Sunday, June 15–Friday, August 8, 2014
Great movies are works of visual poetry. As with other forms of poetry, our understanding, appreciation, and enjoyment of movies can be deepened and enhanced by learning how to see (and read) them better. Seeing isn’t simply a matter of opening one’s eyes. True seeing is a cultivated skill, like eloquence in speech and reasoning in thought. We can learn to see better by increasing our awareness of and sensitivity to what we are looking at. And because seeing is a form of experiencing the world around us, the better we become at seeing, the richer our experience of the world becomes. In the tradition of St. John’s thoughtful attention to and careful reading of the great books, the St. John’s College Film Institute is dedicated to cultivating the skills necessary to become better readers of great movies. Over the course of the summer we will develop a number of approaches to the study of film, including consideration and discussion of plot, narrative structure, storyline, character development, and such technical aspects of filmmaking as shots, cuts, framing, lighting, sound, editing, camera angle, set design, acting, directing, and screenplay writing.
The Film Institute will include three main components:
A complete schedule of the eight-week seminar and tutorial program is attached below. Each week focuses on the work of a single major director from the history of international cinema between 1922 and 1975. Tutorials are devoted to additional discussions of the films in light of works of criticism, reviews, and analysis written either by the directors themselves or by major critics, film theorists, historians, and philosophers.
The seminars and tutorials will be limited to a maximum of 20 students. All classes will be led by regular St. John’s faculty. No adjunct faculty or teaching assistants will be responsible for any classroom instruction. However, talks, conversations, and workshops, in addition to the regularly scheduled seminars and tutorials, will be led by guest speakers, specialists, and industry professionals on a wide range of topics related to filmmaking and the film industry.
Seminars: Monday/Wednesday/Friday, 3:30–5:30 p.m.
Tutorials: Tuesday/Thursday, 3:45–5:15 p.m.
Evening screenings available throughout the week; additional talks, conversations, and workshops from 10a.m.–noon throughout the summer
Tuition for the 8-week program is $4,900. College stipends for current students are available.
A $500 deposit is needed to secure your place, due two weeks after your acceptance. This deposit will go toward cost of tuition. The deadline for the full tuition payment is April 4, 2014.
To apply, please fill out our application form. Once complete, please send this form and your statement to email@example.com. If you prefer, you may also download our standard application, fill it out, and mail to: Film Institute, c/o the Graduate Office, St. John’s College, 1160 Camino de la Cruz Blanca, Santa Fe NM 87505.
The initial call for applications for the St. John’s Film Institute has met with a wonderful response. To accommodate the many requests for additional opportunities to participate, we have started a waiting list of participants for a second section of the Film Institute. This new section will also be open to part-time participants: people interested in taking only the seminar or the tutorial segments of the Institute, or people only able to attend for some portion of the full eight-week course. Pricing will be adjusted accordingly. The application deadline for this new section of the Film Institute is April 11, and the deadline for full tuition is May 1. Contact Zoe Haskell at FilmInstitute@sjc.edu to apply.
On-campus housing is available. Because the dormitories do not have kitchens, our housing package includes a meal plan. Depending on the meal plan you select, the housing total will be $2356–$2724. Keep in mind that these amounts are subject to minor changes.
Week One: F. W. Murnau (June 15–21)
Films (M, W, F): Nosferatu (1922); The Last Laugh (1924); Sunrise (1927)
Texts (T, Th): Bela Balasz, Theory of the Film (selections)
Week Two: Carl Theodor Dreyer (June 22–28)
Films (M, W, F) The Passion of Joan of Arc (1928); Vampyr (1932); Ordet (1955)
Texts (T, Th): Plato, "Allegory of the Cave"; Paul Schrader, Transcendental Style in Cinema, pp. 3-13, 111-147
Week Three: Jean Renoir (June 29–July 5)
Films (M, W, F): Nana (1926); Rules of the Game (1939)
Texts (T, Th.): Jean Renoir, My Life and My Films (selections)
Week Four: Yasujiro Ozu (July 6–12)
Films (M, W, F): “I Was Born, but . . .” ” (1932); Late Spring (1949); Tokyo Story (1953)
Texts (T, Th.): Paul Schrader, Transcendental Style in Cinema, pp. 17-55, 151-169
Week Five: John Ford (July 13–19)
Films (M, W, F): Stagecoach (1939); The Searchers (1956); The Man Who Shot Liberty Valance (1962)
Texts (T, Th.): essays by Andre Bazin and Robert Warshow
Week Six: Robert Bresson (July 20–26)
Films (M, W, F): Diary of a Country Priest (1951); Pickpocket (1959); Au Hasard Balthazar (1966)
Texts (T, Th.): Robert Bresson, Notes on the Cinematographer; Paul Schrader, Transcendental Style in Cinema, pp. 59-108
Week Seven: Ingmar Bergman (July 27–August 2)
Films (M, W, F): Smiles of a Summer Night (1955); Wild Strawberries (1957); Persona (1966)
Texts (T, Th.): Ingmar Bergman, The Magic Lantern (selections)
Week Eight: Andrei Tarkovsky (August 3–8)
Films (M, W, F): Andrei Rublev (1966); Mirror (1975)
Texts (T, Th.): Tarkovsky, Sculpting in Time (selections)
"It is a peculiar sensation, this double-consciousness, this sense of always looking at one's self through the eyes of others, of measuring one's soul by the tape of a world that looks on in amused contempt and pity."
- W.E.B. Du Bois