NOTES: THE ELEMENTS OF FILM
Contemporary film theory -- at least part of it -- is increasingly concerned with how a film is put together. What are the irreducible parts or elements? How do they relate to each other? How do they work on an audience?
Ideally, a movie is very simple: you are watching something and listening to something.
Abstractly what you watch are: color, shape, form, and movement. What you listen to are: language and sound, with rhythms, harmonies, and melodies.
Concretely we watch people, either alone or together, objects, scenery, and events. We listen to monologues and conversations, narration, sound effects, music and silence.
Simple eh? Successful film artistically or financially or both, simply combine all these elements, concrete and abstract into a pleasing pattern.
But the whole question is what makes one pattern pleasing and another not? What sells?
The industry moguls certainly do not know, at least, in the long run. Film business is notoriously mercurial and even the best efforts of conglomerate accountants and vice-presidents have not been able to bring and stability to it.
What we do know now, as in the seventies, is that the value of a film does not lie so much in its particular genre but with elements that historically have been associated with that genre that can be abstracted and grafted onto another subject entirely.
Caper films such as Butch Cassidy and the Sundance Kid, The Sting, Five Easy Pieces, Scarecrow, The Chase, The Fugitive did not last as pure genre much past 1975 simply because filmmakers learned to use the elements of suspense and myth inherent in those genres in other types of films.
The hybrids had more going for them. Example, French Connection has a superb chase in it. It has also the elements of caper. It was a Buddy film in part, but primarily it was copy story.
All the President’s Men was not just a movie about politics. It was an intellectual chase (inexorable because we know the aftermath). A bit of a caper, with touches of docudrama, and an undercurrent of Buddy.
Literary texts used to list the basic elements of a novel as plot, character, setting, theme and style. This five (5) point model remains useful for an analysis of the conscious motivation of the film. Psychologically, film may work in a much more complex manner -- but practically for both the filmmaker and film viewer -- movies remain stories, stories about people, in certain locations, that present a number of ideas, and do so in a more or less recognizable aesthetic manner.
A. STORY
More than anything else, a good story is the basis for most successful films, and it is told in the most conventional manner despite what you may have heard about the new artistic freedom in Hollywood. (The following Tagalog films succeeded in a way because of their stories: Pakawalan Mo Ako, Kung Mangarap Ka’t Magising, Tinimbang Ka….)
A good story has a very clear beginning, middle and end. It is divided into fairly equal thirds. It moves in a good order from exposition through development, to denouement and conclusion. It is tightly knit (then what happened? And then? And then?), but it often leaves space for other profitable enterprises, such as character and setting.
The best way to organize the telling of a story is through proper balance of suspense and action. Alfred Hitchcock was fond of defining suspense as the “the opposite of surprise.”
Surprise: when something happens and you don’t expect it.
Suspense: when you expect it and it doesn’t happen.
Any story upon which the element of surprise, action and suspense can be superimposed is a candidate for success in the Hollywood format or any format for that matter. Often, the suspense/action balance can be adjusted after the film is shot.
Steven Spielberg owes much of his success to an instinctive understanding of this process n Jaws (also to Verna Field’s excellent help in editing). In both Jaws and Close Encounters, Spielberg is confronted with rather thin stories. Not a lot happens either. The films work because of what does not happen. In Jaws, the shark enters the bay, but it does not eat the children. In Close Encounters, the aliens give the signal but their spaceships do not land until the end of the movie. Spielberg knows very well how to build on these non-events by keeping the nervous tension of the characters at a high level from the beginning. He even shoots new footage which appears at the opening of the film Close Encounters. There is no reason for a sandstorm in the desert to be there when Lacombe goes to investigate the mysteriously returned airplanes. No reason, except that the sandstorm is noisy, tense, dangerous.
B. CHARACTER
The general run of American films is strongly plot-oriented, however, the best American movies depend heavily on character for the full effect, even at the expense of storyline. (N.B. Directors who are more interested in character than action: Woody Allen, John Cassavetes, Robert Altman, Francis Coppola, Paul Mazursky, Lino Brocka, Danny Zialcita, Ishmael Bernal.)
The suspense/action style was so widespread in the 70’s; clearly Spielberg supplied the action in that period, even when the action was not necessarily there. Films relied heavily on ACTORS to bring the action alive.
Example, French Connection could not have worked without Gene Hackman. Star Wars found an appropriate crux in Alec Guinness' Obi-Wan Kenobi and the resonant voice dubbed after shooting of James Earl Jones as Darth Vader.
Without Richard Dreyfuss and Robert Shaw (to a lesser extent Roy Scheider) Jaws would not have been the film it was, and Dreyfuss once more with Francois Truffaut breathed life into Close Encounters.
In the films just mentioned, it is the actor, the star, who brings character to the role. In films which are in the first place oriented towards character, the material is there to begin with like Ordinary People, Kramer vs Kramer. On the other hand, there were films, The Godfather for example, that made stars of a number of hitherto unknown actors, because the roles themselves had power: Al Pacino, Robert de Niro, James Caan, Diane Keaton.
People may go to the movies for the visceral excitement of professionally paced action, but they become moviegoers because of the people they see on the screen. They come back to see these beautiful people.
C. SETTING
Setting is probably the most important in film that any other art. Moreover, it increases in importance with each passing year. People do go to movies to see places they have not been, whether it is another galaxy, Basilan, Tawi-Tawi, or Rio de Janeiro. (Albeit, they also like to see places they have been.)
The indoor movies, once a staple of the studios, prisoners of their huge, expensive lights, often seems cramped and claustrophobic.
But setting alone can’t make a commercially successful film (ex. Cherry Blossoms, Miss X, Pinoy Matador). They are all essentially travelogues. Location work adds immeasurably to a film with other things going for it. For example, Maynila Sa Mga Kuko Ng Liwanag, Insiang, Cruising, Julia, The Boys from Brazil have a grit and texture that they would not have had on a studio set. William Friedkin’s underrated Sorcerer might not have been worth the $20 million it cost to make, but it certainly did provide an interesting trip. Same with Apocalypse Now.
Since studios per se have been largely freed from reproducing New York streets and plantation mansions, they are now able to devote their energies to the construction of fantasies, like Star Wars, Alien. Hence there is a rise of science fiction (Sci-Fi) like the Red Planet, and wonderfully symbolic and mechanical James Bond interiors.
Setting is not a matter of locale alone. People are also fascinated by the way things work. One of the main pleasures of the caper films is figuring out how the puzzle will be solved. As the old TV caper series Mission Impossible used to phrase it at the beginning of every show: “Your mission, should you choose to accept it, is…”. Here are the premises, what’s the solution.
Francois Truffaut thinks one of the strengths of American movies has been -- they showed how working people’s jobs are done -- as a pedagogical tool, film can explain how to perform a task better than a book, better than a record, and better than a still photograph. This epistemological value should be recognized in fictional entertainment too.
D. THEME
Theme is, perhaps surprisingly, a salable commodity. People go to adventure films, to women’s films, to mid-life crisis movies, to youth films etc., at least partially for what those films have to say -- MESSAGE.
Example, Network was not a success because of Paddy Chayeksky’s heavy dialogue. It was not Faye Dunaway or Bill Holden that linked them up around the block -- it was the subject, television and the attitude the film expressed toward it. Network did not make the point very clearly, but people wanted to hear any critique of TV. Same is with Being There, the last film of Peter Sellers.
All The President’s Men attracted viewers mainly because it helped explain how Watergate had happened and people wanted to hear it too. There had been a market of films about the way we live, and the more it was catered to, the larger it would grow.
