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YORK UNIVERSITY LAPS SUMMER 2016

AP/CLTR 2243 6.00 AP/HUMA 2215 6.00

Understanding Movies: Viewing and Critical Reading

Syllabus *

(*Also available on course website)

COURSE DIRECTOR: Gillian Helfield

OFFICE: CFT Room 217 OFFICE HOURS: Mon. 5:00-5:30PM Wed . 5:00-5:30PM

E-MAIL: Through course website Moodle Message (website) Do not email to yorku.ca address

CLASS TIME: Mondays & Wednesdays 7:00-10:00PM LOCATION: ACW 304

Pre-Requisite: None: Open to Non-Majors

PLEASE NOTE THAT THIS DOCUMENT CONTAINS IMPORTANT INFORMATION REGARDING THIS COURSE.

MAKE SURE YOU READ IT CAREFULLY AND UNDERSTAND ALL REQUIREMENTS AND INSTRUCTIONS.

Course Description:

Designed for the student who enjoys film but has no background in art or criticism. It will introduce students to a variety of strategies that will help the student articulate how movies use sound and image to represent the world.

Organization of the Course

The course involves formal lectures by the Course Director, supplemented by films and film extracts pertaining to the subject matter. Lectures and screenings will be supported by readings provided in the course text and in articles posted on the course website. 2

A good portion of each class also will be devoted to group discussion of the relevant topic and materials for that week.

Students are expected to regularly visit the course website to remain up to date with course announcements, and also to access supplementary reading and audio-visual materials posted online

Website and Materials Access to the Course Website is a requirement for this course. Although lectures will be given in person during scheduled class times, there is a website for this course, available through Moodle, which students are required to access for important updates and announcements, and through which they will communicate with the Course Director, submit their written work, participate in on-line discussions, and receive their grades. In order to have access to the website, students must have a valid YorkU e-mail account, and then a Moodle Account, which can be acquired through Computing Services at York.

How to request/access this service:

 Online:http://itservicedesk.yorku.ca  By Email: write to [email protected]  By phone 416-736-5800 (Mon - Fri 8:30 AM - 5:50 PM)  By visiting the Service Counter at William Small Centre - Computing Commons.

If you do not have access to Moodle or the website, you will not be able to fully participate in this course.

Learning Outcomes/Course Objectives

This course aims to provide students with a primary foundation in film culture, aesthetics, history, theory and criticism, as well as with new experiential learning opportunities in film spectatorship.

By the end of the term, students will be able to perform critical film analysis as well as to situate films within their historical, theoretical and generic contexts. Students also will have acquired new skills in film discussion (through in-class and on-line live dialogue and debate about film topics and discourses) and gained a new first-hand or the primacy of spectatorship within film culture. 3

Communication Please make sure that you keep in touch with the course website, on a daily basis, so that you are up-to-date on all information and announcements. This is the only way in which information will be communicated to students in this course throughout the term. If you are not checking the website then you are at risk for missing important announcements or updates that may affect your ability to complete assignments, and perform successfully in this course. Make sure you respond to all e-mails or attempts at communication in a timely fashion.

Course Director Availability Contact the Course Director: The best way to reach the Course Director immediately is through the Moodle Message Board ONLY (on the Course Moodle website). Do not e-mail me through my YorkU e-mail, as it frequently overloaded, and takes me a while to receive and send messages. If you need to leave a telephone message, you may do so through the Film Dept. Reception (416) 736-5149. But the message may not be delivered immediately as the Course Director is not in the Film Dept every day.

Meeting with the Course Director

If you wish to speak with the Course Director, you may book an appointment during office hours (listed above). Please send your meeting request in advance through Moodle so that the Course Director can schedule it. If you book a meeting, please be there on time. If you must cancel, please let the Course Director know ahead of time, or contact by moodle message to say you’re not going to make it

Course Readings

There is no textbook for this course. Supplementary readings will be assigned to complement particular lectures. These readings will be provided for you, and will be posted online on the course website in the appropriate lecture section.

Cultural Discovery Expeditions

One of the assignments for this course involves a series of cultural expeditions, which requires that students attend film screenings outside of class. This is explained further down, and the dates for these expeditions are posted below. Please be advised that students have the option (and are encouraged) to attend free screenings. However, if they choose to attend screenings at venues which charge admission, then students must pay for their own admission. 4

Participation

Participation in this course is heavily weighted – worth 40% of the grade. That means attendance and discussion are both important. Participation is a large part of student engagement in this course.

