COURSE SYLLABUS I. BASIC COURSE INFORMATION Course Title: Architecture and Film Course No.: ARCH 851A Course Section: 01 School: Architecture Department: Graduate Architecture and Urban Design Program: Days: Time: Place of class meetings: Credit hours: 3 Course Coordinator or Chairperson (where applicable): William Mac Donald Prerequisite courses/skills/other restrictions: Arch 753 Master of Architecture; Master of Science, Architecture; Master of Science, Architecture and Urban Design II. INSTRUCTOR CONTACT INFORMATION Name: Maria Sieira Academic Title: Adjunct Instructor Office Location: Brooklyn Campus, Higgins Hall North 106 Contact Information: Office hours: By Appointment Phone no(s): (718) 399-4314 Appropriate times to call: 10 AM - 4 PM Email address: msieira@pratt.edu Class listserv: Special Instructions: III. COURSE DESCRIPTION Bulletin Description: This seminar introduces students to the scholarship in architecture and film as they examine the optical and analytical devices of narrative films within the context of architecture theory. Students study film as if it were architecture making space with moving images and architecture as if it were film playing up the time and psyche components of architecture. Detailed Description: This seminar introduces students to the scholarship in architecture and film as they examine the optical and analytical devices of narrative film within the context of architecture theory. Architecture theory at its best enables, not just the entry of other fields into its own discourse, but the possibility of architectural readings that augment or even resist critical and operational modes in those other disciplines. Students study film as if it were architecture making space with moving images and architecture as if it were film playing up the time and psyche components of architecture. Z:\GAUD\Course Planning\New Course Submissions\SP-2011_New Course Materials for IWCC\IWCC_TrackingSheets_Syllabi_FINAL\Arch 851A-Sieira-110228SYL.doc Page 1
Students study the scholarship in architecture and film and read the theorists/architects Bruno, Tschumi, Vidler, Deleuze, Eisenman, Virilio, Foucault, and Benjamin, among others. Students then examine the optical and analytical devices of contemporary narrative film within the context of architecture theory. They do this in preparation for the study of cinematic strategies that reflect contemporary cultural space, the very space on which architects are called upon to act. This is not the architecture in film, but of film. Not buildings and sets, but the structure, contingencies, and configuration of the medium itself. The films chosen for this course are formally complex, and studying the cinematic strategies they employ helps the architecture student develop the intellectual agility necessary for the critical production of architecture. Furthermore, the multifariousness of film makes it an ideal conduit for the architecture student s engagement with modes of cultural discourse. Students are asked to look at filmmakers and architects/theorists simultaneously. In some cases, as with Peter Eisenman & Michael Haneke, or Jean Nouvel & Wim Wenders, the architects and filmmakers have met and collaborated, while in others the filmmaker and architect are put together because their intellectual allegiances makes it fruitful to look at one s work as we look at the other. Course Goal(s): To present film as a process of making space with moving images, and examines it critically from the context of architecture theory. To introduce students to work by architects/theorists in architecture and film. To offer students the opportunity to examine critically filmic strategies through the lens of theoretical positions in architecture. Student Learning Objectives: Students understand how the technique of editing is