بادبان – نعیم نوربخش – رفتن به دانشکده فیلمسازی می‌تواند یک انتخاب لوکس و گران‌قیمت باشد که همه علاقه‌مندان به سینما از پس آن برنمی‌آیند. اما بد نیست بدانید اگر واقعا قصد داشته باشید که در صنعت سینما و تلویزیون پیشرفت کنید رفتن به این دانشکده‌ها یک پیش‌نیاز الزامی نیست. امروزه برنامه درسی بسیاری از دانشکده‌های مشهور فیلمسازی جهان به صورت برخط در دسترس همه علاقه‌مندان در سرتاسر جهان است. به گزارش بادبان، یکی از این برنامه‌های درسی شامل فهرست منابع پیشنهادی برای تماشا و مطالعه دانشجویان فیلمسازی به دانشگاه شناخته‌شده ییل (Yale) آمریکا تعلق دارد. در ادامه فهرست این منابع را برای کسانی که میل دارند به طور مستقل در حوزه سینما مطالعه کنند آورده‌ایم:
برنامه درسی رشته فیلمسازی در دانشگاه ییل آمریکا
یک- منابع مطالعاتی نظریه‌های فیلمسازی
Ricciotto Canudo, “The Birth of a Sixth Art,” in Richard Abel, French Film Theory
Georg Lukács, “Thoughts on an Aesthetics of Cinema,” (۱۹۱۳), in McCormick, Guenther-Pal, pp. 11-16
Béla Balázs, “Sketches for a Theory of Film,” from Visible Man, Or the Culture of Film, (Berghahn Books, 2010), 17-84
Jean Epstein, “Le cinematographe vu de l’Etna” in Jean Epstein Critical Essays 287-310
Dziga Vertov, “We: variant of a manifesto” (۱۹۲۲) and “Kinoks: a Revolution” (۱۹۲۳) in Kino.Eye: The Writings of Dziga Vertov, University of California Press, 1984
Sergei Eisenstein, “A Dialectical Approach to Film Form”; Word and Image
دو- هنر و رسانه در دهه ۱۹۳۰
Rudolph Arnheim, chapters 1-3, in Film as Art
Erwin Panofsky, “Style and medium in the Motion Pictures,” [۱۹۳۴] in Angela Dalle Vacche, The Visual Turn: Classical Film Theory and Art History, 69-84
Walter Benjamin, The Work of Art in the Age of Technical Reproducibility
سه- نظریه فیلم پس از جنگ
Andre Bazin, “Ontology of the Photographic Image,” “Myth of Total Cinema,” “Montage Prohibited,” The Italian School of Neorealism
Siegfried Kracauer, Theory of Film, Chapters 1-4, and 14
Edgar Morin, The Cinema, or the Imaginary Man, pp 1-75
چهار- نشانه‌شناسی، ایدئولوژی
Christian Metz, Problems of Denotation in the Fiction Film
Pier Paolo Pasolini, Cinema of Poetry
Roland Barthes, “The Third Meaning” in Image Music Text
Stephen Heath, “Narrative Space” in Rosen, Narrative, Apparatus, Ideology
Jean-Louis Comolli and Jean Narboni, Cinema/Ideology/Criticism
Laura Mulvey, Visual Pleasure and Narrative Cinema
پنج- ابزارآلات، روانکاوی
Christian Metz, “Identification, Mirror” from Imaginary Signifier
J-L Baudry, “Ideological Effects of the Basic Cinematographic Apparatus,” in Philip Rosen, ed, Narrative, Apparatus, Ideology, Columbia Univ. Press, pp. 286-298.
Michel Chion, ch 1 “Projections of Sound on Image”; ch 4 “The Audio-Visual Scene” in Audio-Vision
Jonathan Sterne, “Hello!” from The Audible Past
Edmund Carpenter and M. McLuhan, “Acoustic Space,” from Explorations in Communications
Altman, Rick (1986). “Television/Sound.” In Tania Modleski (ed.), Studies in Entertainment: Critical Approaches to Mass Culture (Indiana University Press)
شش- رسانه‌ها و شکل‌گیری اجتماعی
Richard Dyer, “White,” from Screen, v 29 (1988)
سینمای جهان
Sisters of the Gion (Mizoguchi, 1936)
María Candelaria (Fernández, México, 1943)
Los Olvidados (Buñuel, México, 1950)
Tokyo Story (Ozu, 1953)
Seven Samurai (Kurosawa, 1954)
Panther Panchli (Ray, 1955)
Cruel Story of Youth (Oshima, 1960)
Black God, White Devil (Rocha, 1964)
Black Girl (Sembene, 1966)
Double Suicide (Shinoda, 1969)
Sholay (Sippi, 1973)
Touki Bouki (Mambety, 1972)
فیلمهای مستند
Nanook of the North (Flaherty, 1922)
Man with a Movie Camera (Vertov, 1929)
Land without Bread (Buñuel, 1932)
Night and Fog (Resnais, 1956)
Primary (Leacock, 1960)
Chronicle of a Summer (Rouch & Morin, 1961)
The Sorrow and the Pity (Ophuls, 1969)
سینمای تجربی
Entr’acte (Clair/Picabia, 1924)
Ballet Mecanique (Dudley Murphy, Fernand Léger, 1924)
Un Chien Andalou (Bunuel/Dali, 1928)
Colour Box (Len Lye, 1935)
Meshes of the Afternoon (Maya Deren, 1944)
Duck Amuck (Chuck Jones, 1953)
Dog Star Man (Prelude), Mothlight (Stan Brakhage, 1961)
صداهای جدید ۱۹۷۷-۱۹۹۰
Killer of Sheep (Burnett, 1978)
