COURSE DESCRIPTION
COURSE OBJECTIVES
- become familiar with the major historical, ideological, technological, and aesthetic developments of American and related foreign cinemas.
- decipher communicative techniques of the moving image.
GRADING
Unless otherwise indicated, written assignments should be typed in MLA format, then submitted as hard copies. Substantiating paperwork (storyboards, lighting plots, scripts, talent releases) tends to be rewarded with higher grades if presented professionally (i.e., typed in easily-navigable folders or binders). Written work submitted by e-mail should be formatted as .pdf (not MS-Word) files.
LATE SUBMISSION AND PENALTIES
Late work can earn no more than a maximum of 64 points. Work is considered late if it is submitted (or, in the case of e-mail, time-stamped) after lecture begins on the due date. If, because of extreme and prolonged sickness, you miss a deadline and are able to substantiate a claim of incapacitation with a note from a reputable doctor or the College Health Center, the grades of your remaining assignments will be given greater weight to compensate. Otherwise, you will receive a zero for the assignment. Examinations must be taken when scheduled.
FEEDBACK AND REVISION
Syllabus deadlines are the date and time an assignment is due in its final version. The Academy’s time-tested draft-and-revision model suggests that you should plan on soliciting your professor’s feedback on at least two intermediate versions of each project. While this is not a requirement, you ignore this recommendation at significant peril to your grade.
QUIZZES
Quizzes may be given without warning to encourage attendance and reading throughout the semester.
GRADE SCALE
Coursework will be weighted as indicated:
Midterm Exam | 16.666% | |||
Final Exam | 16.666% | |||
Take Home Exam | 16.666% | |||
Research Paper | 16.666% | |||
Quizzes & Assignments | 16.666% | |||
Class Participation | 16.666% |
Assignment grades will be based on the following scale:
93-100 | A | 73-76 | C | |
90-92 | A- | 70-72 | C- | |
87-89 | B+ | 67-69 | D+ | |
83-86 | B | 63-66 | D | |
80-82 | B- | 60-62 | D- | |
77-79 | C+ | < 60 | F |
Responding to students’ desire for the most immediate feedback on their project work, grades and comments are reported via Moodle. It is therefore the responsibility of students to regularly consult Moodle for the most current report of their grades.
SCHEDULE
SCREENINGS
R Aug 29 | Beginnings of Film Communication |
T Sep 30 | Lumière, Méliès, and Edison |
Visions of Light: The Art of Cinematography (AFI/NHK, 92, 1:32). | |
Lumière Premiere Program (Lumière, 1895) | |
Le Voyage Dans La Lune (Méliès, 02,:14) | |
The Great Train Robbery (Porter, 03, :12). | |
R Sep 05 | D.W. Griffith |
Birth of a Nation (Griffith, 15, 2:59). | |
T Sep 10 | The Silent Comics |
Rob Roy (Caton-Jones, 95, 2:19) | |
Good Morning, Babylon (Taviani, 87, 1:55) | |
Buster Keaton: A Hard Act to Follow (Brownlow & Gill, 87, 2:40) | |
R Sep 12 | The Silent Comics II |
The Bangville Police (Lehrman, 13) | |
The Rink (Chaplin, 16, :25) | |
The Immigrant (Chaplin, 17, :30) | |
The Gold Rush (Chaplin, 25, 1:12) | |
City Lights (Chaplin, 31, 1:27) | |
The General (Keaton, 27, 1:14) | |
T Sep 17 | German Expressionism |
Das Kabinett des Doktor Caligari (Weine, 19, 1:09) | |
Nosferatu, eine Symphonie des Grauens (Murnau, 22, 1:36) | |
Der Golem, wie er in die Welt kam (Boese, 20, 1:25) | |
