American Film Institute's Top

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American Film Institute’s Top 100 Student taught course, spring 2010 Student instructor: Christian Griset (senior, Physics) Sponsoring Professor: Robert Rosenstone Course description: In this course we will study nine films on the American Film Institute’s list, “100 Movies, 100 Years”, ranging from Modern Times to Pulp Fiction. The course will introduce students to the elements of film making and storytelling which solidified these films in cinematic history (e.g. Orson Welles’ innovative techniques to manipulate camera angles in Citizen Kane; camera induced tension in 12 Angry Men; the driving dialogue in Pulp Fiction). Each week will be structured as to watch a film followed by a class discussion lead by the instructor. The films are chosen from my judgment of what students will find most interesting and on the ease of being able to appreciate technical aspects of each film. Tentative film schedule by week: 1. 12 Angry Men 2. Raging Bull 3. Modern Times 4. Apocalypse Now 5. Citizen Kane 6. Do the Right Thing 7. Duck Soup 8. The Unforgiven 9. Pulp Fiction 10. Class discussion of Pulp Fiction Grading: Grading will be broken up into three equal parts among in-class/homework assignments, class participation, and a final essay. A passing grade is 67%. Homework and assignments: Before watching each film, I will hand out a list of questions the students can choose to answer either during the movie or as homework. The questions will be designed to prepare the student for the discussion following the film, for which I will have a list of prepared topics on important aspects which helped define its role in cinema. The participation grade will be based on quantity. The idea is to get people thinking and express their own point of view, since film impacts everyone differently. The final essay will be a two page minimum (more is welcome) analysis of Pulp Fiction, as I believe students will find it relatively easy to analyze from a technical perspective. The paper can be on anything the student wants, from character development to plot devices to recurring themes. The paper will be due on the last class, which will be spent discussing this film. .

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Pulp Fiction © Jami Bernard the a List: the National Society of Film Critics’ 100 Essential Films, 2002
Pulp Fiction © Jami Bernard The A List: The National Society of Film Critics’ 100 Essential Films, 2002 When Quentin Tarantino traveled for the first time to Amsterdam and Paris, flush with the critical success of “Reservoir Dogs” and still piecing together the quilt of “Pulp Fiction,” he was tickled by the absence of any Quarter Pounders with Cheese on the European culinary scene, a casualty of the metric system. It was just the kind of thing that comes up among friends who are stoned or killing Harvey Keitel (left) and Quentin Tarantino attempt to resolve “The Bonnie Situation.” time. Later, when every nook and cranny Courtesy Library of Congress of “Pulp Fiction” had become quoted and quantified, this minor burger observation entered pop (something a new generation certainly related to through culture with a flourish as part of what fans call the video games, which are similarly structured). Travolta “Tarantinoverse.” gets to stare down Willis (whom he dismisses as “Punchy”), something that could only happen in a movie With its interlocking story structure, looping time frame, directed by an ardent fan of “Welcome Back Kotter.” In and electric jolts, “Pulp Fiction” uses the grammar of film each grouping, the alpha male is soon determined, and to explore the amusement park of the Tarantinoverse, a the scene involves appeasing him. (In the segment called stylized merging of the mundane with the unthinkable, “The Bonnie Situation,” for example, even the big crime all set in a 1970s time warp. Tarantino is the first of a boss is so inexplicably afraid of upsetting Bonnie, a night slacker generation to be idolized and deconstructed as nurse, that he sends in his top guy, played by Harvey Kei- much for his attitude, quirks, and knowledge of pop- tel, to keep from getting on her bad side.) culture arcana as for his output, which as of this writing has been Jack-Rabbit slim.
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