SLAV–C 366 / 566 MSCH–F 398 Modern Czech Cinema

SLAV– Tue/Thurs C366/C566, 5:30–6:45 MSCH–F398 FF 304C

Dr. Craig Cravens, Dept. of Slavic and East European Languages and Cultures

EMAIL: [email protected] OFFICE: GISB 4043 COLL (CASE) A&H OFFICE HOURS: TTh 4–5 COLL (CASE) Global Civilizations & Culture Credit

DESCRIPTION The course will introduce and treat the most important trends and movements within the history of Czech cinematography as well as place the films in their historical, cultural, and political contexts.

It is slightly different from standard courses on the history of film for not only will you learn to talk and write about film, you will also be introduced to the region of the Czech Republic/ and Central Europe: its history, geography, ethnography and languages. We will also discuss how Czech films NOTE capture the life of Czech society during This course is open to all different periods. students with an interest in film and/or Czech culture. No previous knowledge in the area is expected or required.

COURSE BOOKS (Available at the Memorial Union Bookstore)

Ø Timothy Corrigan, A Short Guide to Writing About Film Ø ,

All other readings will be posted on Canvas under “Files.”

2 F Learning Outcomes

Upon successful completion of the course, students

will be able to:

th Ø Discuss and write about Czech film of the 20 and 21st centuries as a product of contemporary historical events; Ø Analyze a Czech film in terms of both filmic

content and social context;

Ø Explore the ways in which choices made in relation to film form and mise-en-scène create meaning and how this then affects interpretation; Ø Describe, analyze, and formulate an argument on some aspect of a film (narration, character

development, themes, et cetera) using critical and technical vocabulary acquired in the course; Ø Examine the significance of literature as a

basis for film; and Ø Develop a better “eye” for film and improve the skills of analysis, critical interpretation, and informed argumentation.

Course Evaluations You will have an opportunity to evaluate this course and the quality of the instruction via an online evaluation form. We will take 15 minutes on the last day of class to fill out evaluations. This process will require that you bring a mobile device, such as a laptop or cell phone, to access the online course evaluation system. 3

WRITTEN ASSIGNMENTS

Extended Scene Analysis (15%) Final Exam (20%) Week 4 Week 13 You will select a significant scene from any The final is a short-answer exam of the films we have seen (by week 4) that concerning film terminology, genres, will provoke your reader to think about the and historical events in the Czech central themes of the film. In addition to lands and Central Europe. It will be describing the action in the scene, you clear from the lectures and class should analyze as many visual elements as discussion what will be on the exam. you can from your scene: camera angles, lighting, setting, dialogue, clothing, facial Final Paper (25%) expressions, music, and other sounds, TBA representations of cultures, gender, race, Undergraduate Students ethnicity, or class. The scene analysis is typically 3–4 pages long. Research either 1) the meaning of one film or 2) a film issue (thematic, Comparative Paper (20%) theoretical, technical, or aesthetic) Week 8 across two or three films (subject to You will compare the novel Closely professor approval if the films are Watched Trains with the film adaptation outside of class), and then write an 8–10- by Jiří Menzel. Your paper will analyze page paper that applies 2–3 interpretive the way the film adapted the plot, sources. narrative, characters, and themes to fit this medium. The comparative paper is Graduate Students typically 5–6 pages long. TBA You will write a 12–15-page research paper that enters, engages, and advances the scholarly discourse of a film or film issue either discussed in class or selected by you and approved by the professor. First, you will compose a 250- word paper proposal. Your final essay should be worthy of being presented at a conference and integrate at least 4 interpretive sources. You will be given 15 minutes to read your essay in class; then you will participate in a question and answer session about your paper with the class. Note that you will have to amend your paper to fit the time limit.

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Participation (15%) Class attendance and participation are extremely important to the understanding of course material and to generate meaningful dialogue from which we all can learn. Therefore, students are expected to attend class on a regular basis AND class participation will account for 15% of the total grade earned in the course.

Class participation is an essential part of this course and, therefore, valued and rewarded. Unfortunately, grading class participation is necessarily subjective. The key criterion for evaluating effective class participation for this course include:

• Does the participant attend class regularly? Is the participant prepared? Do comments show evidence of analysis of the material? Do comments add to our understanding of the situation?

• Is the participant a good listener? Are the points made relevant to the discussion? Are they linked to the comments of others? Is the participant willing to interact with other class members?

