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FIL 3803: Film Theory, 3 cr hr.
Fall 2011 * Tuesdays 11:00 3:20 * CU 109
School of Communications and Multimedia
Դɼ
Prof. Stephen Charbonneau
Office: CU 215
Office Hours: Thursdays 1 3 pm
Phone: 297-3856
Email: scharbo1@fau.edu
COURSE TEXTS
Film Theory: An Introduction, Robert Stam (Blackwell, 2000)
Film Theory & Criticism, Leo Braudy & Marshall Cohen (Seventh Edition; Oxford, 2008)
Additional Readings on Blackboard
COURSE DESCRIPTION
This course is an introduction to the development of film theory from the classical period of Sergei Eisenstein and Andre Bazin, through the semiotic turn in the sixties, and finally to the post-structuralist, postmodernist, and post-theory developments in the final decades of the twentieth century. Fundamentally, we are concerned with a history of different and competing schools of thought pertaining to an ontology of cinema, its relationship to society, and its impact on the spectator. Key topics for the course include formalis m , r e a l i s m , a u t h o r s h i p , s o c i o l o g y , s e m i o t i c s , p s y c h o a n a l y s i s , f e m i n i s m , a n d c u l t u r a l s t u d i e s .
R E Q U I R E M E N T S
C o u r s e r e q u i r e m e n t s i n c l u d e :
R e a d i n g s f r o m t h e c o u r s e t e x t b o o k s ( F i l m T h e o r y ; F i l m T h e o r y & C r i t i c i s m ) , a s w e l l a s a d d i t i o n a l r e a d i n g s a v a i l a b l e o n B l a c k b o a r d ;
A t t e n d a n c e a t l e c t u r e s a n d c o u r s e s c r e e n i n g s ;
P a r t i c i p a t i o n i n d i s c u s s i o n s ;
R e a d i n g R e s p o n s e N o t e b o o k ( D u e D e c e m b e r 6 t h )
T h r e e e x a m s ( S e p t e m b e r 2 2 n d , O c t o b e r 2 7 t h , D e c e m b e r 6 t h ) .
R o b e r t S t a m s F i l m T h e o r y : A n I n t r o d u c t i o n w i l l p r o v i d e u s w i t h a b a s i c h i s t o r i c a l o v e r v i e w i n s u p p o r t o f o u r w e e k l y c l a s s m e e t i n g s . A d d i t i o n a l w e e k l y r e a d i n g s f r o m L e o B r a u d y a n d M a r s h a l l C o h e n s F i l m T h e o r y & C r i t i c i s m w i l l a l l o w u s t o r e v i e w a n d d i g e s t t h e t h e o r i e s f i r s t h a n d . T a k e n t o g e t h e r , t h e s e two texts will provide you with the necessary tools to critically engage the major film theories. The purpose of the lectures will be to review information unavailable in the assigned readings as well as to situate the theories to be read within a particular historical context.
Attendance is mandatory. Students are permitted only one absence from class sessions. Severe illness or family emergencies require appropriate documentation to merit being excused from class. Two or more absences will result in a lo w e r i n g o f t h e s t u d e n t s f i n a l g r a d e . E x c e s s i v e a b s e n c e s w i l l r e s u l t i n a n a u t o m a t i c f a i l u r e . P l e a s e n o t e : a l a t e a r r i v a l i s t h e e q u i v a l e n t o f a n a b s e n c e .
C o n s i s t e n t p a r t i c i p a t i o n i n c l a s s d i s c u s s i o n s i s a l s o m a n d a t o r y . P a r t i c i p a t i o n c a n c o m e i n m a n y f o r ms, whether it is in response to a question regarding the readings or a response to one of our screenings. This is especially important in a course on film theory, where the complexity of the readings necessitates an in-class dialogue to both clarify and explore the nuances of each theorist s a r g u m e n t .
