Screening THESE MAJOR feature film TREASURES ... Kane directed by Orson
Welles 1941 Casablanca directed by Michael Curtiz 1942 Dead of Night directed.
Syllabus “ Hello to you all. How exciting for us!"
Spring 2013
Professor of Fine Art Clifton Boudman(EMERITUS) Art/Eng 116 ONLINE Tuesday January 22nd through Friday May 16th 2013. The Art and History of Motion Pictures, (Introduction to Film)
119 Years of FILM - Screening out the Past/ Mass Culture and the Motion Picture Industry Silent Days, Thirties and Forties and Beyond... Film Streams will be available throughout the Fall Semester Our course is a history of the development of Cinema: formats, film aesthetics, societal impact. Emphasis placed on the American Sound Film 1928-1953 through today 2013, and its importance as a medium of personal expression, communication, political statement and entertainment. There will be screenings and evaluations of films representative of this history.
In theory, and sometimes in practice, the cinema is "Art." It is a collective method of work, a fusion of light, movement and sound, a stream of images. Film seeks action, and the basis of film is its visibility, its reproduction of a material image, and the linking of objects with ideas. The persistence of present time without limit of place or period gives film its ambivalence between dream and reality. It abolishes unities of logic as well as drama. It is its contact with life, its concern with dreams, fantasies, realities, humanities, connecting creator and audience that makes it truly today's "machine art." Our goal is to screen a series of representative films from Silent Film, America's Golden Age of Sound Film of the 30's and 40's and through today 2012, and evaluate them in terms of genre theory and practice, place, time, using accurate film studies vocabulary...really to learn how to allow ourselves to be screened; to learn HOW TO READ A FILM. We will be experiencing a broader range of movies than you are, perhaps, used to seeing. Looking is not seeing. As a result of taking this course, you will be able to practice using a more precise language for thinking about, talking about, and writing about movies.
Sensitive Hearts, Faithful Hearts
Who Shun Love whether it does range, Or cease to be so bitter. Is it a crime to change? If Cupid was given wings Was it not to flitter…. . Le Regle du Jeu, Jean Renoir 1939. "Cinema replaces the world with one that conforms to our desires" (Andre Bazin)
Screening THESE MAJOR feature film TREASURES The Unknown directed by Tod Browning 1927 Flying Down to Rio directed by Thornton Freeland 1933 The Black Cat directed by Edgar G. Ulmer 1934 The Lady Eve directed by Preston Sturges 1941 Citizen Kane directed by Orson Welles 1941 Casablanca directed by Michael Curtiz 1942 Dead of Night directed by Cavalcanti 1945 The Best Years of our Lives directed by William Wyler 1946 Out of the Past directed by Jacques Tourneur 1947 Singin in the Rain directed by Stanley Donen and Gene Kelly 1952 The Thing from Another World directed by Christian Nyby 1951 The Searchers directed by John Ford 1956 Witness directed by Peter Weir 1985 The Dead Zone directed by David Cronenberg 1983 Groundhog Day directed by Harold Ramis 1993 The Constant Gardener directed by Fernando Meirelles 2005
GETTING STARTED: Welcome to ART/ENG 116: AN INTRODUCTION TO FILM. This course exposes you to many writers and philosophers who influenced FILM work. Through the examination of his films, you will learn how to “read” a film and appreciate it not only for its technical aspects but also for discerning the influences of CONTEMPORARY THOUGHT.
