DEPARTMENT OF FILM AND TELEVISION STUDIESBA Film and Literature, BA Film Studies, Year 1 (Autumn 2016)

FILM CRITICISM FI107

Module Leader: Dr. Julie Lobalzo Wright Room A0.15 Millburn House

Office hours: 14.00-16.00 Fridayj.wright.4@warwick.ac.uk

Seminar Tutor: Claire Jesson

Timetable

First Screening: Thursday 15.00 – 18.00 AO.28 Millburn

Lecture: Friday 09.00 – 10.00 AO.28 Millburn

Second Screening: Friday 10.00 – 12.00 AO.28 Millburn

Seminars: Friday 12.00 – 13.00 13.00 – 14.0014.00 – 15.00 A1.28/A1.27 Milburn

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You will be assigned to one of the hourly seminar slots. Please check the first year notice board (beside the Pigeon Holes) for your seminar time, room and tutor. Seminars will always begin promptly at 5 minutes past the hour and then end at 5 minutes to the hour.

Module Description

This module focuses on the text by giving you intensive practice in looking at and listening closely to film. Lectures will equip you with the technical and analytical vocabulary of textual analysis. In the discussion-based seminars that follow, you’ll get to practice using and applying these terms yourself in a supportive environment, building up your confidence and command of the terminology that will be your academic language for the next three years. Written work is designed to build you up to a point where you can create your own reasoned and carefully argued interpretations of film texts. Set readings each week will introduce you to the best of critical scholarship, and get you to begin to evaluate and reflect upon other accounts and interpretations of film. Film screening from a variety of historical time periods, national cinemas and genres will offer you the chance to experience and compare different approaches to the expressive use of film form and mise-en-scène. This will allow you to examine, in detail, the ways in which stylistic choices create meaning and affect interpretation.

Aims and Learning Outcomes

It aims to give you intensive practice in looking and listening closely to film.

It aims to teach you the basic technical and analytical vocabulary of textual analysis and film criticism so that you can describe accurately what you see and hear when you watch and listen to a film.

It aims to give you practice in using the language of film criticism confidently and with precision in both written and spoken work.

Finally, as you gain confidence in the practice of textual analysis, you will begin to feel able to make reasoned and carefully argued interpretations of individual film texts. You will also be able to reflect upon the validity of other accounts and interpretations, both in group discussion and through your own reading of existing critical scholarship.

The module is taught through a combination of screenings, lectures, seminars and small group work within seminars.

Weekly Attendance and Participation

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Please note that attendance at all screenings, lectures and seminars is compulsory. Please contact me by email to explain any absences you may have.

You are expected to be on time, have the essential reading completed, participate in discussion and in-class activities, and respond to your peers’ contributions.

The first screening (15.00-18.00 on Thursday afternoon) is designed for you to familiarise yourself with the narrative and feel of the film, and to note areas of specific interest for the second screening.

The lecture (9.00 Friday morning) will explore and analyse particular aspects of the film and will always suggest questions to guide your second viewing in relation to the topic for that week.

You should, therefore, use the second screening (10.00 to 12.00 on Friday) to make detailed notes as you view in relation to the topic and/or indicated seminar task for that afternoon, and to explore areas of interest that you might wish to raise.

A weekly handout will usually be given with some questions to guide your viewing and seminar- it is not a substitute for (a) taking notes or (b) attending the lecture, screening and seminar programme.

Screening Etiquette

Screenings are SILENT at all times. There is NO EATING OR DRINKING in screenings – please make sure

you have finished before you return to the screening room after a break. NO ELECTRONIC DEVICES are allowed at any time. The only screen we

are watching is the film. Mobile phones MUST BE SWITCHED OFF, not merely put on silent. This

is because the signal interferes with the projection equipment and causes sound and image disturbance.

Please be considerate and adhere to these rules.

Office Hours

I will have set office hours from 14.00-16.00 on Fridays. You are welcome to drop in to see me, but it is best to contact me beforehand to make an appointment. I may be in my office at other points on Thursday and Friday, but this will be a set time that I will be in my office.

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Your pastoral care is an important aspect of your university education and I am available to speak to you about anything pertaining to your degree, but especially, any questions or issues you may have in this module. Although I am not able to comment on drafts of assigned work, I am always happy to discuss your plans for essays and any marked coursework. I will always be available to talk briefly after sessions, but you will get more out of meeting with me, face to face, at an assigned time so please do not hesitate to make an appointment.

