26

� Introduction

· Isenberg, Weimar Cinema 33-54

· Weitz, Weimar Germany: Promise and Tragedy

Week 2: The Cabinet of Dr. Caligari (1920)

W 9/2

· Robinson, Das Cabinet des Dr. Caligari

· Isenberg, Weimar Cinema 13-32

· Kracauer, From Caligari to Hitler 61-76

· Eisner, Haunted Screen 9-37

· STUDENT PRESENTATION A: Early German Cinema, 1895-1918

Week 3: Nosferatu (1922)

W 9/9

· Kracauer, From Caligari to Hitler 77-86

· Eisner, Haunted Screen 95-113

· Elsaesser, Weimar Cinema and After 18-105

· STUDENT PRESENTATION A: F. W. Murnau

· STUDENT PRESENTATION B: Sequence analysis Nosferatu

Week 4: Dr. Mabuse the Gambler (1922)

W 9/16

· Isenberg, Weimar Cinema 95-114

· Elsaesser, Weimar Cinema and After 145-194

· STUDENT PRESENTATION A: Narrative

· STUDENT PRESENTATION B: Sequence analysis Dr. Mabuse

Week 5: The Last Laugh (1924)

W 9/25

· Isenberg, Weimar Cinema 115-134

· Stephan Schindler, What Makes a Man a Man: The Construction of Masculinity in F.W. Murnaus The Last Laugh. Screen 37.1 (1996): 30-40. [ARES]

· Eisner, The Haunted Screen 207-222

· Kracauer, From Caligari to Hitler 96-106

· STUDENT PRESENTATION A: Cinematography

· STUDENT PRESENTATION B: Sequence analysis The Last Laugh

Week 6: The Joyless Street (1925)

W 9/30

· Isenberg, Weimar Cinema 135-154

· Patrice Petro, Joyless Streets: Women and Melodramatic Representation in Weimar Germany 3-38; 145-160 [ARES]

· STUDENT PRESENTATION A: Genre Cinema / Art Cinema

· STUDENT PRESENTATION B: Sequence analysis The Joyless Street

Week 7: Secrets of a Soul (1926)

W 10/7

· Anne Friedberg, An Unheimlich Maneuver between Psychoanalysis and the Cinema: Secrets of a Soul [ARES]

· Patrice Petro, Joyless Streets: Women and Melodramatic Representation in Weimar Germany 39-78 [ARES]

· Kracauer, "The Little Shopgirls Go to the Movies" & "Cult of Distraction" [ARES]

· STUDENT PRESENTATION A: Editing / Montage

· STUDENT PRESENTATION B: Sequence analysis Secrets of a Soul

Week 8: Metropolis (1927)

W 10/14

· Elsaesser, Metropolis

· Isenberg, Weimar Cinema 173-192

· Andreas Huyssen, "The Vamp and the Machine: Fritz Lang's Metropolis" [ARES]

· STUDENT PRESENTATION A: Fritz Lang

· STUDENT PRESENTATION B: Sequence analysis Metropolis

Week 9: Berlin, Symphony of a Great City (1927)

W 10/21

· Isenberg, Weimar Cinema 193-216

· Kracauer, From Caligari to Hitler 181-189

· Siegfried Kracauer, The Mass Ornament [ARES]

· Helmut Lethen, Cool Conduct: The Culture of Distance in Weimar Germany (sel) [ARES]

· STUDENT PRESENTATION A: Mise-en-scene

· STUDENT PRESENTATION B: Sequence analysis Berlin, Symphony of a Great City

Week 10: People on a Sunday (1930)

W 10/28

· Isenberg, Weimar Cinema 273-254

· Elsaesser, Weimar Cinema and After 361-382; 420-444

· STUDENT PRESENTATION A: Weimar | Hollywood

· STUDENT PRESENTATION B: Sequence analysis People on a Sunday

Week 11: The Blue Angel (1930)

W 11/4

· Isenberg, Weimar Cinema 255-270

· Elisabeth Bronfen, Seductive Departures of Marlene Dietrich: Exile and Stardom in The Blue Angel [ARES]

· Erica Carter, Marlene Dietrich: The Prodigal Daughter [ARES]

· STUDENT PRESENTATION A: The Coming of Synchronized Sound

· STUDENT PRESENTATION B: Sequence analysis The Blue Angel

Week 12: M (1931)

W 11/11

· Kaes, M

· STUDENT PRESENTATION A: Peter Lorre

Week 13: Kuhle Wampe (1932)

W 11/18

· Isenberg, Weimar Cinema 311-330

· Kracauer, From Hitler to Caligari 232-250

· STUDENT PRESENTATION A: Brecht and Cinema

· STUDENT PRESENTATION B: Sequence analysis Kuhle Wampe

Week 14: No Class

W 11/25

· No class

Week 15: The Blue Light (1932)

W 12/2

· Eric Rentschler, "A Founding Myth and a Master Text: The Blue Light" [ARES]

· Carsten Strathausen, Riefenstahl and the Face of Fascism [ARES]

· Elsaesser, Weimar Cinema and After 383-419

· STUDENT PRESENTATION A: Nazi Cinema

· STUDENT PRESENTATION B: Sequence analysis The Blue Light