ENGL1011:代写 Introduction to Film Studies代写

ENGL1011:代写 Introduction to Film Studies代写
Faculty of Arts and Social Sciences School: School of Literature, Art and Media Program: Film Studies Unit of Study: ENGL1011: Introduction to Film Studies Session: Semester 2, 2016 Unit of Study Outline Arrival of a Train at a Station (The Lumière Brothers, 1895) [Image: thefilmstage.com] Hugo (Martin Scorsese, 2011) Unit Coordinators Unit coordinators are listed on undergraduate and postgraduate coursework semester timetables, and can be consulted for help with any difficulties you may have. Unit coordinators (as well as the Faculty) should also be informed of any illness or other misadventure that leads students to miss classes and tutorials or be late with assignments. Unit Coordinator: Dr Sarah Gleeson-White Location: Room N323, Woolley Building (A20) Email address: sarah.gleeson-white@sydney.edu.au Phone: +61-2-9351 6853 Consultation Hours: By appointment – please email to arrange a time. Unit Lecturer: Mr Ian David Location: S317, John Woolley Building A20 Email address: ian.david@sydney.edu.au Phone: +61-2-9351 4286 Unit Lecturer: Dr Bruce Isaacs Location: 305 RC Mills Building A26 Email address: bruce.isaacs@sydney.edu.au Phone: +61 2 9351 3568 3 Unit Lecturer: Dr Susan Potter Location: R.C. Mills Building A26 Email address: susan.potter@sydney.edu.au Phone: +61 2 9114 0552 Unit Lecturer: Dr Richard Smith Location: R.C. Mills Building A26 Email address: r.smith@sydney.edu.au Phone: +61 2 9351 4208 Unit Lecturer: Dr James Wierzbicki Location: Seymour Centre J09 Email address: james.wierzbicki@sydney.edu.au Phone: +61-2-9351 2066 Unit Tutors Mr Ian David (as above) Dr Sarah Gleeson-White (as above) Dr Isabelle Hesse Location: N309 John Woolley Building, A20 Email address: Isabelle.hesse@sydney.edu.au Phone: +61 2 93516859 Consultation Hours: Wednesday 12-1 pm (or by appointment) Dr Fiona Lee Location: S318 John Woolley Building, A20 Email address: fiona.lee@sydney.edu.au Phone: + 61 2 9451 2978 Consultation Hours: Tuesdays 2-3pm, and by appointment Elena Sarno Location: Woolley Room S312 Email address: esar8649@uni.sydney.edu.au Consultation Hours: Tuesday 2-3pm Anna Breckon Location: Woolley Room S312 Email address: anna.breckon@sydney.edu.au Consultation Hours: By appointment – please email to arrange a time This Unit of Study Outline MUST be read in conjunction with the Faculty of Arts and Social Sciences Student Administration Manual (sydney.edu.au/arts/current_students/student_admin_manual.shtml) and all applicable University policies. In determining applications and appeals, it will be assumed that every student has taken the time to familiarise themselves with these key policies and procedures. ENGL1011 INTRODUCTION TO FILM STUDIES UNIT DESCRIPTION How do form and style structure our experience of film? This unit provides a critical introduction to elements of film production and viewing, moving through an exploration of formal components of film to consider film aesthetics in relation to the history of film scholarship. We will consider films in a variety of cultural and historical contexts, from early cinema to digital technologies, and introduce a series of case studies to explore historical, cultural and material contexts of film production and consumption. PREREQUISITES There are no mandatory or recommended prerequisites. LEARNING OUTCOMES Students will be able to: • Analyse film shots and sequences utilising the language of film analysis • Introduce and explore basic concepts in film analysis and interpretation • Articulate key concepts in film studies scholarship, such as auteurism, genre theory, and national cinemas • Articulate the historical, cultural, and material contexts that underpin concepts such as genre, auteur, spectator, and audience • Relate film analysis and interpretation to wider historical, cultural and material processes • Analyse new cinema forms within a field of changing technologies and media structures LEARNING STRUCTURE • Lecture: 1 x 2hrs per week Tuesdays 11am-1pm, Wallace Lecture Theatre * All lectures will be recorded and made available through the Blackboard site. • Tutorial: 1 x 1hr per week You will have been assigned a tutorial time during enrolment. It is imperative that you attend this tutorial throughout semester. • Screening: 1 x 3hrs per week Thursdays 11am-2pm, Old Geology Lecture Theatre The unit will screen one feature film each week. If you cannot attend the screening, it is imperative that you view the film in your own time prior to the tutorial. It is expected that you will be familiar with the film during tutorial discussions. All films screened in this unit are available for viewing on DVD through Fisher Library and Schaeffer Library. While DVDs are not for loan, each library has excellent viewing facilities for individuals and small groups. To locate a DVD, search the library catalogue by title. UNIT SCHEDULE Semester Two 2016 Week Week beginning Lecture and Screening Tutorial 1 25 July Why Film?: Introduction to Film Studies (SGW/BI) No tutorials Week 1 Screening: Hugo (Scorsese, 2011) 2 01 August Film Form: Technology, Images, Narrative (BI) Introduction to unit Screening: The Cabinet of Dr Caligari (Wiene, 1920) 3 08 August The Evolution of Film Style (BI) Film Form Screening: Casablanca (Curtiz, 1942) 4 15 August Storytelling: Film Narrative (BI) Form and Style: GermanENGL1011:代写 Introduction to Film Studies代写 Expressionism Screening: Citizen Kane (Welles, 1941) 5 22 August Case Study: Orson Welles, Hollywood Rebel (BI) Story, Plot, Narrative Screening: The Artist (Hazanavicius, 2011) 6 29 August Sound and Vision: Listening to Film (BI). Special Guest: Jenny Ward: Award-Winning Film Sound/Dialogue Practitioner Welles and Hollywood Screening: Cat People (Tourneur, 1942) 7 05 September Film Music (JW) Film Sound Screening: Fargo (Coen Brothers, 1996) 8 12 September The Screenplay as Film Form (ID) Film Music Screening: Marie Antoinette (Coppola, 2006) 9 19 September Film and/as Ideology (BI) The Screenplay Screening: À Bout de Souffle (Breathless) (Godard, 1960) BREAK 26 Sept – 02 Oct SESSION BREAK 10 03 October* Auteurs and Auteur Theory (SP) Film and/as Ideology Screening: High Noon (Zinnemann, 1952) 11 10 October Film Genre (SP) Auteur Theory Screening: Unfriended (Gabriadze, 2014) 12 17 October The Digital Turn, or, “Where are we now?” (RS) Genre Screening: TBA 13 24 October Film Studies: Histories, Projections/Conclusion (SGW) The Digital Turn No screening STUVAC 31 October STUVAC EXAMS 07 November EXAM PERIOD commences * NB: Public holiday on Monday 3 October. Two important notes on the unit of study schedule: • The film screened each week relates to the lecture topic of the following week. Thus, from the schedule, Hugo screens in week 1, but is discussed in the lecture on “Film Form” in week 2; similarly, Marie Antoinette is screened in week 8, but is discussed in the lecture on “Film and/as Ideology” in week 9. • Tutorial topics lag one week behind lecture topics. Thus, the lecture on “The Evolution of Film Style” in week 3 is discussed in the tutorial in week 4, and so on. This gives you time to reflect on the materials in preparation for the tutorial discussion. Please see the Appendix for a detailed schedule of Tutorial Readings and Questions. ATTENDANCE According to Faculty Board Resolutions, students in the Faculty of Arts and Social Sciences are expected to attend 80% of their classes. If you attend less than 50% of classes, regardless of the reasons, you may be referred to the Examiner’s Board. The Examiner’s Board will decide whether you should pass or fail the unit of study if your attendance falls below this threshold. If a unit of study has a participation mark, your attendance may influence this mark. For more information on attendance, see http://sydney.edu.au/arts/current_students/policies.shtml. READING REQUIREMENTS There are two major sources of readings for this unit: • Unit of Study textbook: David Bordwell and Kristin Thompson, Film Art: An Introduction (10th Edition). The textbook is available for purchase in hard copy through the University Co-op bookshop located on the ground floor of the Sports and Aquatic Centre (G09). It is also available in Fisher Library and Schaeffer Library (in the RC Mills building). There are copies in the 2hr collection in Fisher. The textbook is also available in electronic form at a reduced cost through the McGraw-Hill website: https://create.mheducation.com/shop/#/catalog/details/?isbn=9781308217383 As the textbook is foundational reading for the entire unit, you will need to use it in preparation for lectures, tutorials and assessment tasks. • Further Electronic Readings: Are available through the Blackboard site. Click on the icon, “eReserve Readings,” and click on the ‘author’ tab to alphabetize the list of readings by author surname. Then simply click on the hyperlink and download the reading as a pdf. In the Detailed Tutorial/Reading Schedule at the end of this outline, all electronically held readings are marked [ER]. ONLINE COMPONENTS This unit requires regular use of the University’s Learning Management System (LMS), also known as Blackboard. You will need reliable access to a computer and the internet to use the LMS. The University uses learning analytics to understand student participation on the LMS and improve the student learning experience. The easiest way to access the LMS is through MyUni (click on the ‘MyUni’ link on the university home page, http://sydney.edu.au or link directly to the service at https://myuni.sydney.edu.au/. There is a ‘Blackboard LMS’ icon in the top row of the QuickLaunch window on the left hand side of the screen. If you have any difficulties logging in or using the system, visit the Student Help area of the LMS site, http://sydney.edu.au/elearning/student/help/. The University’s Privacy Management Plan governs how the University will deal with personal information related to the content and use of its web sites. See http://sydney.edu.au/privacy.shtml for further details. Lecture Recording Lectures delivered in University-owned lecture theatres are recorded and may be made available to students on the LMS. However, you should not rely on lecture recording to substitute your classroom learning experience. ASSESSMENT TASKS