Viewing and Reading Assignments
Please note that this is a tentative schedule and subject to change. Any alterations will be noted both in class and via e-mail. The specific reading assignments will also be added as the semester progresses.
WEEK ONE
Wednesday, 1/18
Introduction to the course
Friday, 1/20
Read for class: Engaging Cinema, pp. 73-79
View for class: "The Big Empty" (directed by Lisa Chang and Thomas Sigel)
Please think about any connections that you can make between the ideas in the book and the cinematography/production/plot of the film.
WEEK TWO
Monday, 1/23
Read for class: Engaging Cinema, pp. 3-25
If possible, please re-watch "The Big Empty"
OPTIONAL: Monday night opening viewing of Rear Window. Please meet at 5:30 in our classroom (unless another class is in there, and then we'll be nomadic and find somewhere else!)
Wednesday, 1/25
View for class: Rear Window (1954, Alfred Hitchcock)
Friday, 1/27
Read for class: Engaging Cinema, pp. 29-44
Read for class: Douglas Pye, “Enter Lisa: Rear Window (1954)” (pp. 45-48 of the book Film Moments, which can be found in its entirety here.)
If possible, please re-watch "The Big Empty"
OPTIONAL: Monday night opening viewing of Rear Window. Please meet at 5:30 in our classroom (unless another class is in there, and then we'll be nomadic and find somewhere else!)
Wednesday, 1/25
View for class: Rear Window (1954, Alfred Hitchcock)
Friday, 1/27
Read for class: Engaging Cinema, pp. 29-44
Read for class: Douglas Pye, “Enter Lisa: Rear Window (1954)” (pp. 45-48 of the book Film Moments, which can be found in its entirety here.)
WEEK THREE
Monday, 1/30
Read for class: Film Theory, Chapter 1: “Cinema as window and frame” (pp. 13-34)
[Because this is a significantly more "scholarly" book than our other text, please make sure to give yourself enough time to get through the reading. Try to distill the major concepts here, and think about how you might apply them to a more satisfying understanding of Rear Window, or of film in general.]
Wednesday, 2/1
View for class: Modern Times (1936, Charles Chaplin)
Friday, 2/3
Read for class: Engaging Cinema, pp. 45-69
WEEK FOUR
Monday, 2/6
Read for class: Engaging Cinema, pp. 136-152
Read for class: "Chaplin: The Antagonism of the Comic Hero"
Wednesday, 2/8
View for class: Ikiru (1952, Akira Kurosawa)
Short writing assignment: Film concepts. Don't forget to add your example to this Google doc!
Friday, 2/10
Read for class: Engaging Cinema, pp.153-169
WEEK FIVE
Monday, 2/13
Read for class: Film Theory, Chapter 3, “Cinema as mirror and face” (pp. 55-81)
Wednesday, 2/15
View for class: Lost in Translation (2003, Sophia Coppola)
Writing assignment: Please write a nice, solid paragraph or two about Lost in Translation that follows the basic premise of Essay #1: basically, you'll want to write out a detailed study of one scene in the film, thinking about HOW and WHY certain elements of the scene are meaningful and/or significant (cinematography, lightning, acting, mise-en-scene, and so on). You are welcome to e-mail this to me by class-time, or print it out and bring it with you to turn in.
Friday, 2/17
Read for class: Engaging Cinema, Chapter 11, "Feminism and Film" (only pp. 395-419)
WEEK SIX
Monday, 2/20
Reading for class: Todd Kennedy, "Off With Hollywood's Head: Sophia Coppola as Feminine Auteur" (in Film Criticism 35.1, Fall 2010... find on Academic Search Complete database, accessible via the Pius Library homepage)
Wednesday, 2/22
View for class: Brazil (1985, Terry Gilliam)
Friday, 2/24 ----- No class! No class! No class!
Please continue to work on Essay #1.
WEEK SEVEN
Monday, 2/27
Read: Engaging Cinema, Chapter 12, "Writing and Speaking About Film" (if nothing else, definitely read pp. 435-449)
Friday, 2/17
Read for class: Engaging Cinema, Chapter 11, "Feminism and Film" (only pp. 395-419)
WEEK SIX
Monday, 2/20
Reading for class: Todd Kennedy, "Off With Hollywood's Head: Sophia Coppola as Feminine Auteur" (in Film Criticism 35.1, Fall 2010... find on Academic Search Complete database, accessible via the Pius Library homepage)
Wednesday, 2/22
View for class: Brazil (1985, Terry Gilliam)
Friday, 2/24 ----- No class! No class! No class!
Please continue to work on Essay #1.
WEEK SEVEN
Monday, 2/27
Read: Engaging Cinema, Chapter 12, "Writing and Speaking About Film" (if nothing else, definitely read pp. 435-449)
Wednesday, 2/29No reading homework. Continued discussion of both Brazil and writing about film.
