_{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.}

Assessment Guidelines for assigning main letter grades: A, B, C,D, and F.

A:  Work of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensiveknowledge 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 course.

B:  This 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.

C:  This is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.

D:  This 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.

F: This 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:}

_{Attendance and partecipation constitute 25% of your final grade. More than 3 unexcused absences will result in an F (Fail) grade for Attendance & Participation. More than 5 unexcused absences will result in failing the course. If unexcused, a tardy of more than 15 minutes will be counted as an absence. Leaving class early will also affect your grade.}

_{Please refer to the university catalog for the attendance and absence policy.}

_{NB: The use of laptop computers and other electronic devices during class is NOT permitted.}

_SCHEDULE

_{Week 1:}

_{What is Cinema?}

_Screening:

_{Tues. LA JETEE (C. MARKER)}

_{Th. FUNNY GAMES (michael Haneke)}

<sub>Readings:

1)           Sikov, Introduction, pp. 1-4</sub>

_{2) Thomas Elsaesser and Malte Hagener, "Cinema as Window and Frame," in Film Theory: An Introduction Through the Senses (Routledge, 2010), pp. 13-34.}

 3) Richard Dyer, Introduction to Film Studies, in The Oxford Guide to Film Studies (Hill and Church Gibson eds, OUP, 1998), pp 3-10

_{Week 2:}

_{TU: Lecture /discussion on what is cinema.}

_{Dramatic Narrative: Classical Hollywood Cinema}

_{TH: screening: SUNSET BOULEVARD  (Billy Wilder)}

_Readings:

_{1) Sikov, Chapters 6 & 7, pp. 89-115.}

_{2) David Bordwell and Kristin Thompson, "Narrative" in Film Art: an Introduction (McGraw-Hill, 2008) pp 74-112}

_{3) David Bordwell, "Classical Narration: The Hollywood Example," in Narration in the Fiction Film, pp. 155-204.}

_{Week 3:}

_{TU: Lecture/discussion on Classical Hollywood cinema}

 _{The Image: Mise-en-Scene}

_{TH Screening: REPULSION (Roman Polanski)}

_Reading:

_{1) Sikov, Chapter 1, pp.5-23 & Chapter 9, pp.129-142.}

_{2) Bordwell and Thompson, "Mise-en-scene" in Film Art, pp 112-162}

_{Week 4:}

_{TU: discussion MISE EN SCENE}

_{The Image: Cinematography and Camera Movement}

_{TH Screening:  The Shining  (Stanley Kubrick, 1980)}

_Readings:

_{1) Sikov, Chapter 2 & 3, pp.24-54.}

 _{2) Robert Kolker, " Kubrick's Fearful Symmetry," presented at SCMS Conference, 2007.} 

_{Week 5:}

_{TU: Lecture/Discussion  on cinematography and camera movement}

_{Editing, Visible and Invisible}

_{Screening:  THE ETERNAL SUNSHINE OF THE SPOTLESS MIND (GONDRY)}

_{If… (L. ANDERSON)}

_Readings:

_{1) Sikov, Chapter 4, pp.55-73.}

_{2) Andre Bazin, "The Virtues and Limitations of Montage," in What is Cinema? Vol. 1 (University of California Press, 2004), 23-40.} 

_{3) Sergej Eisenstein, "A Dialectic Approach to Film Form," in Film Form (Harcourt Brace, 1977), 45-63.}  

_{Week 6:}

_{TU: LECTURE/ Discussion on editing}

_{Film Sound}

_{Th: Screening: THE CONVERSATION (Francis Coppola)}

_Readings:

_{1) Sikov, Chapter 5, pp.74-88.}

_{2) Michel Chion, The Voice in Cinema (Columbia University Press, 1999), extracts. pp. 66.94} 

_{3) Bordwell and Thompson, "Sound" in Film Art, pp 264-304}

_{Week 7:}

_{TU: Lecture/ Discussion on sound}

_{Mid-Term Review: Writing a Film Analysis}

_{TH: MIDTERM EXAM}

_Reading:

_{1) Sikov, Chapter 12, pp.169-186}

 _{Recommended reading: Timothy Corrigan, A Short Guide to Writing About Film (Pearson/Longman, 2007)}

_{Week 8:}

_Authorship

 _{TU: Screening: TAXI DRIVER/GOODFELLAS (M. SCORSESE)}

_Readings:

_{1) Sikov, Chapter 8, 116-128.}

_{2) Andrew Sarris, "Notes on the Auteur Theory," in Film Theory and Criticism: Introductory Readings (OUP, 2004).} 

_{3)Steven Crofts, 'Authorship and Hollywood' in The Oxford Guide to Film Studies}

_{4) 'The Auteur Theory' in The Cinema Book, pp 240-1 & 246}

_{Week 9:}

_Genre

_{Screening: Psycho}

_Readings:

_{1) Sikov, Chapter 10, pp.143-157
2)   Barry Keith Grant  Film genre: from iconography to ideology
3) TBD}

_{Week 10:}

_{Gender & Sexuality}

_{Screening: The Kids are alright + Psycho}

_reading:

_{1)           Laura Mulvey, "Visual Pleasure and Narrative Cinema," in Film Theory and Criticism: Introductory Readings (OUP, 2004).} 

_{2)           Patricia White, 'Feminism and Film' in The Oxford Guide to Film Studies
3) TBD} 

_{Week 11:}

_{Race & Ethnicity}

_{MY BEAUTIFUL LAUNDRETTE (frears)}

_Reading:

_{1)           bell hooks, "The Oppositional Gaze: Black Female Spectatorship," in Film and Theory: An Anthology (Blackwell, 2000). pp 510-524}

_{2)           Stuart Hall,  TBD} 

  _{3) Robyn Wiegman, 'Race, Ethnicity and Film' in Oxford Guide to Film Studies}

_{Week 12:}

_{Documentary Film}

_{Screening: THE THIN BLUE LINE (E. Morris)}

_Reading:

_{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}

_{Screening: Un Chien Andalou (Luis Bunuel/Salvador Dali, 1929); Window Water Baby Moving (Brakhage,1959); Scorpio Rising (Kenneth Anger, 1964);  Meshes of the AFTERNOON (MAYA DEREN).}

_Readings:

_{1)           P. Adams Sitney, "Structural Film," in Visionary Film, pp. 347-370} 

        <sub>2) 'Avant-Garde and Counter Cinema' in The Cinema Book pp 114-20

        3) TBD</sub>

_{Week 14:}

_{Early Film Form: 1895-1925}

_{Screenings: Early cinema shorts}

_Readings: 

_{Tom Gunning, "The Cinema of Attractions: Early Cinema, Its Spectator and the Avant-Garde," in Film and Theory: An Anthology (Blackwell, 2000) pp. 862-877 (LINK?)}

              _{2) 'Early Cinema' in The Cinema Book}

_{WEEK 15}

_{FINAL EXAM}