Email

You are also welcome to email me with any questions or issues that may arise. I am generally prompt in responding to emails, but please be aware that I will be checking and sending emails in university hours, which means I may not be as quick to respond late at night/early in the morning and/or over the weekend.

Assessment (Autumn and Spring term)

1 x 1, 500 word essay (total 30% of overall module) 1 x 1 hour examination question (20% of overall module)

Essay DeadlinesEssays must be submitted both in hardcopy form and electronic form via the e-submission system. Hard copies are to be handed to Dr. Adam Gallimore, Departmental Secretary, in Room A0.12, Millburn House by 12.00 of the deadline day. E-submissions are due at 10.00 of the deadline day.

Extensions can only be granted, in exceptional circumstances, in advance of the dealine. Extension requests must be made through a form on Tabula through Start.Warwick. An essay submitted late without an extension will receive a penalty of a 5% reduction of the mark per day.

Please see the handbook for more details about essay submission and extension policies.

Essay, Term 1- Sequence Analysis

DUE THURSDAY 10TH NOVEMBER AT 12.00

The task of this essay will be to provide a detailed sequence analysis of a chosen sequence from any one of the films screened in week 2, 3 or 4 on the module (Do The Right Thing, Lost in Translation or Cleo at 5 to 7). You will receive more information pertaining to the chosen sequences in due time.

Word Count: 1500 words

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Sequence Analysis

Your aim in writing the essay should be to consider, analyse and describe the ways in which meaning is made and conveyed in this particular sequence and articulate how this may relate to wider patterns and themes in the film as a whole. You will not be able to include everything and will need to make a selection as to what is essential to the way the sequence conveys meaning.

1. You will need to start this assignment by producing as detailed and accurate a description of the sequence as possible in note form.

2. In writing the essay, you will then need to select those aspects of this description that you feel are most significant. This process of selection is an important part of the exercise. You will need to be clear in your essay about why you see the particular aspects/elements you focus on as important.

3. While your essay must focus on the chosen sequence, you must also consider the significance of the sequence by relating it to the film as a whole.

NOTE: This exercise is designed to test/show your skill in textual analysis. While you are obviously expected to have kept up with the weekly seminar readings, no further secondary reading on the film is necessarily required for this essay.

You might need to consider some or all of the following in your analysis:

Action

Speech: what is said, how it is enunciated, who speaks, to whom they speak and when they speak

Performance (e.g. facial expression, body movement, gesture); Appearance and voice of actors (including costume, make-up)

Set/setting (the physical location of the shot, its characteristics, use of props)

Sound (ambient sound, music, silence; the relationship between sound and image)

Light, lighting and colour

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Framing and the construction of the shot: how the viewer is allowed to see what the film shows us. For example:

* the proximity of the camera to the main subject (i.e. the scale of the shot: close-up, medium shot, long shot etc.)

* the position and angle of the camera (high, low, canted etc.)

* focus and depth of field

* composition (positioning of objects and performers within the frame, patterning of key relationships, use of empty space)

* on-screen and off-screen space and their inter-relationship

Camera movement (track, pan, crane, tilt etc., speed and duration)

Length of take (long, short)

Editing (the transition between shots: cut, dissolve fade-out – this may have an aural as well as a visual dimension; the relationship between shots and those preceding and succeeding them – pace and rhythm)

Your essay must be presented in accordance with the guidelines for the presentation of written work in the handbook.

The guidelines set for the assessment criteria in the department is to be accurate, show familiarity with a range of texts, understand the texts and arguments, make clear the relevance to the topics under discussion in clear writing and an effective organisation with a scholarly presentation. For this assessment, it is important to display your ability to use the correct terminology to consider, analyse and describe the way meaning is make in the particular sequence.

Please see the handbook for a fuller explanation of the criteria of assessment.

Reading and Viewing

Each week has a list of required reading for the week’s topic and film. You will always be expected to have completed the week’s required reading before your seminar. There is a significant amount of reading each week, but this is an important part of your study of film.

In addition, each week has listed suggested reading, which is there for expanding your study. You may find that certain topics or films are of interest to you and you want to study them in further detail or there may be weeks where certain

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concepts are challenging and reading beyond just the required reading will assist your understanding of the topic or film.

