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English 610.001 (22946), Studies in Film Genres: the Thriller Gerald

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English 610.001 (22946), Studies in Film Genres: the Thriller Gerald English 610.001 (22946), Studies in Film Genres: The Thriller Gerald Duchovnay Spring 2017, T 4:30-7:10, HL 203 Office: Hall of Languages 326 Office Hours: TH, 10:30-11, 12:30--2, Thursday 4:30-5. Other times by appointment. Telephone: (903) 886-5265 Fax 903 886 5980 e-mail: [email protected] Course Description: English 610.001, Film Genres, will focus on the thriller genre from its early forms to most recent iterations. During the term we will consider: 1) the definition and semantics/traits of what we call the thriller film and how it may relate to fantasy, horror, mystery, or other genres or sub-genres; 2) how thrillers reflect the culture and history of the time when and location where they were made; 3) the place of particular films in the history of this genre (considering possibly special effects, filmmakers, aspects of costumes, screenwriting, scenic design, influence of anime, etc.); 4) how these films have influenced and been influenced by texts and other filmmakers; and 5) different theoretical/critical approaches to the films under consideration (technology, gender, psychoanalysis, etc.); and adaptations of a source film and its remake in another country. There are many films we might see and discuss that are historically or culturally important, including many by Alfred Hitchcock and his imitators, and other titles that are variously labeled as psychological, political, science fiction or other iterations of thriller films, many made outside of the United States. Which ones we will see and which ones you will report on will be determined in the early weeks of the class. You are encouraged to see as many of thriller films as you can on your own. In addition to our discussions, you will have an opportunity to explore aspects of a particular film or films in one oral report, one substantive annotated bibliography, and one extended essay. The actual focus of your essay on a particular thriller or thrillers or an aspect of thriller films may relate to how the film is representative of the period, the hybrid nature of the thriller, aspects of film history (genre, director, etc.), the aesthetics of the film, how a film translates in a remake or adaptation from one country to another, or other aspects that we will talk about in class. As we move through the course and your presentations and papers, we will consider thriller films as we discuss their traits/iconography of the genre, their significance to/in film history, and to culture and spectatorship. Some of the basic terms in our discourse community—the grammar or language of film-- may be familiar to you. If you are new to the study of film, I can give you a basic list of terms that are commonly used or that you may hear in class; most that we will use you will pick up from our discussions. Should you want a list of key film terms, please ask me for one. My presentations will involve a very limited amount of “lecturing”; primarily, we will discuss what you are reading, seeing, and presenting. Student learning outcomes: 1. Students will demonstrate skills in visual literacy related to thriller films by reading and responding to them in more concrete and enhanced ways than they could prior to this class as reflected in written and oral presentations; 2. Students will demonstrate skills in research techniques related to genre films, specifically the thriller via an annotated bibliography and final paper; 3. Students will demonstrate skills in presenting oral material related to thriller films; 4. Students will participate in a “community” interested in discussing/analyzing literature beyond the surface level of narrative or character. Textbooks: Moine, Raphaelle. Cinema Genre. Malden, MA: Wiley-Blackwell, 2008. Available as e- book from Gee Library data base. Or, for paperback-- ISBN: 9781405156516. Rubin, Martin. Thrillers. New York and Cambridge, UK: Cambridge UP, 1999. ISBN: 9780521588393. Copy on reserve in Gee Library. Other books and essays are on reserve and will be sent to you via email to supplement the readings listed below. Also, see the Reserve List at the Gee Library under my last name and English 610 and English 432 for other useful sources. Also Recommended: Access to films via Netflix, Amazon Prime, Hulu, the Media Center, etc. Evaluations: Grades will be determined by responses to readings and viewings, including a mid- semester extended response; an annotated bibliography of sources for the final paper; a final paper and abstract; an oral presentation on a film; a book review; and class participation. Mid-semester Extended Response=10% Paper & Abstract=30% Responses to St Ques./Readings/Films=20% Annotated Bibliography=10% Class Participation=10% Film Presentation=10% Book or Synthesized Review=10% Examination Policy: Unless