Friday, 3/2
View for class: American Splendor (2003, Shari Springer Bergman and Robert Pulcini)
Sunday, 3/4
Essay #1 is due via e-mail by midnight!
WEEK EIGHT
Monday, 3/5
Read: Some examples of American Splendor comics by Harvey Pekar
Wednesday, 3/7
Read: Engaging Cinema, Chapter 3, "Documentary Film" (only pp. 99-131!)
Friday, 3/9
No reading homework. Discussion and analysis of the first six films and the course so far.
WEEK NINE -- SPRING BREAK
WEEK TEN
Monday, 3/19
No homework to prepare
Wednesday, 3/21
View for class: Annie Hall (1977, Woody Allen)
Friday, 3/23
Read: Engaging Cinema, Chapter 5, "Three Fundamental Styles: Realism, Modernism, and Postmodernism" (pp. 175-208)
Friday, 3/2
View for class: American Splendor (2003, Shari Springer Bergman and Robert Pulcini)
Sunday, 3/4
Essay #1 is due via e-mail by midnight!
WEEK EIGHT
Monday, 3/5
Read: Some examples of American Splendor comics by Harvey Pekar
Wednesday, 3/7
Read: Engaging Cinema, Chapter 3, "Documentary Film" (only pp. 99-131!)
Friday, 3/9
No reading homework. Discussion and analysis of the first six films and the course so far.
WEEK NINE -- SPRING BREAK
WEEK TEN
Monday, 3/19
No homework to prepare
Wednesday, 3/21
View for class: Annie Hall (1977, Woody Allen)
Friday, 3/23
Read: Engaging Cinema, Chapter 5, "Three Fundamental Styles: Realism, Modernism, and Postmodernism" (pp. 175-208)
WEEK ELEVEN
Monday, 3/26
No homework to prepare
Wednesday, 3/28
View for class: Do The Right Thing (1989, directed by Spike Lee)
Writing: Please write a one-page, double-spaced essay that addresses one of two aspects of the film: the setting or the soundtrack. Briefly discuss how the setting/soundtrack contributes to the effect, significance, or meaning of the film. Please be direct and specific in your analysis. [Print out and bring to class, because we will use these essays as a starting point for our class discussion. This assignment will be included in the Short Assignments portion of your final grade, so even though it is informal writing, be sure to put a little effort into it!
Friday, 3/30
Read: Engaging Cinema, Chapter 9, "Race and Ethnicity in Film" (pp. 325-358. Note that the chapter ends with a discussion of Do the Right Thing specifically, so you'll want to be sure to read all the way through.)
WEEK TWELVE
Monday, 4/2
No homework to prepare -- continued discussion of Do The Right Thing
Wednesday, 4/4
Read: "The Double Truth, Ruth: Do The Right Thing and the Culture of Ambiguity"
Friday, 4/6
No class (Good Friday)
WEEK THIRTEEN
Monday, 4/9
No class (East Monday)
Wednesday, 4/11
View for class: Amelie (2001, directed by Jean-Pierre Jeunet)
Friday, 4/13
Read: Film Theory, Chapter 4 "Cinema as eye: look and gaze" (pp. 82-107)
WEEK FOURTEEN
Monday, 4/16
No reading -- continued discussion of Amelie
Wednesday, 4/18
Read: "Tautou's Face" by Jeffery N. Peters, in PMLA Volume 126, Number 4 (Essay can be found by searching for the title in the Pius Library's principle database)
Friday, 4/20
View for Class: Let The Right One In (2008, directed by Tomas Alfredson)
WEEK FIFTEEN
Monday, 4/23 No reading homework
Tuesday, 4/24 --- Paper #2 due by midnight via e-mail
Wednesday, 4/25
No reading
Friday, 5/27
Read: two short excerpts from the original novel by John Ajvide Lindqvist
WEEK SIXTEEN
Monday, 4/30Read: Film Theory, Chapter 5 "Cinema as skin and touch" (pp. 108-128)
Wednesday, 5/2
View for Class: Bridesmaids (2011, directed by Paul Feig)
Writing Assignment: Write a 300-word response to the film that seeks to apply one of the many strategies, techniques, or theories that we have covered this semester in order to arrive at a richer understanding of this film. In other words, we are seeking to demonstrate how critical frameworks are as applicable and as suited to analyzing "popular" movies as they are to so-called "independent," "avant garde", or "classic" films.
Friday, 5/4
No reading homework
WEEK SEVENTEEN
Monday, 5/7 Last day of class
Wednesday, 5/9
Scheduled final exam period -- Optional class period: 8:00-9:30 AM. You are welcome to stop by at any time during this window to ask questions about the final exam or show me what you've written for some feedback. Or just talk about anything that you want to talk about.
Friday, 5/11
Submit final exam via e-mail by midnight (If you are choosing to revise one of your essays in the course, it should be turned in at this time as well.)
