Summer 2022 Graduate Courses

Antonia Lant
Mondays - Thursdays
12:30-4:30pm
Room 652

CINE-GT 2005
Class #4683
4 points

This class examines a small number of films in great detail with the intention of enhancing student comprehension of the multiple levels at which films are made and engage us. Among the film scenes that we may analyze are examples taken from: Touch of Evil (1958), Do the Right Thing (1989), In the Mood for Love (2000), Pan’s Labyrinth (2006), Run, Lola, Run (1998), Fish Tank (2009), Whisky (2004), Power of the Dog (2021), and Gilda (1946). The course encourages the intensive, and comparative study of film, and concentrates on a discrete number of tasks: the formal analysis of the sound and image tracks; examination of the shape of the scenario and the segmentation of the narrative; consideration of techniques of stylistic analysis; and a consideration of a film’s surrounding documents, such as studio papers, posters, blogs, trailers, and critical reviews. Students will acquire vocabulary and tools through which to describe the textual patterns and forces by which a film produces its meanings and effects. Students complete a central project for the class: the close analysis of an individual film that they have chosen, including a final presentation on their findings.

Zhen Zhang
Mondays-Thursdays
6:00-10:00pm
Room 670

CINE-GT 1202
Class # 4730
4 points

Ang Lee is one of the greatest filmmakers of our time. From his feature debut Pushing Hands (1992), his literary adaptations such as Sense and Sensibility (1995) and martial arts epic Crouching Tiger, Hidden Dragon (2001), to his explorations in new film technology and narration manifested in Life of Pi (2012) and Billy Lynn’s Long Halftime Walk (2016), Ang Lee has crossed many boundaries—national, cultural, generic, etc.—and endeavored to reinvent film language and address transnational spectatorships, while constantly returning to his roots in Taiwan and Chinese cultural traditions. This course studies Ang Lee’s cinematic output and its cultural significance from a combination of historical and theoretical perspectives: Taiwan New Cinema, post-Cold War Sinophone cinema, literary adaptation, global Hollywood, transnational auteur studies, Asian-American cinema, and so on.

Toby Lee
Mondays-Thursdays
12:30-4:30pm
Room 674

CINE-GT 2307
Class # 4684
4 points

New York City, long mythologized in fiction film and television, has an equally rich and long-lived relationship to documentary media. From Paul Strand and Charles Sheeler’s celebrated 1921 city symphony film Manhatta, to Beatrice Glow’s ongoing Mannahatta VR (2016-present) exploring the city’s Indigenous past and present, NYC has served as site and subject for multiple generations of documentary filmmakers, artists, and activists. In this course, we explore an eclectic range of non-fiction media produced in and about the city, to consider the ways that documentary — with its own particular histories, conventions, affordances, and limitations — may enrich and complicate our understanding and experience of NYC. At the same time, this course serves as an introduction to the dynamic world of documentary production, distribution, and exhibition in New York today, through weekly visits to some of the city’s most vital documentary organizations and venues.

CINE-GT 1998
Class # 2260
6 points

More information can be found here.

CINE-GT 1999
Class # 2208
6 points

More information can be found here.