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HS: The Films of Woody Allen- Dozent/in
- Dr. Georgiana Banita
- Angaben
- Hauptseminar
2 SWS
Studium Generale, angeboten für European Joint Master's Degree in English and American Studies
Zeit und Ort: Di 16:00 - 18:00, MG1/02.06
- Voraussetzungen / Organisatorisches
- Anmeldung/Abmeldung vom 23. März 2015, 10:00 Uhr bis 1. Mai 2015, 23:59 Uhr im FlexNow
Modulzugehörigkeiten für Studierende des MA Literatur und Medien:
Film- und Bildwissenschaft: Seminar (Referat + Hausarbeit, 8 ECTS)
Erweiterung Film- und Bildwissenschaft: Seminar (Referat + Hausarbeit, 8 ECTS)
Profilmodul: Seminar (Referat + mündliche Prüfung, 6 ECTS)
Profilmodul: Übung (Referat, 4 ECTS)
Modulzugehörigkeiten für Studierende der Anglistik:
B.A. Anglistik/Amerikanistik
• Vertiefungsmodul Kulturwissenschaft: Seminar (8 ECTS), Zugangsvoraussetzung: Aufbaumodul Kulturwissenschaft
B.A. Anglistik/Amerikanistik (bis einschließl. Studienbeginn zum WS 2008/09):
• freie Erweiterung: Seminar (6 ECTS)
LA (neu) GYM:
• Vertiefungsmodul Kulturwissenschaft (Seminar, 8 ECTS), Zugangsvoraussetzung: Aufbaumodul Kulturwissenschaft
M.A. Anglistik/Amerikanistik:
• Mastermodul Kulturwissenschaft (Variante I): Seminar (8 ECTS)
• Mastermodul Kulturwissenschaft (Variante II): Seminar (6 ECTS)
• Profilmodul Kulturwissenschaft: Seminar (8 ECTS)
• Erweiterungsmodul: Seminar (8 ECTS)
Erweiterungsbereich Anglistik/Amerikanistik im Rahmen anderer M.A.:
• Exportmodul Anglistik/Amerikanistik 1 oder 2: Mastermodul
Kulturwissenschaft (Variante I): Seminar (8 ECTS)
• Exportmodul Anglistik/Amerikanistik 2: Mastermodul
Kulturwissenschaft (Variante II): Seminar (6 ECTS)
LA (alt) alle, Diplom, Magister:
• Hauptseminar Kulturwissenschaft, Zugangsvoraussetzung:
Zwischenprüfung oder Hauptseminaraufnahmeprüfung
Joint Degree:
• Compulsory Subjects and Restricted Electives: Mastermodul
Cultural Studies
• Restricted Electives: Profilmodul Cultural Studies
- Inhalt
- "I was raised in the Jewish persuasion, but when I got older I converted to narcissism."
For fifty years, Woody Allen has been a prolific writer, actor, director, film philosopher, and entertainer (jazz musician too). His major feat is combining mundane life with abstract theology, technical knowhow with film history erudition, intellectual sophistication with popular appeal. The objective of this course is to examine his films in order to illustrate the larger themes they explore, such as urban life, modern relationships and sexuality, mortality, psychoanalysis, and humor. From thinly plotted works in which the story is used merely to hang his one-liner jokes, to silly crowd-pleasers and parodies, to more serious works brimming with cultural and literary allusions, Allen has authored and often acted in memorable milestones of American cinema. We will address each film on the syllabus in its broader cultural context, as a “Woody Allen film” (a genre in its own right), and spend time on fundamental techniques of film art in order to better appreciate the director’s skills. Allen’s films have shifted between subtlety and frivolity, and they have to contend with viewer’s expectations about the Woody Allen “persona”—a constant in his films, at once invoked and self-referentially derided in performances by Woody-like characters and actors, or by Allen himself.
Students will guide and conduct the class discussions through study questions, analysis of film clips, and cross-work surveys of frequent topics including representations of the city, gender issues, and Allen’s irreverent treatment of religion and Jewish-American life. Readings will be made available on the Virtual Campus and must be dissected carefully by all participants prior to each session. The canon I have selected for the class comprises widely acclaimed major works and smaller films that run against the grain of Allen’s typical style. Each session will revolve around one film, while other (similar or contrastive) works will be recommended for optional viewing.
CORE SYLLABUS: Love and Death (1975)—Annie Hall (1977)—Manhattan (1979)—Stardust Memories (1980)—The Purple Rose of Cairo (1985)—Hannah and Her Sisters (1986)—Crimes and Misdemeanors (1989)—Husbands and Wives (1992)—Bullets Over Broadway (1994)—Deconstructing Harry (1997)—Match Point (2005)—Vicky Cristina Barcelona (2008)—Blue Jasmine (2013)
Interested students are advised to watch the films not simply for entertainment purposes, but with the following questions in mind: Can art organize the chaos of the world? Does religion offer salvation from the cruel futility of the universe? Is Allen’s shocking productivity an answer to his self-effacing sense of his own—or his work’s—insignificance? How does the creative artist relate to morality? And why has Allen managed to write astounding female roles and tease excellent performances from his female actors? More specifically in terms of film aesthetics: How does Allen employ and flout genre conventions? His films sometimes appear loose, meandering, and contrived—but do they rest on a deeper sense of order? What sources of humor can we detect in his writing and direction, and how do his films involve and challenge their audience?
Please note that this class requires viewing of a large number of films along with consultation of secondary literature, of the director’s biographical background, as well as a comprehensive study of film aesthetics. It will be fun, but also work-intensive.
Only up to 25 students can be admitted. Early registration is recommended.
- Englischsprachige Informationen:
- Credits: 8
- Institution: Lehrstuhl für Literatur und Medien
Hinweis für Web-Redakteure:
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