"Metropolis" - centerspread from the original 1927 French Pressbook
Monday, March 10, 2014
Wednesday, November 2, 2011
Mid-Term Study Guide
These films and areas could be on the Mid-Term Exam. If you have seen the movies and understand the definitions, you should not have a problem. Email me with any questions.
FILMS
Network
Metropolis
The Cabinet of Dr. Calagari
The Great Train Robbery
A Trip to the Moon
Lumiere Brothers Films
The Cabinet of Dr. Calagari
Un Chien Andalou
Blue Velvet
Videodrome
Night of the Living Dead
SUBJECTS
Formalism vs. Realism
Expressionism
Surrealism
Mise en Scene vs. Montage
Genres
Film Noir
FILMS
Network
Metropolis
The Cabinet of Dr. Calagari
The Great Train Robbery
A Trip to the Moon
Lumiere Brothers Films
The Cabinet of Dr. Calagari
Un Chien Andalou
Blue Velvet
Videodrome
Night of the Living Dead
SUBJECTS
Formalism vs. Realism
Expressionism
Surrealism
Mise en Scene vs. Montage
Genres
Film Noir
Monday, September 19, 2011
Last Class
Today is the last class. I just wanted to say I really enjoyed this class and I was introduced to movies that I would not have normally watched. I wish everyone luck on their future classes and have an awesome break!
-Ashley Ripka
-Ashley Ripka
Monday, August 29, 2011
This Film is Not Yet Rated
I thought this movie was great, I really enjoyed the opinions of all the film directors and the things they have to deal to get a movie rated. I think the whole censorship deal is kind of ridiculios and pointless for the most part. It should clearly be the the responsibility of the parents wether or not the let their kid watch a movie or not. I think it would work better if the still rated the movies but that that it was just to make the people aware not to talk a movie down. Its sad that some of these great movies had to be changed becuase they were rated NC-17 and would lose advertising money because of it. It should just be the same for all movies. Its a persons own choice what they find offensive and if they do, just don't watch it.
Sunday, August 7, 2011
Night of the Living Dead
I just finished watching Night of the Living Dead. It was so good! I watched it once when I was about 11 years old, and when I was that young, I though scary movies were about how much killing and blood you could see. Now that I'm older I appreciate this type of horror so much more. There was suspense from the beginning to the end.
One thing that bothered me a little was Tom's acting. It seemed a little too forced and rehearsed. The other acting was fantastic though.
I also liked the fact that there were no survivors out of the main cast. It seems like most horror movies have at least one character that survives. It kinda of breaks the rules.
What did everyone else think??
-Ashley Ripka
Also has anyone seen the French film La Jetee? The credits at the end are a lot like it.
One thing that bothered me a little was Tom's acting. It seemed a little too forced and rehearsed. The other acting was fantastic though.
I also liked the fact that there were no survivors out of the main cast. It seems like most horror movies have at least one character that survives. It kinda of breaks the rules.
What did everyone else think??
-Ashley Ripka
Also has anyone seen the French film La Jetee? The credits at the end are a lot like it.
Sunday, July 24, 2011
The Cabinet of Dr. Caligari
I must say I was extremely impressed with this movie. The story line was actually very complex and I had to watch the movie and then read a synopsis on the movie to get the entire story straight. It really made you think, and I think that makes you feel like you actually get more out of a movie.
The set design was amazing for 1920. Does anyone know if Tim Burton was influenced by this movie? I see a lot of his style resembles this movie.
What did everyone else think? I know it's hard for some to get into silent movies, but I love them!
Ashley Ripka
The set design was amazing for 1920. Does anyone know if Tim Burton was influenced by this movie? I see a lot of his style resembles this movie.
What did everyone else think? I know it's hard for some to get into silent movies, but I love them!
Ashley Ripka
Sunday, July 10, 2011
SYLLABUS - SUMMER 2011
SYLLABUS - MEDIA THEORY & CRITICISM
COURSE NUMBER: COM3000
COURSE NAME: Media Theory & Criticism
COURSE LENGTH: 11 weeks
CONTACT HOURS: 44 hours
CLASSROOM #:
INSTRUCTOR: TOM HAMMOND
PHONE: 813-900-4759
EMAIL: thammond1946@yahoo.com
OFFICE HOURS: Before and after class
CREDITS: 3 credits
DATE OF SYLLABUS: DATE 7/11/11
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 genre and the genre system.
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:
• Mid-Term Exam 25%
• Final Exam 25%
• Research & Review Papers (2) 30%
• 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.
RESEARCH & REVIEW PAPERS – CRITERIA
There are two (2) papers due during the quarter. Each is worth 15% of the final grade.
Each paper will be a minimum of 1500 words, printed out, stapled and following the standard rules of good composition including the proper citing of sources.
No late papers accepted.
Paper #1 – Film Theory – Due Class Session Week #5
Discover, research and define one of the major Theories of Film. Philosophical background, examples and personal opinion should be part of the paper.
Paper #2 – Genre Study – Due Class Session Week #10
Select a film genre, other than the one covered in class, and discuss it in terms of its history, origins, proponents and representative examples. Also include a review of a film that fits into this category.
Paper #3 – The Auteur Theory – Extra Credit
Select a director whose main body of work was prior to 1990 and discuss their filmography in relation to the Auteur Theory. Cite at least three (3) films as examples to make your case either for or against the Theory. It is expected that you will watch these movies.
PARTICIAPTION & ATTENDANCE - CRITERIA
There are two areas of participation, each worth 10% of the final grade.
Attendance
In-class Discussion
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 based 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 arrive after attendance is completed, it will be marked down as half (1/2) an absence. Missing two classes will result in a lowering of your grade by at least one full grade. Missing more than two classes will result in the failing of this class.
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 1 holiday. Adjustments to the class schedule will be made during the first class session.
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
The Major Film Theories: An Introduction – Dudley Andrew
Required Items and Supplies:
• 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:
WEEK 1
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: “Network”
Assignment: “Metropolis”
Readings: Lacey & Andrew
WEEK 2
Theory and Practice
• Discussion of assigned viewings and readings
• Silent film and the development of montage
• Development of classic technique and the Hollywood Style of editing
• Expressionism in film
Viewing: Early Avant Garde Films, Early Silent Films
Assignment: “The Cabinet of Dr. Calagari”
Readings: continued
WEEK 3
Theory and Practice
• Discussion of assigned viewings and readings
• Mise en scene
• Surrealism in film
Viewing: “Un Chien Andalou” & “L’Age D’Or”
Assignment: “Blue Velvet”
Readings: continued
WEEK 4
Paper #1 Due
Theory and Practice:
• Discussion of assigned viewings and readings
• Introduction to Genre Studies
• The Horror Film – origins and progression
Viewing: Horror Scene Compilation
Assignment: “Night of the Living Dead”
Readings: Lacey – continued
WEEK 5
Theory and Practice:
• Discussion of assigned viewings and readings
• Genre vs. Style
• Film Noir – origins and history
Viewing: Film Noir Scene Compilation
Assignment: “Detour” (1945)
Readings: continued
WEEK6
Mid-Term Exam
Theory and Practice:
• Discussion of assigned viewings and readings
• The Auteur Theory of Film
• Ingmar Bergman - a survey of his work
Viewing: “The Seventh Seal”
Assignment: “Fanny and Alexander”
Readings: continued
WEEK 7
Paper #2 Due
Theory and Practice:
• Discussion of assigned viewings and readings
• Introduction to Gender Studies in media
• Sex and censorship in film
Viewing: Scenes from “The Devils”
Assignment: “This Film is Not Yet Rated”
Readings: Postman &O’Brien
WEEK 8
Theory and Practice:
• Discussion of assigned viewings and readings
• Introduction to Non-Fiction Films and Documentary Theory
• Propaganda and Society
Viewing: Scenes from “Triumph of the Will”
Assignment: “Collapse”
Readings: continued
WEEK 9
Theory and Practice:
• Discussion of assigned viewings and readings
• Television – history and influence
• The ethics of Reality Programming
Viewing: Early TV Compilation
Assignment: TBA
WEEK 10
Paper #3 Due
Theory and Practice:
• Discussion of assigned viewings and readings
• The Artist & The Audience
• The Artist’s Obligation
Viewing: A Fellini Sampler
Assignment: “8½”
WEEK 11
Final Exam:
Final Critique:
• Class evaluation
COURSE NUMBER: COM3000
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: _______________________________
Print Name: ____________________________________
Date: _________________________________________
Instructor Signature: _____________________________
Print Name: ____________________________________
Date: _________________________________________
COURSE NUMBER: COM3000
COURSE NAME: Media Theory & Criticism
COURSE LENGTH: 11 weeks
CONTACT HOURS: 44 hours
CLASSROOM #:
INSTRUCTOR: TOM HAMMOND
PHONE: 813-900-4759
EMAIL: thammond1946@yahoo.com
OFFICE HOURS: Before and after class
CREDITS: 3 credits
DATE OF SYLLABUS: DATE 7/11/11
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 genre and the genre system.
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:
• Mid-Term Exam 25%
• Final Exam 25%
• Research & Review Papers (2) 30%
• 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.
RESEARCH & REVIEW PAPERS – CRITERIA
There are two (2) papers due during the quarter. Each is worth 15% of the final grade.
Each paper will be a minimum of 1500 words, printed out, stapled and following the standard rules of good composition including the proper citing of sources.
No late papers accepted.
Paper #1 – Film Theory – Due Class Session Week #5
Discover, research and define one of the major Theories of Film. Philosophical background, examples and personal opinion should be part of the paper.
Paper #2 – Genre Study – Due Class Session Week #10
Select a film genre, other than the one covered in class, and discuss it in terms of its history, origins, proponents and representative examples. Also include a review of a film that fits into this category.
Paper #3 – The Auteur Theory – Extra Credit
Select a director whose main body of work was prior to 1990 and discuss their filmography in relation to the Auteur Theory. Cite at least three (3) films as examples to make your case either for or against the Theory. It is expected that you will watch these movies.
PARTICIAPTION & ATTENDANCE - CRITERIA
There are two areas of participation, each worth 10% of the final grade.
Attendance
In-class Discussion
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 based 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 arrive after attendance is completed, it will be marked down as half (1/2) an absence. Missing two classes will result in a lowering of your grade by at least one full grade. Missing more than two classes will result in the failing of this class.
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 1 holiday. Adjustments to the class schedule will be made during the first class session.
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
The Major Film Theories: An Introduction – Dudley Andrew
Required Items and Supplies:
• 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:
WEEK 1
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: “Network”
Assignment: “Metropolis”
Readings: Lacey & Andrew
WEEK 2
Theory and Practice
• Discussion of assigned viewings and readings
• Silent film and the development of montage
• Development of classic technique and the Hollywood Style of editing
• Expressionism in film
Viewing: Early Avant Garde Films, Early Silent Films
Assignment: “The Cabinet of Dr. Calagari”
Readings: continued
WEEK 3
Theory and Practice
• Discussion of assigned viewings and readings
• Mise en scene
• Surrealism in film
Viewing: “Un Chien Andalou” & “L’Age D’Or”
Assignment: “Blue Velvet”
Readings: continued
WEEK 4
Paper #1 Due
Theory and Practice:
• Discussion of assigned viewings and readings
• Introduction to Genre Studies
• The Horror Film – origins and progression
Viewing: Horror Scene Compilation
Assignment: “Night of the Living Dead”
Readings: Lacey – continued
WEEK 5
Theory and Practice:
• Discussion of assigned viewings and readings
• Genre vs. Style
• Film Noir – origins and history
Viewing: Film Noir Scene Compilation
Assignment: “Detour” (1945)
Readings: continued
WEEK6
Mid-Term Exam
Theory and Practice:
• Discussion of assigned viewings and readings
• The Auteur Theory of Film
• Ingmar Bergman - a survey of his work
Viewing: “The Seventh Seal”
Assignment: “Fanny and Alexander”
Readings: continued
WEEK 7
Paper #2 Due
Theory and Practice:
• Discussion of assigned viewings and readings
• Introduction to Gender Studies in media
• Sex and censorship in film
Viewing: Scenes from “The Devils”
Assignment: “This Film is Not Yet Rated”
Readings: Postman &O’Brien
WEEK 8
Theory and Practice:
• Discussion of assigned viewings and readings
• Introduction to Non-Fiction Films and Documentary Theory
• Propaganda and Society
Viewing: Scenes from “Triumph of the Will”
Assignment: “Collapse”
Readings: continued
WEEK 9
Theory and Practice:
• Discussion of assigned viewings and readings
• Television – history and influence
• The ethics of Reality Programming
Viewing: Early TV Compilation
Assignment: TBA
WEEK 10
Paper #3 Due
Theory and Practice:
• Discussion of assigned viewings and readings
• The Artist & The Audience
• The Artist’s Obligation
Viewing: A Fellini Sampler
Assignment: “8½”
WEEK 11
Final Exam:
Final Critique:
• Class evaluation
COURSE NUMBER: COM3000
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: _______________________________
Print Name: ____________________________________
Date: _________________________________________
Instructor Signature: _____________________________
Print Name: ____________________________________
Date: _________________________________________
Wednesday, April 20, 2011
Aaron's top 30 movies
Hello its Aaron Just wanted to share with you my Top 30 favorite movies of all time.
30. On Her Majesty's Secret Service
29. Rushmore
28. Ghostworld
27. Lord of the Rings Trilogy
26. The Lion King
25. Ran
24.Up
23.Vertigo
22.Princess Mononoke
21.Back to the Future
20. On the water Front
19. Shindler’s list
18.The Big Lebowski
17. Metropolis
16. The Seventh Seal
15. The Exorcist
14. Fantasia
13. 2001 Space Odyssey
12. No Country for Old men
11. Robocop
10. Alien
9. Pulp Fiction
8. Gone With the Wind
7. Videodrome
6. Eyes wide shut
5. The Godfather
4. Chinatown
3. Spirited away
2. Seven Samurai
1. Blade Runner
30. On Her Majesty's Secret Service
29. Rushmore
28. Ghostworld
27. Lord of the Rings Trilogy
26. The Lion King
25. Ran
24.Up
23.Vertigo
22.Princess Mononoke
21.Back to the Future
20. On the water Front
19. Shindler’s list
18.The Big Lebowski
17. Metropolis
16. The Seventh Seal
15. The Exorcist
14. Fantasia
13. 2001 Space Odyssey
12. No Country for Old men
11. Robocop
10. Alien
9. Pulp Fiction
8. Gone With the Wind
7. Videodrome
6. Eyes wide shut
5. The Godfather
4. Chinatown
3. Spirited away
2. Seven Samurai
1. Blade Runner
Monday, April 11, 2011
Syllabus - Spring 2011
SYLLABUS - MEDIA THEORY & CRITICISM
COURSE NUMBER: COM3000
COURSE NAME: Media Theory & Criticism
COURSE LENGTH: 11 weeks
CONTACT HOURS: 44 hours
CLASSROOM #:
INSTRUCTOR: TOM HAMMOND
PHONE: 813-900-4759
EMAIL: thammond1946@yahoo.com
OFFICE HOURS: Before and after class
CREDITS: 3 credits
DATE OF SYLLABUS: DATE 4/4/11
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 genre and the genre system.
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:
• Mid-Term Exam 25%
• Final Exam 25%
• Research & Review Papers (2) 30%
• 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.
RESEARCH & REVIEW PAPERS – CRITERIA
There are two (2) papers due during the quarter. Each is worth 15% of the final grade.
Each paper will be a minimum of 1500 words, printed out, stapled and following the standard rules of good composition including the proper citing of sources.
No late papers accepted.
Paper #1 – Film Theory – Due Class Session Week #5
Discover, research and define one of the major Theories of Film. Philosophical background, examples and personal opinion should be part of the paper.
Paper #2 – Genre Study – Due Class Session Week #10
Select a film genre, other than the one covered in class, and discuss it in terms of its history, origins, proponents and representative examples. Also include a review of a film that fits into this category.
Paper #3 – The Auteur Theory – Extra Credit
Select a director whose main body of work was prior to 1990 and discuss their filmography in relation to the Auteur Theory. Cite at least three (3) films as examples to make your case either for or against the Theory. It is expected that you will watch these movies.
PARTICIAPTION & ATTENDANCE - CRITERIA
There are two areas of participation, each worth 10% of the final grade.
Attendance
In-class Discussion
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 based 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 arrive after attendance is completed, it will be marked down as half (1/2) an absence. Missing two classes will result in a lowering of your grade by at least one full grade. Missing more than two classes will result in the failing of this class.
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 1 holiday. Adjustments to the class schedule will be made during the first class session.
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
The Major Film Theories: An Introduction – Dudley Andrew
Required Items and Supplies:
• 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:
WEEK 1
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: “Network”
Assignment: “Metropolis”
Readings: Lacey & Andrew
WEEK 2
Theory and Practice
• Discussion of assigned viewings and readings
• Silent film and the development of montage
• Development of classic technique and the Hollywood Style of editing
• Expressionism in film
Viewing: Early Avant Garde Films, Early Silent Films
Assignment: “The Cabinet of Dr. Calagari”
Readings: continued
WEEK 3
Theory and Practice
• Discussion of assigned viewings and readings
• Mise en scene
• Surrealism in film
Viewing: “Un Chien Andalou” & “L’Age D’Or”
Assignment: “Eraserhead”
Readings: continued
WEEK 4
Paper #1 Due
Theory and Practice:
• Discussion of assigned viewings and readings
• Introduction to Genre Studies
• The Horror Film – origins and progression
Viewing: Horror Scene Compilation
Assignment: “Night of the Living Dead”
Readings: Lacey – continued
WEEK 5
Theory and Practice:
• Discussion of assigned viewings and readings
• Genre vs. Style
• Film Noir – origins and history
Viewing: Film Noir Scene Compilation
Assignment: “Night and the City”
Readings: continued
WEEK6
Mid-Term Exam
Theory and Practice:
• Discussion of assigned viewings and readings
• The Auteur Theory of Film
• Akira Kurosawa - a survey of his work
Viewing: A Kurosawa Sampler
Assignment: “The Seven Samurai”
Readings: continued
WEEK 7
Paper #2 Due
Theory and Practice:
• Discussion of assigned viewings and readings
• Introduction to Gender Studies in media
• Sex and censorship in film
Viewing: Scenes from “The Devils”
Assignment: “This Film is Not Yet Rated”
Readings: Postman &O’Brien
WEEK 8
Theory and Practice:
• Discussion of assigned viewings and readings
• Introduction to Non-Fiction Films and Documentary Theory
• Propaganda and Society
Viewing: Scenes from “Triumph of the Will”
Assignment: “Collapse”
Readings: continued
WEEK 9
Theory and Practice:
• Discussion of assigned viewings and readings
• Television – history and influence
• The ethics of Reality Programming
Viewing: Early TV Compilation
Assignment: TBA
WEEK 10
Paper #3 Due
Theory and Practice:
• Discussion of assigned viewings and readings
• The Artist & The Audience
• The Artist’s Obligation
Viewing: A Fellini Sampler
Assignment: “8½”
WEEK 11
Final Exam:
Final Critique:
• Class evaluation
COURSE NUMBER: COM3000
COURSE NAME: Media Theory & Criticism
COURSE LENGTH: 11 weeks
CONTACT HOURS: 44 hours
CLASSROOM #:
INSTRUCTOR: TOM HAMMOND
PHONE: 813-900-4759
EMAIL: thammond1946@yahoo.com
OFFICE HOURS: Before and after class
CREDITS: 3 credits
DATE OF SYLLABUS: DATE 4/4/11
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 genre and the genre system.
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:
• Mid-Term Exam 25%
• Final Exam 25%
• Research & Review Papers (2) 30%
• 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.
RESEARCH & REVIEW PAPERS – CRITERIA
There are two (2) papers due during the quarter. Each is worth 15% of the final grade.
Each paper will be a minimum of 1500 words, printed out, stapled and following the standard rules of good composition including the proper citing of sources.
No late papers accepted.
Paper #1 – Film Theory – Due Class Session Week #5
Discover, research and define one of the major Theories of Film. Philosophical background, examples and personal opinion should be part of the paper.
Paper #2 – Genre Study – Due Class Session Week #10
Select a film genre, other than the one covered in class, and discuss it in terms of its history, origins, proponents and representative examples. Also include a review of a film that fits into this category.
Paper #3 – The Auteur Theory – Extra Credit
Select a director whose main body of work was prior to 1990 and discuss their filmography in relation to the Auteur Theory. Cite at least three (3) films as examples to make your case either for or against the Theory. It is expected that you will watch these movies.
PARTICIAPTION & ATTENDANCE - CRITERIA
There are two areas of participation, each worth 10% of the final grade.
Attendance
In-class Discussion
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 based 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 arrive after attendance is completed, it will be marked down as half (1/2) an absence. Missing two classes will result in a lowering of your grade by at least one full grade. Missing more than two classes will result in the failing of this class.
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 1 holiday. Adjustments to the class schedule will be made during the first class session.
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
The Major Film Theories: An Introduction – Dudley Andrew
Required Items and Supplies:
• 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:
WEEK 1
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: “Network”
Assignment: “Metropolis”
Readings: Lacey & Andrew
WEEK 2
Theory and Practice
• Discussion of assigned viewings and readings
• Silent film and the development of montage
• Development of classic technique and the Hollywood Style of editing
• Expressionism in film
Viewing: Early Avant Garde Films, Early Silent Films
Assignment: “The Cabinet of Dr. Calagari”
Readings: continued
WEEK 3
Theory and Practice
• Discussion of assigned viewings and readings
• Mise en scene
• Surrealism in film
Viewing: “Un Chien Andalou” & “L’Age D’Or”
Assignment: “Eraserhead”
Readings: continued
WEEK 4
Paper #1 Due
Theory and Practice:
• Discussion of assigned viewings and readings
• Introduction to Genre Studies
• The Horror Film – origins and progression
Viewing: Horror Scene Compilation
Assignment: “Night of the Living Dead”
Readings: Lacey – continued
WEEK 5
Theory and Practice:
• Discussion of assigned viewings and readings
• Genre vs. Style
• Film Noir – origins and history
Viewing: Film Noir Scene Compilation
Assignment: “Night and the City”
Readings: continued
WEEK6
Mid-Term Exam
Theory and Practice:
• Discussion of assigned viewings and readings
• The Auteur Theory of Film
• Akira Kurosawa - a survey of his work
Viewing: A Kurosawa Sampler
Assignment: “The Seven Samurai”
Readings: continued
WEEK 7
Paper #2 Due
Theory and Practice:
• Discussion of assigned viewings and readings
• Introduction to Gender Studies in media
• Sex and censorship in film
Viewing: Scenes from “The Devils”
Assignment: “This Film is Not Yet Rated”
Readings: Postman &O’Brien
WEEK 8
Theory and Practice:
• Discussion of assigned viewings and readings
• Introduction to Non-Fiction Films and Documentary Theory
• Propaganda and Society
Viewing: Scenes from “Triumph of the Will”
Assignment: “Collapse”
Readings: continued
WEEK 9
Theory and Practice:
• Discussion of assigned viewings and readings
• Television – history and influence
• The ethics of Reality Programming
Viewing: Early TV Compilation
Assignment: TBA
WEEK 10
Paper #3 Due
Theory and Practice:
• Discussion of assigned viewings and readings
• The Artist & The Audience
• The Artist’s Obligation
Viewing: A Fellini Sampler
Assignment: “8½”
WEEK 11
Final Exam:
Final Critique:
• Class evaluation
Sunday, November 28, 2010
This film is not yet rated...
This was pretty interesting to see how films get rated - basically by a small group of folks that are not exactly qualified to make the decision for everyone.
I do think a rating system is needed or something that gives folks a bit of insight before they go to see something, but it certainly seems like the current system is flawed, judgmental and prejudice.
Possibly they need something like a list of ingredients, similar to what we find on products we eat. For example if something has msg it in or artificial coloring in it, some folks would choose not to eat it. If movies had a list of ingredients like 20 references to f_ck or masturbation scenes, the ingredients can list them and folks can choose to watch it based on the ingredients.
Since ratings are very subjective, another possible solution would be for raters to name themselves and give their opinions. Similar to reviewers like Siskel and Ebert - some folks may choose to see a movie or not see a movie based on Siskel and Eberts thumbs up or not.
Maybe they can list a variety of people with different point of view and say, this priest rates it a _, and this rabbi rates it _ and this lesbian mother rates it _. This way, folks can look at the opinions of people who's point of view they would value and align with, then base their opinion to see or not to see the movie on that.
Just some thoughts.
I do think a rating system is needed or something that gives folks a bit of insight before they go to see something, but it certainly seems like the current system is flawed, judgmental and prejudice.
Possibly they need something like a list of ingredients, similar to what we find on products we eat. For example if something has msg it in or artificial coloring in it, some folks would choose not to eat it. If movies had a list of ingredients like 20 references to f_ck or masturbation scenes, the ingredients can list them and folks can choose to watch it based on the ingredients.
Since ratings are very subjective, another possible solution would be for raters to name themselves and give their opinions. Similar to reviewers like Siskel and Ebert - some folks may choose to see a movie or not see a movie based on Siskel and Eberts thumbs up or not.
Maybe they can list a variety of people with different point of view and say, this priest rates it a _, and this rabbi rates it _ and this lesbian mother rates it _. This way, folks can look at the opinions of people who's point of view they would value and align with, then base their opinion to see or not to see the movie on that.
Just some thoughts.
TOP 200 FILMS
This list includes my favorites, a good representation of great directors, genres and styles, historically important films and titles that anyone seriously interested in movies should see at least once. It is not meant to be perfect, just personal.
2001: A Space Odyssey
39 Steps, The
8 ½
Adventures of Robin Hood, The
Akira
Alexander Nevsky
Alien
Alphaville
American in Paris, An
Annie Hall
Apartment, The
Apocalypse Now
Asphalt Jungle, The
Augirre: the Wrath of God
Bad and the Beautiful, The
Bad Day at Black Rock
Battleship Potemkin
Beauty and the Beast (’46)
Bicycle Thief, The
Birth of a Nation, The
Black Cat, The (Karloff/Lugosi)
Blade Runner
Blow-Up
Blue Velvet
Bonnie and Clyde
Brazil
Bride of Frankenstein
Bridge on the River Kwai
Bringing Up Baby
Cabinet of Dr. Calagari, The (‘20)
Casablanca
Cat People (’42)
Chinatown
Citizen Kane
City Lights
Clockwork Orange
Conformist, The
Conversation, The
Crouching Tiger, Hidden Dragon
Crowd, The
Day the Earth Stood Still, The
Detour (’45)
Diary of a Country Priest
Die Hard
Die Nibelungen
Dirty Harry
Discreet Charm of the Bourgeoisie, The
Do the Right Thing
Double Indemnity
Dr. Strangelove
Dracula (’31)
Duck Soup
Duel
Easy Rider
Eraserhead
Exorcist, The
Eyes Without a Face
Fall of the House of Usher, The (Corman)
Fantasia
Fargo
Flash Gordon (serial)
Fleischer Studios – animation
Footlight Parade
Forbidden Planet
Freaks
French Connection
General, The (’27)
George Meilies – films
Ghostbusters
Gladiator
Godfather, The
Gojira
Gold Rush, The
Goldfinger
Gone With the Wind
Good, the Bad and the Ugly, The
Graduate, The
Grand Illusion, The
Grapes of Wrath, The
Greed
Gun Crazy (’50)
High Noon
High Sierra
His Girl Friday
Hitch-Hiker, The
Hud
Hustler, The
I Am a Fugitive From a Chain Gang
Ikuru
In the Heat of the Night
Intolerance
Invasion of the Body Snatchers (’56)
It Happened One Night
It’s a Wonderful Life
Jason and the Argonauts
Jaws
Jules and Jim
King Kong (’33)
Kiss Me Deadly
L’Aventura
La Dolce Vita
La Strada
Last Laugh, The
Last Year at Marienbad
Laura
Lawrence of Arabia
Lord of the Rings, The (Jackson)
Lost Horizon
Luis Bunuel – early films
Lumiere Brothers – films
M (’31)
Maltese Falcon, The
Manchurian Candidate, The
Manhattan
Metropolis (’27)
Mr. Hulot’s Holiday
My Man Godfrey
Network
Night of the Living Dead
North by Northwest
Nosferatu (‘22)
Nothing But a Man
Notorious
On the Waterfront
Once Upon a Time in the West
One Flew Over the Cuckoos Nest
Onibaba
Out of the Past
Passion of Joan of Arc, The
Peeping Tom
Persona
Phantom of the Opera (’25)
Place in the Sun, A
Playtime
Psycho
Raging Bull
Raiders of the Lost Ark
Ran
Rashomon
Rear Window
Rebecca
Rebel Without a Cause
Red Shoes, The
Repulsion
Road Warrior, The
Rome: Open City
Rules of the Game, The
Sacrifice, The
Salt of the Earth
Scarface (‘32)
Searchers, The
Set-Up, The
Seven Samurai, The
Seventh Seal, The
Shadows
Shock Corridor
Silence of the Lambs
Sin City
Singin’ In the Rain
Snow White and the Seven Dwarfs
Some Like It Hot
Sons of the Desert
Spirited Away
Stagecoach
Stalker
Star Wars
Straw Dogs
Sullivan’s Travels
Sunrise
Sunset Boulevard
Taxi Driver
Terminator, The
Texas Chainsaw Massacre, The
Thief of Bagdad (’24)
Thief of Bagdad (’40)
Third Man, The
Throne of Blood
To Be or Not To Be (’42)
To Kill a Mockingbird
Top Hat
Touch of Evil
Treasure of the Sierra Madre, The
Triumph of the Will, The
Ugetsu
Unforgiven
Vampyr
Vertigo
Videodrome
Wages of Fear, The
Warner Bros. cartoons – Chuck Jones
West Side Story
White Heat
Wild Bunch, The
Wild Strawberries
Wind, The
Winsor McKay – films
Wizard of Oz, The
Wolf Man, The
Woman Under the Influence, A
Yojimbo
2001: A Space Odyssey
39 Steps, The
8 ½
Adventures of Robin Hood, The
Akira
Alexander Nevsky
Alien
Alphaville
American in Paris, An
Annie Hall
Apartment, The
Apocalypse Now
Asphalt Jungle, The
Augirre: the Wrath of God
Bad and the Beautiful, The
Bad Day at Black Rock
Battleship Potemkin
Beauty and the Beast (’46)
Bicycle Thief, The
Birth of a Nation, The
Black Cat, The (Karloff/Lugosi)
Blade Runner
Blow-Up
Blue Velvet
Bonnie and Clyde
Brazil
Bride of Frankenstein
Bridge on the River Kwai
Bringing Up Baby
Cabinet of Dr. Calagari, The (‘20)
Casablanca
Cat People (’42)
Chinatown
Citizen Kane
City Lights
Clockwork Orange
Conformist, The
Conversation, The
Crouching Tiger, Hidden Dragon
Crowd, The
Day the Earth Stood Still, The
Detour (’45)
Diary of a Country Priest
Die Hard
Die Nibelungen
Dirty Harry
Discreet Charm of the Bourgeoisie, The
Do the Right Thing
Double Indemnity
Dr. Strangelove
Dracula (’31)
Duck Soup
Duel
Easy Rider
Eraserhead
Exorcist, The
Eyes Without a Face
Fall of the House of Usher, The (Corman)
Fantasia
Fargo
Flash Gordon (serial)
Fleischer Studios – animation
Footlight Parade
Forbidden Planet
Freaks
French Connection
General, The (’27)
George Meilies – films
Ghostbusters
Gladiator
Godfather, The
Gojira
Gold Rush, The
Goldfinger
Gone With the Wind
Good, the Bad and the Ugly, The
Graduate, The
Grand Illusion, The
Grapes of Wrath, The
Greed
Gun Crazy (’50)
High Noon
High Sierra
His Girl Friday
Hitch-Hiker, The
Hud
Hustler, The
I Am a Fugitive From a Chain Gang
Ikuru
In the Heat of the Night
Intolerance
Invasion of the Body Snatchers (’56)
It Happened One Night
It’s a Wonderful Life
Jason and the Argonauts
Jaws
Jules and Jim
King Kong (’33)
Kiss Me Deadly
L’Aventura
La Dolce Vita
La Strada
Last Laugh, The
Last Year at Marienbad
Laura
Lawrence of Arabia
Lord of the Rings, The (Jackson)
Lost Horizon
Luis Bunuel – early films
Lumiere Brothers – films
M (’31)
Maltese Falcon, The
Manchurian Candidate, The
Manhattan
Metropolis (’27)
Mr. Hulot’s Holiday
My Man Godfrey
Network
Night of the Living Dead
North by Northwest
Nosferatu (‘22)
Nothing But a Man
Notorious
On the Waterfront
Once Upon a Time in the West
One Flew Over the Cuckoos Nest
Onibaba
Out of the Past
Passion of Joan of Arc, The
Peeping Tom
Persona
Phantom of the Opera (’25)
Place in the Sun, A
Playtime
Psycho
Raging Bull
Raiders of the Lost Ark
Ran
Rashomon
Rear Window
Rebecca
Rebel Without a Cause
Red Shoes, The
Repulsion
Road Warrior, The
Rome: Open City
Rules of the Game, The
Sacrifice, The