Movies have always been prized by critics and general audiences alike for the strong mythic base on which they are built. That is the chief reason for the perennial popularity of genres like the western, the gangster, and the detective story. (Tagalog films: Ramon Revilla’s “true to life” stories like Nardong Putik, Tiagong Akyat, etc.). All films mean something; whether or not the filmmaker intends it. Interpretation -- supplying meaning -- is the job of the consumers as well as producers.
The thematic spectrum runs from the direct and relatively simple lessons of realistic films that describe the way we live now (Ordinary People, Kramer vs. Kramer, And Justice for All, Pakawalan Mo Ako, Insiang) to the more complex and amorphous significance of mythological genres (such as Rocky, F.I.S.T., Fernando Poe’s Ang Panday, Santiago). Far more being an intellectual’s preoccupation, theme is the necessary skeleton on which action, character and setting are arranged. If the bare bones are not there, audiences will know it (like Burgis).
Occasionally, a film enjoys a successful run simply because it carries with it the aura of “meaningfulness”. American films that mean to be “serious” are often about outcasts or cripple (Coming Home, The Deer Hunter, The Other Side of the Mountain, Inside Moves, Tinimbang Ka…). Partly, audiences are attracted because such movies appeal to voyeurism and maudlin sentimentality, but basically people are interested in such downbeat films because seeing them becomes an act of moral commitment.
E. STYLE
This last of the five elements of the cinematic equation is the least defensible. Only trained observers, mass communication and communication arts students, look for it or appreciate it. If it is blatantly evident, it is usually done in bad faith, and audiences react with sensible contempt (e.g. Celso Ad Castillo’s Uhaw na Dagat).
In European Films, style usually plays a notably more significant part than in American films. Since European films are on the whole much more personal communications, the tone of voice of the author is an important element in the grand design. You can easily spot a Bergman film, a Fellini, a Godard or Bertolucci. American films, however, can’t rely on this established, intimate relationship between filmmaker and film viewer. American films exist in the context of movies as powerful mass entertainment, so that personal style, when it makes itself evident, often seems intrusive. In terms of American movies, style is all too often defined as the residue that remains after action and character, setting and ideas have been extracted.
Some American filmmakers are still enamored by the European approach despite its inapplicability to the American situation. Most egregious recent example of this falsely placed faith has been Allen’s Interiors. Same can be said of Ishmael Bernal, who took up filmmaking in India, who tries to inject into his film a style that is too Indian, i.e. slow paced, long pauses, static camera, etc. Nunal Sa Tubig flopped because of this and to a lesser degree, City After Dark, which was too episodic in treatment.
F. SEX and MUSIC
To these five classic elements we should add two others, each of which is something more than a gimmick, but less than a basic component of the construction: SEX and MUSIC.
They are hardly necessary and sufficient like the five from which films are built, but they can often save a “borderline case” film. There is a strong element of voyeurism to the film experience, so a judicious nude scene here and there can mean the margin between profit and less, especially when feature films are in direct competition with television. Even when a film contains no explicit sex, the very presence of actors and actresses often work to provide a sexual subtext.
Music, on the other hand, may seem exterior to the film itself. Yet, it is the mortar that fills in the cracks, even sometimes when they are large enough to push a dolly through.
Prove it by turning down the sound of your TV. More often than not, it is not the image that moves us, but the musical ground case that tells us what to think and how to feel about that image.
In conclusion, we can say that in American films, technique has been refined to a high state. Nearly any subject of theme is now permissible. Filmmakers have been freed from the prison of the studio; settings are infinite in their variety. Characters are ready and waiting. But, all these elements are useless unless we can escape the tyranny of the suspense/action clichés that rule the vast majority of American movies. We no longer trust ourselves to tell our own stories. If it does not fit the formula, audiences won’t buy it. The industry suffers from a kind of collective aphasia.
We will know it has been cured when someday, the traditional starting call rings out. “Lights! Camera! Character!”.
Adapted from the notes of Fr. Nicasio Cruz S.J., Ateneo de Manila University
Friday, June 26, 2009
BASIC VISUAL UNITS OF FILM
BASIC VISUAL UNITS OF FILM
Since film is primarily a visual medium, the grammar and syntax governing the stream of cinema's visual imagery are of first importance. The visual grammar and syntax of film concern the ways a filmmaker arranges shots into scenes and scenes into sequences, just as the grammar and syntax of spoken and written languages deal with the way words are arranged into sentences and sentences into paragraphs.
The smallest discernible unit in film is the frame. A frame is-a single photographic image printed on a length of film. A viewer can see a single frame only under certain artificial conditions: when a projector is stopped at "still" position; when a frame is excerpted and projected as a slide or printed on photographic paper; or when a freeze-frame appears on the screen. Like a single letter in a word, a frame is not a part of a viewer's perceptions until it is isolated. Even then, it seldom has meaning.
Although a single photographic frame cannot be discerned during actual viewing, it contributes to a larger unit and is understood in terms of that unit. During normal projection, twenty-four frames per second (approximately a foot and a half of 35-mm film) pass through the projector's gate. Each image flashes on the screen, then the screen turns black and is followed by another frame. However, the human eye misses the period of blackout since the eye retains an image one-tenth of a second longer than the image exists. It is this physiological phenomenon that allows motion pictures to be seen in continuous movement with no apparent jumps or single frames visible. (Take two frames out of a shot, however, and the eye can often detect a jump.) The average feature contains close to 130,000 separate frames.
The word “frame” also has another meaning in the filmmaker's jargon. The frame is the outer boundary of a projected image -- the lines, on the rectangle on the screen where an image ends and blackness begins. Because the frame serves as the boundary of an image, it is the starting point in the filmmaker's composition. The camera itself sees indiscriminately. The filmmaker must make a variety of choices to be sure that he will put boundaries around a segment of experience that, when projected, will have meaning for the viewer.
THE SHOT
At a normal projection speed of twenty-four frames per second, it is quickly evident that a large number of frames make up the basic perceivable unit of the film, the shot. A shot is a single uninterrupted action of a camera. Like the verbal word, the cinematic shot is the smallest functional unit of filmmaking. Some shots last only one or two frames, although such short shots appear rarely in commercial films. But anyone who has seen experimental films (such as Charles Braverman's An American Time Capsule or The World of '68) knows how rapidly shots can operate and how many shots the eye will accept in a small amount of time. Although longer shots are "standard," few last over thirty seconds. The exceptions, of course, run for as long as a filmmaker chooses to keep film running through his camera. The average shot runs from about two to thirty seconds.
Because it is the smallest functional unit of film and combines to form a larger statement, the shot syntactically parallels the word of spoken and written communication. The frame, on the other hand, resembles the single phoneme or letter of a word. Shots make up the vocabulary that film's visual grammar and syntax connect into statements with meaning. The vocabulary of film is primarily the vocabulary of a series of photographic images.
It is illuminating to consider the notion "shot" in relation to the notion "word" in order to grasp the syntactical workings of the basic unit of cinematic composition. The shots of a film draw meaning from their context much as words derive significance almost exclusively from their linguistic context. When isolated, the meaning of either a word or a shot is imprecise at best. Consider the word "stand." Is it a verb (such as a command to assume a certain physical position, or a description of what someone is doing or did do) or is it a noun (such as an ideological one takes, a structure to sit on, a courtroom place of witness, or of trees)? Without a context, one cannot ascertain meaning or function. Similarly, a single shot has meaning, but without a context, a particular meaning is difficult to identify. Consider, for example, a frame showing a saloon with men drinking at tables while a man stands just outside the swinging doors. Is the situation comical or threatening? Or are we seeing a typical Tuesday afternoon at Hank's saloon?
