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I. Course Course Course

Prefix Number Name Credit Lecture Lab
HUM 161 Global Cinema 3 3 0

II. Prerequisites

III. Course (Catalog) Description

Course offers a survey of the historical development of global cinema outside of
Hollywood and the United States, emphasizing a study of films and innovations in film
production, distribution, and exhibition, as well as changes in national identity, that have
had significant influence on cinema as an international art form.

IV. Learning Objectives

 Identify the key movements and landmark films in world cinema and key elements
germane to film history and aesthetics.
 Understand the value of films as a reflection of global consciousness and culture.
 Develop an appreciation of film as an art form and recognize how key regional
filmmakers have used film form to represent national identity at strategic moments in
world history.
 Apply concepts and classroom experiences to increase enjoyment of “foreign” film
outside of class.
 Develop critical thinking and writing skills.

V. Academic Integrity and Student Conduct

Students and employees at Oakton Community College are required to demonstrate
academic integrity and follow Oakton’s Code of Academic Conduct. This code prohibits:

 cheating,
 plagiarism (turning in work not written by you, or lacking proper citation),
 falsification and fabrication (lying or distorting the truth),
 helping others to cheat,
 unauthorized changes on official documents,
 pretending to be someone else or having someone else pretend to be you,
 making or accepting bribes, special favors, or threats, and
 any other behavior that violates academic integrity.

There are serious consequences to violations of the academic integrity policy. Oakton’s
policies and procedures provide students a fair hearing if a complaint is made against you.
If you are found to have violated the policy, the minimum penalty is failure on the
assignment. A disciplinary record will be established and kept on file in the office of the
Vice President for Student Affairs for a period of 3 years.

Please review the Code of Academic Conduct and the Code of Student Conduct, both
located online at

VI. Outline of Topics

This schedule is subject to change.

Week One: German Expressionism

Choose from the following:
The Cabinet of Dr. Caligari (Robert Weine, 1918)
The Last Laugh (F.W. Murnau, 1924)
Metropolis (Fritz Lang, 1926)

Week Two: Russian Montage

Choose from the following:
Battleship Potemkin (Sergei Eisenstein, 1925)
Mother (V.I. Pudovkin, 1926)
The Man with a Movie Camera (Dziga Vertov, 1928)

Week Three: French Poetic Realism

Choose from the following:
L’Atalante (Jean Vigo, 1934)
The Grand Illusion (Jean Renoir, 1937)
The Rules of the Game (Jean Renoir, 1939)

Week Four: Italian Neorealism

Choose from the following:
Open City (Roberto Ressellini, 1945)
Paisan (Roberto Rossellini, 1946)
The Bicycle Thief (Vittorio de Sica, 1948)

Week Five: Postwar Japanese Cinema

Choose from the following:
Rashomon (Akira Kurosawa, 1950)
Tokyo Story (Yasujiro Ozu, 1953)
Ugetsu (Kenji Mizoguchi, 1953)
Seven Samurai (Akira Kurosawa, 1954)

Week Six: Eastern European Cinema

Choose from the the following:
Kanal (Andrzej Wajda, 1956)
Ashes and Diamonds (Andrzej Wajda, 1958)
A Short Film About Killing (Krzysztof Kiéslowski, 1988)
The Red and the White (Miklós Jancsó, 1967)

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Satantango (Béla Tarr, 1994)
The Fireman’s Ball (Milos Forman, 1967)
Time of the Gypsies (Emir Kusturica, 1990)
Andrei Rublev (Andrei Tarkovsky, 1966)
Brother (Aleksei Balabanov, 1997)

Week Seven: The French New-wave

Choose from the following:
Hiroshima, mon amour (Alain Resnais, 1959)
The 400 Blows (François Truffaut, 1959)
Breathless (Jean-Luc Godard, 1960)
Jules and Jim (François Truffaut, 1961)
My Life to Live (Jean-Luc Godard, 1962)

Week Eight: European Art Cinema (1950s/1960s)

Choose from the following:
Great Britain
Lindsay Anderson, This Sporting Life (1963) or If…(1969)
Richard Lester, A Hard Day’s Night (1964)
Jacques Tati, Mon Uncle (1958) or Playtime (1967)
Max Ophüls, Lola Montès (1955)
Robert Bresson, A Man Escaped (1956)
Ingmar Bergman, The Seventh Seal (1957) or Persona (1966)
Luis Buñuel, Viridiana (1961) or Belle de jour (1967)
Federico Fellini, La Dolce Vita (1960) or 81/2 (1963)
Michelangelo Antonioni, L’Avventura (1960) or The Eclipse (1962)
Luchino Visconti, The Leopard (1963)

Week Nine: European Art Cinema (1960s/1970s)

Choose from the following:
Great Britain
Nicholas Roeg, Performance (1970) or The Man Who Fell to Earth (1976)
Rainer Werner Fassbinder, Ali: Fear Eats the Soul (1974) or The Marriage of Maria
Braun (1979)
Werner Herzog, Aguirre, the Wrath of God (1973)
Roman Polanski, Repulsion (1965)
Bernardo Bertolucci, The Spider’s Stratagem (1970) or Last Tango in Paris (1972)
Pier Paolo Pasolini, Salò (1975)

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Dario Argento, Suspiria (1977)

Week Ten: Latin American Cinema

Choose from the following:
Antônio das Mortes (Glauber Rocha, 1969)
How Tasty Was My Little Frenchman (Nelson Pereira dos Santos, 1971)
The Last Supper (Tomás Guitiérrez Alea, 1976)
Strawberry and Chocolate (Tomás Guitiérrez Alea, 1994)
Like Water for Chocolate (Alfonzo Arau, 1992)
Amores Perros (Alejandro González Iñárritu, 2001)
Y tu mamá también (Alfonzo Cuarón, 2001)

