Film Studies Program

Rhode Island College General Education Distribution Course Request

Use this form for any distribution course that is to be included in the General Education Program. If the course is new or revised, attach the appropriate Undergraduate Curriculum Committee forms. (Available at http://www.ric.edu/curriculum_committee/materials.php)

Proposing Department or Program: Film Studies Program

Chair/contact: Bonnie MacDonald ([email protected]) / Vincent Bohlinger ([email protected])

DEPT/PROG CODE (e.g., ENGL, PHYS, AFRI) Course number: FILM 116

Catalog title: Approaches to Film & Film Criticism

Prerequisites: none

Credits: (General Education courses are four credits): 4 Learning Outcomes Written Communication (WC) Category in General Education: Distribution Critical and Creative Thinking (CCT) General Education outcomes that must be formally addressed Research Fluency (RF) and assessed are noted for each category. Oral Communication (OC) Collaborative Work (CW) ☐Mathematics (QL) Arts (A) Civic Knowledge (CK) ☐Natural Science (lab required) (CCT, ER, QL, SL) Ethical Reasoning (ER) ☐Advanced Quantitative/Scientific Reasoning (CCT, QL, SL) Global Understanding (GU) ☐History (RF, CK, ER, GU) Quantitative Literacy (QL) ☐Literature (CCT, WC) Scientific Literacy SL) ☐Social and Behavioral Sciences (CCT, CK, ER, SL) Arts – Visual and Performing (A)

Courses in the distribution are content-based and students are expected to learn the material and demon- strate competence in a manner appropriate to the discipline

Explain briefly how this course will meet the General Education Outcomes for its category as indicated above. Describe the kinds of assignments in which the assigned outcomes will be assessed.

FILM 116 / “Approaches to Film & Film Criticism” is replacing ENGL 116 / “Approaches to Film & Film Criticism.” This is a course that introduces students to the terms and concepts that com- prise the formal properties of film. These formal qualities are examined in terms of aesthetic aims and industry norms, as well as in terms of how they generate or reinforce meaning for the viewer. The principal textbook is titled Film Art, and that is exactly the focus of the course: film as an art form. Student progress in the course is measured through two paper assignments and two exams, in which students analyze films according to personal, aesthetic, cultural, and/or historical perspectives.

Include a syllabus or two-level topical outline that meets the Undergraduate Curriculum Committee standards.

Please see attached syllabus.

FILM 116: Approaches to Film and Film Criticism Spring 2013: Horace Mann 193, Tuesdays & Thursdays, 8:00-9:50 a.m.

Instructor: Vincent Bohlinger Office: Craig-Lee 355 Telephone: x8660 E-mail: [email protected] Office Hours: Tuesdays, 10:00-12:00, also by appointment

Course Overview: This course is an introduction to film analysis. Our primary focus will be the relationship between elements of film style and their respective functions. We will examine the formal characteristics of a variety of films and explore how these characteristics contribute to our understanding of these films. Throughout this course, you will engage with films from personal, aesthetic, cultural, and historical perspectives. We will study readings associated with these differing but complementary perspectives and you will apply these perspectives in both our in-class discussions and your papers and exams. By the end of this course, you should be equipped with the vocabulary and skills necessary to offer a sensitive and persuasive analysis of any film you might encounter.

Required Text: Bordwell & Thompson, Film Art: An Introduction (10th edition) Recommended: The Social Network (David Fincher, 2010) – about $10-15 online (be sure to get a widescreen copy, not a fullscreen version!)