AND DUE DATES All assessment tasks in this unit must be submitted online through the Blackboard site. From the Blackboard menu, click on Assessment Dropboxes, which will take you to the Compliance Declaration Forms (your electronic cover sheet required for submission) and the Submission Boxes for each assessment task. Note that you are required to complete the Compliance Declaration before you are granted access to the Submission Box. In the Submission Box, follow the instructions to upload your assessment as a word document. For more information on assessment task submission, see the ‘Instructions for Online Submission’ in the Assessment Dropboxes page, or ask your tutor. Assessment Name Individual / Group Length Weight Due Time Due Date Film Sequence Analysis Individual 1,000 words 25% 11:59pm Wed 7 September Reflective Journal Individual 1,500 words 30% 11:59pm Friday 7 October Research Essay Individual 2,000 words 35% 11:59pm Thurs 3 November Tutorial Participation & Attendance Individual N/A 10% Weekly Weekly 1. Film Sequence Analysis (1,000 wds). Weighting 25% Due Wednesday Sep 7, 11:59pm Select a sequence from one film discussed in Modules 1 and 2 of the unit (see Detailed Tutorial Schedule below) and offer an analysis of the function of ‘film form’ within the sequence. While a film sequence is relatively open as a descriptive category, I encourage you to limit the sequence to a manageable duration. In your analysis, you may wish to consider the following formal film elements: • The Shot as film unit (Bordwell and Thompson, Chapters 4 and 5). A film sequence is a collection of shots strategically set in relation to each other. Prior to embarking on your written analysis, you should view your sequence as a breakdown of individual shots. Consider how these shots impact on the sequence as a whole. Within the shot, you may choose to consider mise en scène (‘in the frame’) and cinematography (including lighting, position and movement of the camera, and duration). • Montage (Bordwell and Thompson, Chapter 6). In Bordwell and Thompson, the concept of montage (shots in relation to each other) is covered under “The Relation of Shot to Shot”. What is the ‘montage strategy’ employed in the sequence you have chosen? Is the sequence founded upon a series of shots building ‘continuity’, ‘discontinuity’ or a combination of the two? And what is the effect of this series of cuts within your chosen sequence? To take an example, what is the effect/function of the ‘jump cut’ in an early sequence in Godard’s À Bout de Souffle [Breathless], examined in week 9? • Sound (Bordwell and Thompson, Chapter 7) Consider the effect of diegetic and non-diegetic sound in your sequence. In what way does sound work with (or even against) the visual field? What is the overall effect of sound on your engagement with the sequence as a whole? Can sound enhance the function of visual formal elements? Can sound work autonomously – that is, can its function ever be separated from the visual image of film? • Narrative (Bordwell and Thompson, Chapter 3). Mainstream film has evolved primarily as a narrative form. However, narrative is more than simply ‘story and character’. In your analysis, consider the how of storytelling. How does your sequence reveal a ‘narrational strategy’ above and beyond story, character and theme? How is this story being told to us? And what is the purpose of this mode of storytelling? In this assessment, you may build on your sequence analysis by strategically drawing on topics discussed in Module 2: the screenplay as film form, film genre, auteur cinema, film and ideology, new digital cinema, etc. However, your sequence analysis should draw on and identify formal elements outlined above: ‘the shot’, ‘montage’, ‘sound’, and ‘narrative’, exploring their function as formal strategies in production, and their effect on on the spectator. For an example of a formal examination of a sequence, see my analysis of a scene in Hitchcock’s Vertigo, in the ‘Film Clips Archive’ in Blackboard. 2. Reflective Journal: ‘The Film Viewing Experience’ (1,500 wds). Weighting: 30% Due Friday October 7, 11:59pm. Maxim Gorky’s account of a film viewing experience in July, 1896: “I was at Aumont’s and saw Lumière’s cinematograph – moving photography. The extraordinary impression it creates is so unique and complex that I doubt my ability to describe it with all its nuances… As you gaze at it, you see carriages, buildings and people in various poses, all frozen into immobility… But suddenly a strange flicker passes through the screen and the picture stirs to life. Carriages coming from somewhere in the perspective of the picture are moving straight at you, into the darkness in which you sit; somewhere from afar people appear and loom larger as they come closer to you… All this moves, teems with life and, upon approaching the edge of the screen, vanishes somewhere beyond it…” In Walter Murch, “Black and White and in Color,” McSweeney’s, Oct 3, 2007. This assessment requires you to keep a reflective journal of your experience of film viewing in this unit of study. In your journal, you are required to comment on at least 4 films