COURSE OUTLINE

The Department of Theatre, Film and Video Production (TFVP)

2010-06-17T10:38:00.001-07:00

Theatre, Film, and Video Production Classroom

All entering students beginning their studies are enrolled in an integrative course sequence designed to establish a collaborative educational context and create a foundation for advanced study that is informed by allied disciplines and an understanding of complementary areas of concentration. This cross-disciplinary sequence is an experience in the varying techniques and modes of live and recorded drama, from conception to creation. Topics are woven together in coursework to incorporate both theory and practice, and include studies in:

Performance
Dramatic and cinematic literature
Camera equipment and techniques
Production design
Costume design
Criticism and analysis
Collaborative creation
Scriptwriting
Playwriting
Directing
Staging

San Francisco State University

2010-03-04T11:28:00.000-08:00

READING LIST

This is a list of Recommended, Not required, reading. Absorbing this list is not a prerequisite for entrance into the M.A. program, but it can help with your preparation. The Foundation List is a short list of the works the faculty recommends as most valuable prior to beginning the program. The Extended List is a longer selection of works you may wish to pursue over a greater period of time.

Foundation List:

Andre Bazin, What Is Cinema, vols. 1, 2.

Sergei Eisenstein, Film Form and Film Sense

Louis Althusser, “Ideology and the Ideological State Apparatuses,” in Lenin and Philosophy

Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction,” in Illuminations

Laura Mulvey, “Visual Pleasure and Narrative Cinema,” in Movies and Methods, vol. 2

Bill Nichols, ed., Movies and Methods, vol. 1, 2.

Edward Said, Orientalism

Frantz Fanon, Black Skin, White Masks

Michel Foucault, History of Sexuality

Roland Barthes, Mythologies

Sigmund Freud, The Interpretation of Dreams

The Oxford Guide to Film Studies (skim the book, read entries in your area of interest closely and pursue some of the recommended readings in those areas)

Extended List:

Peter Wollen, Signs and Meaning in Cinema

Robert B. Ray, A Certain Tendency of the Hollywood Cinema

Trinh T. Minh-ha, Woman, Native, Other

Roland Barthes, Image/Music/Text

Tom Gunning, "The Cinema of Attractions: Early Film, Its Spectator and the

Avant-Garde"

Lester Friedman, ed., Unspeakable Images: Ethnicity and American Cinema

Siegfried Kracauer, From Caligari to Hitler

Susan Sontag, On Photography

Judith Butler, Gender Trouble

Raymond Williams, Keywords

Frank Lentricchia and Thomas McLaughlin, Critical Terms for Literary Study

Teshome Gabriel, Questions of Third Cinema

Robert Kolker, The Altering Eye (OUP; available on-line under book title)

Christine Gledhill, ed., Home is Where the Heart Is: Studies in Melodrama and the Woman’s Film

Carson, et. al., Multiple Voices in Feminist Film Criticism

P. Adams Sitney, Visionary Film

Bill Nichols, Introduction to Documentary

Ilan Avisar, Screening the Holocaust

Mary Ann Doane, The Desire to Desire

Christian Metz, The Imaginary Signifier

Rick Altman, ed., Sound Theory/Sound Practice

Edward Brannigan, Narrative Comprehension and Film

Roland Barthes, S/Z and Pleasure of the Text

Noel Burch, Theory of Film Practice

70-80s Camera Obscura issues

Joan Copjek, Read My Desire: Lacan Against the Historicists

David Bordwell and Noel Carroll, eds., Post-Theory: Reconstructing Film

Studies

Leo Braudy and Marshall Cohen, eds., Film Theory and Criticism (sixth edition): beware; essays are abridged.