Some readings may be more difficult than others. Always remember to look up terms if you are unsure of their meaning. Seminars will be a place to go over more complicated readings and concepts.

This is by no means an exhaustive list, and you should begin as soon as possible to start exploring the library databases and holdings of books and journals in order to follow up your own lines of interest.

It is not possible for lectures and seminars to explore every interesting aspect of a film’s context and critical history, and it is up to you to become accustomed to doing this for yourself. You are not expected to read everything, but the extent of your reading and viewing will be evident in your assessed and examined work, and your marks will certainly reflect this. The texts suggested here are not necessarily ‘endorsed’; it is up to you to read critically and to make your own judgements about the scholarship you encounter.

Key Readings will be placed in the Short Loan Collection for photocopying and overnight borrowing. Demand for materials is always high so please be considerate to your fellow students.

Most required readings marked are also available to download at:

http://www2.warwick.ac.uk/services/library/electronicresources/extracts

Please be aware that the extracts lists all reading by author and may include readings from past years. Be careful to read the correct reading for the week.

The reading and screening lists (with some links to suggested viewing) is at:

http://readinglists.warwick.ac.uk/lists/218B7D2A-23A4-848B-266F-124E77F8245E.html

Please also be patient with the upload of digital extracts and links to these works on the reading list. Many items have been requested to be digitised this term and readings may be available only a week before lectures/seminars.

Please note that not all readings will be available in this format throughout the entire term. In the cases of some books with multiple extracts you will only be able to gain digital access during the related period of study. These will be flagged up during the term.

There is also a list of suggested viewing under each week. These will be films that relate to the topic of the week or may be referred to in the lecture. All films

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will be available from the library and some will also be available to view through BOB (through BUFVC, recently aired programmes from free-to-air channels). It is not a requirement to watch these films. but the more films you can watch, the better your skills of analysis will become.

Please also note that you are able to book department rooms- AO.26, AI.25 and A1.17 via department secretaries (rooms A0.26 and A1.25 are centrally timetabled on Mondays and Fridays and should be booked through Central Timetabling). Rooms A0.28 and A1.28 can only be booked online through Central Timetabling (http://www2.warwick.ac.uk/services/centraltimetabling). All of the teaching rooms have video projection facilities for DVD and VHS. You may find it useful to book rooms for screenings of other suggested films throughout the term. Please consult the handbook for more information.

General Texts

These are a number of general texts on Film Studies and film criticism, which you will find useful throughout the module (and indeed your degree). You may consider purchasing single or shared copies of one or more of these from new or second-hand online booksellers or bookshops.

David Bordwell and Kristin Thompson (2012) Film Art: An Introduction, 9th edition. New York: McGraw-Hill.

Tom Brown and James Walters (eds.) (2010) Film Moments, London: BFI.

Alex Clayton and Andrew Klevan (eds.) (2011) The Language and Style of Film Criticism, London and New York: Routledge.

Pam Cook (ed.) (2008) The Cinema Book, 3rd Edition. London: BFI

Timothy Corrigan (2014) A Short Guide to Writing About Film. New York: Longman.

Timothy Corrigan and Patricia White (2004) The Film Experience: An Introduction. Boston: Bedford/St Martins.

John Gibbs (2002) Mise-En-Scène: Film Style and Interpretation. New York and Chichester: Wallflower Press.

John Hill and Pamela Church Gibson (eds.) (1998) The Oxford Guide to Film Studies. Oxford: Oxford University Press

Annette Kuhn and Guy Westwell (2012) Oxford Dictionary of Film Studies, Oxford: Oxford University Press.

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James Monaco (2009) How to Read a Film: Movies, Media and Beyond. Oxford: Oxford University Press.

V.F. Perkins (1972) Film as Film: Understanding and Judging Movies, London: Penguin.

Online

Some useful websites for your study:

The British Film Institute website: http://www.bfi.org.uk/ (The BFI Library in London is also a useful place to visit. It is free to use)

Screenonline: http://www.screenonline.org.uk/

Film Studies for Free: http://filmstudiesforfree.blogspot.com/

Various film-specific journals are available online via the library.

