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Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: as an International Art Form Subject Area/Course Number: Drama 70

New Course OR Existing Course

Author(s): Josephine A. Perry and Nick Garcia

Subject Area/Course No.: DRAMA-070 Units: 3

Course Title: Film as an International Art Form Discipline(s): Drama/Theater Arts, Film Studies

Pre-Requisite(s): None Co-Requisite(s): None

Advisories: Eligibility for English 100

Catalog Description:

DRAMA-070 is a critical approach to the study of film that integrates both the technical elements of filmmaking with aesthetic and thematic elements through the exploration of various which may include but are not limited to and mystery, /fantasy, survival and adventure, romance and comedies and/or Westerns. The th class encompasses from the early 20 century through the present time and may include films from the Americas, Europe, Australia and/or Asia as it explores the cultural and artistic concerns of a variety of cultures as reflected in motion pictures. Related disciplines such as editing, music scoring, screenwriting, acting for the camera are also discussed in relationship to the films being studied.

Schedule Description:

Film is a universal language that can unite us as human beings and help us to better understand and appreciate our similarities and our differences. Take an enlightening journey through film by studying various genres of film (i.e. suspense, science fiction/ fantasy, survival and adventure, romance and comedies, Westerns and other genres) from th the early 20 century up to the present time. Learn the various aesthetic elements of filmmaking as well as studying thematic sociological, political and historical links to the films we view. You will never look at films the same way again after taking this course.

Hrs/Mode of Instruction: Lecture: _36___ Scheduled Lab: _54___ HBA Lab: ____ Composition: ____ Activity: ____ Total Hours _90___

Credit Credit Degree Applicable (DA) Grading Pass/No Pass (P/NP) Repeatability 0 Credit Non-Degree (NDA) Letter (LR) 1 Student Choice (SC) 2 3

Last date of Assessment: _____FA11______Cohort #: _4____

Please apply for:

LMC General Education Requirement(s): Arts& Humanities

Transfer to: CSU UC IGETC Area ____ CSU GE Area____ C-ID Number ______

Course is Baccalaureate Level: Yes No

Form Revised 5-18-2016 Page 1 of 15 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Film as an International Art Form Subject Area/Course Number: Drama 70

Signatures:

Department Chair Date

Librarian Date

Dean (Technical Review) Date

Curriculum Committee Chair Date

President/Designee Date

CCCCD Approval Date (Board or Chancellor's Office) Date

STAND ALONE COURSE: YES NO

Course approved by Curriculum Committee as Baccalaureate Level: YES NO

LMC GE Requirement Approved by the Curriculum Committee: ______

FOR OFFICE OF INSTRUCTION ONLY. DO NOT WRITE IN THE SECTION BELOW. Begin in Semester ______Catalog year 20____/20_____ Class Max: ______Dept. Code/Name:______T.O.P.s Code: ______Crossover course 1/ 2: ______ESL Class: ____Yes / No______DSPS Class: _Yes / No_____ Coop Work Exp: ___Yes / No_____

Class Code A Liberal Arts & Sciences SAM Code A Apprenticeship Remediation Level B Basic Skills B Developmental Preparatory B Advanced Occupational NBS Not Basic Skills C Adult/Secondary Basic Education C Clearly Occupational D Personal Development/Survival D Possibly Occupational E For Substantially Handicapped E* Non-Occupational F Parenting/Family Support G Community/Civic Development *Additional criteria needed H General and Cultural 1 One level below transfer I Career/Technical Education 2 Two levels below transfer J Workforce Preparation Enhanced 3 Three levels below transfer K Other non-credit enhanced Not eligible for enhanced

Form Revised 5-18-2016 Page 2 of 15 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Film as an International Art Form Subject Area/Course Number: Drama 70

Institutional Student Learning Outcomes: General Education SLOs: At the completion of the LMC general education program, a student will: 1. read critically and communicate effectively as a writer and speaker. 2. understand connections among disciplines and apply interdisciplinary approaches to problem solving. 3. think critically and creatively 4. consider the ethical implications inherent in knowledge, decision-making and action. 5. possess a worldview informed by diverse social, multicultural and global perspectives.

None

Program-Level Student Learning Outcomes (PSLOs):

1. To analyze, dissect, and critically evaluate a script or theatrical event or film with working knowledge of its historical, cultural, and societal origins and contexts.

2. To use strongly developed physical, vocal, and emotional foundations to build a personalized acting process for approaching a text or character in order to effectively communicate on stage or in film.

3. To understand how and be able to write, produce, direct, manage, promote, and star in a theatrical event or film.

4. To be academically and fundamentally prepared to enter the entertainment industry or transfer to a 4-year theatre or film program with an advanced standing.