Larry Ceplair and Steven Englund, The Inquisition in Hollywood: Politics in

the Film Community, 1930-1960

Steven DeRosa, Writing with Hitchcock: The Collaboration of Alfred

Hitchcock and John Michael Hayes

Robin Wood, Hitchcock’s Films

Michael Ondaatje, The Conversations: Walter Murch and the Art of Editing

for Film

Jonathan Rosenbaum, Movie Wars: How Hollywood and the Media Limit What

Films We Can See

Tom Schatz, The Genius of the System

Rainer Rother, Leni Riefenstahl: The Seduction of

Genius

Robert Towne, Chinatown and The Last Detail: Two Screenplays

François Truffaut, Hitchcock

Roland Barthes, Camera Lucida : reflections on photography

Pier Paolo Pasolini, Heretical empiricism

Gilles Deleuze, Cinema 1 : the movement-image

Guy Debord, The society of the spectacle

Michel Foucault, The Order of Things

Mike Featherstone, ed., Global Modernities

Gayatri Spivak, The Post-colonial Critic

Fredrick Jameson, Postmodernism or the Cultural Logic of Late Capitalism

Rey Chow, Writing Diaspora

Andrew Aratoa nd Eike Gebhardt, eds., The Essential Frankfurt School Reader

Marianne Hisch, Conflicts in Feminism

Judith Mayne, Cinema and Spectatorship

Phil Rosen, ed., Narrative, Apparatus, Ideology: A Film Theory Reader

Oxford History of World Cinema

Christian Metz, Film Language

David Bordwell, Narration in the Fiction Film

Kaja Silverman, The Subject of Semiotics

John Berger, Ways of Seeing

David Rodowick, The Crisis of Political Modernism

Tony Bennett, Formalism and Marxism

David James, Allegories of Cinema

Fredric Jameson, The Prison House of Language

Sylvia Harvey, May ’68 and Film Culture

Stephen Heath, Questions of Cinema

Carol Clover, Men, Women and Chainsaws

Michel Foucault, Discipline and Punish

Eve Sedgwick, Between Men

Ella Shohat and Robert Stam, Unthinking Ethnocentrism

Marjorie Garber, Vested Interests

Michael Rogin, Black Face, White Noise

Erik Barnouw, History of Documentary

Molly Haskell, From Reverence to Rape

http://docs.google.com/Doc?id=dcmsrndh_151cc3xkjfv

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M.A. Recommended Film List

A List of Core Films for Incoming Grad Students Bill Nichols

Note: The Department of Cinema expects incoming graduate students to possess a reasonable degree of familiarity with films that have proven central to the history of cinema. To that end, at least three advanced film courses are required prior to entering the program. Additionally, the Department expects that new students will be familiar with films in each of the following categories. Familiar means having seen at least 6-10 films/category at least once and having read at least one substantial account that addresses significant aspects of those films (from books or articles). The titles listed are not exhaustive; other titles may be added, and partial knowledge is strongly preferred to significant gaps in knowledge.

Silent Cinema

Rene Clair, PARIS QUI DORT [CRAZY RAY], LE MILLION

Abel Gance, THE WHEEL, NAPOLEON

Luis Buñuel, UN CHIEN ANDALOU

Sergei Eisenstein, STRIKE, BATTLESHIP POTEMKIN, IVAN THE TERRIBLE, I, II, QUE VIVA MEXICO, OCTOBER, THE OLD AND THE NEW

D.W. GRIFFITH, sample of various Biograph shorts, BIRTH OF A NATION, BROKEN BLOSSOMS

Lois Weber, THE BLOT

Fritz Lang, METROPOLIS

F.W. Murnau, NOSFERATU, THE LAST LAUGH

Oscar Micheux, BODY AND SOUL, BIRTHRIGHT, WITHIN OUR GATES

Cecil Hepworth, RESCUED BY ROVER (1902 or so)

Lumiere Brothers, the program of 1895, at least, THE ARRIVAL OF A TRAIN, WORKERS LEAVING THE FACTORY, BATHING THE BABY…

Eric von Stroheim, FOOLISH WIVES, GREED

Alexander Dovzhenko, ARSENAL, EARTH

V. Pudovkin, STORM OVER ASIA, DESERTER

Alexander Kirisinov, MENILMONTANT

F.W. Murnau, NOSFERATU, SUNRISE, FAUST

Alice Guy Blanche, various titles

Georges Melies, A TRIP TO THE MOON, various shorts

Buster Keaton, OUR HOSPITALITY, STEAMBOAT BILL, SHERLOCK JR. THE GENERAL, various shorts

Charlie Chaplin, CITY LIGHTS, THE GOLD RUSH, MODERN TIMES, various shorts

European Cinema

Luis Bunuel, THE DISCREET CHARM OF THE BOURGEOISIE, EXTERMINATING ANGEL

Vittorio De Sica, THE BICYCLE THIEF, UMBERTO D

Julien Duvivier, PEPE LE MOKO

Roberto Rosselini, ROME OPEN CITY, PAISA

Carl Dreyer, THE PASSION OF JOAN OF ARC

Robert Bresson, PICKPOCKET, A CONDEMNED MAN ESCAPED

Rainer Werner Fassbinder, THE MARRIAGE OF MARIA BRAUN, MOTHER KUSTERS GOES TO HEAVEN, FEAR EATS THE SOUL ALI, IN THE YEAR OF THIRTEEN MOONS

