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Course Description

Course Requirements

 

Introduction to Theory and Criticism
Comparative Literature 400
Fall 2010

Professor James Tweedie
Email: jtweedie@u.washington.edu

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.


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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.



Required Texts
:
1) Leo Braudy and Marshall Cohen. Film Theory and Criticism. Seventh Edition. New York: Oxford University Press, 2009.

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:
09/30/10

Contact the instructor at: jtweedie@u.washington.edu