Required Viewing

In this series of seminars students will become familiar with how to understand and read the visual language of cinema and will become more acquainted with some of the greatest filmmakers who have ever lived.  Pre-registration is required. Email craig@nwfilmforum for registration.

See our past Required Viewing classes here.


A History of Exploitation Cinema

December 2 - January 20 (Tuesdays) 6:30pm-8:30pm (No class Dec 23 & 30)
Instructor: David Church
Tuition: $150 ($125 for Film Forum members)


Made to capitalize on issues and imagery that more mainstream films would not address, exploitation films emerged across the twentieth century as an alternative mode of low-budget genre cinema centered on lurid spectacle, elaborately promotable elements, and timely or controversial subject matter. Today, these films are often seen as campy or outrageous schlock, but this course will show how they serve as important documents of the social anxieties that titillated audiences during their respective historical periods. Topics include 1930s-40s sex-hygiene films, 1950s rock ‘n’ roll teenpics, 1960s sexploitation, 1970s blaxploitation, 1970s vigilante films, and 1980s slasher films. Students will watch films and read short essays ahead of each week’s discussion group.


Click here to sign up for A History of Exploitation Cinema Class



Required Viewing: What the French Saw

February 2 - March 9 (Mondays), 6:30pm-8:30pm
Instructor: Lyall Bush
Tuition: $160 ($140 for Film Forum members)

Even if you know a lot about the nouvelle vague, from 400 Blows to La Collectioneuse, you may not know the American films that Truffaut and Rivette openly loved, wrote about with insight, and felt the bending influence of. In this class we will study these precursor films, with some occasional reference to the French films themselves. We will watch Hitchcock, for example, who was so loved by the young Jean-Luc Godard (Strangers on a Train, Vertigo), Jean Renoir, whose Rules of the Game captivated the whole generation, John Ford's The Searchers and My Darling Clementine, Howard Hawks's The Big Sleep, Red River and Rio Bravo. In addition, we will watch a film or two made by Monogram Pictures, the company to which Godard dedicated Breathless. And, throughout, we will read essays published in the legendary Cahiers du cinema, written by Truffaut, Godard, and Eric Rohmer.

Register for What the French Saw