English 1502: Film and Culture

Course Evaluations

2013-04-30T07:47:00.001-04:00

If you could take a few minutes online to fill out the evaluation for this course, I would appreciate it. Because I have been putting all of your grades on eLearning, you won't need to use BannerWeb to check your grades, but I would be grateful if you'd go to your BannerWeb grade report in any case, click on the "Evaluate" link for your section, and fill out an evaluation.

Especially useful will be your comments in the text boxes underneath the rating section. Please try to use details and examples to give whatever kind of feedback you think would help me improve this class or keep it in excellent working condition.

Thank you very much for the great semester!

Click here for instructions on filling out course evaluations.
Click here to go to BannerWeb.

Primer

2013-04-25T15:45:00.002-04:00

Most science-fiction films are literally “out of this world”—they show us an alternate universe in which the possibilities are beyond our capacity to make real in the world we inhabit in our everyday lives. But Primer, which is a science-fiction film on some level, makes the unbelievable quite believable. It is set in present day and shows us the life of characters that are in many ways ordinary, but they find themselves in an extraordinary situation through an improbable discovery.

What this film lacks in amazing special effects or strangeness that we have come to expect from the science-fiction genre, it makes up for in complexity. Shane Carruth has orchestrated an extremely intricate puzzle for us to solve. The film is difficult to follow because we are only shown just enough clues to be able to infer the rest of the story. It really is an amazing feat of plot structuring because we are continually challenged to think, to make connections between this event and that event.

At the same time, the complexity of the puzzle is not the main idea of the film. Rather, the confusing sequence of events we are shown is meant to reflect a different level of confusion and a deeper level of mystery: what motivates Abe and Aaron to use the machine they have created in the way they decide to use it? How is it that their friendship, the trust they have established, can so easily be broken? What is it about the machine that comes between them?

Now here is your prompt: First, how does this film elevate itself above the time-travel puzzle that we are so desperate to understand? What kind of drama does it offer that will linger in our minds even if we are genius enough to map out all of the events of the story in a way that makes sense? Second, does the mystery of the film go away if we figure out which Abe is which and which Aaron is which? What is the underlying question about humanity that Shane Carruth is exploring in this film?

The Messenger

2013-04-17T08:21:00.000-04:00

This film addresses a very recent, relevant, and sensitive topic: our military involvement in the Middle East. And it seems to be all the more effective because it tells a personal story of trauma, loss, and healing. Instead of the immediate physical violence of war that we are used to seeing, we are led through the painful homecoming of Will, who returns from a tour of duty suffering from "poly-trauma." The extent of this poly-trauma accounts for much of the emotional suspense we undergo.

Because he is haunted by his experiences over there, his next assignment seems like a cosmic joke. Not only has he returned from war a damaged person, but he also has to deliver death announcements to the NOK (next of kin). He is, understandably, ill-prepared for this line of work, but he is up to the task because, as he seems to believe, he can handle anything. Ironically, he does end up capable of handling it, but not for the reasons he thought.

Ironically, Tony, who does seem cut out for this line of work, really has little clue about the personal devastation that war can cause. He follows procedure because he has no other model to follow. He is so detached from his audience (or wants to be) that he assumes the worst about them. When Will begins to treat the NOK like real human beings, Tony initially responds with extreme anger, but then begins to recognize and share his own pain.

Now here is your prompt: First, what do you think of this film's attempt to show us the inside story of bereavement and leave the pictures of actual battle and death to our imagination? Second, how does this film change how you view the "war film" genre? Are you pleased to see an alternative to the war films that generally paint a glorious picture of American patriotism? Be sure to review the rules for commenting and that you meet the length requirement.

Drive

2013-04-09T17:35:00.001-04:00

Drive is a film of stark contrasts. In sound, it covers the entire dynamic range from soft silence to explosive loudness. Moments of tenderness between Irene and the driver give way to moments of ultra-violent brutality. Generosity and greed. Endangerment and rescue. Pretense and authenticity. In the driver alone, we see contrasting qualities of virtue and viciousness.