Various online journals, including Scope http://www.scope.nottingham.ac.uk; Senses of Cinema http://sensesofcinema.com; European Journal of Media Studies http://www.necsus-ejms.org; Jump Cut (A Review of Contemporary Media) http://www.ejumpcut.org/home.html; Bright Lights Film Journal http://brightlightsfilm.com

The Criterion website includes many good essays about films in their collection:https://www.criterion.com

Weekly Schedule

Screenings

Week One Screening: Singin’ in the Rain (Stanley Donen, US, 1953)

Week Two Screening: Do The Right Thing (Spike Lee, US, 1989)

Week Three Screening: Lost in Translation (Sofia Coppola, US, 2003)

Week Four Screening: Cléo at 5 to 7 (Agnès Varda, France, 1961)

Week Five Screening: Rear Window (Alfred Hitchcock, US, 1954)

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Week SixNo Screening: Reading and Viewing Week

Week Seven Screening: Le Samouraï (Jean-Pierre Melville, France, Italy, 1967)

Week Eight Screening: Black Narcissus (Michael Powell and Emeric Pressburger, UK, 1947)

Week Nine Screening: Alien (Ridley Scott, UK, US, 1979)

Week Ten Screening: On the Waterfront (Elia Kazan, US, 1954)

Week OneScreening: Singin’ in the Rain (Stanley Donen, US, 1953)Topic: Introduction to Film: Sound and Image

Required Reading

Steven Cohan (2000) ‘Case Study: Interpreting Singin’ in the Rain’ in Reinventing Film Studies, edited by Christine Gledhill and Linda Williams (London and New York: Arnold), pp. 53-75.

John Gibbs and Douglas Pye (2005) ‘Introduction’ in Style and Meaning: Studies in the Detailed Analysis of Film, (Manchester: Manchester University Press), pp.1-15

Suggested Reading

Richard Dyer (1998) ‘Introduction to Film Studies’ in Oxford Guide to Film Studies, edited by Pamela Church Gibson and John Hill (Oxford: Oxford University Press), pp. 3-10.

Peter Wollen (1992) Singin’ in the Rain (London: BFI).

Richard Maltby (2003) ‘Singin’ in the Rain: How to Take Gene Kelly Seriously’ in Hollywood Cinema, 2nd Edition (Malden, MA and Oxford, UK: Blackwell Publishing), pp. 66-71.

Suggested ViewingThe Searchers (John Ford, 1956)

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Jaws (Steven Spielberg, 1975)

Week TwoScreening: Do The Right Thing (Spike Lee, US, 1989)Topic: What is Mise-en-scène?

Required Reading

Timothy Corrigan and Patricia White (2015) ‘Mise-en-Scène: Exploring a Material World’ in The Film Experience. An Introduction (Boston and New York: Bedford/St. Martin’s), pp. 63-93.

Ed Guerrero (2001) Do The Right Thing (London: BFI Publishing), pp. 8-38 (sections 1, 2 and 3).

Suggested Reading

John Gibbs (2002) ‘The Elements of Mise-en-Scène’ in Mise-en-Scene. Film Style and Interpretation (New York and Chichester, UK: Wallflower), pp. 5-26.

James Monaco (2009) ‘Mise-en-Scène’ in How to Read a Film: Movies, Media and Beyond 4th edition (Oxford: Oxford University Press), pp. 205-234.

Mark A. Reid (ed.) (1997) Spike Lee’s Do the Right Thing (Cambridge: Cambridge University Press).

S. Craig Watkins (1998) ‘Spike’s Joint’ in Representing: Hip-Hop Culture and the Production of Black Cinema (Chicago: University of Chicago Press), pp. 137-166.

Suggested ViewingThe Grand Illusion (Jean Renoir, 1937)Citizen Kane (Orson Wells, 1942)Tokyo Story (Yasujirō Ozu, 1953) Week ThreeScreening: Lost in Translation (Sofia Coppola, US, 2003)Topic: The Shot I: Framing and Composition

Required Reading

Lucy Bolton (2011) ‘Lost in Translation: The Potential of Becoming’ in Film and Female Consciousness: Irigaray, Cinema and Thinking Women’ (Basingstoke and New York: Palgrave), pp. 95-127.

David Bordwell and Kristin Thompson (2012) ‘The Shot: Cinematography’

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in Film Art. An Introduction (New York: McGraw Hill), pp. 169-195.

Suggested Reading

Geoff King (2013) Lost in Translation (Edinburgh: Edinburgh University Press).

