FLM 2010, Section 85868
ENG 2450, Section 79599
SPF 2010, Section 54669
226 Manoogian Hall, Mondays and Wednesdays, 12:50-2:50pm
Prof. Byars' office: 527 Manoogian Hall
Office hours: Mondays and Wednesdays, 3-4:30
Phone: 577-4166 (office, answering machine)
577-2943 (department, messages)
Email: jbyars@aol.com
(include "Intro to Film" in the subject
heading to receive priority treatment)
NOTE: This course fulfills the Visual and Performing Arts requirement of the General Education Requirement in Humanities.
Goals of the Course: FLM 2010 is designed to introduce students to the techniques and methods of sophisticated film criticism. In addition, the course is designed to demonstrate the cinema's place among the major art forms, attesting to ways in which films of recognized significance inevitably incorporate aspects of the other arts--i.e., drama, performance (both acting and dance), narrative, painting, and music. The course frequently draws upon the other arts in order to explain how major filmmakers deploy such techniques as lighting, dramatic staging, musical scores, and motifs, and painterly compositional effects. In addition, students learn how major film directors have received their inspiration and incentive from artistic movements, such as surrealism, expressionism, and postmodernism.
The course also introduces students to major films from a broad-based spectrum of styles, genres, historical periods, and national cultures. The primary methodology of the course is to break films down into their component features--i.e., narrative, mise-en-scène, cinematography, editing, and sound; to analyze the operation of each of these constituent parts in detail; and then to return each of the parts to the whole. The course seeks to train students in the specific techniques and critical methods necessary to describe, analyze, and appreciate the artistic texts.
Required Texts: Louis Giannetti,
Understanding Movies, 8th edition (1998)
Timothy Corrigan, A Short Guide to Writing About Film, 3rd edition (1998)
Handouts given in class
The Giannetti & Corrigan textbooks are available
at the bookstore, as well as though some online services (both new and
used--but be sure to get the correct edition), such as:
http://efollett.com
htto://www.varsitybooks.com
http://bigwords.com
I. Analyzing and Writing About Films
September 8--Introduction to the
course and syllabus
September 13--
Screen:
Citizen Kane (Orson Welles, USA, 1973)
September 15--
Read:
Giannetti, Ch. 12--Synthesis
Corrigan--Ch. 1--Writing About the Movies
II. Elements of Mise-en-scène:
Cinematography.
Examine
the role of camera work in conveying visual and narrative information.
September 20--
Screen: The Graduate
(Mike Nichols,
USA, 1966)
September 22--
Read:
Giannetti, Ch. 1--Photography
Handout on stages of film production and personnel
September 27--
Screen: McCabe and
Mrs. Miller (Robert Altman, 1971, American)
September 29--
Read: Corrigan, Ch.
2--Preparing to Watch & Preparing to Write
III. Elements of Mise-en-scène:
composition within the frame and performance style.
Examine composition within
the frame, stressing the elements film shares with theater--sets, props,
costumes,
lighting, and performance.
October 4--
Screen: Notorious
(Alfred Hitchcock, USA, 1946)
October 6--
Read: Giannetti, Ch.
2--Mise-en-Scène
IV. The Kinetics of Cinema: Editing and
Movement.
How do motion pictures "move"?
Consider how editing is used to create rhythm and movement, while guiding
the viewer's perception of
a film.
October 11--Movement
Screen: Lone Star
(John Sayles, USA, 1996)
October 13--
Read: Giannetti, Ch.
3--Movement
Essay #1 and shot breakdown
assignment given--in detail--in class
October 18--Editing & alternatives to traditional
editing
Screen: Don't Look
Now (Nicholas Roeg, 1973, British)
October 20--
Read: Giannetti, Ch.
4--Editing
Corrigan, Ch. 3--Film Terms & Topics
V. Acting for the Cinema
October 25--
Screen: On the Waterfront
(Elia Kazan, 1954, American) October 27--
Essay #1 and shot breakdown
due in class.
November 1--Review for midterm exam
November 3--MIDTERM EXAM
(over
Giannetti, Chs. 1-4 & 6, Corrigan, Chs. 1-3 , handouts, lectures, and
films)
V. Film Sound and Music.
Examine
the functions of voice, music, and "noise" in film.
November 8--
Screen: Thelma and
Louise (Ridley Scott, USA, 1991)
November 10--
Read: Giannetti, Ch.