The driver's involvement in "the evil that men do" comes out of what we might call love for Irene. Early in the film, before Standard comes home, the romantic chemistry between Irene and the driver is fairy-tale love at first sight. I'm a little disappointed that Standard is even in the picture. But when he does return and needs the driver's help to save his family, the driver actually wants to preserve the very thing that makes Irene unattainable.

It's fairy-tale love, but it's also fairy-tale sacrifice. Once the job goes bad, and Standard IS out of the picture, he's faced with the possibility that Irene and Benecio will be hurt on account of his involvement. His violent actions from that point on seem motivated by a mixture of protection AND attachment. I think he wants the family he's trying to save, but he also is willing to die for their safety.

Now here is your prompt: First, take some time to think about how this film plays with the fairy-tale elements of heroism and villainy. How does the driver complicate our understanding of good and evil? Second, in all of its extremes, does this film seem interested in something real finally? What is the draw of the film if it lacks the reality principle we've seen in, for example, Hunger and Festen?

Stranger Than Fiction

2013-04-03T07:11:00.001-04:00

*Sorry for posting this late--you all can have an extra day to finish this one*

Harold Crick, as his author Karen Eiffel tells us near the end of this film, is not the kind of hero we want to see die. She struggles with the idea of killing him as she writes his story. At first, she despairs that she cannot figure out how to kill him, so much so that she quite literally has writer's block. Later, once she has actually discovered how to kill him, she second-guesses the idea of killing him at all.

This dilemma is ultimately what gives a sense of poignant seriousness to the film. And I wonder how much we are meant to struggle with this question as well. For instance, when Harold goes to see Dr. Hilbert about the ending of the novel, Dr. Hilbert says, "I'm sorry, Harold. But you have to die." In terms of poetic interest, Dr. Hilbert is right. Harold's death, as envisioned by Karen Eiffel is epic and meaningful.

What this meeting brings to our attention is that poetic meaning is not always what we want. Remember how Karen Eiffel says that she is fine with "okay" when she sees that Dr. Hilbert is disappointed with her revised ending? This moment shows the controversy that lies at the heart of much discussion about storytelling and the value of stories, even those told in film.

Now here is your prompt: First, take some time to think about how this film has allowed you to look beneath the surface of a story to address a more fundamental question—what are stories for? In other words, offer your own poetic theory about the ending of this film. Second, in the words of Professor Hilbert, does this story "live on forever" even though Harold Crick does not "have to die," or do you side with the professor and say that Harold's survival keeps his story from being a masterpiece?

The Celebration

2013-03-22T07:40:00.002-04:00

Few films are as shocking and intrusive as this film, but it manages to be shocking and intrusive in the best way possible. We are exposed to the long-lasting effects of emotional trauma without having to live through the trauma itself. But then there is the movie itself; many viewers undergo an emotionally traumatic experience when they watch this film, and I think we can account for this effect by looking at how the movie is made, not just what happens in the story.

When he signed his Vow of Chastity, Thomas Vinterberg promised to break through the illusions that have turned films into predictable, barren, and superficial storytelling. Instead of “an illusion of pathos and an illusion of love,” he wanted to present unfiltered experience, to the extent that he could with a camera in hand, and allow the inner experience and mindset of the characters direct the path of events. In The Celebration, we have a film that wants, above all, to be realistic and immediate.

The way the film is made, then, corresponds to the story being told. When Christian stands up to make his “speeches” or offer his “toasts,” he is attempting to break through the illusion of his father’s status in the eyes of everyone in the room. He seems to be the only who knows the truth, apart from the cooks and service staff, but he is willing to stand up over and over to make himself heard. To do so, he must risk being ridiculed, but he must also revisit the terror of his childhood by confronting his father.

Now here is your prompt: First, does this film seem more truthful than most of the films you have seen? In what ways does it cut through the “illusion of pathos” or “illusion of love” that other films tend to show us? Or do you think that this film is a failed attempt to break through those illusions? Why so? Second, do you think Christian is successful in breaking through the illusion, and is he better off for doing so? Consider also whether you think movie directors should all take a Vow of Chastity, or whether you prefer to keep the illusions.

