MEDIA ARTS 337:
FMS 394:
"American Visions: Francis Ford Coppola"
Winter 2010/2011
Professors: Dr. Kevin Sandler
Email: kevin.sandler@asu.edu
Course URL:
Office Hours: By Appointment
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COURSE OUTLINE
We will examine the career of Francis Ford Coppola through his status as a unique storyteller of the American experience. Our journey includes The Godfather trilogy as well as his significant films from the 1960s to 1990s. We focus on the work of this important filmmaker as a negotiation between the human and the historical: a struggle between personal identity, directorial vision, and commercial restraints. Our approach to Coppola will view the director as an auteur whose identity surfaces within, among, and around his films. Coppola’s relationship to ethnicity, family, religion, and the American Dream dutifully inform his filmmaking process. At the end of this course, you will be able to: 1) critically engage with the key films of Francis Ford Coppola; 2) understand how Coppola’s successes and failures reflect key industrial, cultural, and social changes in post-classical Hollywood; and 3) understand authorship not only as a tool of self-expression but as an collaborative act among filmmakers often united by a singular vision.
Although this course is web delivered, it is neither automated nor self-paced. You are expected to engage in all learning tasks and attend threaded discussions on the eBoard. To access the class website and eBoard, you can use your personal computer, one in the library, and/or computer labs at ASU. Check the class website for a list of these labs and their hours of operation.
Reading: Readings: You will be reading a number of articles, all of which are available in The Films of Francis Ford Coppola reader available in paperback at the ASU Bookstore on online through Pearson at the following URL: az/asu_fms394. Read the articles carefully and on time -- by class time for each Lesson -- as they form the basis of the online discussions, quizzes, and papers.
Screenings: You are often responsible for screening at least one film per lesson. The specific titles are listed under Learning Tasks. If you are taking this course via distance learning and are not within driving range of campus, you can purchase the titles through (or another on-line distributor) or rent them at your local video store. Several are available at the ASU Library. Most are also available through NetFlix, which is an ideal solution to students that must rely on rentals when the course is taught via distance learning. Don’t watch these films for entertainment; watch them for study. Take notes and view them several times. The screenings also form the basis of both online discussions and quizzes.
Plagiarism Policy: You are expected to turn in original work for this course. Quotations or ideas paraphrased from other work must be properly cited. Taking credit for another's idea or writing is plagiarism, which is a serious violation of the University's Code of Academic Integrity: Integrity is expected of every student in all academic work. The guiding principle of academic integrity is that a student's submitted work must be the student's own. This principle is furthered by the student Code of Conduct and disciplinary procedures established by ABOR Policies 5-308-5-403, all provisions of which apply to all Arizona State University students. If you are unsure how to credit your source, ask a member of the teaching team for clarification.
GRADED WORK
We expect every student to leave this course with a better – more insightful – understanding of the films of Francis Ford Coppola. Along the way, we ask that you complete several interactive reading reviews, engage in all learning tasks, and answer and ask questions on our electronic bulletin board.
Participation (100 Points): You are responsible for participating in the threaded discussions that take place on the electronic bulleting board (eBoard). You should post two substantive comments or questions per Lesson. A "substantive" post is one that is thoughtful, developed, and connected to the lesson topic; typically, substantive posts are more than three sentences long. These posts must keep up with the progress of the course. You cannot, for example, go back to the eBoard and post to a Lesson after it has been completed and expect for the posts to be counted toward your participation grade. Moreover, the teaching team will keep track of your participation, including assessing the value of what you bring to this interactivity. Refrain from flaming or ad hominem comments. Please be rigorous but constructive.
Critical Essay #1 (100 points): You will be expected to write a paper that analyzes a critical theme, issue, or problem related to one of the films of Francis Ford Coppola shown in Lessons 1 through 5. Check the website or email your TA for a list of the topics you may analyze. You must analyze one of these topics. Your grade will be based on the clarity and relevance of your thesis, clear and concise writing, and adherence to the assignment guidelines listed on the class website. Your paper should be in 12 pt. Times New Roman, double-spaced, one-inch margins all-around, and five (5) full pages long.
