 |
Course Description
Film and video are often considered to be a distinct semiotic system or art form with their own “language.” This course surveys the variety of structures which can organize moving pictures: from Hollywood continuity editing, Soviet montage and cinema verite to voice-over documentary, talking heads and postmodern voices with no center at all. The course includes silent film, classic Hollywood narrative, avant-garde film and video, documentary and activist video. This course is one of the three prerequisites to many intermediate and upper level Media Studies courses, including production courses such as Introduction to Video Production (MS82PZ).
Statement of Student Learning Outcome
By the end of this course, students ideally are expected:
- To be aware of the components of the filmic language, such as the elements of shots, editing, mise-en-scene, sound, and be able to analyze film as text;
- To acquire a sense of the history of cinema and basic knowledge of the major film movements;
- To be able to discern different film genres, including narrative, documentary, experimental and avant garde films, as well as components of these generic conventions within complex filmic texts;
- To be aware of the major schools of thought and debates within film and media studies
- To be able to discuss and convey the above-mentioned knowledge and skills in both critical written arguments and in oral presentations/discussion;
- To be able to work and learn in both individual and group contexts.
Course Organization
Class activities include discussion of reading assignments and films, in and out of class (on Tuesdays at 7pm) screenings,
and group presentations. Depending on funding and availability,
guest speakers (film and videomakers, media artists, programmers,
scholars, etc.) will be invited to class, or to the Media Studies cinematheque
series - we may elect to go on a field trip or attend out-of-class screenings and lectures, depending on our progress and student interest.
Please turn off all cell phones and PDAs during class. Absolutely no texting and similar activities allowed. Laptops can only be used for taking notes and for relevant web searches—no emailing and other cyber actvities not related to this class. These and other diversions are not acceptable during class time, and will lower your grade.
| Course Requirements
|
| 1. |
Attend all classes and class screenings |
| 2. |
Participation in class discussions and
group projects, complete three written statements linking films and the reading. |
| 3. |
Completion of one editing quiz, a mid term, a final, one paper, and two group projects |
Attendance
Attendance and participation of all classes is required. Do not miss class
or arrive late! If you miss class 3 times without
a proper excuse, (e.g. a doctor's note if you are sick) you fail the class.
Absences must be cleared by me before or after (in case of emergencies
only) the class you missed in order for it to not affect your final grade.
Attendance is determined by when I take roll.
Class Participation
Your active, well-prepared participation in class discussions is essential
to creating a dynamic (i.e. not boring!) learning environment. Although
you will not receive a letter grade for class participation, it will figure
into your final grade based on my observations.
We may study sexually explicit, political, and otherwise challenging
material in this course. These are not included for shock value, but are
legitimate investigations of controversial subject matters in media. You
are certainly encouraged to explore difficult and complex subject matters
in your work, and you should be prepared to consider these issues intellectually
and emotionally. Our class is a safe space in which students can express
their beliefs and opinions. You always have a voice, but please be respectful
of others as well. Abusive language and behavior are not be tolerated.
Open-mindedness is encouraged!
Exams, Papers and Projects
Students will complete one editing quiz, a mid term, a final, one paper, three statements, and two group projects:
| 1. |
Quiz and Mid-term: All exams will occur in-class. If you can not make them, you must organize a make-up exam in advance . If you are not there for the exam, you will receive a zero. The first quiz will be a short analysis of the editing in a clip from a movie we have seen in class using the terms covered in class to date. The mid-term will be an in-class analysis of the use of sound and image in Citizen Kane and a test of all the terms to date.
