Room: Swan 304 Office: Swan

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1 1 FLM 101 Instructor: Rebecca Romanow Time: M. 6:00-9:45 Mailbox: English Main Office Room: Swan 304 Office: Swan 151 University of Rhode Island Office Hours: MW 11:00-4:00 Fall Course Description Film 101 (4 credits) is an introductory course designed for those who have little or no background in film study. Over the semester, you will be introduced to the elements of cinematography and principles of editing; the means of analyzing narrative structure and interpreting meaning in films; some relevant aspects of International film history and theory; as well as ways to better understand and appreciate film form and style. The focus in this course will be on individual films seen within their literary, artistic and cultural contexts. Required Text Bordwell and Thompson. Film Art: An Introduction. 10th ed. New York: McGraw, Supplementary Readings are on our Sakai site under Resources Grading Your final grade for the course will be determined as follows: 1) Class participation and attendance (10%) 2) Sakai postings (40%) (10 4 points each) 3) Sakai Reflection Essay (10%) 4) Quizzes (15%) (3 quizzes at 5% each) 5) Still Photo Assignment (5%) 6) Shot and Editing Analysis (5%) 7) Final essay (15%) Please note that your attendance and participation in class will affect your final grade. More than four absences will seriously jeopardize your ability to pass this course. STUDENTS MUST COMPLETE ALL ASSIGNMENTS ON TIME IN ORDER TO PASS THIS COURSE!! Grading Scale A C A C B D B D B- 62 and below F C+

2 2 Course Goals 1. To acquire the fundamentals needed for film study. 2. To learn the basic terms and techniques needed for discussing works of film art, and recognize the theories and concepts that are relevant in understanding and analyzing films and visual texts. 3. To apply these terms and techniques descriptively and functionally in film analysis. 4. Identify the narrative, visual, and aural elements of films. 5. Analyze how these elements can contribute to a film's overarching aesthetic and thematic concerns. 6. To engage in the reading and the interpretation of films in their international and cultural contexts. 7. To articulate your understanding of film and filmmaking knowledgeably and effectively, through both written and oral presentations, creating well- organized, thoughtful papers that engage in the critical analysis of the films we are viewing. 8. Demonstrate the ability to evaluate, integrate, and apply appropriate information from various sources to create cohesive, persuasive written arguments. 9. Conduct research in film studies by focusing specifically on how the historical and geographical circumstances of a film s production shape its aesthetic sensibility. 10. To form a classroom community of viewers, readers, writers, and learners which is intellectually supportive and challenging. Student Learning Outcomes Upon successful completion of this course, each student will be able to: General Education: Global Responsibility 1. Understand and articulate individual identity within global contexts through comparison of individual character, national, and cultural depictions in film and the moving image. 2. Develop and apply knowledge of patterns of cultural differences through the use of critical analysis of films and moving images to communicate and interact appropriately with people from other geopolitical areas. 3. Identify the perspective and points-of-view of individuals in varying cultural circumstances through the analysis of films and the moving image. 4. Identify and synthesize knowledge of global implications of individual and societal issues as they are depicted in film and the moving image, and make appropriate, sophisticated decisions relating to those issues. General Education: Arts and Design 5. Identify concepts, terms, and facts related to film studies, film production, and film audiences. 6. Analyze and interpret the significance of film artists, works and ideas through historical knowledge and critical response to film and the moving image.

