French 4339 Spring 2018 Introduction to French Cinema in French: History, Culture & Style Course Information Sheet and Syllabus

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1 French 4339 Spring 2018 Introduction to French Cinema in French: History, Culture & Style Course Information Sheet and Syllabus Course: SpTop: French Instructor: Dr. Khalid Aada Term: Spring 2018 Telephone: Meeting times: T/R 10:50 12:05 Location: Br. Main Office Hours: TBA Office location: Br. Sabal Hall 2.114A Required Course Materials Every student must purchase the films assigned to watch for the duration of the semester. Some films are NOT available on streaming services and therefore must be rented or bought ahead of time. Although some films that we study will be screened in class, it will be your responsibility to view the other week s films before coming to class. Suggested book (for further reading): Michael Temple and Michael Witt (ed.), The French Cinema Book, London: The British Film Institute, ISBN: Additional Resource for further reading: Abel R., French Cinema: The First Wave , Princeton, NJ, Princeton University Press. Abel R., (1988) French Film Theory and Criticism: A History/Anthology , vol.1: , Princeton, NJ, Princeton University Press. Bellour R., The Analysis of Film (2000) Crisp C., The Classic French Cinema: ( ) Douchet J., French New Wave (1990) Epstein, J. (1926) Le Cinématographe vu de L Etna, Paris, Les Écrivains Réunies. Forbes J., The Cinema in France after the New Wave, (1992) Gauthier, C. (1999) La Passion du cinéma : cinéphiles, cinéclubs et salles spécialisées á Paris de 1920 à 1929, Paris, AFRHC / Ecoles des Chartes. Jean Colas J. P., Histoire du Cinéma Français, (1995) Mannoni, L. (2000) The Great Art of Light and Shadow: Archaeology of the Cinema, Exeter, University of Exeter Press. Sadoul, G. (1962) Le Cinéma francais , Paris, Flammarion Course Description and Prerequisites This course on the History of French Cinema will be taught in French language and will concentrate first on the artistic and technological roots of the medium and then trace the evolution of the art from the First Wave to the New Wave to the Post New Wave. The course will also revolve around the questions of what renders French films different from Hollywood films and how one understands in facts the film categories of dominant, marginal, popular, avant, garde, the progressive and the conservative. Above all, we will strive to seize and comprehend the image of French culture and society that is presented in various genres of French film. Finally, since this course will be in French, the exercises will promote French listening and speaking skills.

2 Prerequisite: Fren ** Lectures: The syllabus gives a list of the material that will be covered this semester: we will discuss the movies and readings in class, polish the writing and oral skills, open the mind on French cinema and its legitimacy as an art. PLEASE DO NOT ATTEMPT TO DO YOUR HOMEWORK IN CLASS, EAT, DRINK, SURF THE WEB, USE YOUR CELL-PHONE, DASH OFF TO THE RESTROOMS DURING CLASS OR ARRIVE LATE TO CLASS! Student Learning Objectives/Outcomes for the Course 1. To understand the major developments in French cinema from the end of the 19 th to the early 21 st century, and explore as fully as possible the fascinating range and diversity of films, people, trends and practices that together make up France s rich film culture. 2. To analyze a scene of a film and write effectively about it using appropriate critical strategies and other materials required by the instructor. 3. To examine the representation of French society in films. 4. To appreciate films both in terms of their formal qualities and in their broader social contexts. 5. To improve French language skills through viewing and analysis of French films. Learning Objectives for Core Curriculum Requirements This course satisfies the core curriculum requirement since it matches with the Texas Higher Education Coordinating Board (THECB) outcomes. Basically, it focuses on: THECB Objective-Critical Thinking (CT)_ Students understand the evolution of French cinema and develop critical thinking in analyzing the films and comparing with Hollywood movies. THECB Objective-Communication (COM): Students sharpen their communication skills, by engaging in exercises of analysis, logical reasoning, and the effective development of written communication and by presenting exposés on their written work or team exposés. THECB Objective-Social Responsibility (SR): Students view and study films from France and Francophone nations from throughout the world, thus promoting an understanding of cultural differences and diversity in the fundamental definition of the art of cinema. THECB Objective-Team Work (TW): Students are asked to analyze clips of films and to present their interpretations (based on theoretical concepts) in class as teams. Course Requirements Students in this course will be expected to: View all required films. This is the basis of all lectures and discussions, and so it is essential that students complete all the assigned viewing before coming to class. Complete all writing assignments. These assignments will be an opportunity for students to reflect on the movies they watched and will allow them to further develop the skills they developed in their previous French courses. Participate in discussions. I expect each student to come to class ready to discuss the films for that day.

