Hand students a digital camera and tell them to go film something honest. Can be anything so long as I believe it. Film it in days 1 and 2, edit them the rest of the week.
Watch documentary films by Robert Flaherty and Robert Greene, examine dramatic truth, cinematic non-fiction.
Keaton, Chaplin, Murnau and truth without words
Show all of John Cassavetes' movies as director, and the Dick Cavett interview with Falk, Gazzara and Cassavetes. Film is a series of accidents.
John Carpenter, Ingmar Bergman and how to fill a frame.
Montage, from Eisenstein to Sherlock Holmes: A Game of Shadows.
See any and all repertory cinema available in the outside world. Must be on celluloid. Students must take notes on impressions of watching film in every case.
Joe Swanberg's Silver Bullets, Art History, Kissing on the Mouth, and Aaron Katz' Quiet City, and Cold Weather - focus as a way around budgetary restrictions.
Michael Snow, Hollis Frampton, Peter Kubelka, James Benning and how to communicate with the natural world.
Cameras handed out again. Short films (20+ minutes) must incorporate environment and written dialogue.
Edit resulting films. Show them to cadre of critics for reactions.
Powell & Pressburger and how to build a world across several films.
Terence Malick and what a script can't tell you
Bill Morrison and how to interact with images.
First week on how to film comedy, Preston Sturges vs. Jerry Lewis
Second week on how to film comedy, Frank Tashlin, Billy Wilder & Jacques Tati.
Third week on how to film comedy, Laurel & Hardy.
Fourth week on how to film comedy, screwball comedy.
Exploitation: from Dwain Esper/Kroger Babb through to Michael Findlay
Exploitation from Russ Meyer to Shauna Grant
Third World Cinema: marxism and equal distribution of the tools of filmmaking.
Romantic Comedy, and how to draw characters worth caring about.
French New Wave & Giallo, radicalism evolving in two different directions, all from Roberto Rossellini
Filmed plays and how to handle theatricality
Film scoring, Miklós Rózsa through to Jonny Greenwood, but really we're talking about Michael Nyman here.
Italo-modernism: L'Avventura, La Dolce Vita, The Grim Reaper, Fists In The Pocket, Before The Revolution, 8 1/2, L'Eclisse, Red Desert
Learning how & when to move camera: PT Anderson, Max Ophüls, Ramon Zürcher, Wes Anderson, Orson Welles.
Old Hollywood grandeur. Presented without comment: forgetting about context and just trying to enjoy the image. One Tobe Hooper film at the end of every day of screenings.
Classic Criticism: close readings of Manny Farber, Andrew Sarris, Otis Ferguson, Roger Ebert, Cahiers Du Cinema, James Baldwin, Pauline Kael, Lindsay Anderson.
Modern Criticism: Kent Jones, J Hoberman, Jonathan Rosenbaum, Dan Sallitt, Daniel Kasman, Ryland Walker Knight, Molly Haskell, Linda Williams, Miriam Bale, Keith Uhlich, Calum Marsh, David Cairns, Wesley Morris, Armond White, Aaron Cutler, Fernando Croce, Ben Sachs and more. Students will write about a film meaningful to them.
Video Essays: Haroun Farocki, Kevin B. Lee, Matt Zoller Seitz, Chris Marker, Nelson Carvajal. Students will make a film without once picking up a camera.
Cinematography masterclass: How to hide truth in sumptuousness, and how to properly film Tilda Swinton: The Conformist, Apocalypse Now Redux, McCabe & Mrs. Miller, Pandora & The Flying Dutchman, The Assassination of Jesse James By The Coward Robert Ford, I Am Love, The Limits of Control, Ashes of Time Redux, We Need To Talk About Kevin.
Week off: no film or TV watching allowed. Students will go to museums and look at paintings, read poetry and listen to classical music.
Ken Russell & early work of Andrzej Żuławski. Students will train for steadicam pentathlon.
Werner Herzog. We'll see if we can meet him by a waterfall at the end of the week.
Weird, independent America (Coleman Francis, George Romero, Ted Mikels, Ray Dennis Steckler, Eagle Pennell, Jim Jarmusch)
Triumphs of independent African cinema.
Westerns, how history talks to itself.
Modern textural filmmaking: The Turin Horse, Joe, Guy Maddin, Albert Serra, Hard To Be A God, Michael Mann, Phillipe Grandrieux.
Film Noir landmarks. Students will rearrange the lighting scheme in eight different rooms to change psychological profile of the space.
Landmarks of feminist cinema: Dulac, Dorothy Arzner, Deren and The Wasp Woman.
Landmarks of feminist cinema part 2: Akerman, Breillat, Chytilová, Campion, Coppola, Shortland and more.
North American Melodrama/Fassbinder. Start drafting final projects: one feature, format up to students.
Write & edit final projects, run dialogue with each other and start casting.
Black independent American cinema: From LA Rebellion to Ava DuVernay.
Bresson in colour / Buñuel in Paris
John Ford, (closing night screening: If....)
Film projects. Nightly showing of dailies.
Editing, midnight movies on loop in breakroom (El Topo, The Ruling Class, The Savages, 13 Assassins, Putney Swope, Below The Belt, Bohachi Bushido, Mark of the Devil, Horrors of Malformed Men, The Holy Mountain, the complete David Lynch, Sweet Movie, Mr. Freedom, Mansion of Madness, Who Could Kill a Child?, Frankenstein Must Be Destroyed, Dr. Jekyll & Sister Hyde)
Show final films. Celebrate by going drinking with guest lecturers Pedro Costa, Hong Sang-Soo & Lisandro Alonso.