Participation is made up of a mixture of two kinds of discussion assignments, one which takes in class, and one which takes place outside of class.

Top Hat Discussions: These are in-class discussions, facilitated by Top Hat. A question or poll will be posted in Top Hat. Students will respond to the topic or question, and the results, which will be made visible to all, will springboard a discussion related to that day’s lecture. All together the Top Hat posts, which will be marked individually, will be worth half your participation mark (20% of your course grade).

Discussion Forums:

This forum will take place outside of lectures. The discussions will be online, in Moodle.

Each week a topic will be posted in the Discussion Forum on the Course Website in Moodle. Students are expected to post a response to the topic, as well as one response (at least) to other students’ posts. Students are encouraged to post more than once as multiple posts improve their rating for that particular Forum.

There are 6 Forums altogether for the course, which will start in the third week of classes. This will give students a chance to acclimatize to the course, and get used to the idea of discussions (which will take place in class beforehand), and also to permit late-enrolling students to participate in this assignment.

These forums will make up the other half of the participation grade, and 20% of the overall course grade.

Please note that the window for these posts is open for only 6 days: it opens on Monday evening, and closes on Sunday evening, each week at the same time.

**Also please note that as both Top Hat and Discussion Forums are essentially ‘live’ exercises, which take place either in class, or online during a particular time-frame, they cannot be made up after the fact, or submitted later on. They are part of your participation grade: therefore if you are not participating in either of these exercises, then you cannot earn the marks for them. Make sure you do not miss these assignments. They only take a few minutes of your time, and altogether make up a substantial part of your grade. Regular participation also will improve your understanding of the course materials, topics covered, and will improve your analytical skills.

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Evaluation

Assignment #1 15% Sequence Analysis

Approx 3-4 pages (guideline only – see Assignment Sheet for details) Assigned: Monday May 16 Due: Wednesday June 1 11:55PM Through Turnitin on Moodle website

Assignment #2 35% Cultural Discovery Report

One assignment based on 4 Cultural Expeditions to film screenings and events around Toronto

Approximately 6 pages (guideline only – see Assignment Sheet for details)

Assigned: Wednesday May 16 Expedition Dates posted in Moodle and in Syllabus

Due: Wednesday, August 3 Submitted in class or Online in Turnitin, through Moodle

Quizzes 25% 4 in-class quizzes throughout the course, dates posted in Moodle

Participation 25% (In Class discussion) 6

*Please note that the length indicated for assignments represents a guideline. It also represents the minimum number of words for the assignment, not the maximum. Details for length & presentation are provided in the Assignment Sheets.

**The Senate Grading Scheme and Feedback Policy stipulates that (a) the grading scheme (i.e. kinds and weights of assignments, essays, exams, etc.) be announced, and be available in writing, within the first two weeks of class, and that, (b) under normal circumstances, graded feedback worth at least 15% of the final grade for Fall, Winter or Summer Term, and 30% for ‘full year’ courses offered in the Fall/Winter Term be received by students in all courses prior to the final withdrawal date from a course without receiving a grade. See the policy for exceptions to this aspect of the policy -http://www.yorku.ca/secretariat/policies/document.php?document=86

*** If Term Test will be held outside of regularly scheduled class time, include announcement of day, date and time here (e.g., Saturday, October 29, 2011, 10 am to 11:30, room TBA).

Grading, Assignment Submission, Lateness Penalties and Missed Tests

Grading: The grading scheme for the course conforms to the 9-point grading system used in undergraduate programs at York (e.g., A+ = 9, A = 8, B+ - 7, C+ = 5, etc.). Assignments and tests* will bear either a letter grade designation or a corresponding number grade (e.g. A+ = 90 to 100, A = 80 to 90, B+ = 75 to 79, etc.) (For a full description of York grading system see the York University Undergraduate Calendar – http://www.registrar.yorku.ca/calendars/2011-2012/academic/grades/)

* If an alternative number grade/percentage system is used for assignments or tests, it must be fully described in the course outline. Students may take a limited number of courses for degree credit on an ungraded (pass/fail) basis. For full information on this option see Alternative Grading Option in the Faculty of Fine Arts section of the Undergraduate Calendar - http://www.registrar.yorku.ca/calendars/2011-2012/faculty_rules/FA/grading.htm

Assignment Submission: Proper academic performance depends on students doing their work not only well, but on time. Accordingly, assignments for this course must be received on the due date specified for the assignment. Assignments are to be handed in (specify how, where and when if this information was not provided in the Description of Assignments above). Assignments for past-due dates will not be accepted beyond the last day of classes, unless the student has been granted permission by the Course Director.

