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I believe that any spectacle, film or stage play can only reach a certain level if the author collaborates with the public. Every spectator must be able in his own fashion to interpret both the situations and the general sense of the piece. The spectator is a human being capable of reflection and therefore of imagination. Being human he is attracted by the least effort; but also, being human, he is devoured with curiosity. In my position as an author-director my approach to the spectator is the same as my approach to the actor. It is enough to leave a door open for him and to send him home with his personal interpretation of the situation and the feelings of the protagonists. If the situation in itself does not permit this multiplicity of interpretation, then the author may fall back on some device so simple that even the most dull-witted spectator realizes that it is an appeal to the imagination. Tartuffe is arrested by the King’s officers, but few spectators believe that this is the end of the matter. Some believe that he will return in triumph to the home of his benefactor, and others that he will get out of prison and prey on another victim. Everybody has his own answer to the riddle of Tartuffe. As a rule, the ending of a play does not allow so much room for surmise. It is in the sentiments of the beings portrayed by the actors that the spectator may find food for his own imagination and thus become the collaborator of the author.
                                                                                      JEAN RENOIR
                                                                                      My Life and My Films, 1974

Think of this course as your own private film club. (It also complements the Wonderworks Summer Film Workshop for High School Students, presented in June and July in association with the UH School of Communication.) Films are introduced, screened and discussed each week by Professor Houk and others. Each film is accompanied by a critical article or other appropriate reading.

Films for this spring include: Fast Times at Ridgemont High (Amy Heckerling, 1982), Brief Encounter (David Lean, 1946), The Man Who Shot Liberty Valance (John Ford, 1962), Shadow of a Doubt (Alfred Hitchcock, 1942), The Slums of Beverly Hills (Tamara Jenkins, 1998), Anatomy of a Murder (Otto Preminger, 1959), Shoot the Piano Player (Francois Truffaut, 1960), A Day in the Country (Jean Renoir, 1937), Antoine and Colette (Francois Truffaut, 1962), La Jete (Chris Marker, 1962), Tom Jones (Tony Richardson, 1963), Solo con Tu Pareja (Alfonso Cuarón, 1991), and others.

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Wonderworks is a non-profit organization offering pre-college, after-school enrichment learning opportunities for high school students of special promise and ability.

Enrollment is free and open to all qualified students in grades 9 through 12.  To apply, fill out the form provided and mail to:

Be sure to include an e-mail address you can be reached at or through (either your own or that of a parent or teacher). If necessary, transportation may be arranged from campuses with sufficient enrollment. If you have questions or need additional information, please phone 713.301.4882 or e-mail movingpictures@wonderworkshouston.org.

The course will be filled on a first-come, first-served basis for qualified applicants. Applications must be received no later than 19 January to ensure full consideration; late applications will be considered if openings are available.

This program is made possible in part by a grant from HOUSTON ENDOWMENT INC.

For more information: info@wonderworkshouston.org