While analogies can be drawn between shot and word, the shot also resembles the written paragraph. A paragraph normally articulates an idea, then offers supportive evidence or arguments. Similarly, a shot in context assumes a general idea or mood and also offers many equivalents of simple declarative and descriptive sentences, providing a viewer with supportive information. Imagine the elements of a hypothetical shot put into statement form: The woman sits in the kitchen. The baby is in the highchair. The baby is crying. The woman is holding baby food. The wall is yellow. On the wall stands a picture of a horse. There is a table in the foreground. The table is round. The table is dark. There are four chairs around the table. All this, and far more, a viewer perceives as he watches a shot. A shot, like a paragraph, offers both detailed information and an idea or mood.
Any direct analogy between the shot and the paragraph, however, will quickly break down. The elements of a paragraph are met with one at a time. They are linear. The content of a shot is, for all practical purposes, available all at once. Ideas and details are not easily separated. Abstract ideas are seldom stated as such in film-and then usually in documentaries. Film argues almost entirely by evidence, inexorably forcing a viewer to supply appropriate abstract ideas. We are not told, for instance, that Mr. Jones loves his wife. We see him love her. Film is a visual medium, and it must make its statements visually.
Shots are categorized according to the apparent closeness of the camera to the person or object photographed. With the early single focal length lenses, distance literally became the factor determining the "length" of a shot. With the present variety of lenses, only the illusion of distance counts. If an object or person seems very far away, the result is normally called an extreme long-shot (ELS), also called an establishing shot because it places objects in context and prepares a viewer for a closer look later. If a person or object appears extremely close, the shot is called an extreme close-up (ECU). In between lie the long-shot (LS), medium long-shot (MLS), medium shot (MS), medium close-up (MCU), and close-up (CU).
The distinctions among shots by distance are relative, and no precise lines or measurements separate the various shots. Usually, the human figure provides the chief standard for measurement. In an extreme long- shot a person might be visible, but the setting clearly dominates. The person fills a good part of the vertical line of the frame in a long- although the setting also receives strong emphasis. A medium reveals about three-fourths of the subject, while a medium shot a mid-shot) would show the subject only from the waist up, viewer's attention more on the subject than on the setting but a clear relationship between the two. A medium close-up a person from the shoulders up, and a close-up shows only the head. An extreme close-up reveals only a small part of the face, such as or an eye.
What is a close-up in one situation, however, can be a mid- or long- another. The length of a shot depends on the subject of a film of an individual scene). The longer a shot is, the more it shows of subject; the shorter a shot is, the more it emphasizes detail that is the subject. Hence, the length of a shot is relative and depends the filmmaker has chosen for a subject. If, for example, a film about cities of the world, a shot of a red double-decker bus in London be a close-up. The same shot would be a long-shot in a film about buses, while a shot of an instrument panel would be a close-up.
THE SCENE
A filmmaker puts shots together to make up a scene. A scene is a series of shots that the viewer perceives as taken at the same location during a rather brief period of time. The classic western gunfight furnishes a good example of a scene. Some action prompts two men to face each other, one draws, the other follows suit, and one is killed or wounded. The gunfight might be preceded by a number of shots in the same location, and the scene typically ends quickly after the fight, with action resuming at another time or location.
Film scenes vary greatly in length. Sometimes a scene will be only a single shot long; in other cases a whole movie will have but one scene. Usually, however, scenes last for several minutes. Cinematic scenes tend to be much more crisp than scenes from plays (which offer the nearest literary analogue to cinematic scenes). The average film contains far more scenes than the average play. Since a filmmaker can cut instantly to another scene, he need not worry (as must a dramatist) about moving his cast on and off the stage and about scenery changes. A cinematic scene need last no longer than it takes the filmmaker to convey a single point.
THE SEQUENCE
The largest unit of film's visual grammar is the sequence. The nearest literary analogues to the sequence are the chapters of novels or the acts of plays. A number of scenes make up a sequence, which is the largest working unit of a film. A sequence is usually composed of a series of scenes that are related in location, time, generating action, point of view, or cast. Atone time sequences were clearly set off by strong punctuation marks such as the fade-out and fade-in. These strong forms of punctuation alerted a viewer that a major segment of a film had ended and that a new one was about to begin. Contemporary filmmakers, however, have abandoned such obvious punctuation marks, relying instead on jump cuts or other forms of transition.
A sequence provides an enlarged context to which individual shots and scenes contribute. Individual shots must always be read in terms of surrounding shots, and scenes must be considered in relation to other scenes. Our mental expectations when viewing film lead us to read all actions in terms of what precedes them. In the case of a gunfight, a filmmaker would normally include a number of significant scenes before the gunfight to enable us to read the actions properly. By the time of the gunfight we are set to respond in a certain way to its occurrence and its outcome. A sequence, then, provides a self-contained unit that can undergo evaluation and criticism.
Frame, shot, scene and sequence are the most basic terms in the lexicon of film. They suggest the fundamental structures with which film operates, and they indicate the complex “cut-and-paste” nature of the medium. The rhetoric of any film grows from the way a filmmaker manipulates these basic structural units.
The Rhetoric of Film, John Harrington (University of Massachusetts), pp. 8-20.
Since film is primarily a visual medium, the grammar and syntax governing the stream of cinema's visual imagery are of first importance. The visual grammar and syntax of film concern the ways a filmmaker arranges shots into scenes and scenes into sequences, just as the grammar and syntax of spoken and written languages deal with the way words are arranged into sentences and sentences into paragraphs.
The smallest discernible unit in film is the frame. A frame is-a single photographic image printed on a length of film. A viewer can see a single frame only under certain artificial conditions: when a projector is stopped at "still" position; when a frame is excerpted and projected as a slide or printed on photographic paper; or when a freeze-frame appears on the screen. Like a single letter in a word, a frame is not a part of a viewer's perceptions until it is isolated. Even then, it seldom has meaning.
Although a single photographic frame cannot be discerned during actual viewing, it contributes to a larger unit and is understood in terms of that unit. During normal projection, twenty-four frames per second (approximately a foot and a half of 35-mm film) pass through the projector's gate. Each image flashes on the screen, then the screen turns black and is followed by another frame. However, the human eye misses the period of blackout since the eye retains an image one-tenth of a second longer than the image exists. It is this physiological phenomenon that allows motion pictures to be seen in continuous movement with no apparent jumps or single frames visible. (Take two frames out of a shot, however, and the eye can often detect a jump.) The average feature contains close to 130,000 separate frames.
The word “frame” also has another meaning in the filmmaker's jargon. The frame is the outer boundary of a projected image -- the lines, on the rectangle on the screen where an image ends and blackness begins. Because the frame serves as the boundary of an image, it is the starting point in the filmmaker's composition. The camera itself sees indiscriminately. The filmmaker must make a variety of choices to be sure that he will put boundaries around a segment of experience that, when projected, will have meaning for the viewer.
THE SHOT
At a normal projection speed of twenty-four frames per second, it is quickly evident that a large number of frames make up the basic perceivable unit of the film, the shot. A shot is a single uninterrupted action of a camera. Like the verbal word, the cinematic shot is the smallest functional unit of filmmaking. Some shots last only one or two frames, although such short shots appear rarely in commercial films. But anyone who has seen experimental films (such as Charles Braverman's An American Time Capsule or The World of '68) knows how rapidly shots can operate and how many shots the eye will accept in a small amount of time. Although longer shots are "standard," few last over thirty seconds. The exceptions, of course, run for as long as a filmmaker chooses to keep film running through his camera. The average shot runs from about two to thirty seconds.
Because it is the smallest functional unit of film and combines to form a larger statement, the shot syntactically parallels the word of spoken and written communication. The frame, on the other hand, resembles the single phoneme or letter of a word. Shots make up the vocabulary that film's visual grammar and syntax connect into statements with meaning. The vocabulary of film is primarily the vocabulary of a series of photographic images.
