Textbook Flashback: A Brief History of Film Sixth Edition By Louis Giannetti and Scott Eyman. Pearson Custom Publishing

Transcription

1 Los Angeles Valley College Media Arts Department Cinema 105: History of Motion Pictures (3) UC:CSU Prerequisite/ Corequisite: No Spring 2016 T/Th 8:30AM-10:05AM Instructor: Joel Trudgeon Office: SSC Overview Introductory overview of the history of cinema both American and foreign, from the earliest silent s to contemporary times with an emphasis on the first 75 years, via screenings, lectures, readings about the major artistic, social, economic, and technological trends. Textbook Flashback: A Brief History of Film Sixth Edition By Louis Giannetti and Scott Eyman. Pearson Custom Publishing Upon successful completion of this course, the student will be able to: 1. Identify, explain and evaluate the major/key, artistic, technological, cultural/social trends over the entire history of motion pictures, from the earliest silent s to contemporary times, with an emphasis on the first 75-year. 2. Identify, explain and analyze the symbiotic inter-relationships between films/filmmakers from different nations and different decades, with an emphasis on the, golden, or classic periods of each. 3. Apply, synthesize, justify and integrate their knowledge of the history of cinema with their knowledge of mass media and popular culture. Services for Students with Disabilities If you are a student with a disability and require classroom accommodations, and have not contacted SSD, do so in a timely manner. SSD is located in the Student Services Annex, Room 175 or call SSD at (818) or TTD (818) , to meet with a SSD counselor. If SSD has already sent the memo to instructor confirming accommodations required by student for this class, please meet with me to discuss arrangements. Grading: Film Survey Discussions Film Journal Midterm Term Paper Final Total 25 Pts 50 Pts. 50 Pts. 100 Pts. 100 Pts. 125 Pts. 450 Pts. A pts B pts C pts D pts F 269.pts and below Discussions: You are expected to participate in class. Discussion is designed to further engage the course material. We will study a variety of film styles and movements and view a variety of film clips. The discussion will demonstrate your understanding of the films in historical, social and creative context. Film Journal: View 2 films per week. No judgment will be made on the films that you view. Each journal entry should include the title of the film, the year it was made, and the name of the director and address the content of the film in regards to what has been studied and discussed in class.

2 Midterm: The midterm contains matching, multiple choice, visual identifications and True/False. Term Paper: You will write a critical essay on a film, genre, movement or filmmaker from the suggested viewing list at the end of the syllabus. The paper will be 3-5 pages, typed, double spaced, 12 pt, courier or Arial. The paper will address your topic in terms of the historic, critical or social contexts we have discussed in class. You must site at least 3 scholarly sources. Wikipedia and IMDB are not scholarly sources. The term paper will have assignments due throughout the term. You will submit your topic, sources, thesis and evidence for approval before writing the paper. Final: The final contains multiple choice, True/False, visual identifications. POLICY ON ACADEMIC DISHONESTY Academic dishonesty is defined as Dishonesty, such as cheating, or knowingly furnishing false information to colleges (Student Code of Conduct ). The consequences for academic dishonesty can be determined by the instructor and/or with the assistance of the Vice President Student Services. For repeat offenses, students will be subject to a system called progressive discipline, which affords students due process protocols. Although the facts and circumstances surrounding each incident of alleged academic dishonesty may differ, please read the basic examples illustrating academic dishonesty. 1. In-class academic dishonesty, or otherwise known as cheating, can occur when there is unauthorized looking at, procuring or sharing information from any unauthorized sources. An authorized source is from a college official. This can apply to looking at or operating any kind of electronic device during class when directed not to. 2. Out of class academic dishonesty, or otherwise known as cheating, can occur when students obtain an unauthorized copy of sealed test questions or any other kind of exam that has not been published to the public at large. It also applies to changing, altering, or any other kind of falsification of a scantron, essay, exam, or any other kind of test or college document with the intent of procuring another grade or benefit. 3. Plagiarism is the representation of expression of ideas from either published or unpublished work(s) as students own. We encourage students to always cite sources to avoid the appearance of plagiarism. Using text from internet sources without proper citation is considered to be plagiarism. 4. Furnishing false information can take the form of forgery, falsification, alteration, or misuse of college documents, records, or identification in class or laboratory situations. 5. Attempting to bribe a college official with an object of value or money to procure a higher grade than earned is considered to be academic dishonesty. Examples of Academic Dishonesty (non-inclusive) Copying answers from another student during in-class or online exams and handing them in as one s own. The use of notes, books, dictionaries, or other references during an in-class or online exam that are not authorized by the instructor. Signing one s name to an official college document for another not present in class, in a lab, or for any other reason. Unauthorized use of electronic devices to communicate such as text messaging, cell phone, or ing any other person during an in-class or online exam. Unauthorized talking during in-class exams. Consequences of Cheating At the time of the violation, penalties for academic dishonesty determined by the instructor can result in a zero score for the exam or item in question. In addition, the Vice President of Student Services, or designee, may impose other penalties for violations of the Student Code of Conduct.