Metropolis (Lang, 26, 2:00) | |
Beetlejuice (Burton, 88, 1:32) | |
Recommended Viewing: Shadow of the Vampire (Merhige, 00, 1:32) | |
R Sep 19 | Soviet Montage |
Bronenosets Potemkin (Eisenstein, 25, 1:05) | |
The Music Man (DaCosta, 62, 2:31) | |
Jaws (Spielberg, 75, 2:04) | |
The Untouchables (DePalma, 87, 1:59) | |
T Sep 24 | Documentary |
Nanook of the North (Flaherty, 22, 1:05) | |
Berlin, Synfonie einer Großstadt (Ruttman, 27, 1:19). | |
Chelovek s kinoapparatom (Vertov, 29, 1:08) | |
R Sep 26 | Documentary II |
Triumph des Willens (Riefenstahl, 34, 1:19) | |
The Lion King (Allers & Minkoff, 94, 1:29) | |
Gladiator (Scott, 00, 2:35) | |
The March of Time (de Rochemont, various) | |
Olympia 2. Teil - Fest der Schönheit (Riefenstahl, 38, 1:30) | |
Drifters (Grierson, 29, :49) | |
The River (Lorentz, 37, 30) | |
Nuit et brouillard (Resnais, 55, :30) | |
Buena Vista Social Club (Wenders, 98, 1:45) | |
T Oct 01 | Sound and Animation |
Little Nemo (McCay, 11) | |
Gertie the Dinosaur (McCay, 14) | |
The Sinking of the Lusitania (McCay, 18) | |
Koko's Earth Control (Fleischer, 28) | |
Steamboat Willie (Disney, 28, :07) | |
The Band Concert (Disney, 35) | |
Popeye the Sailor Meets Sindbad the Sailor (Fleischer, 36, :16) | |
The Rabbit of Seville (Warner Bros, 50, :07). | |
R Oct 03 | Sound and Animation II |
Fiddle De Dee (McLaren, 47, :03) | |
Gerald McBoing Boing (Cannon/Hubley, 51, :08) | |
Munro (Deitch, 60) | |
Moonbird (Hubley, 59) | |
The Hole (Hubley, 62) | |
Yellow Submarine (Dunning, 68, :90) | |
Ersatz (Vukotic, 61) | |
Ruka/The Hand (Trnka, 65, :18) | |
The Nightmare Before Christmas (Selick, 93, 1:16) | |
The Wrong Trousers (Park, 93, :30) | |
Toy Story (Lasseter, 95, 1:21) | |
T Oct 08 | The Golden Age & Screwball Comedy |
Bringing Up Baby (Hawks, 38, 1:42) | |
The Philadelphia Story (Cukor, 40, 1:52) | |
R Oct 10 | John Ford & The Western |
Stagecoach (Ford, 39, 1:39) | |
The Man Who Shot Liberty Valance (Ford, 62, 1:59) | |
Il Buono, il brutto, il cattivo (Leone, 67, 2:41) | |
The Wild Bunch (Peckinpah, 69, 2:14) | |
The Cowboys (Rydell, 72, 2:08) | |
T Oct 22 | Italian Neo-Realism |
Ladri di biciclette (DeSica, 48, 1:30) | |
R Oct 24 | Orson Welles |
Citizen Kane (Welles, 41, 1:59) | |
T Oct 29 | Film Noir |
The Maltese Falcon (Huston, 41, 1:40) | |
Double Indemnity (Wilder, 44, 1:46) | |
R Oct 31 | Post War Japan |
Rashomon (Kurosawa, 50, 1:28) | |
T Nov 05 | The American Musical |
Top Hat (Sandrich, 35, 1:39) | |
The Wizard of Oz (Fleming, 39, 1:41) | |
Singin' in the Rain (Kelly & Donen, 52, 1:42) | |
The Sound of Music (Wise, 65, 2:54) | |
R Nov 07 | Fear & Gimmicks of the 1950s |
Invasion of the Body Snatchers (Siegel, 56, 1:20) | |
T Nov 12 | The French New Wave |
À bout de souffle (Godard, 59, 1:29) | |
Les Quatre Cents Coups (Truffaut, 59, 1:39) | |
R Nov 14 | European Art-Cinema |
Det Sjunde inseglet (Bergman, 57, 1:36) | |
T Nov 19 | Alfred Hitchcock |
Rear Window (Hitchcock, 54, 1:52) | |
North by Northwest (Hitchcock, 59, 2:16) | |
R Nov 21 | The British Emigrés |
Lawrence of Arabia (Lean, 62, 3:42) | |
Goldfinger (Hamilton, 64, 1:51) | |
Henry V (Branagh, 89, 2:17) | |
T Nov 26 | Independent & Non-Theatrical Cinema |
Meshes of the Afternoon (Deren, 43, :18) | |
Easy Rider (Hopper, 69, 1:34) | |
Festival Shorts | |
R Dec 05 | "Chop Socky" and Beyond |
Meng long guojiang (Lee, 72, 1:31) | |