Course Requirements: 10% Participation (note attendance policy below) 20% Mid-Term Exam (in class) 20% Shot Breakdown Assignment (aesthetic analysis; ~5-7 pages) 20% Final Paper (aesthetic, cultural, historical analysis; 5-7 pages) 30% Final Exam (in class)

Course Policies: - Attendance is mandatory and counts toward the participation grade. More than three absences will result in a lower grade and possibly course failure. - Please come to class on time and remain in class for the duration of the session. Late arrivals and early departures count as partial absences, as do temporary exits during screening, lecture, or discussion. - Note that all assignments, along with credits sheets and study questions for each screening, will be posted on the homepage for this course on Blackboard. - It is your responsibility to gather any notes, handouts, or assignment information that you have missed from another student in the class (not from me!). - On occasion, unannounced quizzes may be given on the assigned readings and screening for the week. These quizzes count toward your participation grade. - Please turn off all cell phones, blackberries, iPods, etc. for the duration of class. - All written work is due in class at the beginning of class on the due date assigned. Late work is not accepted. No work is accepted by e-mail. - The punishment for plagiarism is failure in the course and a letter in your academic record. Consult your RIC Student Handbook for further clarification. Course Schedule:

Types of Film Criticism 20 Jan (Tu) Introduction to Course

Production, Distribution, Exhibition 22 Jan (Th) Singin’ in the Rain (Gene Kelly & Stanley Donen, 1951, USA, 103 min.) 27 Jan (Tu) Discussion – Film Art: Chapters 1 & 2, pp. 2-73

Cinematography I 29 Jan (Th) Double Indemnity (Billy Wilder, 1944, USA, 108 min.) 3 Feb (Tu) Discussion – Film Art: Chapter 5, pp. 162-207

Cinematography II / Mise-en-Scene I 5 Feb (Th) The 400 Blows (François Truffaut, 1959, France, 99 min.) 10 Feb (Tu) Discussion – Film Art: Chapter 5, pp. 207-217

Mise-en-Scene II 12 Feb (Th) Touch of Evil (Orson Welles, 1958, USA, 111 min.) 17 Feb (Tu) Discussion – Film Art: Chapter 4, pp. 112-161

Review of Cinematography & Mise-en-Scene 19 Feb (Th) Ugetsu Monogatari (Kenji Mizoguchi, 1953, Japan, 97 min.)

24 Feb (Tu) Mid-Term Exam

Editing I 26 Feb (Th) His Girl Friday (Howard Hawks, 1940, USA, 92 min.) 3 Mar (Tu) Discussion – Film Art: Chapter 6, pp. 218-251; Chapter 11, pp. 385-388

Editing II 5 Mar (Th) Run Lola Run (Tom Tykwer, 1998, Germany, 81 min.)

Spring Break!

17 Mar (Tu) Discussion – Film Art: Chapter 6, pp. 251-263

Sound I 19 Mar (Th) M (Fritz Lang, 1931, Germany, 110 min.) 24 Mar (Tu) Discussion – Film Art: Chapter 7, pp. 264-292

Sound II 26 Mar (Th) Shot Breakdown Assignment on His Girl Friday Due A Man Escaped (Robert Bresson, 1956, France, 100 min.)

31 Mar (Tu) Discussion – Film Art: Chapter 7, pp. 293-303; handout (“A Man Escaped”) Steamboat Willie (Walt Disney & Ub Iwerks, 1928, USA, 8 min.)

Narrative I 2 Apr (Th) Citizen Kane (Orson Welles, 1941, USA, 119 min.) 7 Apr (Tu) Discussion – Film Art: Chapter 3, pp. 74-109; Chapter 8, pp. 309-315

Narrative II 9 Apr (Th) Persona (Ingmar Bergman, 1966, Sweden, 83 min.) Discussion – handout (“Ingmar Bergman”)

Genre & Authorship 14 Apr (Tu) Strangers on a Train (Alfred Hitchcock, 1951, USA, 101 min.) 16 Apr (Th) Discussion – Film Art: Chapter 9, pp. 318-337

Documentary 21 Apr (Tu) The River (Pare Lorentz, 1937, USA, 30 min.) High School (Frederick Wiseman, 1968, USA, 75 min.) 23 Apr (Th) Discussion – Film Art: Chapter 10, pp. 338-355; handout (“High School”)

Experimental Film 28 Apr (Tu) Final Paper on The Social Network Due Ballet mécanique (Fernand Léger & Dudley Murphy, 1924, France, 10 min.) Meshes of the Afternoon (Maya Deren & Alexander Hammid, 1943, USA, 18 min.) A Movie (Bruce Conner, 1958, USA, 12 min.) Mothlight (Stan Brakhage, 1963, USA, 4 min.) Passage à l’acte (Martin Arnold, 1992, Austria, 12 min.) Discussion – Film Art: Chapter 10, pp. 355-370