Clair Denis, CHOCOLAT

Federico Fellini, 81/2, LA STRADA

Ingmar Berman, PERSONA, WILD STRAWBERRIES, VIRGIN SPRING

Bernardo Bertolucci, THE CONFORMIST, 1900

Jean-Luc Godard, PIERROT LE FOU, BREATHLESS, HAIL MARY, SIX FOUS DEUX, DEUX OR TROIS CHOSES QUE JE SAIS D’ELLE

Peter Greenaway, THE DRAUGHTMAN’S CONTRACT

Miklos Jansco, THE RED AND THE WHITE

Dusan Makavejev, WR: MYSTERIES OF THE ORGANISM, THE CASE OF THE MISSING SWITCHBOARD OPERATOR

Lindsay Anderson, THIS SPORTING LIFE, IF

Sally Potter, THRILLER

David Lean, LAWRENCE OF ARABIA, THE BRIDGE ON THE RIVER KWAI

Jean Renoir, THE RULES OF THE GAME, THE RIVER, BOUDU SAVED FROM DROWNING

Margareta von Trotta, SISTERS, THE LOST HONOR OF KATERINA BLUM

Andre Tarkovsky, ANDREI RUBLEV, THE STALKER, NOSTALGIA, SOLARIS

Francois Truffaut, SHOOT THE PIANO PLAYER, 400 BLOWS

Jacques Tati, MON ONCLE, PLAYTIME

Marlene Gorris, A QUESTION OF SILENCE

Josef von Sternberg, THE BLUE ANGEL

Alain Resnais, HIROSHIMA MON AMOUR

Marta Mazaros, ADOPTION, DIARY FOR MY LOVES

R. Wiene, THE CABINET OF DR. CALIGARI

Andrzej Wajda, ASHES AND DIAMONDS, KANAL, MAN OF IRON, PROMISED LAND

Lina Wertmuller, SWEPT AWAY…, LOVE AND ANARCHY

Michaelangelo Antonioni, THE ECLIPSE, L’AVVENTURA, RED DESERT, ZABRISKIE POINT

Roman Polanski, REPULSION, KNIFE IN THE WATER

Chantal Ackerman, LETTERS FROM HOME, JEANNE DIELMAN

Classic American Cinema (1928-1975)

Charlie Chaplin, THE GREAT DICTATOR

Francis Ford Coppola, THE GODFATHER, I, II

Stanley Donen, SINGIN’ IN THE RAIN [WITH Gene Kelly], TWO FOR THE ROAD

John Ford, STAGECOACH, THE SEARCHERS, YOUNG MR. LINCOLN, FORT APACHE

William Wyler, THE BEST YEARS OF OUR LIVES

Josef von Sternberg, MOROCCO

Dorothy Arzner, DANCE, GIRL, DANCE; CHRISTOPHER STRONG

Fritz Lang, BEYOND A REASONABLE DOUBT, THE BIG HEAT

Alfred Hitchcock, BLACKMAIL, YOUNG AND INNOCENT, STRANGERS ON A TRAIN, NOTORIOUS, VERTIGO, READ WINDOW, PSYCHO, MARNIE

Stanley Kubrick, DR. STRANGELOVE, PATHS OF GLORY, KILLER’S KISS, SPARTACUS

Douglas Sirk, WRITTEN ON THE WIND, ALL THAT HEAVEN ALLOWS

Ernest Lubitsch, THE LOVE PARADE, TROUBLE IN PARADISE

Billy Wilder, SUNSET BOULEVARD, DOUBLE INDEMNITY, SOME LIKE IT HOT, ACE IN THE HOLE

Orson Welles, CITIZEN KANE, TOUCH OF EVIL, F FOR FAKE

Sam Fuller, UNDERWORLD U.S.A., RUN OF THE ARROW, NAKED KISS, SHOCK CORRIDOR, PICKUP ON SOUTH STREET

Nicholas Ray, REBEL WITHOUT A CAUSE

Robert Aldrich, KISS ME DEADLY

Howard Hawks, RIO BRAVO, THE BIG SLEEP, BRINGING UP BABY

Edgard Ulmer, DETOUR

King Vidor, DUEL IN THE SUN, STELLA DALLAS

Michael Curtiz, MILDRED PIERCE, CASABLANCA

Joseph Lewis, GUN CRAZY

Abraham Polonsky, FORCE OF EVIL

Walt Disney, STEAMBOAT WILLIE, FANTASIA, BAMBI, SNOW WHITE

Elia Kazan, ON THE WATERFRONT

Modern American Cinema (1975- )

