P u r s u i n g T h e P u b l i c G o o d T h r o u g h C i n e m a Honors 102 Dr. Roberto D. Pomo Fall 2012
PURSUING THE PUBLIC GOOD THROUGH CINEMA HONORS 102 (GE AREA: C2, B5 and D2) WRITING INTENSIVE WPJ REQUIRED Dr. Roberto D. Pomo Office Hours: M. 1-5 PM Shasta Hall 257 Or by Appointment Tel.#: 278-7720 pomor@saclink.csus.edu COURSE DESCRIPTION The Public Good will be discussed via the art of cinema. Along with examining basic human and technical issues, this course will investigate cinema as a medium in its own right. Film as an artistic, aesthetic and social phenomenon will be considered. The course will cover the major elements and techniques of cinema, mise-en-scene, cinematography, editing, sound, and the process of visual perception that affects the audience. It will also introduce various forms of critical analysis and creative screenwriting techniques. This course is classified as writing intensive, and students will spend a good deal of time on writing skills and strategies. Students are required to write no less than 5,000 words (20 typed, double-spaced pages) of clear and logical prose in the form of an analytical essay, or an original screenwriting exercise. Class participants will be able to: LEARNING OBJECTIVES Identify how cinema can be considered an art form through the art of cinematography, directorial techniques, editing, and elements of the mise-en-scene Describe the interplay of technology and art as well as how technology influences art Summarize cinematic representation by emphasizing elements of cinematography, editing, sound, narrative structure, visual authorship and performance
Utilize film terms in both writing assignments and class discussions and conversations Articulate an appreciation of the emergence of the art of cinema as a vehicle for the portrayal and investigation of social issues Identify social issues confronting/dividing humanity portrayed through the topic of the nature of war Improve writing skills in the construction of analytical or argumentative film essays and creative narratives Critically examine the conventions of narrative film and the documentary format Recognize positive and negative portrayals of social issues and problems through the art of cinema Examine and critically evaluate the strengths and weaknesses of supporting or refuting arguments as depicted in film Using cinema as an art form to identify social, political and economic equality in global cultures and how it limits ambition, constrains actions, frames day-to-day existence, and affects perception of self Identify how social research, theories and concepts can be appropriately used to analyze film that is created to promote social issues Examine the human construct of war through the lens of dramatic Tragedy and Comedy COURSE CONTENT The study of cinema as an art form Aesthetic appreciation of cinema through the elements of the mise-enscene Understanding of cinematography, framing and camera movement Appreciation of cinematic narrative constructs Emphasis on the cinematic topic of the war genre Identification of socio-political and economic inequality as portrayed in film Theoretical readings and their application to filmmaking Understanding of the dimensions of film editing Appreciation of the fundamentals of film sound METHODOLOGY
In a seminar/discussion environment, this class will examine film as an art form and as a portrayal of social issues and problems. Through film screenings, weekly class discussions, critical/analytical papers and creative narratives, students will develop skills in identifying cinematic techniques, using appropriate film terminology, and constructing in-depth analysis and interpretations of various cinematic works. Film Studies: An Introduction By Ed Sikov Columbia University Press, 2010 The Poetics, Aristotle Translated by Kenneth McLeish Theatre Communication Group, 1998 REQUIRED TEXTBOOKS The Art of War: Sun Zi s Military Methods Translated by Victor H. Mair Columbia University Press, 2007 SEMESTER FILMS Paths of Glory, 1957 Stanley Kubrick Life Is Beautiful, 1997 Roberto Benigni Apocalypse Now, 1979 Francis Ford Coppola No Man s Land, 2001 Danis Tanovíc Sometimes In April, 2005 Raoul Peck Under the Bombs, 2007 René Aubry In the Valley of Elah, 2007 Paul Haggis COURSE ASSESSMENT Three essays based on the cinematic works observed in class. Each essay will be three pages in length and single- spaced, OR six pages in length and double- spaced. Submission due dates outlined under semester schedule. 30 % of the final grade.