Art/Eng 116 Learning Objectives and Outcomes: As a result of taking this Introduction to Film course, you will be better able to: 1. Acquire knowledge of and familiarity with American film history, from silent movies to the present day. 2. Achieve cinematic literacy, a basic technical vocabulary of motion pictures that will increase your critical thinking and writing about films and how they relate to culture and ideology. 3. Transition from being more than passive viewers of films to active viewers who know how to look and listen and what to look and listen for. 4. Identify how these film elements - narrative, style, props, setting, costumers, lighting, acting, cinematography, editing and sound as well as script - reflect the visions and beliefs of the filmmakers and their production studios as well as the times and places they lived in, not to mention our own visions and beliefs. 5. Comprehend the role of the genre in American film history and how these popular and enduring genres expressed the social and cultural tensions of America. 6. Distinguish and contrast the styles of different filmmakers and how the developing in film technology contributed to their sense of aesthetics. Tools, Resources and Tips for Success:
To begin working through this course, you should verify that you have the following required course textbook: HOW TO READ A FILM, BY JAMES MONACO, FOURTH EDITION, OXFORD UNIVERSITY PRESS, MAY 8TH 2009, ISBN978-0-19-532105-0. The best text for all Film Studies at about $19.00 on Amazon! Your total book cost for this course! All other reading assignments can be located and accessed for free on the web.
GRADES: Your grades will be determined by your participation in class, your understanding of the material presented each week, reflections on course materials and your utilization of this understanding in your writing, screenings, posted assignments. Late participation posts and reflective journal enteries will not receive credit. 1). 60% for Class Participation as evidenced by Postings in each of the 16 Discussion Forums. 2). 40% for your Film Reflective Journal (CLASS NOTE TAKING). Entries for each film must be made amounting to 16 entries by the end of the semester. Access the Blackboard Tool "Film Reflective Journal" to start your journal. For more information on grades for these assignments, please review the Discussion Board Participation and Reflective Journal Rubrics that are embedded in this syllabus.
OUR PROCEDURE: V.O.FILES (voice-overs) (I speak to you) will be utilized to comment and pinpoint specific imagery while you are streaming. THERE WILL BE CONTINUAL FILM STREAMS OF ABOVE FEATURES AVAILABLE FOR US AT NO CHARGE! This course will utilize a variety of technologies and multimedia. To complete the activities in this course and to access course content, please verify that you have the following technologies and plug-ins available: Browser: Plug-ins, Windows Media Player (or Flip4Mac if you use a Mac), QuickTime, Flash, Shockwave, Adobe Reader and Java. Audio-Speakers and/or Headset – Some multimedia presentations contain audio content. Microsoft Word or Open Office.org– For submission of your assignments. Email – To contact your professor, use the "Course Emails" tab on the left. Most importantly, you should verify that your internet browser's pop-up blocker is disabled. This is very important because many of the announcements in this course may appear in a pop-up window. If you have a pop-up blocker enabled, you will not see any of these announcements. Finally, after you have verified that you have these tools and resources available, you can proceed to the next section where I give some suggestions that will maximize your experience in this course: The reading and viewing assignments present complex material that may not be familiar to you. Please give yourself time for quiet focused viewing and reading. The content within the course has been selected to provoke thoughtful, meaningful discussion. Please take time to contribute to ideas that are expressed in each forum. You will be asked to reflect on particular films, multimedia YouTube selections, V.O.s, reading materials and synthesize the material.
Dialogue with other students will open new trains of thought and ideas that you may not have explored or thought about. Be open, share, and stretch! Do not wait until the end of the week to post to the discussion board. By posting early in the week, the class can have more time to delve into the discussion forum threads. Do not hesitate to ask questions! If you have a concern or question, please contact the instructor. There is always the option of a phone consultation. Discussion postings are a reflection of your professionalism and academic ability. Carefully proofread your post writing before posting it. The course requires substantial effort on every student's part in the discussion forums. This is a time when you want to be an equal contributor. Your grade depends on this and your peers benefit from this. To create a learning community, we need to be able to state our opinions within a respectful and safe environment. Please be mindful of how you respond to others and think about how your words will be received. Always use respectful communication. How the Learning is Structured How to Prepare: Each film in this course builds upon the concepts and content of previous films. As you progress through each Film, you will find that readings and multimedia from prior films may support and expand your knowledge and understanding of the current film. It is critical that you complete the readings, multimedia and films each week and come into your discussion board and assignments fully prepared to actively participate. Making notes on major concepts within the course materials will help you keep pace with your peers. Each week, you will be introduced to a new FEATURE film. Please ensure that you've secured it via streaming AT COURSE ASSIGNMENTS, then follow these steps: I've selected our films because every time you screen each film you see more, more, more....You know, you are screening yourself...
