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HUF 211 F18 Syllabus

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HUF 211 F18 Syllabus Just Godard & Justice HUF 211 – French Film – Fall 2018 Tuesdays 11:30 a.m. – 1:50 p.m. Thursdays 11:30 a.m. – 2:20 p.m. E4330 Library 1006 Humanities Prof. Robert Harvey office hours: Thursdays 2-4 or by e-mail appointment 1145 Humanities With over 100 works to his name, Jean-Luc Godard is the most prolific and innovative film director alive today. His films have always dealt with art, politics, language, and interpersonal relationships – usually all at the same time. Without being explicit about it, Godard’s aim appears to be to bring ethics and justice to bear on these conflict-ridden nodes of human activity. This course proposes a “reading” of a representative sampling of Godard’s films with this hypothesis in mind. Along the way, we’ll learn something about how films work. Required Viewing Man with a Movie Camera, 1929, dir. Dziga Vertov The Rules of the Game (La Règle du jeu), 1939, dir. Jean Renoir Breathless (À bout de souffle), 1960, dir. Jean-Luc Godard My Life to Live (Vivre sa vie), 1962, dir. Jean-Luc Godard Pierrot le fou, 1965, dir. Jean-Luc Godard Weekend, 1967, dir. Jean-Luc Godard Numéro deux, 1975, dir. Jean-Luc Godard Hail Mary (Je vous salue Marie), 1985, dir. Jean-Luc Godard In Praise of Love, 2003, dir. Jean-Luc Godard Histoire(s) du cinéma, —1998 dir. Jean-Luc Godard Required Reading N.B. free PDFs will be provided on Blackboard for all readings Godard, Jean-Luc. Godard on Godard. [excerpts] Monaco, James. How to Read a Film, 3rd edition. [excerpts] Sterritt, David. The Films of Jean-Luc Godard: Seeing the Invisible. [excerpts] 1 Attendance, etc. Although you are welcome to take notes on laptops or tablets, please turn off your cell phones for the duration of the lecture. Only missed or late work due to sickness corroborated by a certifiable note from a physician or due to an immediate family1 emergency certified by a printed official document may be accepted. Such documentation must be promptly provided. My e-mail address is provided so that you may contact me about important matters that you might not be able to deal with by attending my office hours or asking in class. However, I ask that, as with all other interaction in the collegial setting, you be courteous, clear, and concise. Warning If you have sensibilities or beliefs that might inhibit or prohibit exposure to uncensored art, you perhaps need to choose another course. No one will be excused for any reason from reading and engaging with the assigned readings. Grade Determination 10% — attendance to all classes, including in-class film showings, with all phone devices off 50% — discussion questions/topics (see separate instructions) 10% — active participation in Q/A 30% — a two-part BlackBoard (written) discussion (see separate instructions) N.B. You are fully responsible for avoiding any scheduling conflicts with this class Disability Support Services (DSS) If you have a physical, psychological, medical or learning disability that may impact your course work, please contact Disability Support Services, ECC (Educational Communications Center) Building, Room 128 (631-632-6748). They will determine with you what accommodations, if any, are necessary and appropriate. All information and documentation is confidential. Academic Integrity Each student must pursue his or her academic goals honestly and be personally accountable for all submitted work. Representing another person's work as your own is always wrong. Faculty are required to report any suspected instances of academic dishonesty to the Academic Judiciary. For more comprehensive information on academic integrity, including categories of academic dishonesty, please refer to the academic judiciary website at http://www.stonybrook.edu/uaa/academicjudiciary/ 1 By “immediate family” is meant mother, father, brother, sister, grandfather, grandmother, son or daughter. 2 Semester Program 28 August – Introduction(s) read Monaco, pp. 228-261 (IV. The Shape of Film History, 1) [33] 30 August – Man with a Movie Camera 4 September read Monaco, pp. 261-301 (IV. The Shape of Film History, 2) [40] 6 September – The Rules of the Game 11 September read Monaco, pp. 301-358 (IV. The Shape of Film History, 3) [57] 13 September – Breathless read Sterritt, pp. 39-60 (on Breathless) 18 September read Monaco, pp. 152-195 (III. Language of Film: Signs & Syntax, 1) [42] 20 September – My Life to Live read Sterritt, pp. 61-88 (on My Life to Live) 25 September read Monaco, pp. 195-225 (III. Language of Film: Signs & Syntax, 2) [30] 27 September – Une Femme est une femme 2 October read Monaco, pp. 388-425 (V. Film Theory: Form & Function) [37] 4 October – Pierrot le fou 9 October [Fall Break] 11 October – Weekend read Sterritt, pp. 89-128 (on Weekend) 16 October 18 October – Numéro deux read Sterritt, pp. 129-160 (on Numéro deux) 23 October 25 October – Hail Mary read Sterritt, pp. 161-220 (on Hail Mary) 30 October 1 November – In Praise of Love read Monaco, pp. 22-38 (I. Film as an Art, 1) [16] 6 November 8 November – Histoire(s) du cinéma read Monaco, pp. 38-65 (I. Film as an Art, 2) [27] 3 13 November read Monaco, pp. 68-100 (II. Technology: Image & Sound, 1) [32] 15 November position statement due on BlackBoard 20 November read Monaco, pp. 100-143 (II. Technology: Image & Sound, 2) [43] 22 November rebuttals (2) due on BlackBoard 27 November 29 November – Histoire(s) du cinéma 4 December 6 December 4 .
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