Arthur Penn, BONNIE AND CLYDE, THE LEFT-HANDED GUN, FOUR FRIENDS

Roman Polanski, CHINATOWN

Bob Rafelson, FIVE EASY PIECES

Steven Spielberg, JAWS, SHINDLER’S LIST

George Lucas, STAR WARS, AMERICAN GRAFFITI

Brian de Palma, GREETINGS, SISTERS, BODY DOUBLE

Ridley Scott, BLADE RUNNER, THELMA AND LOUISE

Robert Altman, NASHVILLE, MACCABE AND MRS. MILLER

Luis Malle, ATLANTIC CITY

Terence Malick, BADLANDS, DAYS OF HEAVEN

Quentin Tarantino, RESERVOIR DOGS, PULP FICTION

Lawrence Kasdan, BODY HEAT

Amy Heckerling, FAST TIMES AT RIDGEMONT HIGH

Peter Bogdanovich, THE LAST PICTURE SHOW

Martin Scorsese, RAGING BULL, TAXI DRIVER

Francis Coppola, THE CONVERSATION, APOCALYPSE NOW

Independent American Cinema

Todd Haynes, SAFE, POISON, SUPERSTAR: THE KAREN CARPENTER STORY

Charles Burnett, KILLER OF SHEEP

Coen Brothers, BLOOD SIMPLE, BARTON FINK

Jim Jarmusch, STRANGER THAN PARADISE, MYSTERY TRAIN

Spike Lee, SHE’S GOTTA HAVE IT, DO THE RIGHT THING

John Cassavetes, SHADOWS, WOMAN UNDER THE INFLUENCE

John Sayles, RETURN OF THE SECAUCUS SEVEN, CITY OF LOVE

Hal Hartley, TRUST, THE UNBELIEVABLE TRUTH

Dennis Hopper, EASY RIDER

Claudia Weil, GIRLFRIENDS

Luis Valdez, ZOOT SUIT, LA BAMBA

Susan Seidelman, DESPERATELY SEEKING SUSAN

John McNaughton, HENRY: PORTRAIT OF A SERIAL KILLER

Steven Soderbergh, SEX, LIES AND VIDEOTAPE, SCHIZOPOLIS, KAFKA

Richard Linklater, SLACKER

Julie Dash, DAUGHTERS OF THE DUST

Jim McBride, DAVID HOLTZMAN’S DIARY

Bill Sherwood, PARTING GLANCES

David Lynch, ERASERHEAD

Lizzie Borden, BORN IN FLAMES

Martin Scorsese, MEAN STREETS

Melvin Van Peebles, SWEET SWEETBACK’S BAADASSSS SONG

Wayne Wong, CHAN IS MISSING

Greg Araki, THE LIVING END

Yvonne Rainer, THE MAN WHO ENVIED WOMEN

Asian Cinema

Akira Kurosawa, THE HIGH AND THE LOW, STRAY DOG, YOJIMBO, THE SEVEN SAMURAI, IKIRU, RASHOMON

Kon Ichikawa, FIRES ON THE PLAIN

Kenji Mizoguchi, THE LIFE OF OHARU, UGETSU

Nagisa Oshima, DEATH BY HANGING, THE CEREMONY

Yasujiro Ozu, TOKYO STORY, EARLY SPRING, LATE SPRING

Chen Kaige, YELLOW EARTH, FAREWELL MY CONCUBINE

Hou Hsaio-Hsien, CITY OF SADNESS, GOODBYE SOUTH, GOODBYE

Satyajit Ray, PATHER PANCHALI, MAHANAGAR [BIG CITY], DISTANT THUNDER, CHARULATA

Zhang Yimou, JU DOU, RAISE THE RED LANTERN

Ishiro Honda, GODZILLA [Japanese, 1954, and American, 1956, versions]