BEFORE SCREENING EACH FILM: 1. PLEASE listen to my V.O.s Voice Over Comments (I talk to you), and YouTube selections on Each Film on Blackboard. These comments will guide your viewing experience, and help you understand how to view and interpret the film. You study as you view.... AFTER SCREENING EACH FILM: 1. You are required to post in the designated forum established for each film. 2. POSTING REQUIREMENTS: You will make three posts in each forum. The initial post should be a substantive analysis of the film and should demonstrate your assimilation of all course materials (film, VO lectures, readings, websites and other media). Your second post should be reactions to what your peers have written and your third post should discuss material from your weekly reads. Note that your posts should all contribute to the overall level of discourse in each forum. Posting must be done in the
time allotted for the discussion. When films are presented, your instructor will indicate when its discussion forum is closed to further postings in Announcements (on left). 3. WEEKLY PARTICIPATION: Posting to the discussion board must add substantively to the discussion by building upon classmates' ideas or posing critical questions or comments to further the discussion. For example, a posting of “I agree with what people are saying” or "I don't like the film" is not sufficient unless there are other substantive posts throughout the week. I will be monitoring the participation on a weekly basis and welcome people to check in with me if they have questions about their participation. Keep in mind that postings make up a significant percentage of the final grade. All postings must be respectful. If at any time you are concerned with a posting, please notify me immediately. Each week you will receive up to 4 points for participation. Please refer to the following Participation Rubric to see how your weekly participation will be evaluated:
COURSE GRADING RUBRICS 1.) Rubric for Discussion Board Postings 0 No postings 1 Posts have poor spelling and grammar, posts do not relate to the discussion topics, makes short remarks without substance, does not participate in the learning community and seems indifferent. 2 Partially met posting expectations, makes marginal effort to become involved with the learning community, occasionally posts off discussion topic, spelling and grammatical errors in several posts, responds to postings several days after initial discussion, limited initiative, initiates discussion late in the module/week. 3 Good postings, met expectations, responds to postings made by peers and faculty within a 24 hour period, some prompting needed, few spelling and grammatical errors, frequently posts items that are related to the discussion content, opionions and ideas are stated clearly with occasional lack of connection to discussion topic(s). Interacts freely. 4 Excellent Postings, exceeded expectations. Responds to posts made by peers and faculty in less than 24 hours, demonstrates good self-initiative, initiates discussion early in the week, consistent use of grammar and spelling, consistently posts topics related to the discussion, expresses opinions and ideas in a clear concise connection to the discussion topic(s). Aware of the needs of the community, frequently attempts to motivate the group discussion, presents creative ideas to the topic. 2. Rubric for the Reflective Journal
0 The Journal entry fails to address the assignment: Does not identify and present concepts, uses no evidence used to support points, does not exhibit quality of writing that is at beneath a University level 1.25 The Journal entry demonstrates the following criteria: Seeks to understand concepts somewhat cautiously, does not provide adequate support or rationale for in-depth reflection, has not carefully proofread entry, and does not cite sufficient course material 2.5 The Journal entry demonstrates the following criteria: Presents 2 or 3 concepts from the course material, identifies in depth how film contributes to your film literacy, has no fewer than 2 spelling errors and cites numerous course materials to illustrate points.
A Final Word: I encourage anecdotal discursive yet concise written assignments: the quality end of the market. Learned. Touching. Extraordinarily funny, nutty, informal. Something about you - you know, you are screening yourself when you view film. Subjective comment notes from your reading assignments, film content and personal reminiscence along with unconventional photographs can be a welcome addition to your assignments.
Best to us.... Cliff Clifton Boudman, Professor of Fine Art (Emeritus) January 06, 2013 COMMUNICATIONS: Office: Room 405 Normal Hall (fourth floor) University of Maine at Presque Isle
By appointment.. 1-207-768-9448
Also go to www.cliftonboudman.com Use Google and Google plus for more....
Clifton Boudman Artist Studio, 26 Rum Rapids Inn on the Aroostook River, washburn, maine
