This class offers an introduction to the study of film. First, we will look at the film experience as a whole. Then, we will take a detailed look at the major formal elements of film (mise-en-scène, cinematography, editing, and sound). Finally, we will put these elements back together again, in order to consider how film narrative works as a whole, and to look at the major types of films (genres).
I have not ordered a textbook for this class, because all the available textbooks are excessively expensive. Instead, the lectures will be supplemented by a number of Concept Guides (handouts, also available online) that summarize the most important film terms and concepts developed in the course of the semester. Lecture notes for each lecture will be placed online as well. The final exam at the end of the semester will test your knowledge of the concepts and arguments developed during the class lectures, as well as of the films screened and discussed in the course of the semester.
Every class session will consist of:
We will mostly be watching classic films, made in the years between 1924 and 1982. Though the class does not survey the history of film in any detail, one of its aims is to introduce you to older films that you may not have seen before, and to make you more aware of the variety of film art over the past century. For each film, the online syllabus includes a link to a page listing the director and main actors, and giving some study suggestions and questions for the film.
Class requirements include regular attendance, five in-class written exercises, of which you must do at least four; one short (2-3 pages) paper; and a final exam. Attendance will count for 10% of your grade. Each in-class exercise will count for 10% of your grade, for 40% total; if you do all five exercises, then the lowest of the five grades will be dropped. There will be no makeups offered for the in-class exercises. The midterm paper will count for 20% of your grade, and the final examination will count for 30% of your grade.
January 11: Introduction
Buster Keaton, Sherlock
Junior (1924)
(class notes)
January 18: The Experience of Film
Alfred Hitchcock, Rear
Window (1954)
(class notes)
January 25: Mise-en-scène (1)
Josef von Sternberg, The
Scarlet Empress (1934)
(class notes)
(Concept Guide:
Mise-en-scène)
February 1: CLASS CANCELED (SNOW)
February 8: Mise-en-scène
(2)
Ridley Scott, Blade
Runner (1982)
(class notes)
First in-class written exercise.
February 15: Cinematography (1)
Jean Renoir, Grand
Illusion (1937).
(class notes)
(Concept
Guide: Cinematography)
February 22: Cinematography (2)
Orson Welles, Touch
of Evil (1958).
(class notes)
Second in-class written exercise.
February 29: Editing (1)
Sergei Eisenstein, Battleship
Potemkin (1925).
(class notes)
(Concept Guide: Editing)
March 7: NO CLASS
March 14: SPRING BREAK
March 21: Editing (2): The Continuity System
John Ford, Stagecoach
(1939).
(class notes)
Midterm paper due. (assignment)
March 28: Editing (3): Alternative Editing Systems
Jean-Luc Godard, Breathless
(1959).
(class notes)
Third in-class written exercise.
April 4: Film Sound
Stanley Donen and Gene Kelly, Singin'
in the Rain (1952)
(class notes)
Fourth in-class written exercise.
April 11: Film Genres
Billy Wilder, Double
Indemnity (1944).
(class notes)
April 18: Conclusions
General Review
Fifth in-class written exercise.
April 25: final examination