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JOHN CABOT UNIVERSITY
COURSE CODE: "COM 210-3"
COURSE NAME: "Introduction to Cinema (This course carries 3 semester hours of credit.)"
SEMESTER & YEAR:
Fall 2021
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SYLLABUS
INSTRUCTOR:
Erika Tasini
EMAIL: [email protected]
HOURS:
TTH 9:00AM - 11:00AM
TOTAL NO. OF CONTACT HOURS:
45
CREDITS:
3
PREREQUISITES:
OFFICE HOURS:
by appointment
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COURSE DESCRIPTION:
This course is designed as an introduction to the art, history, and business of film. It presents an introduction to film aesthetics and the formal properties of film, locating specific styles and narrative forms within specific classical and alternative film movements. Film theories and critical strategies for the analysis of film will be investigated. The course will be divided into weekly screenings and lectures.
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SUMMARY OF COURSE CONTENT:
The course is divided into weekly screenings and lectures and discussions.
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LEARNING OUTCOMES:
Students will learn how to discuss the principal formal and technical properties of film. They will develop an ability to discuss and analyse film as an artistic, industrial, and socio-cultural phenomenon. They will gain an awareness of the different contexts surrounding film production and exhibition, and the relationship between popular, documentary, and avant-garde production. They will be able to trace a history of film narrative and participate in debates including the race, gender, and the ideology and ethics of cinema.
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TEXTBOOK:
| Book Title | Author | Publisher | ISBN number | Library Call Number | Comments | Format | Local Bookstore | Online Purchase |
| Film Studies: An Introduction | Ed sikov | Columbia University Press | 978-0692144299 | | | | | |
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REQUIRED RESERVED READING:
| Book Title | Author | Publisher | ISBN number | Library Call Number | Comments |
| Guide to Film Studies | J. Hill and P. Church Gibson | O.U.P. | 0198711247 | | |
| The Cinema Book | Pam Cook | BFI | 0851707262 | | |
| Subway | Bruce Davidson | Aperture | 9781597111942 | | |
RECOMMENDED RESERVED READING:
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GRADING POLICY
-ASSESSMENT METHODS:
| Assignment | Guidelines | Weight |
| Mid-term exam | | 20% |
| Final Exam | | 25% |
| NOTES | | 15% |
| TWO GROUP PRESENTATIONS | | 20% |
| Attendance, discussion, participation | | 20% |
-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the cou
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.
-ATTENDANCE REQUIREMENTS:
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ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic
dishonesty will receive a failing grade on the work in which the dishonesty occurred.
In addition, acts of academic dishonesty, irrespective of the weight of the assignment,
may result in the student receiving a failing grade in the course. Instances of
academic dishonesty will be reported to the Dean of Academic Affairs. A student
who is reported twice for academic dishonesty is subject to summary dismissal from
the University. In such a case, the Academic Council will then make a recommendation
to the President, who will make the final decision.
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STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap.
Students with approved accommodations must inform their professors at the beginning
of the term. Please see the website for the complete policy.
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SCHEDULE
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Week 1:
INTRO- What is Cinema? What are FILM STUDIES?
Week 2:
Tu: screening: SUNSET BOULEVARD (Billy Wilder) –
Intro to Dramatic narrative – classical Hollywood cinema.
Th: Lecture/discussion on Classical narration in Hollywood cinema
Readings:
1) Sikov, Chapters 6 & 7, pp. 89-115.
2) David Bordwell and Kristin Thompson, "Classical Narration: the Hollywood example”
Week 3:
Tu: The Image: Mise-en-Scene
Screening: IF….
Th: discussion MISE EN SCENE
Readings:
1) Sikov, Chapter 1, pp.5-23 & Chapter 9, pp.129-142.
+TBD
Week 4:
The Image: Cinematography and Camera Movement
TH Screening: BOOGIE NIGHTS.
Th: Lecture/Discussion on cinematography and camera movement
Readings:
1) Sikov, Chapter 2 & 3, pp.24-54.
Week 5:
TU Editing, Visible and Invisible
Screening: THE ETERNAL SUNSHINE OF THE SPOTLESS MIND (GONDRY)
TH LECTURE/ Discussion on editing
Readings:
1) Sikov, Chapter 4, pp.55-73.
2) TBD on EIZEINSTEIN
Week 6:
Film Sound
Tu: Screening: THE CONVERSATION (Francis F. Coppola)
Th: Lecture/ Discussion on sound
Readings:
1) Sikov, Chapter 5, pp. 74-88.
3) Bordwell and Thompson, "Sound" in Film Art, pp 264-304 (on reserve)
WEEK 7
TU: screening 8 1/2
TH: presentations
1) narrative structure
2) directing/mise en scene
3) cinematography
4) sound
5) editing
WEEK 8
TU: PRESENTATIONS AND REVIEW
TH: MIDTERM
WEEK 9:
Authorship - HITCHCOCK
TU: Screening: REAR WINDOW
TH: VERTIGO
Readings:
1) Sikov, Chapter 8, 116-128.
3) Steven Crofts, 'Authorship and Hollywood' in The Oxford Guide to Film Studies, pp 310-323 (on reserve)
Week 10:
CINEMA AND CULTURAL STUDIES
Screening: My Beautiful Laundrette
READING: TBD
Week 11:
Gender & Sexuality
Screening: The Kids are alright (L. Cholodenko) and ref. to Hitchcock
Reading:
1) Laura Mulvey, "Visual Pleasure and Narrative Cinema," in Film Theory and Criticism: Introductory Readings (OUP, 2004). (on reserve)
Th: lecture/discussion
Week 12:
Documentary Film
Screening: THE THIN BLUE LINE (E. Morris)
GRIZZLY MAN Clips
THE CONTROL ROOM Clips
Reading:
1) Bill Nichols, "Why Are Ethical Issues Central to Documentary Filmmaking?" in Introduction to Documentary (Indiana UP, 2001), 1-19.
2) Izod and Kilborn, 'The Documentary' in The Oxford Guide to Film Studies
Week 13:
Avant-Garde Film and Video and EARLY CINEMA.
TU Screening:
Un Chien Andalou (Luis Bunuel/Salvador Dali, 1929)
Mothlight (Brakhage)
Meshes of the AFTERNOON (MAYA DEREN)
'Avant-Garde and Counter Cinema' in The Cinema Book pp 89-95 (on reserve)
Early Film Form: 1895-1925
Thursday: Screenings: Early cinema shorts
LUMIERE THE ARRIVAL OF THE TRAIN
LUMIERE THE BABY’s LUNCH
LUMIERE THE SPRINKLER SPRINKLED
MELIES GOING TO BED WITH DIFFICULTIES
MELIES THE TRIP TO THE MOON
Readings:
'Early Cinema' in The Cinema Book, pp. 3-9 (on reserve)
Week 14:
TU: Screening and presentations for review
SCREENING FILM: THE DESCENT
Groups:
1) Gender
2) Auteur theory
Th. Presentations and review
WEEK 15
FINAL EXAM (DATE TO BE DETERMINED)
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