3 3 7. Demonstrate an understanding of the creative process and the aesthetic principles that guide the art and history of film and the moving image. 8. Appreciate and articulate the varied approaches to film in creative expression, preservation of cultural heritage, social responsibility, and/or global communication. 9. Recognize, comprehend and communicate through film and moving images. Course Requirements Attendance: Class participation is essential to this course, and it is important for all of us to be present. If a student misses three classes in a row, they may not pass this course. More than two unexcused absences throughout the semester will seriously affect your final grade. Two latenesses will be the equivalent of one absence, and being late on a consistent basis will bring down your grade. Students who miss class are responsible for explaining and verifying the absence, and for all assignments given on those days; contact a classmate about what you have missed, and arrange with me immediately to make up any work. If an emergency requires that you miss class, you must let me know within 12 hours of the missed class and/or provide documentation so that I can excuse your absences. It is the policy of the University of Rhode Island to accord students, on an individual basis, the opportunity to observe their traditional religious holidays. Students desiring to observe a holiday of special importance must provide written notification to each instructor. If you notify me in advance, absences for religious holidays, athletic participation, or other university- sanctioned events will be excused. University policy dictates that students with 6 or more unexcused absences over the semester will fail the course. You can reach me at the address above or leave a message in my mailbox in the English Department in Swan Hall. Please note that class participation reflects 10% of your final grade. Standards of Behavior: All members of this class will be expected to conform to basic standards of civility befitting a university classroom. One person s thoughtlessness can distract and unnerve everyone. The guidelines below may seem painfully obvious all the more reason for you to adhere to them: If you text in this class, I reserve the right to confiscate your cell phone for the class period. Unless you have a disability that requires otherwise, do not use laptops in class. Even if you really are taking class notes, laptops are not equivalent to notebooks. Sitting behind a screen is not engaging with your peers. Bring the week s reading to class.

4 4 Don t come and go during class. Unless it is an emergency, wait until the end of class. DO NOT LEAVE CLASS EARLY DURING THE FILM SCREENING WITHOUT A VALID EXCUSE. I DO TAKE NOTICE OF THIS, AND WILL MARK YOU ABSENT FOR THE ENTIRE CLASS PERIOD. Essays: There will be several essays that will be written over the course of the semester. Essays must be typed, in 12 font, double spaced, and with standard 1 margins. Please consider the niceties of page numbers and staples. All work produced out of class is due at the beginning of the class meeting on the date specified. Unless special arrangements have been made, your grade will be dropped for each class period that your paper is late. Each student must complete all assigned writing projects in order to pass the course. No ed papers will be accepted. Final paper is due in your Sakai Dropbox. No late or ed final papers will be accepted. NO ASSIGNMENTS WILL BE ACCEPTED LATER THAN ONE WEEK AFTER THE DUE DATE. NO LATE OR ED FINAL ESSAYS WILL BE ACCEPTED. ESSAY #1 and FINAL PAPERS MUST BE SUBMITTED BY UPLOADING YOUR PAPER INTO YOUR DROPBOX ON SAKAI. SUBMIT TO YOUR PERSONAL SAKAI DROPBOX ON THIS SITE; DO NOT SUBMIT TO ASSIGNMENTS!! PLEASE SUBMIT AS PDF FILE!!! (This is easily done in Word or Pages: for Word, just Save As PDF, for Pages, go to Print, and then save as PDF). TO UPLOAD ON SAKAI, GO TO OUR SAKAI SITE, CLICK ON DROPBOX, AND THEN CLICK ON YOUR NAME. THIS WILL TAKE YOU TO YOUR PAGE. CLICK ON ADD TO THE RIGHT OF YOUR NAME, AND THEN CHOOSE UPLOAD FILES. Finally, when you put your papers in your drop boxes, please make the file title be your last name_101essay#. Keith Brown s midsemester essay would be: Brown_101essay1. When I download them, I need to know whose paper it is. No late or ed final papers will be accepted. SAKAI: Over the course of the semester, you will be required to post comments in the forum of our wiki for 10 of our thirteen class meetings. YOU MUST, HOWEVER, RESPOND TO POSTINGS IN WEEKS # 3, 4, 9, 12, & 13. The other five postings can be in weeks of your choice. Each of these postings is worth 4% of your final grade, for a total of 40 points. These postings will greatly help you to begin to flesh out ideas for future essays and class discussions. Everyone who is registered for this class is automatically a member of our wiki. You can access SAKAI at: Here are some guidelines:

