Join us for the Inaugural Summer of the St. John’s College Film Institute
Sunday, June 15 to Friday, August 8, 2014
Available in Santa Fe
What is the St. John's College Film Institute?
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 technical aspects of filmmaking such as shots, cuts, framing, lighting, sound, editing, camera angle, set design, acting, directing and screenplay writing.
What kind of classes will we have?
The Film Institute will include 3 main components:
Seminars and Tutorials on movies by 8 major directors supplemented by important works of film criticism and theory.
Evening screenings of the films we will be discussing in our Seminars and Tutorials.
Morning lectures, talks, discussions and workshops with experts and professionals in the filmmaking industry.
What will we watch? What will we read?
A complete schedule of the 8-week Seminar and Tutorial schedule is attached below. Each week will focus on the work of a single major director from the history of international cinema between 1922 and 1975. Tutorials will be 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 following texts, required for all participants, are available in the college bookstore:
The Film Institute Reader (packet of readings available in the bookstore)
Paul Schrader, Transcendental Style in Film
Jean Renoir, My Life and My Films
Ingmar Bergman, The Magic Lantern
Andrei Tarkovsky, Sculpting in Time
How big will classes be? Who will teach them?
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.
What is the class schedule?
Seminars: Monday/Wednesday/Friday from 3:15-5:15
Tutorials: Tuesday/Thursday from 3:15-5:15
Evening screenings available throughout the week
Additional talks, conversations and workshops from 10:00 a.m.-12:00 throughout the summer
How much does it cost? How do I apply?
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 4th, 2014.
Note: space for the program is limited. Applications will be accepted between October 15th and December 14th. Admissions decisions will be made by January 15th.
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 still subject to minor changes.
Schedule of Seminars and Tutorials
Week One: Carl Theodor Dreyer
Films (M, W, F): The Passion of Joan of Arc (1928); Vampyr (1932); Ordet (1955)
Texts (T, Th.): C. T. Dreyer, Dreyer in Double Reflection
Week Two: F. W. Murnau
Films (M, W, F) Nosferatu (1922); The Last Laugh (1924); Sunrise (1927)
Texts (T, Th): Bela Balasz, Theory of the Film (selections)
Week Three: Jean Renoir
Films (M, W, F): Nana (1926); Rules of the Game (1939)
Texts (T, Th.): Jean Renoir, My Life and My Films
Week Four: Yasujiro Ozu
Films (M, W, F): “I Was Born, but . . .” (1932); Late Spring (1949); Tokyo Story (1953)
Texts (T, Th.): Paul Schrader, Transcendental Style in Cinema
Week Five: John Ford
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
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
Week Seven: Ingmar Bergman
Films (M, W, F): Smiles of a Summer Night (1955); Wild Strawberries (1957); Persona (1966)
Texts (T, Th.): Ingmar Bergman, The Magic Lantern
Week Eight: Andrei Tarkovsky
Films (M, W, F): Andrei Rublev (1966); Mirror (1975)
Texts (T, Th.): Tarkovsky, Sculpting in Time