English 110: Introduction to Film and Media



EN 315-01: History of Film/COM 300-01Spring 2017Kathryn (Brenna) WardellCRN: 23041/24310Office phone: (256)765-57521-1:50pm MWF; Communications Bldg. 124Office hours: 1-3pm T/R (o); 2-5pm F (v)Office location: 108 Willingham HallEmail address: kwardell@una.eduThis course examines the origins, development, and continuing technological, cultural, and economic implications of film. Through readings, lectures, discussions, and projects students will gain a greater understanding of film history and artistry.Required Text: Film History: An Introduction, 3rd Edition (New York: McGraw-Hill) by Kristin Thompson and David Bordwell. You must bring this text to class every day. You should also have a notebook reserved for your screening and lecture notes. Access to Canvas is required. Reading Assignments: Besides your required textbook and any handouts/PDFs assigned, you will also be responsible for regularly reading and contributing to the course discussion board on Canvas. Screenings: You are required to attend the in-class screenings and take notes of at least one page on each film; the notes should be kept in your class notebook. If you are absent during a screening day you must make arrangements to see the movie at the library or at home. Some films screened in part or in full may be R-rated, as this course is developed with a mature viewing audience in mind. Please see me in advance if this will be an issue for you.Assessment: “A” work must be excellent in all areas; “B” work must be good in all areas; “C” work must be at least competent in all areas; “D” work is marginally below college standards in at least one of the areas; and “F” work is clearly below minimum college standards in one of the areas. Work that does not follow the assignment (though otherwise acceptable) will also receive an “F.” Work that is not done or not turned in is recorded as a zero. Work is graded A through F with pluses and minuses as necessary. Numeric grades will be converted to letter grades like this: 100-98=A+; 97-93=A; 92-90=A-; 89-88=B+; 87-83=B; 82-80=B-; 79-78=C+; 77-73=C; 72-70=C-; 69 and below=NCCourse grades will be based on:Classroom and online participation (10% x 2)20%Notebook with screening notes10%Midterm15%Final exam 20%Storyboard project (parts 1, 2, 3, 4) and write-up35%100%Participation: This course requires students to engage in open-forum discussions of film. Although I will frequently give lectures, this class is very much a discussion-based course and I expect you to come to class prepared to talk about the material. If you are a passive participant or appear to resent the collaborative discussion format you will receive an “F” for the participation component of your grade. You should arrive on time and prepared for each day’s work. Two late appearances = one absence; arriving more than 10 minutes late or leaving more than 10 minutes early = one absence. Arriving unprepared (without textbook, assignments, etcetera) = an absence. Disrespectful behavior such as sleeping, conducting personal conversations during class, leaving cell phones turned on, texting, or disrespecting other people’s points of view will not be tolerated and will result in your being counted absent that day. Note: I reserve the right to take any electronics or other material that distract you/the class (these will be returned at the end of class). You will post at least one discussion post online at Canvas each week on the discussion board. The post will be a question or comment regarding that week’s reading or a response to another student’s post (however, a simple agreement or disagreement with a colleague does not count). Please post under the appropriate week – i.e. week 2 questions in the week 2 section; I will not expect you to post in week 1. You must complete your required post no later than Sunday at 11:59 pm of that week (i.e. week 3 posts are due by the Sunday at the end of the week); however, you are encouraged to post earlier in the week so that your comments can inform in-class discussion. Bring questions/comments to class to aid journal/in-class work. Notebook: Ensure that you bring your notebook in class to make notes on the lecture, discussion, and screenings. You should keep notes on all the films screened, with at least one full page of notes for all films that we screen in full in class. You should transfer these notes to a Word doc by the end of the term, proofread your work, and then post the screening notes on Canvas (look for the screening notes link). Exams: The midterm