Fassbinder fell for Sirk; Truffaut and DePalma studied syntax under Hitchcock; Peckinpah eviscerated his cinematic father, John Ford; Lynch lifted from Laughton; Godard imitated Lewis who clung to Tashlin whom Dante dug; and Carpenter match-cut himself to Hawks. What is the nature of influence? What in these instances did the younger director take from the older? What was learned and sometimes had to be unlearned? This course will examine the formal, thematic, and subliminal links found in several auteur pairings.
I. Wim Wenders Looks for a Home
Oct 16 Tokyo-Ga - Wenders (1985) 92’
Oct 23 Late Spring - Ozu (1949) 108’
Oct 30 On Dangerous Ground - Ray (1952) 82’
Nov 06 The American Friend - Wenders (1977) 127’
II. Chabrol, Truffaut, DePalma: The Hitchcock Constellation
Nov 13 Vertigo - Hitchcock (1958) 128’
Nov 20 Fahrenheit 451 - Truffaut (1966) 111’
Nov 27 Le Boucher - Chabrol (1969) 93’
Dec 04 Blow Out - DePalma (1981) 107’
III. Melodrama and Politics: Sirk and Fassbinder
Dec 11 Written on the Wind - Sirk (1956) 99’
Dec 18 Die Bitteren Tränen der Petra von Kant - Fassbinder (1972) 119’
IV. Group Dynamics: Carpenter and Hawks
Jan 08 Only Angels Have Wings - Hawks (1939) 121’
Jan 15 The Thing - Carpenter (1982) 108’
V. Tashlin and His Progeny
Jan 22 Will Success Spoil Rock Hunter? - Tashlin (1957) 95’
Jan 29 Small Soldiers - Dante (1998) 99’
Feb 05 Les Carabiniers - Godard (1963) 80’
Feb 12 TBA |