Lateness Penalty: Written assignments received later than the due date will be penalized 5% per day (1 half-letter grade) per day that assignment is late, including weekends. Exceptions to the lateness penalty ONLY for valid reasons such as illness, compassionate 7 grounds, etc., may be entertained by the Course Director, but will require supporting documentation.

Assignments more than one week late will not be accepted without an extension or permission given by the Course Director.

Late penalties do not count for participation discussions (e.g. if you miss a TopHat assignment or Discussion Forum, it cannot be done ‘later’ as it is part of your participation mark.)

Missed Tests: Students with a documented reason for missing a course test, such as illness, compassionate grounds, etc., which is confirmed by supporting documentation (e.g., doctor’s letter) may request accommodation from the Course Instructor. (eg. permission to write a makeup test on an alternate date. Further extensions or accommodation will require students to submit a formal petition to the Faculty.

Deferrals: If you are unable to submit work during the term, but wish to do so at a later date you may apply for a Deferral (forms available through the Registrar’s Office or website). Please note that you must provide a justifiable reason for your request, as well as supporting documentation (eg. Doctor’s notes, etc.)

Reappraisals and Re-evaluations of All Submitted Work: The following are the procedures for grade reappraisals and re-evaluations or re-readings of submitted work: All requests for reappraisals or re-evaluations must be requested in writing, in a letter or e-mail to the Course Director, providing the reasons for the request, and allowing sufficient time for request to be received and considered. Please note that the Course Director will not re-evaluate or re-read work that has received a grade of C or above. If you wish to have your paper formally appraised by someone other than the Course Director, you must submit a request to the Film Department. Also please note that we will not ‘bump’ your grade to the next half or full-grade level to raise your GPA, so please do not request it.

ADDITIONAL INFORMATION

Fees

Students will be asked to participate in three ‘Cultural Expeditions’ that may involve admission fees to film screenings or exhibits. 8

Top Hat

We also will be using Top Hat, an interactive learning platform for this course, for certain in-class activities. There is a low-cost membership fee (and remember there is no text- book to buy). It is highly recommended that students join (if they are not already members through other courses). However if cost is an issue, they may speak to the instructor about accommodation.

Specific Requirements: students must have access to e-mail and the internet. Students must also have a valid YorkU e-mail address, a YorkU passport, and a Moodle Account in order to participate in the course. .

IMPORTANT COURSE INFORMATION FOR STUDENTS

All students are expected to familiarize themselves with the following information, available on the York University Secretariat Academic Standards, Curriculum and Pedagogy (ASCP) webpage (see Student Information Sheet under Reports, Initiatives, and Documents) http://www.yorku.ca/univsec/senate_cte_main_pages/ASCP.htm • Academic Honesty Policy and Procedures/Academic Integrity Website 1• Access/Disability: course requirement accommodation for students with disabilities, including physical, medical, learning and psychiatric disabilities 2• Ethics Review Process for research involving human participants 3• Religious Observance Accommodation 4• Student Conduct Standards

If only paper copies of the course outline are distributed, the information below should be appended to the course outline in place of the statement and weblink above:

Academic Honesty and Integrity

York students are required to maintain high standards of academic integrity and are subject to the Senate Policy on Academic Honesty (http://www.yorku.ca/univsec/policies/document.php?document=69).

There is also an academic integrity website with complete information about academic honesty. Students are expected to review the materials on the Academic Integrity website (http://www.yorku.ca/academicintegrity).

PLEASE NOTE THAT ACADEMIC DISHONESTY IS TAKEN VERY SERIOUSLY IN THIS COURSE. 9

There is Zero Tolerance for academic dishonesty. Students who violate academic integrity standards (i.e. cheat on tests or plagiarize from other sources) will be given an automatic ‘o’ on the assignment, with the possibility of further action. DON’T DO IT – IT’S NOT WORTH THE RISK.