Three In Class Exam Discussions. Students are required to participate in class discussions based on the weekly reading assignments and film viewings. Students will be identified and called upon by the course instructor as a springboard for class discussions. 30% of the final grade Final project in the form of a critical analysis, OR a film script, OR a film making project. 40% of the final grade Critical Analysis (3,000 to 3,500 words and double-spaced) Students will write an analytical essay on a selected film (in-class film only) concentrating on two or three scenes of particular importance to a social issue and by demonstrating insight with regards to camera angles, editing, narrative structure, utilization of sound and elements of the miseen-scene. The critical analysis must include footnotes and an annotated bibliography. OR Film Script (12-15 minutes in length) Students will write a brief film script that illustrates an understanding of the cinematic form, characterization, dialogue, camera angles and a general description of the mise-en-scene. Brief sample of a Story-Board must accompany the film script. Refer to Chapter 6 (Narrative: From Scene to Scene) of Ed Sikov s Film Studies: An Introduction. Pages 89-102. Additionally, you may download the free screenwriting guide CELTX Integrated Media Preproduction Program as a sample screenplay format template. You are encouraged to work as a team (two individuals only) on this project. OR Film Making Project (5 to 8 minutes in length) This original group project must be produced, written, directed, acted, edited and technically enhanced by the members of the production team. Each production team member will be required to write a one page, single spaced (two doublespaced) self-evaluation narrative that will include specific reference to her/his specific area of production involvement. Attendance/Tardiness Policy. After TWO unexcused absences your final grade will be dropped by a full grade per absence. Two tardy arrivals will equal one absence. CLASSROOM ETIQUETTE
Cell phones are not allowed. Please make sure to turn off all cellular gadgets and portable listening devices when entering the seminar environment. Likewise, all forms of texting are prohibited, and laptop usage is solely restricted to seminar based assignments. Any student will be dismissed from the seminar room if these classroom etiquette rules are not respected. Thank you for your kind cooperation. WRITING GRADING RUBRIC A-/A Written work is precise, critically and theoretically sound. Demonstrates clear, focused, unified and coherent organization. Displays consistent control of syntax, sentence variety, word choice, and conventions of Standard English. B-/B+ Written work is mostly precise, critically and theoretically acceptable. Demonstrates clear, focused, unified and coherent organization. Displays consistent control of syntax, sentence variety, word choice, and conventions of Standard English. C-/C+ Written work is adequate, but may lack complexity and lack of clear rhetorical purpose. Displays adequate control of syntax, sentence variety, word choice, and conventions of Standard English. Errors do not slow the reader, impede the understanding, or seriously undermine the authority of the writer. D/D+ Written work lacks complexity or is stereotyped in thought. Shows deficient control of syntax, word choice, and conventions of Standard English. Errors impede understanding. D- Written work distorts the topic, generalizes without supporting detail. Shows deficient control of syntax, word choice, and conventions of Standard English. Errors impede understanding. F Written work fails to address topic. Shows deficient control of syntax, word choice, and conventions of Standard English. Errors impede understanding. Any written work that is found to be plagiarized, or found to contain external primary or secondary source material without proper attribution.
DISCUSSION TOPICS TO BE REFERENCED DURING SEMINAR DISCUSSIONS AND WRITTEN ASSIGNMENTS SUBJECT MATTER AND MEANING o What is the message of the film? o How does the director (auteur) demonstrate her/his point of view? o How do the central characters reflect the film s message? What do they represent in themselves and in relation to each other? The importance of individuality or society? Human strength or human compassion? o Does the story emphasize the benefits of change or endurance? What kind of life or what actions does the film wish you to value or criticize, and why? NARRATIVE STRUCTURE o Flow of story information. Are the film s events true to our postmodern identity? o Flow of plot information. Does the film s plot clarify the intentions of the story? o What are the main elements of the film s Diegesis? o What are the character personal, psychological traits? Her/His desires? o What is the main conflict? Conflicts? ELEMENTS OF THE MISE-EN-SCENE o Settings o Costumes o Props o Lighting Three-Point Lighting, Key-Light, Backlight, Top Lighting o Screen Space o Scene Space o Acting (characterization, actor s physical movement, actor s vocal quality, character traits) CINEMATOGRAPHY o Aspect Ratio o On-screen and Off-screen space o Camera Angle o Framing
