Teaching Film
- Editors: Lucy Fischer, Patrice Petro
- Pages: xi & 413 pp.
- Published: 2012
- ISBN: 9781603291156 (Paperback)
“This volume should be viewed as a required resource for instructors of all levels who consider incorporating [film] into their curriculum.”
—Hispania
Film studies has been a part of higher education curricula in the United States almost since the development of the medium. Although the study of film is dispersed across a range of academic departments, programs, and scholarly organizations, film studies has come to be recognized as a field in its own right. In an era when teaching and scholarship are increasingly interdisciplinary, film studies continues to expand and thrive, attracting new scholars and fresh ideas, direction, and research.
Given the dynamism of the field, experienced and beginning instructors alike need resources for bringing the study of film into the classroom. This volume will help instructors conceptualize contemporary film studies in pedagogical terms. The first part of the volume features essays on theory and on representation, including gender, race, and sexuality. Contributors then examine the geographies of cinema and offer practical suggestions for structuring courses on national, regional, and transnational film. Several essays focus on interdisciplinary approaches, while others describe courses designed around genre (film noir, the musical), mode (animation, documentary, avant-garde film), or the formal elements of film, such as sound, music, and mise-en-scène. The volume closes with a section on film and media in the digital age, in which contributors discuss the opportunities and challenges presented by access to resources, media convergence, and technological developments in the field.
Mark Lynn Anderson
Dudley Andrew
Michael Aronson
Edward Branigan
Pat Brereton
Steven Cohan
Timothy Corrigan
Peter Decherney
David Desser
Wheeler Winston Dixon
Nataša Ďurovičová
Caryl Flinn
Gwendolyn Audrey Foster
Anne Friedberg
E. Ann Kaplan
Adam Knee
Mark Langer
James F. Lastra
Adam Lowenstein
Neepa Majumdar
Paula J. Massood
Tara McPherson
Hamid Naficy
Scott Nygren
Tasha Oren
Raphael Raphael
Michael Renov
Eric Rentschler
Anne Rutherford
Zoran Samardzija
Garrett Stewart
Frank P. Tomasulo
Maureen Turim
Cristina Venegas
Patricia White
Acknowledgments (xi)
Introduction: “Memories of Underdevelopment” (1)
Part I: Theory and Representation
Introduction (15)
Teaching Film Auteurs (19)
Teaching Film Theory (26)
Teaching Feminist Film Theory; or, Women and Film (40)
Teaching African American Film: Race, Politics, and Aesthetics (51)
Teaching Queer Cinema with Independent Media (63)
Teaching Film and Disability Studies (74)
Part II: Geographies of Cinema
Introduction (89)
Teaching Indian Cinema (92)
Teaching Latin American and Caribbean Cinema (101)
Teaching Accented Cinema as a Global Cinema (112)
Reconsidering New German Cinema (119)
Teaching the Ends of Eastern European Cinema (126)
Teaching Japanese Cinema (134)
Teaching World Cinema (145)
Part III: Interdisciplinarities
Introduction (161)
Literature and Film—Not Literature on Film (164)
Teaching Cinema across Languages (177)
Teaching Film and Trauma (187)
Teaching Film Historiography (197)
Teaching Film Law and Policy (209)
Part IV: Genre and Mode
Introduction (221)
Teaching Film Genre(s) (224)
Teaching Futurist Dystopian Cinema (233)
Teaching the Documentary Film (242)
Teaching Animation (253)
Teaching the Avant-Garde Film (261)
Part V: Style and Craft
Introduction (275)
Teaching Film Music (278)
Teaching Film Sound (288)
Teaching Film and Mise-en-Scène (299)
Teaching Film through Stardom (311)
Teaching Film Studies in a Production Context (323)
Teaching Screenwriting as Criticism (337)
Part VI: Film and Media in the Digital Age
Introduction (347)
Teaching Media Specificity in an Age of Convergence (349)
Teaching Film in the Age of Digital Transformation (357)
Teaching with DVD Add-Ons (364)
Teaching US Television in an Era of Convergence (376)
Teaching Film and the Internet (384)
Notes on Contributors (397)
Index (403)
“This collection of essays reminds us that our teaching of cinema and its crafts need not be confined to the cinema that we encounter at the quotidian level in our multiplexes or on our TV channels or streaming services.”
—Music, Sound, and the Moving Image
“An invaluable resource not only for those new to teaching film but for those of us who have been working in the discipline for a long time and have grappled with many of the same issues addressed here.”
—Pamela Robertson Wojcik, University of Notre Dame