Critical Essay #2 (100 points): You will be expected to write a paper that analyzes a critical theme, issue, or problem related to one of the films of Francis Ford Coppola shown in Lessons 6 through 10. Check the website or email your TA for a list of the topics you may analyze. You must analyze one of these topics. Your grade will be based on the clarity and relevance of your thesis, concise writing, and adherence to the assignment guidelines listed on the class website. Your paper should be in 12 pt. Times New Roman font, and double-spaced, one-inch margins all-around, and five (5) full pages long.
Critical Essay #3 (100 points): You will be expected to write a paper that analyzes a critical theme, issue, or problem related to one of the films of Francis Ford Coppola shown in Lessons 11 through 14. Check the website or email your TA for a list of the topics you may analyze. You must analyze one of these topics. Your grade will be based on the clarity and relevance of your thesis, clear and concise writing, and adherence to the assignment guidelines listed on the class website. Your paper should be in 12 pt. Times New Roman, double-spaced, one-inch margins all-around, and five (5) full pages long.
Grading Scale: 0 to 400 Points
A+ ..... 400+ Points
A ..... 372 - 400 Points
A- ..... 360 - 371 Points
B+ ..... 352 - 359 Points
B ..... 332 - 351 Points
B- ..... 320 - 331 Points
C+ ..... 312 - 319 Points
C ..... 280 - 311 Points
D ..... 240 - 279 Points
E ..... 000 - 239 Points
LEARNING TASKS
This course is comprised of 14 lessons. Each lesson includes all or some of the following tasks:
1. Reading: Read an Article or Book Chapter
2. Reading Review: Reconsider Key Concepts from the Readings
3. Website: Surf Relevant Websites
4. Lecture: Listen to Streaming Audio Lectures with PowerPoint Slides
5. Media Clips: Review Relevant Film and Media Clips
6. iModules: Engage Interactive Learning Modules
7. eBoard: Pose and Answer Questions on the Electronic Bulletin Board
WEEK I:
Lesson 01: Introduction to Francis Ford Coppola (Tuesday, 12/28/2010)
Reading: Gene D. Phillips, “Point of Departure: The Early Films and Screenplays”
Virginia Wright Wexman, “Introduction”
Timothy Corrigan, “The Auteur of Commerce”
Reading Review
Website: Coppola on Yahoo
Lecture: How do we begin to theorize the authorship of Francis Ford Coppola?
Concepts: Auteurism, Collaboration, Post-structuralism
eBoard: Discuss with Classmates
Lesson 02: Film School and Coppola (Wednesday, 12/29/2010)
Reading: Michael Schumacher, “Big Boy”
Thomas Fensch, “Films on the Campus”
Website: Films de France: The New Wave
Screening: Dementia 13 (Coppola, 1963)
Lecture: What national cinemas and artistic movements influenced Coppola’s artistic vision?
Concepts: Roger Corman, Cinema Vérité, French New Wave
Film Clips: You’re a Big Boy Now (Coppola, 1967)
Breathless (Godard, 1960)
Chronicle of a Summer (Morin & Rouch, 1961)
A Hard Day’s Night (Lester, 1965)
eBoard: Discuss with Classmates
Lesson 03: Analyzing The Rain People (Thursday, 12/30/2010)
Reading: David Cook, “Auteur Cinema and the ‘Film Generation’…”
Philip K. Scheuer, “On the Road With The Rain People”
Bert Cardullo, “Reviewing The Rain People”
Reading Review
Website: Starpulse: Francis Ford Coppola
Screening: Finian’s Rainbow (Coppola, 1968)
Lecture: What makes The Rain People one of Coppola’s most personal films?