plans change, there will be no formal exams in the class. The mid- semester response may be considered by some as a mid-semester exam. It will most likely be an extended response to a few questions that you will work on out of class. Grievance Procedure: Students who have concerns regarding their courses should first address those concerns with the assigned instructor in order to reach a resolution. Students who are unsatisfied with the outcome of that conversation or have not been able to meet individually with their instructor, whether in-person, by email, by telephone, or by another communication medium, should then schedule an appointment with the Department Head, Dr. Hunter Hayes, by completing a student grievance form available in the office of the Department of Literature and Languages. Where applicable, students should also consult University Procedure 13.99.99.R0.05 (“Student Appeal of Instructor Evaluation”). Attendance: Please try to attend all classes. Without being in class you lose the benefit of participating or listening to responses to the readings and films. While class absences will have a negative effect on the evaluation of classroom participation, it is extremely important to you and your classmates and to me that if you are sick (or a carrying something like the flu), that you not attend class. I will note your absences; except for certain circumstances (such as medical matters), absences in excess of three will contribute to the lowering of your grade. After five absences you will be dropped from the class. If there are truly extraordinary circumstances, it is incumbent upon you to notify me about your situation to see if you are able to remain in the class. It is my understanding that those who are dropped from class without having attended regularly and who are on financial aid may be required to repay their financial aid. In some quarters there is the notion that some absences are excused and others are not. I consider any absence an absence, whether it be sleeping late, car trouble, work, a doctor's appointment, a family emergency, or a university athletic event. Technology Requirements: This course is face-to-face. You will, however, need access to a computer with access to broadband internet connection to view some items on youtube or elsewhere. Responses and Papers: Responses will focus on your readings (analytical or comparative responses to films or theory or theoretical approaches). Specific writing assignments will be noted in in the weeks ahead. For your final paper, you are being asked to submit a 10-12 page essay suitable for a conference presentation or an 18-24 page paper that, with some polishing, could be submitted to a scholarly journal. The paper might focus on: 1) a theoretical essay related to thriller films or a particular thriller; 2) an essay that analyzes a debate or conflict related to some aspect of thrillers or your particular thriller film or your film as related to genre; 3) an essay developing a key idea related to the film text you are focusing on for your class presentation; or a comparative essay focusing on a film that was remade in the U.S. after its original version was made in another country (e.g., The Vanishing, Les Diaboliques, The Talented Mr. Ripley). The scope and direction of the project will depend upon your knowledge and experience with the film(s) or the genre, your research skills, and your critical approach(es). For the book review or synthesized review, you will be asked to review a book on genre theory (single author or collection of edited essays) or review five substantive essays as worked out with your instructor, focusing on a particular aspect of genre studies/theory. The annotated bibliography will be based on material you have researched for your final paper for the class. Plagiarism/Academic Honesty: Instructors in the Department of Literature and Languages do not tolerate plagiarism and other forms of academic dishonesty. Instructors uphold and support the highest academic standards, and students are expected to do likewise. Penalties for students guilty of academic dishonesty include disciplinary probation, suspension, and expulsion. (Texas A&M University-Commerce Code of Student Conduct 5.b[1,2,3]). Our word plagiarism is derived from a word that means "to kidnap." Plagiarism is a form of kidnapping someone else's ideas, opinions, arguments, or research, and presenting them (it) as your own. Plagiarism "includes (but is not limited to) failure to indicate the source with quotation marks or footnotes where appropriate if any of the following are reproduced in the work submitted: 1. A phrase, written or musical; 2.A graphic element; 3. A proof; 4. Specific language; 5. An idea derived from the work, published or unpublished, of another person" or group. Much of the confusion and unintentional dishonesty in undergraduate papers results from ignorance or carelessness with regard to attribution of sources.
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