Access/Disability York provides services for students with disabilities (including physical, medical, learning and psychiatric disabilities) needing accommodation related to teaching and evaluation methods/materials. These services are made available to students in all Faculties and programs at York University.

Students in need of these services are asked to register with disability services as early as possible, to ensure that appropriate academic accommodation can be provided with advance notice. You are encouraged to contact your professor at the start of the term to discuss your accommodation needs. This may be done either in person or by e-mail.

Registering with disabilities services and discussing your needs with your professors is necessary to avoid any impediment to receiving the necessary academic accommodations to meet your needs.

Students who require accommodation must advise their Course Director and/or tutorial leaders at the start of the course (not partway through).

Additional information is available through Counselling & Disability Services at www.yorku.ca/cds or from disability service providers: • Personal Counselling and Learning Skills Services: N110 BCSS, 416-736-5297 • Mental Health Disability Services: N110 BCSS, 416-736-5297 • Learning Disability Services: W128 BCSS, 416-736-5383 • Physical, Sensory and Medical Disability Services: N108 Ross, 416-736-5140, TTY: 416-736-5263  Deaf, deafened and hard-of-hearing students may also contact [email protected] Glendon students - Counselling & Disability Services, Glendon Site: Glendon Hall E103, 416-487-6709

Note for faculty: there is a Faculty Resource Guide for Teaching Students with Disabilities, designed to assist faculty and TAs in supporting students with disabilities in their courses. The Guide is available online at: http://www.yorku.ca/facultyawareness

Ethics Review Process

York students are subject to the York University Policy for the Ethics Review Process for Research Involving Human Participants. In particular, students proposing to undertake research involving human participants (e.g., interviewing the director of a company or government agency, having students complete a questionnaire, etc.) are required to 10 submit an Application for Ethical Approval of Research Involving Human Participants at least one month before you plan to begin the research. If you are in doubt as to whether this requirement applies to you, contact your Course Director immediately.

Religious Observance Accommodation

York University is committed to respecting the religious beliefs and practices of all members of the community, and making accommodations for observances of special significance to adherents. Should any of the dates specified in this syllabus for an in- class test or examination pose such a conflict for you, contact the Course Director within the first three weeks of class. Similarly, should an assignment to be completed in a lab, practicum placement, workshop, etc., scheduled later in the term pose such a conflict, contact the Course director immediately. Please note that to arrange an alternative date or time for an examination scheduled in the formal examination periods (December and April/May), students must complete an Examination Accommodation Form, which can be obtained from Student Client Services, Student Services Centre or online at http://www.registrar.yorku.ca/pdf/exam_accommodation.pdf (PDF)

Student Conduct

Students and instructors are expected to maintain a professional relationship characterized by courtesy and mutual respect and to refrain from actions disruptive to such a relationship. Moreover, it is the responsibility of the instructor to maintain an appropriate academic atmosphere in the classroom, and the responsibility of the student to cooperate in that endeavour. Further, the instructor is the best person to decide, in the first instance, whether such an atmosphere is present in the class.

These expectations extend equally to students’ relationships with their tutorial leaders and fellow students. Rude, disrespectful or bullying behaviour will not be tolerated.

A statement of the policy and procedures involving disruptive and/or harassing behaviour by students in academic situations is available on the York website http://www.yorku.ca/univsec/policies/document.php?document=82

Please note that this information is subject to periodic update. For the most current information, please go to the ASCP webpage (see Student Information Sheet under Reports, Initiatives, and Documents) http://www.yorku.ca/univsec/senate_cte_main_pages/ASCP.htm 11

Course Schedule * (*In-class screenings may be subject to change depending on availability. This will not affect lecture content or assignments. **Readings provided on separate reading list posted on Moodle Website)

PART I: Film as Culture

Lecture #1 – Monday - May 9 - Intro

Introduction to course and course materials: syllabus, website & Top Hat Purposes & Functions of the Cinema:

Extracts

The Story of Film: An Odyssey (Mark Cousins, 2012)

Reading: See course website

Lecture #2 – Wednesday - May 11 - Film as Pop or Mass Culture?

