Spring 1999 (3 credit hours)
|Instructor: Jeremy Butler
Office: 430C Phifer, 348-6350
Office hours: TT 1-2:00, MW 3-4:00, & by appt.
|GTA: Amy Chu
TCF 112 aims to introduce the student to the history of film and to explore some of the major conceptual models (e.g., formalism, genre theory, auteurism, and so on) that have been applied to that history.
In a sense, there are three "texts" for this course:
Giannetti & Eyman will supply the student with the basic facts of film history. The lectures augment those facts with specific interpretations of them. The films themselves illustrate both the readings and the lectures.
Readings Tests (3 @ 15) 45 Mid-Term Exam 25 Final Exam 30 100 TOTAL
A 93-100 C 73-76 A- 90-92 C- 70-72 B+ 87-89 D+ 67-69 B 83-86 D 63-66 B- 80-82 D- 60-62 C+ 77-79 F 59 and below
Grades will be posted by the last four digits of your student ID number in the hallway outside room 216. They may also be found on the TCF Department's World Wide Web site:
This site may be accessed from most computer labs on campus and, via the Internet, from computers around the world. If you do not wish your grades to be posted in this manner, please notify us in writing.
The tests/exams' questions assume the student has attended all lectures and film screenings.
All acts of dishonesty in any work constitute academic misconduct. The Academic Misconduct Disciplinary Policy will be followed in the event of academic misconduct.
To request disability accommodations, please contact Disabilities Services (348-4285). After initial arrangements are made with Disabilities Services, contact Jeremy Butler.
There will be no other opportunity to see the films other than the in-class screenings. Most are not available on videocassette. These films serve as our texts. Talking or other disturbances will not be tolerated during screenings.
A limited number of the class films may be purchased online. More information is available.
The best source for film credits is the Internet Movie Database: http://us.imdb.com . Click on the highlighted films below to access their credits on the IMDb.
(subject to revisions announced in class)
|1/6||Introduction to the Course/Modes of Film|
|Lumière & Edison Shorts (1890's)|
|A Trip to The Moon & Impossible Voyage (Méliès, 1902, 1904)|
|1/11||The Evolution of Narrative Film|
|German Silent Film: Expressionism|
|1/13||Married? (Terwilliger, 1926)||Chs. 1, 2|
|1/18||No Class: Martin Luther King, Jr. Day|
|1/20||German Silent Film: Kammerspielfilm|
|Warning Shadows (Robison, 1922)||Ch. 4|
|1/25||Silent Film Comedy: Buster Keaton (Illustrations)|
|1/27||Steamboat Bill, Jr. (Keaton, 1928)||Ch. 3|
|*Readings Test 1: Chs. 1, 2, 3, 4*|
|2/1||Russian Formalism: Sergei Eistenstein|
|2/3||Strike (Eisenstein, 1924)||Review ch. 4 (pp. 84-92)|
|2/8||Classical Hollywood Cinema|
|2/10||Meet John Doe (Capra, 1936)||Ch. 5, 6|
|2/15||Bazinian Realism: Jean Renoir (Illustrations)|
|2/17||Rules of the Game (Renoir, 1939)||Ch. 7|
|Nanook of the North (Flaherty, 1922)|
|Taxicab Confessions (Gantz & Gantz, 1995)|
|3/1||Auteur Theory: Alfred Hitchcock (Hitchcock Cameos)|
|3/3||Notorious (Hitchcock, 1946)||Ch. 8|
|3/8||Italian Neorealism: Roberto Rossellini|
|3/10||Paisan (Rossellini, 1946)||Ch. 9|
|3/15||Genre Study I: Screwball Comedy|
|3/17||Nothing Sacred (Wellman, 1937)||Review ch. 6 (pp. 149-52)|
|*Readings Test 2: Chs. 5, 6, 7, 8, 9*|
|3/22||French New Wave: Jean-Luc Godard (Illustrations)|
|3/24||Vivre Sa Vie (Godard, 1962)||Chs. 11, 13|
|3/29-4/2 SPRING BREAK|
|4/5||Feminism and Film|
|4/7||Sadie Benning Videotapes|
|The Incredibly True Adventure of Two Girls in Love (Maggenti, 1995)|
|4/12||New German Cinema: Werner Herzog|
|4/14||Aguirre, Wrath of God (Herzog, 1972)||Ch. 15|
|4/19||Genre Study II: Film Noir|
|4/21||D.O.A. (Matł, 1950)|
|4/26||The Breakdown of Hollywood Classicism (DVD Illustrations)|
|4/28||Defending Your Life (Brooks, 1991)||Chs. 10, 12, 14 (optional: 16-18)|
|5/7||**Friday, 2-4:30 p.m.**|
|**Readings Test 3: Chs. 10, 11, 12, 13, 14, 15**|