Course-Level Student Learning Outcomes (CSLOs):

CSLO1: Critique international films orally and in writing by evaluating the aesthetic/artistic, thematic, social, political, and historical elements of a variety of films in various genres. (PSLO 1, 3) (GESLO 1, 2)

CSLO2: Read and think critically and creatively about the political, ethical and moral values of a film’s characters, , themes, and physical settings as well as the ethical and moral values of the filmmaker which are reflected in his or her films. (PSLO 1, 3) (GESLO 1, 3, 4)

CSLO3: Apply a worldview informed by diverse social, multicultural and global perspectives based on film analysis from significant historical periods, various social movements and/or a variety of geographic areas throughout the world (PSLO 1, 3) (GESLO 5)

Assessment Instruments:

CSLO 1, 2, 3

Study Questions: Study questions are questions that are in response to both film viewings and related reading assignments. They cover interdisciplinary, ethical and cultural issues while asking the students to read and write critically and think creatively. For example, early in the course students are introduced to the term “” by being assigned short readings and are then asked the following study questions.

1. Give examples of at least two German directors of the 1920’s whose style was a major influence on American film noir. Explain specifically in what aspect of filmmaking their own work was an influence. (hint: Lang’s use of camera angles)

2. What does the actual term “film noir” mean when translated into English? Who created the term and why did they create it?

3. What are the specific characteristics of classic "film noir"?

Form Revised 5-18-2016 Page 3 of 15 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Film as an International Art Form Subject Area/Course Number: Drama 70

4. What is considered the classic period of film noir in America and why? What was historically going on in America during that time period?

5. What does the term “” mean and what cultural and ethical perspectives does it reflect? 6. What does the term "film policier" mean and what sociological and ethical perspectives does it reflect?

7. What proof do the French give that American film noir was not the original source of noir? Why do you think they believe as they do and do you agree with them?

8. Create a film noir scene which has at least 3 elements of classic film noir. Make sure your scene combines both narrative and dialogue.

9. Fritz Lang, the great German director and one of the first people to create a film noir stylistically, was driven from Nazi Germany because of the film M, a noir based on a real life . In what way did Lang attempt to uphold his own ethical viewpoint through his films and what was at risk by his doing so?

Writing Assignments: Multiple and varied writing assignments over the course of the semester ask students to summarize, analyze and synthesize from a variety of sources such as critical essays, critical reviews of films, and the actual films themselves. These writing assignments cover interdisciplinary, ethical and cultural issues while asking students to read and write critically and think creatively.

For example, in the “Into the Wild”, based on Jon Krakaur’s book about Chris McCandless’ journey into the wilds of Alaska, the following is a sample assignment:

Sample Writing Assignment:

After viewing the film “Into the Wild”, write a 2 page analysis using specific examples such as individual scenes or conversations between characters which deal with at least two of the following: ethical, cultural, social and/or political aspects of the struggles of Chris McCandless.

Essay Assignments: In this course there are a minimum of two 3-5 page essays asking students to reflect upon the films they have viewed and critically and creatively analyze the interdisciplinary cultural and ethical aspects of the films.

Sample Essay Assignment:

View Dersu Uzala, a classic survival film. Then write a 3-5 page essay in which you prove either of these statements: (Note: You should watch the film with the central statements below in mind and take notes AS YOU WATCH the film, jotting down scenes you think you can use as examples. If you find 3-4 powerful visual examples of your chosen thesis along with examples from the action or plot that should be sufficient.)

Akira Kurosawa in his film Dersu Uzala is making a statement about the ways in which human beings fail to see the value and power in nature and fail to value those people who may best represent it in its purest form. Include in your assignment an exploration of the ethical implications in the way we treat those with different values than our own.

Remember to use SPECIFIC visual examples from the film as well as various aspects of the plot as proof of your central thesis.

Participation:

In this course students work in small and large groups to discuss and analyze a variety of films and/or related readings. During the discussion students write responses to specific questions that ask them to critically and creatively analyze various aspects of the films such as emotional impact or cultural and ethical aspects of the films and then share their insights and analysis with both small and/or large groups.

Form Revised 5-18-2016 Page 4 of 15 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Film as an International Art Form Subject Area/Course Number: Drama 70

For example,

Students view the survival films Walkabout (Australian) and Dersu Uzala (Russian) over a 2 week period. They are asked to think and write about the similarities and differences in terms of visual styles, ethical implications and emotional impact while they are viewing the films taking notes from at least 2 key scenes. Later when they are in small discussion groups, they then share their insights with one another through the following exercise:

Part One: Choose at least 2 scenes from each film that were key parts of each of the movies and describe them. (When describing each scene to one another in your small group use as many of the film terms you have been studying as possible)

Discuss specific places in your chosen scenes where you believe the films were alike and/or where they were different. Speculate in small groups why the filmmakers made the choices they did and what ethical and moral decisions they made through their choices.