Grades Students final grade will be based on the following breakdown: Attendance and Discussion = 15%. Each class is worth 0.5 point of your final grade. Quizzes = 20%.

3 Grades Students final grade will be based on the following breakdown: Attendance and Discussion = 15%. Each class is worth 0.5 point of your final grade. Quizzes = 20%. Four quizzes on the material from weekly reading and previous classes: main theoretical points or thematic content. One Mid-term essay = 20% One Oral exposé in class = 20% (details distributed in class) One final essay = 25% (details distributed in class) TOTAL 100% Readings We will review, discuss, and analyze movies and readings in class; it is imperative that you complete the assigned readings, as the quizzes will cover the material. Basically, you should a.) Take notes while you read the theoretical work; b.) Dialogue with the content of the book; don t just take robotic notes; c.) Make a summary page of the key ideas developed during the class; d.) Be prepared to discuss the theoretical ideas, the plot, themes, and characters of the movies we watch together. In short, you should be able to participate actively in class discussions. Attendance and Participation Attendance will be taken at the beginning of each class; if you are unable to attend on a given day, you should contact your professor electronically or by telephone. There will be no make-up quizzes, unless you provide a legitimate excuse with written proof. Please provide the written proof to your professor before you approach him about your absence. Final Project-To Assess the Acquisition of Communication & Critical Thinking Skills Purpose This assignment asks you to become an expert on a single actor or director and to use the skills of visual analysis to reach critical and creative conclusions about that person s work. You will share your findings with the rest of the class via an oral presentation (perfecting and exhibiting oral communication skills); you will also present your final critical and creative analysis to me in a written essay (making manifest and fine-tuning your written communication skills). Overview In this course we have surveyed over a century of French cinema and you have been introduced to many of the major actors and filmmakers in each era. However, in most cases we only have time to watch one film by this person before we move on. For the Final Project, you are asked to dig deeper into the work of a single artist. You will choose one actor or director and then learn everything you can about that person. This will require you to do research into this person s life and work. You will also need to watch as many films by this person as you can. After spending most of the semester working on this Final Project, you will be more of an expert on this one person than anyone else in our class. And so, this assignment asks you to share this knowledge and your critical and

