Film, Music, and Memory
Music 44410 Cinema and Media Studies 44410
Fall 2009, Wednesdays 1:30-4:30 JRL 264
Screenings: Thursdays and/or Mondays 7:30-11 p.m. JRL 264
(or Tuesday in Cobb 425 at 4:30--still TBD)
Berthold Hoeckner,

Topic and Goal
This graduate research seminar explores topics arising from the conjunction of film, music, and memory. We will take it as a given that music is centrally involved in the storage and retri of the cinematic image, while adding to and modulating its affect. As a result, music not only shapes narration by structuring diegetic time; it also influences how viewers remember specific
filmic events and their overall cinematic experience. We will explore these issues through narrative devices germane to film (such as flashback, dissolve, and montage), conceptual models for mediated memory (such as palimpsests, double projections, cinematic covers), and case studies that are embedded in broader critical and historical problems (such as gendered recollection, cinematic renditions of trauma and nostalgia as experiences of the modern, the proliferation of memory through mass media). Seminar sessions will typically focus on one or two movies in depth. Participants will take turns in functioning as "experts" for select films by creating cue sheets and preparing readings for class discussions. Students taking the class for credit will present a 20-minute research paper at a mini-conference scheduled for Wednesday of Week 11. A precis of the paper is due in week 6 and a draft of the paper one week before presentation.

Materials and Screenings
Films and soundtracks, if available, are on Reserve. Weekly readings will be on E-Reserve and/or on the Chalk Site (under Course Documents). The Music Seminar Room in JRL has been reserved for two nights (Monday and Thursday) to allow participants to watch the films as a group. DVDs of the films will be checked out for the week and left in Locker 4513: from the main stairway entry to the fourth floor go east on the North side of the row of shelves in the middle. Past the seminar rooms, the locker is a top locker in the group perpendicular to the East
wall with the shelves of DVD and VHS cases. To open use the combination 27-25-13 as follows: turn left to the first number, then--passing the first number–-right to the second number, and then left to the last number until you hear a clicking sound; then turn right to open. DVDs in the locker are checked out under my name for the week and should not be kept for longer than 3 hours. Please sing them out on the sheet. DVDs must be back in the locker prior to screenings.
Grading Percentage
Participation and Preparation ca. 50%
Final Research Paper ca. 50%
Syllabus
Overview
Week 1 - Maytime, Vier Minuten
Week 2 - Last Year at Marienbad, La jetée
Week 3 - Hiroshima mon Amour, Nuit et Brouillard
Week 4 - Letter from an Unknown Woman
Week 5 - Die Patriotin, The Last of England
Week 6 - Eternal Sunshine of the Spotless Mind, The Final Cut, Strange Days
Week 7 - In the Mood for Love, 2046
Week 8 - Forrest Gump
Week 9 - To Kill a Mockingbird
Week 10 - Histoire(s) du cinéma
Week 11 (Presentations)
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Week 1
Films: Maytime (Robert Leonard,1937), Vier Minuten (Chris Kraus, 2006)
Readings:
Buhler, James, David Neumeyer, and Rob Deemer. Hearing the Movies: Music and
Sound in Film History. New York: Oxford University Press, 2010. Chapter 1 "The
Sound Track and Narrative" pp. 7-33; Chapter 3 "Music, Sound, and the Space of
Narrative" pp. 65-91. A useful primer, this book is an optional purchase for the class at the Seminary Coop; it's an essential introduction for any scholar of film music.
Turim, Maureen Cheryn. "Definition and Theory of the Flashback." In Flashbacks in
Film: Memory and History, 1-20. New York: Routledge, 1989.
Altman, Rick. "The Style of the American Film Musical." In The American Film Musical,59-89. Bloomington: Indiana University Press, 1987.
Kuhn, Annette. "All My Life and Beyond..." In Dreaming of Fred and Ginger: Cinema
and Cultural Memory, 196-214. Washington Square, N.Y.: New York University Press,
2002.
Rodman, Ronald. "Tonal Design and the Aesthetic of Pastiche in Herbert Stothart's
Maytime." In Music and Cinema, edited by James Buhler, Caryl Flinn and David
Neumeyer, 187-206. Hanover: University Press of New England, 2000.