screened during semester, paying attention not only to your response to the film (i.e. “what I thought of the film”), but the conditions of viewing – was it a unit of study screening, was it viewed in isolation on a laptop, or with friends at a public screening? What is the unique affect of a viewing experience, rather than simply ‘a film’? In the journal, I want you to consider: • Your evaluation: what did you think of the film, or films, or the films in comparison? But evaluation is a critical process; it is not purely a matter of personal taste. For two excellent pieces on approaches to film analysis and criticism, see: Bordwell and Thompson, “Evaluation: Good, Bad, or Indifferent,” pp. 60-62; and David Bordwell, “Studying Cinema,” David Bordwell’s Website on Cinema, 2000, accessed May 20, 2014, http://www.davidbordwell.net/essays/studying.php • A personal assessment of your experience – how were you ‘affected’ by the film/s throughout semester? As a reader of your journal, I’m looking for subtle, exploratory, adventurous readings of how you ‘experience’ cinema. How have these films impacted on you as spectator – or as the member of an audience? How does the film experience enter into the wider context of your life experience? How have these films come to mean something to you? • Your engagement with the film within the context of the unit as a whole. How has your viewing experience been enriched through the various film studies discourses we’ve opened up in the course? How has the material in lectures, tutorial discussions, and your readings enriched your viewing of the films each week? How has the material enriched your capacity to reflect on this body of cinema? While I encourage you to attend all screenings, I understand that this will not be possible for all. Thus, I ask you to be sensitive to the unique form of your viewing experience. In your selection of films, reflect upon your relationship to the series of films you’ve chosen as a whole. In this assessment, you thus become a curator of a program, providing a reflective rationale for your selection of films. While this is a personal reflection of a viewing experience, it is not a diary. You should reference any material cited, and situate your written reflections within a scholarly discourse. I encourage you to reflect on your subjective response to the films, but this response should nonetheless be contextualized within the broader field of study in the unit. Last (and I can’t stress this enough): your journal should be a work informed through development and reflection. It should be maintained, added to, revised, raised as a topic for discussion in tutorials, and so on, as you progress through the unit. It should not be cobbled together on the morning of submission! I would anticipate anywhere from three to ten separate entries in your journal. 3. Research Essay (2,000 wds). Weighting 35% Due Thursday November 3, 11:59pm. A series of topics for the research essay will be provided in week 7, and discussed in detail in tutorials. Your essay must examine at least two films on the course not examined in assessment 1 (Film Sequence Analysis). However, you are free to use any films discussed in your Reflective Journal as the basis for your Research Essay. 4. Tutorial Participation Mark. Weighting 10% Tutorials are a space in which to present ideas in an open, interactive forum. Tutorials in the unit of study should be thought of as collaborative and organic. You will find your tutorial a friendly, welcoming space, as you work between small and large group discussions. It is expected that you will complete required reading prior to you tutorial each week. LIBR1000: Library and Research Skills – Non-Assessable Online Quiz In addition to the assessment tasks of the unit, you are required to complete an online quiz on Library and Research Skills. This quiz is not assessable, though completion of the quiz is required to pass the unit. The quiz must be completed by 5pm, October 5. In Blackboard, click on the ‘LIBR1000 Quiz’ icon and follow the instructions to work your way through the library tutorials. When you have completed the library tutorials, you are ready to attempt the LIBR1000 Quiz! If you have previously completed the LIBR1000 Quiz, there is no need to attempt it again. ALL ASSESSMENT TASKS MUST BE COMPLETED TO PASS THIS UNIT OF STUDY ASSESSMENT CRITERIA This unit uses standards-based assessment for award of assessment marks. Your assessments will be evaluated solely on the basis of your individual performance. SUBMISSION OF ASSESSMENTS Compliance Statements All students are required to submit an authorised statement of compliance with all work submitted to the University for assessment, presentation or publication. A statement of compliance certifies that no part of the work constitutes a breach of the Academic Honesty in Coursework Policy 2016. The format of the compliance statement will be in the form of: a. a University assignment cover sheet; or b. a University electronic form. Assessment Submission Submission of assessment tasks will be required by the due date. Written assessments must be submitted online through the