FILM THEORY & PROCESS FILM-M250-001
Course Term: FALL 2020 Course Location: Communications/Music 402 Class hours: MON: 3:30-4:45, WED (class and screening): 3:30-4:45, 4:55-7:35
Instructor: Miles Doleac, PhD Office Location: CM Building, Rm 412 Phone: (office) 504-865-3430, (cell) 601-329-1630 Email: [email protected] Office hours: By appointment
SYLLABUS
REQUIRED BOOKS:
Doughty, Ruth and Christine Etherington-Wright. Understanding Film Theory, 2nd ed. New York: Red Globe Press, 2018.
Monaco, James. How to Read a Film: Movies, Media and Beyond, 4th ed. Oxford: Oxford University Press, 2009.
Sikov, Ed. Film Studies: An Introduction. New York: Columbia Press, 2010.
COURSE SEQUENCE (FIRST 8 WEEKS):
WEEK 1: AUGUST 24: ZOOM: WELCOME AND COURSE INTRODUCTION AUGUST 26: ON CAMPUS: Lecture/discussion, reading due: Monaco, How to Read a Film, pp. 1- 73 (“Introduction” and “Film as an Art Form”). Introduce Chaplin. Screening: CITY LIGHTS (dir. Charlie Chaplin).
WEEK 2: AUGUST 31: ZOOM: Lecture/discussion, reading due: Doughty & Etherington-Wright, Understanding Film Theory, pp. xi-22 (“Introduction” and “Auteur Theory”). SEPTEMBER 2: ON CAMPUS: Screening: PAN’S LABYRINTH (dir. Guillermo Del Toro) and discussion.
WEEK 3: SEPTEMBER 7: ZOOM: Lecture/discussion, reading due: Doughty & Etherington-Wright, Understanding Film Theory, pp. 23-44; Monaco, How to Read a Film, pp. 77-114 (stop before “The Filmstock”). SEPTEMBER 9: ON CAMPUS: Screening: PATHS OF GLORY (dir. Stanley Kubrick) and discussion.
WEEK 4: SEPTEMBER 14: ZOOM: Lecture/discussion, reading due: Sikov, Film Studies, pp. 1-23 (“Introduction”). SEPTEMBER 16: ON CAMPUS: Screening: JAWS (dir. Steven Spielberg) and discussion.
WEEK 5: SEPTEMBER 21: ZOOM: Lecture/discussion, reading due: Doughty & Etherington-Wright, pp. 45- 65 (“Genre Theory”), Sikov, Film Studies, pp. 143-157 (“Genre”). SEPTEMBER 23: ON CAMPUS: QUIZ 1, Screening: SINGIN’ IN THE RAIN (dirs. Gene Kelly and Stanley Donnen) and discussion.
WEEK 6: SEPTEMBER 28: ZOOM: Lecture/discussion, reading due: Monaco, How to Read a Film, pp. 252- 317 (“Movies/Film/Cinema” through “‘Film’: Politics”). SEPTEMBER 30: ON CAMPUS: Screening: ONCE UPON A TIME IN THE WEST (dir. Sergio Leone) and discussion.
WEEK 7: OCTOBER 5: ZOOM: Lecture/discussion, reading due: Doughty & Etherington-Wright, pp. 66-85 (“Formalism”), Sikov, pp. 116-125 (“Filmmakers”), MIS-EN-SCENE exercise due. OCTOBER 7: FALL BREAK
WEEK 8: OCTOBER 12: ZOOM: Lecture/discussion, reading due: Doughty & Etherington-Wright, pp. 121- 140 (“Realism”), pp. 195-209 (“Masculinity”), Sikov, pp. 129-142. OCTOBER 14: ON CAMPUS: Screening: GOODFELLAS (dir. Martin Scorsese) and discussion.
Remaining screenings:
Wednesday, October 21: REALISM/DOCUMENTARY:
RBG, dir. Julie Cohen, Betsy West
Wednesday, October 28: PSYCHOANALYSIS:
OLDBOY, dir. Park Chan Wook
Wednesday, November 4 (two films): FEMININISM:
CAROL, dir. Todd Haynes
ALIEN, dir. Ridley Scott
*Monday, November 9: Technical Paper Due*
Wednesday, November 11 (two films): QUEER THEORY:
A SINGLE MAN, dir. Tom Ford
RACE AND ETHNICITY:
IN THE HEAT OF THE NIGHT, dir. Norman Jewison
Wednesday, November 18 (two films): RACE AND ETHNICITY, CON’T:
SWEET SWEETBACK’S BADASSSS SONG, dir. Melvin Van Peebles
MALCOLM X, dir. Spike Lee
Wednesday, December 2: : POSTCOLONIAL/TRANSNATIONAL CINEMA:
SLUMDOG MILLIONAIRE, dir. Danny Boyle, online
*Friday, December 4: Theory Paper Due*
COURSE REQUIREMENTS:
READING, PARTICIPATION AND DISCUSSION: 25% ATTENDANCE: 10% ‘TECHNICAL’ PAPER: 15% IN-CLASS QUIZZES/ASSIGNMENTS: 10% ‘THEORY’ PAPER: 25 % FINAL EXAMINATION: 15%
POINTS TO CONSIDER:
COURSE GOAL: The aim of this course is 1) to introduce the medium of film as an art form, 2) to examine film’s history and evolution from its first appearance at the end of the nineteenth century until today, 3) to introduce and analyze the most important technical and creative elements of filmmaking 4) to unpack theories and critical forms developed over the last century in order to analyze, discuss, and understand the medium of film and 5) to view, engage, discuss and dissect films and parts of films that are considered representative of the specific theories and critical analyses under discussion and that have been in some way path-breaking in the history of cinema.
