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DIRECTED SCREENINGS ART 3111-001 FALL 2012

Art & Art History Department M/W 5:30PM-6:50PM Classroom FA 148 Instructor: Patty Newton [email protected] /Phone 817.272.2891 Office: FA 161/Hours: Monday 4:00-5:00PM By Appointment Only

Course Description: In Directed Screenings we will view significant films from a critical perspective. The course will examine the emergence and cultural resonance of film, the elements of film language, the dynamics of new technology and the workings of motion pictures as a means of narrative expression. Significant motion pictures will be screened in each class. You are expected to view each film with a critical eye towards substance, style, content, genre and historical context. Expect some commentary and discussion in class as time permits.

Required Textbooks None Materials None

Attendance: Faculty members of the film/video program share the following attendance policy. Attendance is required to all scheduled classes. In accordance to university policy religious holidays are excusable as is illness but must be accompanied by a written note from a physician. In the case of an excused absence, you are responsible for notifying the professor ahead of class. Unexcused absences beyond two days, including any absence in which the professor and student do not communicate in writing about before the absence will result in the following grade reductions: • Third day absent will result in reduction of one letter for the final semester grade. • Fourth day absent will result two letters off the final semester grade. • Fifth day absent will result in automatic failure of the class.

You are responsible for any work missed during an absence, including any handouts given in class and any demonstrations or information covered in discussions and lectures. It is not the responsibility of faculty to re-teach what you have missed. Consistent lateness will also have a detrimental effect on the student’s final grade. If you are more then ten minutes late you will be counted as absent.

Student Learning Outcome Statement 1. Students will be familiar with important and classic films and understand their value as it relates to making films. 2. Students will have critical oral and written skills for analyzing cinema. 3. Students will understand trends, genres and techniques of classic cinema.

The student is responsible for all material presented in class and this should be demonstrated in the work produced. All assignments must be posted (for Blackboard assignments)/emailed (for extra credit papers) by or on the due date (see Due Dates policy). All written assignments/extra credit must be typed and saved/emailed as a PDF (hand–written work will not be accepted). All written assignments must have a cover sheet that includes: • Students’ name • Class (ART 3111, Section 001) • Assignment title • Date

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• Version

Please read the assignments carefully and plan with adequate time for completion. Lack of planning will not be accepted as an excuse. Please speak with instructor prior to due date if any problems arise.

Due Dates: Due dates will be announced in class and/or posted on Blackboard. Consider these absolute deadlines that you must adhere to. Late assignments WILL NOT be accepted. An excused deadline will be solely at the discretion of the instructor. E-mail addresses are provided free of charge to university students or you can obtain your own address outside of the university system.

Requirements/Work for the class • You may take notes in class (so bring a notebook and a pen, or your laptop) • Three discussions will be posted via Blackboard throughout the semester. Your grade is based on your participation in these discussions and will be driven by the amount and quality of your thoughtful, coherent, articulate and insightful exchanges in the Blackboard discussion. • You are expected to participate and contribute to classroom discussions. Your grade is also driven by this. • EXTRA CREDIT: Students are encouraged to attend the film festivals that occur during the semester. If you desire extra credit you can and write a report about the film(s) and the experience and turn it in by the end of the semester.

Grading Blackboard discussion/Written assignments assigned 55% Attendance and class participation 45%

A Note on Classroom Policy You are welcome to bring your laptops, e-readers, etc to take notes in class.

However.

Since we will be watching a screen in a darkroom and little, dancing electronic screens dilute the film watching experience for those around and behind you please sit in the back and/or top rows if you plan to take notes electronically. You may not use your electronic devices to surf, email, or engage in social media during class. Plan accordingly. And thanks in advance for your consideration of your film-going classmates.

Drop Policy: Students may drop or swap (adding and dropping a class concurrently) classes through self-service in MyMav from the beginning of the registration period through the late registration period. After the late registration period, students must see their academic advisor to drop a class or withdraw. Undeclared students must see an advisor in the University Advising Center. Wednesday, October 31 is the last day to drop a class without penalty. It is the student's responsibility to officially withdraw if they do not plan to attend after registering. Students will not be automatically dropped for non-attendance. Repayment of certain types of financial aid administered through the University may be required as the result of dropping classes or withdrawing. For more information, contact the Office of Financial Aid and Scholarships (http://wweb.uta.edu/ses/fao).