5 5 I will be posting some guidelines for each class. Please respond to these with a thoughtful, well thought- out posting. A brief I liked the movie, or it s well- edited won t do, and you will receive either reduced points or no points for your contribution. Be specific and detailed in your postings. Discuss a specific scene (and tell us which scene it is). Avoid generalized, overall comments. Quote (briefly) from the text when relevant, or point to a page # for others to refer to on the subject that you re discussing. Respond to others postings (politely). A large part of the purpose of the forums is to engage in conversation about the films that we see and the readings in which we are engaged. Don t overdo!! I hate to suggest limits, but one- two solid paragraphs will do. You may also want to go back to the wiki to respond to others discussion of your postings. Only postings made by NOON on the day of our next class will count towards your grade. Please don t leave your posting until the last minute, though, as that means that many of us will not get a chance to read it. I ll be basing our class discussions on what you bring up in the forums, so late postings may get excluded. Film Viewing Journal: Take notes as you watch a film, either in class or at home, to help you collect your thoughts for class and essays. The notes should concern aspects of the film s cinematic treatment as they strike you, not the plot. You may want to focus on particular cinematic elements that you are most interested in: lighting, camera/cinematography, the use of close- ups or long/middle shots, sound, editing, etc. The closer you look at such details and the more notes that you take, the more useful your viewing journal will be for your written assignments and for class discussions. On our Sakai site there are templates for note- taking during Film screenings. Please use them!! Academic Advising: Academic advisors and faculty are available to assist you with course selection, program requirements, and general concerns about pursuit of a college degree. Professional advisors along with advising interns are available on a walk- in basis every day from 9:00-11:30AM and 1-3:00PM in Room 108 Roosevelt Hall. To schedule an appointment with an advisor during daytime hours, call All of advisors can provide you with general information on our programs and classes, but if you have very specific questions it may be better for you to speak with one of our area specialists. By calling the office in advance, we will make sure you are directed to the person who can best assist you. If you cannot make arrangements to meet with an advisor in person, we can arrange for a phone appointment or e- mail advising, whichever is more convenient for you. As a URI student, you may also use the Academic Advising services at University College, in Kingston. For more information on Kingston academic advising service, go to

6 6 Academic Enhancement Center: The work in this course is complex and intensive. To do the best you can, it s a good idea to visit the Academic Enhancement Center (AEC) in Roosevelt Hall. The AEC offers a comfortable environment in which to study alone or together, with or without a tutor. AEC tutors can answer questions, clarify concepts, check understanding, and help you to study. You can make an appointment or walk during office hours - - Monday through Thursday from 9 am. to 9 pm, Friday from 9 am to 1 pm, and Sunday from 4 pm. to 8 pm. For a complete schedule For a complete schedule - including when tutors are available specifically for this class - go to call (401) , or stop by the fourth floor in Roosevelt Hall. The Writing Center: All services provided by the Writing Center are free and available. Students can receive individual or group help with their writing assignments at all stages of the writing process. Assistance is also available in the areas of reading comprehension, critical thinking and reading, and improving study skills. Workshops are geared to specific writing- related topics and study skills are offered throughout the semester. Computer- assisted writing is also available. Hours are posted each semester, and students can just walk in or make an appointment in Roosevelt Hall, 4th Floor or by calling The Writing Center is for all writers, all disciplines, at all levels, and all stages of writing. If an instructor suggests that you go to the Writing Center, it is not a punishment, and does mean that you are a terrible writer. It means the instructor wants you to receive more individualized attention to your writing than s/he is able to provide, given the constraints of the class. It will only improve your grade. If possible, call ahead for an appointment ( ). Drop- in tutorials are often available. You may make repeat appointments, requesting the same tutor each time if you wish. See their Web Page: for tips on how to make the best of your Writing Center visit. Accommodations for Special Needs: "Section 504 of the Rehabilitation act of 1973 and the Americans with Disabilities Act of 1990 require the University of Rhode Island to provide academic adjustments or the accommodations for students with documented disabilities. The student with a disability shall be responsible for self- identification to the Disability Services for Students in the Office of Student Life, providing appropriate documentation of disability, requesting accommodation in a timely manner, and follow- through regarding accommodations requested." It is the student s responsibility to make arrangements for any special needs and the instructor s responsibility to accommodate them with the assistance of the Office of Disability Services for Students. If you have a documented disability, please contact me early in the semester so that we may work out reasonable accommodations to support your success in this course. You can also take advantage of the resources available at Disability Services for Students, Office of Student Life, 330 Memorial Union,