Week Eleven: Indian Cinema

Choose from the following:
Pather Panchali (Satyajit Ray, 1955)
Pyaasa (Guru Dutt, 1957)
Sholay (Ramesh Sippy, 1975)
Bombay (Mani Rathnam, 1995)

Week Twelve: Chinese Cinema

Choose from the following:
Raise the Red Lantern (Zhang Yimou, 1991)
Farewell My Concubine (Chen Kaige, 1992)
Hero (Zhang Yimou, 2002)
A City of Sadness (Jou Hsaio-hsien, 1988)

Week Thirteen: African Cinema

Choose from the following:
Xala (Ousmane Sembène, 1974)
Ceddo (Ousmane Sembène, 1977)
Living in Bondage (Kenneth Nnebue, 1992)

Week Fourteen: Middle Eastern Cinema

Choose from the following:
The White Balloon (Jafar Panahi, 1996)
A Taste of Cherry (Abbas Kiarostami, 1997)
May Lady (Rakhshan Bani-Etemad, 1998)
The Circle (Jafar Panahi, 2000)
Ten (Abbas Kiarostami, 2002)

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Kippur (Amos Gitai, 2000)

Week Fifteen: Contemporary Asian Cinema

Choose from the following:
Ghost in the Shell (Mamoru Oshii, 1996)
Audition (Takeshi Miike, 1999)
Spirited Away (Hayao Miyazaki, 2001)
Zaitôichi (Takeshi Kitano, 2003)
Hong Kong
The Killer (John Woo, 1989)
Hard-Boiled (John Woo, 1992)
Chungking Express (Wong Kar-Wai, 1994)
In the Mood for Love (Wong Kar-Wai, 2000)
South Korea
JSA (Park Chan-wook, 2000)
Oldboy (Park Chan-wook, 2003)
The Host (Bong Joon-ho, 2006)

Week Sixteen: Contemporary Global Cinema

Choose from the following:
Lars Von Trier, Dancer in the Dark (2000)
Tom Tykwer, Run, Lola, Run (1999)
Pedro Almodóvar, All About My Mother (1999)
Great Britain
Danny Boyle, Trainspotting (1996)
Michael Winterbottom, 24 Hour Party People (2004)
Catherine Breillat, Fat Girl (2001)
Jean-Pierre Jeunet, Amelie (2003)
New Zealand
Jane Campion, Holy Smoke (1999)
Niki Caro, Whale Rider (2002)
Fernando Meirelles and Katiá Lund, City of God (2002)
Ang Lee, Crouching Tiger, Hidden Dragon (2000)
Mira Nair, The Namesake (2006)
Marjane Satrapi, Persepolis (2007)

Students should be able to find the aforementioned films at their local library or with a
temporary account with Netflix, which has all of these films available on DVD.

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VII. Methods of Instruction
 Lectures and discussion
 Reading Assignments
 Films
 Outside Screenings

VIII. Course Practices Required

Course may be taught as face-to-face, hybrid or online course.
(Please include information here about all expectations you have for your students regarding
behavior, work, etc. The following are sample topics you may wish to cover. Please be aware
that you must require students in this course to produce at least 15 pages of critical written
assignments over the course of the semester. These may be assigned in a variety of ways
including journals, response papers, field trip projects, etc.)
 Attendance
 Standards for written work
 Quizzes/Exams
 Participation
 Essays
 Final Projects
 Special policies about make-up exams, late papers, or other matters of concern

IX. Instructional Materials

Note: Current textbook information for each course and section is available on Oakton’s
Schedule of Classes.

A text such as A History of Film by Virginia Wright Wexman and relevant films will be used.

X. Methods of Evaluation
(In this section, please notify students of dates for major exams and projects, and present the
percentages or point breakdown of their final grade.)
 Quizzes/Exams
 Journals/Essays
 Final Project
 Components of grade

XI. Other Course Information:

A. Important Dates
B. Disabilities
If you have a documented learning, psychological, or physical disability you may be entitled
to reasonable academic accommodations or services. To request accommodations or services
contact the Access and Disability Resource Center at the Des Plaines or Skokie campus. All

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students are expected to fulfill essential course requirements. The College will not waive any
essential skill or requirement of a course or degree program.

Oakton Community College is committed to maintaining a campus environment emphasizing

the dignity and worth of all members of the community, and complies with all federal and state
Title IX requirements.

Resources and support for

 pregnancy-related and parenting accommodations; and
 victims of sexual misconduct can be found at

Resources and support for LGBTQ+ students can be found at

C. Discrimination
The Oakton Community College Catalog states:
Oakton Community College does not discriminate on the basis of race, color, creed, religion,
national origin, disability, age, sex, sexual orientation, or marital status in admission to and
participation in its educational programs, activities and services, or employment practices.
The College does not tolerate sexual harassment or sexual assault by or of its students or

In keeping with this policy of tolerance and non-discrimination, in this class all of us (myself
included) should strive to listen and give careful consideration to all ideas expressed in class,
especially those that are different from our own, without attacking or demeaning the people
who have those views. We should also strive to avoid using insulting terms or telling
offensive jokes when talking to or about individuals or groups.

Approval Dates:
(Faculty: Do not include the following information on your individual syllabi created for class

Effective beginning term: Fall 2013 Ending term:

Syllabus prepared by: Laurence Knapp Date: October 2010

Reviewed by Dept./Program Chair: Joo Lee Date: October 2010

Approval by Dean: Linda Korbel Date: June 2013

Generic syllabus format revised 09/16

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