Concepts: Warner Bros., Experimentation, Anti-Hollywood
Film Clips: The Rain People (Coppola, 1968)
eBoard: Discuss with Classmates
Lesson 04: The Production History of The Godfather (Friday, 12/31/2010)
Reading: Jeffrey Chown, “Phenomenal Success”
Michael Sragow, “Godfatherhood”
Reading Review
Website: Horsehead Pillow web site
Screening: The Godfather (Coppola, 1972)
Concepts: American Zoetrope, Paramount Pictures, Robert Evans
Lecture: What were the reasons behind Coppola’s decision to make The Godfather?
Film Clips: THX-1138 (Lucas, 1971)
Inside The Godfather Trilogy (1991)
eBoard: Discuss with Classmates
Lesson 05: The Popularity of The Godfather (Sunday, 1/2/2011)
Reading: Stephen Farber, “Coppola and The Godfather”
Todd Gitlin, “On the Popularity of The Godfather”
Harlan Lebo, “The Script Doctor”
Reading Review
Website: BrainyQuote: Quotes by Francis Coppola
Screening: The Godfather (Coppola, 1972)
Lecture: Where do we locate Coppola’s authorship in The Godfather?
Concepts: Mario Puzo, Directorial Control, Violence
Film Clips: The Godfather (Coppola, 1972)
October (Eisenstein, 1927)
Bonnie and Clyde (Penn, 1967)
eBoard: Discuss with Classmates
Lesson 06: Gangster Genre and Ideology (Monday, 1/3/2011)
Reading: Glenn Man, “Ideology and Genre in the Godfather Films”
Reading Review
Website: The Godfather Trilogy Quiz
Screening: The Godfather Part II (Coppola, 1974)
Lecture: How do ideology, popularity, and entertainment intersect in The Godfather films?
Concepts: Directors Company, Capitalism, Mafia Myth
Film Clips: The Godfather Part II (Coppola, 1974)
The Godfather (Coppola, 1972)
eBoard: Discuss with Classmates
Critical Essay #1: Due as an email attachment on Monday 1/3/2011, at 5pm Arizona time.
Lesson 07: Ethnicity and Coppola (Tuesday, 1/4/2011)
Reading: Vera Dika, “The Representation of Ethnicity in The Godfather”
William Murray, “Playboy Interview: Francis Ford Coppola”
Reading Review
Website: The Godfather Video Game
Screening: The Godfather Part II (Coppola, 1974)
Lecture: What do we mean by “Italianicity” in the Godfather films?
Concepts: American Dream, Authenticity, Ethnicity
Film Clips: The Godfather Part II (Coppola, 1974)
eBoard: Discuss with Classmates
Lesson 08: The Sopranos: The New Godfathers (Wednesday, 1/5/2011)
Reading: Glen Creeber “‘TV Ruined the Movies’: Television, Tarantino…”
David Pattie, “Mobbed Up: and the Modern Gangster Film”
Reading Review
Website: HBO: The Sopranos
Screening: HBO: The Sopranos
Lecture: How does the Mafia myth operate in The Sopranos?
Concepts: Postmodernism, Martin Scorsese, Genre
Film Clips: The Sopranos
GoodFellas (Scorsese, 1990)
Reservoir Dogs (Tarantino, 1992)
Pulp Fiction (Tarantino, 1994)
Mean Streets (Scorsese, 1973)
eBoard: Discuss with Classmates
Lesson 09: Sound as Storytelling (Thursday, 1/6/2011)
Reading: Michael Ondaajte, “The Conversations: Walter Murch and…”
Jay Beck, “Citing the Sound”
W. Russel Gray, “Tuning into The Conversation”
Reading Review
Website: Spyworld
Screening: The Conversation (Coppola, 1974)
Lecture: How can editor Walter Murch be considered a co-director in The Conversation?