Animation 30 Apr (Th) The Frogs Who Wanted a King (Ladislaw Starewicz, 1922/1923, France, 9 min.) Duck Amuck (Chuck Jones, 1953, USA, 7 min.) Hedgehog in the Fog (Yuri Norstein, 1975, Soviet Union, 11 min.) Jumping (Tezuka Osamu, 1984, Japan, 7 min.) Geri’s Game (Jan Pinkava, 1997, USA, 4 min.) Discussion – Film Art: Chapter 10, pp. 370-381

Final Exam: TBA

How often will this course be offered? every semester

Number and frequency of sections to be offered (students/semester or /year)? ~ 4 per semester

2-1-2012

Rhode Island College Undergraduate Curriculum Committee Document ID # Date Received (for CCC use only)

New Course Proposal Form

Use this form if you are proposing a new course. Please use a separate form for each new course you are proposing. If you are revising a course, use the Course Revision Form. If you are intending this course to replace another, then complete a Course Revision Form to indicate the course that will be deleted. Please answer all questions. Gray areas are simple text boxes; just click on the box to type. You may enter as much information as necessary. If you need to come back to add more text to a box, use arrow keys to place your cursor in the box to allow you to type without erasing the previous content. For information about completing the form, read section 4.2 in the UCC Manual, and check the additional information on the forms page on the UCC website. Please paste into this form any requested tables or syllabi rather than send them as separate documents. If you have questions about completing this form, please email the Chair of the Curriculum Committee at [email protected].

1. Name and affiliation of the originator: Vincent Bohlinger, Film Studies Program / Dept of English

2. Date: 2 March 2012

3. What is the new course abbreviation, number, and title? (Limit of 6 words for title) FILM 116: Approaches to Film & Film Criticism Please ensure that the number you choose conforms to the college’s course numbering guidelines, which can be found in the information for filling in this form and in the UCC Manual.

A. Briefly explain the rationale for the course number you have selected? This course is intended to replace ENGL 116 (which will be deleted from the catalog), so we are keeping the same number for the sake of continuity.

B. If the course will be cross listed, what are the alternate course abbreviation and number? n/a

C. If the course will be replacing an already existing course, include the abbreviation and number of the course that will be deleted, and when your department/program will cease to offer this course? ENGL 116 - this course will no longer be offered after Fall 2012

4. Give curricular rationales for the new course. Despite our best efforts, students are sometimes confused when seeking a Film Studies course and do not know to look under ENGL. Students routinely try to enroll in FILM 219 because that is the lowest number they regularly see under FILM. It simply makes sense to have the introductory course in Film Studies be an actual FILM course. Furthermore, while its origins in the academy were interdisciplinary, Film Studies has long been widely recognized as its own distinct discipline. We are seeking this shift to catch up to the current thinking in the field, already instituted at almost all leading colleges and universities around the country. I want to emphasize that this course is not being changed in any way in terms of its content and focus.

5. Course description as it will appear in the catalog (Limit: 30 words, not including prerequisites, credit hours, semesters offered, general education satisfaction, cross listings, exclusions, former course numbers and titles, or information about course repetition.

Film as an art form is studied through viewing and analyzing films and by reading and writing essays on the aesthetics of film. (Formerly ENGL 116: Approaches to Film & Film Criticism.) 4 credit hours. Gen. Ed. Category A. Offered fall and spring.