LMS. Other assessments, for example visual or oral assessments, must be submitted according to the assessment instructions. Work not submitted on or before the due date are subject to a penalty of 2% per day late. Refer to http://sydney.edu.au/arts/current_students/late_work.shtml for the Policy on Late Work. ACADEMIC DISHONESTY AND PLAGIARISM Academic honesty is a core value of the University, so all students are required to act honestly, ethically and with integrity. This means that the University is opposed to and will not tolerate academic dishonesty or plagiarism, and will treat all allegations of academic dishonesty and plagiarism seriously. The consequences of engaging in plagiarism and academic dishonesty, along with the process by which they are determined and applied, are set out in the Academic Honesty in Coursework Policy 2016. You can find these documents University Policy Register at http://sydney.edu.au/policies (enter “Academic Honesty” in the search field). Definitions According to the Policy, plagiarism means representing another person’s work (i.e., ideas, findings or words) as one’s own work by presenting, copying or reproducing it without appropriate acknowledgement of the source. Academic dishonesty means seeking to obtain or obtaining academic advantage for oneself or others (including in the assessment or publication of work) by dishonest or unfair means. Academic dishonesty includes, but is not limited to: • Resubmission (or recycling) of work that is the same, or substantially the same as work previously submitted for assessment in the same or in a different unit of study. Every unit of study expects each student to produce new material based upon research conducted in that unit; • Dishonest plagiarism; • Engaging another person to complete or contribute to an assessment in your place; and • Various forms of misconduct in examinations (including copying from another student and taking prohibited materials into an examination venue). Use of Similarity Detection Software Students should be aware that all written assignments submitted in this unit of study will be submitted to similarity detecting software known as Turnitin. Turnitin searches for matches between text in your written assessment task and text sourced from the Internet, published works, and assignments that have previously been submitted to Turnitin for analysis. There will always be some degree of text-matching when using Turnitin. Text-matching may occur in use of direct quotations, technical terms and phrases, or the listing of bibliographic material. This does not mean you will automatically be accused of academic dishonesty or plagiarism, although Turnitin reports may be used as evidence in academic dishonesty and plagiarism decision-making processes. Further information about Turnitin is available at http://sydney.edu.au/arts/current_students/plagiarism_and_turnitin.shtml. SPECIAL CONSIDERATION Students can apply for Special Consideration for serious illness or misadventure. An application for special consideration does not guarantee the application will be granted. Further information on applying for special consideration is available at http://sydney.edu.au/arts/current_students/special_consideration.shtml. OTHER POLICIES AND PROCEDURES RELEVANT TO THIS UNIT OF STUDY The Faculty’s Student Administration Manual is available for reference here http://sydney.edu.au/arts/current_students/student_admin_manual.shtml. Most day-today issues you encounter in the course of completing this Unit of Study can be addressed with the information provided in the Manual. It contains detailed instructions on processes, links to forms and guidance on where to get further assistance. YOUR FEEDBACK IS IMPORTANT The Unit of Study Survey The University conducts an online survey for units of study every semester. You will be notified by email when the survey opens. You are encouraged to complete the survey to provide important feedback on the unit just before the end of semester. You can complete the survey at http://www.itl.usyd.edu.au/surveys/complete How Student Feedback has been used to develop this Unit of Study Student feedback has informed the ongoing development of this course. STAYING ON TOP OF YOUR STUDY For full information visit http://sydney.edu.au/arts/current_students/staying_on_top.shtml The Learning Centre offers workshops in Academic Reading and Writing, Oral communications Skills, Postgraduate Research Skills, Honours, masters Coursework Program, Studying at University, and Workshops for English Language and Learning. Further information about The Learning Centre can be found at http://sydney.edu.au/stuserv/learning_centre/. The Write Site provides online support to help you develop your academic and professional writing skills. All University of Sydney staff and students who have a UniKey can access the WriteSite at http://writesite.elearn.usyd.edu.au/. The FASS Writing Hub has a wide range of programs at both Undergraduate and Postgraduate levels that focus on writing across the curriculum. The FASS Writing Hub offers drop-in sessions to assist students with their writing in a one-to-one setting. No