3 Week Date Topics Reading 1 2/9/16 Course Introduction. Semester Overview. Why study the History of Motion Pictures? American Cinema of the 1970 s Frances Ford Coppola Martin Scorsese Pg Online: Film Survey 2/11/16 American Cinema of the 1970 s (Cont d) George Lucas Steven Spielberg Birth of Cinema: Early Inventions, Important Discoveries; The First Films Film Technique/Art: Lumiere Brothers Pg 1-26 Edison and Porter Guy-Blache, Webber, Marion Melies 2 2/16/16 2/18/16 3 2/23/16 2/25/16 Birth of the Feature Film; D.W. Griffith, Cecil B. Demille, Mack Sennett American Cinema in the 1920 s Lloyd, Keaton, Chaplin, Langdon Von Stroheim, Vidor European Cinema in the 1920 s Soviet dialectic; Eisenstein Pudovkin, Kulsehov, Dovzenko European Cinema in the 1920 s (Cont d) German Expressionism; Lang, Murnau, Wiene French Avant-Garde; Bunuel, Dali American Cinema of the 1930 s Genres The Star System; Hays Office Censorship The Talkies The Hollywood Studio System Capra, Wyler, Ford, Hawks Pg Pg Pg Pg Pg Pg Pg Pg Pg Due: topic for term paper 4 3/1/16 European Cinema of the 1930 s French Golden Age; Renoir, Clair, Vigo, Cocteau England; Hitchcock, Korda 3/3/16 Germany; Riefenstahl, von Sternberg World War II Pg

4 5 3/8/16 3/10/16 6 3/15/16 3/17/16 7 3/22/16 LAVC 3/24/16 LAVC 8 3/29/16 American Cinema of the 1940 s World War II, Washington Hollywood Connection, American Cinema of the 1940 s (Cont d) Film Noir American Cinema of the 1940 s (Cont d) Welles American Cinema of the 1940 s (Cont d) Wilder, Sturges, Disney Due: thesis for paper European Cinema of the 1940 s Italian Neo-Realism; DeSica, Rossellini, Visconti European Cinema of the 1940 s (Cont d) France; Cocteau Pg Pg England; Olivier, Lean, Reed, Powell and Pressburger Pg Midterm 3/31/16 9 4/12/16 4/14/ /19/16 4/21/ /26/16 4/28/ /3/16 American Cinema of the 1950 s New Screen Processes, Television Red Scare American Cinema of the 1950 s (Cont d) Social Realism Kazan, Hitchcock in America International Cinema of the 1950 s Indian; Ray Japanese; Mizoguchi, International Cinema of the 1950 s Ozu, Kurosawa International Cinema of the 1960 s New Wave Truffaut, Godard, Resnais, Varda Auteur Theory International Cinema of the 1960 s (Cont d) Italy; Fellini, Leone International Cinema of the 1960 s (Cont d) Sweden; Bergman The Third Cinema American Cinema of the 1960 s The Bloated Era Vietnam/Watergate, New Directions Pg Pg Pg Pg

5 5/5/16 American Cinema of the 1960 s (Cont d) Kubrick, Lumet, Cassavetes, Peckinpah, Lumet 13 5/10/16 5/12/ /17/16 5/19/16 5/24/16 American Cinema of the 1960 s (Cont d) Altman, Nichols, Wexler, Penn, Jewison, Hopper American Cinema of the 1970 s Blaxploitation Final Paper Due International Cinema of the 1970 s Eastern Europe; Polanski, Forman Film Journal Due Summation Final

