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Martin Kevorkian, Chair CAL 226, Mailcode B5000, Austin, TX 78712 • 512-471-4991

Spring 2010

E 344L • Major Film Movements-W

Unique Days Time Location Instructor
34845 TTh
5:00 PM-6:30 PM
7:00 PM-9:00 PM
PAR 105
PAR 105

Course Description

Since its inception, and accelerating with the end of the Golden Age of classic Hollywood, the film industry has been marked by a succession of filmmaking movements which espouse particular, and often conflicting, philosophies of filmic storytelling and technique. In this course, students will receive a detailed overview of the major film movements that helped to define both filmmaking and film scholarship over the last half-century. In particular, we will look at Neo-Realism, New Wave, and New Hollywood, with short excursions into the Independent cinematic trends that followed in their wake in the US and abroad. Looking at the leading filmmakers of each movement and the major works of film scholarship that have sought to understand and contextualize their innovations and approaches, students will receive a broad introduction to both the language of film composition and the core techniques of film analysis. The course will focus primarily on each movement in its filmic manifestations but will include forays into corresponding literary and dramatic movements throughout for wider artistic context. By the end of the course, students can expect to have gained fluency in the major tactics of film analysis as well as a grounding in the development of some of the key movements in American and international film.

Grading Policy

Attendance and participation 15%; Two short essays (5 pages each) 25%+25%; One eight-page essay 35%


This course will include weekly film screenings on Wednesdays from 7-9pm. (Most films listed will be viewed in totality during weekly screenings, although some will instead be viewed in excerpt during class.) Texts: Rossellini, Rome Open City, Germany Anno Zero; Fellini, La Strada; De Sica, Umberto D, The Bicycle Thief; Truffaut, The 400 Blows, Jules and Jim; Rivette, Paris Belongs to Us; Godard, Band of Outsiders, Breathless; Coppola, Apocalypse Now; Penn, Bonnie and Clyde; Nichols, The Graduate; Cassavetes, Faces; Hopper, Easy Rider; Friedkin, The French Connection; Scorsese, Mean Streets; Welles, F for Fake; Course Reader with film scholarship and context on each movement


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