significant in creating the illusion of space in film, and how this technique can be operative in the work of architects. Students study how a still camera trained on a view can create a room with its framing, and how this is relevant to theoretical discussions in architecture regarding contemporary changes in the perception of time and place. Students examine the potential for a film to show emptiness and explore architectural and urban notions of the void. Students learn about the developments in the history of film that contribute to its space-making potential including the editing techniques of the 1920 s Soviet filmmakers, the still camera work of Ozu in Japan, the great technological leap in the shots Welles employed in Citizen Kane, and how the playfulness with plot and narrative that Godard used in his early films affect our understanding of spatial structure. Students are exposed to contemporary scholarship in film and architecture, including the writing and/or design work of Tschumi, Vidler, Hadid, Diller + Scofidio, Eisenman, Bruno, Koolhaas, Nouvel, and Ockman. Students are exposed to the optical and analytical techniques of complex contemporary narrative film including the work of von Trier, Jonze, Taymour, S. Coppola, Lynch, Varda, Potter, Haneke, Wenders, Denis, Soderbergh; looking at contemporary filmmakers is an important part of the course, which understands architecture as a cultural act, and these films present the cultural space upon which young architects, in their future practices, will be called upon to act. Students learn to look at structurally complex narrative film through the lens of architecture theory, since architecture theory at its best enables, not just the entry of other fields into its own discourse, but the possibility of architectural readings that augment or even resist critical and operational modes in those other disciplines; the architecture theory readings include de Solà-Morales, Martin, Wigley, Teyssot, Bloomer, Colomina, Ingraham, as well as philosophers such as Deleuze, Jameson, Baudrillard, and Badiou. Z:\GAUD\Course Planning\New Course Submissions\SP-2011_New Course Materials for IWCC\IWCC_TrackingSheets_Syllabi_FINAL\Arch 851A-Sieira-110228SYL.doc Page 2
Course Calendar/Schedule: WEEK 01 Discussion: From set construction to editing constructs: making space with moving images. Film: Robert Wiene, Germany. The Cabinet of Dr. Caligari, 1919 Lev Kuleshov, Soviet Union, Kuleshov Effect, 1920 Sergei Eisenstein, Soviet Union, Odessa Steps sequence in Potemkin, 1926 Dziga Vertov, Soviet Union, The Man with a Movie Camera [excerpt], 1929 Jørgen Leth, Denmark, The Perfect Human, 1967. Jørgen Leth and Lars von Trier, Denmark, The Five Obstructions, 2003. Kelly, Richard. The Name of this Book is Dogme 95. London: Faber and Faber, 2000. Architecture: Tschumi, Bernard. The Manhattan Transcripts. London: Academy Group Ltd., 1994 [1981]. Vidler, Anthony. Architecture and the Filmic Imaginary in Warped Space: Art, Architecture, and Anxiety in Modern Culture. Cambridge, MA: MIT Press, 2000, pages 98-110. WEEK 02 Discussion: The camera lingers, the framed becomes a room: cultural shifts, and spatial displacement through contemporary changes in perception of time/place. Film: Yasujiro Ozu, Late Spring (Banshun), 1949 Wim Wenders, Tokyo-Ga, 1985 Ming-liang Tsai, What Time Is It There?, 2001 Sofia Coppola, Lost in Translation, 2003 Architecture: Bruno, Giuliana, "Architects of Time: Reel Images from Warhol To Tsai Ming-Liang, Log 2: Observations on architecture and the contemporary city, Spring 2004. Ignasi de Solà-Morales, Weak Architecture, Quaderns d Arquitectura i Urbanisme 175 (October- December 1987, and also published in Hays, K. Michael, ed. Architecture Theory Since 1968. Cambridge, MA: MIT Press, 1998. WEEK 03 Discussion: Notions