A l l t h r e e e x a m s w i l l t e s t y o u r c o m p r e h e n s i o n o f t h e a s s i g n e d r e a d i n g s a n d l e c t u r e s . T h e f i r s t t e s t w i l l c o v e r W e e k s 1 t h r o u g h 3 ; t h e s e c o n d t e s t w i l l c o v e r W e e k s 4 t h r o u g h 8 ; a n d t h e t h i r d t e s t w i l l c o v e r W e e k s 9 t h r o u g h 1 4 . R e v i e w g u i d e s w i ll be distributed in Weeks 4, 9, and 15. Each exam will be accompanied by an essay assignment (5 pages) to be turned in on the day of the exam.
Academic Misconduct
Academic misconduct includes cheating, plagiarizing, and deliberately interfering with the work of others. If you use the ideas or words of someone else, you must cite the original information in your paper. Invented or plagiarized work can result in failing the the course and may result in possible disciplinary actions at the department, college, and University level.
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. For more information, see HYPERLINK "https://exchange.fau.edu/owa/redir.aspx?C=T4LwelO9z0qxOkHobAEM09bwObWjc88Ir9eTQ5Yb1v9d5b5AY2X3U5jsHMv7WjMvQ9VYU6mLoOI.&URL=http%3a%2f%2fwww.fau.edu%2fregulations%2fchapter4%2f4.001_Code_of_Academic_Integrity.pdf" \t "_blank" http://www.fau.edu/regulations/chapter4/4.001_Code_of_Academic_Integrity.pdf
Application of Americans with Disabilities Act: In accordance with University policy and the ADA, should you require individual accommodation to enable fulfillment of course requirements you must first register with the FAU Office for Students with Disabilities (561-297-3880), and you must notify me of your requirements immediately. Additional information is available at HYPERLINK "http://www.osd.fau.edu/"www.osd.fau.edu.
ASSESSMENT
Participation 15%
Reading Response Notebook 15%
Exam One 20%
Exam Two 25%
Exam Three 25%
Class Schedule
WEEK ONE - INTRO TO FILM THEORY / EARLY SILENT FILM THEORY
Tuesday, August 23rd
Course Introduction
Screenings: Sherlock, Jr. (d. Buster Keaton, 1924 US), Rear Window (d. Alfred Hitchcock, 1954 US)
Readings: Stam (1-33)
The Means of the Photoplay, Hugo Munsterberg (Blackboard)
WEEK TWO FORMALISM, MODERNISM, SOVIET MONTAGE
Tuesday, August 30th
Discuss Stam and Munsterberg
Lecture
Screenings: At Land (d. Maya Deren, 1944 US); Battleship Potemkin (d. Sergei Eisenstein, 1925 USSR)
Readings: Stam (33-55)
Beyond the Shot / The Dramaturgy of Film Form, Sergei Eisenstein
(13-40)
WEEK THREE POST-WAR REALISMS: EXISTENTIAL & CRITICAL TAKES
Tuesday, September 6th
Discuss Stam and Eisenstein
Lecture
Screening: The Best Years of Our Lives (d. William Wyler, 1946 US)
Readings: Stam (72-83)
Film & Reality, Braudy & Cohen (141-146)
The Evolution of the Language of Cinema / The Ontology of the
Photographic Image / The Myth of Total Cinema, Andre Bazin (41-53, 159-166)
Basic Concepts, Siegfried Kracauer (147-158)
WEEK FOUR THE QUESTION OF AUTHORSHIP & NEW CINEMAS
Tuesday, September 13th
Review Guide handed out
Discuss Stam, Braudy & Cohen, Bazin, Kracauer
Lecture
Screening: The Bad & the Beautiful (d. Vincente Minnelli, 1952 US)
Readings: Stam (83-102)
The Film Artist, Braudy & Cohen (445-450)
La politique des auteurs, Andre Bazin (Blackboard)
Notes on the Auteur Theory in 1962, Andrew Sarris (451-454)
WEEK FIVE CINEMA & SOCIOLOGY: INDUSTRY, INSTITUTION, & THE
REPRESENTATION OF THE SOCIAL