5--Sound
VI. The Nature of Narrative in Film.
Consider the techniques that
support film as a storytelling medium, including story/plot, narration,
and
point-of-view.
November 15--
Screen: Rashomon
(Akira Kurosawa, 1950, Japanese)
November 17--
Read: Giannetti, Ch.
8--Story
Corrigan, Ch. 5--Style and Structure in Writing
PAPER #2 ASSIGNED IN CLASS
VII. Alternatives to Traditional Narrative:
Documentary, Animation, Avant Garde.
Examine the role of nonnarrative and experimental cinema in film history.
November 22--
Screen: Short documentaries,
animated films, avant garde flms
November 24--
Day scheduled as a Friday--no
class
VII. Authorship/Genre.
How
have major directors deployed the film genres as part of the creative process?
How can film genres
be
used to study historical shifts and trends?
November 29--
Screen: The Searchers
(John Ford, 1956, American)
December 1--
Read: Corrigan, Ch.
4, sections on Genres and Auteurs (82-86)
Handouts on genres & ideology
December 6--
Screen: Dead
Man (Jim Jarmusch, German-Japanese, 1996)
December 8--
ESSAY #2
DUE IN CLASS
VI. Other cinematic language systems--sets, costumes, makeup, etc.
December 13--
Screen: Daughters
of the Dust (Julie Dash, USA, 1993)
December 15--
Read: Giannetti, Ch.
7--Drama
Review for final exam
FINAL EXAMINATION--Wednesday,
December 22
(Covers all readings,
lectures, films)
COURSE POLICIES
Assigned reading should be done before the lecture/discussion sessions, which are generally on Thursday.
Attendance is crucial to successfully completing the course. Some of the films screened in class are not widely available on video, and although there may be films on the syllabus that you have already seen or films to which you have access outside of class, it is very important that you attend the in-class screenings so that the films under discussion are fresh in your mind. Quite frequently, what is covered in lectures is not included in the reading for the course, and handouts given during lecture sessions will be covered on exams. Students are responsible for knowing and understanding the materials covered in lectures and in the readings and handouts, as well as for being familiar with the films screened in class, including the clips used to illustrate lectures. Faithful attendance has proven, in the past to have a positive influence on performance.
Adding or dropping the course: You may add or drop the course at any time allowed by the University (study day is the last day to drop).
Note: this course places a great emphasis on writing and writing skills.
Grades and grade distribution:
Students who finish each of the assignments (papers,
quizzes, exam) will receive grades permitted by the university. Students
who do not complete each of the assignments will receive a grade of "X,"
unless an arrangement with Professor Byars is reached before the last day
of classes. Incompletes are strongly discouraged and will be given
only in the most extreme of circumstances.
Essay #1 & shot
breakdown = 25% (12.5% each)
Essay #2
= 25%
Midterm exam
= 25%
Final exam
= 25%
In order to receive a passing grade for the
course, you must turn in both written assignments and you must take both
exams.
Exams cover readings, lectures, and films.
They may consist of multiple choice questions, true/false questions, identification
questions, short answer questions, and essay questions. No make-up
or early exams will be given.
ACADEMIC HONESTY/DISHONESTY: Cheating
on exams and plagiarism are unacceptable, and if you cheat on an exam or
plagiarize any part of any assignment, you will receive a failing grade
for the class. If you have any question about what constitutes plagiarism,
consult the university's policy statement or Professor Byars.
Any time you quote or paraphrase someone
else's work, you must give her/him credit. This includes, of course,
both print materials and materials obtained via the Internet. Cite
your sources, always.
Paper Assignments:
Paper 1: The first assignment is a 2-part
assignment on cinematography, film editing and the composition of the shot.
The first part is a shot breakdown for a sequence screened in class.
Several copies will be available in the Media Center of the Adamany Library.
The second part is an essay analyzing the spatial and temporal relationships
established within and between shots, with supporting evidence drawn from
the shot breakdown. The essay should be approximately 3 to 4 double-spaced
typewritten pages.
Paper 2: Your second essay will be on one or two films in its/their entirety and may be expected to include attention to genre conventions, cinematic style (visual and sound), narrative patterning, characterization, and authorship. It should be 5-6 double-spaced, typewritten pages.
You will receive more specific paper assignments in class.
Material Fee Expense: When you registered
for this course, you were automatically charged $15 as a material fee expense.
This fee contributes to the cost of film/video/laserdisc rentals and purchases
for the course, as well as equipment maintenance.