4 Months, 3 Weeks, and 2 Days

2013-03-08T08:44:00.002-05:00

This Romanian film offers a rich opportunity for cultural study—set in 1987 (twenty years earlier than its release date), it shows us a country that is economically and socially opposite to the opulence of America at the time. But the director, Cristian Mungiu, manages to give this movie a more personal than cultural significance. The highly emotional content of the film, enhanced by the slooooowwww shooting style (hardly any cuts), creates an uncomfortable level of intimacy with the characters.

The political dimension of this film is hard to deny. In the lives of Gabita and Otilia, we see evidence of economic struggle, social desperation, and personal trauma that presumably result, in part, from the way their country is being governed. The careful arrangement of details in the film suggests that the director laments how these women are forced to the extremes we see, or that he is at least criticizing the social design that could lead to so much pain. But the pain remains deeply human as well, and is caused by personal choices.

The film makes no attempt, with the exception of the absent sex scenes we might have been subjected to, to shield us from the raw reality of Gabita’s unsanctioned abortion. Every stage of it is painstakingly shown to us: the arrangements made by Otilia, the clinical warnings of Mr. Bebe, his price, the wrapped foetus on the bathroom floor, the disposal. All of it seems directed at eliciting a real and human response from the audience. The difficulty is figuring out exactly how we are meant to respond.

Now here is your prompt: First, what is the purpose of telling this story in such stark and brutal detail, if we are not clearly shown the message of this film? Is the message that such experiences cannot be reduced to messages, to ideological neatness? Second, think specifically about the final moment of the film when Otilia looks out the window of the restaurant and appears to make eye contact with us. Is this breaking of the fourth wall (look it up!) an invitation to use or learn from what we have seen, or are we shocked out the illusion and invited to exercise greater and more personal empathy for the characters?

The Wrestler

2013-02-26T17:40:00.002-05:00

The suffering of the characters in this film can be excruciating to watch. There isn't so much physical suffering as we see in Hunger, perhaps (there is the staple gun incident), but the emotional toll on Pam and Robin (or should we call them Cassidy and Randy?) of their choices and circumstances is massive and beyond question. I think Aronofsky communicates this emotional agony in a remarkable way--he transfers the shame and embarrassment of the characters into our viewing experience.

I wonder if embarrassment really can be a universal feeling when watching a movie like this one. We see Randy (or is it Robin?) holding onto the past in all sorts of silly ways. "Wanna play Nintendo?" is one. His belief that 80's rock ballads set the standard for good music is another. He is disconnected from the reality of the present, from how to interact with customers at the deli counter to how to be a father to his daughter. He seems most at home when performing in the ring or watching Pam (or is it Cassidy?) perform a private dance for him.

At the same time, he does begin to confront a possible reality that might save him from the fantasy that has slowly worn him down. I am thinking here of the moment when he shoves money into Pam's hands and says, "Pretend you like me." She is rightly offended by this attack, but his insight is spot on, not about her but about himself. He knows he's spent his life paying for love, either with cash or with his body (his soul, too?). His disgust is self-directed and leads, tragically, to his forgetting dinner with his daughter.

Now here is your prompt: FIRST, based on our sympathy for Robin (Randy) and Pam (Cassidy), does the outcome of the film lead to catharsis (check the glossary) or a sense of hope for the viewer? SECOND, does this film question the worth of love that is earned through performance, and of love that is performed? How is it that a film (scripted and performed) can help us see the line (or overlap) between performance and authenticity? Be sure to review the rules for commenting and that you meet the length requirement. Also, remember that this film response is optional.

Hunger

2013-02-19T12:11:00.001-05:00

The graphic brutality of this film provokes a visceral reaction—viewers are more than likely to feel disgusted by images of filth, bodily abuse, sickness; at the same time, director McQueen arranges these images around a very real ethical dilemma that imposes another kind of burden. Hunger is an unsettling film on almost every level, in part because it recounts real historical events and in part because it offers no simple answers about the value and purpose of human life.

The Maze prison, where almost all of the movie takes place, is the site of a political standoff between the British government and the IRA prisoners. The latter will not concede their demands for political status, and the former respond to the "blanket and no wash" protest with continual violence. This lack of negotiation is mirrored by the film's own refusal to negotiate with us. There is no bargaining with this film—the only alternative to its unflinching detail is to look away, to block it out.