6 Films can be found at your local library, Netflix, huluplus, redbox or on TV. Selected, Suggested Viewing: o The Great Train Robbery, Edwin S. Porter 1903 o The Birth of a Nation, D.W. Griffith 1915 o Broken Flowers, D.W. Griffith 1919 o The Cheat, Cecil B. De Mille 1915 o The Gold Rush, Charlie Chaplin 1925 o Greed, Erich von Stroheim 1924 o Sunrise, F.W. Murnau 1927 o The Crowd, King Vidor 1928 o Potemkin, Sergei Eisenstein 1925 o The Phantom Carriage, Victor Sjostrom 1921 o Earth, Alexander Dovzhenko, 1930 o Metropolis, Fritz Lang 1926 o Nosferatu, F.W. Murnau 1922 o The Palm Beach Story, Preston Sturges 1942 o Public Enemy, William Wellman 1931 o Gone with the Wind, Victor Fleming 1939 o The Gold Diggers of 1935, Busby Berkeley 1935 o Angels with Dirty Face, Michael Curtiz 1938 o Mr. Smith Goes to Washington, Frank Capra 1939 o Stagecoach, John Ford 1939 o The Triumph of the Will, Leni Riefenstahl 1935 o M, Fritz Lang 1931 o La Ronde, Max Ophuls 1950 o Grand Illusion, Jean Renoir 1937 o Brining up Baby, Howard Hawks 1938 o The Asphalt Jungle, John Huston 1950 o The Philadelphia Story, George Cukor 1940 o Double Indemnity, Billy Wilder 1944 o Sunset Boulevard, Billy Wilder 1950 o The Great Dictator, Charles Chaplin 1940 o Citizen Kane, Orson Welles 1941 o The Third Man, Carol Reed 1949 o Open City, Roberto Rossellini 1945 o The Bicycle Thief, Vittorio De Sica 1948 o Force of Evil, Abraham Polonsky 1948 o Los Olvidados, Luis Bunuel 1950 o Singin in the Rain, Gene Kelly, Stanley Domen 1952 o The Defiant Ones, Stanely Kramer 1958 o Rebel without a Cause, Nicholas Ray 1955 o On the Waterfront, Elia Kazan 1954 o 12 Angry Men, Sidney Lumet 1957 o Stalag 17, Billy Wilder 1953 o The Ten Commandments Cecil B. DeMille 1956 o Pickpocket, Robert Bresson, 1959 o Spartacus, Stanley Kubrick 1960 o Psycho, Alfred Hitchcock 1960 o Pather Panchali, Satyajit Ray 1955 o Rashomon, Akira Kurosawa 1950 o Seven Samurai, Akira Kurosawa 1954 o Good Morning, Yasujiro Ozu 1959 o Cleo from 5 to 7, Agnes Varda, 1962 o The Seventh Seal, Ingmar Bergman 1957 o Macario, Roberto Gavaldon 1960 o Medium Cool, Haskell Wexler 1969 o Persona, Ingmar Bergman 1966 o Nanook of the North, Robert J. Flaherty 1922 o The Life and Death of Colonel Blimp, Powell and Pressburger, 1943 o 8 ½, Federico Fellini 1963 o The Apartment, Billy Wilder 1960 o Blow Up, Michelangelo Antonioni 1966 o The Graduate, Mike Nichols 1967 o Easy Rider, Dennis Hopper 1969 o The Wild Bunch, Sam Peckinpah 1969 o Butch Cassidy and the Sundance Kid, George Roy Hill 1969 o The Red Balloon, Albert Lamorisse, 1956 o Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb, Stanley Kubrick 1963 o 2001: A Space Odyssey, Stanley Kubrick 1968 o The Good, the Bad and the Ugly, Sergio Leone 1966 o Divorce, Italian Style, Pietro Germi 1962 o The Deer Hunter, Michael Cimino 1978 o Chinatown, Roman Polanski 1974 o Dirty Harry, Don Siegel 1971 o M*A*S*H*, Robert Altman 1970 o One Flew Over the Cuckoo s Nest, Milos Forman 1975 o The Godfather, Francis Ford Coppola 1972 o Jaws, Steven Spielberg 1975 o Being There, Hal Ashby 1979 o Shaft, Gordon Parks 1971 o Taxi Driver, Martin Scorsese, 1976 o Rocky, John Avildsen 1976 o Solaris, Andrei Tarkovsky 1971 o Blade Runner, Ridley Scott 1982 o First Blood, Ted Kotcheff 1982 o Apocalypse Now, Francis Ford Coppola 1979 o Alien, Ridley Scott 1979 o The Terminator, James Cameron 1984 o Aliens, James Cameron 1986 o Grave of the Fireflies, Isao Takahata 1988 o The Silence of the Lambs, Jonathan Demme 1991 o Do the Right Thing, Spike Lee 1989 o A Room with a View, James Ivory 1986 o Ran, Akira Kurosawa 1985 o 12 Monkeys, Terry Gilliam 1995 o Kill Bill 1 and 2, Quentin Tarantino, 2003, 2004 o El Mariachi, Robert Rodrgiuez 1992 o Schindler s List, Steven Spielberg 1993 o Raising Arizona, Joel Coen 1987 o The Hudsucker Proxy, Joel Coen 1994 o Fight Club, David Fincher 1999 o Amelie, Jean-Pierre Jeunet 2001 o The Devil s Backbone, Guillermo del Toro 2001 o Avatar, James Cameron 2009 o Unforgiven, Clint Eastwood 1992 o The Shawshank Redemption, Frank Darabont 1994 o Slumdog Millionaire, Danny Boyle 2008 o Ida, Pawel Pawlikowski 2013 o Mad Max: Fury Road, George Miller 2015 o Whiplash, Damien Chazelle, 2014 o Nightcrawler, Dan Gilroy 2014