|
| 2. |
Group Projects: There are five group projects (on Abstract Editing, Documentary, Music, Reality TV, and Masculinity) you must choose two. In groups of approximately 3-5 students, you will choose a scene from the film to screen (up to 5 minutes), and lead discussion of that scene for 15 minutes. You will begin the presentation by reading a 2-3 page group-paper, which you will turn in. Guidelines on group projects and class presentations. |
3. |
Written Statements: after a film is screened in class, write a one paragraph statement linking the film you saw to a specific class reading. Make an argument, observation, and/or response in the statement—what relationships do you see between scenes in the film and the concepts you read about? You can use your statement to pose a question to the class. Take a position, have an opinion! Select three films to write about for the semester, and bring them to class when the film and reading are scheduled to be discussed. You will read your statement as a part of the class discussion, and hand it in afterwards. These will not be graded, but they will count as a part of your class participation grade. One additional statement can be written for extra credit. |
| 4. |
Paper and Final: There will be one, 1-page paper on a documentary film, due on Tuesday 4/19. The final will be a 5-paragraph essay on a film (to be announced). The assignment for this take home final will be handed out on Tuesday, 5/3 and will be due on Tuesday 5/10. |
Unless an extension is approved by myself in advance
of the due date, your grade are reduced by one letter grade (i.e. B to C)
per class day your project is late. You are encouraged to meet with
me individually during my office hours to discuss your assignments, your
grades, and your overall performance in class. I am always open to suggestions
and feedback!
Reading Assignments
You should complete all the reading before class so that you can participate actively in discussion. The readings are from required books on sale at Huntley Bookstore, or go to amazon.com or half.com. The required and optional textbooks are also on reserve at Honnold:
Required Textbooks
David Bordwell and Kristin Thompson, Film Art, current edition, Mcgraw-Hill.
Robert Kolker, Film, Form, and Culture , current edition, McGraw-Hill.
John Hill and Pamela Church Gibson, eds., The Oxford Guide to Film Studies , Oxford University Press, 1998.
Optional Textbook
David Cook, A History of Narrative Film , current edition, W.W. Norton and Company.
Grading
Your final grade will be based on the following |
| • |
Editing Quiz: 15% |
| • |
Documentary Paper: 15% |
• |
Mid-term: 20% |
| • |
2 Group Projects: 20% |
| • |
Final: 20% |
| • |
Class participation* 10% |
* Your general performance in class including participation, written statements, attendance, and punctuality, except in the special cases listed above, such as if you have more than 3 un-excused absences.
Generally, outstanding ('A') students in this class have good attendance
and completed all their assignments on time. They are consistently well
prepared for class, and actively participate in and advance our discussions
with pertinent information, questions, and observations. Their work demonstrate
their awareness of the issues at hand, the historical context for the
film and videos they are discussing, as well as their ability to articulate
their observations and analyses in a clear and concise manner. Only letter
grades are given out in this class.
Academic honesty -
all work done for this course must be the original work of the student
submitting it, and should have been undertaken exclusively for this course.
No work done prior to this class maybe used to fulfill the class assignments. Plagiarism will result in the student receiving an F for the class grade.
Extra credit - Students are
encouraged to attend screenings, conferences, lectures, exhibitions and
web events related to this course. Write a two-page (typed and double-spaced)
report of the event or activity. Incorporate the event's relevance to
the class as well as your personal responses to it. Proof of attendance
is required (keep your ticket stubs, programs, etc.) Students are allowed
two extra credit papers. Announcements for events of interest to this
class are done in the first 5 mins. of each class.
* I try my best to make my grading criteria as clear as possible,
and you are welcome to come and discuss your grades and your class performance
with me. However, I only consider legitimate concerns, and be aware that
your grade is as likely to go down as it is to go up after I reassess
your assignment. I do not tolerate haggling, bribing, threats, and any
other pointless arguments. I consider all aspects of your performance
before I assign a grade, please respect my assessment as I respect your
efforts.