of emptiness in filmed scapes and urban form. Film: Julie Taymour, Titus, 1999 Akira Kurosawa, Throne of Blood, 1957 Lars von Trier, Dogville, 2003 A Wilderness of Tigers: Taymour s Titus in Crowl, Samuel. Shakespeare at the Cineplex: The Kenneth Branagh Era. Athens: Ohio University Press, 2003. Taymor, Julie, Eileen Blumenthal, and Antonio Monda. Julie Taymor - Playing with Fire: Theater, Opera, Film. New York: Abrams, 2007 Architecture: Rogers, Susan. The ana_omy of emptine_s [i.e., anatomy of emptiness]: understanding the overlooked spaces [Houston, Texas]. The architecture and design review of Houston, 2010 Spring, n.81, p.34-39 Verbakel, Els, et al. Architecture and dispersal. Architectural design, 2008 Jan.-Feb., v.78, n.1, p.102-107 Reinhold, Martin. Empty form (six observations). Log, 2008 Winter, n.11, p.15-21 Silva Graça, Miguel. La ville sans la ville = The empty town centre. Architecture d'aujourd'hui, 2006 Sept.-Oct., n.366, p.88-89 WEEK 04 Discussion: Long shots, deep shots, and operative perspectives. Film: Gus van Sant, Elephant, 2003. Orson Welles, Citizen Kane, 1941. Arnheim, Rudolf. Film. Trans. from the German by L.M. Sieveking and Ian F.D. Morrow, with a preface by Paul Rotha. London: Faber & Faber: 1933. The Citizen Kane Book. Pauline Kael Raising Kane, Herman J. Mankiewicz and Orson Welles The Shooting Script. St. Albans: Paladin, 1974. Z:\GAUD\Course Planning\New Course Submissions\SP-2011_New Course Materials for IWCC\IWCC_TrackingSheets_Syllabi_FINAL\Arch 851A-Sieira-110228SYL.doc Page 3
Architecture: Panofsky, Erwin. Perspective as Symbolic Form. New York: Zone Books, 1991. Damisch, Hubert. The Origin of Perspective. Trans. John Goodman. Cambridge: MIT Press, 1994. Zaha Hadid. New York: Guggenheim Museum Publications, 2006. Zaha Hadid Complete Works. Ed. Patrik Schumacher and Gordana Fontana-Giusti. New York: Rizzoli International Publications, 2004. WEEK 05 Discussion: Confounded narrative and fractured space. Film: Jean-Luc Godard, France, early films from the 1960 s, from Breathless, 1960, to Week-End, 1967 and including Bande à part (Band of Outsiders), 1964, and Le Mépris (Contempt), 1963. Spike Jonze, Being John Malkovich, 1999, and Adaptation, 2002 Charlie Kaufman, Synecdoche, New York, 2008 Sontag, Susan, Godard in Styles of Radical Will, New York: Picador, 2002 [1968]. Cahiers du cinéma 1960-1968: New Wave, New Cinema, Reevaluating Hollywood. Ed. Jim Hillier. Cambridge, MA: Harvard University Press, 1986. Architecture: Wigley, Mark, The Translation of Architecture, the Production of Babel, Assemblage 8 (February 1989), and also published in Hays, K. Michael, ed. Architecture Theory Since 1968. Cambridge, MA: MIT Press, 1998. Bierig, Alexandr, Places of Exception, Log 19: Observations on architecture and the contemporary city (Spring/Summer 2010). OFFICE Kersten Geers David van Severen and Bas Princen Küng, Moritz and Enrique Walker. Office Kersten Geers David van Severen Seven Rooms. Antwerp: desingel, 2009. WEEK 06 Discussion: Domestic space, unhinged. Film: David Lynch, Lost Highway, 1997 and Inland Empire, 2006 Lynch, David and Chris Rodley. Lynch on Lynch. New York: Faber, 2005. Finding Ourselves on a Lost Highway in McGowan, Todd. The Impossible David Lynch. New York: Columbia University Press, 2007. Olson, Greg. David Lynch: Beautiful Dark. Lanham, Md: Scarecrow Press, 2008. Sheen, Erica, and Annette Davison. The Cinema of David Lynch: American Dreams, Nightmare Visions. London: Wallflower Press, 2004. Architecture: Betsky, Aaron, Display Engineers in Betsky, Aaron et al. Scanning: The Aberrant Architectures of Diller + Scofidio. New York: Whitney Museum of American Art, 2003. Teyssot, Georges, The Mutant Body of Architecture in Diller, Elisabeth and Ricardo Scofidio. Flesh: Architectural Probes. Princeton, NJ: Princeton