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FIL 4848: WORLD FILM (3 credit hours)
Time & Location: 2 meetings a week of 150mins each, LRT
Instructor: Gerald Sim, Ph.D. Office Hours: TBA @ CU 217
Phone: 561 297-2050 Email: gsim@fau.edu
COURSE DESCRIPTION
This course is a historical and theoretical analysis of how various national cinemas are connected to their cultural and social localities and how they circulate globally across their borders. While it is essentially about the film traditions that are not produced in Hollywood, it also addresses the impact that Hollywood productions have on the rest of the world. By looking at the films and the history behind them, it examines how culture moves through mass media and how that traffic is related to international relations and political economic structures. This is not a survey of all foreign films. No such class can be organized in a responsible or honest way. But in examining a sample of them, we grapple with the general circumstances and ideas that pertain to all of world cinema.
REQUIRED COURSE MATERIALS (All available at the University Bookstore)
John Hill and Pamela Church Gibson, eds. World Cinema: Critical Approaches (Oxford University Press, 2000)
PDFs of readings available on Blackboard.
ATTENDANCE and PARTICIPATION
Attendance is compulsory at both lectures and discussion sections. Both attendance and participation will affect your final grade. You are expected to attend all class meetings on time, AND are responsible for finding out the events of a meeting in the event of any absence.
The success of this course, and a substantial part of your final grade, relies heavily on the quality of your class participation. Do not underestimate the influence of participation on your final grade. Being an active participant goes beyond being the loudest and the most talkative person in class. You must show that you are engaging with the material and add to the discussion, not detract from it. Take down your ideas, questions, thoughts and reflections on screenings as you view them or immediately after, and on readings as you read them (perhaps on the margins) and be prepared to raise these ideas in class. You are expected to be familiar with screenings and readings.
Disruptive behavior will not be tolerated. The use of cell phones (including text-messaging) during class time (including screenings) is forbidden. Failure to comply will impact the participation grade very significantly. Laptop computers for note-taking only must be used discreetly, with permission and cannot be used during screenings.
DEADLINES AND GRADES
Deadlines are clearly defined, and you are expected to honor them. As a rule, late assignments will be graded down or not be accepted at all.
All work that you turn in must be typed, and stapled or paper-clipped.
All assignments and examinations must be completed. Failure to do so will result in an F for the course.
FINAL GRADES will be based on the following:
Analysis Paper 20% Midterm 20% x2 = 40%
Final Exam 20% Attendance & Participation 20%
OTHER POLICIES
In compliance with the Americans with Disabilities Act (ADA), students who require special accommodations due to a disability to properly execute coursework must register with the Office for Students with Disabilities (OSD) located in Boca Raton - SU 133 (561-297-3880), in Davie - MOD I (954-236-1222), in Jupiter - SR 117 (561-799-8585), or at
the Treasure Coast - CO 128 (772-873-3305), and follow all OSD procedures.
Students at Դɼ are expected to maintain the highest ethical standards. Academic dishonesty, including cheating and plagiarism, is considered a serious breach of these ethical standards, because it interferes with the University mission to provide a high quality education in which no student enjoys an unfair advantage over any other. Academic dishonesty is also destructive of the University community, which is grounded in a system of mutual trust and places high value on personal integrity and individual responsibility. Harsh penalties are associated with academic dishonesty. See www.fau.edu/regulations/chapter4/4.001_Code_of_Academic_Integrity.pdf.
For more details on issues concerning Students with Disabilities or Illnesses, Plagiarism/Student Codes of Conduct or
Absences Due to Illness, consult the University Catalog or Student Handbook. Do not hesitate to ask me for clarification.
COURSE READING LECTURE SCHEDULE
Week 1 Introduction
Course and personal introductions: Syllabi and course policies.
Stephen Crofts, Concepts of National Cinema. (World Cinema: Critical Approaches, Chapter 1)
Screening: Late Spring (Japan: Yasujiro Ozu, 1949)
Week 2 What is World Cinema, National Cinema?
Wimal Dissanayake, Issues in World Cinema. (WC Ch 18)
Screening: Sepet (Malaysia: Yasmin Ahmad, 2004)
Ginette Vincendeau, Issues in European Cinema. (WC Ch 6)
Chris Darke, Ingmar Bergman. (WC Ch 13b)
Screening: The Seventh Seal (Sweden: Ingmar Bergman, 1957)
Week 3
Screening: Reassemblage (USA: Trinh Minh-ha, 1983)
Tokyo-Ga (USA/West Germany: Wim Wenders, 1985)
Khadidiatou Guye, Ethnocultural Voices and African Aesthetics in Trinh Minh-has Reassemblage: From the Firelight to the Screen. (Blackboard)
Freda Freiberg, Japanese Cinema. (WC Ch 23)
Week 4 American/Hollywood Hegemony
EXAM 1
Screening: Captain America: The First Avenger (US: Joe Johnston, 2011)
Week 5 Coexisting with Hollywood
Thomas Elsaesser, The Blockbuster. (BB)
David Cook, Were in the Money! (BB)
John Hill, Film and Television. (WC Ch 27)
Fredric Jameson, Third-World Literature in the Era of Multinational Capitalism. (BB)
Screening: La Haine (France: Mathieu Kassovitz, 1995)
Week 6 French Film Policy
Armand Mattelart, European Film Policy and the Response to Hollywood.(WC Ch 12)
Martine Danan, French Cinema in the Era of Media Capitalism. (BB)
Susan Hayward, Luc Besson. (WC Ch 13e)
Screening: Leon: The Professional (France: Luc Besson, 1994)
Week 7
Frederic Bonnaud, The Amelie Effect.
