MENUFOR THE BIGROOM SESSIONS
IN HARDY TOWER
day of class! highlights for the day include a lecture on the
of the cinematic/sinematic body, a brief mediation on the conflict of
(poet/sculptor) in Percy Bysshe Shelley's OZYMANDIAS, loud music by
(Candy's Room) and
in the sinematic bodies archive below), unsolicited photography by the
professor, and, last but not least!, a screening and quick discussion
CSODA POK by panOptic.
opens to the glorious heavy guitar rumblings of the pixies;
in our seminar, we go over the basic groundrulez of the class--no
cell-phoning, or whining allowed. gratuitous displays of intellectual
however, are both encouraged and appreciated; later this same day, we
our screening of BILLY WILDER's SUNSET BOULEVARD and received our first
READING ASSIGNMENT: finish NATHANAEL WEST's DAY OF THE LOCUST for NEXT
WEDNESDAY, September 8, 2004.
CLASS--LABOR DAY; you are encouraged, of course, to read ALL of WEST's
amazing LOCUST NOVEL. As you read DAY OF THE LOCUST, keep your eyes on
Homer's hands--think about the relationship of Homer with his hands and
how that relates to his doings with the "fairer" sex. ALSO
ALL TIMES: keep the image of Tod Hackett's painting and the
between ART and CINEMA foregrounded as you read. If Shelley's
was the secret story of a "war" between a SCULPTOR and a POET, then
can be read as a "war" or a "romance" between a PAINTER and HOLLYWOOD.
will continue our screening of WILDER's SUNSET BLVD and begin our
of DAY OF THE LOCUST.
you received a "MICRO-ESSAY"
assignment via email; here is that assignment:
September 20, 2004, MONDAY, at the beginning of class. The
TYPED! TWO-PAGES TOPS! NO COVER PAGE or FOLDER, a STAPLE is
MUST PUT YOUR GTAs NAME on the TOP OF THE ESSAY ABOVE your name. You
have an EYE-GRABBING TITLE. WRITE as if your LIFE depended on it. DO
try to guess what we want; merely douse us with the exhilirating force
that is YOUR imagination. What will you write? Fill
in the blanks and
complete the following paragraph. TWO pages tops! Can't write that
then EDIT EDIT EDIT
does not take a great stretch of the imagination to argue that
West and Billy Wilder share some significant and significantly twisted
interests. For instance, West's Day of the Locust (1939)
spends much of
its time focusing on ______________________________________
while Billy Wilder's Sunset Boulevard unfolds as an exposé
Let's look at one key moment from each work that makes the case for a
tale of collusion. [continue this essay selecting specific textual
from West's novel and references to specific scenes/images from
movie to make your case strong.]
focused on one of the places where the novelistic vision of West and
cinematic eye of Wilder overlap, let us conclude by identifying one of
the places they conflict. Where Nathanael West's satiric
Billy Wilder's tragic comedy seems a tad more interested
discussion of LOCUST (you MUST have the book finished b4 entering our
Also, we will continue our screening of BOULEVARD. ALSO! the KENNETH
book, HOLLYWOOD BABYLON is IN at the bookstore. Please begin
this decadent volume.
the first 81 pages of John Berger's WAYS of SEEING and continue your
in ANGER's HOLLYWOOD BABYLON--all the time you are reading identify
between WILDER, WEST, ANGER and BERGER. In class we will return to the
concept of "sinematic bodies" as we move amidst literature (WEST), film
(WILDER), gossip (ANGER) and oil painting (BERGER).
micro-essay due! finish reading John Berger's WAYS OF SEEING; also,
read ANY ten chapters from ANGER's hollywood babylon.
will complete our discussion of WILDER, WEST, BERGER and ANGER. time
we will screen a key 10 minute sequence from GIANT directed by George
a bizarre twist, the professor will pause the film and madly attempt to
do battle with SARGE from GIANT. More bizarre yet? The
strange puppet-show with his hands during his document presentation of
BERGER's WAYS OF SEEING.
class having carefully read SCENE FROM THE MOVIE GIANT by TINO
guest lecture by the one and only MIKE HIGH today!
will continue our discussion of SCENE FROM THE MOVIE GIANT--Time
we will also begin to talk about some of the photography in Sill's SIX
WOMEN PHOTOGRAPHERS--in particular CARRIE MAE WEEMS's work.