6. Contact hours per week: 4

7. Credit hours per semester: 4

8. Explain any discrepancy between contact and credit hours. n/a

9. Prerequisite(s): none

10. Will this course satisfy the General Education requirement? If so, please check the appropriate category. FYS FYW C H L SB A NS M AQSR

11. What category will this course satisfy? (Check all that apply.) Required for major/minor Restricted elective for major/minor Free elective Required for certification For professional development Other (please explain) cognate requirement for the English-Secondary Education major

12. Instructional methods (Check all that apply.) Fieldwork Individualized instruction Internship Laboratory Lecture Practicum Seminar Small group Other (describe)

13. How will student performance be evaluated?

Anecdotal records Attendance Behavioral observations Class work Examinations Interviews Oral Presentations Papers Performance Protocols Projects Quizzes Reports of outside supervisor

Other (describe):

14. Grading system. (Check one) A. B, C, D, F (with + or -) S, U CR, NCR

15. Is this an honors course? We hope to offer FILM 116H, just as we offered ENGL 116H

16. Frequency offered (Check all that apply.) Fall Spring Summer As Needed Annually (semester varies) Alternate years Even years Odd years Other (describe)

17. Paste in here, a two-level topical outline or syllabus to your proposal. see attached sample syllabus

FILM 116: Approaches to Film and Film Criticism Spring 2013: Horace Mann 193, Tuesdays & Thursdays, 8:00-9:50 a.m.

Instructor: Vincent Bohlinger Office: Craig-Lee 355 Telephone: x8660 E-mail: [email protected] Office Hours: Tuesdays, 10:00-12:00, also by appointment

Course Overview: This course is an introduction to film analysis. Our primary focus will be the relationship between elements of film style and their respective functions. We will examine the formal characteristics of a variety of films and explore how these characteristics contribute to our understanding of these films. Throughout this course, you will engage with films from personal, aesthetic, cultural, and historical perspectives. We will study readings associated with these differing but complementary perspectives and you will apply these perspectives in both our in-class discussions and your papers and exams. By the end of this course, you should be equipped with the vocabulary and skills necessary to offer a sensitive and persuasive analysis of any film you might encounter.

Course Schedule:

Types of Film Criticism 20 Jan (Tu) Introduction to Course

Production, Distribution, Exhibition 22 Jan (Th) Singin’ in the Rain (Gene Kelly & Stanley Donen, 1951, USA, 103 min.) 27 Jan (Tu) Discussion – Film Art: Chapters 1 & 2, pp. 2-73

Cinematography I 29 Jan (Th) Double Indemnity (Billy Wilder, 1944, USA, 108 min.) 3 Feb (Tu) Discussion – Film Art: Chapter 5, pp. 162-207

Cinematography II / Mise-en-Scene I 5 Feb (Th) The 400 Blows (François Truffaut, 1959, France, 99 min.) 10 Feb (Tu) Discussion – Film Art: Chapter 5, pp. 207-217

Mise-en-Scene II 12 Feb (Th) Touch of Evil (Orson Welles, 1958, USA, 111 min.) 17 Feb (Tu) Discussion – Film Art: Chapter 4, pp. 112-161

Review of Cinematography & Mise-en-Scene 19 Feb (Th) Ugetsu Monogatari (Kenji Mizoguchi, 1953, Japan, 97 min.)

24 Feb (Tu) Mid-Term Exam

Editing I 26 Feb (Th) His Girl Friday (Howard Hawks, 1940, USA, 92 min.) 3 Mar (Tu) Discussion – Film Art: Chapter 6, pp. 218-251; Chapter 11, pp. 385-388

Editing II 5 Mar (Th) Run Lola Run (Tom Tykwer, 1998, Germany, 81 min.)

Spring Break!

17 Mar (Tu) Discussion – Film Art: Chapter 6, pp. 251-263

Sound I 19 Mar (Th) M (Fritz Lang, 1931, Germany, 110 min.) 24 Mar (Tu) Discussion – Film Art: Chapter 7, pp. 264-292

Sound II 26 Mar (Th) Shot Breakdown Assignment on His Girl Friday Due A Man Escaped (Robert Bresson, 1956, France, 100 min.)

31 Mar (Tu) Discussion – Film Art: Chapter 7, pp. 293-303; handout (“A Man Escaped”) Steamboat Willie (Walt Disney & Ub Iwerks, 1928, USA, 8 min.)