Hiroshi Teshigahara, WOMAN OF THE DUNES

Mani Kaul, Uski Roti [Daily Bread]

Mrinal Sen, BHUVAN SHOME, THE RUINS

John Woo, A BETTER TOMORROW, THE KILLER

Abbas Kiarostami, WHERE IS THE FRIEND’S HOME, LIFE AND NOTHING MORE, THROUGH THE OLIVE TREES, CLOSEUP

Mohsen Makhmalbaf, THE PEDDLER, THE CYCLIST, GABBEH

Ebrahim Forouzesh, THE KEY

African and Latin American Cinema

Glauba Rocha, DER LIONE HAS SEPT CABECAS [THE LION HAS SEVEN HEADS]; BLACK GOD, WHITE DEVIL

Tomas Alea, MEMORIES OF UNDERDEVELOPMENT, THE LAST SUPPER

Nelson Pereira dos Santos, HOW TASTY WAS MY LITTLE FRENCHMAN

Jorge Sanjines, THE COURAGE OF THE PEOPLE, BLOOD OF THE CONDOR

Gillo Pontocorvo, THE BATTLE OF ALGIERS

Ousmane Sembene, BLACK GIRL, EMITAI, XALA, CEDDO

Humberto Solas, LUCIA

Miguel Littin, EL CHACAL DE NAHUELTORO, THE PROMISED LAND

Patricio Guzman, THE BATTLE OF CHILE

Hector Babenco, PIXOTE, KISS OF THE SPIDER WOMAN

Eduardo Coutinho, A MAN MARKED TO DIE [aka TWENTY YEARS AFTER]

Carlos Dieges, QUILOMBO, XICA DA SILVA

Joaquim Pedro de Andrade, MACUNAIMA

Artur Omar, TRISTE TROPICO

Jorge Furtado, ISLE OF FLOWERS (short film)

Luis Bunuel LOS OLVIDADOS

Helvio Soto, BLOODSTAINED NITRATE

Raul Ruiz, TRES TRISTES TIGRES, THE PENAL COLONY

Experimental Cinema

Luis Bunuel, , L’AGE D’OR

Stan Brakhage, WINDOW WATER BABY MOVING, MACHINES OF EDEN, DESIST FILM, and any three other films

Peter Kubelka, ARNULF RAINER, UNSERE AFRIKAREISE

Maya Deren, video of all her works, or at least MESHES OF THE AFTERNOON, AT LAND, RITUAL IN TRANSFIGURED TIME

Chris Marker, LA JETTE

Luis Delluc, FEVER

Germaine Dullac, THE SMILING MADAME BEUDET

Carolee Schneeman, FUSES

Jack Smith, FLAMING CREATURES

Man Ray, complete works (videotape)

Hans Richter, complete works (videotape)

Kenneth Anger, complete works (videotape)

V. Pudovkin, CHESS FEVER

Su Friedrich, THE TIES THAT BIND

Jay Rosenblatt, THE SMELL OF BURNING ANTS, KING OF THE JEWS, HUMAN REMAINS

Rea Tajiri, HISTORY AND MEMORY

Peter Forgacs, FREE FALL, DANUBE EXODUS, THE MAELSTROM

Bruce Conner, A MOVIE, MARILYN X FIVE, COSMIC RAY

Jean Cocteau, BLOOD OF THE POET, ORPHEUS

Andy Warhol, BLOW JOB, FLESH, TRASH

Michael Snow, WAVELENGTH

David Rimmer, VARIATIONS ON A CELLOPHANE WRAPPER, WATCHING FOR THE QUEEN, SURFACING ON THE THAMES

Laura Mulvey and Peter Wollen, RIDDLES OF THE SPHINX

George Kuchar, various shorts

Trinh T. Minh-ha, REASSEMBLAGE, SURNAME VIET GIVEN NAME NAM

Bill Viola, various shorts

Gary Hill, various shorts

Woody and Seina Vasulka, various shorts

Documentary Cinema

Luis Bunuel, LAND WITHOUT BREAD

Les Blank, BURDEN OF DREAMS

Christine Choy and Renee Tajima, WHO KILLED VINCENT CHIN?