Architectural Press, 1994. WEEK 07 Discussion: The personal as the political in Varda s films and Bloomer s architectures. Film: Agnès Varda, The Gleaners and I, 2000, and The Beaches of Agnès, 2009. Also, Clèo from 5 to 7, 1962, and Vagabond, 1985 Testing the Water: Alexandre Astruc, Agnès Varda, and Jean-Pierre Melville, in Neupert, Richard John. A History of New Wave Cinema. Madison: University of Wisconsin Press, 2007. Agnès Varda: The Mother of the New Wave? in Sellier, Geneviève, Masculine Singular: French New Wave Cinema. Durham, NC: Duke University Press, 2008. Architecture: Bloomer, Jennifer. Abodes of Theory and Flesh: Tables of Bower, Assemblage 17 (April 1992), also published in Hays, K. Michael, ed. Architecture Theory Since 1968. Cambridge, MA: MIT Press, 1998. Colomina, Beatriz, and Jennifer Bloomer. Sexuality & Space. New York, N.Y: Princeton Architectural Press, 1992. WEEK 08 Discussion: Contemporary inhabitation, biologically defined, and cultural territories. Film: Sally Potter, Yes, 2004 Mayer, Sophie. The Cinema of Sally Potter: A Politics of Love. London: Wallflower Press, 2009. "Marginality and Alterity in New European Cinemas, part 1." Camera Obscura 44 (2000). Z:\GAUD\Course Planning\New Course Submissions\SP-2011_New Course Materials for IWCC\IWCC_TrackingSheets_Syllabi_FINAL\Arch 851A-Sieira-110228SYL.doc Page 4
Architecture: Ways of Life in Ingraham, Catherine. Architecture, Animal, Human: The Asymmetrical Condition. New York: Routledge, 2006. Canguilhem, Georges. Ideology and Rationality in the History of the Life Sciences. Cambridge, Mass: MIT Press, 1988. Bloomer, Jennifer. Architecture and the Text: The Scrypts of Joyce and Piranesi. New Haven: Yale University Press, 1993. WEEK 09 SPRING BREAK WEEK 10 Discussion: Haneke and Eisenman in conversation: architecture and film as written transcription. The Eisenman-Haneke Tapes for Icon Magazine (www.iconeye.com) Film: Michael Haneke, The Seventh Continent, 1989, Code Unknown, 2000, Caché (Hidden), 2005, and Funny Games, 1997/2007. Joyard, Olivier. "Funny games." Cahiers du Cinema November 2000. Brunette, Peter. Michael Haneke. Urbana: University of Illinois Press, 2010. Architecture: CodeX: The City of Culture of Galicia/Eisenman Architects. Ed. Cynthia Davidson. With essays by Peter Eisenman, Kurt W. Foster, Luis Fernández-Galiano, and an introduction by Manuel Fraga Iribarne. New York: Monacelli Press, 2005. Eisenman, Peter. The End of the Classical: The End of the Beginning, the End of the End. Perspecta 21 (1984), also published in Hays, K. Michael, ed. Architecture Theory Since 1968. Cambridge, MA: MIT Press, 1998. WEEK 11 Discussion: Nouvel and Wenders in conversation: architecture and film as graphic transcription. Stocchi, Attilio. "Nouvel and Wenders." Abitare Nov. 1995: 147-9. Film: Wim Wenders, Until the End of the World, 1991, Lisbon Story, 1994, The End of Violence, 1997. Wenders, Wim. Emotion Pictures: Reflections on the Cinema. London: Faber and Faber, 1989. Baudrillard, Jean. Simulacra and Simulation. Ann Arbor: University of Michigan Press, 1994. Architecture: Nouvel, Jean, Olivier Boissière, Inge Hanneforth, and Murray Wyllie. Jean Nouvel. Paris: Terrail, 2001. Baudrillard, Jean, and Jean Nouvel. The Singular Objects of Architecture. Minneapolis: University of Minnesota Press, 2002. WEEK 12 Discussion: Conjured space from visceral images. Film: Claire Denis, The Intruder, 2004, 35 Shots of Rum, 2008. Beugnet, Martine. Cinema and Sensation: French Film and the Art of Transgression. Carbondale: Southern Illinois University Press, 2007. Galt, Rosalind. "Pretty: Film Theory, Aesthetics, and the History of the Troublesome Image." Camera Obscura IV, 1-41. Architecture: Diaz Alonso, Herman. Exuberance, I don t Know Excess, I Like. Architectural Design, 2010 Mar.