appointment is necessary, and this service is free of charge to all FASS students and/or all students enrolled in WRIT units. To find out more visit http://sydney.edu.au/arts/teaching_learning/writing_hub/index.shtml. Pastoral and academic support for Aboriginal and Torres Strait Islander students is provided by the STAR Team in Student Support services, a dedicated team of professional Aboriginal people able to respond to the needs of students across disciplines. The STAR team can assist with tutorial support, mentoring support, cultural and pastoral care along with a range of other services. More information about support for Aboriginal and Torres Strait Islander students can be found at http://sydney.edu.au/current_students/student_services/indigenous_support.shtml. Free online Library tutorials are available at http://sydney.edu.au/library/skills, with one designed especially for students studying in the Humanities and Social Sciences at http://libguides.library.usyd.edu.au/. Mobile Learn is the Sydney Uni App for iPhone and Android. The full set of features available on the mobile app for the University LMS can be found in detail in this PDF document: Features in the mobile App for the University LMS (PDF). Search for University of Sydney on the iTunes store or the Android Marketplace, install the app, and you can access the LMS by clicking on the ‘Bb Learn’ icon. Important: due to the limitations of mobile devices you cannot submit assignments using the assignment tool. You should not complete graded tests (quizzes) using your mobile device due to the possibility of internet drop out. OTHER SUPPORT SERVICES Disability Services is located on Level 5, Jane Foss Russell Building G20; contact 8627 8422 or email disability.services@sydney.edu.au. For further information, visit their website at http://sydney.edu.au/stuserv/disability/. Counselling and Psychological Services (CAPS) are located on Level 5, Jane Foss Russell Building G20; contact 8627 8433 or email caps.admin@sydney.edu.au. For further information, visit their website at http://sydney.edu.au/current_students/counselling/. DETAILED SCHEDULE OF TUTORIAL READINGS AND QUESTIONS Week 1: 25 Jul – There are no tutorials this week. MODULE 1 UNDERSTANDING FILM FORM AND ITS FUNCTION Week 2: 1 Aug – Course introduction Required Reading − Bordwell and Thompson, “The Significance of Film Form,” pp. 50-60. − Tom Gunning, “The Cinema of Attractions: Early Film, Its Spectator and the Avant- Garde,” in Early Cinema: Space, Frame, Narrative, ed. Thomas Elsaesser (London: BFI, 1990), pp. 56-62. [ER] Tutorial Discussion Why study film? Week 3: 8 Aug – Film Form: Hugo; Arrival of a Train at the Station; A Trip to the Moon Note: there is a bit of textbook reading this week to flesh out key background concepts in your engagement with film form. But rest assured, this material underpins all of our discussions of film form in Module 1. Required Reading/Viewing − Bordwell and Thompson, “The Shot: Mise en Scène,” pp. 112-133. − Bordwell and Thompson, “Putting It All Together: Mise en Scène in Space and Time,” pp. 140-154. Additional Reading/Viewing − Sergei Eisenstein, “Beyond the Shot [The Cinematographic Principle and the Ideogram],” Film Theory and Criticism: Introductory Readings, ed. Leo Braudy and Marshall Cohen (New York: Oxford University Press, 2009), pp. 27-34. [ER] Note: this is a challenging but very important reading in the history of film theory. What does Eisenstein mean when he suggests that montage (and all of cinema, for that matter) is more than a “succession of shots”? − Man With a Movie Camera (Dziga Vertov, 1929) − Kristin Thompson, “Hugo: Scorsese’s birthday present to Georges Méliès,” David Bordwell’s Website on Cinema (blog), 7 Dec. 2011, http://www.davidbordwell.net/blog/2011/12/07/hugo-scorseses-birthdaypresent- to-georges-melies/ Tutorial Discussion Consider the Lumière Brothers’ Arrival of a Train at a Station (1896), Méliès’ Trip to the Moon (1902), and Scorsese’s Hugo (2011). In what sense do these films reveal a rich history of film form? You may wish to consider technology (film and digital production), formal image elements such as mise en scène (the contents of the frame), cinematography (particularly light and movement) and editing, and the use of narrative (or non-narrative) conventions. Discuss the famous opening sequence of Hugo as a ‘sequence shot’. What makes this shot such a striking example of how cinema has evolved from the time of the Lumière Brothers to today? Consider early and recent films as forms of what Tom Gunning calls “a cinema of attractions.” Week 4: 15 Aug – Form and Style: German Expressionism. The Cabinet of Dr Caligari Required Reading − Paul Cooke, “From Caligari to Edward Scissorhands: The Continuing Meta-Cinematic Journey of German Expressionism,” World Cinema’s ‘Dialogues’ With Hollywood, ed. Paul Cooke (London: Palgrave, 2007), pp. 17-34. [This book is held electronically – search the library catalogue by title and link to the full text.] − Bordwell and Thompson, “German Expressionism,” pp. 469-472. − Bordwell and Thompson, “Framing,” pp. 178-182. Additional Reading/Viewing − Bordwell