and final may include multiple choice, t/f, matching, and short answers. The midterm covers work up to the day of the exam. The final exam will cover the work for the entire term. Exams will be given online on the day specified. Storyboard project and write-up of project: Students will work on a semester-long group storyboard project of four phases, all presented in person to the class. You will also turn in a formal write-up of your work on the storyboard project on Canvas by the due date. The write-up must be at least two full pages in length and should be proofread thoroughly. Attendance, Late/Missed Work, and Policies: We will meet three times a week. Attendance is required and checked daily. You must attend all class meetings and participate in all discussions. If you plan to be absent on a given day contact me in advance to arrange make-up work/exams, if allowed. The following attendance policy is straightforward and non-negotiable:Up to six absences excused, no questions asked (and no need to provide an excuse), although absences of any number impact your participation grade. An eighth absence, for any reason, will result in the automatic deduction of one-third a letter grade from your final grade (e.g., from an A to an A-), and the ninth will result in a full letter grade deduction (e.g., from an A to a B). On the eleventh absence the student automatically receives a failing grade for the course. Absent students are responsible for any missed work.All work for this class is due to me at the beginning of class or at the time specified on the syllabus. If you cannot get work to me, contact me A.S.A.P. I will drop you by a letter grade for each day work is outstanding. Work that is more than 4 days late (including weekends) will not be accepted and will receive no credit. If you miss an exam, contact me as soon as possible.Email Policy and assignment information: Contact me with questions regarding the class at the email above; make sure you provide your class name/class time and the nature of your inquiry. Note that I do not usually have access to email on evenings/weekends/holidays. I will not respond to questions that can be answered by checking the syllabus. No assignments, including major papers, will be accepted via e-mail, though it may be used to submit work in case of Canvas difficulty. In cases of that nature you are allowed to email the work to me. You should then post the work on Canvas and follow up with me via email to let me know that you have done so.The Center for Writing Excellence: This is a free tutorial service to help students meet the demands of university writing. The tutors offer personalized assistance on all writing projects. It is located on the 2nd floor of the Commons building. For information, consult the website: Conduct: If for some reason I am late, and there is no notice on the door, please wait for a minimum of 15 minutes. If you take issue with an implementation of course or university policy, please see me after class, during office hours, or schedule an appointment. If we are unable to resolve the issue, or if you feel uncomfortable bringing the problem to my attention, please contact the English Department.Academic Honesty and Plagiarism: Students of the university academic community are expected to adhere to commonly accepted standards of academic honesty. Allegations of academic dishonesty can reflect poorly on the scholarly reputation of the University including students, faculty and graduates. Individuals who elect to commit acts of academic dishonesty such as cheating, plagiarism, or misrepresentation will be subject to appropriate disciplinary action in accordance with university policy.If you plagiarize or cheat in other ways on ANY ASSIGNMENT, you will receive a failing grade for the assignment.? If you plagiarize or cheat on more than one assignment, you will receive a failing grade for the course and be referred to University officials.? Repeat cases of plagiarism at UNA may lead to suspension from the University. Incidents of possible student academic dishonesty will be addressed in accordance with the following guidelines:The instructor is responsible for investigating and documenting any incident of alleged academic dishonesty that occurs under the instructor's purview.If the instructor finds the allegation of academic dishonesty to have merit, then the instructor, after a documented conference with the student, will develop a plan for disciplinary action. If the student agrees to this plan, then both instructor and student will sign the