-Apr., v.80, n.2, p.70-77 Rappaport, Nina. A Deeper Structural Theory. Architectural design, 2010 July-Aug., v.80, n.4, p.122-129 Schumacher, Patrik. Parametric Patterns. Architectural design, 2009 Nov.-Dec., v.79, n.6, p.28-41 WEEK 13 Discussion: After the modern: narrative debris in the spatial constructions of Koolhaas and Soderbergh. Film: Steven Soderbergh, Schizopolis, 1996, Bubble, 2005, The Good German, 2006, The Informant!, 2009. Soderbergh, Steven, and Anthony Kaufman. Steven Soderbergh: Interviews. Jackson: University Press of Mississippi, 2002. Z:\GAUD\Course Planning\New Course Submissions\SP-2011_New Course Materials for IWCC\IWCC_TrackingSheets_Syllabi_FINAL\Arch 851A-Sieira-110228SYL.doc Page 5
Soderbergh, Steven, and Richard Lester. Getting Away with It: Or, the Further Adventures of the Luckiest Bastard You Ever Saw. London: Faber and Faber, 1999. Waxman, Sharon. Rebels on the Backlot: Six Maverick Directors and How They Conquered the Hollywood Studio System. New York: HarperEntertainment, 2005. Mottram, James. Sundance Kids: How the Mavericks Took Back Hollywood. New York: Faber and Faber, 2006. Architecture: Koolhaas, Rem and Bruce Mau, S, M, L, XL. New York: Monacelli Press, 1995.. Junkspace. Any no. 27 (2000).. Junkspace. October, 2002 Spring, n.100, p.[175]-190. Jameson, Fredric. Reading junkspace. Arch plus, 2005 Dec., n.175, p.74-77. Powell, Hilary. Recycling junkspace: finding space for "playtime" in the city. Journal of architecture, 2005 Apr., v.10, n.2, p.201-221. Ockman, Joan. Architecture in a mode of distraction: eight takes on Tati's Playtime. Any, 1995, n.12, p.[20]-27, and also published in Lamster, Mark. Architecture and Film. Princeton: Princeton Architectural Press, 2000. WEEK 14 Discussion: Architecture and film after Post-Modernism: Alain Badiou and other contemporary French philosophers. Ceferin, Petra. What is Architecture The Name of Today? in Log 19 (Spring/Summer 2010). Squint/Opera. Grant Associates, Wilkinson Eyre Arch., Atelier One, Atelier Ten, Land Design Studios, Meinhardt Infrastructure Pte Ltd, Davis Langdon & Seah Singapore Pte Ltd. Gardens By The Bay, Singapore, 2007, www.squintopera.com WEEK 15 WEEK 16 FINAL STUDIO REVIEWS: CLASSES DO NOT MEET FINAL PAPER DUE AND STUDENT FILMS SCREENED IV. COURSE REQUIREMENTS Textbooks, Readings, and Materials: Arnheim, Rudolf. Film. Trans. from the German by L.M. Sieveking and Ian F.D. Morrow, with a preface by Paul Rotha. London: Faber & Faber: 1933. Baláz, Béla. Theory of the Film. New York: Arno Press, 1972. Bazin, André. What is Cinema? 2 vols. Berkeley: University of California Press, 1967, 1971. Bazin, André. Orson Welles: A Critical View. Forward by François Truffaut and profile by Jean Cocteau. Trans. from the French by Jonathan Rosenbaum. London: Elm Tree Books, 1978. Benjamin, Walter. Illuminations. Betsky, Aaron, K. Michael Hays, and Laurie Anderson. Scanning: The Aberrant Architectures of Diller + Scofidio. New York: Whitney Museum, 2003. Bloomer, Jennifer. Abodes of Theory and Flesh: Tabbles of Bower. Assemblage 17 (1992).. Architecture and the Text: The Scrypts of Joyce and Piranesi. New Haven: Yale University Press, 1993. Brecht, Bertold. Bruno, Giuliana. Atlas of Emotion: Journeys in Art, Architecture, and Film. New York: Verso Books, 2002.. "Architects of Time: Reel Images from Warhol To Tsai Ming-Liang. Log 2 (Spring 2004) Cahiers du cinéma 1960-1968: New Wave, New Cinema, Reevaluating Hollywood. Ed. Jim Hillier. Cambridge, MA: Harvard University Press, 1986 CodeX: The City of Culture of Galicia/Eisenman Architects. Ed. Cynthia Davidson. With essays by Peter Eisenman, Kurt W. Foster, Luis Fernández-Galiano, and an introduction by Manuel Fraga Iribarne. New York: Monacelli Press, 2005. Colomina, Beatriz, and Jennifer Bloomer. Sexuality & Space. New York, N.Y: Princeton Architectural Press, 1992. Z:\GAUD\Course Planning\New Course Submissions\SP-2011_New Course Materials for IWCC\IWCC_TrackingSheets_Syllabi_FINAL\Arch 851A-Sieira-110228SYL.doc Page 6