|
| |
Course Schedule:
PART I: THE LANGUAGE OF IMAGES
Tuesday 1/18: Introduction to FIlm as a Language
Thursday 1/20: Pre-Cinema
Screening (Tuesday 1/18 7pm)
__• Selected shorts by Melies, 1897-1912
__• GREAT TRAIN ROBBERY (1903) Dir. Edwin Porter
__• 1870s - Eadweard Muybridge's
motion photography (examples 1, 2), Zoopraxiscope (examples 1, 2)
__• Examples of Zoetropes 1, 2, 3
__• Marey - Chronophotographic gun, image
Terms
__• Reflexivity,diegesis, form, shot, emulsion, persistence of vision
Required Reading Thursday
Film Art , pp. 2-46, 440-447
Film, Form, and Culture, Intro
History of Narrative Film, pp. 1-27 (optional)
Tuesday 1/25: Pre-Cinema
Thursday 1/27: Early Cinema: Creating a Narrative System
Screening (Tuesday 1/25 7pm)
__• Selected scenes from BIRTH OF A NATION (1915) Dir. D.W. Griffith, Lincoln assassination image
__• Selected scenes from WITHIN OUR GATES (1920) Dir. Oscar Michaeux (optional)
__• Edison - Kinetoscope (1, 2), the Black Maria (1, 2)
__• Selected Edison Kinescopes, 1890s (in class)
__• Selected Lumiere films, 1890s (in class)
__• Excerpts form LUMIERE AND COMPANY (1995), Dir. various
__40 contemporary filmmakers invited to make films with the original Lumiere Cinematographe (in class)
Terms
__• Reflexivity,diegesis, form, shot, emulsion, persistence of vision
__• Close up, medium close up, medium shot, three quarter shot, full shot, long shot, single shot, two shot, inter-title, parallel action, crosscutting, narrative film
Required Reading Tuesday
Oxford Guide to Film Studies , Ch. 1.1, 2.4
Required Reading Thursday
Film Art , pp. 74-94
Film, Form, and Culture, pp. 156-159
History of Narrative Film, pp. 29-41 (optional)
Tuesday 2/1: Early Cinema: Creating a Narrative System
Thursday 2/3: Stablizing the System: Continuity Editing in the Studios
Screening (Tuesday 2/1 7pm)
__• HIS GIRL FRIDAY (1940) Dir. Howard Hawkes
__• Selected scenes from WITHIN OUR GATES (1920) Dir. Oscar Michaeux
__• One-reelers by Alice Guy Blanche and Lois Weber, 1915-16 (in class)
Terms
__• Close up, medium close up, medium shot, three quarter shot, full shot, long shot, single shot, two shot, inter-title, parallel action, crosscutting, narrative film
__• Editing, point-of-view shot, reaction shot, off-screen space, continuity editing, 180' rule, establishing shot, shot/reverse shot, over-the-shoulder two shot, eyeline match, match on action, sequence
Required Reading Tuesday
Oxford Guide to Film Studies , Ch. 1.17
Film, Form, and Culture, pp. 10-38
History of Narrative Film, pp. 51-74 (optional)
Required Reading Thursday
Film Art , pp. 54-73
Film, Form, and Culture, pp. 38-50
Oxford Guide to Film Studies , Ch. 2.3 (optional)
History of Narrative Film, pp. 231-251 (optional)
Tuesday 2/8 : Stablizing the System: Continuity Editing in the Studios
Thursday 2/10:
Soviet Montage
Screening (Tuesday 2/8 7pm)
__• BATTLESHIP POTEMKIN (1925) Dir. Segei Eisenstein
__• MAN WITH A MOVIE CAMERA (1928) Dir. Dziga Vertov (optional)
__• DANCE GIRL DANCE (1940) Dir. Dorothy Arzner (in class)
Terms
__• Editing, point-of-view shot, reaction shot, off-screen space, continuity editing, 180' rule, establishing shot, shot/reverse shot, over-the-shoulder two shot, eyeline match, match on action, sequence
__• Framing: centered, open, tight, canted, high angle, low angle; overhead shot, full face shot, side view, three-quarter view, compilation film, montage
Required Reading Tuesday
Film Art , pp. 218-263, 385-388
Film, Form, and Culture, pp. 51-62, 81-93, 108-132 (optional)
History of Narrative Film, pp. 255-288 (optional)
Required Reading Thursday
Film, Form, and Culture, pp. 94-103