Part Two: In Part Two write about the emotional and intellectual impact each film had on you and why. Share your insights and feelings with one another.

Individually, write a paragraph that chooses one film over the other as your preferred film and make a case for why you chose as you did describing the importance of the aesthetic, political, ethical and social aspects of the film you chose. Share your insights with one another.

Oral Presentation:

In this course students are required during the semester to present a 10 minute oral presentation which demonstrates their ability to either synthesize from two assigned films and present their ideas to their classmates in an effective manner or write a ten minute screenplay and present it to their classmates in an effective manner with analysis of the screenplay or make a five minute film which satirizes or duplicates one of the genres we study in class and be able to discuss it after viewing with the class through oral analysis.

For example, students are assigned the classic American film noir “Night of the Hunter” and the more edgy neo-noir contemporary film “Seven”, both films about serial killers. “Night of the Hunter” reflects the Depression period in th American society and “Seven” reflects an amoral and decaying urban America in the 20 century. After viewing both films students are asked to choose from the following questions and present a ten minute oral presentation based on their responses to the questions:

1.The assigned film review of “Seven” declares that the film is ideological in nature and that it espouses a world view that is essentially conservative, showing human beings as leaning toward destructive and evil behavior when left to their own devices and needing severe restraints on them to get them to conform to decent and moral actions. In “Night of the Hunter” the world view is essentially non conservative showing through the character of the old woman that people can confront evil and overcome it through love, generosity of spirit and compassion. If you agree with both of these statements about each film, show through specific scenes, dialogue and actions in the films how and why the films support these assertions. If you disagree with either or both of these statements, show how and why the films do not support these assertions.

2. Explore the visual elements in three scenes from Seven and Night of the Hunter. First determine what you believe to be the main themes of each film. Then choose two scenes from each film and describe and analyze the following: mis en scene, camera angles, camera shots and lighting in relationship to how your chosen scenes contribute and enhance the main themes of each film.

Final Exam

Form Revised 5-18-2016 Page 5 of 15 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Film as an International Art Form Subject Area/Course Number: Drama 70

In this course students are required to write a 5-7 page essay based on two films which 1. explores the films’ central artistic elements, their cultural themes, their sociological aspects, their political heritage and/or historical background and 2. shows how through their artistic elements, ethical questions, cultural themes, sociological aspects, political heritage and historical background the films are similar and how they are different.

For example, write a 5 -7 page typed double spaced essay which compares and contrasts two films we watched from the course this semester. The essay must explore at least three of the following areas in each film: Artistic Elements Ethical Questions

Cultural Themes Sociological Aspects Political Heritage Historical Background

Examples: Describe in specific detail how “The Searchers” and “’s” visual elements (artistic: mis en scene, cinematography, lighting) convey the suspense and tension of the central character. And Explore the sociological impact that the central characters’ actions in each film have on their friends and families And Describe the historical background of both the time period in which the film was made as well as the time period of the film’s setting

Include a Works Cited page

Method of Evaluation/Grading:

A level student work is characterized by:

Responses to study questions which show a thoughtful consideration of the films and the readings, remain on topic and have a clear focus; have minimal grammatical and spelling errors and are correct in the specific visual or written evidence used to support their response. Responses must show an evaluation of the aesthetic/artistic, thematic, social, political, and historical elements of a variety of films in various genres

Responses to writing assignments which are focused, accurate in the specific visual or written evidence used to support their response, integrate original ideas and opinions, demonstrate a depth of both visual and intellectual engagement with the films and readings and have minimal grammatical, sentence and spelling errors. They also must reflect a clear and precise evaluation of the aesthetic/artistic, thematic, social, political, and historical elements of a variety of films in various genres.

Essay Assignments show substantive intellectual engagement with readings and visual engagement with films; are carefully proofread with minimal grammatical, sentence and spelling errors; synthesize ideas from a variety of films and readings; show creativity in visual and intellectual interpretation of films; have original ideas and clearly demonstrate that the student has viewed films and processed intellectual and creative readings closely and thought deeply about the films and the ideas in both the written material and the films themselves. Essays show an ability to think critically and creatively about the political, ethical and moral values of a film’s characters, plot, themes, and physical settings as well as the ethical and moral values of the filmmaker which are reflected in his or her films.