Richard Maltby (2003) ‘Space I’ in Hollywood Cinema, 2nd Edition (Malden, MA and Oxford, UK: Blackwell Publishing), pp. 311-328 (chapter 10 up to the ‘mise-en-scène on p. 328).

P. J. Smith (2004) ‘Tokyo Drifters’. Sight and Sound. 14:1, pp. 12-16.

Suggested ViewingPaths of Glory (Stanley Kubrick, 1957))The Red Dessert (Michelangelo Antonioni, 1964)The Royal Tenenbaums (Wes Anderson, 2001)

Week Four Screening: Cléo from 5 to 7 (Agnès Varda, France, 1961)Topic: The Shot II: Movement and Duration

Required Reading

David Bordwell and Kristin Thompson (2012) ‘The Shot: Cinematography’ in Film Art. An Introduction, pp. 195-217.

Janice Mouton (2001) ‘From Feminine Masquerade to Flâneuse: Agnès Varda’s Cléo in the City, Cinema Journal, Vol. 40, No. 2, pp. 3-16.

Paul Schrader (2015) ‘Game Changers: Camera Movement’ Film Comment, 51: 2. Available at: http://www.filmcomment.com/article/game-changers-camera-movement/.

Suggested Reading

Sally Flitterman-Lewis (1996) ‘From Déesse to Idée: Cleo From 5 to 7 (1996) To Desire Differently: Feminism and the French Cinema (New York: Columbia University Press), pp. 268-284.

Valeri Orpen (2007) Cléo de 5 à 7 (Agnès Varda, 1961) (London and New York: I.B. Tauris).

Alison Smith (1998) ‘Cléo de 5 à 7 (1961)’ in Agnès Varda (Manchester: Manchester University Press), pp. 96-102.

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Suggested ViewingAli: Fear Eats the Soul (Rainer Werner Fassbinder, 1974)Russian Ark (Alexander Sokurov, 2002)

Week Five Screening: Rear Window (Alfred Hitchcock, US, 1954)Topic: Editing: The Organisation of Space and Time

Required Reading

Timothy Corrigan and Patricia White (2015) ‘Editing: Relating Images’ in The Film Experience. An Introduction (Boston and New York: Bedford/St. Martin’s), pp. 144-161.

Valerie Orpen (2003) ‘Continuity Editing in Hollywood’ in Film Editing: The Art of the Expressive (London and New York: Wallflower), pp. 16-32.

Suggested Reading

John Wesley Fawell (2001) Hitchcock’s Rear Window: The Well-Made Film (Carbondale, IL: Southern Illinois University Press).

Valerie Orpen (2003) ‘Art Cinema and the Avant-Garde’ in Film Editing: The Art of the Expressive (London and New York: Wallflower), pp. 60-85.

Douglas Pye (2010) ‘Enter Lisa: Rear Window (1954)’ in Film Moments: Criticism, History, Theory, edited by Tom Brown and James Walters (London: BFI), pp. 45-48.

Robin Wood (2002) ‘Rear Window’ in Hitchcock’s Films Revisited, revised edition (New York: Columbia University Press), pp. 100-107.

Suggested ViewingThe Battleship Potemkin (Sergei Eisenstein, 1925)Breathless (Jean-Luc Godard, 1960)

***PLEASE NOTE FOR WEEK 5 THERE WILL BE NO SECOND SCREENING OF REAR WINDOW. INSTEAD WE WILL HAVE AN ESSAY WRITING WORKSHOP ON FRIDAY FROM 10-12.***

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Week Six: Reading Week – no classes.

You should spend time in this week reviewing the work covered on the module so far- both required and suggested reading and viewing.

Week SevenScreening: Le Samouraï (Jean-Pierre Melville, France, Italy, 1967)Topic: Film Style I: Costume, Fashion and Stars

Required Reading

Stella Bruzzi (1997) ‘The Instabilities of the Franco-American Gangster’ in Undressing Cinema: Clothing and Identity in the Movies (London and New York: Routledge), pp. 67-94.

Nick Rees-Roberts (2015) ‘Dressed to Kill: Delon, The Style Icon’ in Alain Delon: Style, Stardom and Masculinity (New York and London: Bloomsbury), pp. 141-158.

Suggested Reading

Rachel Moseley (2005) ‘Introduction’ in Fashioning Film Stars: Dress, Culture, Identity, edited by Rachel Moseley (London: BFI), pp. 1-8.

