English
598 
English
598
Film Theory and Criticism
Dr. Rachela Permenter Spring 2002, Slippery Rock University
TEXTS:
Film Art
. David Bordwell & Kristin Thompson.RECOMMENDED READING:
Viewing Positions: Ways of Seeing Film. Linda Williams, ed.
Movies and Mass Culture. John Belton, ed.
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Film
Index International (Credits for 90,000 films since 1930 with
bios)
Pop-cultures Film Journal Anthology (Online anthology of numerous journals and reference sources, search by key word or film title-Some full text!)
Film and Philosophy Journal (Online edition) (Articles and links to other reference sites. Some FULL TEXT!)
Journal of Religion and Film (Online journal with articles, bibliography and criticism- search by key word or film title-FULL TEXT ARTICLES!!)
Philosophy Journals Online (Includes Journal of Philosophy and Film and others, some articles FULL TEXT!)
Film and Literary Theory Journals Online Collection (collection of numerous journals online, some full text articles, some sample issues--many subject areas!)
k.i.s.s of the panopticon (Literary, cultural and media literacy theory. EXCELLENT starting place for difficult theoretical issues that breaks complicated theory into language that is simple...hence the name, "keep it simple stupid!")
Movie Reviews and Criticism of an Academic Nature (Additional links to films, criticism, analysis and articles)
Close Analysis of Film (Not sure where to start? Step-by-step information about studying film and literature via close analysis)
Cinephiles-Message Board/Film Discussion Community (post and respond to messages regarding film analysis and criticism)
The Wheel: Media, Music, Film, TV, and Theatre (Movie database, and more)
Internet Movie Database Cinema Sites (Excellent index with links to many webpages) Lucy Jordan Lyrics -- in Thelma & Louise Johnny Depp Dead ManRoger Ebert's Top 20 Movie Sites American Beauty (Links to Reviews) Schindler's List
Simulacra and Simulation. Jean Baudrillard.
The Matrix (Links to Reviews) whatisthematrix.com
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You are responsible for the readings and film viewings upon coming to class on the day listed; in some cases, the films will be shown after class at students’ request.
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Jan. 16 |
Casablanca Michael Curtiz, 1942 |
Continuity editing, etc. |
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Jan. 23 |
The Graduate Mike Nichols, 1967 |
Camera, lighting, sound, mise-en-scene |
Film Art, Chaps. 1,6,7,8,9 |
|
Orson Welles, 1941 |
Montage, camera, narrative structure , form, style |
Film Art , Chaps. 2, 3, 10 (pp. 327-39, 352- 61)Sergei Eisenstein, from Film Form (Theory & Crit 15-42) |
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Feb. 6 |
Moulin Rouge Baz Luhrmann, 2001 (Recommended: Schindler’s List Steven Spielberg, 1993) |
Aesthetics, Realism (vs.) Formalism (vs.) Expessionism |
|
|
Ingmar Bergman, 1956 |
Auteur Theory |
Handout on Bergman |
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Feb. 20 |
Blade Runner Ridley Scott, 1982 |
Genre Theory |
Handout on Blade Runner Film Art, Chap. 4 |
|
Feb. 27 |
Fargo Joel & Ethan Coen, 1996 |
Ideology, Marxism |
Jean-Luc Comolli and Jean Narboni,
"Cinema/Ideology/Criticism"
|
|
Christopher Nolan, 2001 The Thin Blue Line Errol Morris, 1988 |
Semiotics |
Christian Metz, "Some Points in the Semiotics of the Cinema" from Film Language: A Semiotics of the Cinema (Theory & Crit 68-74)Gilbert Harman, "Semiotics and the Cinema: Metz and Wollen" (Theory & Crit 90-98)Film Art, 110-28, 376-86 |
|
Mar. 13
Take-Home Exam Due |
Psycho Alfred Hitchcock, 1960 |
Phychoanalysis, Psychology, The Gaze |
Kaja Silverman from The Subject of Semiotics, "On Suture" (Theory & Crit 137-47) Carol Clover, "The Eye of Horror" (handout) |
|
Apr. 3 |
To Live Zhang Yimou, 1994 |
Culture, Identity |
Handouts from Belton, etc |
|
Apr. 10 |
Thelma & Louise Ridley Scott, 1991 |
Feminist Theories |
from Feminist Film Theory: Sharon Smith 14-19 Molly Haskell 20-30 Claire Johnston 31-40 Theresa de Lauretis 83-96 |
|
Apr. 17 |
The Piano Jane Campion, 1993 |