Final Exam Essay shows an ability to write a coherent, fluid essay that compares and contrasts two films and gives a substantial amount of visual references to the films to support assertions and claims in the essay; uses visual and written examples correctly and uses quotations correctly; has minimal grammatical and spelling errors and is correct in the specific evidence used to support the ideas in the essay; shows a unique and authentic point of view based on visual and written evidence from the films and supporting documents. It also reflects a worldview informed by diverse social, multicultural and global perspectives based on film analysis from significant historical periods, various social movements and/or a variety of geographic areas throughout the world, and comprehensively analyzes the ethical issues inherent in the film. The oral part of the Final Exam integrates all of the above and shows an ability to communicate ideas, concepts and information in an engaging, well organized and focused manner to either the instructor in a one on one setting or in a group presentation.

C level student work is characterized by:

Responses to study questions which show some consideration of the questions; occasionally strays from the topic and

Form Revised 5-18-2016 Page 6 of 15 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Film as an International Art Form Subject Area/Course Number: Drama 70 lacks a clear focus; have several grammatical and spelling errors and sometimes gives weak (leave out inadequate) visual or written evidence to support responses. Responses show a basic evaluation of the aesthetic/artistic, thematic, social, political, and historical elements of a variety of films in various genres

Responses to writing assignments are not always focused or accurate in the specific visual or written evidence to support the response but generally accurate at least 70% of the time. Ideas do not show originality but are relevant to some degree to the subject; shows some intellectual and aesthetic engagement with the films and written information and has several grammatical, sentence and spelling errors. The work does not always reflect a clear and precise evaluation of the aesthetic/artistic, thematic, social, political, and historical elements of a variety of films in various genres.

Essays show some intellectual and aesthetic engagement with films and written material but nothing very distinguishing; show mistakes in proofreading and have several grammatical, sentence and spelling errors; synthesize ideas from a variety of films and readings in a somewhat superficial manner; does not stay focused or shows a lack of understanding of the films to some extent. Essays provide a simple critical and creative connection regarding the political, ethical and moral values of a film’s characters, plot, themes, and physical settings as well as the ethical and moral values of the filmmaker which are reflected in his or her films.

Final Exam Essay shows some ability to write a relatively coherent and fluid essay that compares and contrasts two films but is not carefully thought out; does not show a unique or authentic voice, has frequent grammatical and spelling errors, and/or does not fully answer all aspects of the assignment. It includes a simple and basic worldview informed by diverse social, multicultural and global perspectives based on film analysis from significant historical periods, various social movements and/or a variety of geographic areas throughout the world and adequately analyzes the ethical issues inherent in the film. The oral part of the Final Exam includes some awareness of diverse social, multicultural and global perspectives and also demonstrates some ability to communicate ideas, concepts and information in a manner that attempts to engage an audience but does not always succeed, is somewhat organized and attempts to communicate with either the instructor in a one on one setting or to a group but is not sophisticated in presentation.

Grading:

150 points for study questions 150 points for writing assignments 200 points for essays 150 points for Participation 150 points for Oral Presentation 200 points for Final Essay Total: 1000-900 points = A 899-800 points = B 799-700 points = C 699-600 points = D 600< points = F

Course Content:

Introduction

A. Readings and class discussions that cover a general overview and history of film from the late 19th century to the present day. Areas to be covered throughout the entire semester are based on the following outline Form Revised 5-18-2016 Page 7 of 15 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Film as an International Art Form Subject Area/Course Number: Drama 70

1 Precursors of film 2 The birth of film 3 The silent era

 3.1 Film history from 1895 to 1906 o 3.1.1 Film business up to 1906 o 3.1.2 Film exhibition o 3.1.3 Film technique o 3.1.4 Filmic effects o 3.1.5 Other special techniques o 3.1.6 o 3.1.7 Narrative film construction o 3.1.8 Film continuity o 3.1.9 Film continuity developed  3.2 Film history from 1906 to 1914 o 3.2.1 The film business o 3.2.2 Multi-reel films o 3.2.3 New film producing countries o 3.2.4 Film technique o 3.2.5 Animation develops o 3.2.6 Cross-cutting between parallel actions o 3.2.7 Point of view shots o 3.2.8 Reverse-angle cutting o 3.2.9 Flash-Back construction o 3.2.10 Symbolism and insert shots o 3.2.11 Film art o 3.2.12 Intertitles  3.3 Film history from 1914 to 1919 o 3.3.1 The film business from 1914 to 1919 o 3.3.2 European film production o 3.3.3 Film studios o 3.3.4 Irising and soft focus o 3.3.5 Subjective effects o 3.3.6 "Poetic Cinema" and symbolism o 3.3.7 Insert Shots o 3.3.8 The atmospheric insert o 3.3.9 Continuity cinema o 3.3.10 Reverse-angle cutting o 3.3.11 The flash-back o 3.3.12 Cross-cutting between parallel actions o 3.3.13 The development of film art  3.4 Hollywood triumphant

