MMS Course Archive - Fall 2017 to April 2018
Courses are listed starting with the most recent
BIENVENUE DANS LE MONDE DES JEUX VIDÉO D'ÉPOUVANTE
(Welcome to the World of Scary Video Games)
Instructor: Bernard Perron
Tue., 27 March to Tue., 10 April, 2018 (3 weeks)
Courte introduction de l’histoire des jeux vidéo d’épouvante de Haunted House (1981) à Resident Evil VII (2017). Analyse de quelques stratégies utilisées par les concepteurs de jeu pour faire peur au joueur. Bernard Perron est professeur titulaire au département d’histoire de l’art et d’études cinématographiques à l’Université de Montréal. Fan d’horreur, il aime bien jouer à se faire peur en lisant des romans et des bandes dessinées, regardant des films et s’immergeant dans des jeux vidéo. Il a entre autres dirigé l’ouvrage Horror Video Games: Essays on the Fusion of Fear and Play (2009), et écrit Silent Hill: The Terror Engine (2012, version française en 2016) ainsi que The World of Scary Video Games: A Study in Videoludic Horror (2018). (Course conducted in French)
(Welcome to the World of Scary Video Games)
Instructor: Bernard Perron
Tue., 27 March to Tue., 10 April, 2018 (3 weeks)
Courte introduction de l’histoire des jeux vidéo d’épouvante de Haunted House (1981) à Resident Evil VII (2017). Analyse de quelques stratégies utilisées par les concepteurs de jeu pour faire peur au joueur. Bernard Perron est professeur titulaire au département d’histoire de l’art et d’études cinématographiques à l’Université de Montréal. Fan d’horreur, il aime bien jouer à se faire peur en lisant des romans et des bandes dessinées, regardant des films et s’immergeant dans des jeux vidéo. Il a entre autres dirigé l’ouvrage Horror Video Games: Essays on the Fusion of Fear and Play (2009), et écrit Silent Hill: The Terror Engine (2012, version française en 2016) ainsi que The World of Scary Video Games: A Study in Videoludic Horror (2018). (Course conducted in French)
THE MONSTRUM BROOD, VOL. 2: Down the "Rabid" Hole with The Midnight Meat Train: Subways & Horror
Instructor: Mariane Desautels
Tue., 20 March, 2018 (1 week)
The second class in our "Monstrum Brood" series where we invite MMS students to take the stage with a topic of their own choosing. For this lecture, longtime MMS student Mariane Desautels, will discuss the form(s) and context(s) for "subway horror," and Ryuhei Kitamura's 2008 film Midnight Meat Train, an adaptation of Clive Barker's story of the same title.
Instructor: Mariane Desautels
Tue., 20 March, 2018 (1 week)
The second class in our "Monstrum Brood" series where we invite MMS students to take the stage with a topic of their own choosing. For this lecture, longtime MMS student Mariane Desautels, will discuss the form(s) and context(s) for "subway horror," and Ryuhei Kitamura's 2008 film Midnight Meat Train, an adaptation of Clive Barker's story of the same title.
SHOCK HORROR
Instructor: Ellen Freeman
Tue., 13 Feb. to Tue., 27 Feb., 2018 (3 weeks)
Ellen Freeman guides us through three weeks of “Shock Horror.” Focusing on Tom Six’s three increasingly absurd HUMAN CENTIPEDE films (2009, 2011, 2015), Freeman explores the moral-emotional implications of moviegoers’ responses to these films as “disturbing.”
Instructor: Ellen Freeman
Tue., 13 Feb. to Tue., 27 Feb., 2018 (3 weeks)
Ellen Freeman guides us through three weeks of “Shock Horror.” Focusing on Tom Six’s three increasingly absurd HUMAN CENTIPEDE films (2009, 2011, 2015), Freeman explores the moral-emotional implications of moviegoers’ responses to these films as “disturbing.”
THE MUSIC OF HORROR
Instructors: Mario DeGiglio-Bellemare, Kristopher Woofter
Tue., 23 Jan. to Tue., 6 Feb., 2018 (3 weeks)
Co-directors, Mario DeGiglio-Bellemare and Kristopher Woofter lead us into the Winter 2018 semester with our eyes closed in the three-week course, The Music of Horror. This experimental “listening course” encourages us to shift our sensorial privilege from visual to auditory experience, and to the sublime sensations and synaesthesia generated by horror scores and musical themes, both iconic and obscure.
Instructors: Mario DeGiglio-Bellemare, Kristopher Woofter
Tue., 23 Jan. to Tue., 6 Feb., 2018 (3 weeks)
Co-directors, Mario DeGiglio-Bellemare and Kristopher Woofter lead us into the Winter 2018 semester with our eyes closed in the three-week course, The Music of Horror. This experimental “listening course” encourages us to shift our sensorial privilege from visual to auditory experience, and to the sublime sensations and synaesthesia generated by horror scores and musical themes, both iconic and obscure.