The centerpiece of the film, the ethical argument between Bobby Sands and a priest, is framed on either side by the brutality that results when civil negotiations fail. The placement and length of this scene suggests, perhaps, that McQueen wants to give us a recess from the preceding onslaught of human cruelty, but he also wants to prepare us for the self-inflicted abuse that Bobby Sands is willing to undergo for his beliefs. We are made to concentrate on his motivation, on his mental defiance.

Now here is your prompt: FIRST, why, to Bobby Sands, is a hunger strike the ultimate protest, the ultimate show of defiance, against the British government and their treatment of IRA prisoners? How does the director change the tone of the film to reflect the nature of this protest? SECOND, what is the purpose of the visions and memories of himself as a child that appear to the dying Bobby Sands? How do these images from the past help clarify the message of the film, if any? Be sure to review the rules for commenting and that you meet the length requirement.

Raging Bull

2013-02-07T16:43:00.001-05:00

Coming to the end of this film again, I was struck by final title, the line-by-line fade-in from the Gospel of John:

"So, for the second time, [the Pharisees]
summoned the man who had been blind and said:

'Speak the truth before God.
We know this fellow is a sinner.'

'Whether or not he is a sinner, I do not know.'
the man replied.

'All I know is this:
once I was blind and now I can see.'"

It was almost too much to take in, emotionally, after the scene in the dark prison cell where Jake insists, over and over, "I'm not an animal!" Personally, I've got a deep-seated sympathy for Jake, but it's hard for me to explain why, so I am hoping you can shed some light on the problem.

For one, the film does not come across as particularly religious, though my impression on this point might come from the overtly sexual and violent way in which Jake seeks the comfort of other humans. He must be loved, he's hungry for it, although his desire to be loved might go unnoticed in light of his mistreatment of the people who care about him most. What I mean is that the film is about "LOVE," but Scorsese conceals this theme fairly well until the end.

At the same time, are there not moments in the film where Jake seeks out some kind of penance for his abusive outbursts? I am thinking here of the scene where he insists that Joey punch him in the face repeatedly (so his wife can watch). And later, when he gives up the title to Sugar Ray after letting his face get pummeled into a bloody mess, isn't he paying for beating up Joey and Vickie? He reaches out to the people he hurts, though he is too late to be forgiven by them. But by me? By you?

Now here is your prompt: First, are we meant to see Jake as the blind man who learns to see by the end of the film? Or is he "the fellow" the Pharisees call a "sinner"? Second, what role does Scorsese seem to think the audience will have taken on while watching this film, judging by the final title quoted above? Are we the "pharisees" judging Jake, or are WE supposed to be the blind man who now, because of our experience with Jake, can see human frailty in a new light, not only Jake's but our own as well? Be sure to review the rules for commenting and that you meet the length requirement. Also, remember that this film response is optional.

The Graduate

2013-01-31T11:08:00.002-05:00

Benjamin is not the prodigal son who finally comes to his senses and returns home to his family; rather, he is the "model" son who has always lived his life according to the rules and plans of his parents and the other “grown-ups” around him. He has lived a life so closely according to expectation that when he finds himself on the brink of independence, he has no clue where to turn next!

By the end of the film, we might say that Benjamin still has no clue where to turn next, but he seems more capable somehow of knowing what he wants and exerting his own power to make it happen. The story told by The Graduate, then, is a way of accounting for this transformation. We are led through a series of events and developments that trace Ben's emergence into a life that belongs only to him.

Of course, whether Benjamin is fully initiated into adulthood by the end of the film is up for debate. After all, "adulthood" is not exactly portrayed in a positive light in the film. The adults seem to have outlived their enthusiasm for life; the Braddocks and the Robinsons seem either oblivious to genuine passion or embittered by the onset of middle age and the loss of youth. Benjamin seems to break free from their grasp by the end, running off with Elaine, but he is only beginning to grow up.