4 The sound era 4.1 Industry impact of sound

 4.2 Creative impact of sound  4.3 The 1940s: the war and post-war years  4.4 The 1950s o 4.4.1 Golden Age of Asian cinema  4.5 1960s  4.6 1970s: The '' or Post-classical cinema  4.7 1980s: sequels, blockbusters and videotape  4.8 1990s: New special effects, independent films, and DVDs  4.9 2000s

Form Revised 5-18-2016 Page 8 of 15 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Film as an International Art Form Subject Area/Course Number: Drama 70

B. Introduction and definition of genres: suspense, mystery, film noir, survival films, romances, Westerns, science fiction, fantasy 1. Overview: Discussion of purpose and need for genres in film 2. Definitions; Discussion of how we determine what film fits into which by exploring the definitions of major film genres 3. Categorizations; In-depth discussion and readings on genres to be covered in class

II. Film Terminology and Aesthetic Elements

A. The art and craft of cinematography 1. Viewing the DVD “Visions of Light” 2. Familiarizing students with famous and their seminal works and follow up discussion throughout semester based on the outline below: 1 History 2 Aspects of cinematography 2.1 Film stock 2.2 Filters 2.3 Lens 2.3.1 Focal length 2.4 Depth of field and focus 2.5 Aspect ratio and framing 2.6 Lighting 2.7 Camera movement 3 Special effects 4 Role of the 5 Evolution of technology: new definitions

B. The art and craft of a. Discussion and study of the art and craft of film editing through an overview which follows the outline below throughout the course of the semester in relationship to the films being studied:

1 Early experiments 2 History of film editing technology 3 Assistant Editors 3.1 Women in film editing 3.2 Credit controversies 4 Post-production 4.1 Editor's cut 4.2 Director's cut 4.3 Final cut 5 Emotional versus Physical continuity 6 Methods of montage 6.1 Soviet montage 6.2 Montage sequence 7 Continuity editing 8 Alternatives to continuity editing (Non-Traditional or Experimental) 9 Editing techniques

C. The art and craft of film directing 1 Responsibilities 2 Methods of film directing 3 Professional organizations

D. The art of performance: the actor’s craft . 1 Terminology 2 History Form Revised 5-18-2016 Page 9 of 15 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Film as an International Art Form Subject Area/Course Number: Drama 70

3 Techniques 3.1 Method acting 3.2 Presentational and representational acting 4 Acting awards .

C. Terminology and vocabulary of film 1. The study of and frequent use of common film vocabulary throughout the semester when discussing films is required of students. This terminology includes but is not limited to the following and should be covered throughout the course:

Framing What’s included and excluded in an individual shot. Very long shot/wide shot :A shot in which figures appear small in the landscape. Often used at the beginning of a film or sequence as an ‘establishing shot’ to show where the action is taking place; also used to make a figure appear small or isolated. Long shot:A shot in which a figure can be seen from head to toe. Mid shot: Shows the figure from approximately the waist to the head. In a mid shot, you can easily recognise an individual but you can also see what they are doing with their hands. Medium close up:From chest to head Close-up:Head and shoulders, enabling you to easily see facial expressions, so you can see what characters are thinking and feeling Big close up:Head only, used when expressions are important Extreme close-up:From just above the eyebrows to just below the mouth, or even closer: used to emphasise facial expression or to make the subject appear threatening. Other useful terms for shots are: Two shot Any shot with two people in it Point of view shot A shot from a character’s point of view Reaction shot A shot showing a character’s expression as they react to something Over-the-shoulder shot A shot in which we see a character over another’s shoulder, often used in interviews or dialogues

Lens The type of lens, and how it’s used, can make a big difference to the meaning of a shot. Wide-angle shot (taken with a wide-angle lens):This has the effect of seeming to exaggerate perspective. It's often used to make the viewer feel that they are close to the action. If it's used for close ups, it makes the nose look bigger and the ears smaller an effect usually used for comedy. Telephoto shot:Like using a telescope, a telephoto lens appears to bring the subject closer and flatten out perspective. It also usually reduces depth of field. Zoom lenses: These can vary the angle of view, from wide angle to telephoto, so that the subject appears to move closer (or further away) without the camera itself moving. Depth of field: This means how much of the shot seems to be in focus, in front of and behind the subject. Deep focus: Everything in the shot appears to be in focus, which means that we can be looking at action taking place in the foreground, middle ground and background. Shallow focus: Isolates the subject from the background. Camera position: Where the camera is in relation to the subject. Low angle shot: The camera points upwards, usually making the subject or setting seem grand or threatening. High angle shot: The camera looks down, making the subject look vulnerable or insignificant. Bird’s eye shot: Looks vertically down at the subject.

