FAVz002 Media-cultural memory, embodied history. World War II remembered in Western mainstream cinema

Faculty of Arts
Autumn 2005
Extent and Intensity
0/0/0. 5 credit(s). Recommended Type of Completion: k (colloquium). Other types of completion: zk (examination).
Teacher(s)
Andreas Robnik, Mgr. (lecturer)
Guaranteed by
doc. Mgr. Petr Szczepanik, Ph.D.
Department of Film Studies and Audiovisual Culture – Faculty of Arts
Contact Person: doc. Mgr. Petr Szczepanik, Ph.D.
Timetable
Mon 16:40–20:45 C34, Tue 10:00–13:15 C34
Course Enrolment Limitations
The course is also offered to the students of the fields other than those the course is directly associated with.
fields of study / plans the course is directly associated with
there are 11 fields of study the course is directly associated with, display
Course objectives
unit 1: introduction to the lecture (grading mode etc.) approaches to the concepts in the title secreening 1: US and British World War II propaganda - to be announced unit 2: How World War II propaganda films remember the nation at war - USA and Great Britain unit 3: How World War II propaganda films remember the nation at war - Germany unit 4: The combat film in classical Hollywood cinema screening 2: to be announced unit 5: remembering World War II in the crisis of the action-image: Paisa to Patton unit 6: reworking disciplinned subjectivities: the cases of German post-war mainstream cinema and the New Hollywood unit 7: prosthetic memories and traumatic time-images: contemporary war films screening 3: Enemy at the Gates: Duell (2001) or Downfall: Der Untergang (2004) unit 8: reading postheroic and postnational images of war in todays event cinema: Saving Private Ryan, Band of Brothers, Windtalkers, Enemy at the Gates unit 9: discussions of (post-)national appropriations of history: Tmavomodry Svet and Downfall suggested reading (preliminary): - Jeanine Basinger: The World War II Combat Film. Anatomy of a Genre. New York 1986, esp. chapter 3 - Gilles Deleuze: chapter 12, section 2 of: The Movement-Image. Cinema 1. [1983] Minneapolis 1986 - Gilles Deleuze: chapter 1, sections 1 and 3 of: The Time-Image. Cinema 2. [1985] Minneapolis 1989. - Thomas Doherty: Projections of War. Hollywood, American Culture, and World War II. New York 1993, esp. chapters 4, 5, 6, 10 - Thomas Elsaesser: "Postmodernism as mourning work", Screen 42, 2001 - Siegfried Kracauer: "Photography" [1927] and "The Mass Ornament" [1927] in: The Mass Ornament. Cambridge, London 1995 - Siegfried Kracauer: Propaganda and the Nazi War Film [1942] in: From Caligari to Hitler. A Psychological History of the German Film. Princeton 1947 - Alison Landsberg: "Prosthetic Memory", in: M. Featherstone, R. Burrows (eds.): Cyberspace, Cyberbodies, Cyberpunk. London, New Delhi 1995 - Dana Polan: "Auteurism and War-teurism: Terrence Malicks War Movie" in: Thomas Elsaesser, Alexander Horwath, Noel King (eds.): The Last Great American Picture Show. New Hollywood Cinema in the 1970s. Amsterdam 2004 - Drehli Robnik: "Saving One Life: Spielberg's Artificial Intelligence as Redemptive Memory of Things" jump cut 45, 2002, http://www.ejumpcut.org - Drehli Robnik: "Allegories of post-Fordism in 1970s New Hollywood. Countercultural combat films, conspiracy thrillers as genre-recycling" in: Thomas Elsaesser, Alexander Horwath, Noel King (eds.): The Last Great American Picture Show. New Hollywood Cinema in the 1970s. Amsterdam 2004 - Vivian Sobchack: "The Insistent Fringe: Moving Images and the Palimpsest of Historical Consciousness" Screening the Past 6, 1999, www.latrobe.edu.au/screeningthepast/firstrelease/fr0499/vsfr6b.htm
Assessment methods (in Czech)
Povinně volitelná přednáška. Ukončení - kolokvium: esej.
Language of instruction
English
Further comments (probably available only in Czech)
The course is taught only once.
General note: výuka proběhne v těchto termínech:10.10. - 11.10., 14.11. - 15.11. a 5.12. - 6.12. (v pondělí 16.40 - 20.45, v úterý 10.00 -13.15 vždy v kinosále, posl. č. C34.
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