agreement. The faculty member will forward a copy of the signed agreement to the Office of Student Conduct for record-keeping purposes.If the student disagrees with the instructor's proposed plan for disciplinary action and wishes to take further action, he/she is responsible for scheduling a meeting with the chair of the department where the course is housed to appeal the proposed disciplinary plan. The department chair shall mediate the matter and seek a satisfactory judgment acceptable to the faculty member based on meetings with all parties. If a resolution is reached, the disposition of the case will be forwarded to the Office of Student Conduct. If a resolution at the departmental level is not reached and the student wishes to take further action, he/she is responsible for scheduling a meeting with the dean of the college where the course is housed to appeal the proposed disciplinary plan. The college dean shall mediate the matter and seek a satisfactory judgment acceptable to the faculty member based on meetings with all parties. If a resolution is reached, the disposition of the case will be forwarded to the Office of Student Conduct. If a resolution at the college level is not reached and the student wishes to take further action, he/she is responsible for scheduling a meeting with the Vice President for Academic Affairs and Provost (VPAA/P) to appeal the proposed disciplinary plan. The VPAA/P shall mediate the matter and seek a satisfactory judgment acceptable to the faculty member based on meetings with all parties. After reviewing all documentation, the VPAA/P may, at his/her discretion, choose either to affirm the proposed action, to refer the case to the Office of Student Conduct for further review, or to dismiss the matter depending on the merits of the case. The final disposition of the case will be disseminated to appropriate parties, including the Office of Student Conduct.If a student is allowed academic progression but demonstrates a repeated pattern of academic dishonesty, the VPAA/P may, after consultation with the Office of Student Conduct, assign additional penalties to the student, including removal from the University.Withdrawal Policy Instructors should refer to the Academic Calendar for specific dates regarding withdrawal. Students who choose to withdraw from the course may do so, but they are solely responsible for handling any appropriate paperwork. Students who do not follow procedures properly often remain on class rosters and receive failing grades for the course. The following statement is from pages 70-72 of the 2016-2017 Undergraduate Catalog published by the University: A student may withdraw from a course with a grade of W up to and including the Friday that falls one week after the designated midterm date by bringing a completed withdrawal slip (signed by the instructor) to the Registrar’s office or sending an email to Registrar@una.edu. This email must be sent from the student’s UNA Portal account. After that deadline and up to the Wednesday that falls two weeks prior to the last day of class, a student may withdraw from a course with a grade of WP (withdraw passing) or WF (withdraw failing) assigned by the instructor. During the final two weeks of class, withdrawal is not permitted except in extraordinary circumstances. Permission of both the instructor and department chair is required, and the grade of WP or WF will be assigned by the instructor. Students should review the listed exceptions and notes to this rule as printed in the 2016-2017 UNA Catalog.Disability Accommodations: In accordance with the Americans with Disabilities Act (ADA) and Section 504 of the Rehabilitation Act of 1973, the University offers reasonable accommodations to students with eligible documented learning, physical and/or psychological disabilities. Under Title II of the Americans with Disabilities Act (ADA) of 1990, Section 504 of the Rehabilitation Act of 1973, and the Americans with Disabilities Amendment Act of 2008, a disability is defined as a physical or mental impairment that substantially limits one or more major life activities as compared to an average person in the population. It is the responsibility of the student to contact Disability Support Services to initiate the process to develop an accommodation plan. This accommodation plan will not be applied retroactively. Appropriate, reasonable accommodations will be made to allow each student to meet course requirements, but no fundamental or substantial alteration of academic standards will be made. Students needing assistance