Pop Culture vs. High Culture Mass Culture Mass Media and Spectacle

In-Class Discussion

Leonardo DaVinci’s Mona Lisa Andy Warhol’s Elizabeth Taylor

IMBD adaptations

Romeo and Juliet (George Cukor, 1936) Romeo and Juliet (Franco Zeffirelli, 1968) Romeo and Juliet (Alvin Rakoff, 1978 – TV series for BBC) West Side Story (Robert Wise, 1961) Romeo & Juliet (Baz Luhrmann, 1996)

Reading: See course website 12

Lecture #3 – Monday , May 16 – Hooray for Hollywood

Why is ‘Hollywood’ so important? Cinema of the Centre Institutional Conditions, Practices of Production Capital Culture & Ideology

In-Class Discussion:

Bride and Prejudice (Gurinder Chada, 2010) Slumdog Millionaire (Christian Colson, 2009) Like Water for Chocolate (Alfonso Arau, 1993) My Big Fat Greek Wedding (Joel Zwick, 2002) Amreeka (Cherien Davis, 2009)

Excerpt: Moguls & Movie stars : a history of Hollywood. (Bill Haber, 2011)

Screening

Bend it Like Beckham (Gurinder Chadha, 2003)

Readings: See Course Website

2 Assignments Posted: 1) Sequence Analysis (Due June 1) 2) Cultural Discovery Expeditions & Report (Due August 3) (See assignment sheets for details)

PART II: Film as Discourse

Lecture 4 – Wednesday, May 18 – Water Cooler Cinema

What is discourse? Film as Public Discourse

In-Class Discussion:

Spotlight (Tom McCarthy, 2015) Black or White (Mike Binder, 2014) The Woman in Gold (Simon Curtis, 2014) The Dictator (Sacha Baron Cohen, 2012) Django (Sergio Corbucci, 1966) 13

Screening

Django Unchained (Quentin Tarantino, 2012)

Readings: See course website

Monday, May 23

NO CLASS – VICTORIA DAY MONDAY

Lecture 5 - Wednesday, May 25 - Spectatorship

Spectatorship & Subjectivity: Voice, Image & Position

In-Class Discussion:

Django (Quentin Tarantino, 2012

Screenings: Philadelphia (Jonathan Demme, 1993)

Readings: See Course Website

Tests: Quiz #1 in class

Lecture 6 – Monday, May 30 – Realism and Representation

NO IN-CLASS LECTURE: 1ST CULTURAL EXPEDITION

Extracts to view in Moodle (See website for links)

Readings: See Course Website 14

Lecture #7 - Wednesday – June 1 - The ‘Gaze’

The Camera’s Gaze: Subject & Object

In-Class Discussion

À bout de souffle (Jean-Luc Godard, 1959) Peeping Tom (Michael Powell, 1960) Rear Window (Alfred Hitchcock, 1954) Caché (Michael Haneke, 2005) American Beauty (Sam Mendes, 1999)

Screening

The Truman Show (Peter Weir, 1998)

Reading: See Course website

Assignment Due: Sequence Analysis (submit through Turnitin in Moodle)

Lecture 8 - Monday – June 6 - Even Filmmakers Have Values

Axiographics & Ethics

In-Class Discussion

The Rodney King Video The Truman Show (Peter Weir, 1998) Medium Cool (Haskell Wexler) The Thin Blue Line (Errol Morris, 1988) Zero Dark Thirty (Katherine Bigelow, 2012) Wag The Dog (Barry Levinson, 1992)

Excerpts/Screenings

Fahrenheit 9/11 (Michael Moore 2004) Farenhype 9/11 (Alan Peterson, 2004)

Readings: See Course website 15

PART III: Film as Language

Lecture 9 - Wednesday - June 8 – Mise en Scene

Cinematography, Production Design, Performance

In-Class Discussion:

Le Règle du jeu (Jean Renoir, 1937) - Hunt Dirty Harry (Don Siegel, 1971) - Robbery Once Upon a Time in the West (Sergio Leone, 1967) – Opening, Showdown Scarlet Empress (Joseph Von Sternberg, 1934) - Wedding Touch of Evil (Orson Welles, 1958) – Tracking Shot Gone With the Wind (Victor Fleming, 1939) – Train Station Crane Shot

Screening: American Beauty (Sam Mendes, 1999)