Americans with Disabilities Act: The University of Texas at Arlington is on record as being committed to both the spirit and letter of all federal equal opportunity legislation, including the Americans with Disabilities Act (ADA). All instructors at UT Arlington are required by law to provide "reasonable accommodations" to students with disabilities, so as not to discriminate on the basis of that disability. Any student requiring an accommodation for this course must provide the instructor with official documentation in the form of a letter certified by the staff in the Office for Students with Disabilities, University Hall 102. Only those students who have officially documented a need for an accommodation will have their request honored. Information regarding diagnostic criteria and policies for obtaining disability-based academic accommodations can be found at www.uta.edu/disability or by calling the Office for Students with Disabilities at (817) 272-3364.

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Academic Integrity: At UT Arlington, academic dishonesty is completely unacceptable and will not be tolerated in any form, including (but not limited to) “cheating, plagiarism, collusion, the submission for credit of any work or materials that are attributable in whole or in part to another person, taking an examination for another person, any act designed to give unfair advantage to a student or the attempt to commit such acts” (UT System Regents’ Rule 50101, §2.2). Suspected violations of academic integrity standards will be referred to the Office of Student Conduct. Violators will be disciplined in accordance with University policy, which may result in the student’s suspension or expulsion from the University.

Student Support Services: UT Arlington provides a variety of resources and programs designed to help students develop academic skills, deal with personal situations, and better understand concepts and information related to their courses. Resources include tutoring, major-based learning centers, developmental education, advising and mentoring, personal counseling, and federally funded programs. For individualized referrals, students may contact the Maverick Resource Hotline by calling 817-272-6107, sending a message to [email protected], or visiting www.uta.edu/resources.

Electronic Communication: UT Arlington has adopted MavMail as its official means to communicate with students about important deadlines and events, as well as to transact university-related business regarding financial aid, tuition, grades, graduation, etc. All students are assigned a MavMail account and are responsible for checking the inbox regularly. There is no additional charge to students for using this account, which remains active even after graduation. Information about activating and using MavMail is available at http://www.uta.edu/oit/cs/email/mavmail.php.

Student Feedback Survey: At the end of each term, students enrolled in classes categorized as lecture, seminar, or laboratory will be asked to complete an online Student Feedback Survey (SFS) about the course and how it was taught. Instructions on how to access the SFS system will be sent directly to students through MavMail approximately 10 days before the end of the term. UT Arlington’s effort to solicit, gather, tabulate, and publish student feedback data is required by state law; student participation in the SFS program is voluntary.

Final Review Week: A period of five class days prior to the first day of final examinations in the long sessions shall be designated as Final Review Week. The purpose of this week is to allow students sufficient time to prepare for final examinations. During this week, there shall be no scheduled activities such as required field trips or performances; and no instructor shall assign any themes, research problems or exercises of similar scope that have a completion date during or following this week unless specified in the class syllabus. During Final Review Week, an instructor shall not give any examinations constituting 10% or more of the final grade, except makeup tests and laboratory examinations. In addition, no instructor shall give any portion of the final examination during Final Review Week. During this week, classes are held as scheduled. In addition, instructors are not required to limit content to topics that have been previously covered; they may introduce new concepts as appropriate.

100 Films Every Filmmaker Should See

Director Title Year Last Name First Name Altman Robert Nashville 1975 Antonini Michaelangelo Blow Up 1966 Bergman Ingmar The Seventh Seal Persona 1957/1966 Berkley Busby Gold Diggers of 1935 1935 Bertolucci Bernardo The Conformist (Il Conformista) 1970 Blank Les Burden of Dreams 1982 Boorman John Point Blank 1967 Brooks Mel The Producers 1968 Browning Todd Freaks 1932 Buñel Luis Un Chien Andalou 1929