It is illuminating to consider the notion "shot" in relation to the notion "word" in order to grasp the syntactical workings of the basic unit of cinematic composition. The shots of a film draw meaning from their context much as words derive significance almost exclusively from their linguistic context. When isolated, the meaning of either a word or a shot is imprecise at best. Consider the word "stand." Is it a verb (such as a command to assume a certain physical position, or a description of what someone is doing or did do) or is it a noun (such as an ideological one takes, a structure to sit on, a courtroom place of witness, or of trees)? Without a context, one cannot ascertain meaning or function. Similarly, a single shot has meaning, but without a context, a particular meaning is difficult to identify. Consider, for example, a frame showing a saloon with men drinking at tables while a man stands just outside the swinging doors. Is the situation comical or threatening? Or are we seeing a typical Tuesday afternoon at Hank's saloon?
While analogies can be drawn between shot and word, the shot also resembles the written paragraph. A paragraph normally articulates an idea, then offers supportive evidence or arguments. Similarly, a shot in context assumes a general idea or mood and also offers many equivalents of simple declarative and descriptive sentences, providing a viewer with supportive information. Imagine the elements of a hypothetical shot put into statement form: The woman sits in the kitchen. The baby is in the highchair. The baby is crying. The woman is holding baby food. The wall is yellow. On the wall stands a picture of a horse. There is a table in the foreground. The table is round. The table is dark. There are four chairs around the table. All this, and far more, a viewer perceives as he watches a shot. A shot, like a paragraph, offers both detailed information and an idea or mood.
Any direct analogy between the shot and the paragraph, however, will quickly break down. The elements of a paragraph are met with one at a time. They are linear. The content of a shot is, for all practical purposes, available all at once. Ideas and details are not easily separated. Abstract ideas are seldom stated as such in film-and then usually in documentaries. Film argues almost entirely by evidence, inexorably forcing a viewer to supply appropriate abstract ideas. We are not told, for instance, that Mr. Jones loves his wife. We see him love her. Film is a visual medium, and it must make its statements visually.
Shots are categorized according to the apparent closeness of the camera to the person or object photographed. With the early single focal length lenses, distance literally became the factor determining the "length" of a shot. With the present variety of lenses, only the illusion of distance counts. If an object or person seems very far away, the result is normally called an extreme long-shot (ELS), also called an establishing shot because it places objects in context and prepares a viewer for a closer look later. If a person or object appears extremely close, the shot is called an extreme close-up (ECU). In between lie the long-shot (LS), medium long-shot (MLS), medium shot (MS), medium close-up (MCU), and close-up (CU).
The distinctions among shots by distance are relative, and no precise lines or measurements separate the various shots. Usually, the human figure provides the chief standard for measurement. In an extreme long- shot a person might be visible, but the setting clearly dominates. The person fills a good part of the vertical line of the frame in a long- although the setting also receives strong emphasis. A medium reveals about three-fourths of the subject, while a medium shot a mid-shot) would show the subject only from the waist up, viewer's attention more on the subject than on the setting but a clear relationship between the two. A medium close-up a person from the shoulders up, and a close-up shows only the head. An extreme close-up reveals only a small part of the face, such as or an eye.
What is a close-up in one situation, however, can be a mid- or long- another. The length of a shot depends on the subject of a film of an individual scene). The longer a shot is, the more it shows of subject; the shorter a shot is, the more it emphasizes detail that is the subject. Hence, the length of a shot is relative and depends the filmmaker has chosen for a subject. If, for example, a film about cities of the world, a shot of a red double-decker bus in London be a close-up. The same shot would be a long-shot in a film about buses, while a shot of an instrument panel would be a close-up.
THE SCENE
A filmmaker puts shots together to make up a scene. A scene is a series of shots that the viewer perceives as taken at the same location during a rather brief period of time. The classic western gunfight furnishes a good example of a scene. Some action prompts two men to face each other, one draws, the other follows suit, and one is killed or wounded. The gunfight might be preceded by a number of shots in the same location, and the scene typically ends quickly after the fight, with action resuming at another time or location.
Film scenes vary greatly in length. Sometimes a scene will be only a single shot long; in other cases a whole movie will have but one scene. Usually, however, scenes last for several minutes. Cinematic scenes tend to be much more crisp than scenes from plays (which offer the nearest literary analogue to cinematic scenes). The average film contains far more scenes than the average play. Since a filmmaker can cut instantly to another scene, he need not worry (as must a dramatist) about moving his cast on and off the stage and about scenery changes. A cinematic scene need last no longer than it takes the filmmaker to convey a single point.
THE SEQUENCE
The largest unit of film's visual grammar is the sequence. The nearest literary analogues to the sequence are the chapters of novels or the acts of plays. A number of scenes make up a sequence, which is the largest working unit of a film. A sequence is usually composed of a series of scenes that are related in location, time, generating action, point of view, or cast. Atone time sequences were clearly set off by strong punctuation marks such as the fade-out and fade-in. These strong forms of punctuation alerted a viewer that a major segment of a film had ended and that a new one was about to begin. Contemporary filmmakers, however, have abandoned such obvious punctuation marks, relying instead on jump cuts or other forms of transition.
A sequence provides an enlarged context to which individual shots and scenes contribute. Individual shots must always be read in terms of surrounding shots, and scenes must be considered in relation to other scenes. Our mental expectations when viewing film lead us to read all actions in terms of what precedes them. In the case of a gunfight, a filmmaker would normally include a number of significant scenes before the gunfight to enable us to read the actions properly. By the time of the gunfight we are set to respond in a certain way to its occurrence and its outcome. A sequence, then, provides a self-contained unit that can undergo evaluation and criticism.
Frame, shot, scene and sequence are the most basic terms in the lexicon of film. They suggest the fundamental structures with which film operates, and they indicate the complex “cut-and-paste” nature of the medium. The rhetoric of any film grows from the way a filmmaker manipulates these basic structural units.
The Rhetoric of Film, John Harrington (University of Massachusetts), pp. 8-20.
Movie Theather Etiquette
Hum 3: Film Principles/ Film Appreciation
MOVIE THEATER ETIQUETTE
by Michelle Jones
Everyone knows how to watch a video. You get a bag of munchies, pop in a DVD or CD, hit "Play," sit back, and enjoy the movie. That’s it! Watching one of the films involves more than this. Watching these movies needs to be a thoughtful and concentrated experience to be beneficial.
To prepare for the experience, make sure there will be no distractions such as phones or others bursting in on you or somebody chatting while you’re trying to watch the film. You need to be able to focus your attention on the film. It is also good to watch the movie with one or more others with whom you are able to talk about personal things, such as your concerns and difficulties. After watching the movie it is important to reflect on what you saw and to discuss the film with those who viewed it with you. Reflect on or discuss your observations.
The films shown in class may not be the type you would normally watch. As you begin to view one you may quickly find that the movie is not your kind of entertainment. Remember, you are not watching this film for entertainment but for course work and personal growth.
A film can have different meanings to different viewers. Your life experiences, your personal issues and your emotional reaction will influence the meaning the film has for you. Allow yourself to feel the experience. If you find yourself identifying with a particular character or you see similarities between one or more of the people in the film and people in your life, allow yourself to witness the events as they unfold. Are the behaviors and choices made similar or different than those you and others in your life make? If they are different are they better choices? If they are better choices what gets in the way of your making the same? Be honest with your answers.