Film Art , pp. 453-456
Oxford Guide to Film Studies , Ch. (1.7, 1.12, optional)
History of Narrative Film, pp. 113-152 (optional)
Tuesday 2/15: Soviet Montage
Thursday 2/17: Editing Quiz, Expressionist Mise-en-Scene
Screening (Tuesday 2/15 7pm)
__• SUNSET BOULEVARD (1950) Dir. Billy Wilder
__• FROM THE CABINET OF DR. CALIGARI (1919) Dir. Robert Weine (optional)
__• MAN WITH A MOVIE CAMERA (1928) Dir. Dziga Vertov (in class)
__• MAN WITH A MOVIE CAMERA:THE GLOBAL REMAKE by Perry Bard (in class)
Terms
__• Tone, saturation, warm colors, cool colors, key lighting, fill light, back lighting, three point lighting, high contrast lighting, low contrast lighting, expressionism, chiaroscuro, cinematographer, film noir, mise-en-scene
Examples of German Expressionist Painting
__• Kathe Kollwitz
__• Emil Nolde
__• Erich Heckel
__• Lyonel Feininger
__• Ludwig Meidner
Required Reading Tuesday
Film, Form, and Culture, pp. 94-103
Film Art , pp. 453-456
Oxford Guide to Film Studies , Ch. (1.7, 1.12, optional)
History of Narrative Film, pp. 113-152 (optional)
Required Reading Thursday
Film Art , pp. 112-161, 447-450
Film, Form, and Culture, pp. 62-69, 103-107
Oxford Guide to Film Studies , Ch. (2.8, 1.3 optional)
History of Narrative Film, pp. 87-111 (optional)
Suggested Viewing
__• THE RISE AND FALL OF THE ROMANOV DYNASTY (1927) Dir. Esfir Shub (in class)
__• SYMPATHY FOR THE DEVIL (1970) Dir. Jean-Luc Goddard (in class)
Tuesday 2/22: Expressionist Mise-en-Scene
Thursday 2/24: Discontinuity in Space and Time: Abstract Editing; Long Take, Deep Focus
In class QUIZ, Thursday 2/24, on terms and continuity editing
Analysis of a scene from Dance, Girl, Dance (1940) Dir. Dorothy Arzner(1,2)
Screening (Tuesday 2/22 7pm)
__• CITIZEN KANE (1941) Dir. Orson Welles
__• FROM THE CABINET OF DR. CALIGARI (1919) Dir. Robert Weine (in class)
__• WRITTEN IN THE WIND (1956) Dir. Douglas Sirk (in class)
Terms
__• Associative editing, abstract form, nouvelle vague, formalism, surrealism, jump cut, non-diegetic insert shot, match on action, cheat cut, fade in/out, dissolve, wipe, graphic match, flashback, flash forward, neo-realism
Required Reading Tuesday
Film, Form, and Culture, pp. 133-139, 211-221, 232-245
Film Art , pp. 318-337
Oxford Guide to Film Studies , pp. (24-26, Ch. 2.7, 1.4, 2.5, optional)
History of Narrative Film, pp. 368-385 (optional)
Required Reading Thursday
Film Art , pp. 355-370, 450-453
Oxford Guide to Film Studies , Ch. 1.8, 3.7 (optional)
History of Narrative Film, pp. 303-313, (optional)
Tuesday 3/1: Abstract Editing + Long Take, Deep Focus
Thursday 3/3: Long Take, Deep Focus
No screening this week - you may review CITIZEN KANE to prepare for the mid-term
GROUP PROJECT #1: ABSTRACT EDITING—EXPERIMENTAL AND AVANT GARDE FILMS
UN CHIEN ANDALOU (1928) Dir. Luis Bunuel & Salvador Dali (in class)
MESHES OF THE AFTERNOON (1943) Dir. Maya Deren
SCORPIO RISING (1962) Dir. Kenneth Anger
A BOUT DE SOUFFLE (BREATHLESS) (1959) Dir. Jean-Luc Goddard
Terms
__• Deep space, deep focus, depth of field, long take, tracking shot, dolly shot, tilt, pan, crane shot, focal length, focus, focus plane, rack focus, shallow focus, anamorphic lens, widescreen, aspect ratio
Required Reading Tuesday
Film Art , pp. 207-217, 304-316
Film, Form, and Culture, pp. 70-74
Oxford Guide to Film Studies , Ch. 1.2 (optional)
History of Narrative Film, pp. 327-353 (optional)
No readings for Thursday, review your notes to prepare for the mid-term
PART II: THE LANGUAGE OF SOUND
Tuesday 3/8: The Language of Sound
Thursday 3/10: Film Sound Theory
Screening (Tuesday 3/8 7pm)