Crowl, Samuel. Shakespeare at the Cineplex: The Kenneth Branagh Era. Athens: Ohio University Press, 2003. Damisch, Hubert. The Origin of Perspective. Trans. John Goodman. Cambridge: MIT Press, 1994. Deleuze, Gilles. Cinema 1: The Movement Image. Trans. Hugh Tomlinson and Barbara Habberjam. Minneapolis, MN: University of Minnesota Press, 2001 [1983].. Cinema 2: The Time-image. Trans. Hugh Tomlinson and Barbara Habberjam. Minneapolis, MN: University of Minnesota Press, 2001 [1985]. Deleuze, Gilles and Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. Minneapolis, MN: University of Minnesota Press, 1987 [1980]. de Solá-Morales, Ignasi. Weak Architecture. Differences: Topographies of Contemporary Architecture. Ed. Sarah Whiting. Trans. Graham Thompson. Cambridge: MIT Press, 1996. Diller, Elisabeth and Ricardo Scofidio. Flesh: Architectural Probes. Princeton, NJ: Princeton Architectural Press, 1994. Eisenman, Peter. Giuseppe Terragni: Transformations, Decompositions, Critiques. With texts by Giuseppe Terragni and Manfredo Tafuri. New York: Monacelli Press, 1998.. Ten Canonical Buildings: 1950-2000. Ed. by Andrew Heid, Ariane Lourie, and Cynthia Davidson. New York: Rizzoli International Publications, 2008.. The End of the Classical: The End of the Beginning, the End of the End. Perspecta 21 (1984). Eisenstein, Sergei. Film Form. Ed. and trans. by Jay Leyda. New York: Harcourt, Brace, 1949. Eisner, Lotte. Murnau. London: Secker and Warburg, 1973. Eisner, Lotte. Fritz Lang. Da Capo Press, 1986. Eisner, Lotte. The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt. Berkeley: University of California Press, 2008. Epstein, Jean. Evans, Robin. The Projective Cast. Cambridge: MIT Press, 1995. Foucault, Michel. Discipline and Punish.. The Order of Things. Grosz, Elizabeth. Deleuze, Theory, and Space. Log 1 (Fall 2001). Hadid, Zaha. BMW Central Building. New York: Princeton Architectural Press, 2006 Hays, K. Michael, ed. Architecture Theory Since 1968. Cambridge, MA: MIT Press, 1998. Damisch, Hubert. The Origin of Perspective. Trans. John Goodman. Cambridge: MIT Press, 1994. Ingraham, Catherine. Architecture, Animal, Human: The Asymmetrical Condition. New York: Routledge, 2006. Kael, Pauline. The Citizen Kane Book. Kael, Pauline. Bonnie and Clyde. New Yorker. Koolhaas, Rem and Bruce Mau, S, M, L, XL. New York: Monacelli Press, 1995. Kracauer, Siegfried. Theory of Film. New York: Oxford University Press, 1960. Krauss, Rosalind E. Passages in Modern Sculpture. New York: Viking Press, 1977.. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge, MA: MIT Press, 1986. Kuleshov on Film: Writings. Selected, translated, edited, and with an introduction by Ronald Levaco. Berkeley: University of California Press, 1974 [1910-1920]. Kwinter, Sanford. Architectures of Time: Toward a Theory of the Event in Modernist Culture. Cambridge, MA: MIT Press, 2001. Lamster, Mark. Architecture and Film. Princeton: Princeton Architectural Press, 2000. Mankiewicz, Herman J. and Orson Welles The Shooting Script. St. Albans: Paladin, 1974. McGowan, Todd. The Impossible David Lynch. New York: Columbia University Press, 2007. Mayer, Sophie. The Cinema of Sally Potter: A Politics of Love. London: Wallflower Press, 2009. Metz, Christian. Film Language: A Semiotics of the Cinema. New York: Oxford University Press, 1974. Neupert, Richard John. A History of New Wave Cinema. Madison: University of Wisconsin Press, 2007. Olson, Greg. David Lynch: Beautiful Dark. Lanham, Md: Scarecrow Press, 2008. Panofsky, Erwin. Perspective as Symbolic Form. New York: Zone Books, 1991. Z:\GAUD\Course Planning\New Course Submissions\SP-2011_New Course Materials for IWCC\IWCC_TrackingSheets_Syllabi_FINAL\Arch 851A-Sieira-110228SYL.doc Page 7