Salaam Bombay! (Nair, 88, 1:53) | |
T Dec 10 | Film School Brats & Blockbusters |
2001: A Space Odyssey (Kubrick, 69, 2:19) | |
The Godfather (Coppola, 72, 2:15) | |
Jaws (Spielberg, 75, 2:04) | |
Star Wars (Lucas, 77, 2:01) | |
R Dec 12 | Cinema Diversity |
Working Girls (Borden, 86, 1:30) | |
Do The Right Thing (Lee, 89, 2:00) | |
Desperado (Rodruiguez, 95, 1:43) |
READINGS
Corrigan, Timothy. A Short Guide to Writing About Film. 3rd ed.
Ebert, Roger, ed. Roger Ebert’s Book of Film. New York: Norton, 1997.
Gianetti, Louis. Understanding Movies. 7th ed. Englewood Cliffs, New Jersey: Prentice-Hall, 1995.
Kolker, Rober. Film, Form, and Culture: The Cinema Studies CD-ROM. Version 1.0.2 CD-ROM. McGraw Hill, 2001.
Readings should be completed prior to the class date for which they are assigned.
R Aug 29 | Beginnings of Film Communication | ||
T Sep 30 | Lumière, Méliès, and Edison | ||
Photography | Gianetti, 1-40 | ||
Edison's Vitascope Cheered | The New York Times in Ebert, 339-340 | ||
The Great Train Robbery | The Philadelphia Inquirer in Ebert, 340-341 | ||
Lumière | Maxim Gorky in Ebert, 342-344 | ||
The Nickelodeons | Joseph Medill Patterson in Ebert, 347-355 | ||
Writing About the Movies | Corrigan, 1-15 | ||
Preparing to Watch & Preparing to Write | Corrigan, 16-33 | ||
R Sep 05 | D.W. Griffith | ||
I'm Sorry I Made Me Cry | S.J. Perelman in Ebert, 388-393 | ||
The Edited Image | Corrigan, 62-69 | ||
Six Approaches: Film History | Corrigan, 78-81 | ||
Six Approaches: Kinds of Formalism | Corrigan, 86-87 | ||
Point of View: Play of Glances in Broken Blossoms | Kolker, Ch. 4 | ||
Camera | Kolker, Ch. 7 | ||
T Sep 10 | The Silent Comics | ||
Acting | Gianetti, 237-284 | ||
From My Autobiography | Charlie Chaplin in Ebert, 359-362 | ||
Keaton at Venice | John Gillett & James Blue in Ebert, 379-388 | ||
Elements of Mise-en-Scène: Acting Style | Corrigan, 49-51 | ||
Cinematic Representation in Steamboat Bill | Kolker, Ch. 1 | ||
R Sep 12 | The Silent Comics II | ||
Story: The Classical Paradigm | Gianetti, 332-337 | ||
Film Terms and Topics | Corrigan, 34-45 | ||
T Sep 17 | German Expressionism | ||
Drama | Gianetti, 323-360 | ||
Six Approaches: National Cinemas | Corrigan, 81-82 | ||
R Sep 19 | Soviet Montage | ||
Editing: Soviet Montage... | Gianetti, 150-162 | ||
Continuity Editing | Kolker, Ch. 2 | ||
Montage | Kolker, Ch. 4 | ||
Documentary | |||
T Sep 24 | Story: Nonfictional Narratives | Gianetti, 344-350 | |
R Sep 26 | Montage in The Plow That Broke the Plains | Kolker, Ch. 4 | |
T Oct 01 | Sound and Animation | ||
Sound | Gianetti, 199-236 | ||
Movement: Mechanical Distortions | Gianetti, 120-129 | ||
Minnie and Mickey | E.M. Forster in Ebert, 397-399 | ||
The Laws of Cartoon Motion | Mark O'Donnel in Ebert, 660-661 | ||
Sound | Corrigan, 69-73 | ||
R Oct 10 | John Ford & The Western | ||
Story | Gianetti, 323-360 | ||
The Western: or the American Film... | André Bazin in Ebert, 400-407 | ||
John Wayne: A Love Song | Joan Didion in Ebert, 137-143 | ||
Six Approaches: Genres | Corrigan, 82-84 | ||
T Oct 22 | Italian Neo-Realism | ||
Theory: Theories of Realism | Gianetti, 439-449 | ||
R Oct 24 | Orson Welles | ||
Mise en Scène | Gianetti, 41-90 | ||
Synthesis: Citizen Kane | Gianetti, 471-507 | ||
From The Films of My Life | François Truffaut in Ebert, 116-122 | ||
Film Terms and Topics | Corrigan, 45-61 | ||
Mise en Scène | Kolker, Ch. 6 | ||
The Long Take | Kolker, Ch. 3 | ||