Readings: See Course website

Lecture 10 - Monday June 13 - Montage

The Kuleshov Effect and Dialectical Theory Debate: Long Take vs. Montage

In-Class Discussion

Battleship Potemkin (Sergei Eisenstein, 1925) – ‘Odessa Steps’ October (Sergei Eisenstein, 1928) – ‘Lions’ Atalante (Jean Vigo, 1934) – ‘Husband and Wife Montage’

The Godfather (Francis Ford Coppola, 1972) – Opening Sequence, Arrival in Hollywood The Godfather (Francis Ford Coppola, 1972) – Baptism Sequence

À bout de souffle (Jean-Luc Godard, 1959) Jump cuts High Noon (Fred Zinneman, 1952) – Train Arrives Delicatessen (Jean-Pierre Jeunet and Marc Caro, 1992) – Sex Montage ‘M’ (Fritz Lang, 1931) – Elsie

Mad Max II: The Road Warrior (George Miller, 1981) – chase sequence Rocky (John Avildsen, 1976) – training sequence

Screening: The Big Short (Adam McKay, 2015) Extracts to view in Moodle: See links on website

Reading: See Course Website 16

Lecture 11 – Wednesday – June 15 - Structuralism & Semiotics

Structuralism

In-Class Discussion

Scarface (Howard Hawks, 1932) It Happened One Night (Frank Capra, 1934) From Here to Eternity (Fred Zinneman, 1955) North by Northwest (Alfred Hitchcock, 1954) Written on the Wind (Douglas Sirk, 1956) The Matrix (The Wachowski Brothers, 1999) Citizen Kane (Orson Welles, 1941) The Stranger (Orson Welles, 1946) Touch of Evil (Orson Welles, 1958)

Screening : Night of the Hunter (Charles Laughton, 1955)

Reading: See Course Website

Lecture 12 – Monday June 20 - Structuralism and Semiotics cont’d

Semiotics: Signs, symbols and myth messages

Screening: Night of the Hunter continued

Readings: See Course Website

Lecture 13 –Wednesday June 22 - Film Narrative

Classical (Hollywood) Narrative Linear vs Non-linear structures

In-Class Discussion

Double Indemnity Billy Wilder (1944) Stagecoach (John Ford, 1939) Pulp Fiction (Quentin Tarantino, 1994) The Limey (Steven Soderbergh, 1999) Eternal Sunshine of the Spotless Mind (Michel Gondry 2004)

Readings: See Course website 17

Screening: Memento (Christopher Nolan, 2000)

Tests: Quiz #2 in class

Lecture 14 – Monday - June 27: Genre

Genre: System of Categorization Structures of Conflict & Generic Cycles

In-Class Discussion

Stagecoach (John Ford, 1939) My Darling Clementine (John Ford, 1946)

Shane (George Stevens, 1953) The Oxbow Incident (William Wellman, 1943)

Once Upon a Time in the West (Sergio Leone, 1968) Butch Cassidy and the Sundance Kid (George Roy Hill, 1969) Little Big Man (Arthur Penn, 1970) Soldier Blue (Ralph Nelson, 1970)

Lust in the Dust (Jon Waters, 1984)

Thelma and Louise (Ridley Scott, 1991) The Quick and the Dead (Sam Raimi, 1995)

Blazing Saddles (Mel Brooks, 1974) City Slickers (Ron Underwood, 1991)

The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik, 2007) Django Unchained (Quentin Tarantino, 2012)

Readings: See Course website

LECTURE 15 – Wednesday June 29

NO IN-CLASS LECTURE – 2 ND CULTURAL EXPEDITION 18

LECTURE 16 - Monday July 4

NO IN-CLASS LECTURE – 3 RD CULTURAL EXPEDITION

PART IV: Film as Representation

Lecture 17 – Wednesday – July 6 - Reading & Writing Film

Different Modes of Reading/ & looking Marxist: (Dominant/Hegemonic/Preferred) Authorship & Auteur Theory

In-Class Discussion

Meet John Doe (Frank Capra, 1941 Spartacus (Stanley Kubrick, 1960) Le chat dans le sac (Gilles Groulx, 1962) If (Lindsay Anderson. 1968) Deliverance (John Boorman, 1972) Tootsie (Sydney Pollack, 1982)

Screening: Adaptation (Spike Jones, 2002)

Extracts to be viewed in Moodle: See links on course website

Readings: See Course Website

Lecture 18 – Monday July 11 - Star Power

The Star System Stars as Authors and/or Signs

In Class Discussion

Hollywood Stars

Screening: Some Like it Hot (Billy Wilder, 1959)