Somehow our society has progressed to a point where people have lost their common sense when it comes to viewing films. I’m not taking about those who whisper to each other all the way through the show or those that walk out when a film crosses some arbitrary line of “too much” sex or violence. I’m talking about the people who are really offensive and break all the rules of common decency when they enter a viewing room. For these people I present a brief lesson in movie theater etiquette.
1. Respect personal space. Do not ever sit directly next to someone you don’t know unless the viewing room is exceptionally crowded and you have no alternative. I can guarantee you that no stranger in the world wants to hear you crunch through your candy bar or slurp up the last bit of your P21.00 soft drink. For a room with a thin to moderate crowd use the two seat rule- two seats between you and the next person. For a room that is leaning toward the crowded side one seat will work.
2. Crying in the theater is reserved for exceptionally sad scenes only. This means that if you were silly enough to bring a baby or a toddler to anything other than a G rated movie you have to leave the instant they start whining or crying. No trying to console them or waiting to see if they will stop or trying to stall because you want to see the next dramatic scene. When your child starts making noise immediately rise from your seat and walk swiftly (with child in tow) to the exit. There is no exception to this rule.
3. Movies are a one-way entertainment. The actors on the screen act and we watch and listen. Only the other people in the audience hear you when you talk back to the screen. Although you may think that your comment to Harrison Ford or your critique of Gwyneth Paltrow’s accent are witty and humorous and that the rest of the audience will find them terribly funny, believe me when I tell you they do not. In fact, the moment that you speak, all other members of the audience start communicating on a telepathic level and they are all plotting your death.
4. Feet belong on the floor. Just because you don’t have to clean the seats in the theater or viewing room doesn’t mean you can plop your dirty shoes on the back of the chairs. Nobody wants to watch a movie over the tips of your shoes. Just nobody.
5. A ringing cell phone can break your mother’s heart. If you go to a movie and don’t turn off your cell phone you are either exceptionally rude or exceptionally stupid. Either way you deserve to be punished. If your phone rings and you choose to answer it instead of immediately turning it off, there is no doubt that you are a pawn of Satan who is deserving of being beaten to death. This will of course cause great pain and anguish to your mother and those who love you. Do everything in your power to prevent this from happening.
6. Credits. It is unethical to leave the theater while credits are flashed on the screen. As part of appreciating the skills and talent of actors, actresses, film crew, directors, photographers, it is imperative that the audience stay put on their seats at this time. Applause and standing ovations are done at this time.
If you find yourself incapable of following any of these simple guidelines please remember, you can stop attending this course at anytime during the semester (of course, with the consequence of getting an FD grade).
MOVIE THEATER ETIQUETTE
by Michelle Jones
Everyone knows how to watch a video. You get a bag of munchies, pop in a DVD or CD, hit "Play," sit back, and enjoy the movie. That’s it! Watching one of the films involves more than this. Watching these movies needs to be a thoughtful and concentrated experience to be beneficial.
To prepare for the experience, make sure there will be no distractions such as phones or others bursting in on you or somebody chatting while you’re trying to watch the film. You need to be able to focus your attention on the film. It is also good to watch the movie with one or more others with whom you are able to talk about personal things, such as your concerns and difficulties. After watching the movie it is important to reflect on what you saw and to discuss the film with those who viewed it with you. Reflect on or discuss your observations.
The films shown in class may not be the type you would normally watch. As you begin to view one you may quickly find that the movie is not your kind of entertainment. Remember, you are not watching this film for entertainment but for course work and personal growth.
A film can have different meanings to different viewers. Your life experiences, your personal issues and your emotional reaction will influence the meaning the film has for you. Allow yourself to feel the experience. If you find yourself identifying with a particular character or you see similarities between one or more of the people in the film and people in your life, allow yourself to witness the events as they unfold. Are the behaviors and choices made similar or different than those you and others in your life make? If they are different are they better choices? If they are better choices what gets in the way of your making the same? Be honest with your answers.
Somehow our society has progressed to a point where people have lost their common sense when it comes to viewing films. I’m not taking about those who whisper to each other all the way through the show or those that walk out when a film crosses some arbitrary line of “too much” sex or violence. I’m talking about the people who are really offensive and break all the rules of common decency when they enter a viewing room. For these people I present a brief lesson in movie theater etiquette.
1. Respect personal space. Do not ever sit directly next to someone you don’t know unless the viewing room is exceptionally crowded and you have no alternative. I can guarantee you that no stranger in the world wants to hear you crunch through your candy bar or slurp up the last bit of your P21.00 soft drink. For a room with a thin to moderate crowd use the two seat rule- two seats between you and the next person. For a room that is leaning toward the crowded side one seat will work.
2. Crying in the theater is reserved for exceptionally sad scenes only. This means that if you were silly enough to bring a baby or a toddler to anything other than a G rated movie you have to leave the instant they start whining or crying. No trying to console them or waiting to see if they will stop or trying to stall because you want to see the next dramatic scene. When your child starts making noise immediately rise from your seat and walk swiftly (with child in tow) to the exit. There is no exception to this rule.
3. Movies are a one-way entertainment. The actors on the screen act and we watch and listen. Only the other people in the audience hear you when you talk back to the screen. Although you may think that your comment to Harrison Ford or your critique of Gwyneth Paltrow’s accent are witty and humorous and that the rest of the audience will find them terribly funny, believe me when I tell you they do not. In fact, the moment that you speak, all other members of the audience start communicating on a telepathic level and they are all plotting your death.
4. Feet belong on the floor. Just because you don’t have to clean the seats in the theater or viewing room doesn’t mean you can plop your dirty shoes on the back of the chairs. Nobody wants to watch a movie over the tips of your shoes. Just nobody.
5. A ringing cell phone can break your mother’s heart. If you go to a movie and don’t turn off your cell phone you are either exceptionally rude or exceptionally stupid. Either way you deserve to be punished. If your phone rings and you choose to answer it instead of immediately turning it off, there is no doubt that you are a pawn of Satan who is deserving of being beaten to death. This will of course cause great pain and anguish to your mother and those who love you. Do everything in your power to prevent this from happening.
6. Credits. It is unethical to leave the theater while credits are flashed on the screen. As part of appreciating the skills and talent of actors, actresses, film crew, directors, photographers, it is imperative that the audience stay put on their seats at this time. Applause and standing ovations are done at this time.
If you find yourself incapable of following any of these simple guidelines please remember, you can stop attending this course at anytime during the semester (of course, with the consequence of getting an FD grade).
Tuesday, June 16, 2009
Hum 3: Course Description (1st Sem 2009-2010)
HUM 3: FILM PRINCIPLES
Jeremy S. Eliab
Phone: (82) 2212411 local 8302
Office Hours: 10-11 MW
E-mail: jse@addu.edu.ph
Smart SMS: BONG FEEDBACK YOUR MESSAGE and send to 700ADDU
Web Resources: http://banyuhay.multiply.com; http://hum3.blogspot.com; http://eliab.tripod.com/film
Textbooks and References
• Bordwell, David, and Kristin Thompson. Film Art: An Introduction. 6th Edition. New York: McGraw Hill, 2001 (Check Reserve Section of the ADDU Library) (791.4301/B729/1997)
• Fischer, Edward. Film as Insight. Indiana: Fides Publishers, Inc., 1971.
• Casebier, Allan. Film Appreciation. New York: Harcourt Brace Jovanovich, Inc., 1976. (791.4301/C337)
• Johnson, Ron and Jan Bone. Understanding the Film. New York: National Textbook Co., 1976.
• Arnheim, Rudolf. Film as Art. Berkeley: University of California Press, 1966.
• Lewis, Jerry. The Total Film-Maker. New York: Warner Paperback Library, 1971.
• Gelmis, Joseph. The Film Director as Superstar. New York: Anchor Press, 1970.