7 7 Academic Honesty: All submitted work must be your own. If you consult other sources (class readings, articles or books from the library, articles available through internet databases, or websites) these MUST be properly documented, or you will be charged with plagiarism and will receive an F for the paper. In some cases, this may result in a failure of the course as well. In addition, the charge of academic dishonesty will go on your record in the Office of Student Life. If you have any doubt about what constitutes plagiarism, visit the following website: the URI Student Handbook, and UNIVERSITY MANUAL sections on Plagiarism and Cheating at - cheating. Any good writer s handbook as well as reputable online resources will offer help on matters of plagiarism and instruct you on how to acknowledge source material. If you need more help understanding when to cite something or how to indicate your references, PLEASE ASK. If you plagiarize, you will fail this course. It is essential that students credit appropriately and accurately all sources of their words and ideas. For the very integrity of the academic enterprise the pursuit of knowledge and truth I will hold students accountable for any instances of plagiarism (that is, the misrepresentation of another s words or original ideas as one s own) or for any other form of academic dishonesty. The penalties for plagiarism will be a grade of F on the assignment in question and a grade of F in the course. In addition, I will report the offense to the Dean s office. Attached is a weekly schedule of our class. I want you to have an idea when readings and papers are due, but I reserve the right to change or modify assignments or the class schedule and film screenings Weekly Schedule Please note: Some films may make some viewers uncomfortable, due to depictions of violence, sexuality, or thematic/ideological stances. If you do not want to view a particular film, please let me know and I will assign you an alternate film to watch. You can check out the films ahead of time on IMDB.com. WEEK ONE Introduction/syllabus; Introduction: Representation and Reality Bordwell, Studying Cinema [in Sakai Resources ] FILM: Duck Amuck (Chuck Jones, US, 1953) 7 min. WEEK TWO Mis- en- scene: Within the Image, ch. 1

8 8 FILMS: The Cabin in the Woods (Drew Goddard, US, 2011) 95 min. La jetée (Chris Marker, France, 1963) 27 min. WEEK THREE Mis- en- scene: Camera Movement, ch. 2 Carlsten City of God [in Sakai Resources ] Duroao, City of God [in Sakai Resources ] FILM: Cidade de Deus (City of God) (Fernando Meirelles and Katia Lund, Brazil/France/US, 2002) 130 min. ** Mandatory Sakai Post Groups for Still Photo Assignment (Groups of 3-4 Students) Using a digital camera, create a story using only still photos. Set up your still shots as if they were moving shots. Think about angles, framing, etc. The first silent films only relied on images to tell a story. You should think about the project like a silent film. These images will be presented to the class as a slideshow using a method of your choice PowerPoint, iphoto, or something similar. We will watch and discuss selected works as a class. WEEK FOUR Mis- en- scene: Cinematography, ch. 3 QUIZ #1 FILM: Tsotsi (Gavin Hood, South Africa/UK, 2005) 94 min. ** Mandatory Sakai Post WEEK FIVE Editing: From Shot to Shot, ch. 4, pp FILM: Searching for Sugarman (Malik Bendjelloul, Sweden/UK, 2012) 86 min. STILL PHOTO ASSIGNMENT DUE WEEK SIX Editing: From Shot to Shot, ch. 4, pp Writing About Editing, pp Filmmakers Magazine, Shooting Tiny Furniture FILM: Tiny Furniture (Lena Dunham, US, 2010) 98 min. WEEK SEVEN Sound, ch. 5 SHOT AND EDITING ANALYSIS DUE Cronshaw, Trainspotting Soundtrack [in Sakai Resources ] FILM: Trainspotting (Danny Boyle, UK, 1996) 94 min. WEEK EIGHT Narrative: From Scene to Scene, ch. 6 QUIZ #2 FILM: True Romance (Tony Scott, US, 1993) 120 min. WEEK NINE Genre, ch. 10 FILM: Ek tha Tiger (Kabir Kahn, India, 2012) 135 min. Group activity ** Mandatory Sakai Post WEEK TEN From Screenplay to Film, ch. 7 Dempsey, Adaptation: Beyond Postmodern FILM: Adaptation (Spike Jonze, 2002, US) 114 min. WEEK ELEVEN Performance, ch. 9