Screening: Amelie (France/Germany: Jean-Pierre Jeunet, 2001)
Discussion of films and related readings from previous 2 weeks.
Week 8
EXAM 2
Screening and Filmmaker Discussion: Busca Vida (US: Daniel Cardenas, 2011)
Week 9 The Perfect Case of Australian Cinema
Screening: The Chant of Jimmie Blacksmith (Australia: Fred Schepisi, 1978)
Elizabeth Jacka, Australian Cinema. (WC Ch 16)
Murray Smith, Modernism and the Avant-Gardes. (WC Ch 2)
Patricia Mellencamp, "An Empirical Avant-Garde: Laleen Jayamanne and Tracey Moffatt." (BB)
Screening: Nice Coloured Girls (Australia: Tracey Moffatt, 1987)
Night Cries (Australia: Tracey Moffatt, 1989)
Week 10 Issues in Translation in African Cinema: Languages of Cinema and Criticism
Screening: Hynes/Hyenas (Senegal: Djibril Diop Mambty, 1992)
Richard Porton, Hyenas: Between Anti-Colonialism and the Critique of Modernity. (BB)
Philip Gentile, In the Midst of Secrets: Soulemane Cisss Yeelen. (BB)
Week 11
Screening: Yeelen/Brightness (Mali/Burkina Faso/France/W Germany: Souleymane, 1987)
N. Frank Ukadike, African Cinema. (WC Ch 24)
Screening: Borom Sarret (Senegal: Ousmane Sembene, 1963)
DUE IN CLASS: Analysis Paper Assignment
Week 12 Negotiating the Western Festival Circuit: Japan, Korea and China
Screening: Hana-Bi (Japan: Takeshi Kitano, 1997)
William Darrell Davis, Reigniting Japanese Tradition with Hana-Bi. (BB)
Re-read Freda Freiberg, Japanese Cinema. (WC Ch 23)
Week 13
Screening: Chunhyangdyun (South Korea: Kwon-Taek Im, 2000)
Hyangjin Lee, Chunhyang: Marketing an Old Tradition in New Korean Cinema. (BB)
Week 14
Screening: Ju Dou (China: Zhang Yimou)
Brnice Reynaud, Chinese Cinema. (WC Ch 20)
Jenny Kwok, Hero: Chinas Response to Hollywood Globalization.
Week 15
Conclusion
Finals Week FINAL EXAMINATION
PAPER ASSIGNMENT
ANALYSIS PAPER
Write a 5-6 page thesis paper about a non-Hollywood/American film being screened this semester at the Living Room Theaters. This is not a review, but an analytical piece of academic writing that provides a critical interpretation of some aspect of the film that can be illuminated by one or more of the readings assigned for this class. You should draw connections between the course reading(s) and the film, and expand meaningfully on the issues raised in the reading(s). These include, for example, various cinemas relationship to Hollywood hegemony, the integrity/validity of national cinema as a concept, cinemas very capacity to reflect national culture, etc. What idea are you trying to highlight and discuss? Introduce it and explain how you are applying it to the film. You can expand on the idea, or think about it in a new way.
Make a case for its significance to the theoretical and/or historical issues covered in this course. It should generally address the following:
Why is the film you have chosen is worth examining? In other words, how can you use it to discuss one or more of the historical and/or theoretical issues covered in the course?
The production, distribution, exhibition or reception of the film, if relevant.
The formal and narrative aspects of the film, if relevant.
Papers will be evaluated on their clarity of thought, and most importantly, how well they demonstrate engagement with course material. For example, one can easily list the many similarities between the film Leon and Hollywood action-oriented blockbusters. But merely pointing out these similarities mean very little. You must answer the So what? question, and this can be easily accomplished by bringing in ideas and concepts addressed in the readings.
Be careful about excessive and unnecessary plot summary. Be concise and to the point.
References and Citations
All references must be accurately and clearly cited, even though they are from course readings. Citations must include page numbers of sources, and be made within the text of your essay or with footnotes. All the information you need for citations are included in the photocopies. Failure to include full and proper citations will result in a penalty on the paper grade. For guidance, go to sites like: See Research and Citation.
Thesis Statement
In your introduction, build to a thesis statement and describe the progression and trajectory of your paper. In other words, state your overall argument and explain how you will go about making it. Be as clear and declarative as possible in constructing your thesis statement.
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