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Week 2
Films: Last Year at Marienbad (Alain Resnais,1961), La jetée (Chris Marker, 1962)
Readings:
Deleuze, Gilles. Cinema. 2 vols. Minneapolis: University of Minnesota, 1986. Chapters 3,4,5
Armes, Roy. "The Refusal of Plot: L'année Dernière À Marienbad." In Action and
Image : Dramatic Structure in Cinema, 106-21. Manchester: Manchester University
Press, 1994.
Kline, Jefferson T. "Last Year at Marienbad: High Modern and Postmodern." In
Masterpieces of Modernist Cinema, edited by Ted Perry, 208-35. Bloomington: Indiana University Press, 2006.
Kawin, Bruce. "Time and Stasis In 'La Jetée'." Film Quarterly 36, no. 1 (1982): 15-20.
Sandro, Paul. "Singled out by History: La Jetée and the Aesthetics of Memory." French Cultural Studies 10, no. 1 (1999): 107-27.
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Week 3
Films: Hiroshima mon Amour (Alain Resnais, 1959), Nuit et Brouillard (Alain Resnais, 1955)
Readings:
Wlodarski, Amy Lynn. "Excavating Eisler: Relocating the Memorial Voice in Nuit Et
Brouillard." In Kompositionen für den Film: Zu Theorie und Praxis von Hanns Eislers Filmmusik, edited by Peter Schweinhardt, 163-84. Wiesbaden: Breitkopf & Härtel, 2008.
Dümling, Albrecht. "Eisler's Music for Resnais' 'Night and Fog' (1955): A Musical
Counterpoint to the Cinematic Portrayal of Terror." Historical Journal of Film, Radio & Television 18 (1998): 575-84.
Viejo, Breixo. "Neue Musik Für Einen Befreiten Film: Giovanni Fuscos Filmmusik Zu
Alain Resnais's Hiroshima Mon Amour." In Kompositionen für den Film: Zu Theorie und Praxis von Hanns Eislers Filmmusik,, edited by Peter Schweinhardt, 235-46. Wiesbaden: Breitkopf & Härtel, 2008.
Music/CMS 44410 Film, Music, and Memory 3 Fall 09
Colpi, Henri. "Musique D'hiroshima." Cahiers du Cinéma 18, no. 103 (1963): 1-14.
Colpi, Henri. "Hiroshima mon amour." In Défense Et Illustration de la musique dans le film, 128-38. Lyon,: Sociéte d'édition, 1963.
Caruth, Cathy. "Literature and the Enactment of Memory." In Unclaimed Experience :
Trauma, Narrative, and History, 25-56. Baltimore: Johns Hopkins University Press,
1996.
Saxton, Libby. "Through the Spyhole: Death, Ethics and Spectatorship." In Haunted
Images : Film, Ethics, Testimony and the Holocaust, 68-91. London ; New York:
Wallflower Press, 2008.
Further reading and material:
van der Kolk, Bessel A., and Onno van der Hart. "The Intrusive Past: The Flexibility of Memory and the Engraving of Trauma." In Trauma: Explorations in Memory, edited by Cathy Caruth, 158-82. Baltimore: Johns Hopkins University Press, 1995.
Duras, Marguerite. Hiroshima Mon Amour, Evergreen Original, E-284. New York,:
Grove Press, 1961. PQ2607.U64H61S4 c.1
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Week 4
Film: Letter from an Unknown Woman (Max Ophuls, 1948)
Readings:
Wood, Robin. "Ewig Hin Der Liebe Glück." In Letter from an Unknown Woman, edited
Virginia Wright Wexman and Karen Hollinger, 220-36. New Brunswick, N.J.: Rutgers
University Press, 1986. PN1997.L4563L490 1986
Wood, Robin. "Letter from an Unknown Woman: The Double Narrative." CineAction 31
(1993): 4-17.
Neale, Steve. "Narration, Point of View and Patterns in the Soundtrack of Letter from an Unknown Woman (Max Ophuls, 1948)." In Style and Meaning : Studies in the Detailed Analysis of Film, edited by John Gibbs and Douglas Pye, 98-107. Manchester: Manchester University Press, 2005.
Laing, Heather. "The Female Listener." In The Gendered Score: Music in 1940s
Melodrama and the Woman's Film, 67-98. Aldershot, England ; Burlington, VT: Ashgate, 2007. ML2075.L334 2007
Music/CMS 44410 Film, Music, and Memory 4 Fall 09
Perkins, Victor F. "Ophuls Contra Wagner and Others." MOVIE 36 (2000): 73-79.