and Thompson, “The Shot: Cinematography,” pp. 160-215. This chapter is extremely detailed in its examination of various aspects of cinematography. However, it is critical foundational material for Module 1 and Assessment 1. − Un Chien Andalou [The Andalusian Dog] (Luis Buñuel and Salvador Dalí, 1929) − Nosferatu (F. W. Murnau, 1922) − The Third Man (Carol Reed, 1949) Tutorial Discussion How do the formal qualities of The Cabinet of Dr Caligari (and the style of German Expressionism) provide an experience of anxiety and fear? Consider specifically mise en scène in Caligari. In what sense does the film display a world out of kilter? How is ‘expressionist style’ realized through the devices of framing, contrast, and set design? Time permitting, you may wish to consider the effect of transposing Caligari’s German Expressionist style to contemporary Hollywood in Scorsese’s loose remake, Shutter Island (2010). Is Scorsese’s ‘image’ of madness as convincing as Wiene’s? Week 5: 22 Aug – Story, Plot, Narrative. Casablanca Required Reading − Bordwell and Thompson, “Narrative Form,” pp. 72-97. − Bordwell and Thompson, “The Classical Hollywood Cinema,” pp. 97-99; − Peter Wollen, “Godard and Counter Cinema: Vent D’Est,” Movies and Methods, Volume 2, ed. Bill Nichols (Berkeley and Los Angeles: University of California Press, 1985), pp. 501-508. [ER] Additional Reading/Viewing − Bordwell and Thompson, “Continuity Editing,” pp. 233-238. − Warren Buckland, “Introduction: Puzzle Plots,” Puzzle Films: Complex Storytelling in Contemporary Cinema (London: Blackwell, 2009), pp. 1-13. − Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004) − Lola Rennt [Run Lola Run] (Tom Tykwer, 1998) Tutorial Discussion Casablanca utilizes what Bordwell and Thompson call ‘classical’ narrative form. How do they define classical narrative within the Hollywood production mode? Consider the sequence in which Rick is first introduced to the spectator. In what way is his revelation a strategic narrative device, that is, a way of situating his character (and Bogart as screen persona) within the broader narrative frame of the film? View the final glorious sequence in which Rick and Ilsa take leave (sadly!) of each other. Would you describe this as a distinctly classical narrational outcome? In what way does this famous ending depict a classical narrational logic? Wollen argues aggressively for a “counter-cinema,” deploying radically different forms of narrative structure. Can you think of any films that challenge the classical narrational logic displayed in Casablanca? To start you off, what on earth is going on in that final shot in Eternal Sunshine of the Spotless Mind? Week 6: 29 Aug – Welles and Hollywood: Citizen Kane Required Reading − Bordwell and Thompson, “Narrative Form in Citizen Kane,” pp. 99-109. − Bordwell and Thompson, “Frame Mobility: Functions,” pp. 200-204. − Bordwell and Thompson, “Duration of the Image,” pp. 210-216. − Bordwell and Thompson, “The Lens: Depth of Field and Focus,” pp. 174-175 Additional Reading/Viewing − André Bazin, "The Evolution of the Language of Cinema," in What Is Cinema? Volume 1, trans. Hugh Gray (Berkeley and Los Angeles: University of California Press, 1967), pp. 23-40. [ER] − Bordwell and Thompson, “Spatial and Temporal Discontinuity,” pp. 257-264. − The Lady From Shanghai (Orson Welles, 1947) − Touch of Evil (Orson Welles, 1958) Tutorial Discussion In terms of film form, Citizen Kane is the true curiosity of the Hollywood studio cinema: it is classical in style, and yet deeply experimental. In your tutorial discussion, you might consider aspects of mise en scène, cinematography, editing and narrative form, all now very famous elements of Citizen Kane, all underpinning the emergence of Welles as Hollywood’s most visible ‘auteur’. Discuss the use of the ‘long take’ and ‘deep focus’ in a sequence in Citizen Kane, or in the opening to Welles’s Touch of Evil (1958). What is the purpose of these highly expressive formal film elements? What is the function of ‘Rosebud’ within the narrational logic of the film? MODULE 2 FORM, INTERPRETATION, THEORY Week 7: 5 Sep – Film Sound: The Artist Required Reading − Bordwell and Thompson, “Sound in the Cinema,” pp. 266-298. − Michel Chion, “Projections of Sound on Image,” Audio-Vision: Sound on Screen, trans. Claudia Gorbman (New York: Columbia University Press, 1994), pp. 3-24. [ER] Additional Reading/Viewing − Roger Ebert, “The Artist” (Review). December 21, 2011. Accessed 19 June, 2014, http://www.rogerebert.com/reviews/the-artist-2011 − Sarah Kozloff, “Integration,” Overhearing Film Dialogue (Berkeley: University of California Press, 2000), pp. 90-139. [This book is held electronically – search the library catalogue by title and link to the full text.] − Singin’ in the Rain (Stanley Donen, 1952) − The Conversation (Francis Ford Coppola, 1974) Tutorial Discussion Michel Chion suggests that sound has conventionally been thought of as part of the visual image, or even as emanating from the visual image. I would argue that this is our most common spectatorial engagement with sound in film: often peripheral to our viewing experience, almost an