Narrative I 2 Apr (Th) Citizen Kane (Orson Welles, 1941, USA, 119 min.) 7 Apr (Tu) Discussion – Film Art: Chapter 3, pp. 74-109; Chapter 8, pp. 309-315

Narrative II 9 Apr (Th) Persona (Ingmar Bergman, 1966, Sweden, 83 min.) Discussion – handout (“Ingmar Bergman”)

Genre & Authorship 14 Apr (Tu) Strangers on a Train (Alfred Hitchcock, 1951, USA, 101 min.) 16 Apr (Th) Discussion – Film Art: Chapter 9, pp. 318-337

Final Exam: TBA

18. Describe the impact of the proposed course on: A. Students: This change should not only streamline the major, but also be more logical and convenient for all students across campus: the introductory-level Film Studies course will be listed under FILM. There will be no change in the number of sections offered annually.

B. Faculty: This change will not impact faculty.

19. Describe the impact of the proposed course on college resources (You need to check ahead with those responsible that any necessary resources will be available should the proposal be approved): A. Departmental resources: This change will greatly improve the efficiency of scheduling courses and hiring/scheduling instructors. All sections of this course meet in Horace Mann 193, where most other FILM courses are offered. Currently, the Chair of English and the Director of Film Studies need to go back and forth in order to coordinate their scheduling of courses and personnel before submitting their requests to Dennis McGovern. All adjunct hiring for this course is done officially by the Chair of English, but only after initial advisement and final approval by the Director of Film Studies. After this change, scheduling and hiring will be done solely by the Director of Film Studies.

B. Library resources: equal to what is currently used by ENGL 116

C. Technical/Computing resources: equal to what is currently used by ENGL 116

20. List all other segments of the college affected by the proposed change (your signature page should reflect acknowledgments or approvals of those listed, here). Film Studies Program, Department of English, College Honors Program, School of Education (Secondary Education-English major), General Education curriculum

21. Date of implementation: Fall 2012

22. Prepare a separate document, showing all necessary revisions to the catalog copy. See instructions on the UCC website.

23. Email the completed proposal form (with typed names on the signature page), as well as the revised catalog copy in separate file, to the Chair of the Curriculum Committee: [email protected]

24. Acquire all relevant signatures on the final page of this form. Send one paper copy of this form including the signature page, to the Chair of the Curriculum Committee. Because we work primarily with electronic forms, you do not need to send paper copies of the catalog revisions.

Proposals are due 14 days before the monthly meeting of the Curriculum Committee, which usually meets on the third Friday of the month. Meeting dates and deadlines for proposals will be announced on the UCC website, with reminders of the UCC monthly meetings in College Briefs.

On the electronic copy of the proposal, you must type in all the names you will be including, and leave these on the paper copy you will be getting signed to ensure we can decipher every signature.

ACKNOWLEDGMENTS

Chair(s) or Director(s) of Other Affected Department(s) [These signatures do not represent any endorsement or approval, but acknowledge that the signer has viewed this proposal]

1. Spencer Hall, Director of College Honors Program______Date______

2. Ellen Bigler, Chair of Secondary Education______Date______

3. ______Date______

4. ______Date______

APPROVALS (without these no proposal can be accepted for consideration) *Department Chair, Program Director, Chair of Graduate Committee

Maureen Reddy, Chair of the Department of English______Date______

Bonnie MacDonald, Director of Film Studies______Date______

______Date______

*Dean(s)

Earl Simson, Dean of the Faculty of Arts and Sciences______Date______

Alexander Sidorkin, Dean of the School of Education______Date______

Sue Pearlmutter, Dean of the School of Social Work______Date______

David Blanchette, Dean of the School of Management______Date______

Jane Williams, Dean of the School of Nursing______Date______

Changes that affect General Education, the Chair of the Committee on General Education**

James Magyar, Chair of the Committee on General Education______Date______

*Courses or programs that involve more than one department or division within the college for implementation, MUST have the signatures of all relevant department chairs, program directors, dean and/or directors.