Tim Palmer (2006) ‘Le Samouraï / The Godson’ in The Cinema of France, edited by Phil Powrie (London: Wallflower), pp. 123-131.

Sarah Street (2001) ‘Introduction: Changing Texts’ in Costume and Cinema: Dress Codes in Popular Film (London and New York: Wallflower), pp. 1-12.

Ginette Vincendeau (2000) ‘Jean-Paul Belmondo and Alain Delon- One Smiles, the Other Doesn’t’ in Stars and Stardom in French Cinema (London and New York: Continuum), pp. 158-195

Suggested ViewingPlein Soleil / Purple Noon (René Clément, 1960)Goodfellas (Martin Scorsese, 1990)

Week EightScreening: Black Narcissus (Michael Powell and Emeric Pressburger, UK, 1947)Topic: Film Style II: Colour

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Required Reading

Michael Allen and Annette Kuhn (2007) ‘Colour’ in The Cinema Book 3rd edition, edited by Pam Cook (London: BFI), pp. 146-149.

Sarah Street (2005) ‘Analysis’ in Black Narcissus (New York and London: I.B. Tauris), pp. 30-61.

Suggested Reading

Paul Coates (2010) Cinema and Colour: The Saturated Image (Basingstoke and New York: Palgrave Macmillan)

Andrew Moor (2005) ‘Post-war Femininities: Mopu, Madness and Melodrama: Black Narcissus’ in Powell and Pressburger: A Cinema of Magic Spaces (Basingstoke and New York: Palgrave), pp. 168-196.

Sarah Street (2012) Colour in Britain: The Negotiation of Innovation 1990-1955 (London: BFI)

Suggested ViewingA Matter of Life and Death (Michael Powell and Emeric Pressburger, 1946)The Red Shoes (Michael Powell and Emeric Pressburger, 1948)

Week Nine [Guest lecturer: Claire Jesson]Screening: Alien (Ridley Scott, UK, US, 1979)Topic: Film Style III: Music, Voice and Silence

Required Reading

Timothy Corrigan and Patricia White (2015) ‘Film Sound: Listening to the Cinema’ in The Film Experience. An Introduction (Boston and New York: Bedford/St. Martin’s), pp. 175-209.

William Whittington (2007) ‘Alien: Audio-Biomechanics’ in Sound Design & Science Fiction (Austin, TX: University of Texas), pp. 147-168.

Suggested Reading

Michael Allen and Annette Kuhn (2007) ‘Sound’ in The Cinema Book 3rd edition, edited by Pam Cook (London: BFI), pp. 142-145.

David Bordwell and Kristin Thompson (2012) ‘Sound in the Cinema’ in Film

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Art. An Introduction (New York: McGraw Hill), pp. 266-307.

Jonathan Frome (2010) “’I Wasn’t Expecting That!”: Cognition and Shock in Alien’s (1979) Chestburster Scene’ in Film Moments: Criticism, History, Theory, edited by Tom Brown and James Walters (London: BFI), pp. 162-165.

Roger Luckhurst (2014) Alien (London: BFI).

Suggested ViewingCity Lights (Charlie Chaplin, 1931)Taxi Driver (Martin Scorsese, 1976)Three Colours: Blue (Krzystof Kiesslowski, 1993)

Week TenScreening: On the Waterfront (Elia Kazan, US, 1954)Topic: The Body in Film: Performance

Required Reading

Richard Dyer (1998) ‘Stars and Performance’ in Stars, 2nd Edition (London: BFI), pp. 132-150.

James Naremore (1988) ‘Marlon Brando in On the Waterfront (1954)’ in Acting in the Cinema (Berkeley, Los Angeles and London: University of California Press), pp. 193-212.

Suggested Reading

Leo Braudy (2005) On the Waterfront (London: BFI)

Andrew Klevan (2005) ‘Introduction: Interpreting Performance’ in Film Performance. From Achievement to Appreciation (London and New York: Wallflower), pp. 1-18.

Joanna E. Rapf (ed.) (2003) On the Waterfront (Cambridge and New York: Cambridge University Press).

Suggested ViewingA Streetcar Named Desire (Elia Kazan, 1951)The Wild One (Laszlo Benedek, 1953)Last Tango in Paris (Bernardo Bertolucci, 1973)

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