Participation enables you to learn from your colleagues and to help them l earn from you. Good class participation is not simply repeating the facts, monopolizing class time, second guessing the instructor, or ignoring the contributions of fellow participants.

Attendance I will begin taking attendance on a written class roll on 1/17. It is your responsibility to make sure that you sign the roll each and every day. Your attendance grade will be calculated as follows:

A = 2 or fewer unexcused absences B = 3 unexcused absences C = 4 unexcused absences D = 5 unexcused absences F = 6 unexcused absences

More than six unexcused absences will result in an additional 1/3 reduction of your final course grade per class missed (e.g., from a B to a B- or from a C- to a D+). Excused absences include university sanctioned religious holidays; and medically documented health problems. Family functions, job interviews, etc. do not count as unexcused absences. For an absence to count as “excused” you must notify me in writing and prior to the class that you intend to miss (e-mail will work best for this).

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E-mail as Official Means of Class and University

Communication

Grade Breakdown Grading Scale:

15% Extended Scene Analysis 100-94(A) 93.9-90(A-) 20% Comparative Paper 89.9-88(B+) 87.9-84(B) 20% Final Exam 83.9-80(B-) 25% Final Paper 79.9-78(C+) 77.9-74 (C) 15% Participation 73.9-70(C-) 5% Attendance 69.9-68(D+) 67.9-60.1(D) 60-0(F)

6 Attendance at each class is required. The only acceptable excuse for an absence is medical and requires a signed note by a licensed physician. For each two unexcused absences, I lower your grade by one whole letter – A to B, C to D, et cetera.

All cell phones must be switched off or on the vibrate mode. And no texting!

Laptops can be used in class to take notes, but you will have to sit in the front row.

Absolutely no laptops may be used during film screenings.

All assignments are to be typewritten or printed. Everything must be double-spaced, with one-inch margins all around. And please number pages!

Everything you hand in must be proofread for spelling as well as obvious errors in usage and mechanics. Failure to do this will result in a lowered grade on the assignment. Do not rely solely on the computer’s Spell-Check function to proof your spelling since what is a misspelling of the word you want to use often ends up being the correct spelling of some other word, and Spell-Check, being completely dumb, will not catch it.

Handwritten corrections on typed work (stuff crossed out, added, words respelled are not only accepted but encouraged, since they’re usually signs of sedulous proofreading. Better right than neat (as long as it’s readable).

All written assignments must be submitted (typed) both electronically on Canvas and in hard copy in class.

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Lateness Policy for Written Work

Extensions can only be granted in exceptional circumstances and only with prior permission. Essays submitted late without an extension will be subject to a penalty of one grade step per day (i.e., a B paper would become a B- if submitted one day late, a C+ if submitted two days late, and a C if submitted three days late).

Disability Statement

Any student who feels he/she may need an accommodation based on the impact of a disability must register with Disability Services for Students first. According to DSS guidelines, only students who have registered their disabilities with DSS are officially eligible for accommodations. When the disability has been registered, the student will receive a letter describing any accommodations necessary which must be presented to the instructor in the first week of classes. Please contact Disability Services for Students at 812- 855-7578 in Franklin Hall 006 to coordinate reasonable accommodations for students with documented disabilities. More information is available on the DSS web site (http://studentaffairs.iub.edu/dss/).

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Films to Be Screened

Ecstasy (1933, Gustav Machatý) (1965, Klos & Kadar) The Ear (1970, Karel Kachyňa) (1965, Miloš Forman) Daisies (1966, ) Valerie and Her Week of Wonders (1970, Jaromil Jireš) Closely Watched Trains (1966, Jiří Menzel) Walking Too Fast (2006, Radim Špaček) Pupendo (2003, Jan Hřebejk) The Identity Card (2010, Ondřej Trojan) Lunacy, (2005, Jan Švankmajer) (1996, Jan Svěrák) Those Wonderful Years That Sucked (1997, Petr Nikolaev) I’m all Good (2008, Jan Hřebejk)

Screening Time & Location Films will be screened at 7pm on Thursdays in FF 304C, and all will be available on IUBox for review.

DISCLAIMER All information in this syllabus, including course requirements and daily lesson plans, is subject to change and should not be considered a substitute for attending class or for any information that is provided to you by your instructor.

9 SCHEDULE

Class time will be devoted to mini-lectures, discussion, and in-class assignments Most readings will be assigned for Thursdays. Viewing and re-viewing that week’s film is you assignment for Tuesdays.