should contact Disability Support Services (256-765-4214). Title IX: The University of North Alabama has an expectation of mutual respect. Students, staff, administrators, and faculty are entitled to a working environment and educational environment free of discriminatory harassment. Both the Equal Employment Opportunity Commission and the State of Alabama regard sexual harassment as a form of sex/gender discrimination and, therefore, as an unlawful discriminatory practice. This includes sexual violence, sexual harassment, domestic and intimate partner violence, stalking, gender-based discrimination, discrimination against pregnant and parenting students, and gender-based bullying and hazing. Faculty and staff are required by federal law to report any observations of harassment (including online harassment) as well as any notice given by students or colleagues of any of the behaviors noted above. Retaliation against any person who reports discrimination or harassment is also prohibited. UNA’s policies and regulations covering discrimination and harassment may be accessed at una.edu/titleix. If you have experienced or observed discrimination or harassment, below are some resources to contact. Confidential Reporting:If a reporting party would like the details of an incident to be kept confidential, the reporting party may speak with:Student Counseling Services 256-765-5215University Health Services 256-765-4328Women’s Center 256-765-4380Rape Response 256-767-1100 (hotline)/256-765-0025 (office)Safe Place (domestic violence)256-767-6210 (hotline)/256-767-3076 (office)Formal Reporting: If a reporting party would like the University to investigate an incident, the reporting party may speak with:UNA Police256-765-4357Title IX Coordinator256-765-4223Schedule: All dates in this schedule are due dates and you should finish the readings and assignments by class time. Please note that all readings are from our textbook Film History, unless otherwise stated. This schedule may change during the term. Check Canvas for updates and for any additional readings and resources. ?PART 1: Early CinemaWeek One: IntroductionW 1/11 Course overview and discussion of syllabus; discuss Film History preface (pages xiv-xix) and visual grammar.F 1/13Discuss Film History Early Cinema (1-2) and chapter 1 (3-21). Sign up for groups for storyboard project (see sign-up sheet, which will be circulated during our early classes)Week Two: Early CinemaM 1/16 No class (MLK holiday) W 1/18 Discuss chapter 2 (22-42). Discuss part 1 of storyboard projectF 1/20 Review chapter 2 work. Begin discussion of chapter 3 (43-52)PART 2: The Late Silent EraWeek Three: M 1/23 Finish discussion of chapter 3 (53-67). W 1/25Discuss the intro to the Late Silent Era (68-70) and chapter 7 (128-151). Begin The Freshman (Newmeyer, 1924, 76 minutes)F 1/27Continue The Freshman Week Four: The Late Silent EraM 1/30 Discuss chapter 4 (65-86) and chapter 5 (87-104)W 2/1Discuss chapter 6 (105-127) and chapter 8 (152-174)F 2/3Storyboard project part 1 due Week Five: The Development of Sound CinemaM 2/6 Discuss the preface to the Development of Sound Cinema (175-176) and chapter 9 (177-194)W 2/8 Discuss chapter 10 (195-218)F 2/10Discuss chapter 11 (219-238)Week Six: The Development of Sound CinemaM 2/13 Begin The 39 Steps (Hitchcock, 1935, 86 minutes) W 2/15 Continue The 39 Steps F 2/17Winter Break (finish any needed portion of The 39 Steps online)Week Seven: The Development of Sound CinemaM 2/20 Discuss chapters 12 (239-258) and 13 (259-276) W 2/22 Discuss chapter 14 (277-295)F 2/24Part 2 of storyboard project. Week Eight: The Postwar EraM 2/27 Discuss the preface to the Postwar Era (296-297) and chapter 15 (298-323)W 3/1 Discuss chapter 16 (324-341)F 3/3Midterm exam (online – no class)Week Nine: The Postwar EraM 3/6 Begin Rome, Open City (Rossellini, 1945, 105 minutes) W 3/8 Continue Rome, Open CityF 3/10 Discuss chapter 17 (342-357) Week Ten: The Postwar EraM 3/13 Discuss chapter 18 (358-380)W 3/15 Discuss chapter 19 (381-402)F 3/17 Part 3 of storyboard projectWeek Eleven: The Postwar EraM 3/20 Discuss chapter 20 (403-438); Screen At Land (Deren, 1944, 14 minutes)W 3/22 Discuss chapter 21 (439-469) F 3/24 Review chapters 20 and 213/27 to 4/2 No class – spring breakWeek Twelve: The Contemporary Cinema Since the 1960sM 4/3 Discuss the preface to Contemporary Cinema (470-471) and chapter 22 (471-493) W 4/5 Discuss chapter 23 (494-535) F 4/7 Review chapters 22 and 23Week Thirteen: The Contemporary Cinema Since the 1960sM 4/10 Discuss chapter 24 (536-565). Begin Gimme Shelter (Maysles Brothers, 1970, 91 minutes) W 4/12 Continue Gimme ShelterF 4/14 University closedWeek Fourteen: The Contemporary Cinema Since the 1960sM 4/17 Discuss chapter 25 (566-598)W 4/19 Discuss chapter 26 (599-626) and chapter 27 (628-658)(4/19 is the last day to withdraw from classes)F 4/21 Part 4 of storyboard project Week Fifteen: Cinema in the Age of New MediaM 4/24 Discuss preface to chapter (659-660) and chapter 28 (661-693)W 4/26 Discuss chapter 29 (694-712). Begin Persepolis (Satrapi, 2007, 95 minutes)F 4/28 Continue Persepolis Week Sixteen: M 5/1 Continue Persepolis if needed.W 5/3Discuss chapter 30 713-730). Write-up of storyboard project due today. Last day of class.Final Exam: Monday, 5/8 (online – no class)Basic Visual Grammar and Rhetoricshot: a single, continuous, uninterrupted run of the camera scene: one or more shots that depict a continuous space and time; sequence: any number of shots or scenes that are unified as a coherent action or an identifiable motif, regardless of changes in space and timemontage: the French term for editing, referring to any extraordinary or exceptionally artful sequence of shots; the art or editing of such a sequencemise-en-scène: everything in the frame, including sets, props, costumes, lighting, and actors’ postures and proximities; that which makes up the film’s visible universe and generates much of its mood and meaningchiaroscuro lighting: a term that describes dramatic, high-contrast lighting that emphasizes shadows and the contrast between light and dark; frequently used in German expressionist cinema and film noir. camera angle: a high-angle shot is made with the camera looking down, as if superior to what it sees; a low-angle shot is made with the camera looking up, as if the viewer were awed or cowed by what is seencamera distance: the long shot shows at least a human form fully visible within the framebut sometimes shows a wide panorama seen by a camera even further away (aka extreme long shot); the medium shot is made with the camera seemingly near what it sees but not close to it, familiar but not intimate, showing a human figure from the waist up; the close-up fills the screen with the image of any object the size of a human face or smaller, generating strong viewer attentiveness and feelings of intimacy camera movement: the pan is a camera’s horizontal pivot across a panorama or wide scene while otherwise immobile on a tripod, creating the impression of a head turning deliberately to inspect a field of vision; the tilt involves pivoting a camera vertically from a fixed position and height, as if someone were looking up or down; and the tracking shot is when the camera moves smoothly on tracks, trucks, or dollies toward or alongside whatever it seespoint of view: the position from which a person, event, or object is seen or filmed; in narrative form, the perspective through which events are narrated; point-of-view (POV) shot: a subjective shot that reproduces a character’s optical point of view, often preceded and/or followed by shots of the character lookingframing: the portion of the filmed subject that appears within the border of the frame; it correlates with camera distance, e.g., long shot or medium close-up aspect ratio: the width-to-height ratio of the film frame as it appears on a movie screen or television monitor. For many years the preferred ratio was 1:37:1, after 1952 the ratio was 1:85:1 or 2:35:1 for widescreendiegesis: the narrative “world” of the film, including all the diegetic elements such as actions and sounds that happen within the film’s make-believe setting; this term is often used to distinguish between such effects and those that are non-diegetic, such as the musical scoreshot/reverse shot: an editing pattern that begins with a shot of one character taken from an angle at one of the axis of action, follows with a shot of the second character from the “reverse” angle at the other end of the line, and continues back and forth through the sequence; often used in conversations. Also called shot/countershot180 degree rule: A basic guideline in filmmaking that states that two characters (or other elements) in the same scene should always have the same left/right relationship to each other. If the camera passes over the imaginary axis connecting the two subjects, it is called crossing the line. The new shot, from the opposite side, is known as a reverse angle auteur: the French term for author; the individual credited with the creative vision defining a film. ................
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