** Changes that affect General Education MUST also be signed ALL the Deans.

Rhode Island College Undergraduate Curriculum Committee Document ID # Date Received (for CCC use only)

Course Revision Proposal Form

Use this form to: • Revise an already existing course, which may include alterations to the course title, description, number of credits or contact hours, prerequisites, or its grading system.. You may make multiple changes to the same course on a single form, however, if you are changing the title, number and description, your proposal would better suit the new course proposal form. • Make the same revision to a series of courses, for example, adding the same prerequisite or credit hour to several courses. N.B. Each change will need an explanation in number 5. If you are making different types of changes to a selection of courses, please use separate forms to ensure for clarity. • To delete a course. Please answer all questions. Gray areas are simple text boxes; just click on the box to type. You may enter as much information as necessary. If you need to add moe text to a box, use arrow keys to place your cursor in the box to allow you to type without erasing the previous content. For information about completing the form, read section 4.2 in the UCC Manual, and check the additional information on the forms page at the UCC website. Please paste into this form any requested tables or syllabi rather than send them as separate documents. If you have questions about completing the form, please contact the Chair of Curriculum Committee at [email protected].

1. Name and affiliation of originator: Vincent Bohlinger, Film Studies Program / Dept of English

2. Date: 29 February 2012

3. What are the course abbreviation(s), number(s), and title(s) of the course(s) you want to change? [Give the existing course(s) here]: ENGL 116: Approaches to Film & Film Criticism

If the course is cross listed, what are the alternative course abbreviation and number. n/a

4. What change(s) do you want to make? Please check all that apply and provide details. Include both the existing details of the course as well as the changes you wish to make.

Change a course number: from to: Change a course title: from to: Change the course description: from to: Change the number of contact hours from to: Change the number of credit hours from to: Explain any discrepancy between contact and credit hours if this is a result of a change: Change prerequisite from to Change grading system from to Delete a course: ENGL 116: Approaches to Film & Film Criticism Make another change. (Describe)

5. Give curricular rationales for requested change(s). see accompanying paperwork for FILM 116: Approaches to Film & Film Criticism

6. Describe the impact of the proposed change on: A. Students: see accompanying paperwork for FILM 116: Approaches to Film & Film Criticism B. Faculty: see accompanying paperwork for FILM 116: Approaches to Film & Film Criticism

7. Describe the impact of the proposed change on college resources (You need to check ahead with those responsible that any necessary resources will be available should the proposal be approved): A. Departmental resources: see accompanying paperwork for FILM 116: Approaches to Film & Film Criticism

B. Library resources: see accompanying paperwork for FILM 116: Approaches to Film & Film Criticism

C. Technical/computing resources: see accompanying paperwork for FILM 116: Approaches to Film & Film Criticism

8. List all other segments of the college affected by the proposed change (your signature page should reflect acknowledgments or approvals of those listed, here). see accompanying paperwork for FILM 116: Approaches to Film & Film Criticism

9. Date of implementation: Fall 2012

10. Prepare a separate document showing all necessary revisions to the catalog copy. See instructions on the UCC website.

11. Email the completed proposal form (with typed names on the signature form), as well as the revised catalog copy in a separate file, to the Chair of the Curriculum Committee: [email protected]

12. Acquire all relevant signatures on the final page of this form. Send a paper copy of this form, including the signature page, to the Chair of the Curriculum Committee. Because we work primarily with electronic forms, you do not need to send paper copies of the catalog revisions.

Proposals are due 14 days be fore the monthly meeting of the Curriculum Committee, which usually meets on the third Friday of the month. Meeting dates and deadlines for proposals will be announced on the UCC website, with reminders of the UCC monthly meetings in College Briefs.

On the electronic copy of the proposal, you must type in all the names you will be including, and leave these on the paper copy you will be getting signed to ensure we can decipher every signature.

ACKNOWLEGMENTS

Chair(s) or Dire ctor(s) of Othe r Affe cted Department(s) [These signatures do not represent any endorsement or approval, but acknowledge that the signer has viewed this proposal]

1. ______Date______

2. ______Date______

3. ______Date______

4. ______Date______

5. ______Date______

APPROVALS (without these no proposal can be accepted for consideration) *Department Chair or Program Director

______Date______

*Dean(s) ______Date______

______Date______

Changes that affect General Education, the Chair of the Committee on General Education**

______Date______