__• SINGIN' IN THE RAIN (1952) Dir. Stanley Donan & Gene Kelly
__• ILLUSION (1983) Dir. Julie Dash
Terms
__• Diegetic sound, non-diegetic sound, internal diegetic sound, external diegetic sound, synchronous sound, asynchronous sound, off-screen space, off screen sound, added value, vococentrism, verbocentrism, synchresis
Required Reading Tuesday
Film Art , pp. 264-292,456-459
History of Narrative Film, pp. 205-230 (optional)
No readings for Thursday, study for the mid-term
Tuesday 3/15 and Thursday 3/17: Fall Break, No Class Meeting
Tuesday 3/22: Breaking Continuity in the Studio: The Musical
Thursday 3/24: In class MID-TERM on Terms/Editing in CITIZEN KANE
Screening (Tuesday 3/22 7pm)
THE CONVERSATION (1974) Dir. Francis Ford Coppola
Required Reading Tuesday
Oxford Guide to Film Studies , Ch. 1.5, 2.9 (optional)
Rick Altman, "The Evolution of Sound Technology," in Film Sound, ed. Elisabeth Weis and John Belton (New York, N.Y.: Columbia University Press, 1985) pp. 44-53
History of Narrative Film, pp. 387-410 (optional)
Required Reading Thursday
Michel Chion, Audio-Vision, pp. 3-34
Rick Altman, Sound Theory/Sound Practice, Routledge, New York, 1992. pp. 1-31 35-64 (optional)
Tuesday 3/29: Multiple Sound Tracks and The Contemporary Musical
Thursday 3/31: The Contemporary Musical + Documentary Form
Screening (Tuesday 3/29 7pm)
__• DANCER IN THE DARK (2000) Dir. Lars von Trier
Terms
__• Documentary, location shooting, realism, real time, sound bridge, voice over, contrapuntal sound, loudness, pitch, timbre, cinema verite, direct cinema, direct sound, hand held shot, zoom
GROUP PROJECT #2: SOUND AND MUSIC
NASHVILLE (1975) Dir. Robert Altman
THE CONVERSATION (1974) Dir. Francis Ford Coppola (clips)
AMERICAN GRAFFITI (1973) Dir. George Lucas (clips), possibly replace with THE SHINING or 2001?
DANCER IN THE DARK (2000) Dir. Lars von Trier (clips)
HEDWIG AND THE ANGRY INCH (2001) Dir. John Cameron Mitchell (clips)
CHUNGKING EXPRESS (1994) Dir. Wong Kar Wai (clips)
Required Reading Tuesday
Film Art , pp. 459-463
Film, Form, and Culture, pp. 271-278
History of Narrative Film, pp. 431-465 (optional)
Oxford Guide to Film Studies , Ch. (3.9, 3.8 optional)
Required Reading Thursday
Film Art , pp. 463-475
Film, Form, and Culture, pp. 139-153
Oxford Guide to Film Studies , Ch. 2.6
History of Narrative Film, pp. (425-429, 845-871 optional)
Tuesday 4/5: The Documentary Form
Thursday 4/7: Voice-Over and Direct Cinema: Representing American Youth (1)
Screening (Tuesday 4/5 7pm)
__• NANOOK OF THE NORTH (1922) Dir. Robert Flaherty
GROUP PROJECT #3: DOCUMENTARY
AN AMERICAN FAMILY, EPISODE 6 (1972) Dir. Alan and Susan Raymond
HIGHSCHOOL (1968) Dir. Frederick Wiseman
A DEATH IN AN AMERICAN FAMILY (2000) Dir. Alan and Susan Raymond (in class)
WOODSTOCK (1970) Dir. Michael Wadleigh (in class)
AN AMERICAN LOVE STORY, one episode (1998) Dir. Jennifer Fox (in class)
AMERICAN HIGH, one episode (2000) Dir. R.J. Cutler (in class)
Required Reading Tuesday
Film Art , pp. 338-355
Oxford Guide to Film Studies , Ch. 3.4
Required Reading Thursday
Oxford Guide to Film Studies , Ch. 1.20
Film, Form, and Culture, pp. 222-231
Tuesday 4/12: Talking Heads Breakdown (1): Representing Class, Race, and Sexuality (in American Movies)
Thursday 4/14: Talking Heads Breakdown (2): Representing American Reality
Screening (Tuesday 4/12 7pm)
__• AMERICAN MOVIE (1999) Dir. Chris Smith
__• BAADASSSSS CINEMA (2002) Dir. Isaac Julien (in class)
__• CELLULOID CLOSET (1995) Dir. Rob Epstein & Jeffrey Friedman (in class)
GROUP PROJECT #4: REALITY TV & MOCKUMENTARY
Four groups, each group proposes a show or film to present.