• Deocampo, Nick. Short Film: The Emergence of a New Philippine Cinema. Manila: Communications Foundation of Asia, 1985.
• Boyum, Joy Gould, 1934. Film as Film: Critical Responses to Film Art. Allyn and Bacon, C1971 xv, 397p. (791.43/B793)
• Mast, Gerald. 1940-1990. Film Theory and Criticism: Introductory Readings. Oxford: Oxford University Press, c1992 (Check the Reserve Section of ADDU Library) (791.4301/M423/1992)
• Talbot, Daniel. ed. 1959. Film: An Anthology. Berkeley: University of California Press. (791.43082/F487)
• Access Ateneo de Davao University Library E-Catalog at http://library.addu.edu.ph
Course Description and Overview
Hum 3 (Film Principles) is an introduction to the scholarly, aesthetic analysis and study of the cinema. It is not a "Great Films" class; the films we will be viewing are not intended to represent "the greatest films ever made" (as if such a list could ever be generated and agreed upon). Rather, the course is designed to present a broad spectrum of genres and modes of cinematic storytelling and expression. We will see both classic and contemporary films, and although several of the films we will see will likely be familiar to you, we have deliberately included more lesser-known European films that challenge and diverge from the conventions and paradigms of traditional Hollywood filmmaking and the mainstream popular cinema. Consequently, one recurring concern of our class will be to better understand the formal, stylistic, and ideological relationships between the Classical Hollywood Cinema and its alternatives in both the art cinema and in the post-classical popular cinema. During the first half of the course, we will focus on mastering the various terms, elements, concepts, and theoretical constructs--in other words, the critical vocabulary--of cinematic aesthetic analysis. In the second half of the course we will expand our focus to include consideration of the social and historical contexts of the films we are studying.
Course Requirements
We all enjoy watching films (and we will likely explore the sources of this pleasure in our discussions), but be prepared to work hard in this course. The reading load can get heavy at times, and the material is often challenging and complex. Every student is required to view every assigned film, complete all reading and writing assignments on time, attend every class meeting, and actively participate in the class. You will need to keep up with the deadlines, because to do otherwise will throw you far behind and will not allow you to develop your skills at an appropriate pace. Your written work will be the focus of intense scrutiny, and I will give you as much feedback as humanly possible to guide your mastery of the course skills. You should expect to get written work returned with many comments and suggestions for improvement even if it receives an A. Below is a breakdown of the required work for this course, and their relative values expressed as percentages of the final course grade.
1/3 – Prelim: Film Analysis, Quizzes and Examination
1/3 – Midterm: Film Analysis, Individual Presentation and Examination
1/3 – Pre-Final: Film Analysis, Quizzes and Examination
Note: All written work must be turned in to pass the course. This means that you must turn in all papers and exams in order to get a passing grade. A zero on any of these assignments will automatically result in a failing grade for the course.
NOTE ON ACADEMIC INTEGRITY:
If any student plagiarizes in writing a paper--that is, copies or closely paraphrases from a source without proper quotation and acknowledgment of the source--then that student will be given a failing grade either on the paper or in the course. Cheating, fabrication, plagiarism will be dealt with seriously according to the existing rules and regulation of the University.
Class Grading Standards
A - achievement that is outstanding relative to the level necessary to meet course requirements. (92-100)
B+ - achievement that is significantly satisfactory to meet course requirements. (88-92)
B - achievement that is significantly above the level necessary to meet course requirements. (84-87)
C+ - achievement that meets the course requirements in every respect. (79-82)
C - achievement that fairly meets the course requirements. (76-78)
D - achievement that is worthy of credit even though it fails to meet fully the course requirements. (75)
F - Represents failure (or no credit) and signifies that the work was either (1) completed but at a level of achievement that is not worthy of credit (70) or (2) was not completed and there was no agreement between the instructor and the student that the student would be awarded an INC.
INC (Incomplete) Assigned at the discretion of the instructor when, due to extraordinary circumstances, e.g., hospitalization, a student is prevented from completing the work of the course on time. Requires a written agreement between instructor and student. (65)
FD (Failure Debarred) Represent failure (or no credit) due to tardiness and absences. The student absences and tardiness must not exceed 20% of the total number of session hours. (60)
Course Policies
1) Late arrival should be the exception. It is disruptive and extremely annoying, and common sense should tell you that it is a bad thing to annoy the teacher. When it is unavoidable, however, sign the late arrival form posted on the wall by the door and sit in the nearest available seat so as not to further disrupt the class. You are responsible for any information you miss, and because I often cover important business (such as assignments, due-dates, changes in the syllabus, etc.) in the first few minutes of class, make absolutely sure that you find out what you missed from one of your classmates.
2) Early preparation for departure---please don’t. Class ends at the scheduled time and not one, two, or three minutes before. If you promise to give me 3 full hours of your undivided attention, I promise to never keep you past the final bell. Give me 3 hours and I’ll never take more.
3) Participation in this class is required. This does not mean, however, that you MUST talk. I certainly appreciate, enjoy, and encourage lively class discussions, but "participation" simply means that you are actively taking part in the learning process occurring around you, and there’s no reason this can’t be done silently. You are participating as long as you come to class prepared, pay attention, take notes, and are generally engaged with the material. (You would be astounded, by the way, at how easy it is for a teacher to tell whether a quiet student is engaged with the class or is simply unprepared or uninterested in what is going on around her or him.) I understand that some folks are reluctant to speak, whether this reluctance arises from fear, self-consciousness, or cultural differences, and I will not force anyone to speak who doesn’t want to. However, I consider the ability to formulate and articulate questions and comments in the context of an informal class discussion to be one of the most important, valuable, and rewarding skills that the college experience has to offer (and one of the most valued skills in the "real world"), and those who choose not to take advantage of opportunities to speak in class are doing themselves a grave disservice. Everyone in class should try to raise their hand and contribute to class discussions (whether it be to ask a question or offer an insight) regularly throughout the semester.
4) Attendance in this class is mandatory. There is a tremendous amount of material to cover, terms and concepts to learn, and skills to develop in this course, and actual classroom time is limited to 30-75-minute lecture per week. Excessive absences and/or tardiness will affect what you learn and, consequently, the grade you earn. IMPORTANT: Four (4) absences will result in an automatic failure –debarred (FD) grade.
5) Keep the lines of communication open. Feel free to tell me if I’m covering the material too fast or too slow, if you are having trouble seeing the blackboard, if you can’t read my handwriting, if I haven’t explained something clearly enough, if you need me to clarify my expectations for a particular assignment, and so on. My goal is to do everything I can to help you succeed in this course, and your comments and constructive criticism are welcomed and encouraged. If you find yourself having difficulty understanding or keeping up with the readings or our class discussions, or completing assigned work on time, come see me before you fall too far behind. Keeping me informed of problems is always in your best interest. First of all, I may be able to help you resolve the problem. A little one-on-one discussion can often clear things up quickly. Second, if you keep the lines of communication open, I’ll be more responsive to requests for extra help, extensions, and so on, because I’ll know you’ve been engaged and working hard all along. I will make myself available to everyone--via email, phone, and one-on-one conferences--throughout the semester to answer questions, explain assignments, provide individualized help and encouragement, or just to chat about the cinema. I value the opportunity to meet with students on an individual basis, and encourage you to stop by my office early in the semester to introduce yourself.
6) All due-dates in this class are firm, serious deadlines. No late work will be accepted. Whenever you turn in a paper, always make sure you keep a copy for yourself. Never give me (or anyone) the only copy of your work--too many things could happen.
An important note concerning technology
Often students will come to class on the day a paper is due and tell me that one of the machines in the computer lab destroyed their disk, that all of the printers in the computer lab are broken, that their system mysteriously crashed the night before, or offer some other reason for turning in a late paper. Although I sympathize with the frustration technology can cause, I do not consider technological failure to be a valid excuse for turning in late work. Use your common sense if you do your work on a computer--save your work often and make backup copies of your files and disks. Whenever you print something out, print two copies; one to turn in, and one for you to keep. It’s also important--and this applies to everyone, not only those working on computers--to start working on assignments early, so that you have plenty of time to accommodate any technical difficulties that arise. Starting a paper the night before it’s due is a recipe for disaster.
7) Plagiarism: Plagiarism is trying to pass off someone else's words or ideas as your own. It's very hard to get away with and the consequences of it are severe (including suspension or dismissal from the university). Don't do it.
8) Extra Credit: The web bulletin board on our class's website provides a forum for students to post responses to the course material. Posting to the bulletin board is not required, but is encouraged and welcomed. I read every post, often using student comments to help guide class discussion. To encourage use of the bulletin board, I offer an extra credit bonus for students who post their thoughts regularly. Anyone who posts five (5) or more messages to the bulletin board over the course of the semester will have their lowest grade on an assignment raised one full letter grade. See the handout on the bulletin board option for more details concerning what counts as a legitimate post.
9) Films: You must attend the weekly film screening. CDs shown on TV are convenient and acceptable for close study or quick review, but they cannot provide the superior quality (and cultural evocativeness) of the projected image. Sometimes videotapes and CDs cut off part of the image--you're not seeing the entire film! Moreover, some of the films we will watch are not be readily available on video shops. Again, every week you must come to class prepared to discuss the assigned films and readings. The screening is a class, and as such you are expected to conduct yourselves appropriately. Please review and follow the etiquette and rules for screenings.
My Learning/Teaching Philosophy
"Understanding" and "learning" are not synonymous terms. It is my primary responsibility to ensure that you understand the content of the course (i.e., the various terms, concepts, and theoretical constructs associated with the serious and scholarly study of cinema). Your job is to learn the material; that is, you need to be able to apply the terms, concepts and theories we discuss to the films we watch as a class (and to other films you have seen or see outside of class), and reflect on how they help you interpret the meanings films communicate and make sense of an account for the impact they have on you as a viewer. This learning requires that you do two things:
1) ask questions whenever you don't understand or need further clarification; and
2) practice applying the knowledge you acquire in this class.
I will do my best to fulfill my responsibility by
1) striving to communicate effectively;
2) explaining the content of the course clearly and at an appropriate pace;
3) helping to create and maintain a classroom culture in which students feel safe asking questions and expressing and exploring their ideas;
4) providing ample opportunities for students to practice applying their knowledge;
5) providing timely, constructive, and fair responses to and evaluation of student work;
6) periodically soliciting student feedback concerning ways to improve the class; and
7) making myself available for individual conferences and one-on-one assistance.
In order for learning to take place, we must both do our jobs and fulfill our respective responsibilities. Your responsibilities include:
1) coming to class regularly and on time;
2) seeing the films on class meeting;
3) completing all assigned readings, homework, and papers on time; and
4) developing a sincere interest and intellectual curiosity about the content of the course.
Please take the time during the semester to reflect periodically on the extent to which we are each fulfilling our respective responsibilities.
Jeremy S. Eliab
Phone: (82) 2212411 local 8302
Office Hours: 10-11 MW
E-mail: jse@addu.edu.ph
Smart SMS: BONG
Web Resources: http://banyuhay.multiply.com; http://hum3.blogspot.com; http://eliab.tripod.com/film
Textbooks and References
• Bordwell, David, and Kristin Thompson. Film Art: An Introduction. 6th Edition. New York: McGraw Hill, 2001 (Check Reserve Section of the ADDU Library) (791.4301/B729/1997)
• Fischer, Edward. Film as Insight. Indiana: Fides Publishers, Inc., 1971.
• Casebier, Allan. Film Appreciation. New York: Harcourt Brace Jovanovich, Inc., 1976. (791.4301/C337)
• Johnson, Ron and Jan Bone. Understanding the Film. New York: National Textbook Co., 1976.
• Arnheim, Rudolf. Film as Art. Berkeley: University of California Press, 1966.
• Lewis, Jerry. The Total Film-Maker. New York: Warner Paperback Library, 1971.
• Gelmis, Joseph. The Film Director as Superstar. New York: Anchor Press, 1970.
• Deocampo, Nick. Short Film: The Emergence of a New Philippine Cinema. Manila: Communications Foundation of Asia, 1985.
• Boyum, Joy Gould, 1934. Film as Film: Critical Responses to Film Art. Allyn and Bacon, C1971 xv, 397p. (791.43/B793)
• Mast, Gerald. 1940-1990. Film Theory and Criticism: Introductory Readings. Oxford: Oxford University Press, c1992 (Check the Reserve Section of ADDU Library) (791.4301/M423/1992)
• Talbot, Daniel. ed. 1959. Film: An Anthology. Berkeley: University of California Press. (791.43082/F487)
• Access Ateneo de Davao University Library E-Catalog at http://library.addu.edu.ph
Course Description and Overview
Hum 3 (Film Principles) is an introduction to the scholarly, aesthetic analysis and study of the cinema. It is not a "Great Films" class; the films we will be viewing are not intended to represent "the greatest films ever made" (as if such a list could ever be generated and agreed upon). Rather, the course is designed to present a broad spectrum of genres and modes of cinematic storytelling and expression. We will see both classic and contemporary films, and although several of the films we will see will likely be familiar to you, we have deliberately included more lesser-known European films that challenge and diverge from the conventions and paradigms of traditional Hollywood filmmaking and the mainstream popular cinema. Consequently, one recurring concern of our class will be to better understand the formal, stylistic, and ideological relationships between the Classical Hollywood Cinema and its alternatives in both the art cinema and in the post-classical popular cinema. During the first half of the course, we will focus on mastering the various terms, elements, concepts, and theoretical constructs--in other words, the critical vocabulary--of cinematic aesthetic analysis. In the second half of the course we will expand our focus to include consideration of the social and historical contexts of the films we are studying.
Course Requirements
We all enjoy watching films (and we will likely explore the sources of this pleasure in our discussions), but be prepared to work hard in this course. The reading load can get heavy at times, and the material is often challenging and complex. Every student is required to view every assigned film, complete all reading and writing assignments on time, attend every class meeting, and actively participate in the class. You will need to keep up with the deadlines, because to do otherwise will throw you far behind and will not allow you to develop your skills at an appropriate pace. Your written work will be the focus of intense scrutiny, and I will give you as much feedback as humanly possible to guide your mastery of the course skills. You should expect to get written work returned with many comments and suggestions for improvement even if it receives an A. Below is a breakdown of the required work for this course, and their relative values expressed as percentages of the final course grade.
1/3 – Prelim: Film Analysis, Quizzes and Examination
1/3 – Midterm: Film Analysis, Individual Presentation and Examination
1/3 – Pre-Final: Film Analysis, Quizzes and Examination
Note: All written work must be turned in to pass the course. This means that you must turn in all papers and exams in order to get a passing grade. A zero on any of these assignments will automatically result in a failing grade for the course.
NOTE ON ACADEMIC INTEGRITY:
If any student plagiarizes in writing a paper--that is, copies or closely paraphrases from a source without proper quotation and acknowledgment of the source--then that student will be given a failing grade either on the paper or in the course. Cheating, fabrication, plagiarism will be dealt with seriously according to the existing rules and regulation of the University.