Now here is your prompt: First, how would you account for the change in Ben, and is the change a promising one? Does he go through some rite of passage that prepares him to seek out what he wants rather than what he is expected to do? Second, is the situation at the end of the film a result of foolishness or courage? Is Ben the hero or the fool? Be sure to review the rules for commenting and that you meet the length requirement.

Rushmore

2013-01-24T15:14:00.001-05:00

Attention: Please do not attempt this assignment until you have read the instructions for film responses again. There are length and formatting concerns to remember, but you also need to be sure that you are in the right mindset to do good work in your response.

As his name suggests, Max Fischer is a seeker of things unseen. However, he is immature and unwilling to grow up ("For me, that's going to Rushmore."). The problem is that he is not quite sure where he will find the missing piece he is searching for. He has insecurities all along the spectrum of possible insecurities. So he seeks fame, glory, romance, and recognition through a life created by his imagination.

But this film is also a unique take on the reality of war. The relationship between Max and Rosemary leads to an extensive battle of wills between Max and Herman. The cycle of revenge begins with envy. Maybe Wes Anderson is showing us the root of all war. Maybe war is the outcome of competition for glory, the power of having outlasted your opponent to end up on top. One thing is certain, the war between Max and Herman is not a fantasy.

After the battle ends, Herman meets Max at his mother's gravestone, on which are etched the following words: "The paths of glory lead but to the grave." These words suggest an unhappy ending for those who would seek glory, and perhaps at this moment, Max realizes the path he has chosen and why he must find another path. We see him on this new path when he reaches out to help Blume get back on track as well.

Now here is your prompt: First, in what way is Max's final play in the film a sign that he has found another path and perhaps even the missing piece he has been seeking all along? What is that path? Second, how does this final play show his growth—in what way is this play more important than the others? How is his motivation to write the final play different from his motivation to write the others? Remember, please post a comment that is at least two equal-length paragraphs long and at least meets the length requirement for responses.

"What Kind of Viewer Am I?"

2013-01-15T07:42:00.002-05:00

Attention: Please do not attempt this assignment until you have successfully signed up for a Google account and have read the instructions for film responses. I know this posting is not about a film, but it follows the same formatting as all the other film responses you will do. Also, your display name that appears with your comment must be formatted the correct way in order for me to keep your comment and grade it. So please make sure you set up your display name the right way when you sign up.

Also, be sure you have already read Thinking About Film before posting your response to this posting. This course invites you to watch films with a more critical eye. To be critical does not necessarily mean to look for weaknesses in a film or to express a negative opinion about it. It really means to take a step back from your personal enjoyment of a film and think about how the film works and why it's made the way it's made. Does this critical approach mean that you cannot enjoy the film?

I hope not! In fact, if you think carefully about a film, its techniques, its structure, and its themes, you might discover a new level of enjoyment that exceeds what you know now. Even if your taste in movies does not change, you might still find that your personal preferences are not the only factor worth considering in evaluating the quality of the movies you see.

Some years ago, I saw a film that revolutionized the way I watched movies: Tarantino's Reservoir Dogs. Before that moment, I had been completely passive in my enjoyment of films. When I discovered that entertainment could be more than a mindless activity, I experienced a new energy and a new optimism. If you have not already, I hope this class will help you do so.

Now here is your prompt: First, what does Dean Duncan mean when he says that "the responsibility for a good film experience lies with the viewer." I am not asking for your interpretation of his words; rather, based on reading his short book, I want you to explain, with examples, what Duncan is talking about, from his point of view. Second, I want you to explain your potential to become the type of viewer who can take that kind of responsibility. What kind of viewer are you now, and what might be standing in your way? I would like to know about your experience with films, the way you have watched some of them, and what your goals for this semester are in this course. Do you want to become a critical viewer? Why or why not? Remember, please post a comment that is at least two equal-length paragraphs long and at least meets the length requirement for responses.

First Day

2010-12-31T08:00:00.006-05:00

Welcome to your English 1502 course! I hope this semester will be both fun and challenging for you! Your professor's name is Dr. Matthew Horton (that's me!), but you can call him Dr. H. I have high hopes that this semester will help you improve your skills as a film viewer.