Useful as a resource (contains the script):
Ophuls, Max, Virginia Wright Wexman, and Karen Hollinger. Letter from an Unknown
Woman, Rutgers Films in Print Series. New Brunswick, N.J.: Rutgers University Press,1986. PN1997.L4563L490 1986
Further readings:
Wilson, George. "Max Ophuls' Letter from an Unknown Woman." MLN 98, no. 5 (1983):
1121-42.
Hunt, Lester H. "The Paradox of the Unknown Lover: A Reading of Letter from an
Unknown Woman." The Journal of Aesthetics and Art Criticism 64, no. 1 (2006): 55-66.
Cavell, Stanley. "Psychoanalysis and Cinema: Moments of Letter from an Unknown
Woman." In Contesting Tears : The Hollywood Melodrama of the Unknown Woman,
81-114. Chicago: University of Chicago Press, 1996. PN1995.9.W6C38 1996
Perkins, Victor F. "Letter from an Unknown Woman [on the Linz Sequence]." MOVIE
29/30 (1982): 61-72. PN1993.M93
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Week 5
Films: Die Patriotin (Alexander Kluge, 1979), The Last of England (Derek Jarman, 1988)
Readings:
Hillman, Roger. "Alexander Kluge's Songs without Words: Die Patriotin (1979)." In
Unsettling Scores : German Film, Music, and Ideology, 89-109. Indianapolis: Indiana University Press, 2005.
Kaes, Anton. "In Search of Germany: Alexander Kluge's the Patriot." In From Hitler to Heimat: The Return of History as Film, 107-35. Cambridge, Mass.: Harvard University Press, 1989. PN1993.5.G3K29130 1989
Scherer, Christina. "Erinnern, um zu Erneuern: Derek Jarman." In Ivens, Marker, Godard,Jarman: Erinnerung Im Essayfilm, 281-360. Munich: Fink, 2001. PN1995.9.D6S347 2001 [only pages 281-325]
Music/CMS 44410 Film, Music, and Memory 5 Fall 09
Forrest, Tara. "From History’s Rubble: On the Future of the Past in the Work of
Alexander Kluge." Rethinking History 9, no. 4 (2005): 429 – 48.
Dillon, Steven. "Reading Pictures: Emblem and Gesture in the Last of England and the Garden." In Derek Jarman and Lyric Film: The Mirror and the Sea, 162-201. Austin: University of Texas Press, 2004. PN1998.3.J3 D55 2004 (Read the section on The last of England 161-183)
as a resource:
Kluge, Alexander. Die Patriotin : Texte, Bilder 1-6. Originalausg., 2. Aufl. ed. Frankfurt am Main: Zweitausendeins, 1980. PN1997.P415K6 1980
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Week 6
Films: Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004), The Final Cut (Omar Naim, 2004), Strange Days (Kathryn Bigelow, 1995)
Campora, Matthew. "Art Cinema and New Hollywood: Multiform Narrative and Sonic
Metalepsis in Eternal Sunshine of the Spotless Mind." New Review of Film and Television Studies 7, no. 2 (2009): 119–31.
Landsberg, Alison. "Prosthetic Memory: The Ethics and Politics of Memory in the Age of Mass Culture." In Memory and Popular Film, edited by Paul Grainge, 144-61.
Manchester, UK: Manchester University Press, 2003.
Carr, Brian. "Strange Days and the Subject of Mobility." Camera Obscura 17 ( 2002): 191-217.
Dijck, José van. "Future Memories: The Construction of Cinematic Hindsight." Theory, Culture & Society 25, no. 3 (2008): 71-87.
van Dijck, José "Memory Matters in the Digital Age." Configurations 12, no. 3 (2004): 349-66.
Further readings:
Hansen, Mark B. N. "What's Virtual about VR? "Reality" as Body-Brain Achievement."
In New Philosophy for New Media, 163-96. Cambridge, Mass.: MIT Press, 2004.
