Course Description

Since the 1960s, the phenomenon of Georgian cinema has emerged, with its own unique style; a distinctive Aesopian language and parables that allowed it to circumvent the obstacles of Soviet censorship; a distinctive national flavor and, at the same time, a universal, global worldview. The course explores the specifics of this phenomenon, including through a comparative analysis of Georgian cinema with Soviet and foreign cinema. The final lesson will be devoted to an analysis of contemporary Georgian cinema.

The course includes homework assignments in the form of viewing a selection of Georgian films from a suggested list. A series of film quotes and episodes will be viewed, followed by discussion, in class.

Prerequisites

The candidate must have a love of "philosophical" cinema, a general knowledge of Georgian cinema, and an understanding of the main trends in world cinema.

Learning Goals
- Learn to understand the symbolism of Georgian cinema.
- Master the philosophical language of parables in world cinema and the characteristics of Georgian parables.
- Explore the use of Aesopian language in Georgian cinema under Soviet censorship.
- Identify the similarities and distinctive features of Georgian cinema and Soviet, Georgian, and world cinema in general.
- Identify the main trends in contemporary Georgian cinema.

Learning outcomes

Upon completion of the course, students will be able to:
- Gain basic knowledge about the phenomenon of Georgian cinema from the 1960s to 1980s.
- Participate in debates and discussions on the symbolism of film language, parables, and existential motifs in Georgian cinema.
- Understand the nature of the social dimension of Georgian cinema. Understand the characteristics of Georgian dissidence.
- Gain insight into current trends in Georgian cinema.

Class topics

1. The specifics of Georgian cinematic language. What is the distinctive feature (phenomenon) of Georgian cinema of this period? The parable genre in Georgian cinema.

2. Aesopian language as latent dissidence?

3. Existential motifs in Georgian cinema.

4. Georgian cinema as part of Soviet cinema. Georgian cinema as part of world cinema. A comparative analysis.

5. The specifics of contemporary Georgian cinema. Novelty? Continuation of tradition?

Assessment

The student selects one of the suggested topics for analysis and examines it based on either the suggested films or other films of their choice. They prepare a 3-6 page essay.
The essay is submitted in written form (PDF/Word) and defended orally (7-10 minutes of presentation).

Examples of thesis topics
1. Existential questions raised by the parable genre in Georgian cinema, as exemplified by the film

2. Characteristics of Aesopian language in Georgian cinema

3. The socio-political component of Georgian cinema, as exemplified by

4. Georgian cinema as part of Soviet cinema. Similarities and distinctive features.

5. Georgian cinema as part of world cinema: iconic borrowings and distinctive features.

6. Reflexivity and self-irony in Georgian cinema.

7. Georgian cinema today. Main trends.и.