Click on these icons and see what you can do! This course is about watching great films, but I also want to make you familiar with some useful technology that can help you discover new possibilities. Keep in mind, these tools are just for your benefit, not necessarily required:

Also, go ahead and look through some of the most important resources on this course website:

Read the syllabus
Check the agenda
Film Line-Up
Be great in college!

Additional resources are available by clicking the tabs across the top and various links in the right-hand margin. As much as you can, familiarize yourself with this course website. My contact info is in the right-hand margin at well, towards the top. Also, see the Facebook link? Visit our course page and "like" it!

Syllabus

2010-08-16T12:10:00.003-04:00

Your Goals for the Course

Critique intelligent films about a variety of controversial issues
Learn technical film terms to help you engage with the films we watch
Discuss films with thoughtful and developed written responses
Become proficient at identifying and describing various elements of film
Engage in discussion with classmates about the films we watch
Grow in your ability to think about film viewing on a critical level

Texts and Materials

Thinking about Film: A Critical Perspective, by Dean Duncan
Access to online tools such as this blog and our Film Terms Glossary
Several working pens and lots of notebook paper
A small flashlight or cellphone with a light for taking notes in the dark

Course Requirements

Grades. Film Notes (30%), Film Responses (30%) Film Term Exams (20%), Final Exam (20%)
Bonus Points. Earn extra credit for note-taking. I also offer bonus points for watching extra films.

Course Policies

Film Content Warning: The films shown in this course contain strong language, nudity, sexual situations, violence, controversial subjects, and complex philosophical ideas that might be disturbing or offensive to you. If these attributes will prevent you from viewing, discussing, or writing about these films, you should probably drop this course.
Ask for help. Please let me know when you are struggling. If you seek help from me on assignments, your grades will be higher.
Take notes. Organized notes at the end of discussion sessions can earn you extra points. These notes must reflect your attentiveness over the whole discussion.
Participate. All should watch the films in class and take an active, constructive part in discussion. The best way to do so is to keep up with Film Response deadlines. Read the text book and film terms glossary frequently and spend time browsing this course website and learning about the films.
Make-Up Work. Work for this class includes assignments done online as well as assignments turned in during class. When you are absent or sick on a due date, you need proof of excuse to turn in missed work.
Turning in work. All work will be turned in at the beginning of class (written film notes) or through this blog (typed film responses). Please use Microsoft Word to make sure you meet the length requirement for film responses. You can use the computers in the labs here on campus, or you can use Virtual Lab. Do not use email to turn in work.
Email. The official form of communication at Gainesville State College is email. This GSC policy protects all of us in the exchange of information. If you need to contact me about anything, whether personal or class related, please use your GSC email account and my GSC email address.
Disruptive behavior. Any behavior that interferes with my learning environment is grounds for dismissal from class. Please do not express disagreement with my policies, decisions, or academic help in front of other students; I am happy to field complaints privately during my office hours. You may have bottled water in the classroom, but you must step outside to eat food.
Academic honesty. All work submitted to fulfill requirements of this class must meet Gainesville State College standards of academic honesty. Violations of these standards include receiving or giving assistance on any graded assignment without my permission (aka, cheating), fabricating evidence for use in an assignment (aka, lying), and using another person's words or thoughts in your assignment without giving that person credit (aka, plagiarism). Penalty for committing these acts could range from a zero on the assignment to an "F" in the course.
Withdrawal. If you plan to withdraw, and you want to avoid an "F" in your GPA, be sure to withdraw before midpoint through Banner Web. Also, here is an important new policy regarding attendance: "Students who stop attending class may be administratively withdrawn (with or without academic penalty); a grade of W may be assigned when students fail to attend 10% of any class meetings prior to the midpoint of the term; a grade of WF will be assigned when students stop attending after the midpoint."
Disclaimer. This syllabus is subject to change to meet the needs of the course.