Illusions (Dash, 1982)
A Time to Live and a Time to Die (Hou Hsiou-Hsien, Taiwan, 1985)
When Father Was Away on Business (Kusturica, Yugoslavia, 1985)
Yeelen (Cissé, Mali, 1987)
Where is the Friend’s House (Kiarostami, Iran, 1988)
Red Sorghum (Zhang Yimou, PRC, 1988)
Who Framed Roger Rabbit (1988)
Do the Right Thing (Spike Lee, USA, 1989)
فیلمهای کوتاه صامت
Before the Nickelodeon
The Great Train Robbery (Porter, 1903)
A Trip to the Moon (Méliès, 1902)
The Lonely Villa (Gri?th, 1909) (Slightly illegible, likely Griffith)
فیلمهای بلند صامت
The Cheat (DeMille, 1915)
Birth of a Nation (Griffith, 1915) (Slightly illegible, likely Griffith)
Within Our Gates (Micheaux, 1920)
The Cabinet of Dr. Caligari (Wiene, 1920)
Sherlock Junior (Keaton, 1924)
Nosferatu (Murnau, 1921) (Note: year listed might be slightly off standard filmographies, usually 1922)
Metropolis (Lang, 1925)
Potemkin (Eisenstein, 1925)
Sunrise (Murnau, 1927)
Passion of Joan of Arc (Dreyer, 1928)
فیلمهای ناطق
ایالات متحده آمریکا
The Jazz Singer (Crosland, 1927)
Blonde Venus (von Sternberg, 1932)
It Happened One Night (Capra, 1934)
Modern Times (Chaplin, 1936)
Snow White and the Seven Dwarfs (1937)
Stagecoach (Ford, 1939)
His Girl Friday (Hawks, 1940)
Citizen Kane (Welles, 1941)
Double Indemnity (Wilder, 1944)
Singin’ in the Rain (Donen and Kelly, 1952)
The Searchers (Ford, 1956)
Psycho (Hitchcock, 1960)
۲۰۰۱: A Space Odyssey (Kubrick, 1969)
Bonnie and Clyde (Penn, 1969)
Sweet Sweetback’s Baadasssss Song (Van Peebles, 1971)
Badlands (Malick, 1973)
The Conversation (Coppola, 1974)
Taxi Driver (Scorsese, 1976)
اروپـا
M (Lang, 1930)
A Nous la liberté (Clair, 1931)
L’Atalante (Vigo, 1934)
Rules of the Game (Renoir, 1939)
Paisà (Rossellini, 1946)
Bicycle Thieves (De Sica, 1947)
La dolce vita (Fellini, 1959)
Hiroshima Mon Amor (Resnais, 1959)
Pickpocket (Bresson, 1960)
Vivre sa vie (Godard, 1962)
Playtime (Tati, 1966)
Battle of Algiers (Pontecorvo, 1966)
Persona (Bergman, 1966)
Loves of a Blonde (Forman, 1966)
Andrei Rublev (Tarkovsky, 1966)
The Red and the White (Jansco, 1967)
Aguirre the Wrath of God (Herzog, 1972)
Ali Fear Eats the Soul (Fassbinder, 1974)
برخی منابع ضروری برای مطالعه سینما
Fredric Jameson, “Reification and Utopia in Mass Culture” in Signatures of the Visible
Stuart Hall, “New Ethnicities,” and “What is this ‘black’ in Black Popular Culture”
H.A. Innis, “The Basis of Communication,” The Canadian Journal of Economics and Political Science, 15 no4 (Nov.1949) 457-476
Marshall McLuhan, “Technology and Political Change,” International Journal 7, no 3 (1952), 189-195; and “Joyce, Aquinas and the Poetic Process,” Renascence, Fall 1951
ames Carey, “Technology and Ideology: the case of the Telegraph,” from Communication as Culture (Routledge, 1989), 201-230
James Carey, A cultural approach to communication
Raymond Williams, “The Technology and the Society,” in Television: Technology and Cultural Form
هفت- تاریخ فرهنگی، مدرنیته
Jacques Aumont, “The Variable Eye, or the Mobilization of the Gaze,” in Image in Dispute, 231-258
Tom Gunning, The Cinema of Attractions
Miriam Hansen, “The Mass production of the senses: Classical Cinema ad Vernacular Modernism,” in L. Williams, ed. Reinventing Film Studies
Bordwell, Staiger, Thompson, The Classical Hollywood Cinema, parts 1 and 7
Rick Altman, “A Semantic/Syntactic Approach to Film Genre” [in Film/Genre]
هشت- فلسفه و زیبایی‌شناسی
Stanley Cavell, from More of The World Viewed sections 1-4, and conclusion
Gilles Deleuze, Cinema 1: the Movement Image, ch 1-4; Cinema 2: the Time Image, chs 1, 4
گونه‌های آلترناتیو فیلم
Solanas and Getino, “Towards a Third Cinema” [in Robert Stam, ed., Film Theory]
Philip Rosen, “Document and Documentary: on the Persistence of Historical Concepts” in Change Mummified
Brian Winston, “The Documentary Film as Scientific Inscription” in Renov, Theorizing Documentary
Stan Brakhage, From “Metaphors on Vision” in Sitney, The Avant-Garde Film, 120-128
Maya Deren, An Anagram of Ideas on Art, Form and Film
منبع: nofilmschool.com