Class Grading Standards
A - achievement that is outstanding relative to the level necessary to meet course requirements. (92-100)
B+ - achievement that is significantly satisfactory to meet course requirements. (88-92)
B - achievement that is significantly above the level necessary to meet course requirements. (84-87)
C+ - achievement that meets the course requirements in every respect. (79-82)
C - achievement that fairly meets the course requirements. (76-78)
D - achievement that is worthy of credit even though it fails to meet fully the course requirements. (75)
F - Represents failure (or no credit) and signifies that the work was either (1) completed but at a level of achievement that is not worthy of credit (70) or (2) was not completed and there was no agreement between the instructor and the student that the student would be awarded an INC.
INC (Incomplete) Assigned at the discretion of the instructor when, due to extraordinary circumstances, e.g., hospitalization, a student is prevented from completing the work of the course on time. Requires a written agreement between instructor and student. (65)
FD (Failure Debarred) Represent failure (or no credit) due to tardiness and absences. The student absences and tardiness must not exceed 20% of the total number of session hours. (60)
Course Policies
1) Late arrival should be the exception. It is disruptive and extremely annoying, and common sense should tell you that it is a bad thing to annoy the teacher. When it is unavoidable, however, sign the late arrival form posted on the wall by the door and sit in the nearest available seat so as not to further disrupt the class. You are responsible for any information you miss, and because I often cover important business (such as assignments, due-dates, changes in the syllabus, etc.) in the first few minutes of class, make absolutely sure that you find out what you missed from one of your classmates.
2) Early preparation for departure---please don’t. Class ends at the scheduled time and not one, two, or three minutes before. If you promise to give me 3 full hours of your undivided attention, I promise to never keep you past the final bell. Give me 3 hours and I’ll never take more.
3) Participation in this class is required. This does not mean, however, that you MUST talk. I certainly appreciate, enjoy, and encourage lively class discussions, but "participation" simply means that you are actively taking part in the learning process occurring around you, and there’s no reason this can’t be done silently. You are participating as long as you come to class prepared, pay attention, take notes, and are generally engaged with the material. (You would be astounded, by the way, at how easy it is for a teacher to tell whether a quiet student is engaged with the class or is simply unprepared or uninterested in what is going on around her or him.) I understand that some folks are reluctant to speak, whether this reluctance arises from fear, self-consciousness, or cultural differences, and I will not force anyone to speak who doesn’t want to. However, I consider the ability to formulate and articulate questions and comments in the context of an informal class discussion to be one of the most important, valuable, and rewarding skills that the college experience has to offer (and one of the most valued skills in the "real world"), and those who choose not to take advantage of opportunities to speak in class are doing themselves a grave disservice. Everyone in class should try to raise their hand and contribute to class discussions (whether it be to ask a question or offer an insight) regularly throughout the semester.
4) Attendance in this class is mandatory. There is a tremendous amount of material to cover, terms and concepts to learn, and skills to develop in this course, and actual classroom time is limited to 30-75-minute lecture per week. Excessive absences and/or tardiness will affect what you learn and, consequently, the grade you earn. IMPORTANT: Four (4) absences will result in an automatic failure –debarred (FD) grade.
5) Keep the lines of communication open. Feel free to tell me if I’m covering the material too fast or too slow, if you are having trouble seeing the blackboard, if you can’t read my handwriting, if I haven’t explained something clearly enough, if you need me to clarify my expectations for a particular assignment, and so on. My goal is to do everything I can to help you succeed in this course, and your comments and constructive criticism are welcomed and encouraged. If you find yourself having difficulty understanding or keeping up with the readings or our class discussions, or completing assigned work on time, come see me before you fall too far behind. Keeping me informed of problems is always in your best interest. First of all, I may be able to help you resolve the problem. A little one-on-one discussion can often clear things up quickly. Second, if you keep the lines of communication open, I’ll be more responsive to requests for extra help, extensions, and so on, because I’ll know you’ve been engaged and working hard all along. I will make myself available to everyone--via email, phone, and one-on-one conferences--throughout the semester to answer questions, explain assignments, provide individualized help and encouragement, or just to chat about the cinema. I value the opportunity to meet with students on an individual basis, and encourage you to stop by my office early in the semester to introduce yourself.
6) All due-dates in this class are firm, serious deadlines. No late work will be accepted. Whenever you turn in a paper, always make sure you keep a copy for yourself. Never give me (or anyone) the only copy of your work--too many things could happen.
An important note concerning technology
Often students will come to class on the day a paper is due and tell me that one of the machines in the computer lab destroyed their disk, that all of the printers in the computer lab are broken, that their system mysteriously crashed the night before, or offer some other reason for turning in a late paper. Although I sympathize with the frustration technology can cause, I do not consider technological failure to be a valid excuse for turning in late work. Use your common sense if you do your work on a computer--save your work often and make backup copies of your files and disks. Whenever you print something out, print two copies; one to turn in, and one for you to keep. It’s also important--and this applies to everyone, not only those working on computers--to start working on assignments early, so that you have plenty of time to accommodate any technical difficulties that arise. Starting a paper the night before it’s due is a recipe for disaster.
7) Plagiarism: Plagiarism is trying to pass off someone else's words or ideas as your own. It's very hard to get away with and the consequences of it are severe (including suspension or dismissal from the university). Don't do it.
8) Extra Credit: The web bulletin board on our class's website provides a forum for students to post responses to the course material. Posting to the bulletin board is not required, but is encouraged and welcomed. I read every post, often using student comments to help guide class discussion. To encourage use of the bulletin board, I offer an extra credit bonus for students who post their thoughts regularly. Anyone who posts five (5) or more messages to the bulletin board over the course of the semester will have their lowest grade on an assignment raised one full letter grade. See the handout on the bulletin board option for more details concerning what counts as a legitimate post.
9) Films: You must attend the weekly film screening. CDs shown on TV are convenient and acceptable for close study or quick review, but they cannot provide the superior quality (and cultural evocativeness) of the projected image. Sometimes videotapes and CDs cut off part of the image--you're not seeing the entire film! Moreover, some of the films we will watch are not be readily available on video shops. Again, every week you must come to class prepared to discuss the assigned films and readings. The screening is a class, and as such you are expected to conduct yourselves appropriately. Please review and follow the etiquette and rules for screenings.
My Learning/Teaching Philosophy
"Understanding" and "learning" are not synonymous terms. It is my primary responsibility to ensure that you understand the content of the course (i.e., the various terms, concepts, and theoretical constructs associated with the serious and scholarly study of cinema). Your job is to learn the material; that is, you need to be able to apply the terms, concepts and theories we discuss to the films we watch as a class (and to other films you have seen or see outside of class), and reflect on how they help you interpret the meanings films communicate and make sense of an account for the impact they have on you as a viewer. This learning requires that you do two things:
1) ask questions whenever you don't understand or need further clarification; and
2) practice applying the knowledge you acquire in this class.
I will do my best to fulfill my responsibility by
1) striving to communicate effectively;
2) explaining the content of the course clearly and at an appropriate pace;
3) helping to create and maintain a classroom culture in which students feel safe asking questions and expressing and exploring their ideas;
4) providing ample opportunities for students to practice applying their knowledge;
5) providing timely, constructive, and fair responses to and evaluation of student work;
6) periodically soliciting student feedback concerning ways to improve the class; and
7) making myself available for individual conferences and one-on-one assistance.
In order for learning to take place, we must both do our jobs and fulfill our respective responsibilities. Your responsibilities include:
1) coming to class regularly and on time;
2) seeing the films on class meeting;
3) completing all assigned readings, homework, and papers on time; and
4) developing a sincere interest and intellectual curiosity about the content of the course.
Please take the time during the semester to reflect periodically on the extent to which we are each fulfilling our respective responsibilities.
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