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HUM 3280: Narrative Film Fall 2013 Dr. Perdigao class time: M W 2:00-2:50 pm F 2:00-3:55 pm office hours: M W 10:45-11:45 am; M 5:00-6:00 pm and by appointment office: 626 Crawford phone: 321-674-8370 email: [email protected] website: my.fit.edu/~lperdiga

Course Description: This introduction to film and film studies begins with the silent films of the early twentieth century and ends with twenty-first century films. Throughout the course, we will study the composition of film—from individual shots to editing and production—as well as its transmission of ideas. As we analyze the individual films, we will examine how they reflect a changing American culture in their representations of identity along the lines of race, class, gender, and sexual orientation. We will locate the films within their historical moments to explore how the films both advocate and challenge the values and ideologies of their times. We will also examine the films’ placement along a larger trajectory to study how films utilize, experiment with, and even challenge earlier representations. We will view thirteen films over the course of the semester but we will also examine images and clips from a range of others to gain a larger understanding of the field and the genres that constitute narrative film.

Required Texts: Timothy Corrigan and Patricia White, The Film Experience: An Introduction, 3rd ed. (Bedford/St. Martin’s; ISBN: 9780312681708) Bernard Dick, Anatomy of Film (Bedford/St. Martin’s; ISBN: 9780312487119)

Policies and Procedures

Grading: Film responses (8) 30% Take-home Midterm Exam 30% Final Exam (Wednesday, December 11 from 8-10 am) 30% Class participation 10%

A film response consists of a 1-2 page response (250-500 words) to one of the questions that I will provide on the individual films. While the responses are not formal essays, you must demonstrate knowledge of the texts, both the films and the critical texts on film. In the responses, you will explore how the films are composed in their individual shots and scenes or through editing, transmit certain ideas and values of the periods that they are representing, and, ultimately, reflect their cultural and historical moments. There are 14 film response assignments offered during the semester; you must write 8 responses. For the film responses and take-home midterm exam, students are required to submit their papers to www.turnitin.com on the assigned date; failure to submit the paper to turnitin.co m and/or to turn in the hard copy in class on the due date will lead to a failure of the assign ment. Our class ID is 6773605 and the password is Rosebud.

The take-home midterm exam will consist of essay questions pertaining to the required texts. It must be typed, using a standard 12-point font (about 250-300 words per page), and contain proper documentation for all works referenced.

Academic Dishonesty will be handled in accordance with Humanities and Communication Depa rtment policy. Cheating and plagiarism will result in failure of assignment and/or failure of cours e and will be reported to the Dean of Students and recorded in your permanent student file. Disho nest conduct may lead to formal disciplinary proceedings. Be certain that you are familiar with Florida Tech’s academic dishonesty policy (http://www.fit.edu/current/documents/plagia rism.pdf).

Cell phone policy: If your phone rings, if you try to make an outgoing call or text messages are sent or received (translation: basically any variation of playing with your phone when you should be paying attention), you are responsible for bringing pizza (or an acceptable alternative) to the following class.

Attendance is required. Absenteeism and tardiness will adversely affect your final grade. If you miss more than 10% of the classes, you run the risk of failing the course. You are responsible for all of the work you miss. If you miss one of the film screenings, it is your responsibility to obtain a copy of the film and view it on your own. Since this class is not primarily a lecture course, participation is expected. Informed in-class participation demonstrates your engagement with the readings and is reflected in your final grade.

Course Schedule

August 19 Introduction

August 21 Early cinema: animating the image Reading: The Film Experience, “Part 1: Cultural Contexts: making, watching, and studying movies,” 2-3 FE, “Introduction: Studying Film: Culture, Practice, Experience,” 5-17 FE, “Part 4: Critical Perspectives: history, methods, writing,” 352-353 FE, “Chapter 10: History and Historiography: Hollywood and Beyond,” 355-397

August 23 Screening: Sherlock Jr. (1924) Reading: FE, “Part 2: Formal Compositions: film scenes, shots, cuts, and sounds,” 60-61 FE, “Chapter 2: Exploring a Material World: Mise-en-Scène,” 63-93

August 26 Race, class, gender, and sexual orientation onscreen Reading: FE, “Chapter 3: Framing What We See: Cinematography,” 95-131 (skip the section on Vertigo)

August 28 Classical cinema: from silent film to sound FE, “Chapter 5: Listening to the Cinema: Film Sound,” 177-211 Anatomy of Film, “Chapter 1: Understanding the Medium,” 1-20

August 30 Screening: Modern Times (1936) (87 min) AF, “Chapter 2: Film, Space, and Mise-en-Scène,” 51-98 Film response 1 due (Sherlock Jr.)