Tuesday, September 20th
TEST ON WEEKS 1-3
Discuss Stam, Braudy & Cohen, Bazin, Sarris
Lecture
Screening: A Face in the Crowd (d. Elia Kazan, 1957 US)
Readings: Stam (64-72)
The Work of Art in the Age of Mechanical Reproduction, Walter
Benjamin (665-685)
Culture Industry: Enlightenment as Mass Deception, Theodor Adorno
& Max Horkhiemer (Blackboard)
WEEK SIX CINEMA & SEMIOTICS: LANGUAGE, COMMUNICATION, &
ENUNCIATION
Tuesday, September 27th
Discuss Stam, Kracauer, Benjamin, Adorno & Horkheimer
Lecture
Screening: The Birds (d. Alfred Hitchcock, 1963 US)
Readings: Stam (102-119)
Some Points in the Semiotics of the Cinema / Problems of Denotation in
the Fiction Film, Christian Metz (65-77)
System of a Fragment (on The Birds), Raymond Bellour
(Blackboard)
WEEK SEVEN CINEMA & PSYCHOANALYSIS: DREAMS, APPARATUS, &
FILMIC PROCESSES
Tuesday, October 4th
Discuss Stam, Metz, Bellour
Lecture
Screening: Blue Velvet (d. David Lynch, 1986 US)
Readings: Stam (158-169)
Ideological Effects of the Basic Cinematographic Apparatus, Jean-Louis
Baudry (Blackboard)
Identification, Mirror / The Passion for Perceiving / Disavowal,
Fetishism, Christian Metz (694-710)
WEEK EIGHT CINEMA & IDEOLOGY: RESISTANCE, REVELATIONS, & THE
METZ-LACAN-ALTHUSSER PARADIGM
Tuesday, October 11th
Discuss Stam, Baudry, Metz
Screening: Strange Days (d. Kathryn Bigelow, 1995 US)
Readings: Stam (130-140)
Cinema/Ideology/Criticism, Jean-Luc Comolli & Jean Narboni
(686-693)
Ideology, Genre, Auteur, Robin Wood (592-601)
WEEK NINE FEMINISM: PATRIARCHAL CINEMA, COUNTER-CINEMA, &
VISUAL PLEASURES
Tuesday, October 18th
Review Guide handed out
Discuss Stam, Comolli & Narboni, Wood
Lecture
Readings: Stam (169-179)
Female Stars of the 1940s, Molly Haskell (501-514)
Visual Pleasure & Narrative Cinema, Laura Mulvey (711-722)
Women s C i n e m a a s C o u n t e r - C i n e m a , C l a i r e J o h n s t o n ( B l a c k b o a r d )
W E E K T E N I N S C R I B E D B O D I E S : R A C E A N D T H E P O L I T I C S O F
R E P R E S E N T A T I O N
T u e s d a y , O c t o b e r 2 5 t h
T E S T O N W E E K S 4 - 8
D i s c u s s S t a m , H a s k e l l , J o h n s t o n , M u l v e y
L e c t u r e
S c r e e n i n g : B a m b o o z l e d ( d . S p i k e Lee, 2000 US)
Readings: Colonialism, Racism, and Representation: An Introduction,
Robert Stam & Louise Spence (751-766)
Black Spectatorship: Problems of Identification and Resistance,
Manthia Diawara (767-776)
The Oppositional Gaze, bell hooks (Blackboard)
You Must Never Be a Misrepresented People: Spike Lee 7 X o f
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S c r e e n i n g : T h e P u r p l e R o s e o f C a i r o ( d . W o o d y A l l e n , 1 9 8 5 U S )
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P r a c t i c e i n F i l m a n d T e l e v i s i o n , J o h n C a l d w e l l ( B l a c k b o a r d )
W E E K T H I R T E E N R E T U R N O F A E S T H E T I C S : P H I L O S O P H Y & F I L M
T u e s d a y , N o v e m b e r 1 5 t h
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R e a d i n g s : S t a m ( 2 5 6 - 2 6 2 )
P h o t o g r a p h a n d t h e S c r e e n / A u d i e n c e , A c t o r , a n d S t a r / T y p e s ; C y c l e s a s
G e n r e s / I d e a s o f O r i g i n , S t a n l e y C a v e l l ( 3 0 4 - 3 1 4 )
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