Supplemental Course Information

Calendar

2010-08-16T12:09:00.000-04:00

Assignments

2010-08-16T12:00:00.000-04:00

Our Films

2010-08-16T09:03:00.004-04:00

The basic requirement of this course is to watch the films, take detailed notes while doing so, and then write smart one-page responses to them (some responses are required, some are optional). Two class periods will be set aside to watch each film. Being in class, on time, to watch them will give you a chance to earn full credit on your notes. You also have to be present in class to turn in your notes for each viewing. On discussion days, you can earn bonus points for conversing about the films with your classmates and taking notes. I hope we can fit in at least ELEVEN films, but you can watch more for extra credit (provided you watch them with the Oconee Film Club and you take substantial notes to prove you were paying attention and thinking about the film).

See a complete list on IMDb or peruse our selections here.

	IMDB Wikipedia
	IMDB Wikipedia
	IMDB Wikipedia
	IMDB Wikipedia
	IMDB Wikipedia
	IMDB Wikipedia
	IMDB Wikipedia Dogme 95 The Vow of Chastity
	IMDB Wikipedia The Son of Man
	IMDB Wikipedia
	IMDB Wikipedia
	IMDB Wikipedia Official Site Shane Carruth interview Another interview And another Primer timelines

Film Response Instructions

2010-08-16T07:57:00.016-04:00

After each film, I will post a discussion starter on this blog. For SIX of the films, you are required to read the posting and contribute a comment that responds to my prompt. For the other films, the film responses are optional, meaning you can replace the grade of a required response that you previously turned in on time (check the calendar to see which are required and which are optional). Zeros cannot be replaced. The comment you post must be two paragraphs of EQUAL length that together are at least 300 words long. Use Microsoft Word to check your word length.

For each film discussion posting I make to this blog, please contribute a substantial and intelligent comment in which you respond to my prompt (you will need to sign up for Google in order to start leaving comments on our website). Include at least two detailed examples from the film to elaborate on your ideas about the film; I encourage you to consider examples of editing and camera work, etc., as well as character and story. Please respond to my prompt with two paragraphs of equal length (place an extra blank line between the paragraphs) and be sure your comment meets the length requirement. Following these simple formatting instructions will help you get full credit on the assignment.

I expect your postings to show me your unique thoughts. If you are more likely to rehash the thoughts of your classmates after reading the comments that have already been posted, then please refrain from reading others' comments until you are finished with your own. Film responses offer you a chance to tell me what YOU think and to gain appreciation for your insights. Don't waste this chance by trying to follow the crowd.

I am also expecting that your comments will be well-written and proofread and that you will stay on the topic of my prompt. I am asking very specific questions, so you must be careful to spend your FULL two paragraphs on what I am asking. Taking up space by building up to your response is not a good idea--jump right in so that you can think for yourself. Summaries of the film or general discussions will not receive favorable credit.

Scoring Guide:

5 --> skillful, impressive, and invested
4 --> complete, on topic, and clear
3 --> competent but lacking in length, content, or clarity
2 --> short, off-topic, or poorly written
1 --> same as 2 but worse

How Your Grade Is Calculated

2010-08-16T07:56:00.001-04:00

Grade calculation is pretty straightforward in this class: Film Notes (30%), Film Responses (30%) Film Term Exams (20%), Final Exam (20%)

There are many sets of notes, several required Film Responses, and four Film Term exams. Separate grades in each category will be averaged together before applying the weighted percentage. So all the film response grades will be averaged together and count 30 percent. All the film note grades will be averaged together and count 30 percent. The four film term exam grades will count 20 percent. The final exam grade by itself counts 20 percent.

There is also extra credit that you can earn, but you need to be sure to do all of your required assignments, even if you do them late and get a ZERO. Furthermore, you will have the chance to do optional Film Responses during the semester that can help make up for lower grades on required Film Responses. However, to replace a lower grade, you need to have done the original required Film Response on time.

Final Exam

2010-06-03T09:13:00.013-04:00

The final exam requires you to identify all the terms that you had on the Film Term exam but also use them to discuss the films that we watch this semester. The final exam contains an essay in which you will reflect on your development as a critical film viewer this semester, and part of discussing your progress is being able to identify particular elements in the films that stood out to you.

To write this essay, you will need to bring your own notebook paper to class with you.

