4.2 Cinematic Conventions 2: Individual Expression Analysis of films by important authors. From any 4 of the following: Post-War Japan and Akira Kuroswa/Kenji Mizoguchi Existentialism and Ingmar Bergman/Michelangelo Antonioni Oneiric Cinema and Federico Fellini/Andrei Tarkovsky Minimalism and Yashujiro Ozu/Robert Bresson/Mani Kaul Contemporary contemplative styles and Abbas Kiarostami/Michael Haneke Political interventionism and Dziga Vertov/Fernando Solanas Postmodernism and Quentin Tarantino/Lars von Trier/Miike Takashi Suggested Readings David Bordwell, Art Cinema as a Mode of 4(1), 1979. Film Criticism ‘The Production’, in Rosalind Galt and Karl Mark Betz, ‘Beyond Europe: On Parametric Transcendence’, (eds), 2010. Schoonover Global Art Cinema: New Theories and Histories, as Modern in Donald Richie (ed), Rashomon, Akira Parker Tyler, ‘Rashomon Art’ 1987. Kurosawa, Donald Richie, 3rd edn., 1999. The Films of Akira Kurosawa, Mitsuhiro Yoshimoto, 2000. Kurosawa: Film Studies and Japanese Cinema, is it a in Ugetsu: Kenji Mizoguchi, Keiko MacDonald, ‘Ugetsu: Why Masterpiece?’, 1993. Mark Le Fanu, 2008. Mizoguchi and Japan, Andrew Sarris, in Leo Braudy and Morris Dickstein (eds), Great ‘The Seventh Seal’, 1978. Film Directors: A Critical Anthology, Susan Sontag, in Leo Braudy and Morris Dickstein (eds), ‘Persona’, Great Film 1978. Directors: A Critical Anthology, Jonathan A to in Leo Braudy and Morris Dickstein (eds), Baumbach, ‘From Antonioni’, 1978. Great Film Directors: A Critical Anthology, Geoffrey Nowell-Smith, and a in Bill Nichols (ed), Movies and ‘Shape Black Point’, Vol. 1, 1976. Methods, ---, , December 1995. Sight & Sound ‘Antonioni’,
4.2 Cinematic Conventions 2: Individual Expression Analysis of films by important authors. From any 4 of the following: Post-War Japan and Akira Kuroswa/Kenji Mizoguchi Existentialism and Ingmar Bergman/Michelangelo Antonioni Oneiric Cinema and Federico Fellini/Andrei Tarkovsky Minimalism and Yashujiro Ozu/Robert Bresson/Mani Kaul Contemporary contemplative styles and Abbas Kiarostami/Michael Haneke Political interventionism and Dziga Vertov/Fernando Solanas Postmodernism and Quentin Tarantino/Lars von Trier/Miike Takashi Suggested Readings David Bordwell, ‘The Art Cinema as a Mode of Production’, Film Criticism 4(1), 1979. Mark Betz, ‘Beyond Europe: On Parametric Transcendence’, in Rosalind Galt and Karl Schoonover (eds), Global Art Cinema: New Theories and Histories, 2010. Parker Tyler, ‘Rashomon as Modern Art’ in Donald Richie (ed), Rashomon, Akira Kurosawa, 1987. Donald Richie, The Films of Akira Kurosawa, 3rd edn., 1999. Mitsuhiro Yoshimoto, Kurosawa: Film Studies and Japanese Cinema, 2000. Keiko MacDonald, ‘Ugetsu: Why is it a Masterpiece?’, in Ugetsu: Kenji Mizoguchi, 1993. Mark Le Fanu, Mizoguchi and Japan, 2008. Andrew Sarris, ‘The Seventh Seal’, in Leo Braudy and Morris Dickstein (eds), Great Film Directors: A Critical Anthology, 1978. Susan Sontag, ‘Persona’, in Leo Braudy and Morris Dickstein (eds), Great Film Directors: A Critical Anthology, 1978. Jonathan Baumbach, ‘From A to Antonioni’, in Leo Braudy and Morris Dickstein (eds), Great Film Directors: A Critical Anthology, 1978. Geoffrey Nowell-Smith, ‘Shape and a Black Point’, in Bill Nichols (ed), Movies and Methods, Vol. 1, 1976. ---, ‘Antonioni’, Sight & Sound , December 1995.
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