ENGL 125: Introduction to Film History & Film Analysis

ENGL 125: Introduction to Film History & Film Analysis

Prof. Lisa ManterLecture/Discussion: T/Th 11:20-12:50

Office: Dante 300Viewings: T 4:30

Office Phone: X4462

Office Hours: T/Th 11:20-12:20, Wednesdays by appointment

Course Description:

The Master of Suspense, whose career ranges from the silent period to the seventies, will be our guide through the history of American and European cinema. His films have won over both popular audiences and film critics with their morbid sense of humor and ability to reveal the dark side of everyday life. His artistic career reflects the developments of 20th century cinema, and his innovative use of film techniques and his commitment to “shooting for the camera” have made him one of the most influential directors in the eyes of modern film-makers. Each week we will view and discuss a Hitchcock film that is representative of a particular stage of film history. In addition, these films will serve as the basis for understanding specific aspects of film analysis (composition, use of lenses and lighting, the addition of sound, camera movement, and editing). Readings from the required text will provide starting point for discussions and serve to introduce you to film analysis and film criticism.

Required Texts:

Louis Giannetti. Understanding Movies. 11th ed. Prentice Hall, 2005.

(ISBN: 9780131890985)

Marshall Deutelbaum & Leland Poague. A Hitchcock Reader. Iowa State UP,

1986. (ISBN: 0813808928)

LEARNING OUTCOMES & GRADE BREAKDOWN:

This course is part of the Core’s Pathways to Knowledge, fulfilling the part of the Artistic Understanding Learning Goal that asks students to analyze, interpret and critique works of art, considering the role of formal methods and techniques, and historical contexts. As part of this goal, students will be asked to analyze and interpret the form and meaning of selected films. You will learn to apply discipline-based critical vocabulary and theory to explore Hitchcock’s works, as well as learn about how these works fit into the history of film. We will do this in two ways. First, after learning about film techniques, film history, and film theory through lecture and reading, you will practice what you have learned by taking film notes, writing discussion questions, sharing insights in seminar-style discussion, and completing short in-class quizzes. Second, you will apply what you have learned about film techniques, film history, and film theory by analyzing and interpreting specific films. Exams and short essays will be the means of assessing your grasp of what you have learned and how well you can apply it.

PRACTICE (30%):

Participation (10%): In order to participate effectively you must be appropriately prepared (see below) and be willing to listen carefully to other members of the class so that you can engage in a critical, but good-natured, exchange of ideas. All students are expected to respect other members of the discussion and all comments should contribute to our understanding of the films and texts. Although participation does not factor into your final grade significantly, students who make use of discussion to test out their cinematic analysis skills (by sharing observations about technical elements, trying out interpretations, and wrestling with the theories raised in the interpretive essays) tend to do better on quizzes, exams, and essays. This is a place to take risks – not to play it safe.

Film Notes and Questions for Discussion (10%): You will be asked to turn in film notes for the first part of the course to encourage you to practice observing as much detail as you can about each film. In particular, focus on the techniques presented in lecture that week. Also, you will be asked to type up 2 questions plus an initial response to your question for each discussion section. Be sure to address both the viewed film and the readings from the Hitchcock Reader. It is likely that you will be called upon to share at least 1 of your questions and responses during discussion.

Quizzes (10%): There will be four quizzes on lecture material to make sure that you are absorbing the historical material presented. These quizzes are objective rather than interpretive, and are meant to encourage you to review your lecture notes and begin to pull together a cohesive picture of the development of film. Quizzes are timed so you’ll need to know your material cold.

APPLICATION & DEMONSTRATION OF ACQUIRED SKILLS:

Short Essays (20%): There will be one short essay on Citizen Kane that asks you to demonstrate your skills in observing and analyzing film language (see Learning Goal #1). The second essay (on either Psycho / Rear Window) will ask you to dip your toes into the bracing pool of theory. Each essay is worth 10% of your final grade.

Two In-class Exams (20%): These will be described in greater detail as the exam date approaches.