Feminist/Gender/Queer Theories |
from Feminist Film Theory: Annette Kuhn 146-56 Judith Butler 336-49 |
|
Apr. 24 |
Do the Right Thing Spike Lee, 1989 (Recommended: Bamboozled, 2000 or Malcolm X, 1992) |
Race/Ethnicity |
Film Art, 361-66 |
|
May 1 Papers Due |
Once Were Warriors Lee Tamahori, 1995 |
Postcolonialism/ Neocolonialism |
Handouts |
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May 8 |
Class Will Meet |
Wrap-up, etc. |
BASIS FOR GRADES:
Contribution to Seminar --
(thoughtful discussion, regular attendance) 15%
Exam on film analysis 15%
Take-Home Exam 15%
Responses and Research (6) .15%
Paper (12-18 pp.) .40%
Grading Criteria
A
consistent graduate_level work (full attendance, a professional seriousness,
a willingness to grapple with difficult concepts, an indication of some original
insight)
frequent evidence of active engagement with the course material
solid familiarity with film terms and techniques
apparent familiarity with film theory and theorists, including the base and
details of several critical theories
indication of an in-depth understanding of at least one film theory
excellent writing, research, and analysis, consistently at the graduate level
B
graduate_level work (regular attendance, a professional seriousness, a
willingness to grapple with difficult concepts, an indication of some original
insight)
evidence of active engagement with the course material
apparent familiarity with film terms and techniques
an overview familiarity with film theory and theorists, including the base and
details of several critical theories
indication of a fairly thorough understanding of at least one critical theory
graduate_level research, analysis, and writing
C
all exams and the final paper completed correctly and with some thought
most other course requirements met
indication of engagement with the course material
evidence of an overview familiarity with film terms, techniques, and theory
adequate research, analysis, and writing
D & F
Less than "C" requirements met.
REQUIREMENTS:
1. Sustained involvement
. Regular class attendance and involvement with class discussion of readings, theories, and films. Thorough reading of assignments and viewing of films.2.
Six (6) Reader Responses (1-page each, single-spaced), four (4) with photocopies of outside research (reviews or critical articles of the film viewed that week or of one of the week’s supporting films). You will demonstrate a critical engagement with the week’s reading assignments and discuss the critical issues involved in relation to films viewed, improving your film analysis skills as the semester progresses.3.
One In-class Exam on film terms and techniques (From Film Art)4.
One Take_Home Exam (1 essay and 2 short essays, MLA format, 5-6 pp.) Due Mar. 13th.5. Final Paper.
12-18 pp. Strict MLA format. Due last week of classes.Research one or two critical issues, approaches, theories, theorists, or critics. Formulate a focused argument. You may expand any of your essay answers from your take-home exam OR
Write a critical paper on any film(s). Reflect a clear understanding of your theoretical approach or opinions. Refer to the views of other critics of the work(s) and make evident how your argument fits into the critical dialogue. Although you may re-work a short paper or presentation from another course, using one project to fulfill requirements for two courses is not acceptable.
Absence
: Class attndance is a course requirement (See Basis for Grades)Conferences:
You are encouraged to seek individual discussion with the professor during regular office hours, after class, and by appointment. It is highly recommended that you discuss your final paper with your professor, bringing research and drafts to her office before Spring break.Piracy
: Plagiarism will not be tolerated. If you submit any work which is not the product of your own study and efforts, you will receive a grade of F for that work and probably for the course. Extreme violations will be reported to the appropriate university authorities.
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Dr. Rachela PermenterLast updated January 6, 2002
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