Global Cinema

I.     Course Prefix/Number: HUM 161

       Course Name: Global Cinema

       Credits: 3 (3 lecture; 0 lab)

II.    Prerequisite


III.   Course (Catalog) Description

Course offers a survey of the historical development of globalcinema outside of Hollywood and the United States, emphasizing a study of filmsand innovations in film production, distribution, and exhibition, as well aschanges in national identity, that have had significant influence on cinema asan 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 and, 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.   Sequence 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)
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)
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)
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.

VII.  Methods of Instruction

  • Lectures and discussion
  • Reading Assignments
  • Films
  • Outside Screenings

Course may be taught as face-to-face, hybrid or online course.

VIII. Course Practices Required

(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 Evaluating Student Progress

(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

Important Dates
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 employees.
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.

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 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

Electronic video and/or audio recording is not permitted during class unless the student obtains written permission from the instructor. In cases where recordings are allowed, such content is restricted to personal use only. Any distribution of such recordings is strictly prohibited. Personal use is defined as use by an individual student for the purpose of studying or completing course assignments.

For students who have been approved for audio and/or video recording of lectures and other classroom activities as a reasonable accommodation by Oakton’s Access Disabilities Resource Center (ADRC), applicable federal law requires instructors to permit those recordings. Such recordings are also limited to personal use. Any distribution of such recordings is strictly prohibited.

Violation of this policy will result in disciplinary action through the Code of Student Conduct.