COURSE OUTLINE
Days: Tuesdays
/ Thursdayss
Time: 9:30 am – 12:30 pm
TEXTS: Bordwell & Thompson, Film Art 9th Edition
Selected Readings
ALL FILMS ARE SUBJECT TO CHANGE AT LECTURER'S DISCRETION
WEEK 1 Introduction
JAN. 22: Introduction to Visual Narratives. Genre in Film as a vehicle for understanding visual narratives: Where Do Genres Come From? How Do They Evolve? The Comedy Genre
JAN. 22: Introduction to Visual Narratives. Genre in Film as a vehicle for understanding visual narratives: Where Do Genres Come From? How Do They Evolve? The Comedy Genre
JAN. 24: The Comedy Genre
Comedy as Narrative
Viewing: Austin Powers: The International Man of Mystery, (1997), 94 mins.
Readings: Neale, Steve and Frank Krutnik, Popular Film and Television Comedy,London: Routledge, 1990, Chapter 2:‘Comedy and Narrative’.
WEEK 2 Film Noir
JAN. 29: Film Noir as a Genre - A Close Look
Viewing: Seven (1995; David Fincher dir.)
JAN. 29: Film Noir Codes and Conventions of Film Noir. The Narratives of the Film Noir Movement
STUDENT PRESENTATIONS
WEEK 3 The Gangster Film
FEB. 05: Gangster Films as Expressions of the Cinematic Auteur. The Evolving Role of the City: from Mythical Backdrop to Authentic Locale
Viewing: The Godfather (1972; Francis Ford Coppola) (excerpt)
Readings: Excerpt from The Golden Age-The Classic Gangster Film
Wilson, Ron, The Gangster Film: Fatal Success inAmerican Cinema, Columbia University Press, 2015, pp. 1-6.
FEB. 07: The Gangster Film
Codes and Conventions of The Gangster Film. Visual Narrative Techniques in The Gangster Film Genre
STUDENT PRESENTATIONS
WEEK 4 The Genre of Science Fiction & Fantasy Films.
FEB. 12: Visual Codes and Conventions of Science Fiction & Fantasy Films.
Viewing: Jurassic Park (1974; Steven Spielberg dir.)
Readings: J.P. Telotte, Replications: A Robotic History of the Science Fiction Films, 1995, pp. 2-6, 8-18, 19-23.
FEB. 14: The Narratives of Sci-Fi Films. Fantasy Voyage and Self Discovery.
STUDENT PRESENTATIONS
Viewing: Viewing: The Lord of the Rings: The Fellowship of the Ring (2001; Peter Jackson dir.) (excerpt)
Aliens (1986; dir.) (excerpt)
Star Wars Episode II: Attack of the Clones (2005; dir.) (excerpt).
Readings: J.P. Telotte, Replications: A Robotic History of the Science Fiction Films, 1995, pp. 2-6, 8-18, 19-23
WEEK 5
The Genre of Horror
FEB. 19: Psychological Tensions. Imaginative Potential of Horror Films.
Viewing: Hannibal (2001; Damien Chazelle dir.)
Readings: Prohaskova, Viktoria “The Genre of Horror”, American International Journal of Contemporary Research, Vol. 2 No.4, April 2012
Bordwell & Thompson, Film Art 9th Edition pp. 340-342
FEB. 21: Codes and Conventions of Movie Horror Films
STUDENT PRESENTATIONS
Viewing: The Cabinet of Dr. Caligari (1919; Bob Fosse dir.) (excerpt)
The Nightmare on Elm Street (1984; dir.) (excerpt)
The Birds (1963; Alfred Hitchcock dir.) (excerpt).
Readings: Cherry, Brigid, Routledge Film Guidebooks -Horror. London: Routledge, 2009
WEEK 6
The Documentary & Experimental Film Genres
FEB 25 The Poetic Documentary & Experimental Film as Visual Narrative
Viewing: Kora (2001; Damien Chazelle dir.)
Readings: Handout
Bordwell & Thompson, Film Art 9th Edition pp.
FEB. 28 Conceptualising a Visual Narrative. What goes into constructing a visual narrative?
STUDENT PRESENTATIONS
TASKS 1 & 2 DUE (Research Paper, Experimental Work Blog)
TASKS 1 & 2 DUE (Research Paper, Experimental Work Blog)
Viewing: Various selections
Readings: Handout
Bordwell & Thompson, Film Art 9th Edition pp.
WEEK 7: The
Short Film
MAR. 7 What makes a good story. The short film and narrative elements. Writing a short film screenplay.
MAR. 12 The Short Film - Production Techniques I
The Production Process
WEEK 8: The Short Film - Production Techniques II
MAR. 14 - Creating the look of a Visual Narrative.
Composition Techniques.
Lighting.
MAR. 19 The Short Film. Post Production Techniques I
The role of editing in creating a visual narrative.
Intro to Adobe Premiere Pro
Intro to Adobe Premiere Pro
WEEK 9: The Short Film. Post Production Techniques II
MAR. 21 Editing a short Film
Editing techniques in Adobe Premiere
MAR. 26 Session
16: The Short Film. Post Production Techniques I
Adding transitions
Creating a title sequence.
Creating a title sequence.
WEEK 10: Screening and Evaluating a Visual Narrative.
MAR. 28 Presenting Your Visual Narrative to an Audience
Screen visual narratives before an audience of your peers.
Gather responses to your visual narrative.
How to evaluate your own visual narrative.
TASKS 3 DUE (One Minute Film)
TASKS 3 DUE (One Minute Film)
APR. 02:
Evaluating Your Own Visual Narrative
Feedback.
TASKS 4 DUE (Evaluation)
Plagiarism
Statement:
"Plagiarism
is the act of representing someone else's creative and/or academic work as your
own, in full or in part. It can be an act of commission, in which one
intentionally appropriates the words, pictures or ideas of another, or it can
be an act of omission, in which one fails to acknowledge/document/give credit
to the source, creator and/or the copyright owner of those words, pictures or
ideas. Any fabrication of materials, quotes or sources, other than those
created in a work of fiction, is also plagiarism. Plagiarism is the most
serious academic offense that you can commit and can result in probation,
suspension, or expulsion."
Use of
laptops, cell phones, and other electronic devices prohibited in class:
While some of you may consider laptops instrumental for note taking, I
consider the interjection of an interface between you and me in the classroom
alienating and counterproductive. If laptops are used in class, I am unable to
tell whether students pay attention to lectures and class discussion or to the
multiple functions of their laptops. The use of laptops in my classes thus
violates my notion of a productive oral communication scenario that involves
the attention and commitment of all students for the duration of the class. The
prohibition of cell phones and i-phones should be self-explanatory
SAMPLE MOODBOARDS:
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