Penz, François, and Maureen Thomas. Cinema & Architecture: Méliès, Mallet-Stevens, Multimedia. London: British Film Institute, 1997. Pudovkin, Vsevolod Illarionovich. Film Technique: Five Essays and Two Addresses. Trans. and annotated by Ivor Montagu. London: G. Newnes, Limited, 1933. Slattery, William J. The Kael Index: A Guide to a Movie Critic s Work, 1954-1991. Englewood, CO: Libraries Unlimited, 1993. Sharff, Stefan. The Elements of Cinema: Toward a Theory of Cinesthetic Impact. New York: Columbia University Press, 1982. Sacks, Oliver. The Mind s Eye. New York: Alfred A. Knopf, 2010. Schiff, Stacy. Cleopatra: A Life. 2010 Sellier, Geneviève, Masculine Singular: French New Wave Cinema. Durham, NC: Duke University Press, 2008. Sheen, Erica, and Annette Davison. The Cinema of David Lynch: American Dreams, Nightmare Visions. London: Wallflower Press, 2004. Sontag, Susan. Styles of Radical Will. New York: Picador, 2002 [1968].. On Photography. New York: Farrar, Straus and Giroux, 1977. Taymor, Julie, Eileen Blumenthal, and Antonio Monda. Julie Taymor - Playing with Fire: Theater, Opera, Film. New York: Abrams, 2007 Tschumi, Bernard, The Manhattan Transcripts, London: Academy Group Ltd., 1994 [1981].. Event-Cities: Praxis. Cambridge, MA: MIT Press, 1994.. Event-Cities 2. Cambridge, MA: MIT Press, 2000.. Event-Cities 3. Cambridge, MA: MIT Press, 2004. Vertov, Dziga. Kino-Eye: The Writings of Dziga Vertov. Ed. with an introduction by Annette Michelson. Trans. by Kevin O Brien. Berkely, CA: University of California Press, 1984. Vidler, Anthony. Architecture and the Filmic Imaginary in Warped Space: Art, Architecture, and Anxiety in Modern Culture. Cambridge, MA: MIT Press, 2000, pages 98-110. Virilio Paul. War and Cinema: The Logistics of Perception, 1984. Wigley, Mark. The Translation of Architecture, the Production of Babel. Assemblage 8 (February 1989). Zaha Hadid. New York: Guggenheim Museum Publications, 2006. Zaha Hadid Complete Works. Ed. Patrik Schumacher and Gordana Fontana-Giusti. New York: Rizzoli International Publications, 2004. Project(s), paper(s), assignment(s): - Attend class on time and participate in discussions. Arriving more than fifteen minutes late is recorded as an absence. Unexcused absences will affect your final grade (three or more will result in a failing grade for the course). - Read assigned texts/watch assigned films and be prepared to discuss them in class. - Submit an essay that articulates theoretical premises in the study of film and architecture (the essay should examine at least one filmmaker together with an architect/architecture theorist. - Submit a short film (under 2 minutes) that addresses aspects of visuals in film and in architecture. Assessment and Grading: - Attendance and discussion of readings and films: 30% - Essay on architecture and film 40% - Final film and text: 30% IV. POLICIES Institute-wide policies listed in the Community Standards section of the bulletin: Students must adhere to all Institute-wide policies listed in the Bulletin under Community Standards and which include policies on attendance, academic integrity, plagiarism, computer, and network use. Policy on students with disabilities: Z:\GAUD\Course Planning\New Course Submissions\SP-2011_New Course Materials for IWCC\IWCC_TrackingSheets_Syllabi_FINAL\Arch 851A-Sieira-110228SYL.doc Page 8
Students who require special accommodations for disabilities must obtain clearance from the Office of Disability Services at the beginning of the semester. They should contact Mai McDonald, Disability Services Coordinator, in the Office of the Vice President for Student Affairs, Main Building, Lower Level: 718-636-3711. Any additional applicable school, departmental, or personal course policies: None