(2017-18) Cinema Studies

Paper Code: 
JMC-144 D
Credits: 
4
Contact Hours: 
60.00
Max. Marks: 
100.00

Film Theories- Apparatus Theory, Auteur Theory, Feminist Theory, Psychoanalytical Theory and Study of Film Genre.

 

 

 

Film Form & Style –German Expressionism and Film Noir,Italian Neorealism, French New Wave .Genre and development of classical Hollywood Cinema.

 

 

Theories Of Adaptation in Cinema,Sequence and Script Analysis, Cinematography and Editing Analysis and Realism in  IndianCinema.

 

 

Globalization and Indian Cinema. The Multiplex Era ,Film Culture. Watching relevant films .

 

Use of Animation in Films and their popularity. Introduction of animation techniques.VFXTechnology . Case studies: West World & Future World

References: 

• Adorno, Theodore. The Culture Industry. London and New York: Routledge, 1991.

• Appadurai, Arjun. Modernity at Large: The Cultural Dimension of Globalization. Minneapolis, London: University of Minnesota Press, 1996.

• Canclini, Nestor Garcia. Consumers: Globalization & Multicultural Conflict. Minneapolis & London: University of Minnesota Press, 2001.

• Chatterji, Partha. The Nation and its Fragments: Colonial and Post Colonial Histories. Princeton: Princeton University Press, 1993.

• Foster, Hal. Ed. The Anti-Aesthetic. Seattle, Washington: Bay Press, 1983.

• Foucault, Michel. The Foucault Reader, ed. P Rabinow.Harmondsworth: 1984.

• Hebdige, Dick. Subculture: The Meaning of Style. London and New York: Methuen, 1979.

• Horkheimer, Max and Theodor W. Adorno. Dialectic of Enlightenment: Cultural Memory in the Present.. New York: Continuum, 1988.

• Huyssen, Andreas. After the Great Divide. Bloomington: Indiana University Press, 1986.

• Jameson, Fredric. The Cultural Turn: Selected Writings on the Postmodern. 1983-1998. London & New York: Verso, 1998.

• Morley, David and Kuan-Hsing Chen. Eds. Stuart Hall: Critical Dialogues in Cultural Studies. London & New York :Routledge, 1996.

• Nandy, Ashis. The Intimate Enemy: Loss and Recovery of Self Under Colonialism. Bombay, Calcutta, Madras: Oxford University Press,1983.

• Storey, John. Ed. What is Cultural Studies? A Reader. London, New York: Arnold, 1996.

• Bazin, Andre. What is Cinema? Vols 1 & 2. Berkeley &London : University of California Press, 1967, 1971.

• Bordwell, David and Kristin Thompson. Film Art: An Introduction, Fourth Edition. New York et al : McGraw Hill, Inc., 1993.

• Eric Barnow& S. Krishnaswamy.Indian Film. New York, Oxford, Delhi: Oxford University Press: 1980.

• SumitaChakravarty, National Identity in Indian Popular Cinema: 1947-1987. Bombay Calcutta Madras: Oxford University Press, 1996.

• B.D. Garga, So Many Cinemas. Mumbai: Eminence Designs, 1996.

• LalithaGopalan, Cinema of Interruptions: Action Genres in Contemporary Indian Cinema, BFI Publishing, London, 2002.

Allen, Robert & Douglas Gomery. Film History: Theory and Practice. New York: McGraw- Hill, Inc., 1987.

• Appadurai, Arjun. The Social Life of Things: Commodities in Cultural Perspective. Cambridge: Cambridge University Press, 1986.

• Carroll, Noel. Mystifying Movies: Fads and Fallacies in Contemporary Film Theory. New York: Columbia University Press, 1988.

 

Academic Year: