Chalres Bukowski - "Bluebird in My Heart"

Thanks for posting Bukowski's reaction to "Eraserhead". Here is a nice little something for you.

Dario Argento & "Susperia"

Argento seemed to hit a creative peak with "Susperia". Of all his subsequent films, only "Inferno" (a sequel, directly following) captured some of this movie's psychedelic and surrealistic energy. His later projects certainly have no lack of violence (directed primarily at women), but they don't equal the nightmare quality achieved in "Susperia". Earlier films of interest from this Italian director are "The Bird With the Crystal Plumage" and "Deep Red".

Judge For Yourself

Watch this and comment on what you think.

Kubrick On Eraserhead

Director Stanley Kubrick once stated in an interview that he would have liked to direct this film, as it was one of his favorites.Before beginning production on The Shining, Kubrick screened Eraserhead for the cast to put them into the atmosphere he wanted to convey.

Kids In The Hall Star Makes A Song About Eraserhead

Bruce Ian McCulloch: Canadian actor, writer, comedian, and film director. McCulloch is best known for his work as a member of The Kids in the Hall, a popular Canadian comedy troupe, and as a writer for Saturday Night Live recorded a song titled (and about) 'Eraserhead' on his album Shame Based Man released in 1995.


Lyrics:
I walk around the house...drunk. I'm wearing women's slippers. Man, I must be a sight to behold. But I'm not quite sure; I lost my mirror. And the pizza I ordered offers no reflection. I walk around the house. I think about people who have fouled me and therefore should die. But then, I think of all the interesting crafts you can make with toilet paper rolls.
Once a year, I get drunk in a darkened house, for a week. I get drunk and watch..."Eraserhead", as I think we all do sometimes. It's my vacation. Once a year I have a little black and white drunk-a-thon. No phones; not a single luxury. My horoscrope has been suspended. Loud, industrial noises.

The first three days I just watch. Well, I *drink* and watch..."Eraserhead". The third and fourth day I find myself pacing, circling the TV, looking at the glow from behind. I'll pause for a pizza. I won't eat it; I just order it to prove I'm still -- in control. "Eraserhead".

By the end of the week, I interact with this majestic little film. Not so much words as -- gesticulations. I kiss the screen. I rub my buttered belly on the screen, as I think we all do sometimes. I roam around the house. The darkened, drunken house. Sometimes, and this has got to be an hour before dawn, I put a rose up my bum. You know, the business end sticking out. And I sort of improvise a playful dance in my surroundings. "La la la la la la la 'Eraserheeead'." If you were there, in my house, you could follow a trail of those rose petals, and they would lead to me. Curled up, fetal position, quivering, crying, my teeth chattering, industrial, "Eraserhead"-type noises coming from inside me. And as you pick me up, and wrap me in a blanket, my vacation would be -- complete.

This behaviour might disturb me if "Eraserhead" weren't such a fine little film. Don'tcha think?

Charles Bukowski's Thoughts On Eraserhead

Charles Bukowski: American poet, novelist, and short story writer referenced the film when interviewed on the subject of cable television, Bukowski said, "We got cable TV here, and the first thing we switched on happened to be Eraserhead. I said, 'What’s this?' I didn’t know what it was. It was so great. I said, 'Oh, this cable TV has opened up a whole new world. We’re gonna be sitting in front of this thing for centuries. What next?' So starting with Eraserhead we sit here, click, click, click — nothing."

Pixies song about Un Chien Andalou

The song "Debaser" by The Pixies released in 1989 features the lyrics:

got me a movie
i want you to know
slicing up eyeballs
i want you to know
girlie so groovy
i want you to know
don't know about you
but i am un chien andalusia
i am un chien andalusia
i am un chien andalusia
i am un chien andalusia
wanna grow
up to be
be a debaser, (debaser)
debaser, (debaser)
debaser, (debaser)
debaser, (debaser)
debaser, (debaser)
debaser, (debaser)

got me a movie
ha ha ha ho
slicing up eyeballs
ha ha ha ho
girlie so groovie
ha ha ha ho
don't know about you
but i am un chien andalusia
i am un chien andalusia
i am un chien andalusia
i am un chien andalusia

(debaser), debaser
(debaser), debaser
(debaser), debaser
(debaser), debaser
(debaser), debaser
(debaser), debaser


According to Frontman Black Francis:

I wish Buñuel was still alive. He made this film about nothing in particular. The title itself is a nonsense. With my stupid, pseudo-scholar, naive, enthusiast, avant-garde-ish, amateurish way to watch Un chien andalou (twice), I thought: 'Yeah, I will make a song about it.' [He sings:] "Un chien andalou".... It sounds too French, so I will sing "un chien andalusia", it sounds good, no?'

The title "Debaser" references the fact that Un chien andalou debases morality and standards of art.

A Batman comic's story patterned after The Cabinet of Dr. Caligari.

released in 1999, The story of Batman: Nosferatu is patterned after The Cabinet of Dr. Caligari.

Coldplay uses clips of The Cabinet of Dr. Caligari in music video.

released in 2008, "Cemeteries of London" includes clips from the film.

Red Hot Chili Peppers influenced by the Style of The Cabinet of Dr. Caligari.

Their video for "Otherside" released in 2000 was directed by Jonathan Dayton and Valerie Faris in a black-and-white/monochrome Gothic style similar to Robert Wiene's The Cabinet of Dr. Caligari, all influenced by German Expressionist art.

Jonathan Dayton: "We did look at Caligari, and we looked at a lot of German Expressionist film. But it was also very important to avoid 'Caligari.' It was both inspiration and something to work around, because it has such a strong, specific style, and there have been other videos that have completely ripped it off."

Valerie Faris: "We didn't look at 'Calagari' all that much, really. We did, but then we just left it. We did look at a lot of the works of the futurist artists from the '30s, and the illustrations of the surrealists and from cubism. We were inspired more by paintings than by films…"

"Can't Let You Go" Video by Rainbow influenced by The Cabinet of Dr. Caligari.

The film was the inspiration behind this video released in 1983. The vocalist Joe Lynn Turner is made up to look like Cesare.

The Cabinet of Dr. Caligari's influence on Rob Zombie.

In 1998 Rob Zombie released a video for the single "Living Dead Girl". It recreated several scenes from The film. Zombie even plays the role of Caligari. In addition to imitating the poor image quality of aged film, the video also made use of the expressionistic sepia, aqua, and violet tinting used in The Cabinet of Dr. Caligari.

"Singin' in the Rain"

You can't go wrong by watching the entire "Singin' in the Rain", but if you want to see the prime scenes that cover our discussion of the chaos created by the introduction of film sound in the late 1920s, go here...

http://www.youtube.com/watch?v=m6jsXQm5IrM

and here...

http://www.youtube.com/watch?v=P6CuBK0cgX4&feature=related

Weekly Screening

I will be showing films relevant to this course on Mondays and Fridays at 5PM. I don't know the room number yet, but should by tomorrow morning. I'm hoping to get a regular location. Tomorrow and Friday I will show "The Gold Rush" with Charlie Chaplin. It is one of the great comedies and many consider it to be his finest film. I hope you can join me.

SYLLABUS - MEDIA THEORY & CRITICISM

COURSE NUMBER: HU3000
COURSE NAME: Media Theory & Criticism
COURSE LENGTH: 11 weeks
CONTACT HOURS: 44 hours
CLASSROOM #: ROOM #
INSTRUCTOR: TOM HAMMOND
PHONE: 813-900-4759
EMAIL: thammond1946@yahoo.com
OFFICE HOURS: Before and after class
CREDITS: 3 credits
DATE OF SYLLABUS: DATE 7/08/10

COURSE DESCRIPTION:
In this course, students explore the different theories and approaches to media and their impact on society and culture so as to inform and enrich their own work.

PREREQUISITES:

STUDENT LEARNING OBJECTIVES/OUTCOMES:

1. Understand different filmmaking theories.
2. Develop an overview of film history and the progression of various film movements.
3. Define the elements of mise-en-scene and montage.
4. Recognize the conventions of the classic “Hollywood Style”.
5. Explore the difference between celluloid and digital filmmaking.
6. Understand the difference between film genre and film style.
7. Distinguish the various uses of propaganda throughout the media.
8. Explore the impact of TV on society.
9. Analyze the ethics of non-fiction work and reality programming.
10. Understand the range of gender studies in contemporary media.
11. Understand the implications of new media content and delivery.
12. Articulate the aesthetic elements in media, past and present.
13. Identify the connection between artistic movements and their expression in cinema.

GRADING OPPORTUNITIES:
Assessment
This is a directed study course. Students will learn through individual research, interaction with the instructor, suggested viewings and shared discoveries. There will be weekly assignments and four review and research papers. Professionalism will be put into practice through the students’ promptness, class attendance, willingness to create a forum for shared ideas, quality and creativity of work, and the meeting of deadlines. Specifically, grades will be based on the following criteria:

CLASS ASSIGNMENTS:
• Viewing and Reading Journal 20%
• Mid-Term Exam 20%
• Final Exam 20%
• Individual Projects/Papers (2) 20%
• Class Participation & Attendance 20%

STUDENT LEARNING ASSESSMENT:
Appropriate quizzes, tests, and projects will be designed to measure the achievement of the major course achievements as listed above. Instructor will specify such quizzes, tests, and projects on the syllabus to be handed out to the students at the start of the quarter of instruction. In the syllabus, weighted values in percentage will be clearly indicated by the instructor for each category of assessment.

PARTICIAPTION CRITERIA
Excellent
A (93-100)
A- (90-92)
Outstanding participation. The student is actively engaged in every facet of the class. He/She comes to every class session ready to engage in informed discussion bases on a thorough and critical reading of their homework assigned material (if applicable), and he/she maintains complete critical reading notes and brings it to every class session and keeps copies of everything in their journal. The student makes extraordinary contribution to the class through consistently thoughtful, well focused, and original examples. The student works collaboratively with his/her classmates and instructor and the student seeks assistance should he/she need it. The student misses no classes.

Very Good/Good
B+ (87-89)
B (83-86)
B- (80-82)
Good participation. The student is actively engaged in most facets of the class. He/She comes to every class session ready to engage in informed discussion based on a careful reading of the assigned material, and he/she maintains substantial number of critical reading notes and brings it to most class sessions. The student makes a solid contribution to the class through regular relevant and thoughtful comments, questions and examples. The student works collaboratively with his/her classmates and instructor and the student is likely to seek assistance should he/she need it. The student misses the maximum of one class.

Satisfactory
C+ (77-79)
C (73-76)
C- (70-72)
Average participation. The student is actively engaged in some facet of the class. He/She comes to many class sessions ready to engage in informed discussion based on a general reading of the assigned material, including few critical reading notes and brings it to many class sessions. The student makes a contribution to the class through general, incomplete and/or tangential comments. The student, for the most part, works collaboratively with his/her classmates and instructor and is not likely to seek assistance on his/her own. The student misses two class sessions.

Below Average
D (60-64)
Poor participation. The student rarely demonstrated an active engagement in some facets of the class. He/She comes to many class sessions unprepared for informed discussion, and his/her critical reading notes are substantially incomplete and rarely bring it to the class sessions. The student does not collaborate with his/her classmates and instructor and the student is not likely to seek assistance on his/her own or even with direction. The student misses two-three class sessions.
Failure
F (0-59)
Unacceptable participation. The student is not an active member of the class.

Grading Criteria: (i.e. thoroughness, neatness, concept, design, execution, professionalism, presentation, craft, cleanliness, following instructions) applies to all presentations and individual assignments. Handwritten work, no matter how neat you think it is, is not accepted. This is college and all work must be typed. Submission of handwritten work will not even be considered and will receive an F (0) for that assignment.

Grading Scale: A= 93-100, A-= 90-92, B+= 87-89, B= 83-86, B-= 80-82, C+= 77-79, C= 73-76,
C-= 70-72, D+= 65-69, D= 60-64, F= 0-59

CLASSROOM POLICIES:
Late Work: Since this course is dealing with industry success, all projects will be due on the date assigned and at the beginning of all classes. Late work will not be accepted. It will be an F/0. If schedule problems occur, notify the professor before any and all due dates. Putting the “final touches” on your homework/assignments such as stapling, printing out, mounting, cutting or even putting your name on the assignment, etc., prior to the start of class or during break is considered late (therefore an F/0). Regardless of when the work is collected, it should be 100% complete when you walk into class.

Attendance: The Art Institute of Tampa policy requires students to attend a minimum of 82% (36 hours) of scheduled course hours in order to receive a passing grade in a course. Attendance is taken twice throughout the class. If you are just a few minutes late, or walk in when attendance is being taken, it will be marked down as a half (1/2) of absence. Missing two or more classes (or can result in the failing of this class. I repeat: Missing two or more classes can result in the failing of this class (and your other classes as well).

Sleeping in Class: Sleeping in class is not permitted and will not be tolerated. If you are falling, or are a sleep, you will simply be asked to leave the class for the day and will be marked absent for the entire day.

Email: Check often, relay the information to your classmates. Ultimately you are responsible for checking email and following up with the instructor if you not receiving assignments, notes and correspondence for the class via email. It is CRITICAL you start the semester off fresh by clearing out your student account and adjust your forwarding address if necessary. I will correspond with the class quite often via email. Again, check often, relay the information to your classmates and ultimately you are responsible for checking your email. **Let’s exchange information now**

Plagiarism: Plagiarism will not be tolerated and may lead to immediate expulsion from the class and/or college. Plagiarism includes taking words, ideas, or artwork from anyone else and presenting it as your own or not citing properly in accordance with APA Style Guide.

Food/Beverages: Food and non-sealed beverage containers are NOT permitted in any classroom, lab or studio.

Cell Phones and other electronic devices: Cell phone usage is not permitted in any classroom, lab or studio. All cell phones, beepers, games, two-way radios (Nextel), or any other communication device must be turned off before entering the classroom. Leaving the class to take/make a phone call is not permitted unless it is an absolute medical emergency. If you do, you will be marked absent for the entire day. If I see you sending text messages, IMing or playing games or doing anything with any phone or electronic device you will be told to leave the class for the remainder of the day and you will marked absent for the entire day. Leaving devices in silent or vibrate mode is not permitted and text messaging during class is not allowed. In other words, turn all devices completely off and forget you even have them with you for just a few hours. Please take a moment to shut everything off now.

Add/Drop: The first six (6) academic days (not including Saturdays, Sundays and holidays) of each quarter are designated as the schedule adjustment period. During this time, students may make registration adjustments (adding, dropping, or changing days/times of courses) without financial penalty.

Holidays: This quarter has one holiday, so PLAN AND SCHEDULE AHEAD OF TIME. Not handing in work or having to leave early for the holiday prior to the end of the quarter are not acceptable excuses.

Suggested Text(s):
Image and Representation: Key Concepts in Media Studies – Ken Lacey
Amusing Ourselves to Death – Neil Postman
Hardboiled America – Lurid Paperbacks and the Masters of Noir – Geoffrey O’Brien

Recommended Text(s): TBA

Required Items and Supplies:
• Journal/Notebook
• Netflix subscription – All movies for required viewing are “streamable” on Netflix. The first month is free and every month after that is $9. Total cost for the quarter = $18.00

ADA Statement: To meet the needs of our students with disabilities, The Art Institute offers reasonable accommodations for qualified students with disabilities. Students or applicants who would like to request reasonable accommodations should contact the Student Services Coordinator for the school. Students with disabilities are encouraged to contact your instructor and the Dean of Student Affairs in advance of the quarter of study when accommodations are needed.

Saving Work: It is the student’s responsibility to save his or her work to disk. Multiple copies should be saved and verified prior to leaving the classroom. The teacher is in no way responsible for the work saved on hard drives, nor is he/she bound to give an extension on work improperly saved. The hard drives will get purged regularly. Students are expected to back up all work. Loss, theft, computer failure, etc. are not acceptable excuses.

Syllabus Changes: Syllabus is subject to change at the instructor’s discretion. Awareness of these changes is the student’s responsibility

CLASS SCHEDULE:

Each student will keep an ongoing Viewing and Reading Journal which can be reviewed by the instructor at any time. Always bring it to class with you. Make entries whenever you do any watch or read anything pertaining to class.

Student Projects as “works in progress” will be viewed and critiqued as parts of them become available.

Various films will be shown during the quarter. Their content will be included on the tests.

WEEK 1 Monday, July 12
Introductions, Student Data, Course Overview/Survey
Theory and Practice:
• Overview of Film History and Media Theory
• Silent Cinema
• Technology and the Language of Film
Viewing: Films of the Lumiere Bros. and George Melies
Assignment: “The Passion of Joan of Arc”, “Metropolis”
Readings: Lacey – Chapter 1

WEEK 2: Monday, July19
Theory and Practice
• Discussion of assigned viewings and readings
• Silent film and the development of montage vs. mise-en-scene
• Development of classic technique and the Hollywood Style of editing
• Expressionism and Surrealism in film
Assignment: “The Cabinet of Dr. Calagari”, “Un Chien Andalou”, “Eraserhead”
Readings: Lacey – Chapter 2

WEEK 3: Monday, July 26
Theory and Practice:
• Discussion of assigned viewings and readings
• Introduction to Genre Studies
• The Horror Film – origins and progression
Assignment: “Eyes Without a Face”, “Susperia”
Readings: Lacey – Chapter 3

WEEK 4: Monday, August 2
Theory and Practice:
• Discussion of assigned viewings and readings
• Genre vs. Style
• Film Noir – origins and history
Assignment: “The Big Sleep”, “Laura”
Readings: Lacey – Chapter 4

WEEK5: Monday, August 9
Theory and Practice:
• Discussion of assigned viewings and readings
• The Auteur Theory of Film
• Akira Kurosawa - a survey of his work
Assignment: “The Seven Samurai”, “Yojimbo”
Readings: Lacey – Chapter 5

WEEK 6: Monday, August 16
Mid-Term Exam
Theory and Practice:
• Discussion of assigned viewings and readings
• Introduction to Gender Studies in media
• Sex and censorship in film
Assignment: “Brokeback Mountain”, “This Film is Not Yet Rated”
Readings: Postman &O’Brien

WEEK 7: Monday, August 23
Theory and Practice:
• Discussion of assigned viewings and readings
• Introduction to Non-Fiction Films and Documentary Theory
• Propaganda and Society
Assignment: “The Thin Blue Line”, “Burden of Dreams”
Readings: Postman & O’Brien

WEEK 8: Monday, August 30
Final Review/Research Paper Due
Theory and Practice:
• Discussion of assigned viewings and readings
• Television – history and influence
• The ethics of Reality Programming
Assignment: “Television: the First 50 Years”, “Frontline: Digital Nation”
Readings: Postman &O’Brien

WEEK 9: Monday, September 6
Holiday

Week 10: Monday, September 13
Theory and Practice:
• Discussion of assigned viewings and readings
• The Artist & The Audience
• The Artist’s Obligation
Assignment: “Peeping Tom”, “8½”
Readings: Postman & O’Brien

WEEK 11: Monday, September 20
Final Exam:
Final Critique:
• Turn in Journals
• Class evaluation

COURSE NUMBER: HU3000
COURSE NAME: Media Theory and Criticism
INSTRUCTOR: Tom Hammond

• I have completely read and fully understand the contents of this syllabus
• I take full responsibility for living up to these obligations including, but not limited to attendance, participation, notes, quizzes, projects, etc.
• I will ask for help/assistance (both in and out of class) if needed



Student Signature: ______________________ Instructor Signature: __________________________

Print Name: ___________________________ Print Name: ________________________________

Date: ________________________________ Date: _____________________________________