Camera movements Track:Moving the camera itself towards or away from the subject, or to follow a moving subject. (Not to be confused with a zoom, where the camera’s lens is varied to give the impression of moving closer to, or away from the subject.) Pan:Pivoting the camera to the side to scan a scene or to follow a moving subject.

Form Revised 5-18-2016 Page 10 of 15 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Film as an International Art Form Subject Area/Course Number: Drama 70

Whip pan:A sudden, fast pan. Tilt: Pivoting the camera vertically up or down. Arc: Moving the camera in an arc around the subject. Crane shot: A shot where the camera itself moves up or down. Hand-held shot: This is used to convey a sense of immediacy.

Lighting Lighting can be high or low contrast and can vary in color and direction. High-key: The lighting is bright and relatively low in contrast often used for Hollywood musical comedies. Low-key: Much more pronounced shadows and dramatic contrasts. Lighting from below : This can be used to make a subject appear threatening or horrific. Backlighting: Produces a ‘halo’ effect around the edges of the subject.

Color Cold or blueish lighting can convey a sense of cold, alienation or technology, while warm or yellowish lighting can be used to convey comfort, sunset and so on. If colors are very rich and intense they are described as saturated. Black-and-white or sepia can be used to show that a scene is set in the past, or to suggest sophistication.

Mise-en-scène This means the way in which objects, scenery and the location are shown by using light and dark, pattern, color, camera position and angle, and movement within the frame. Mise-en-scene establishes mood and atmosphere, and can express the inner life of characters through the way in which their settings are depicted on screen.

Editing How the individual shots are put together. There are two main types of editing which you will encounter in mainstream films and TV programs:

Continuity editing The majority of film sequences are edited so that time seems to flow, uninterrupted, from shot to shot. Within a ‘continuity editing’ sequence; only cuts will be used. Continuity editing can also involve ‘cross-cutting’, where a sequence cuts between two different settings where action is taking place at the same time.

Montage In montage, different images are assembled to build up an impression. This is often used in title sequences. The most famous example of this technique is the Odessa Steps sequence from Battleship Potemkin.

Editing can vary both in pace (how long individual shots stay on the screen for) and in the transitions between shots.

Transitions describe the way in which one shot replaces the previous one: Cut: One image is suddenly replaced by another, without a visible transition. Cross-dissolve: One image dissolves into another. This can be used to make a montage sequence - eg the title sequence - flow smoothly; it can also be used in continuity editing to show that we have moved forwards in time and/or space. Fade up: An image gradually fades in Fade out : An image gradually fades out. Fades to and from black usually mean that time has passed Wipe: One image replaces another without dissolving, with the border between the images moving across or around the screen.

Sound Diegetic sound Sound that we think is part of what’s going on on the screen horse’s hooves, the sound of thunder, and so on even though many of these will have been added later by a ‘Foley artist’. Form Revised 5-18-2016 Page 11 of 15 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Film as an International Art Form Subject Area/Course Number: Drama 70

Non-diegetic sound Sound that we know is not part of what’s on screen, such as music (unless there's an orchestra in shot!) and voiceover. Sound bridge This uses sound to link two scenes, by having the picture and the diegetic sound change at different points. Usually the sound from the second scene is heard before we start to see the picture from that scene.

III. Genre: Discussion of films from the following genres:

Part One: Suspense/ mystery and/or film noir : Selections will be drawn from but not limited to the following list: The Lodger (British); M (German) Les Diaboliques (French); The Night of The Hunter (British/American);Vertigo (American); Seance on a Wet Afternoon (British); Peeping Tom (British) ;The Vanishing aka Spoorlos (Dutch) ; Se7en (American) ;Throne of Blood (Japanese) ; (American);With A Friend Like Harry (French); He Loves Me, He Loves Me Not (French);The Ring (American) ;Ringu (Japanese)

A. German Expressionism in film 1. Discussion of German film directors Fritz Lang and F.W. Murnau and their profound influence on the genre in the 1920’s and 1930’s

2. Development of the genre through the work of such German filmmakers as Pabst, Lubitsch, Lang, Riefenstahl, Harbou, and Murnau

3. The development of dramas and the influence of German Expressionism on such filmmakers as , , Charles Laughton, , , and in the 1950’s and 1960’s

4. The political, social, historical climate of Germany from the 1920’s through the early 1960’s as reflected in the films of this era

B. French film noir aka “film policier”: 1.Identification and discussion of silent French filmmakers such as and Maurice Tourneur who help to develop the genre. 2. Study and discussion of the shift from silent films to sound. French film noir aka “film policier” reflects police work done at night often in the rain, a "romance of the underworld." Discussion of the Nazi Occupation when police films became pessimistic, often with subjects who attempted to escape Nazi censorship. 3. Discussion of the occupation of France by the Nazis and how it influenced and was reflected in film policiers of the time period. C. American film noir

1. Discussion of the Hollywood crime dramas that emphasize cynical attitudes during the classic film noir period from the early 1940’s to the late 1950’s. 2. Exploration of the low-key, visual style that has its roots in German Expressionist cinematography. 3. Analysis of prototypical stories as reflected in films from the school of that emerged in the during the Great Depression. 4. An historical overview of the Great Depression and the aftermath of WW 2 and how the socio-political realities and desires were reflected in film noir.