4 creative analysis with your peers through an oral presentation to the class. The Final Project will therefore involve two parts: 1) the oral presentation in class in which you will receive a grade for your oral communication skills; and 2) a final essay submitted to me, which will also be graded for your written communication skills. Both are explained below. Oral Presentation (20% of final grade) In preparation for your oral presentation, you will need to complete all of the research on your actor or director in advance. This should include biographical information as well research into what film critics and scholars have said about this person s work. Your preparation should include watching more of this artist s films. Remember that you need to go beyond the material that we have already covered in class to give your peers something new, something they don t already know. On the day of your presentation, you will need to accomplish two central tasks: 1) give a biography and overview of the person s work; and 2) present an analysis of a single film that advances an interpretive argument. Your presentation should last approximately 15 minutes. Final Essay (25% of final grade) This essay will build on your oral presentation. You will write about the same actor or director. For this written component, however, you will focus on analyzing one film this person has made. Note: this should be a film that we have NOT watched in class. Your argument for this paper should grow out of a close visual analysis of a single scene. You will need to reproduce all the shots of the scene within the body of your essay. Each shot will be accompanied by three written components: observation, analysis, and interpretation. (See the example we looked at in class). From your detailed analysis and interpretation of this scene you will build toward a larger thesis about the film. Beyond introducing your artist and their work (as you did in the oral presentation), your final essay must advance an interpretive argument about the film. Week Class Topic Films you must have seen by this date (subject to change) 1 Introduction to the class What is cinema: cinema as entertainment, art, the social and educational role of cinema. French cinema: reciprocal influence on French culture, politics, economy. L auberge espagnole (2002) 2 days in Paris - fragments Siegfried Kracauer. Basic Concepts Questionnaire. Envoi des questions pour la discussion en classe. 2 L auberge espagnole (2002) 2 days in Paris-fragments 3 Le divorce (2003) Qu est-ce qu on a fait au bon Dieu-fragments 4 Le divorce (2003) Qu est-ce qu on a fait au bon Dieu-fragments ESSAY #1 mid-term essay PREMIER TRAVAIL ECRIT à rendre votre choix sur un sujet d un film. La date limite est en deux semaines. Plato, The Allegory of the Cave Kraucauer. Basic concepts. Bazin, The Ontology of the Photographic Image

5 The Golden age of Cinema: (the Cinéma d avant-garde ) Cocteau film. Orphée. Fragments Jean Cocteau and the avant-garde film production. La recréation du symbole, du mythe et de l allégorie. Jean Cocteau et le cinéma expérimental. The New Wave Jean-Luc Godard. Fragments ESSAY #1 mid-term essay First composition. PREMIER TRAVAIL ECRIT à rendre sur un sujet d un film/movie review. Jean-Luc Godard. Fragments Popular cinema: French cinema in the 21st Century The Intouchables 2011 Bazin, The Evolution of the Language of Cinema Truffaut, A Certain Tendency of French Cinema Essay #1 due Walter Benjamin. The work of art in the age of mechanical reproduction. 9 SPRING BREAK Popular cinema: Laura Mulvey : film and visual pleasure. 10 French cinema in the 21st Century The Intouchables Popular cinema: French cinema in the 21st Century Christian Metz. Identification, Mirror. Aada Samba ESSAY #2 final essay/ final partner project in class French cinema in the 21st Century Christian Metz. The passion of perceiving. 13 Samba 2014 Cinema and education: Entre les murs by Bertrand Cantet, Oral Presentations Maya Deren. Cinematography : the creative use of reality. Chrisitine Gledhill. Recent developments in feminist criticism. 15 Oral Presentations 16 FINAL ESSAY DUE at 12:05 pm in class