T Oct 29 | Film Noir | ||
Libby Noir | Libby Gelman-Waxner in Ebert, 435-438 | ||
R Oct 31 | Post War Japan | ||
From Something Like an Autobiography | Akira Kurosawa in Ebert, 481-488 | ||
From Something Like an Autobiography | Akira Kurosawa in Ebert, 661-668 | ||
T Nov 05 | The American Musical | ||
Sound: Musicals and Opera | Gianetti, 218-222 | ||
Photography: Color | Gianetti, 21-27 | ||
Music | Kolker, Ch. 8 | ||
R Nov 07 | Fear & Gimmicks of the 1950s | ||
The Imagination of Disaster | Susan Sontag in Ebert, 422-435 | ||
T Nov 12 | The French New Wave | ||
Editing: André Bazin and... Realism | Gianetti, 162-172 | ||
Six Approaches: Auteurs | Corrigan, 84-86 | ||
R Nov 14 | European Art-Cinema | ||
From The Magic Lantern | Ingmar Bergman in Ebert, 444-446 | ||
T Nov 19 | Alfred Hitchcock | ||
Editing: Hitchcock's North by Northwest | Gianetti, 172-198 | ||
My Own Methods | Alfred Hitchcock in Ebert, 446-452 | ||
From Behind the Scenes of 'Psycho' | Janet Leigh in Ebert, 654-659 | ||
Point of View | Kolker, Ch. 5 | ||
R Nov 21 | The British Emigrés | ||
Writing | Gianetti, 361-394 | ||
T Dec 10 | Film School Brats & Blockbusters | ||
From The Godfather | Mario Puzo in Ebert, 323-336 | ||
R Dec 12 | Cinema Diversity | ||
From Do The Right Thing | Spike Lee in Ebert, 536-547 | ||
Ideology | Gianetti, 395-436 | ||
Six Approaches: Ideology | Corrigan, 87-90 |
ASSIGNMENTS
T Sep 03 | American Cinematographer Abstract |
Find an American Cinematographer article that discusses a recent film you've watched and enjoyed. Summarize the article in a paragraph or two, paying particular attention to film stock, lighting, and camera choices of the cinematographer. | |
T Sep 05 | Choosing Film Stock |
Use Kodak's Professional Motion Imaging site to research and account for the film stock choice(s) in your American Cinematographer abstract (above). Browse the film catalog and the site's "Chronology of Motion Picture Films" page. Be ready to discuss your findings during class. | |
R Oct 10 | Research Paper |
Author a researched essay which responds to a topic assigned by your professor. Submit the final draft as a .pdf via e-mail to your professor. Be certain the words "research essay" appear in the subject field of your message. In all respects of format, your work should be presented in the MLA style. If you are uncertain about the particulars of the MLA format, I suggest you consult the most recent edition of The Little, Brown Handbook or the staff of the Writing Center. Frequent and authoritative citation of primary sources represents the most reliable brand of scholarship. Therefore, in a paper about movies, I will expect bibliographic mention of actual films to far outnumber other sorts of references. By extension, this paper requires that you spend more time watching videos than prowling libraries. Any more than a combined total of seven format, typographical or spelling errors will result in an automatic "F" for the assignment. |
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R Nov 14 | Group Project |
As a team, create a five-minute film sequence out of the following basic situation: An older man and a younger woman are having a conversation in which the woman become increasingly angry; at the end of the sequence, her anger become explosive. In matters of content and form, the sequence should demonstrate the conventions of genre and style assigned you by the professor. | |
