SYLLABUS - Office: Bouillon 231)

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SYLLABUS (contact:smithpat@cwu.edu - Office: Bouillon 231) COURSE: INSTRUCTOR: REQUIRED TEXT: HISTORY OF NARRATIVE FILM PATRICK WILLIAM SMITH A History of Narrative Film, 4 th Ed David A.

Narrative Film examines the critical approaches, cinematic linguistics, and the evolutionary movements of American and international cinema from 1895 - present.

1 SYLLABUS - Office: Bouillon 231) COURSE: INSTRUCTOR: REQUIRED TEXT: HISTORY OF NARRATIVE FILM PATRICK WILLIAM SMITH A History of Narrative Film, 4 th Ed David A. Cook SECTIONS: CLASS MEETING TIME: OFFICE HOURS COMM (96932) Mo-Tu-We-Th: 11:00am-11:50am M: 12-2 T: 2-4 ENG (96936) Location: Hertz Hall 118 TH: 2-4 F: 2-3 OVERVIEW: History of Narrative Film examines the critical approaches, cinematic linguistics, and the evolutionary movements of American and international cinema from present. This course highlights the historical and cultural contexts during major shifts in the medium and places particular emphasis on the student s comprehension and analysis of narrative and visual structure. OBJECTIVES: Standardize a means of discussing and analyzing film narratives and aesthetics Develop fluency in the language of film by learning to deconstruct visual language Culturally situate the canon of influential films and eras as influenced by and/or actively influencing their historical surroundings Develop an understanding of the universality of the human experience dramatized through film over time Develop a glossary of basic film terminology (technological, practical and theoretical) Hone students critical eye i.e. analytical tendencies transferrable to students as they interpret films beyond this course MY PHILOSOPHY: Dust-off your flux capacitors, folks! If old films bore you you re doing something wrong! In this course, you will be required to dabble in time-travel (barring a certified doctor s note). Your task is to situate yourself in the time and context of the audiences who first screened these films audiences with very limited (if not completely nonexistent) exposure to the moving image, special effects, accompanied sound, violence, nudity, etc. As we travel through various eras in film history, I urge you to make a concerted effort to view the class films in periodspecific character, accounting for the cultural, historical, and technological contexts they existed within. Use your imagination - it will enrich your experience. Note** Extra credit may or may not (but definitely won t and will not, though could or could not) be given for periodspecific attire during screenings.

2 DISCUSSION PROTOCOL: A substantial portion of class time will rely on group discussion. As such, it s important for us to standardize how we engage with each other. A few guidelines to think about: Use examples. If you have a strong feeling about something (i.e. this is awful / this is wonderful), challenge yourself to understand WHY. Use examples from the text and clips when you offer input. Stay relevant. Is what I m saying on-topic or is it tangential? Am I furthering the current discussion, or steering it beyond the current topic? Our classes are only 50 minutes be efficient! Be respectful. Being offended is great for starting discussion. Being offensive is great for stilting it. Be gentle with each other s opinions, even when you strongly disagree. Some films in this course are intended to illicit strong feelings regarding controversial subjects. Ye Be Warned. SCHEDULE: Unless stated otherwise in class, please complete the assigned readings and watch the assigned films before each week of classes. Participation in discussions is mandatory and evaluated as part of your final grade - be prepared to contribute! Note** This course is front-loaded with readings and back-loaded with written analysis keep this in mind as you manage your time over the course of the quarter. WEEK 1 REQUIRED FILMS: Select Clips (in class) REQUIRED READING: Chapter 1 Introductions, Expectations Origins of the Moving Image and Imaging Technology International Attributions/National Identity (Peter Jackson s Forgotten Silver) WEEK 2 (Sep 26-29) REQUIRED FILMS: The Birth of a Nation (D.W. Griffith) REQUIRED READING: Chapters 2, 3 D.W. Griffith s giant leap Developing Visual Language and Narrative Form The Birth of a Nation Technical Marvel vs. Cultural Travesty Distinguishing Artifice from Reality WEEK 3 (Oct 3-6) REQUIRED FILMS: The General (Buster Keaton, Clyde Bruckman) REQUIRED READING: Chapter 6 The New Monopoly Chaplin vs. Keaton Aesthetics of Comedy, Mise-en-scène Stroheim

