Lúcia
Nagib – Leverhulme Trust Visiting Professor
In the first instance, the course introduces films of
outstanding importance that have made significant contributions to the concept
of 'world cinema' but are also difficult to see in this country and derive from
unfamiliar film cultures. The course is then designed to
introduce these film cultures, with a certain amount of interdisciplinary
study, through their reflection of and contribution to contemporary political
and aesthetic debates.
The course is divided
in two parts. Part I will examine two
important periods of Brazilian film history: Cinema Novo (the Brazilian New Wave of the 1960s) and the so-called
‘Brazilian Film Revival’ (from 1995 onwards).
Films by directors from Cinema
Novo founder Glauber Rocha to the new cinema leader Walter Salles will be
examined and compared in the light of questions such as the nation,
globalisation, realism, auteurism and post-modernism, with a particular
attention to utopian motifs.
Part II will look at
East Asian films, particularly Japanese, also comparing past and recent
productions to detect historical trends and recurrent aesthetic features. Films by directors such as Yasujiro Ozu,
Kenji Mizoguchi, Nagisa Oshima, Edward Yang and Tsai Ming-Liang will be
analysed as expressions of a modern agnosticism derived from religious
traditions such as Shintoism and Buddhism.
Special attention will be given to representations of hetero- and
homoeroticism, the enacting of violence and the use of the human body, which
give a basis to the concept of ‘corporeal realism’.
[details
of weekly sessions to follow, Autumn 2003]
Black
God, White Devil – Glauber Rocha, 1964
The
400 Blows – François Truffaut, 1959
Behind
the Sun – Walter Salles, 2001
Land
in Anguish – Glauber Rocha, 1967
Foreign
Land – Walter Salles & Daniela Thomas, 1995
The
State of Things – Wim Wenders, 1982
Central
Station – Walter Salles, 1998
Believe
Me – Bia Lessa & Dany Roland, 1997
Corisco
& Dadá – Rosemberg Cariry, 1996
Midnight
– Walter Salles & Daniela Thomas, 1999
City
of God – Fernando Meirelles & Kátia Lund, 2002
How
Tasty Was My Little Frenchman – Nelson Pereira dos
Santos, 1970
Macunaíma
– Joaquim Pedro de Andrade, 1969
Hans
Staden – Luiz Alberto Pereira, 1999
Tokyo
Story – Yasujiro Ozu, 1953
Late
Spring – Yasujiro Ozu, 1949
Tokyo-Ga
– Wim Wenders, 1985
Ugetsu
– Kenji Mizoguchi, 1953
The
Story of the Late Chrysanthemums – Kenji
Mizoguchi,1939
Death
by Hanging – Nagisa Oshima, 1968
In
the Realm of the Senses – Nagisa Oshima, 1976
Taboo
– Nagisa Oshima, 1999
The
Seven Samurai – Akira Kurosawa, 1954
The
Sting of Death – Kohei Oguri, 1990
Eureka
– Shinji Aoyama, 2000
A
One and a Two – Edward Yang, 1999
The
River – Tsai Ming-Liang, 1997
Suzhou
River – Lou Ye, 2000
Vive
l’amour – Tsai Ming-Liang, 1996
Clayes, Gregory & Lyman Tower Sargent, The Utopia Reader, (New York/London: New
York University Press, 1999)
Cunha, Euclides, Rebellion
in the Backlands, (Chicago/London:
University of Chicago Press, 1944)
Greenblatt, Stephen (ed.),
New World Encouters, (Berkeley/Los
Angeles: University of California Press, 1992)
Johnson, Randal, ‘Tupy or not Tupy: Cannibalism and
Nationalism in Contemporary Brazilian literature and culture’, in John King
(ed.), Modern Latin American Fiction: A
Survey (London: Faber and Faber, 1987, pp. 41-59)
Johnson, Randal & Robert Stam (eds.), Brazilian cinema (expanded edition) (New
York: Columbia University Press, 1995)
King, John, Magical
Reels – A History of Cinema in Latin America, (London/New York: Verso,
2000)
Nagib, Lúcia (ed.), The
New Brazilian Cinema (London/New York: I.B. Tauris/Centre for Brazilian
Studies, University of Oxford, 2003)
Stam, Robert, Tropical Multiculturalism - A Comparative
History of Race in Brazilian Cinema & Culture, (Durham/London: Duke
University Press, 1997)
Wenders, Wim, On Film
– Essays and Conversations, (New York: Faber and Faber, 2001)
Xavier, Ismail, Allegories
of Underdevelopment – Aesthetics and Politics in Modern Brazilian Cinema, (Minneapolis/London:
University of Minnesota Press, 1997)
Barthes, Roland, Empire of Signs, (New York, Hill &
Wang, 1982)
Bazin, André, What Is
Cinema?, (Berkeley: University of California Press, 1971)
Benedict, Ruth, The
Chrysanthemum and the Sword – Patterns of Japanese Culture, (1947)
Berry, Chris (ed.), Perspectives
on Chinese Cinema, (London, BFI Publishing,1997)
Desser, David, Eros
plus Massacre – An Introduction to the Japanese New Wave Cinema, (Bloomington/Indianapolis,
Indiana University Press, 1988)
Doi, Takeo, The
Anatomy of Dependence, (Tokyo/New York, Kodansha, 1990)
Margulies, Ivone (ed.), Rites
of Realism – Essays on Corporeal Cinema, (Durham/London, Duke University
Press, 2003)
Nagib, Lúcia, ‘In the Realm of the Individual: An Analysis
of Nagisa Oshima’s In the Realm of the
Senses’, in Nevena Dakovic, Deniz Derman and Karen Ross (eds.), Gender and Media, (Ankara: Med-Campus
Project, 1996, pp. 156-174)
Richie, Donald, Public
People, Private People – Portraits of Some Japanese (Tokyo/New York/London,
1996)
Schilling, Mark, Contemporary
Japanese Film, (New York/Tokyo, Weatherhill, 1999)