9 9 FILM: Sid and Nancy (Alex Cox, UK, 1986) 112 min.. WEEK TWELVE Filmmakers, ch. 8 QUIZ #3 FILM: Omar (Hany Abu- Assad, Palestine, 2013) 96 min. OR Paradise Now (Hany Abu- Assad, Palestine, 2005) 90 min. ** Mandatory Sakai Post WEEK THIRTEEN Special Effects, ch. 11 Murphy, A Train to Nowhere in a New Ice Age ( the- train- sections- for- bong- joon- hos- snowpiercer.html?_r=0) FILM: Snowpiercer (Joon- ho Bong, South Korea/Czech Republic/US/France, 2013) 126 min. ** Mandatory Sakai Post WEEK FOURTEEN Documentary FLM: Hell and Back Again (Danfung Dennis, US/UK/Afghanistan, 2011) 88 min. OR Jodorowsky s Dune (Frank Pavich, US/France, 2013) 90 min. FINAL PAPERS and SAKAI REFLECTION ESSAY are due in your Sakai Dropbox. No late or ed final papers will be accepted. Each student must complete all assigned writing projects in order to pass the course.

10 10 Writing about Film Over the course of the semester, you will be required to write two essays on films we have screened in class and films of your choice that we have not viewed in class. All of the class films are on reserve in the Media Room at the Library (2 nd floor), as other many other films. You will need to budget your time accordingly to view your film choices or to re- screen films from class. These essays will serve many purposes: 1) they will give you a chance to explore and write about films which are of interest to you, but which may not be on our primary film list; 2) they will serve to give you a chance to work on your skills as a writer, and will prepare you for greater success on our larger papers; 3) they will often provide you with topics and subject matter for the papers to follow, and 4) your thoughts on films outside of our primary list will greatly benefit our class discussions. Some suggestions for your essays: Please avoid plot summary!!!! We only need to know the very barest of details, perhaps a sentence or two. Summarizing the plot is not an effective critique. Decide on a main argument, and let us know what it is in your first paragraph. Some may call this a thesis statement, but what you really want to do is to tell us what you will be arguing early on in your essay. Don t leave it as a surprise for the end. Often, you may want to complete the body of your writing and, as your ideas gel during this process, you will discover your argument. You can then go back and write your first paragraph. This will often save you from much time staring at a blank page. Focus on cinematic elements which show how the film produces the effects you will be discussing. Focus your critique on one specific cinematic element, supporting your argument with specific examples from 2-3 key scenes. For instance, what do we see through the use of camera, light, sound, or editing? How does this film enact a certain genre? How do narrative structure or viewer behavior/expectations contribute to the effect of the film? Pick two or three scenes which support your points, and explain how these scenes show the cinematic element(s) you ve chosen to discuss. Be specific. Quote from the text to support your points!!! You are writing an analytical essay. Please avoid film recommendations or reviews. You do not have to like a film, nor should you be telling your reader whether or not they would enjoy it, rather you should focus on discussing specific cinematic elements and how they are used. If this is a film of your choice, how does this film connect to ones which we have discussed/viewed in class? How does it further our understanding of the ways in which films are constructed?

11 11 Don t forget a conclusion!! Remember to leave time to proofread and revise your work. Your essays should be double- spaced, 12- font, with standard 1 margins. Please include your name! SOME RULES TO WRITE BY: Be sure that your introduction clearly states your main argument. Avoid a long story as you get to your point. Name the director when you introduce the film. Don t write your introduction first! It s the hardest part of any paper, so start by drafting a section that seems less daunting. You may think that you know what you are going to prove in this essay, but writing is part of the thinking process, and, for most of us, we often come to a different conclusion by the end of our writing. That s when you can write your intro, since you will then know what you re argument is! This will often save you from much time staring at a blank page. Discuss one film at a time. Going back- and- forth is very confusing to your reader. Discuss in full the scene(s) from your first film, then move on to the next film. After you have discussed all of the films that you will cover in your essay, you can begin to conclude by making comparisons of the films. Quote from the text to support your points Introduce quotes: e.g. Sikov says that (132). Use MLA style. Get a handbook if you don t have one! Avoid you. ( I is fine; we want your ideas!) Watch out for long paragraphs (or ultra- short ones). Proofread and visibly look at your essay; is it full of extra- long, mind- numbing paragraphs? PROOFREAD, PROOFREAD, PROOFREAD