September 2 Labor Day—no class

September 4 The thirties and the modernization of film Citizen Kane (1941) (119 min) Reading: FE, “Chapter 1: Encountering Film: From Preproduction to Exhibition,” 19-59 AF, “Chapter 3: Enhancing the Image: Color, Lighting, and Visual Effects,” “Colorization,” 108-110

September 6 Screening: Citizen Kane (1941) (119 min) Reading: FE, “Chapter 14: Writing a Film Essay: Observations, Arguments, Research, and Analysis,” 435-467 Film response 2 due (Modern Times)

September 9 Narrative structure Reading: FE, “Chapter 4: Relating Images: Editing,” 133-175 AF, “Chapter 4: Enhancing the Image: Color, Lighting, and Visual Effects,” “Lighting the Image,” 110-113

September 11 Wartime film culture and modern film theory

September 13 Screening: Casablanca (1942) (102 min) AF, “Chapter 8: Film and Literature,” 268-275 Film response 3 due (Citizen Kane)

September 16 The expatriate and American identity FE, “Part 3: Organizational Structures: from stories to genres,” 212-213 FE, “Chapter 6: Telling Stories: Narrative Films,” 215-253 AF, “Chapter 5: Film Genres,” “The Combat Film,” 152-156 AF, “Chapter 8: Film and Literature,” “Adaptations of Plays,” 298-304

September 18 Postwar cinema Reading: FE, “Chapter 11: Reading about Film: Critical Theories and Methods,” 399-433 AF, “Chapter 10: Film Theory and Criticism,” 345-385

September 20 Screening: The Maltese Falcon (1941) (100 min)

September 23 Uncertainty and ambiguity: film noir Reading: FE, “Chapter 9: Rituals, Conventions, Archetypes, and Formulas: Movie Genres,” 315-351 AF, “Chapter 5: Film Genres,” “The Musical,” 119-133, “Film Noir,” 147-52 Film response 4 due (Casablanca)

September 25 Realism and escapism

September 27 Screening: Singin’ in the Rain (1952) (103 min) AF, “Chapter 5: Film Genres,” “The Reflexive Film,” 165-177

September 30 Reviving the musical Reading: FE, “Chapter 5: Listening to the Cinema: Film Sound,” 177- 211 AF, “Chapter 2: Graphics and Sound,” “Sound,” 36-50 Film response 5 due (The Maltese Falcon)

October 2 No class

October 4 No class

*Screening during the week: Rear Window (1954) (112 min)

October 7 Alienation, estrangement, and containment in Cold War culture

October 9 Hitchcock Presents: auteur theory Masculinity in crisis in The Birds, Psycho, and Vertigo Reading: FE, “From Angles to Animation in Vertigo (1958),” 124- 125 AF, “Chapter 7: The Film Director,” 238-254 Film response 6 due (Singin’ in the Rain)

October 11 Screening: The Searchers (1956) (119 min)

October 14 Columbus Day—no class

October 16 Film genres Reading: AF, “Chapter 5: Film Genres,” “The Western,” 133-141 Take-home midterm due

October 18 Redefining centers

*Screening during the week: The Godfather (1972) (175 min)

October 21 Contemporary cinema Reading: AF, “Chapter 5: Film Genres,” “The Crime Film,” 142- 146 Film response 7 due (Rear Window)

October 23 The crime film and its descendants

October 25 Screening: Ferris Bueller’s Day Off (1986) (103 min) October 28 From 1950s anti-authoritarianism to 1980s angst Reading: AF, “Chapter 5: Film Genres,” “Comedies,” 156-165

October 30 Constructing middle class America American Beauty (1999) (122 min) Film response 8 due (The Searchers)

November 1 Screening: American Beauty (1999) (122 min)

November 4 From Don Corleone to Lester Burnham: rewriting the patriarch

November 6 American masculinity into the twenty-first century AF, “Chapter 4: Enhancing the Image,” “Coloring the Image,” 99-107 AF, “Chapter 5: Film Genres,” “The Woman’s Film,” 177-183 Film response 9 due (The Godfather)

November 8 No class

*Screening during the week: Memento (2000) (113 min)

November 11 Veterans Day—no class

November 13 Neo film noir Film response 10 due (Ferris Bueller’s Day Off)

November 15 Screening: Crash (2004) (112 min)

November 18 Identity crises in the twenty-first century Film response 11 due (American Beauty)

November 20 Multiculturalism and heteroglossia in the postmodern world

November 22 Screening: The Artist (2011) (100 min)

November 25 Rewriting the self Film response 12 due (Memento)

November 27 Thanksgiving—no class

November 29 Thanksgiving—no class

December 2 Reviewing film history Film response 13 due (Crash)

December 4 Conclusions

December 11 Final exam (8-10 am) Film response 14 due (The Artist)