Claude Lanzmann, SHOAH

Marcel Ophuls, THE SORROW AND THE PITY, HOTEL TERMINUS: THE LIFE AND TIMES OF KLAUS BARBIE

Errol Morris, THE THIN BLUE LINE; GATES OF HEAVEN; FAST, CHEAP AND OUT OF CONTROL

Barbara Kopple, HARLAN COUNTY, USA

Jean Rouch, LES MAITRES FOUS, JAGUAR, CHRONICLE OF A SUMMER

Drew Associates, PRIMARY, THE CHAIR

Maysles Brothers (David and Albert), SALESMAN, GIMME SHELTER

Fred Wiseman, HIGH SCHOOL, TITICUT FOLLIES, MODEL

Hara Kazuo, THE EMPEROR’S NAKED ARMY MARCHES ON, EXTREMELY PERSONAL EROS: LOVE SONG

Robert Flaherty, NANOOK OF THE NORTH, LOUISIANA STORY

Mikhail Kalatozov, SALT FOR SVANETIA

Dziga Vertov, MAN WITH A MOVIE CAMERA, THREE SONGS FOR LENIN, SYMPHONY OF THE DON BASIN, KINO-PRAVDA

F. Solanas, THE HOUR OF THE FURNACES

D. Pennebaker, DON’T LOOK BACK, MONTEREY POP, THE WAR ROOM

Connie Field, THE LIFE AND TIMES OF ROSIE THE RIVETER

Emile de Antonio, IN THE YEAR OF THE PIG, POINT OF ORDER, PAINTER’S PAINTING

Joris Ivens, SPANISH EARTH, NEW EARTH, INDONESIA CALLING

Isaac Julien, LOOKING FOR LANGSTON

John Akomfrah, HANDSWORTH SONGS

http://docs.google.com/Doc?id=dcmsrndh_152cvm7q9ff

Film - HIBBING COMMUNITY COLLEGE

2009-09-26T11:44:00.000-07:00

HIBBING COMMUNITY COLLEGE

COURSE OUTLINE

COURSE TITLE & NUMBER: Film: ENGL 1170 (Formerly ENGL117)

CREDITS: 3 (Lec 2 / Lab 1)

PREREQUISITES: ENGL 1060: Freshman Composition

CATALOG DESCRIPTION:

Film is an introductory course in which students analyze American and foreign films in order to gain an understanding and appreciation of film as an art form. The course focuses on how cinematic techniques affect production, quality, and meaning. Films representative of realism, classicism, and formalism and the directors who produced them are analyzed. Students will gain an understanding of film through the development of written and oral communication skills.

OUTLINE OF MAJOR CONTENT AREAS:

I. Literary elements

A. Conflicts

B. Protagonist

C. Antagonist

D. Denouement

E. Setting

F. Flat character

G. Round character

H. Stock character

I. Static character

J. Dynamic character

K. Foil character

L. Theme

M. Points of view

N. Symbol and irony

O. Plot

P. Plot manipulation

II. Cinematography

A. Realism

B. Formalism

C. Classicism

D. Cinematic shots

1. Frame

2. Medium-shot

3. Close-up

4. Full-shot

5. Deep-focus shot

E. Genre

F. Angles

1. Bird's-eye view

2. High angle

3. Eye-level shot

4. Low angle

5. Oblique angle

G. Light and dark

1. High-key

2. Low-key

3. Light-dark symbolism

4. Backlighting

H. Color

I. Film noir

J. Lens and filters

III. Mise en scene

A. Frame

B. Masking

C. Composition and design

1. Dominant contrasts

2. Subsiding contrasts

D. Proxemic patterns

1. Intimate

2. Personal

3. Social

4. Public

E. Open and closed frames

IV. Movement

A. Kinetics

B. Moving camera

1. Pans

2. Tilts

3. Dolly shots

4. Zoom

5. Aerial

C. Mechanical distortion of movement

1. Animation

2. Fast motion

3. Slow motion

4. Reverse

5. Freeze frames

V. Editing

A. Cross-cutting

B. Flashbacks

C. Flash-forwards

D. Montage

E. Storyboarding

VI. Sound

A. Sound effects

B. Music

VII. Character

A. Character selection

B. Style of acting

VIII. Ideology

A. Avant-garde

B. Surrealism

C. Feminism

IX. Cultural contexts

A. Political

B. Economic

C. Ethical

D. Spiritual

E. Social

COURSE GOALS/OBJECTIVES/OUTCOMES:

The student will

1. define conflict.

2. identify conflicts in film and analyze how they affect meaning.

3. define protagonist and antagonist.