Comprehensive Final Exam (30%): The final exam will ask you to put the skills and knowledge you have gained during the semester to the test. I will show selected film clips and ask you to analyze those clips by describing the film techniques that are used, explaining how the clip contributes to the meaning of the film, and discussing the historical and theoretical significance of the clip and the film it comes from.

Course Requirements And Expectations:

Participation includes preparation, sharing insights, and a commitment to the involve-ment of all members of the class in discussion. Discussion is a communal activity; therefore, active participation involves listening carefully to your fellow students (C), responding sincerely to their comments (C+/B-), and contributing your own insights and questions (B/B+). High-level participation includes drawing other students into the conversation, directing the discussion towards constructive debate, and pulling together differing threads of discussion into a coherent argument (A-/A). I expect all members of the class to participate sincerely, actively and positively.

Regular attendance is expected and required. Because the quality of discussion depends upon your contributions, both as a discussant and a listener, it is your responsi-bility to come to every class prepared to engage with your fellow students. This means that you will not only have completed the viewing and reading but will have also spent time thinking about their significance. You will be expected to come to class prepared with written interpretive questions and thought-provoking issues for discussion. You should be prepared to share these with the class and use the film and text as a basis for your comments.

If you are going to miss a class, contact me in my office beforehand or leave a message with the English department secretary (Gail) X4414. Special circumstances should be discussed with me as far in advance as possible. Absences do not excuse you from quizzes, essay deadlines, or class responsibilities. Any absence will affect your grade, but absences in excess of three classes will result in a lowering of your course grade. Consistent lateness will be counted as an absence.

*If you miss more than 6 days of class discussion, you will not be able to pass the course.*

Policy on late work: In fairness to those who submit their work on time, late essays will be marked down as follows: one level (e.g., B+ to B) if handed in one class period later, two levels (e.g., B+ to B-) if handed in between then and one week after the due date; one full grade if handed in beyond one week (e.g., B+ to C+). No essays will be accepted after the last day of classes except with prior permission. If due to special circumstances you anticipate a problem with one of the due dates, please come me at least 24 hours beforehand to make special arrangements. I am very flexible on essay due dates as long as you notify me in advance.

Special Note for Quizzes and Exams: If you miss the day of a quiz or exam, you will not be able to make up that quiz or exam unless you have notified me beforehand of your absence or there is a severe and verifiable unforeseen circumstance (e.g. you are in the hospital recovering from a fall from a tower due to vertigo, a stab wound from a bread knife, avian lacerations, or the like).

If you are having trouble with any aspect of the course or the material, please come see me in office hours so we can discuss it together and come up with solutions.

Learning Goals:

1. To learn how to analyze film as film

Objectives:

Be able to recognize, describe, and analyze the following elements of

the film image

1. composition/spatial design
2. lighting styles
3. lenses used
4. camera angle and placement
5. camera movement
6. editing techniques

2. To learn the basic history of western narrative cinema

Objectives:

Be able to recognize key names, inventions, films, and movements from the beginning of film until the late 20th century.

3. To be introduced to a variety of theoretical approaches to film through analyzing the films of Alfred Hitchcock and reading important essays on his films.

The overarching purpose of the course is to become an educated film viewer who is able to speak the language of cinema and offer sophisticated readings of films. Having these skills will deepen your level of interaction with the films you see and your ability to share with others your understanding of these films.

Schedule of Reading Assignments and Other Activities

(Be sure to bring all appropriate materials.)

N.B. Readings are to be completed for the day they appear on the syllabus. You will be expected to have not only read them but to have digested them so you can discuss them intelligently in class. Films are also to be seen before the day they are to be discussed. Films will be shown at a designated film viewing time. If you cannot see the film at this time, it becomes your responsibility to rent the film on your own before the day of discussion for that film. (While I try to put films on reserve at the library, there is no guarantee they will be available.)