Salt of the Earth
Scarface (‘32)
Searchers, The
Set-Up, The
Seven Samurai, The
Seventh Seal, The
Shadows
Shock Corridor
Silence of the Lambs
Sin City
Singin’ In the Rain
Snow White and the Seven Dwarfs
Some Like It Hot
Sons of the Desert
Spirited Away
Stagecoach
Stalker
Star Wars
Straw Dogs
Sullivan’s Travels
Sunrise
Sunset Boulevard
Taxi Driver
Terminator, The
Texas Chainsaw Massacre, The
Thief of Bagdad (’24)
Thief of Bagdad (’40)
Third Man, The
Throne of Blood
To Be or Not To Be (’42)
To Kill a Mockingbird
Top Hat
Touch of Evil
Treasure of the Sierra Madre, The
Triumph of the Will, The
Ugetsu
Unforgiven
Vampyr
Vertigo
Videodrome
Wages of Fear, The
Warner Bros. cartoons – Chuck Jones
West Side Story
White Heat
Wild Bunch, The
Wild Strawberries
Wind, The
Winsor McKay – films
Wizard of Oz, The
Wolf Man, The
Woman Under the Influence, A
Yojimbo
Sunday, November 14, 2010
Seven Samurai
This was proabably the best movie we have seen so far. For a 1954 foreign action, it seemed pretty well done. The facial expressions and exaggerated movements seemed comical. I wonder if those things seemed comical when it was originally released. The strange bald wigs were very cheesy and I would bet they seemed cheesy in 1954 also. I didn't realize it was so long....until about an hour and a half into it, I looked to see where the cursor was and unhappily slumped back on the couch. My boyfriend gave up on it after 2 hours...and he likes action movies....normally. I had to endure the rest of it alone. It really dragged on. Most of the action was in the last hour, but by that time, I was just waiting for the time to pass. It could have been way shorter.
Wednesday, November 10, 2010
Nov 15th
Hope you are okay.
If we are having a test in class on the 15th, will the paper still be do also?
If we are having a test in class on the 15th, will the paper still be do also?
Mid-Term Exam and Grade
Hi everybody,
I just got home from the hospital. Everything is fine and I will be back to class next Monday. I have enough information to assign grades for the mid-term. There will be an exam in class on Monday the 15th. Please review and watch the assigned films on your syllabus through week six. See you then.
Best regards, Tom
I just got home from the hospital. Everything is fine and I will be back to class next Monday. I have enough information to assign grades for the mid-term. There will be an exam in class on Monday the 15th. Please review and watch the assigned films on your syllabus through week six. See you then.
Best regards, Tom
Tuesday, November 9, 2010
Monday, November 8, 2010
just watched let the right one in. I thought it was absolutely beautiful. i love the score, character development was awesome, there was even times where you guessed what was happening but still knew. I was wondering though, during subtitles, is there a reason to why its sometimes on top then to the bottom??
Sunday, November 7, 2010
Eraserhead
I have to say this one of the most disturbing films I have ever seen. I have heard many things about it, but after watching it I feel like I wasted two hours of my life. I do believe there are some commendable things to say about it, like thank god it was only two hours instead of three. Honestly, I was impressed with the set design and style of the piece simply based on the budget restrictions he(Lynch) was under. I also liked the quirkiness of Jack Nance. With that said, I thought not only was this movie a trip into the surreal, but I think not even David Lynch knew what he was trying accomplish. This movie should have been lost into obscurity, but people who are lost themselves and are searching for a deeper meaning in life somehow latched onto this film at the midnight showings! I will save all of you the time and energy.... this film has no meaning! There is no rhyme or reason to the chaos presented before us in this picture! I am almost inclined to think that Mr. Lynch was doing a social experiment to see if the audience can create meaning where there is none....
Let the right one in book
Wow, those details from the book really change the story. Would you recommend the book to fans of the movie?
Thursday, November 4, 2010
let the right one in
in the remake of this was the vampire also sexless or did they not mention that?
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