4. identify protagonist and antagonist in film and analyze how they affect meaning.

5. define denouement.

6. identify denouement in film and analyze how it affects meaning.

7. define setting.

8. identify setting in film and analyze how it affects meaning.

9. define flat, round, stock, static, dynamic, and foil characters.

10. identify examples of varied types of characters and analyze how they affect meaning.

11. define theme in film.

12. identify theme in film and evaluate its meaning.

13. define point of view.

14. identify various points of view and analyze how they affect meaning.

15. define symbol.

16. identify symbols in film and analyze how they affect meaning.

17. define irony.

18. identify irony and analyze how it affects meaning.

19. define plot.

20. identify plot in film and evaluate the effectiveness of its development.

21. define plot manipulation.

22. identify plot manipulation in film and evaluate the effectiveness of its use.

23. define realism, classicism, and formalism.

24. identify realism, classicism, and formalism in specific American and foreign films.

25. analyze and evaluate the effectiveness of cinematic shots.

26. define genre and identify it in specific films.

27. categorize films according to genre and identify it in specific films.

28. analyze and evaluate the effectiveness of cinematic angles.

29. analyze and evaluate the effectiveness of high-key cinematic contrasts.

30. analyze and evaluate the effectiveness of low-key cinematic contrasts.

31. analyze and evaluate the effectiveness of light-dark cinematic symbolism.

32. analyze and evaluate the effectiveness of backlighting.

33. analyze and evaluate the cinematic techniques of color and explain how they enhance meaning.

34. define film noir and identify it in specific films.

35. analyze and evaluate the cinematic use of lens and filters and explain how it enhances meaning.

36. define mise en scene.

37. define frame and identify it in specific films.

38. analyze and evaluate how frame enhances the meaning of the film.

39. define masking and identify it in specific films.

40. analyze and evaluate how masking enhances the meaning of the film.

41. define composition and design.

42. analyze and evaluate how composition and design enhance the meaning of the film.

43. define dominant contrasts and identify them in specific films.

44. analyze and evaluate the effectiveness of dominant contrasts.

45. define and identify proxemic patterns and identify them in specific films.

46. analyze and evaluate the effectiveness of proxemic patterns.

47. define open and closed forms and identify them in specific films.

48. analyze and evaluate the effectiveness of open and closed forms.

49. define kinetics.

50. analyze and evaluate the effectiveness of moving camera techniques (kinetics).

51. analyze and evaluate the effectiveness of the mechanical distortion of movement.

52. recognize, define, analyze, and evaluate the various cinematic techniques of editing and how they enhance the meaning and development of the film.

53. analyze and evaluate the effectiveness of music and sound effects.

54. evaluate character selection and analyze how it affects meaning.

55. analyze and evaluate how the various styles of acting enhance the meaning and development of the film.

56. define avante-garde and explain this theory as represented in specific films.

57. define surrealism and explain this intellectual movement as represented in specific films.

58. define feminism and explain this intellectual movement as represented in specific films.

59 analyze and evaluate the effectiveness of the various ideologies expressed in film.

60. apply the critical film terminology to the analysis and evaluation of American and foreign films.

61. analyze and interpret American and foreign films for theme.

62. compare and contrast American to foreign films for theme, cinematic techniques, and political and cultural views and values.

63. gain an appreciation for American and foreign films by learning how to evaluate them critically.

64. identify political, economic, ethical, spiritual, and social issues in American and foreign films and analyze how they affect meaning.

MNTC GOALS AND COMPETENCIES MET:

Humanities and Fine Arts, Area C (Literature)

Global Perspective

HCC COMPETENCIES:

Communicating Clearly and Effectively

Thinking Creatively and Critically

Working Productively and Cooperatively

STUDENT CONTRIBUTIONS:

Students are expected to attend all class sessions and watch all films. Learning and growth as a student are best achieved through self-discovery, class interaction, debate, and collaborative learning so attendance is critical to a student's success. In addition, students are expected to participate in activities and discussions, listen to and follow directions, complete assignments on time, request assistance when needed, work collaboratively, and contribute to a productive learning environment.

To request disability accommodations, please contact

the disability coordinator on campus.

Students are encouraged to discuss their individual needs with the instructor.

METHODS FOR EVALUATING STUDENT LEARNING:

The final grade is based on class participation, critical analysis and evaluation essays, and a final examination.