Part Two: Survival and Adventure Films: Selections will be drawn from but not limited to the following list: Dersu Uzala (Russian) ;Walkabout (Australian); Alive (American) Jeremiah Johnson (American); Das Boot (German); Lord of the Flies (British);Touching the Void (British); Into the Wild (American); Batoru rowaiaru (Japanese); To Live (Chinese)

Form Revised 5-18-2016 Page 12 of 15 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Film as an International Art Form Subject Area/Course Number: Drama 70

A. Directing sensibilities and techniques

1. Discussion and analysis of the aesthetic techniques of a variety directors including , Nicolas Roeg, , Wolfgang Petersen, Peter Brook, Kevin MacDonald, Sean Penn, Kinji Fukasaku, Zhang Yimou and their contribution to the genre

2. The political beliefs and sociological influences of specific directors of survival films and the effects of those beliefs and influences as reflected in their films

B. Visual metaphors, stylistic devices and acting techniques in survival films

1. Exploration of the visual metaphors and stylistic devices used in survival films from a variety of cultures: i.e. British, Russian, Australian, German, Japanese, Chinese and American films 2. Examples of acting techniques from a variety of cultures as reflected in survival films 3. Significant historical and sociological movements from different eras in various countries and the influence of sociology and history on the films themselves

Part Three: Romance and Comedy: Selections will be drawn from but not limited to the following: Duck Soup (American); Monty Python and The Holy Grail (British); Harold and Maud (American); La Cage Aux Folles (French); Life is Beautiful (Italian); Muriel’s Wedding (Australian); Goodbye Lenin (German); Priscilla Queen of the Desert (Australian); Italian for Beginners (Italian); Annie Hall (American); Dr. Strangelove (American); Amelie (French); The Monster (Italian); Mostly Martha (German); (American); Swingers (American); Monty Python’s Life of Brian (British); Spanish Movie (Spain); Y Tu Mama Tambien (Mexico)

A. The Comedic Sensibility

1. Discussion and analysis of the comic sensibility of specific directors which may include but not be limited to the following: Leo McCarey, Terry Gilliam, Terry Jones, Hal Ashby, Edouard Molinaro, Roberto Benigni, P.J. Hogan, Wolfgang Becker, Stephan Elliott, Lone Scherfig, , , Jean-Pierre Jeunet, Sandra Nettlebeck, Sidney Pollack, Doug Liman, Javier Ruiz Caldera, Alfonso Cuaron.

2. The political beliefs and sociological/ historical influences of specific directors of comedy and the effects of those beliefs and influences as reflected in their films

B. Plots and themes 1. Exploration and discussion of the plots or action of a comedic or romantic film as it relates to the thematic elements or the purpose or messages within the film, most notably regarding issues of gender, interpersonal relationships, sexual politics between men and women, men and men and women and women. 2. Discussion and analysis of satire, sarcasm, slapstick, irony, physical comedy as a method for conveying deeper meaning and themes in relationship to the political and sociological messages within a film

Part Four: Westerns: Selections will be drawn from but not limited to the following (both traditional and revisionist Westerns) Stagecoach, (American) Rio Bravo (American), High Noon (American), The Searchers (American), The Magnificent Seven (American), The Good The Bad and The Ugly, (Italy) Once Upon A Time in the West (Italy)The Seven Samurai (Japan), Yojimbo (Japan), Butch Cassidy and the Sundance Kid (American), Unforgiven (American), 3:10 to Yuma (American: both old and new versions), The Oxbow Incident (American), Lonely Are The Brave (American), Fort Apache (American), Shane (American), The Man Who Shot Liberty Valance (American), Blazing Saddles (American), The Wild Bunch (American), Sukiyaki Django (Japan), Little Big Man (American), McCabe and Mrs. Miller (American), El Topo (Mexican), Greaser's Palace (American), The Shooting (American), (American), Dead Man (American), Ride With The Devil (American), Brokeback Mountain (American), The Assassination of Jesse James by the Coward Robert Ford (American), Lemonade Joe (Chekoslovakia) The Sons of the Great Mother Bear (East Germany), A Man from the Boulevard Des Capucines (Russian), The Proposition (Australia)