Screenwriter 1. Decide who these characters are. What is their relationship to each other? Father and daughter? Uncle and niece? Businessman and prostitute? Teacher and student? Give them any identities you wish. 2. What are they arguing about? first decide on a general subject -- money, love, sex, crime, a child, a grade -- and then, once you have narrowed it down, begin to write some lines of dialogue about this topic. 3. How does the scene end? What does the woman finally do to express her anger? |
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Production Designer 1. Create a setting for these characters. Where are they? What is the mis-en-scene? Does the scene occur inside or outside? Is it a public place, like a restaurant or bar? If so, is it crowded or empty? Clean or dirty? Attractive or ugly? Or is it a living room or bedroom? If so, whose living room or bedroom? How is it decorated? (Since you do not have to worry about the budget of this film, be as creative a set decorator as you wish.) 2. What are they wearing? Include make-up and hairstyles. |
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Director/Cinematographer/Editor 1. How is the room lit? 2. Storyboard a simple sequence of shots for this bit of narrative. Place the camera anywhere you'd like, move it whenever you want, and cut to another shot whenever you think it's appropriate. Or, if you decide to film the whole bit in a single take, note where the camera is placed at all times. |
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In a presentation not to exceed 10 minutes, your group will "pitch" the sequence to the class. At that time, you will submit to the instructor a script (with dialogue, detailed descriptions of set and characters, and thorough camera placement notes), a storyboard, and any other relevant materials. The script will conform to the Screenplay Format of the Writers Guild of America. | |
R Dec 12 | Film Review |
Using chapter 12 of your text as a guide, review a film assigned by your professor. Please write as if you are reviewing the film for a magazine with national circulation. As a member of the press, you have attended an advance screening of the film. Few people who read your review have yet seen the film. They will likely decide to attend or avoid the movie on your recommendation. | |
Be sure to deal with the following elements... Photography Mise en scène Movement: primary and secondary Editing Sound: music, dialogue, and effects Drama: production design Literature: themes, characters, narratology Ideology Theory: place on the formalist/realist spectrum and defend ...and, to a lesser degree, acting, story, and plot |
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As a .pdf attachment to an e-mail message, submit your work to your professor by 12:00 noon. Be certain the word "review" appears in the subject field of your message. |
CONTACT
The classroom setting is such that not all needs can be met within it. I encourage you, therefore, to visit my office often. It is my pleasure to discuss grades, attendance, notes, lectures, or anything else which will make you a better student. Your grades can only benefit from regular communication with your professors. I will gladly work with you to arrange meeting times convenient to us both. Feel free to contact me:
- by e-mail at mail@brianfuller.org [good].