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Camus Marcel Black ( Negro) 1959 Cassavettes John Husbands 1970 Chaplin Charlie 1925 Modern Times 1936 Coen Joel & Ethan Blood Simple 1984 Hearts of Darkness: A Filmmaker's Coppola Bahr Apocalypse 1991 Coppola Francis Ford 1979 and II 1972/1974 Costa-Gavras Z 1969 Curtiz Michael Casablanca 1942 Davis Peter Hearts and Minds 1974 De Sica Vittorio The Bicycle Thief (Ladri di Biciclette) 1948 Donen Stanley/Kelly,Gene Singin' in the Rain 1952 Drew Robert (& others) Primary 1960 Duncan Patrick 84 Charlie MoPic (84C MoPic) 1989 Eisenstein Sergei 1925 Fassbinder Rainer Werner The Marriage of Maria Braun 1979 Fellini Federico 8 ½ 1963 Flaherty Robert Nanook of the North 1922 Frankenheimer John The Manchurian Candidate 1962 Fuller Sam The Naked Kiss 1964 Ford John 1956 Fosse Bob All That Jazz 1979 Henrik/ Paul Galeen Wagener The Golem (Der Golem) 1915 Gilliam Terry Brazil (Boxed Set Preferred) 1985 Breathless Alphaville, une étrange aventure Godard Jon Luc de Lemmy Caution 1960 Greenaway Peter The Pillow Book 1996 Griffith D.W. Intolerance 1916 Birth of Nation 1915 Hallström Lasse (Mitt liv som hund) 1985 Hawks Howard Bringing Up Baby 1938 The Big Sleep 1946 Herzog Werner Fitzcarraldo 1982 Hiller Arthur Americanization of Emily 1964 Hitchcock Alfred Rear Window 1954 Vertigo 1958 North by Northwest 1959 Notorious 1946 Hopper Dennis Easy Rider 1969 Huston John The Treasue of Sierra the Madre 1948 Jeunet Jean-Pierre Amelie 2001 Kazan Elia On the Waterfront 1954 Keaton Buster The General 1927 The Cameraman 1928 Kieslowski Krzysztof Red (Trois couleurs: Rouge ) 1994 Kopple Barbara Harlen County, USA 1976 Kubrick Stanley A Clockwork Orange 1971 2001: A Space Odyssy 1968 Kurosawa Akira Rashoman (aka: In the Woods) 1950 1954 Lang Fritz M 1931 Metropolis 1927 Once Upon a Time in the West (C'era una Leone Sergio volta il West) 1968 Lorentz Pare The Plow That Broke the Plains 1936 Lucas George American Graffiti 1973 Lumet Sidney Network 1976 The Pawnbroker 1964 Maysles Albert & David Salesman 1969

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Mankiewicz Joseph 1950 McCarry Leo Duck Soup 1933 Méliès Geoeges A Trip to the Moon (Le Voyage dans la lune) 1902 Minnelli Vincente Meet Me in St. Louis 1944 The Bad and the Beautiful 1952 Morris Errol The Thin Blue Line 1988 Murnau F.W. Sunrise 1927 Nosferatu, A Symphony of Horror (Nosferatu, eine Symphonie des Grauens) 1922 Pabst Georg Wilhelm Pandora's Box(Die Büchse der Pandora) 1929 Penn Arthur Bonnie and Clyde 1967 Pennebaker D.A. Don't Look Back 1967 Polanski Roman Knife in the Water (Nóz w wodzie) 1962 Chinatown 1974 Porter Edwin S. The Great Train Robbery 1903 Powell Michael Peeping Tom 1960 Ray Nicolas Rebel Without a Cause 1955 Renoir Jean (La Règle du jeu) 1939 Grand Illusion () 1937 Resnais Alain 1959 1961 Night and Fog (Nuit et brouillard) 1955 Riefenstahl Leni Triumph of the Will (Triumph des Willens) 1934 Riggs Marlon Tongues Untied 1991 Roeg Nicolas Don't Look Now 1973 Rossellini Roberto Rome, Open City (Roma, città aperta) 1945 Rowland Roy The 5,000 Fingers of Dr. T 1953 Berlin, Symphony of a Big City (Berlin: Die Ruttman Walter Sinfonie der Großstadt) 1927 Samuels Stuart Visions of Light 1992 Sayles John Return of the Secaucus Seven 1980 Lonestar 1996 Schlöndorff Volker The Tin Drum (Die Blechtrommel) 1979 Scorcese Martin 1976 A Personal Journey with Martin Scorcese Through American Cinema 1995 Sjöström Victor The Wind 1928 Von Stroheim Erich Greed 1925 Stone Oliver Salvador 1986 Sturges Preston Sullivan's Travels 1941 Tarkovsky Andrei Stalker 1979 Truffaut François Day for Night (La Nuit américaine) 1973 (Les Quatre cents coups) 1959 (Chelovek s Vertov Dziga kinoapparatom) 1929 Welles Orson 1941 Wellman William A. Wings 1927 Wenders Wim (Der Himmel über Berlin) 1987 Wexler Haskell Medium Cool 1969 Whale James Frankenstein 1931 The Cabinet of Dr. Caligari (Das Kabinett des Wiene Robert Doktor Caligari) 1920 Wilder Billy Sunset Boulevard 1950 Double Indemnity 1944 Zinnemann Fred High Noon 1952 Zwigoff Terry Crumb 1994