o Specific Shots EDITING o Continuity Editing o Rhythmic Relation Between Shots o Spatial Relation Between Shots o Montage o Editing Matches o Eye-Line Matching o Graphic Matching o Shot/Reverse Shot Pattern SOUND o Synchronous Sound o Non-Synchronous Sound o Asynchronous Sound o Ambient Sound o Amplitude o Sound Motifs o Music o Sound Perspective o Direct Sound o Reflected Sound DIRECTING o Director s Style o Directing Technique o Director s vision o Auteurism PERFORMANCE o Actor s Performance Style o Character Role Type? Stereotype? o Physical Appearance o Vocal Intonation/quality SEMESTER SCHEDULE
AUGUST 27 Introductory Comments Review of Semester s work; Semester Assignments; Required Reading 29 Reading Due: Sikov- Pp 1-37; 169-185 A Trip to the Moon, 1902. Georges Melies Discussion: Film Narrative SEPTEMBER 3 Labor Day Campus Closed 5 Reading Due: Sikov- Pp 38-73 The Odessa Steps sequence from Battleship Potemkin, 1925. Sergei Eisenstein The Untouchables sequence, 1987. Brian De Palma Discussion--Editing vs. Montage 10 Reading Due: Sikov-Pp 74-88 Dr. Strangelove: Or How I Learned to Stop Worrying About the Bomb, 1964. Stanley Kubrick Dreams, 1990. Akira Kurosawa (Clip only) Triumph of the Will, 1935. Leni Riefenstahl (Clip only) Discussion: Ambient Sound; Asynchronous Sound 12 Reading Due: Sikov-Pp 89-115 Vision of Light: The Art of Cinematography, 1992. The American Film Institute Part I 17 Reading Due: Sikov-Pp 116-142 Vision of Light: The Art of Cinematography Part II Discussion 19 Exam Discussion
Based on reading assignments and film viewing discussions 24 Art of War, 2010. Documentary, Richard Pawelko Reading Due: Sikov Pp 158-165 26 Ran, 1985. Akira Kurosawa (Clips only) PAPER DUE (Film Analysis): based on Discussion Topics outlined in the syllabus OCTOBER 1 Reading Due: The Poetics-Introduction (vi xv) Paths of Glory, 1957. Stanley Kubrick Part I 3 Reading Due: Aristotle Pp 1-9 Paths of Glory Part II Discussion 8 Reading Due: Aristotle Pp 9-24 Guest Presenter: Dr. Aaron J. Cohen, Professor and Chair Department of History 10 Reading Due: Aristotle Pp 24-33 Life is Beautiful, 1997. Roberto Benigni Part I 15 Reading Due: Aristotle Pp 33--42 Life is Beautiful Part II 17 Open City, 1945. Roberto Rossellini (Clips only) Italian Neorealism Exam Discussion Based on Aristotle s The Poetics and film viewing discussions
22 Style of Hollywood Cinema/University Film Brats Apocalypse Now, 1979. Francis Ford Coppola Part I 24 Apocalypse Now Part II Discussion Reading Due: The Art of War: Sun Zi s Military Methods (xii-xxvi) PAPER DUE (Film Analysis): based on Discussion Topics outlined in the syllabus 29 No Man s Land, 2001. Danis Tanovíc Part I Reading Due: Sun Zi Pp 1-23 31 No Man s Land Part II Discussion NOVEMBER 5 Reading Due: Sun Zi Pp 23-55 Sometimes In April, 2005. Raoul Peck Part I Part I 7 Reading Due: Sun Zi Pp 76-99 Sometimes In April Part II Discussion 12 Veteran s Day No Class 14 Reading Due: Sun Zi Pp 100-112 Cinéma vérité Under the Bombs, 2007. René Aubry Part I
19 Reading Due: Sun Zi Pp 113-131 Under the Bombs Part II Discussion 21 In the Valley of Elah, 2007. Paul Haggis Part I PAPER DUE (Film Analysis): based on Discussion Topics outlined in the syllabus 26 In the Valley of Elah Part II Discussion 28 Exam Discussion Based on The Art of War: Sun Zi s Military Methods and film viewing discussions DECEMBER 3 Final Project Presentations 5 Final Project Presentations Annotation Symbols For Essay Comments AB AGR faulty or undesirable abbreviation faulty agreement between subject and verb or between pronoun or antecedent
APOS AWK CAPS CF CHOPPY Cl Coh apostrophe awkward Use of capital letter comma fault too many short sentences cliché paragraph lacks coherence; sentence lacks coherence DEV DM EM PH GOOD Frag Id paragraph poorly developed dangling modifier emphasis obscured good point; well expressed; good writing style fragmentary sentence unidiomatic expression Ital/und italics or underline L Lc M ar logic use lower case, not a capital margins
Mm Np Paral Pass Rep Run Source misplaced or dangling modifier new paragraph faulty parallel, use of parallel here weak use of passive undesirable repetition run-on-sentence please cite source Sp T Trans U Usage Wordy Ww X spelling tense incorrect transition needed lack of unity faulty usage verbose wrong word this is incorrect? what? Are you sure? I doubt it; unclear
Honors 102 Teaching Assistant: Mr. Craig T. Sanders E-Mail: cts64@saclink.csus.edu