Form Revised 5-18-2016 Page 13 of 15 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Film as an International Art Form Subject Area/Course Number: Drama 70

A. The Western: Myth and Reality

1. Exploration of the origins and history of the development of the Western film in the United States and its sociological and psychological implications on the American psyche

2. Discussion and analysis of films which question the notion of Western expansion in America and explore the Western myth from the perspective of the “other” (i.e. American Indians and indigenous peoples)

3. Analysis of the Western myth explored through film in countries such as Russia, Australia, East Germany, Japan, Italy and Mexico and the comparison and discussion of themes and artistic approaches with Western films from the United States

4. Discussion and analysis of the artistic sensibility of specific directors which may include but not be limited to the following: , Sam Peckinpah, Arthur Penn, , Monte Hellman, Alejandro Jodorowsky, Robert Downey Sr., Alex Cox, Jim Jarmusch, , Andrew Dominik, , James Mangold, Delmer Dawes, , Fred Zinneman, John Sturges, Sergio Leone, Ang Lee, Akira Kurosawa, George Roy Hill, William Wellman, David Miller, , , Takash Miike, , Joseph Mach, Alla Surikova, John Hillcoat

Part Five: Science Fiction, Fantasy: Selections will be drawn from but are not limited to the following: 2001:A Space Odyssey (1968) (American); Solyaris (1972) (Russian) or Solaris (2002) (American); (1982) (American) or The Matrix (1999) (American); Star Wars: Episode V - The Empire Strikes Back (1980 American )Star Wars (1977 American); Avatar (2009 American) ; WALL·E (2008; American); Alien (1979; American); Terminator 2: (1991; American); Aliens (1986; American); Metropolis (1927; German); The Prestige (2006; American) ; Back to the Future (1985; American) ; District 9 (2009; South African) ; Star Wars: Episode VI - Return of the Jedi (1983); Blade Runner (1982); Donnie Darko (2001); (2009); The Thing (1982; American); Ivan Vasilevich menyaet professiyu (1973; Russian); The Terminator (1984 (American); V for Vendetta (2005; American); Twelve Monkeys (1995; British); Frankenstein (1931; American/British); Children of Men (2006; British); Bride of Frankenstein (1935; American/British); The Day the Earth Stood Still (1951; American); Kaze no tani no Naushika (1984; Japanese); Stalker (1979; Russian); Planet of the Apes (1968; American); Invasion of the Body Snatchers (both versions 1956 and 1978; American); Kin-Dza-Dza (1986 Russian); The Man from Earth (2007; American); Night of the Living Dead (1968; American); Brazil (1985; British); Dawn of the Dead (1978; American); Moon (2009; British); Tanin no kao (1966; Japanese); The Truman Show (1998; American); Seksmisja (1984; Polish);Toki o kakeru shôjo (2006; Japanese); Iron Man (2008; American); Batoru rowaiaru (2000; Japanese); E.T.: The Extra-Terrestrial (1982; American); Chôjikû yôsai Macross: Ai oboeteimasuka (1984Japanese; )The Iron Giant (1999; American); Serenity (2005; American); Pan’s Labyrinth (Mexican)

A. Exploration and discussion of the development of the science fiction and/or fantasy genre in film beginning in the 1920’s through the present time throughout various countries in the world. Special emphasis will be placed on science fiction/fantasy filmmakers’ responses to the socio/political realities of oppression and/or liberation, changing economic and social realities during the time period when they were making their films and their personal response to political, social, economic, and historical factors.

B. Discussion and readings regarding the development of technology, special effects and filmmaking techniques when creating a work of fantasy and/or science fiction C. Discussion and analysis of the aesthetic values and focus on specific directors which may include but not be limited to the following: Stanley Kubrick, Andrei Tarkovsky, , , the Wachowski Brothers, Irvin Kershner, George Lucas, , Andrew Stanton, Fritz Lang, , , Neill Blomkamp, Richard Marquand, Richard Kelly, J.J. Abrams, John Carpenter, Leonid Gaidai, James Cameron, Terry Gilliam, James Whale, Alfonso Cuaron,

Form Revised 5-18-2016 Page 14 of 15 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

Course Title: Film as an International Art Form Subject Area/Course Number: Drama 70

Lab By Arrangement Activities (If Applicable):n/a

Instructional Methods: Lecture Lab Activity Problem-based Learning/Case Studies Collaborative Learning/Peer Review Demonstration/Modeling Role-Playing Discussion Computer Assisted Instruction Other (explain) ______

Textbooks:

Due to updates in current technology there is no need for a textbook in the class. Instructor will utilize open educational resources as appropriate to the course and/or provide course packets.

Form Revised 5-18-2016 Page 15 of 15