Required Reading Tuesday
Oxford Guide to Film Studies , Ch. 1.13, 1.17 (optional)
Required Reading Thursday
Oxford Guide to Film Studies , Ch. 1.14, 1.15
Oxford Guide to Film Studies , Ch. 3.2
Tuesday 4/19: Talking Heads Breakdown (2): Representing American Reality
Thursday 4/21:
Talking Heads Breakdown (3): Fake Documentaries
One page paper due Tuesday, 4/19
View a documentary of your choice. In ONE PAGE describe the formal language it uses: its voice. Then explain what this voice imparts. What does it say? How are the formal system and message related in this film?
Screening (Tuesday 4/19 7pm)
__• THE WATERMELON WOMAN (1995) Dir. Cheryl Dunye
__• BLAIR WITCH PROJECT (1999) Dir. Eduardo Sanchez & Dan Myrick (clips)
Example of photographs by Larry Clark 1, 2, 3, 4, 5
Required Reading Tuesday
Film, Form, and Culture, pp. 159-169
Oxford Guide to Film Studies , Ch. 3.27
Film, Form, and Culture, pp. 209-217 (from 2nd edition)
Required Reading Thursday
Oxford Guide to Film Studies , Ch. 1.11, 1.21
Film, Form, and Culture, pp. 171-188
Tuesday 4/26: Postmodernism
Thursday 4/28: Claiming Voice in a Post-Modern World: American Youth (2) and Masculinity
Screening (Tuesday 4/26 7pm)
__• TOTALLY F***ED UP (1993) Dir. gregg araki
__• SOUTH PARK: BIGGER, LONGER, & UNCUT (1999) Dir. Trey Parker & Matt Stone
__• IF EVERY GIRL HAD A DIARY (1990) Dir. Sadie Benning (in class - time permitting)
__• Selected videos produced by youth media workshops (in class - time permitting)
GROUP PROJECT #5: MASCULINITY
FIGHT CLUB (1999) Dir. David Fincher (clips)
KIDS (1995) Dir. Larry Clark (clips)
PULP FICTION (1994) Dir. Quentin Tarantino (clips)
NATURAL BORN KILLERS (1994) Dir. Oliver Stone (clips)
BEING JOHN MALKOVICH (1999) Dir. Spike Jones (clips)
Required Reading Tuesday
Film, Form, and Culture, pp. 189-208, 217-233 (from 2nd edition)
Oxford Guide to Film Studies , Ch. 1.15
History of Narrative Film, pp. 871-927 (optional)
No Reading Thursday - start reviewing your notes in preparation for the final
Tuesday 5/3: Last Class
No Screening or Reading This Week
__• Finish GROUP PROJECT #5: MASCULINITY presentations
__• Finish class discussion on Postmodernism
__• Wrap up + hand out take home final
__• Class evaluation
FINAL: 5 paragraph essay on postmodern voice, film to be announced. Take home exam handed out in class on 5/3, due 5/10.
<Back to Course Listing
Back to top
|