afterthought. Thus, Chion coins the term “added value” – sound merely adds value to what is already there in the visual field. But can sound do more? Can sound be a fundamental part of the meaning-making process of film? Can sound even work against our expectations derived from visual form? In its most radical incarnation in cinema, can sound work autonomously from the visual image? Consider the transition to sound cinema in the late 1920s. What must that experience of film sound have been like for the spectator attuned to a silent cinema? What would you say to a filmmaker like F. W. Murnau, who argued that the coming of sound would effectively destroy film as an art form? Week 8: 12 Sep – Film Music: Cat People; 2001: A Space Odyssey; Jaws Required Reading − James Wierzbicki, “Film Music in the Post-Classical Period (1958-2008),” Film Music: A History (London: Routledge, 2010), pp. 187-236. [E-book] − Bordwell and Thompson, “Sound in the Cinema,” pp. 266-298 (revise from last week). Tutorial Discussion Two of the most famous scenes in ‘Cat People’ are those involving the bus and the swimming pool. How does ‘sound’ affect these scenes? Would the scenes benefit from underscore? Speaking of films in general, when does film music rise to the foreground and when does it remain, to use the phrase from Claudia Gorbman’s book and Keats’s poem, an ‘unheard melody’? Is a musical accompaniment, or an underscore, really necessary in the modern film? Can you think of any films that are almost devoid of music? Can you think of any films in which there seems to be too much music? Or inappropriate music? Week 9: 19 Sep – The Screenplay: Fargo Required Reading − Joel Coen and Ethan Coen, Fargo (Screenplay), 1996, http://www.dailyscript.com/scripts/Fargo.txt − Kevin Boon, “Form and Function: The Evolution of the Screenplay,” Script Culture and the American Screenplay (Detroit: Wayne State University Press, 2008), pp. 3- 24. [ER] Additional Reading/Viewing − Herman J. Mankiewicz and Orson Welles, Citizen Kane (Screenplay), 1941, http://www.dailyscript.com/scripts/citizenkane.html − Steven Maras, Screenwriting: History, Theory and Practice, (Wallflower Press, 2009) Tutorial Discussion What essential functions does the screenplay perform in filmmaking? When considering narrative in film, is it meaningful to regard the screenplay as separate from the film; simply a document suggesting character, theme and subtext? Bordwell and Thompson consider the screenplay as another of the elements of film form, possessing the same status as montage or sound. Does this assessment, deny the screenwriter authorship in the film? Increasingly, screenplays are being published and read on their own. Can a screenplay possess value as a document without reference to the completed film that bears its name? Week 10: 3 Oct – Film and/as Ideology: Marie Antoinette Required Reading − Theodor Adorno, “Culture Industry Reconsidered,” The Audiences Studies Reader, ed. Will Brooker and Deborah Jermyn (London: Routledge, 2003), pp. 55-60. [ER] − Suzanne Ferriss and Mallory Young, “Marie Antoinette: Fashion, Third-Wave Feminism, and Chick Culture,” Literature/Film Quarterly 38/2 (2010), pp. 98-116. [ER] Additional Reading/Viewing − Bordwell and Thompson, “Form, Style, and Ideology,” pp. 438-449. − Man With a Movie Camera (Dziga Vertov, 1929) Tutorial Discussion All film is ideological. All film is depicted through a lens that offers a very particular vision of the world. Do you agree? Is Coppola’s Marie Antoinette a ‘cinema of attractions’? How is Versailles constructed as a virtual space and Dunst’s teenage Marie Antoinette a virtual historical figure? In what sense is Coppola’s vision of the past (the late 18th century) in fact a reflection of our present attitudes toward identity and history? In what sense is spectatorship in Marie Antoinette a form of consumption? What is the function of music in the “I Love Candy” montage – diegetic and non-diegetic? Offer a reading of Coppola’s film as teen genre cinema Week 11: 10 Oct – Auteur: À Bout de Souffle [Breathless] Required Reading − Bordwell and Thompson, “The French New Wave (1959-1964),” pp. 485-488 − Bordwell and Thompson, “Breathless,” pp. 415-420. − Bordwell and Thompson, “The New Hollywood and Independent Filmmaking, 1970s- 1980s,” pp. 488-494. − Peter Wollen, “From Signs and Meaning in the Cinema: The Auteur Theory [Howard Hawks and John Ford]” in Film Theory and Criticism, ed. Brady and Cohen. 7th ed. (Oxford: Oxford University Press, 2009), 455-470. [ER] Tutorial Discussion To be confirmed. Week 12: 17 Oct – Film Genre: High Noon Required Reading − Bordwell and Thompson, “Film Genres,” pp. 328-348. − Bordwell and Thompson, "The 1980s and After,” pp. 491-492. − Bordwell and Thompson,"Hollywood and Independents, To Be Continued,” pp. 493- 494. − Richard Maltby, “Chapter Four: Genre,” 74-110 (notes 608-612) in Hollywood Cinema, 2nd ed. (Malden, MA: Blackwell Publishing, 2003). [ER] Tutorial Discussion To be confirmed. Week 13: 24 Oct – Film and Digital: Unfriended Required Reading/Viewing Additional Reading/Viewing Tutorial Discussion To be confirmed
ENGL1011:代写 Introduction to Film Studies代写