BH301.M3 H36 2004
Shaviro, Steven. " Straight from the Cerebral Cortex: Vision and Affect in Strange Days " In The Cinema of Kathryn Bigelow: Hollywood Transgressor, edited by Deborah Jermyn and Sean Redmond, 159-77. London: Wallflower Press, 2003. PN1998.3.B54 C56 2003
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Week 7
Films: In the Mood for Love (Wong Kar-wai, 2000), 2046 (Wong Kar-wai, 2004)
van Dijck, José "Mediated Memories: Personal Cultural Memory as Object of Cultural
Analysis." Continuum: Journal of Media & Cultural Studies 18, no. 2 (2004): 261-77.
Blake, Nancy. "'We Won't Be Like Them': Repetition Compulsion in Wong Kar-Wai's in
the Mood for Love." Communication Review 6, no. 4 (2003): 341-56.
Cook, Pam. "Rethinking Nostalgia: In the Mood for Love and Far from Heaven." In
Screening the Past: Memory and Nostalgia in Cinema, 1-19. London ; New York:
Routledge, 2005.
Yau, Ching-Mei Esther. "The Intimate Spaces of Wong Kar-Wai." In At Full Speed :
Hong Kong Cinema in a Borderless World, 277-94. Minneapolis: University of
Minnesota Press, 2001.
Yu, Audrey. "In the Mood for Love: Intersections of Hong Kong Modernity." In Chinese Films in Focus: 25 New Takes, edited by Chris Berry, 128-36. London: British Film Institute, 2003.
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Week 8
Films: Forrest Gump (R. Zemeckis, 1994)
Readings:
Drake, Philip. "'Mortgaged to Music;" New Retro Movies in 1990s Hollywood Cinema"." In Memory and Popular Film, edited by Paul Grainge, 181-201. Manchester: Manchester University Press, 2003.
Lapedis, Hilary. "Popping the Question: The Function and Effect of Popular Music in Cinema." Popular Music 18, no. 3 (1999): 367-79.
Burgoyne, Robert. "Prosthetic Memory/ National Memory." In Film Nation : Hollywood
Looks at U.S. History, 104-19. Minneapolis: University of Minnesota Press, 1997.
PN1995.9.H5B87 1997
Radstone, Susannah. "Screening Trauma: Forrest Gump, Film and Memory." In Memory
and Methodology, 79-107. Oxford ; New York: Berg, 2000. BF378.S65 M46 200
Music/CMS 44410 Film, Music, and Memory 7 Fall 09
Further Reading:
Wang, Jennifer Hyland ""A Struggle of Contending Stories" : Race, Gender, and Political Memory in Forrest Gump." Cinema Journal 39, no. 3 (2000): 92-115.
Briley, Ron. "'I'm Sorry I Had to Fight in the Middle of Your Black Panther Party': The Black Panther Party, Hollywood, and Popular Memory." Popular Culture Review 15, no.2 (2004): 5-20.
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Week 9
Films: To Kill a Mockingbird (Robert Mulligan, 1962)
Readings:
Holcomb, Mark. "To Kill a Mockingbird." Film Quarterly 55, no. 4 (2002): 34-40.
Burt, George. The Art of Film Music: Special Emphasis on Hugo Friedhofer, Alex North, David Raksin. Boston: Northeastern University Press, 1994. pp. 42-45
Buhler, James, David Neumeyer, and Rob Deemer. Hearing the Movies: Music and
Sound in Film History. New York: Oxford University Press, 2010. pp. 172-75
Nicholson, Colin. "Hollywood and Race: To Kill a Mockingbird." In Cinema and
Fiction : New Modes of Adapting, 1950-1990, edited by John Orr and Colin Nicholson, 151-59. Edinburgh: Edinburgh University Press, 1992. PN1997.85.C520 1992
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Week 10 (Joker Class)
Films: Histoire(s) du cinéma (Jean Luc Godard, 1998)
Readings: (details TBD)
Godard, Jean Luc. Histoire(S) Du Cinéma. 4 vols. Paris: Gallimard, 1998.
PN1998.A3G5A312 1998 v.1-4
Scemama-Heard, Céline. Histoire(S) Du Cinéma De Jean-Luc Godard : La Force Faible
D'un Art, Champs Visuels. Paris: Harmattan, 2006. PN1998.3.G63 S29 2006
Godard, Jean-Luc, and Youssef Ishaghpour. Cinema : The Archeology of Film and the
Memory of a Century. English ed, Talking Images Series. Oxford, UK ; New York: Berg,2005. PN1994 .G555 2005