Concepts: Sound Theory, Editing, Surveillance
Film Clips: The Conversation (Coppola, 1974)
Blowup (Antonioni, 1966)
Blow Out (de Palma, 1981)
Enemy of the State (Scott, 1998)
eBoard: Discuss with Classmates
Lesson 10: Authorship Gone Amok (Friday, 1/7/2011)
Reading: Peter Cowie, “Lost in the Jungle”
Eleanor Coppola, “Notes on the Making of Apocalypse Now”
Jeff Stark, “David Halberstam on Apocalypse Now”
Reading Review
Website: Apocalypse Now Script
Screening: Apocalypse Now (Coppola, 1979)
Lecture: Why did Apocalypse Now take so long to film?
Concepts: Megalomania, Vietnam, Martin Sheen
Film Clips: Apocalypse Now (Coppola, 1979)
Hearts of Darkness (Bahr and Hickenlooper, 1992)
Apocalypse Poo (Graham, 1987)
Platoon (Stone, 1994)
eBoard: Discuss with Classmates
Critical Essay #2: Due an email attachment on Saturday, 1/8/2011 at 5pm Arizona time.
Lesson 11: Bankruptcy and Teen Films (Monday, 1/10/2011)
Reading: Jon Lewis, “One from the Heart”
Reading Review
Website: S. E. Hinton Interview
Screening: The Outsiders (Coppola, 1983) and/or One from the Heart (Coppola, 1982)
Concepts: Hollywood General Studios, Electronic Cinema, Critics
Lecture: Why was One From the Heart such a critical disaster?
Film Clips: One from the Heart (Coppola, 1982)
Napoleon (Gance, 1927)
eBoard: Discuss with Classmates
Lesson 12: A Return to the Days of Roger Corman (Tuesday, 1/11/2011)
Reading: Michael Schumacher, “Paladin in Oklahoma”
Reading Review
Website: Rumble Fish fan site
Screening: Rumble Fish (Coppola, 1983)
Lecture: How is Coppola able to return to his European Roots?
Concepts: Tulsa Films, Melodrama, Existentialism
Film Clips: The Outsiders (Coppola, 1983)
Rumble Fish (Coppola, 1983)
West Side Story (Wise and Robbins, 1961)
Rebel Without a Cause (Ray, 1955)
Written on the Wind (Sirk, 1956)
eBoard: Discuss with Classmates
Lesson 13: Self-Reflexivity and Coppola (Wednesday, 1/12/2011)
Reading: Peter Cowie, “Tucker: The Dream Triumphant”
Brent Lewis, “Coppola’s Coup”
Brent Lewis, “Bridges Unabridged”
Jill Kearney, “The Road Warrior”
Reading Review
Website: The Tucker Club
Screening: Tucker: A Man and His Dream (Coppola, 1988)
Concepts: George Lucas, Michael Jackson, Preston Tucker
Lecture: What was the result of a Francis Coppola/George Lucas collaboration?
Film Clips: Tucker: A Man and His Dream (Coppola, 1988)
The Cotton Club (Coppola, 1984)
Peggy Sue Got Married (Coppola, 1986)
Captain Eo (Coppola, 1985)
eBoard: Discuss with Classmates
Lesson 14: A Return to Epic Grandeur (Thursday, 1/13/2011)
Reading: Thomas Austin, “‘Gone with the Wind plus Fangs’”
Reading Review
Website: Dracula Pinball Machine
Screening: Bram Stoker’s Dracula (Coppola, 1992)
Concepts: Early Cinema Techniques, Sophia Coppola, Horror
Lecture: Can auteurs survive in contemporary Hollywood?
Film Clips: Bram Stoker’s Dracula (Coppola, 1992)
The Godfather Part III (Coppola, 1990)
Nosferatu (Murnau, 1922)
Dracula (Browning, 1931)
eBoard: Discuss with Classmates
Critical Essay #3: Due as an email attachment Friday, 1/14/2011 at 5pm Arizona time.
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