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JOHN CABOT UNIVERSITY

COURSE CODE: "COM 210-2"
COURSE NAME: "Introduction to Cinema (This course carries 3 semester hours of credit)"
SEMESTER & YEAR: Spring 2016
SYLLABUS

INSTRUCTOR: Tijana Mamula
EMAIL: [email protected]
HOURS: TTH 6:00 PM 8:00 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES:
OFFICE HOURS: By appointment

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.
SUMMARY OF COURSE CONTENT:
The course is divided into two sections. The first half of the semester focuses on film form, including units on narrative, mise-en-scene, cinematography, sound and editing. The second half of the semester encompasses units on documentary and avant-garde filmmaking, and investigates various theoretical discourses applied to the study of film, including questions of authorship, genre, gender and sexuality, race and ethnicity. This latter section of the course is also intended as an introduction to film theory, and is therefore supplemented by sometimes challenging readings and discussions.
LEARNING OUTCOMES:
In the process of studying films, the course will familiarize students with theoretical and conceptual methods to critically analyze aspects of film form and technique. The students will also gain knowledge of the relevant moments of cinema history and of aspects of film industry developments.
By the end of this course, students will be better skilled in:
    •    Watching, describing and analyzing films.
    •    Reading and critically assessing academic literature on films and cinema.
    •    Researching, drafting, editing and writing an academic essay.
TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
Film: A Critical IntroductionMaria Pramaggiore, Tom WallisAllyn & Bacon978-0205770779     
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Mid Term ExamExam includes 20 short-answer questions and 1 sequence analysis 25
Final Exam Non-cumulative. 6 short-answer questions and 1 essay question.25
Attendance and ParticipationGrade encompasses weekly reading quizzes in second half of semester.20
Final Paper2,000-2,500 word comparative paper on two films of the student's choice 30

-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 course.
BThis is highly competent level of performance and directly addresses the question or problem raised. There is a demonstration of some ability to critically evaluate theory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture and reference 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:

More than 3 unexcused absences will result in an F grade for Attendance & Participation. More than 5 unexcused absences will result in failing the course. If unexcused, a tardy of more than 30 minutes will be counted as an absence.

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.
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.

SCHEDULE



INTRODUCTION TO CINEMA: FOCUS ON HORROR FILM





NB:



– Some screenings and readings listed below are subject to change

– The use of laptop computers and other electronic devices during class is NOT permitted. Notes can be taken the old-fashioned way, with paper and pen.





Week 1: What is Cinema?



Screening: Funny Games (Michael Haneke, 1997)

Readings: 

1) Film: A Critical Introduction, chapters 1 & 2 (pp. 3-36).

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



Week 2: Narrative: Classical Hollywood Cinema



Screening: The Spiral Staircase (Robert Siodmak, 1946)

Readings:  

1) Film, chapter 4 (pp. 65-90) & chapter 11 (pp. 343-350).

2) David Bordwell, "Classical Narration: The Hollywood Example," in Narration in the Fiction Film (University of Wisconsin Press, 1985), pp. 56-204, excerpts.



Week 3: Mise-en-Scene



Screening: Rosemary's Baby (Roman Polanski, 1968)

Reading: 

1) Film, chapter 5 (pp. 91-128). 

2) TBC



Week 4: Cinematography and Camera Movement



Screening: The Shining (Stanley Kubrick, 1987) 

Readings: 

1) Film, chapter 6 (pp. 129-190).

2) James Naremore, "Stanley Kubrick and the Aesthetics of the Grotesque," Film Quarterly 60, no. 1 (2006).



Week 5: Film Sound

Screening: Carrie (Brian De Palma, 1976)

Readings: 

1) Film, chapter 8 (pp. 227-274).

2) Michel Chion, The Voice in Cinema (Columbia University Press, 1999), excerpts.



Week 6: Editing

Screening: Don't Look Now (Nicholas Roeg, 1973)

Readings: 

1) Film, chapter 7 (pp. 191-226) & chapter 11 (pp. 350-364).

2) André 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 7: Mid-Term Review



1) Class exercise: Writing a Film Analysis

2) MIDTERM EXAM



Reading: Film, chapter 3 (pp. 37-64).

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



Week 8: Genre



Screening: Come and See (Elem Klimov, 1985)

Readings:

1) Film, chapter 13 (pp. 381-406). 

2) TBC



Week 9: Authorship



Screening: The Tenant (Roman Polanski, 1976)

Readings: 

1) Film, chapter 14 (pp. 407-428).

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

3) TBC



Week 10: Gender & Sexuality



Screening: Peeping Tom (Michael Powell, 1960)

Readings:  

1) Film, chapter 10 (pp. 309-342).

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

3) TBC



Week 11: Race & Ethnicity



Screening: Night of the Living Dead (George A. Romero, 1968)

Readings: 

1) bell hooks, "The Oppositional Gaze: Black Female Spectatorship," in Film and Theory: An Anthology (Blackwell, 2000).

2) Richard Dyer, "The Matter of Whiteness," in White (Routledge, 1997), 1-40.



Week 12: Documentary Film



Screening: Earthlings (Shaun Monson, 2005)

Readings:

1) Film, chapter 9 (pp. 275-290).

2) Bill Nichols, Introduction to Documentary (Indiana UP, 2001), excerpts.

3) TBC.

 

PAPER DUE



Week 13: Avant-Garde Film and Video



Screening: Un Chien Andalou (Luis Bunuel/Salvador Dali, 1929); Rose Hobart (Joseph Cornell, 1936); Window Water Baby Moving (Brakhage,1959); Scorpio Rising (Kenneth Anger, 1964); Walden (Jonas Mekas, 1969); Serene Velocity (Ernie Gehr, 1970); Associations (John Smith, 1975); Outer Space (Peter Tscherkassky, 1999); Decasia (Bill Morrison, 2000).

Readings: 

1) Film, chapter 9 (pp. 291-306).

2) P. Adams Sitney, "Structural Film," in Visionary Film.



Week 14: Final Exam Review



FINAL EXAM, exact date TBC.