Skip to content

Belcourt - Nashville's Nonprofit Cinema

Anatomy of Cinema: How Movies Move Us

Anatomy of Cinema is now at capacity and SOLD OUT.

Full Seminar Pass: $175/$140 (Belcourt member)  |  Single Session Tickets: $25/$20 (Belcourt members) 

Please note that capacity is limited.


When we watch a film, the experience tends to wash over us. We pay attention to the story and recognize its effect, but we may not notice techniques that move us—the underlying anatomy that makes up each film. In a series of eight two-hour sessions, Vanderbilt faculty members in Cinema & Media Arts lead interactive discussions on the primary categories of film technique and the aesthetic experience of the moving image.

Seminar sessions will progress and build on each other—replicating the creative process of film production and the aesthetic choices made at every stage that govern the look, sound, and effect of the final work of art. Along the way, we will watch clips and discuss techniques within the context of film history, genre, and the key movements that revolutionized how a film could be made and watched.

Each session is on a Tuesday, from 6 to 8 p.m. in the Belcourt’s second floor Jackson Education and Engagement Space.


Upcoming Screenings

Anatomy of Cinema Seminar: Mise-en-scène

Anatomy of Cinema Seminar: Mise-en-scène

Anatomy of Cinema is now at capacity and SOLD OUT

Session 1: Mise-en-scène | Literally translated as “placement in the scene,” mise-en-scène is an umbrella term for location, set design, lighting, and the arrangement of people and things to be filmed. What difference does it make to shoot in a dark studio—the model of classical Hollywood cinema—versus the location shooting of Italian neo-realism or the Berlin School? What are the aesthetic and ethical dimensions of controlling mise-en-scene as opposed to allowing contingency to determine the content of the shot? Faculty members: Jennifer Fay and Lutz Koepnick

Anatomy of Cinema Seminar: Cinematography

Anatomy of Cinema Seminar: Cinematography

Anatomy of Cinema is now at capacity and SOLD OUT

Session 2: Cinematography | Sometimes described as writing with light and movement, cinematography entails the choice of film stock, lenses, framing, shot duration, and camera movement, all of which determine how we see the things, people, and environments placed before the camera. Faculty members: Claire King and Lutz Koepnick

Anatomy of Cinema Seminar: Editing

Anatomy of Cinema Seminar: Editing

Anatomy of Cinema is now at capacity and SOLD OUT.

Session 3: Editing | Editing is the joining of shots, ranging from the “invisible style” of Hollywood cinema to the more experimental techniques of Soviet Montage and the French New Wave. Because editing enables filmmakers to create completely imaginary geographies and temporalities, it is often considered to be the most cinematic of all techniques. Through it, cinema creates its own world. We consider this manipulation and creation. Faculty members: Jennifer Fay and Seth Kim

Anatomy of Cinema Seminar: Film Sound

Anatomy of Cinema Seminar: Film Sound

Anatomy of Cinema is now at capacity and SOLD OUT

Session 4: Film Sound | The session on sound considers how film’s invitation to the eye finds equal complexity in its address to the ear. Typically very highly produced but too infrequently discussed in its own right, the film soundtrack—including music, dialogue, sound effects, noise, and silence—is often what make cinema a truly moving image. Faculty members: Andrea Mirabile and Lutz Koepnick

Anatomy of Cinema Seminar: Acting in Cinema

Anatomy of Cinema Seminar: Acting in Cinema

Anatomy of Cinema is now at capacity and SOLD OUT

Session 5: Acting in Cinema | What difference does it make that film actors play to a camera instead of a live audience, or that what we perceive as a single performance is typically many performances edited together? How do human actors compete with animals, things, and cinema’s wider environments in film as opposed to theater? This seminar takes stock of the film actor as a force of narrative, a master of technique, and as an entity uniquely produced by film style. Faculty members: Seth Kim and Claire King

Anatomy of Cinema Seminar: Genres of Feeling, The Film Musical

Anatomy of Cinema Seminar: Genres of Feeling, The Film Musical

Anatomy of Cinema is now at capacity and SOLD OUT

Session 6: Genres of Feeling, The Film Musical | The film musical is defined by the occurrence of song and typically dance within the film’s world. In other words, it entertains the possibility of a world in which people may typically sing and dance as a matter of course. This session explores the Hollywood musical form and its efforts to recover the community, spontaneity, and shared popular experience associated with live performance, along with the particular feelings--associations, emotions, and even political sentiments-- the genre summons forth. Faculty members: Jennifer Fay and Claire King

Anatomy of Cinema Seminar: Art Cinema Today: Moving Images Beyond the Cinematic Auditorium

Anatomy of Cinema Seminar: Art Cinema Today: Moving Images Beyond the Cinematic Auditorium

Anatomy of Cinema is now at capacity and SOLD OUT

Session 7: Art Cinema Today: Moving Images Beyond the Cinematic Auditorium | Film may move us emotionally, but cinema itself is on the move today as well and can be found in museums, art galleries, on portable viewing devices, and on ambient screens that surround us at all times. We move films around, carry them with us, and allow them to move us. At its best, art cinema today experiments with this expansion of viewing arrangements and the ubiquity and mobility of the moving image in the digital age. Faculty members: Seth Kim and Lutz Koepnick

Anatomy of Cinema Seminar: Film and Painting

Anatomy of Cinema Seminar: Film and Painting

Anatomy of Cinema is now at capacity and SOLD OUT

Session 8: Film and Painting | Photography, some theorists say, liberated painting from the mandates of representation, and many early photographs take their cues from genres of painting. How does cinema fit into and also challenge this narrative? What is the relationship between the moving, photographic image (typically taken of the “real” world) and the still encounter with painting (that typically produces its own world)? This session thinks in broad strokes about the relationship between these two media. Faculty members: Jennifer Fay and Andrea Mirabile

today Next Month Previous Month
Su M Tu W Th F Sa