English 463: The Film Auteur Alfred Hitchcock Fall 2016 Meetings: M-W 2-3:40 PM L & L 307 Class Meeting W 3:45-6 PM L & L 422 Film Screening Instructor: Dr. Liahna Armstrong Office: L & L 403F Email: L.armstrong@cwu.edu Office phone: x. 3178 Office hours: Wed & Thur 12:30-1:30 and by appt. Texts: Required: Alfred Hitchcock, by Nicholas Haeffner (Pearson Longman, 2005) A Hitchcock Reader, Second Edition, ed. by Marshall Deutelbaum and Leland Pogue (Wiley- Blackwell, 2009) (Abbrev. HR) The Women Who Knew Too Much, Third Edition, by Tania Modleski (Routledge, 2015) Occasional articles posted on Canvas or handed out in class (abbrev HO) Recommended for non film majors: The Oxford Dictionary of Film Studies, by Annette Kuhn and Guy Westwell (Oxford U Press, 2012) Course description: This course is designed to provide students with critical strategies for viewing and interpreting the cinematic canon of director Alfred Hitchcock. We will study film as a mode of imaginative expression and a vehicle to transmit cultural ideology. In probing the works of Hitchcock, we will explore the ways in which the director s films both underscore and challenge mainstream cultural values and assumptions, with particular attention to gender. Students will build a vocabulary of critical language and theoretical concepts, developing progressively more sophisticated approaches to Hitchcock s works. Students will
read basic critical material on Hitchcock's films, view a number of the director's signature works, both in class and independently, and write and make oral presentations on the course material. Learner Outcomes: By the conclusion of the course, students should be able to successfully: Demonstrate understanding of the characteristic features of the cinema of Alfred Hitchcock, including thematic, stylistic, technical, philosophical, psychoanalytic, generic, and cultural proclivities exhibited in Hitchcock s film canon, as well as show a comprehension of the ways Hitchcock utilized extensive film apparatus to effect meaning. Demonstrate the ability to approach and analyze Hitchcock s films using theoretically informed strategies. Articulate Hitchcock s legacy to Western cinema. Show knowledge of particular representative films from the auteur s canon. Assignments and Projects: Students will engage in a series of regular written and oral exercises, designed to enhance their understanding of the Hitchcock s cinematic output, as well as to build familiarity with the concepts and vocabulary of film studies to enable them to convey meaningful insights about Hitchcock s films. In addition to reading, viewing, and discussing, the course will entail: Written Assignments 1. Regular short written assignments, regular viewer responses and occasional viewing quizzes. Viewing quizzes will be written in class. Students will answer one or two short, specific questions about aspects of the film viewed, and/or about relevant readings. Viewer responses (VR) are short, focused written essays (ca.1 1/2 double spaced pages or ca. 325 words) that advance a clear argument in response to a specific question posed. Viewer responses may apply readings to films viewed. Students may be called upon to present the arguments in their papers orally in class. 2. A mid-term examination, covering the readings, class materials, and films viewed. Format: A series of short-essay questions..final Project: Students will be subdivided into teams for the final project, which will be an oral group presentation. Instructions will be provided at a later date. Evaluation Criteria: Attendance/participation/discussion 20% Viewer responses, quizzes 40% Midterm 20% Final project 20% Expectations: Regular attendance is expected at both class meetings and film screenings. Please be on time, 2
with cell phones and electronic devices turned off. We will sometimes view two films per week. On Wednesdays from 3:45-6 PM, we will screen films together as a class in L & L 422, that film to be discussed the following Monday. In addition, before class the following Wednesday, students will at times view a second film on their own. You will need to check out the dates of the films as listed in the syllabus, secure a copy by the viewing due date, watch it in time for class, and be prepared to discuss it and write about it. If you must miss a class viewing, you must locate a copy of that film on your own and view it before Monday's class. Many of these films are only available on DVD, so do not depend on streaming to view them if you miss class. I have put copies of all the films on DVD on 4-hour reserve in the library. Readings should be completed by the day set for discussion. Written assignments must be submitted as double-spaced hardcopy in class on the due date. Late papers require advance permission. Bring syllabus, course notebook, and reading materials to class daily. All work submitted in this class must be your own work. The CWU Handbook states that plagiarism is a violation of University rules; plagiarism entails "buying, copying, borrowing, or otherwise using without proper credit another's ideas, evidence, examples, images, opinions, language, or other original material." Plagiarism may result in course failure and/or disciplinary action." All sources consulted, even if you don t quote from them, must be listed on each written assignment. Students with disabilities or special needs should see me: I will accommodate you in any and every way possible. You may consult with the Disability Support Services Office in Bouillon 205, x. 2171 for further information about assistance available. Course Schedule: Week 1 W, 9/21 Introduction to Course View The 39 Steps (1935) Week 2 M, 9/26 Read: Haeffner 1-28; HR, 25-34 Discuss The 39 Steps W, 9/28 Read: Haeffner, 29-55; HR, 114-125 Continue discussing The 39 Steps View The Lady Vanishes (1938) Week 3 M, 10/3 Read: HR 126-136 Discuss The Lady Vanishes VR on The Lady Vanishes due W, 10/5 Read Haeffner, 67-80 Continue discussing The Lady Vanishes View Rebecca (1940) Week 4 3
M, 10/10 Read Modleski, Woman and the Labyrinth ; HO on Rebecca Discuss Rebecca VR on Rebecca due W, 10/12 Read Haeffner, 67-80 Continue discussing Rebecca View Suspicion (1941) Week 5 M, 10/17 Read: HO, on Suspicion Discuss Suspicion VR on Suspicion due View Shadow of a Doubt (1943) on your own for Wednesday s class W, 10/19 Read: Haeffner, 81-92; HR 145-155 Viewing quiz on Shadow of a Doubt Discuss Shadow of a Doubt View Notorious (1956) Take-home midterm passed out Week 6 M, 10/24 Read Modleski, The Woman Who Was Known Too Much ; HR, 164-171 Discuss Notorious Take-home midterm due W, 10/26 Continue discussing Notorious View Strangers on a Train (1950) Week 7 M, 10/31 Read HR, 172-182; HO on Strangers on a Train Discuss Strangers on a Train VR due on Strangers on a Train View Dial M for Murder (1954) on your own for Wednesday s class W, 11/2 Read: HO on Dial M for Murder; Viewing quiz on Dial M for Murder Discuss Dial M for Murder View Rear Window (1954) Week 8 M, 11/7 Read Haeffner, 93-102; HR, 199-211, HO on Rear Window Discuss Rear Window W, 11/9 Continue discussing Rear Window Read Modleski, The Master s Dollhouse View Vertigo (1959) Week 9 M, 11/14 Read: HR, 234-249; Modleski, Femininity by Design Discuss Vertigo VR on Vertigo due W, 11/16 Continue discussing Vertigo View Psycho (1960) 4
Week 10 M, 11/21 Read: Haeffner, 103-114; HR, 223-233 VR on Psycho due W, 11/23 No class: Thanksgiving Break Week 11 M, 11/28 Read: HR, 327-340; 368-376 Continue discussing Psycho W, 11/30 View and discuss The Birds (1963) Finals week: Tuesday, December 6, 12-2 Team presentations 5