Readings: See course website 19

Lecture 19 – Wednesday – July 13 – Identity Politics

‘The Look’: Patriarchy & The Male Gaze Oppositional and Trangressive Gazes:

Class Discussion:

The Male Gaze

Double Indemnity (Billy Wilder, 1944) The Postman Always Rings Twice (Tay Garnett, 1946) Gilda (Charles Vidor, 1945) Scarface (Howard Hawks, 1932) Fatal Attraction (Adrian Lyn, 1987)

The Jazz Singer (Alan Crosland, 1927) Frankenstein (James Whale, 1931)

Oppositional/Transgressive Gazes

Blonde Venus (Joseph von Sternberg, 1932) The Adventures of Priscilla, Queen of the Desert (Stephan Elliot, 1994) Philadelphia (Jonathan Demme, 1993 Do the Right Thing (Spike Lee, 1989) Basic Instinct (Paul Verhoeven, 1991)

Screening: Transamerica (Duncan Tucker, 2005)

Extracts to be viewed in Moodle : See links on course website

Readings: See course website

Lecture 20 - Monday – July 18– Identity, Space and Place

Race, Ethnicity & Hybridity (De) Constructing the National

Class Discussion

Bride and Prejudice (Gurinder Chadha, 2010) Broken Blossoms (D.W. Griffith, 1919) The Jazz Singer (Alan Crosland, 1927) The Searchers (John Ford, 1956) Focus (Neil Slavin, 2001) 20

Screening: Reel Bad Arabs: How Hollywood Villifies a People (Sut Jhally, 2006)

Extracts to be viewed in Moodle: See links on course website

Readings: See course website

Test: Quiz #3 in class

Lecture 21– Wednesday – July 20 – Identity, Space and Place cont’d

Cinemas of Displacement (Diasporic, Migrant & Refugee Cinema) Homeland as Contested Space: Cinemas of Conflict, Resistance & Occupation

Class Discussion:

M. Lazhar (Philippe Falardeau, 2011) East is East (Damien O’Donnell, 1999) Live and Become (Radu Mihaileanu, 2005) The Red Violin (François Girard, 1998) The Intouchables (Olivier Nakache 2012) The Good Lie (Philippe Falardeau, 2014) The Walking Dead (HBO TV series) – Season 2, Episode 2

Screening: God Grew Tired of Us (Christopher Quinn, 2006)

Readings: See course website

PART V – FILM AS FORUM

Lecture 22 Monday – July 25 - New Technologies

Globalization and international production New Technologies

Discussion

2001 Space Odyssey (Stanley Kubrick, 1972) Star Wars (George Lucas, 1977) Jurassic Park (Steven Spielberg, 1993) The Matrix (The Wachowskis, 1999) 21

The Blair Witch Project (Eduardo Sanchez and Daniel Myrick, 1999) Minority Report (Steven Spielberg) Ryan (Chris Landreth, 2004) Tron: Legacy (Joseph Kosinsky, 2010) Inception (Christopher Nolan, 2010) Ex Machina (Alex Garland, 2015)

Screening: The People vs. George Lucas (Alexandre O. Philippe, 2010)

Readings: See Course Website

Lecture 23 – Wednesday – July 27 : Social Media

Social Media and the Cinema: The New Subjectivity Is Film Dead? Preservation vs. Petrification: Film as Art, Document, Archive Wrap Up and Review

Discussion

The Social Network (David Fincher, 2010) You’ve Got Mail (Nora Ephron, 1988) The Net (Irwin Winkler, 1995) Unfriended (Levan Gabriadze, 2014) Gossip (Davis Guggenheim, 2000)

Readings: See Course website (for this week, and posted in advance for final lecture on August 3)

Screening: We Live in Public (Ondi Timoner) 2009

MONDAY, AUGUST 1 – CIVIC HOLIDAY – NO CLASS ______

Lecture 24 – Wednesday August 3: Is Film Dead?

Is Film Dead? Preservation vs. Petrification: Film as Art, Document, Archive

Wrap Up

Assignment: CULTURAL EXPEDITION REPORTS DUE ONLINE

Test: Quiz #4 in class

END OF COURSE - HOPE YOU ENJOYED IT!