- by phone or voicemail at 616.498.4336 (49.VIDEO) [better].
- in person [best].
ATTENDANCE & ETIQUETTE
If you write a good essay or fail a math exam, you do so as an individual. But the success of a video production is often a collaborative endeavor that begins with attendance. You jeopardize any group project for which you show up late (or not at all). Reflecting the emphasis Media Production professors place on collaboration, strict attendance is required. Students will be penalized for late arrivals and early departures.
I’ve got tickets to leave early for spring break. Can I reschedule work to accommodate my travel plans?
Classes will not be held on holidays officially recognized by the college. All other days of the term are fair game for lectures, quizzes and assignments. Those students who plan to leave early for or return late from holiday breaks may not reschedule exams or other work.
Can I take class notes on my iPad? What are the professor’s expectations for electronic etiquette?
You’re encouraged to use smart phones, tablets, and laptops in disciplined ways which accomplish the work of the course. It’s considered rude, however, to engage in private communiqués (facebook, twitter, IMs, texts) during class.
Oops. My phone started ringing in class. Probably Mom calling…
The professor reserves the right to answer any cell phone call received by a student during class time. From a practical standpoint, you’d hate to ruin an otherwise fabulous take on location with a Justin Bieber ringtone.
I’ve seen this movie so many times, I can recite this scene by heart…
Common courtesy is expected of class members during class meetings. Specifically, students should not carry on conversations or make disturbing noises during lectures or screenings.
Since films are the primary texts of this course, the viewing experience should be respected by all. If you must get up during a film, please do so quietly and unobtrusively. Never walk in front of a television or in the throw of a movie projector during a screening.
APPEALS
Because there are no “right” and “wrong” answers in this field of study, I am open to a certain amount of discussion with regard to the grade awarded any given assignment. Appeals should be made in a timely fashion, within two class periods of grade notification/posting. You may be notified of a grade by the return of paperwork or, more usually, in the posting of grades and comments to Moodle. Appeals should be made face to face (not by phone, in writing or by e-mail) and offered with rhetorical and presentational clarity (After all, this is a communication class).
HONESTY & OWNERSHIP
The current edition of our college Code of Student Conduct notes that “the student-faculty relationship is based on trust and mutual respect which can be seriously undermined by the suspicion or reality of academic dishonesty.” It elsewhere defines plagiarism as “the use, by paraphrase or direct quotation, of the published or unpublished work of another person without full and clear acknowledgment.”
Though expected to abide by the document as a whole, Media Production students may benefit from specific awareness of conduct proscribed by Article IV of the Code:
- Cheating, plagiarism, or other forms of academic dishonesty.
- Unauthorized possession, duplication or use of keys or other access devices to any College premises or unauthorized entry to or use of College premises.
- Use of computing facilities and resources in violation of copyright laws.
The standards of honesty and the penalties of dishonesty apply equally to words, ideas, visual images, auditory images, and all electrochemical means of storage and communication.
I will vigorously pursue prosecution of academic dishonesty to the very limit of sanctions allowed by the college (Article V, Sections D and E), up to and including failure of the course and expulsion from the college. I will just as vigorously work with student to prevent even unintended lapses of integrity. If you are uncertain about how to avoid plagiarism or other forms of academic dishonesty, please consult a member of the English faculty, the most recent edition of The Little, Brown Handbook,or (preferably) ask me.
While student media producers retain copyright ownership of their respective work, enrollment in this course constitutes your permission to let the college, the department, the professor, their representatives, and successors, exhibit and distribute for promotional purposes those media projects submitted in fulfillment of course assignments. Without any effect on your grade you may withhold or limit such permission by indicating your wish to do so in a note to your professor signed, witnessed, and dated, before the course’s drop date.