Film Term Exams

2010-06-03T09:13:00.012-04:00

There will be several short exams on film terms this semester. These exams will require you to name technical film terms. I will give you the definitions, and you must recall the correct term and spell it accurately in the blank. To do well, you must study the glossary and learn my terminology as we progress in the course. If you prepare by writing the terms over and over again while using the flashcard tool in the glossary, you'll most likely score high on these exams, your film notes, and the final exam.

There are 83 film terms, so I will divide the categories across four short film term exams:

Film Term Exam 1: Camera Work and Critique
Film Term Exam 2: Editing
Film Term Exam 3: Frame and Mise-en-scène
Film Term Exam 4: Sound and Storytelling

The categories match the ones I used in the glossary tool. The final exam will have all 83 terms at once.

Thinking About Film

2010-06-03T09:02:00.004-04:00

This little "pamphlet" called "Thinking About Film," by Dean Duncan, is our only textbook this semester, at least the only one you have to buy. But it contains the essential ideas that I am hoping will impress your mind this semester

I want you all to become critical film viewers, to the best of your ability. This idea is a highly ethical one. Being critical requires you to be responsible in the way you watch films. It requires that you look at the film according to its own nature, not according to what you would prefer it to be. It requires you to set aside your likes and dislikes of certain kinds of films and watch films actively. YOU are responsible for a good viewing experience, not the film.

Now, being "critical" does not mean that you have to challenge the film or find negative things to say. Of course, you can CRITICIZE a film, as long as you do so intelligently. However, being critical also does not allow you simply to say, "oh, I loved it!" Being critical means asking yourself why a film works the way it does, how it is put together, what kind of value it holds, and how it changes the way you watch films.

The least critical thing you could do in this class is look over the list of films I have chosen for us and say, "Ugh, does that one have subtitles? Oh no, a black and white film? Where are the action movies?" Instead, set out to tackle each film as a new challenge. I think you'll find that movies can be rewarding as well as entertaining.

Film Terms Glossary

2010-06-02T23:09:00.009-04:00

Click here to use the glossary tool. You can use the glossary online, but you can also download it to your computer and use it there. You can also view examples of many of the terms in our video glossary.

Either way, the best way to use the glossary is to read the definitions and the physically write out each term 10 times, saying it out loud each time. When you take the film term exams and the final exam, you will be expected to write the exact term, spelled correctly, that goes with a definition.

In addition, you should use the flash card sets that I have created as part of the glossary tool. It will give you the definition and then let you check your answer. If you get one wrong, you can click on it, mark it for review, and then make yourself write it 10 more times.

Film Notes Instructions

2010-06-02T23:06:00.009-04:00

Taking notes during films will help you learn film terms related to camera work, mise-en-scène, composition, editing, sound, and narrative by applying them to what you see on the screen. One set of handwritten notes will be turned in for each class period that we devote to watching part of a film. Because I expect these notes to contain quite a bit of detail, I am okay with you taking your notes home and expanding them before you turn them in the next class period, but you can only get credit for a day of film notes if you were present in class to watch the film that day (this will necessitate that I make note of your presence in class--make sure that I know you are here). Generally, each film will span two class periods, so you can expect two sessions of note-taking per film. Failure to be in the room and ready when the viewing session begins will warrant a deduction for that set of notes. When you turn in Film Notes, they should have your name and the date of the notes at the top. Taking film notes will also help you collect information to write Film Responses.

Film Notes are what I assign instead of giving quizzes. Highest marks will go to the best sets of notes; the minimum length is one page on standard notebook paper, but the best sets will go beyond this mark. Also, don't skimp on this page of notes--obvious attempts to fill up the page faster will not slide. Also, if you write big, compensate by doubling your coverage. Film Notes are not to be confused with discussion notes.

Content

Look at how the frame is composed, how the camera works, and how shots are connected.
Make note of significant shots and camera angles for their visual interest and effectiveness.
Consider the ideology and cultural significance of the story AND the filming techniques.
Write down questions and thoughts the film raises through the story AND the filming techniques.
To save time use the following abbreviations for various film terms.

Help

Read film term definitions often.
Learn shorthand for film terms to increase speed and keep focus on the screen.
Focus on significant moments, look for patterns, make note of important events.
Don't worry about including everything or catching everything in class, but do remember to fill in the holes when you review them after class and at home.