READING, WATCHING, and PARTICIPATION: Your active engagement and participation is critical to your success in this class. Participation is weighted at 25 % of the overall grade. Part of participation is just showing up, but that is hardly all of it. Reading assignments, focused viewing of films and reasoned discussion of reading assignments, films and other assigned information is expected and necessary.
HYFLEX: This class is characterized as “hybrid/flexible,” meaning class meetings will shift between online and on campus. As a general rule, that means Monday meetings will be online and Wednesday
meetings/screenings will be on campus. Circumstances may dictate a modification in this basic arrangement. Obviously, we are all in new territory here. I will strive to be as flexible and communicative as I possibly can be with you and I ask the same of you in return.
SCREENINGS: Unless you have made arrangements with the University and me beforehand, the expectation is that you will physically attend the on-campus component of this class. If you are unable to attend screenings at any point during the semester, the assigned films will be available at no charge via links on the class’ Canvas page. Unless cleared with me beforehand, you will still be responsible for having watched the film on the day of its screening (see above).
MASKS/SOCIAL DISTANCING ON CAMPUS: The University mandates that you must wear a mask/face covering over your nose and mouth if you are participating in on-campus classes. In addition, you are asked to maintain at least 6-feet of distance in between yourself, your classmates, and me.
CHEATING is BAD, primarily because it hurts YOU. If you must cheat to be successful in this course, you are wasting your time and your instructor’s. Cheating and academic dishonesty of all kinds will not be tolerated. Offenses will be penalized to the full extent university policy allows—a failing grade for the course. One oft-misunderstood form of academic dishonesty is plagiarism. Plagiarism occurs when you use other people’s work without giving proper credit to your source. This is a kind of intellectual thievery, since you are essentially passing off someone else’s work as your own. If you need further explanation, ASK! Ignorance is not a valid defense. If you are unfamiliar with current methods of citation and stylistic conventions and wish to review them on your own, you may consult the Chicago Manual of Style, 15th ed. (Chicago and London: University of Chicago Press, 2003).
ATTENDANCE POLICY: Attendance/engagement is mandatory, whether in-person or virtually. As such, you will be allowed TWO unexcused absences before absences begin to adversely affect your grade. After TWO unexcused absences, three points will be deducted from both your attendance and participation grades for every time you are absent. For your absence to be excused it must be cleared with me before the class in question. Exceptions will be made in the case of dire circumstances such as INCAPACITATING personal illness or injury, death in the family, acts of God or other circumstances deemed legitimate by the instructor. There are many legitimate reasons to miss class, including University-related events, but you need to inform me about any such event before the class you are going to miss. At the end of the day, it’s about communicating with me, remaining present, and meeting deadlines. Obviously, this semester will pose new and different challenges. I am committed to meeting them with your help.
LATENESS: If you are more than TEN minutes late to class and you have not cleared it with me beforehand, you will be counted absent.
CELL PHONES: Please turn cell phones OFF during class. I shall try to remember to do the same.
COMPUTERS: You may bring computers to class for the express purpose of reference reading and taking notes (although studies have shown that taking notes the old-fashioned way, with paper and pencil/pen increases retention of information significantly). That means computers should not be used for social networking, shopping, streaming etc.
MAKE-UP QUIZZES AND TESTS: No make-up quizzes, in-class assignments or tests will be given except in the case of dire circumstances (as noted in the attendance policy).
LOYOLA E-MAIL: You are expected to check your Loyola e-mail for information relevant to this course. I will not be responsible if you fail to do so.
‘TECHNICAL’ PAPER: This assignment will require a three-to-five page (that means the paper must take up at least three FULL pages, double-spaced, with font size of 12 pt, in Times New Roman font) paper on some technical element (e.g. cinematography, script, direction, performance, production design, score etc) of a film we’ve screened in class. You will comment in detail on how the particular technical element of your choosing contributes to the overall success of the film and use specific, detailed examples to support your argument. Your Technical Paper is due to me via my Loyola e-mail by 5 pm Central on Monday, November 9, 2020.
‘THEORY’ PAPER: A paper of five to seven pages will serve as 25 % of your grade in this class. The paper will entail a detailed analysis of at least one (and no more than two) of the ‘theories’ that we have discussed as part of the class (e.g. auteur theory, genre theory, queer theory, etc.), along with specific examples of how these theories apply to films we’ve screened in class. Your Theory Paper is due to me via my Loyola e-mail by 5 pm Central, December 4, 2020.
ACCESS TO INSTRUCTOR: Please do not hesitate to contact me or schedule an appointment if you have questions or concerns about the course or your progress in it. Do not languish in a fog of confusion! I am here to help you succeed in this course.
ACCOMMODATIONS: Providing access to a diverse student population is embedded in the philosophy of Loyola. We recognize disability as an aspect of diversity that is integral to society and to the campus community. To this end, the OAE collaborates with students, faculty, staff, and community members to create usable, equitable, inclusive and sustainable learning environments. We promote and facilitate awareness and access through training, partnerships, innovative programs and accommodations. The entire OAE operating statement can be found here: http://success.loyno.edu/sites/default/files/oae_ada_handbook_for_students_faculty_and_staff_septe mber_2018_0.pdf For further information, please contact: Office for Accessible Education Pan-American Life Student Success Center Monroe Library 2nd Floor Phone: 504-865-2990 Fax: 504-865-3543 [email protected]