Course Description. Required Text. Understanding Movies, 13 th edition Louis Giannetti ISBN-13:
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1 Los Angeles Valley College Media Arts Department Cinema 107 Understanding Motion Pictures (3) UC:CSU Summer 2017 Section /12/17-6/30/17 M-F 8:00am-11:20am Joel Trudgeon Office: SSC 108 Office Hour Th: 12:00pm-1:00pm Course Description This course provides students with an analytical critical survey of motion pictures as an art form, entertainment industry, and communication medium via screenings, lectures, readings about 'classic' and contemporary films, American and foreign, theatrical and non-theatrical. Required Text Understanding Movies, 13 th edition Louis Giannetti ISBN-13: Course Objectives Upon successful completion of this course, the student will be able to: 1. Identify, explain and analyze how/why motion pictures are an art form, communications medium, & industry/business all in one, with an exploration of auteurism. 2. Illustrate how films/videos are made from script to screen, concept to delivery (pre-production through post-production). 3. Identify, explain, and analyze the collaborative art and business of motion pictures, with an emphasis on what each of the creative personnel/crew contributes in the decision-making and doing process. 4. Compare and contrast the variety of motion pictures genres, formats, styles 5. Apply, synthesize, justify, and integrate the techniques and aesthetics of filmmaking with the other literary, fine, and performing arts in terms of analyzing/critiquing abilities, from the point of view of consumers of mass media and the popular arts. Student Learning Outcomes Analyze, evaluate and critique film from an aesthetic viewpoint in both contemporary and historic perspectives. This perspective is both America-specific and international. Course Requirements, Policies, Assignments and Grading Rubric Assignment Points Exam Exam Exam Term paper 100 Participation = A =B =C =D 299 and below=f Attendance at lecture, discussion and screenings is a requirement of the course. Viewing films in class is a requirement to receive a passing grade. Arriving late, leaving early and skipping films will result in loss of participation points for the final grade.
2 Screening of films and clips IS NOT a time for conversation. If you are talking during the screenings you will be asked to leave the classroom. Exams are multiple choice and True and False. The exams cover information for the preceding units only. They include questions from lectures, reading and film screenings. The Term paper is an analysis of a film (from the approved viewing list) from an aesthetic viewpoint. The term paper is 3-4 pages, 12 pt. Arial, double-spaced. The paper should be written in MLA format and requires an additional page of works cited. 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. Campus Resources 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. The College Library, one of the largest in the San Fernando Valley, has more than 300,000 books, including 170,000 e-books. The Library subscribes to 48 electronic databases in addition to 50 subscriptions to print journals, newspapers, and magazines. These provide access to an abundance of full-text articles and reference sources. The Library s website: is the gateway to the Library s resources. Students should consider the Library their first and best source for research. All current students are eligible to check out Library materials with their LAVC student ID.
3 Academic Resource Center: Do you want better grades? Do you want more support in helping you succeed in your classes? Students who use academic resources and tutoring services succeed at a higher rate than those who do not use the services. Take advantage of the following free resources available to LAVC students! Course Calendar Week Date Topics Reading 1 6/12/2017 Introduction What is Cinema? Cinematic Time and Space Key Concepts Aesthetics Realism and Formalism Ideology and Theory/Criticism Critic Vs. Reviewer Ideology Left/Center/Right Auteurism Realism Vs. Formalism Avant-Garde Eclectic/Synthetic Theories Structuralism/ Semiology 6/13/2017 Writing The Screenwriter Original Vs. Adapted Screenplays Points of View Figurative Comparisons Genres and Mythology The Story Narratology The Spectator Aristotle and the Classic Paradigm Realistic vs. Formalistic Plots and Subplots Barton Fink d. Joel and Ethan Coen, 1991 (USA) 6/14/2017 Fight Club d. David Fincher, 1999 (USA) Acting Drama Stage Vs. Screen American Star System Acting Styles Casting Dramaturgy & The Director Auteurist Vs. The Collaborative Art 6/15/2017 Writing Critically/ Term Paper Design Production Designer & The Art Director Settings & Décor Costumes & Make-up Design Rushmore d. Wes Anderson, 1998 (USA)
4 6/16/2017 Photography The DP/Cinematographer (& Team) Shots & Angles Lenses & Opticals Filmstock & Gauges Light/dark & Color Realistic Vs. Formalistic Mise-en-Scene Framing Space & Patterns Movement Kinetic Movement Vs. Static Camera Altered or Distorted Movement The Red Balloon d. Albert Lamorisse, 1956 (France) 2 6/19/2017 Raging Bull d. Martin Scorsese, 1980 (USA) Exam #1 6/20/2017 Editing Kuleshov, Eisenstein and the Dialectic Continuity Classical Cutting Formalism and Realism Psycho d. Alfred Hitchcock, 1960 (USA) 6/21/2017 M d. Fritz Lang, 1931 (Germany) Sound 6/22/2017 Sound Historical Evolution Sound Recording & the Mixing Team Dialog & Spoken Language SFX & Sound Design Music s Purpose & Styles 6/23/2017 Animation Techniques & Special Effects Digital & Traditional Analog Exam #2 3 6/26/2017 Documentary Fact Vs. Fiction Docudrama Night and Fog d. Alain Resnais, 1956 (France) 6/27/2017 Chinatown d. Roman Polanski, 1974 (USA) Analysis 6/28/2017 Citizen Kane d. Orson Welles, 1941 (USA) Orson Welles Citizen Kane His Other Films Criticism 6/29/2017 Analysis & Synthesis
5 Aesthetics Historical Perspectives Due: Term Paper 6/30/2017 Exam 3 Screenings are subject to change. The Graduate d. Mike Nichols, 1967 (USA)
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 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 Bringing 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 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
Textbook Flashback: A Brief History of Film Sixth Edition By Louis Giannetti and Scott Eyman. Pearson Custom Publishing
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