the following question as you read: IS IT POSSIBLE TO READ
SEMIOTIC MEDITATION, WAYS OF SEEING, AND TINO VILLANUEVA'S POETIC
SCENE FROM THE MOVIE GIANT, AS VERSIONS OF EACH OTHER? AS MIRRORS? HOW
CREDIT: Carrie Mae Weems, Mirror, Mirror (1987); silver print
lit site run out of SDSU's LIT program--Lanzbom, he of the guitar, is
check it out anyway!
class, we will begin screening BLOW-UP, directed by the one and only
Antonioni--in preparation for the screeening, reread or, if you are
lame, READ for the first time pages 129 to 155 in BERGER's
SEEING (believe it or not, p. 155 may be the most important "paragraph"
of that chapter.
continues its run in our crazy auditorium; additionally, TODAY
you get your hands on the prompt/questions sheet for the ANALYTICAL
CHALLENGE, aka, your major essay for the year!
continue screening antonioni's meditation on photography! as you watch
the film think back on your reading of berger; come to class prepared
read a passage from berger that DIRECTLY relates to Antonioni's opus.
over the weekend, "READ" & "SEE" SILLS book of photography--is
to build a rationale for competing photographic philosophies between
"THOMAS" and the real photographer's SILLS anthologizes in her volume?
will finally finish hanging out with BERGER, ANTONIONI and SILLS. the
in retelling the mysteries of PLATO's cave allegory, reveals a peculiar
affinity for hand-puppets. also, read VERY carefully, the
extract from Susan Sontag's ON
18, 2004 MONDAY
into class having read the first 99 pages (the end of Chapter 6, part
of HUXLEY's BRAVE NEW WORLD. try to forget that most of us were forced
to read this book in high school. that is really too, too
most folks to figure out the canny and uncanny realities of Huxley's
keep BERGER, ANTONIONI, and SILLS foregrounded, the whole issue of
REpresentation in your mind's eye, as you read this masterwork of 20th
20, 2004 WEDNESDAY
to page 145 (the end of Chapter 9) as you thrill to the excesses of
"soma," and superstar telecelebrity JOHN, "The Savage."
to page 229 (to the end of Chapter 16) in BRAVE NEW WORLD. As
read, consider the satiric power of Huxley--how does his satire differ
from West's; what about Cindy Sherman's?
BRAVE NEW WORLD!
TOM by Michael Powell is screened in the BIG HOUSE, Hardy Tower 140;
for the sinematic centerpiece of our class project!
Quotes from Peeping Tom (1960)
Lewis : Do you know what the most frightening thing in the world is?
: What would frighten me to death? Set the mood for me, Mark.
Lewis : Imagine... someone coming towards you... who wants to kill
regardless of the consequences.
: A madman?
Lewis : Yes. But he knows it - and you don't.
Peters : Got a question for you. Which magazine sells the most
Lewis : Those with girls on the front covers and no front covers on the
Stephens : Instinct's a wonderful thing, isn't it, Mark? A pity it
be photographed. If I'd listened to it years ago, I - I might have kept
my sight. I wouldn't have let a man operate I had no faith in.
the top of page 121 in
DENISE CHAVEZ's LOVING PEDRO INFANTE (first page opposite); during
we will both grapple with the sensational and sensationally warped
of Michael Powell AND the delicious prose of Denise Chavez.
readings continue to around p.200.
readings to around p.300
Chavez NOVEL; begin reading Spiegelman IN THE SHADOW OF NO TOWERS book!
19, FRIDAY | ESSAY DUE
completed essay is due November 19th @12noon in the special box in
of my office, AH4117--no late papers accepted; no emailed papers
MAKE SURE YOUR GTA'S NAME IS CLEARLY TYPED ON THE FRONT PAGE OF YOUR
NO COVER PAGE NECESSARY.
WEEK-- no class for SINEMATIC BODIES, E220.
November 24, 2004
your holiday--peace to you and your various beloveds!
November 29, 2004
Word/Jazz/Gospel; walk into the room having carefully "read" and having
carefully listened to the SPOKEN WORD CD
December 1, 2004 TBA
THE class having read the entire SPIEGELMAN book.
December 6 , 2004
Playwright OLIVER MAYER and rising star MARLENE FORTE come to our
den to delight us with some cutting edge theatre-work. Literature as we
know it, was born in the raucous festivals of ancient Greece; it is
that we close the year with a blast from the mother of LIT!
December 8, 2004
exam today in class--the exam is comprehensive and CLOSED BOOK, so
a pen and nothing else. After class, the MIMES will run amuck on
Bring your outfit, makeup and attitude!