3 WEEK 4 (Oct 10-13) REQUIRED FILM: Select Clips (in class) REQUIRED READING: Chapters 7, 8 Edison, Sound & Controversy Synchronous vs Asynchronous Evolution of Color Technology WEEK 5 (Oct 17-20) REQUIRED FILM: Citizen Cane (Orson Welles) REQUIRED READING: Chapter 10 Orson Welles Visual Arsenal Complex Narrative Structure Studios: Business vs Art From Flop to Classic WEEK 6 (Oct 24-27) REQUIRED FILM: Bonnie & Clyde (Arthur Penn) REQUIRED READING: Chapter 20 The New American Cinema Social Disorder and Violence in Film, Starting a National Dialogue WEEK 7 (Oct 31-Nov 2) NOV 3 MIDTERM EXAM (in class) REQUIRED FILM: The Player (Robert Altman) REQUIRED READING: Chapter 20 Hollywood in the 70 s & 80 s Altman: Disillusionment & Social Commentary New Age of Filmmakers WEEK 8 (Nov 7-10) REQUIRED FILM: Jurassic Park (Stephen Spielberg) REQUIRED READING: CHAPTER 21 The Digital Age Evolution of Digital Effects Color Manipulation CGI Characters WEEK 9 (Nov 14-15) Nov Scene Analysis Presentations REQUIRED FILM: Unbreakable (M. Night Shyamalan, James Newton Howard) REQUIRED READING: TBA Musical Narratives: Opera vs The Film Score The Evolution of Score ( mickey-mousing, subtextual motifs, contemporary) Max Steiner, Elmer Bernstein, John Williams The Great Interplay Musical Arcs Meet Visual Arcs Week 10: (Nov 21-22) CONT D SCENE ANALYSIS PRESENTATIONS

4 Week 11: (Nov 28-Dec 1) REQUIRED FILM: Little Miss Sunshine (Jonathan Dayton, Valerie Faris) REQUIRED READING: TBA Independent Film vs The Tent-pole System The Era of Franchising/Risk Aversion Intellectual Properties vs Original Content Today: Technology, Cost, and Accessibility (YouTube) EVALUATION: 20% - Participation, Attendance, Discussion Contribution 15% - Short Essays (3 entries, each worth 5%, DUE: Dec 1, 2016) Students will be required to write 3 short essays (2 pages, double-spaced, 12pt font) discussing 3 films of their choosing from the class screenings. These journal entries should eloquently and articulately discuss the student s understanding of the film, questions the student may have about the film, and some critical analysis regarding the visual, aural and scripted language within the film. These essays should relate to and convey concepts learned in class and in the readings. 15% - Scene Analysis Presentation Students will be required to choose one topic discussed in class and apply a critical analysis of the topic with regard to a 2-3 minute scene from any film of their choosing. Students will have a total of 8 min to screen the clip they ve chosen and to present their analysis. 20% - Midterm: Written & Multiple Choice 25% - Final Analytical Essay (DUE: Dec. 6, 2016 by 5PM. NO LATE WORK WILL BE ACCEPTED.) OFFICIAL PROMPT TO BE GIVEN IN CLASS NOTE** Assignment prompts will be discussed in class and posted in detail on Canvas GRADE SCALE: A % A % B % B 84-86% B % C % C 74-76% C % D % D 64-66% D % F below 60% ATTENDANCE POLICY: Attendance is mandatory. Three unexcused absences (i.e. absences not approved by me in ADVANCE) will result in a failing grade in the course. This is a 50-min course as such, our time is limited so students are expected to be on time to class. If a student is late to class three times (i.e. 10 minutes or later beyond the scheduled start time), each subsequent tardy will result in a 3% deduction from his/her final grade in the course.

5 USING CANVAS: The online Canvas system will be relied on heavily for distribution of assignment prompts, updated to course material, changes in schedule, and submission of assignments. Please be diligent about checking Canvas on a consistent basis. PLAGIARISM: See CWU s policy on academic dishonesty in Appendix B of the Undergraduate Catalogue. ADA STATEMENT: If you wish to set up academic adjustment in this class, please provide a copy of your Confirmation of Eligibility so we can discuss how to implement the improved adjustments. Contact the Center for Disability Support in Bouillon 205,

Before the conclusion of this course, students should be able to:

Before the conclusion of this course, students should be able to: MCOM 2370: Introduction to American Film History Fall 2013 Tuesdays, 4-6:45 p.m., UC323. Professor Drew Morton E-mail: DMorton@tamut.edu Office Hours: Wednesdays, 2-6 p.m. COURSE DESCRIPTION AND STUDENT