Week Date Topic Readings and Written Assignments (to be completed by designated class meeting) 1 Tue Introduction to the Czechs, Central 10 Jan Europe, and Czech film

Thur Film Terminololgy Submit information cards by email. 12 Jan 7pm screening of Ecstasy (Gustav Hames, “Introduction” (13 pp.) Machatý, 1933) (Canvas), Kundera, “The Tragedy of Central Europe” (14 pp.) (Canvas)

2 Tue Discussion of Ecstasy Henry Miller, “Reflections on ‘Extasy’” 17 Jan (11 pp.) (Canvas)

Thur Writing About Film Corrigan, Chapters 1 & 2 (35 pp.) 19 Jan 7pm screening of The Shop on Main (Canvas) Street

3 Tue Discussion of The Shop on Main Street 24 Jan Thur Stalinism & the Fifties Corrigan, Chapter 3 (48 pp.) (Canvas) 26 Jan Extended Scene Analysis 7pm screening of The Ear (1970, Karel Kachyňa)

4 Tue Discussion of The Ear Extended scene analysis due in 31 Jan class

Thur Italian Neorealism, French and Czech Bordwell & Thompson, “Italian 2 Feb New Waves, and Miloš Forman NeoRealism and French New Wave” (5 7pm screening of Loves of a Blonde pp.) (Canvas), History reading? (1965, Miloš Forman) SCHEDULE

5 Tue Discussion of Loves of a Blonde 7 Feb

Thur Oratorio for Klíma, “1967 Congress of Writers” (11 9 Feb 7pm screening of Daisies (1966, Věra pp.) (Canvas) Chytilová) Wikipedia Entry on the (7 pp.)

6 Tue Discussion of Daisies and the Prague 14 Feb Spring

Thur Vampires Corrigan, Chapter 4 (26 pp.) (Canvas) 16 Feb 7pm screening of Valerie and Her Week of Wonders (1970, Jaromil Jireš)

7 Tue Discussion of Valerie and Her Week of Bohumil Hrabal, Closely Watched 21 Feb Wonders Trains, (pp. 1–22, including An introduction to Czech literature and introduction)) Bohumil Hrabal

Thur Discussion of Closely Watched Trains, Finish Closely Watched Trains and 23 Feb the novel, Adaptation read “Film Adaptation” (7 pp.) (Canvas) 7pm screening of Closely Watched Trains (1966, Jiří Menzel)

8 Tue Discussion of Closely Watched Trains 28 Feb

Thur “Real” Socialism Comparative paper due in class. 2 Mar 7pm screening of Walking Too Fast (2006, Radim Špaček)

11 SCHEDULE

9 Tue Discussion of Walking Too Fast 7 Mar

Thur The Artist Under “Real” Socialism Corrigan, Chapter 5 9 Mar 7pm screening of Pupendo (2003, Jan Last Day to Drop a Course with an Hřebejk) Automatic W (Sun, 12 Mar)

SPRING BREAK 12 – 19 MARCH

10 Tue Discussion of Pupendo 21 Mar

Thur Rock and Roll in the East Bloc Ivan Martin Jirous, “Report on the Third 23 Mar 7pm screening of The Identity Card Czech Musical Revival” (25 pp) (2010, Ondřej Trojan) (Canvas) or Paul Wilson

11 Tue Discussion of The Identity Card 28 Mar Animation & Jan Švankmajer

Thur Sound in Cinema Bordwell & Thompson, “Sound” (13 30 Mar 7pm Screening of Lunacy (2005, Jan pp.) (Canvas) Švankmajer)

12 Tue Discussion of Lunacy 4 Apr Velvet Revolution and the Race for the Oscar

Thur Race for the Oscar Hames, “A Business Like Any Other: 5 Apr 7pm screening Kolya (1996, Jan Czech Cinema Since the Velvet Svěrák) Revolution” (Canvas)

12 SCHEDULE

13 Tue Discussion of Kolya 11 Apr

Thur 13 Final Exam Apr 7pm screening of Those Wonderful Years That Sucked (1997, Petr Nikolaev)

14 Tue Discussion of Those Wonderful Years 18 Apr

Thur Life Under “Real” Capitalism Corrigan, Chapters 6 & 7 (Canvas) 20 Apr 7pm screening of I’m All Good (2008, Jan Hřebejk) 15 Tue Discussion of I’m All Good 25 Apr

Thur Discussion of Final Papers 27 Apr Evaluations

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