DUANE JONES: RACE AND REVOLUTION
Instructors: Dave Austin, Mario DeGiglio-Bellemare
Tue., 28 Nov. to Tue., 5 Dec., 2017 (2 weeks)
This two-week course with Dave Austin and Mario DeGiglio-Bellemare examines the important place of the actor who played the now-iconic character of Ben in Night of the Living Dead (1968) and the lead in the experimental horror film, Ganja and Hess (1973), as a figure embodying the revolutionary aspirations of the Vietnam era.
Instructors: Dave Austin, Mario DeGiglio-Bellemare
Tue., 28 Nov. to Tue., 5 Dec., 2017 (2 weeks)
This two-week course with Dave Austin and Mario DeGiglio-Bellemare examines the important place of the actor who played the now-iconic character of Ben in Night of the Living Dead (1968) and the lead in the experimental horror film, Ganja and Hess (1973), as a figure embodying the revolutionary aspirations of the Vietnam era.
DAUGHTERS OF DARKNESS: WOMEN IN HORROR
Instructors: Anne Golden, Karen Herland, Rosanna Maule, Alanna Thain, Kristopher Woofter
Tue., 17 Oct. to Tue. 21 Nov., 2017 (5 weeks)
In this five-week course, five different instructors focus on issues related to women’s and gender issues in horror. Topics include horror films by female directors, feminist horror, feminist readings of horror, and female performances of abjection in horror. Films include CARRIE (Brian De Palma, 1976), TÉSIS (Alejandro Amenábar, 1996), JENNIFER’S BODY (Karyn Kusama, 2009), THE BABADOOK (Jennifer Kent, 2014), and EVOLUTION (Lucile Hadžihalilović, 2015).
17 October – Kristopher Woofter, on Carrie (1976)
24 October – Alanna Thain, on Evolution
31 October – Halloween Break
7 November – Rosanna Maule, on Tesis
14 November – Karen Herland, on The Babadook
21 November – Anne Golden, on Jennifer's Body
Instructors: Anne Golden, Karen Herland, Rosanna Maule, Alanna Thain, Kristopher Woofter
Tue., 17 Oct. to Tue. 21 Nov., 2017 (5 weeks)
In this five-week course, five different instructors focus on issues related to women’s and gender issues in horror. Topics include horror films by female directors, feminist horror, feminist readings of horror, and female performances of abjection in horror. Films include CARRIE (Brian De Palma, 1976), TÉSIS (Alejandro Amenábar, 1996), JENNIFER’S BODY (Karyn Kusama, 2009), THE BABADOOK (Jennifer Kent, 2014), and EVOLUTION (Lucile Hadžihalilović, 2015).
17 October – Kristopher Woofter, on Carrie (1976)
24 October – Alanna Thain, on Evolution
31 October – Halloween Break
7 November – Rosanna Maule, on Tesis
14 November – Karen Herland, on The Babadook
21 November – Anne Golden, on Jennifer's Body
AUSTRALIAN HORRORSCAPES
Instructor: Melanie Ashe
Tue. Sept. 26, 2017 - Tue. Oct. 10, 2017 (3 weeks), 2017
Animals that kill, barren desert landscapes, and brash local culture: myths regarding Australia’s danger persist on an international scale. This course will examine how these narratives inhabit the landscape in Australian horror film, drawing material from the inventive ‘Ozploitation’ of the 1970s, the historically canonized art-cinema of the same time, and the more recent cycle of Australian horror films. In order to investigate how the horror-landscape is constructed and utilized within these examples, we will interrogate space and formal elements such as lighting, mise-en-scène and sound. To scrutinize the national mythologies behind these landscapes, and to question how genre is employed to project fears from and of colonial Australia, we will consider the historical, political and industrial contexts around the production of these films. We will ask how these films engage with Australian Indigenous and settler histories, myths of nationhood and national cinemas, and the ‘wilderness’ versus ‘culture’ binary. With Screenings of Picnic at Hanging Rock, Razorback, and Mystery Road.
Instructor: Melanie Ashe
Tue. Sept. 26, 2017 - Tue. Oct. 10, 2017 (3 weeks), 2017
Animals that kill, barren desert landscapes, and brash local culture: myths regarding Australia’s danger persist on an international scale. This course will examine how these narratives inhabit the landscape in Australian horror film, drawing material from the inventive ‘Ozploitation’ of the 1970s, the historically canonized art-cinema of the same time, and the more recent cycle of Australian horror films. In order to investigate how the horror-landscape is constructed and utilized within these examples, we will interrogate space and formal elements such as lighting, mise-en-scène and sound. To scrutinize the national mythologies behind these landscapes, and to question how genre is employed to project fears from and of colonial Australia, we will consider the historical, political and industrial contexts around the production of these films. We will ask how these films engage with Australian Indigenous and settler histories, myths of nationhood and national cinemas, and the ‘wilderness’ versus ‘culture’ binary. With Screenings of Picnic at Hanging Rock, Razorback, and Mystery Road.
