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Introduction to Theory and Criticism
Comparative Literature 400 Fall 2010 |
Professor
James
Tweedie Course Description:
This
course provides an introduction to fundamental
concepts in film theory. Readings will range from the formative work of
early
theorists like Sergei Eisenstein, to André Bazin’s influential writing
on
realist cinema, to more contemporary developments in the field,
especially
theories centered on the reception of films, the crucial role of stars
in the
history of the medium, and the emergence of new media. The course will
be
designed around a series of key concepts that structure discussions of
film
throughout the twentieth century, including film’s relationship to
modernism
and modernity, cinematic realism, the development and persistence of
genres,
the nature of film authorship, the mythology of film stars, the
implications of
cinematic voyeurism and the gaze, and the political ramifications of
the
culture industry.
After
successfully
completing the course, students should be able to
·
understand
crucial theoretical concepts developed by
filmmakers, critics, and scholars;
·
use
those concepts to analyze film texts;
·
locate
those concepts within the historical, cultural, and
cinematic contexts in which they were produced;
·
analyze
and criticize those concepts;
·
situate
the concepts in relation to others studied in the
course;
·
communicate
a critical analysis of both films and theories
in discussion and in writing.
Course
Requirements: Readings: The readings
will consist
of essays and book excerpts introducing influential approaches to film
criticism and theory, most drawn from the anthology titled Film
Criticism and Theory, and some available through UW Libraries
course reserves. (Please note that you will probably need to log in
with your
UW netid to access some of the online readings. If you have any
questions about
this process, please ask me.) Although the reading may not appear too
extensive
when measured in pages, the concepts are often complex and abstract,
and the
writing can be difficult and dense. The reading assignments require a
greater
degree of care and attention than most essays of their length, and they
therefore demand a greater investment of time and energy than a first
glance
would suggest. Because these readings will provide background for and
supplement
the lectures, they should be finished before the first class meeting
each week,
unless otherwise noted. The exams will focus in part on these essays
and book
excerpts, so it is important to remain current on the reading. Screenings: The films
screened for the
class will provide a point of departure for the lectures and readings.
They
will illustrate some of the important historical and conceptual issues
raised
in the course; but, if viewed closely and attentively, they will also
compel us
to rethink some of those same categories. Study questions for each film
will be
posted on the course website before each class (they will be
hyperlinked to the
film title on the schedule), and they should serve as a guide for class
discussions and your exam review. There are no regularly scheduled
screenings
for this class, so you are required to make time to watch the films in
advance
of the first day of class each week. All of the films will be on
reserve at
Odegaard, and I also recommend that you open a Netflix or other video
rental
account, if you don’t have one already. All of the films screened
outside of
class time are available on DVD through Netflix (and other video rental
services like Scarecrow). Most can also be streamed through Netflix.
(The films
that are not accessible as streaming video on Netflix are marked on the
syllabus.) Assignments: There will be
two midterms,
each 30% of the final grade, and a
series of three reading response papers
(10% each). The exams will consist
primarily of short-answer and short-essay questions, some of which will
be
adaptations of questions posted on the course website. I will also
distribute a
review sheet approximately one week before each exam. The other written
work
for this quarter will revolve primarily around the reading. Each
student will
be required to write three response papers (two
pages, single-spaced,
in a reasonably large and legible font). The due dates fall at the end
of the
major units in the course (modernism, realism, and the three-week
sequence on
the spectator and film authorship) and they should address some of the
issues
raised in that particular section. Class
participation will account for
the remaining 10% of the final grade. Because deadlines
are a regular and necessary part of academic
and everyday life, late papers are only barely acceptable and will be
penalized
by a half point (out of ten) for each day late. Students
are required to complete all evaluated assignments.
Non-fulfillment of any individual assignment listed above may result in
a non-passing
grade for the course as a whole. Note
on Response Papers: A
response paper should include most
of the following: a) what you understand the theorist or scholar’s
argument(s)
to be (and the substance of the argument should usually be paraphrased
in your
own words, not quoted directly from the text); b) the methods that the
authors
use to develop and support their arguments; c) the dialogue that these
texts
appear to be participating in (i.e., who are their explicit or implicit
interlocutors?); d) the major omissions or blind spots of the author or
research tradition (especially as they manifest themselves in an
analysis of a
particular film or series of films); and e) how the arguments and/or
methodology might inform your own approach to cinema. It will be
impossible to
write a comprehensive response to all of the essays in each section, so
feel
free to focus on a narrow group of readings (i.e., two, maybe three)
that you
find particularly intriguing or misguided. Plagiarism: Plagiarism is a
serious
offense. It undermines the fundamental mission of the university and
sanctions
are therefore severe. For information about the definition of
plagiarism and
the mandated UW penalties, please see the following website: http://depts.washington.edu/grading/issue1/honesty.htm. Disability-Related
Needs: To
request
academic accommodations due to a disability, please contact UW Disabled
Students Services, and please contact me as soon as possible to discuss
any
necessary accommodations.
2)
Individual articles available through UW Libraries online reserves (abbreviated OR). Additional
Resource: www.imdb.com has an extremely
comprehensive and
easily searchable database with information about films, directors,
actors, and
producers, as well as links to reviews and other useful information. |
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Last Updated: |
Contact the instructor at: jtweedie@u.washington.edu
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