6 IMPORTANT NOTES *Please note that I reserve the right to assign different movies during the course of the semester if problems arise with the online copies, etc. *Please make sure that you watch a film from the collection listed before attending class since we will discuss it during our meeting. *IF YOU MISS MORE THAN THREE CLASSES, WITHOUT A WRITTEN EXCUSE, THEN YOUR PROFESSOR WILL RECOMMEND TO THE DEAN THAT YOU WILL BE DROPPED FROM THE COURSE WITH AN F. Important date: Spring 2018 Term (January 16 May 10) Jan.16 (Tues.) First day of classes Jan 19 (Fri.) Last day to add a class or register for Spring classes Mar. 12 Mar. 17 (Mon-Sat) Spring Break. No classes Mar.30 Mar.31 (Fri.-Sat.) Easter Holiday. No classes April 12 (Thurs) Last day to drop a course; will count toward the 6-drop rule. May 3 Study Day No classes May 4-10 (Fri.-Thurs) Spring 2018 Final Exams May11-12 (Fri.-Sat.) Commencement Exercises May 14 (Mon.) Grades Due at 3 p.m. UTRGV Policy Statements The UTRGV disability accommodation, mandatory course evaluation statement and sexual harassment statement are required on all syllabi. Additional policy statements are optional, such as those covering attendance, academic integrity, and course drop policies. STUDENTS WITH DISABILITIES: If you have a documented disability (physical, psychological, learning, or other disability which affects your academic performance) and would like to receive academic accommodations, please inform your instructor and contact Student Accessibility Services to schedule an appointment to initiate services. It is recommended that you schedule an appointment with Student Accessibility Services before classes start. However, accommodations can be provided at any time. Brownsville Campus: Student Accessibility Services is located in Cortez Hall Room 129 and can be contacted by phone at (956) (Voice) or via at ability@utrgv.edu. Edinburg Campus: Student Accessibility Services is located in 108 University Center and can be contacted by phone at (956) (Voice), (956) (Fax), or via at ability@utrgv.edu. MANDATORY COURSE EVALUATION PERIOD: Students are required to complete an ONLINE evaluation of this course, accessed through your UTRGV account ( you will be contacted through with further instructions. Students who complete their evaluations will have priority access to their grades. Online evaluations will be available: Spring Module 1 February 14 February 20 Spring Module 2 April 11 April 17 Spring 2018 (full semester) April 11 May 2

7 ATTENDANCE: Students are expected to attend all scheduled classes and may be dropped from the course for excessive absences. UTRGV s attendance policy excuses students from attending class if they are participating in officially sponsored university activities, such as athletics; for observance of religious holy days; or for military service. Students should contact the instructor in advance of the excused absence and arrange to make up missed work or examinations. SCHOLASTIC INTEGRITY: As members of a community dedicated to Honesty, Integrity and Respect, students are reminded that those who engage in scholastic dishonesty are subject to disciplinary penalties, including the possibility of failure in the course and expulsion from the University. Scholastic dishonesty includes but is not limited to: cheating, plagiarism, and collusion; submission for credit of any work or materials that are attributable in whole or in part to another person; taking an examination for another person; any act designed to give unfair advantage to a student; or the attempt to commit such acts. Since scholastic dishonesty harms the individual, all students and the integrity of the University, policies on scholastic dishonesty will be strictly enforced (Board of Regents Rules and Regulations and UTRGV Academic Integrity Guidelines). All scholastic dishonesty incidents will be reported to the Dean of Students. SEXUAL HARASSMENT, DISCRIMINATION, and VIOLENCE: In accordance with UT System regulations, your instructor is a responsible employee for reporting purposes under Title IX regulations and so must report any instance, occurring during a student s time in college, of sexual assault, stalking, dating violence, domestic violence, or sexual harassment about which she/he becomes aware during this course through writing, discussion, or personal disclosure. More information can be found at including confidential resources available on campus. The faculty and staff of UTRGV actively strive to provide a learning, working, and living environment that promotes personal integrity, civility, and mutual respect in an environment free from sexual misconduct and discrimination. COURSE DROPS: Recommended on all syllabi; may be modified by the instructor as long as it is not inconsistent with UTRGV policy. According to UTRGV policy, students may drop any class without penalty earning a grade of DR until the official drop date. Following that date, students must be assigned a letter grade and can no longer drop the class. Students considering dropping the class should be aware of the 3-peat rule and the 6-drop rule so they can recognize how dropped classes may affect their academic success. The 6-drop rule refers to Texas law that dictates that undergraduate students may not drop more than six courses during their undergraduate career. Courses dropped at other Texas public higher education institutions will count toward the six-course drop limit. The 3-peat rule refers to additional fees charged to students who take the same class for the third time.

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French 2323/4339 Fall 2015 French Cinema as Cultural Memory & Artistic Artifact Course Information Sheet and Syllabus

French 2323/4339 Fall 2015 French Cinema as Cultural Memory & Artistic Artifact Course Information Sheet and Syllabus Film as dream, film as music. No art passes our conscience in the way film does, and