February 10LECTURE: The Beginnings of Film

Viewing: Vintage Hitchcock

12 LECTURE: Early Cinema / Early Hitchcock

Reading: UM, ch. 1, pp. 2-19; HR, pp. 63-66

17LECTURE: Ufa and Expressionism

Reading: HR, pp. 63-77; UM, ch. 8 (skip Realistic and Nonfictional)

VIEWING: The Lodger (1926)

19DISCUSSION: The Lodger

QUIZ #1

Due: Reading responses

24LECTURE: From Silence to Sound

Reading: UM, ch. 5

VIEWING: Blackmail (1929)

26DISCUSSION: Blackmail

Reading: HR, pp. 78-89

Due: Reading responses

March3LECTURE: Static and Moving Composition

Reading: UM, chs. 2 & 3 (Kinetics)

VIEWING: Singin’ in the Rain

5 LECTURE: Rise of the Studio System--American & European Cinema

Reading: UM, chs. 6 & 7

QUIZ #2

10LECTURE: The Magic of Light and Lens

Reading: UM, ch. 1, pp. 19-36; 41-48

VIEWING: Rebecca (1940)

12DISCUSSION: Rebecca

Reading: UM, ch. 10, pp. 474-493; HR, pp. 135-39

REVIEW FOR EXAM #1 (bring your questions)

17EXAM #1 (15%) – bring a bluebook

VIEWING: Citizen Kane (1941)

19LECTURE: A New Type of Film--The Importance of Citizen Kane

Reading: UM, ch. 12

DISCUSSION: Citizen Kane

HANDOUT: Short essay assignment--scene from Citizen Kane (10%)

24LECTURE: Wartime & Postwar Cinema -- Neorealism, Nationalism & Film Noir

Reading: UM, ch. 10, pp. 448-463; ch. 11 (Theories of Realism)

VIEWING: The Bicycle Thief

26DISCUSSION: The Bicycle Thief

Reading: UM, ch. 8 (Realistic & Nonfictional); HR, pp. 183-91, 207-218

31LECTURE: The Dizzying Camera--Camera Angle & Camera

Movement

Reading: UM, ch. 1 (Angles)

Due: Short technical essay on Citizen Kane

April 2LECTURE: The Dizzying Camera--Camera Angle & Camera

Movement (cont.)

Reading: UM, ch. 3 (Moving Camera & Mechanical Distortions)

VIEWING: Vertigo (1958)

APRIL 4 -13 -- SPRING BREAK

14Camera movement “quiz”

LECTURE: Editing & Montage: Some Cutting Remarks About Film

Reading: UM, ch. 4

QUIZ #3

VIEWING: Vertigo (1958)

16DISCUSSION: Vertigo

Reading: HANDOUT

21LECTURE: Editing & Montage: Some Cutting Remarks About Film (cont.)

Reading: UM, ch. 9, pp. 416-440

Editing “quiz”

VIEWING: North by Northwest (1959)

23 DISCUSSION: North by Northwest

Reading: HR, pp. 249-64

28LECTURE: The French New Wave--Self-conscious Cinema

VIEWING: Rear Window (1954)

Reading: UM, ch. 11 (Formalist & Auteur Theory)

HANDOUT: Short essay assignment--Psycho/Rear Window (10%)

30DISCUSSION: Rear Window

Reading: HR, pp. 193-206, 219-230

REVIEW FOR EXAM #2 (bring your questions)

May 5EXAM #2 (15%) – bring a bluebook

VIEWING: Psycho (1960)

No film notes or write-ups due

7LECTURE: An Intro to Film Theory à la Hitchcock

Reading: UM, ch. 11 (Overview & Structuralism & Historiography)

HR, pp. 305-31

12LECTURE: The New Hollywood, Genres, and the Hitchockian

Influence

DISCUSSION: Psycho, et al. -- Film Theory & Hitchcock

Reading: HR, pp. 332-49; UM ch. 6 (Styles of Acting)

Review UM, ch. 8 focusing on genres

VIEWING: Psycho (1960)

14DISCUSSION: Rear Window and Psycho

Reading: HR, pp. 332-49 (finish)

Due: Short Theory Essay on Psycho / Rear Window

REVIEW FOR FINAL EXAM (bring your questions)

HITCHOCK QUIZ

FINALS WEEK! (18-21)

FINAL EXAM (30%): 11:30-1:30 -- bring 2 blue books