Hum
3: Film APPRECIATION
Jeremy
S. Eliab
Phone: (82)
2212411 local 8253
Office Hours:
10-11 MW
E-mail:
jseliab@addu.edu.ph
Web Resources: http://hum3.blogspot.com
Textbooks and
References
·
Summerfield, Ellen. Crossing
Cultures Through Film. Maine:
Intercultural Press, Inc., 1993 (ebrary.com)
·
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)
·
Turner, Graeme. Film as Social
Practice. London: Routledge, 1999 (ebrary.com)
·
Elliott, Paul. Hitchcock and the
Cinemas of Sensations: Embodied Film Theory and Cinematic Reception. New York: L.B. Tauris & Co.. Ltd., 2011
(ebrary.com)
·
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)
·
Decherney, Peter. Hollywood and the
Culture Elite: How the Movies Became American. New York: Columbia
University Press, 2005. (ebrary.com)
All my presentations are posted at: www.slideshare.net/jseliab. Always look for the updated version of the file. I usually update my presentation every year.
Announcements and other resources and articles are posted at hum3.blogspot.com.
Course
Description and Overview
Hum 3 (Film Appreciation) 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. (88-91)
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. (80-83)
C - achievement that fairly meets the course requirements.
(76-79)
D - achievement that is worthy of credit even though it
fails to meet fully the course requirements. (72-75)
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 (below 72) 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.
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.
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 internet connection is
broken or slow, 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 send your paper to me by e-mail, cc yourself so
you keep a copy of what is sent. 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.
For this semester, all film review papers should be
submitted by e-mail using your official ADDU e-mail address (something that
ends with @addu.edu.ph, you use this link to access your University e-mail
account: blueknights.
addu.edu.ph. All assigned papers should be submitted two days (48
hours) before the next class to my e-mail address: jseliab@addu.edu.ph. I
require that papers are converted into a PDF (portable document format) before
they are sent as attachment. Papers must be a one (1) page review of the film
screened previously in class, in Times Roman or Bookman Antiqua, 12 font size.
The paper must contain your name, your class schedule. Subject heading must
read: Hum 3/ [Day of Class] [Time of Class]/ [Title of Film].
Sample:
To: Jeremy S. Eliab
Re: Hum 3/ Saturday 1:30 PM/ The Road Home
I take note of the date stamped in the e-mails I received.
If you submit your paper after the deadline, I will not read your paper, and
you get an F (failure) mark for that requirement.
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.
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 do 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 do 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.
It took a long time to discover the importance of imaginative editing in films. In the beginning, the film was considered as one continuous whole and not as an assemblage of fragments. For instance, the French filmmaker, George Melies and his American counterpart Edwin Porter, set their cameras in front of the action and let them record things as they happened.
V.F. Perkins claims that for most films, critical appreciation begins (but does not end) with a reconstruction of "the naive response of the film-fan." That response perhaps not so naive as is sometimes assumed has significant implications beyond aesthetic appreciation, for the relationship of film to psychology, culture, and ideology. The nature of the film spectator's experience is key to many of the questions we want to ask about film. In turn, spectator pleasure which both motivates and inflects that experience is central to the inquiry.
Montage served different purpose and has several meanings in the context of film and is not exclusively used to refer to Soviet Montage. It is used as a synonym of editing. In Hollywood cinema it means to edit a concentrated sequence using a series of short shots as brief transitions to create the effect of the passage of time or movement over large distances or for expressionistic moods and representation of symbolic meanings. Contrary to the conventional styles and movements, the soviet filmmakers was stepping away from common narrative structure and adapting what has come to be called "Soviet Montage". This new theory of editing was invented by Sergei Eisenstein and then adopted by a few other Russian filmmakers. Eisenstein, however, was the one who discovered its potential and first put it to work to make the people in the audience think whatever he wanted them to think of. “Thematic” or Soviet Montage was achieved arranging striking juxtapositions of individual shots to suggest an idea that goes beyond meanings within an individual shot. It is called collision montage as sequences create significant effects mainly through editing. Its rejection of the forms and conventions of the dominant Hollywood entertainment cinemas have inspired many film-makers to challenge the styles by creating films which emphasizes on the editing which aims to shatter the illusionistic storytelling and seamless continuity cultivated by Classical Hollywood. (Read more.)
As a new industry grew, practitioners raced to understand this amazing new medium and how it worked. Back then there was no precedent and there were no rules about how a shot should look or how a piece should be edited together. Sound familiar? But the early film makers did such a good job of understanding the medium, by the end of the 1920s the basic tenets had been laid down – and are still used by us today. (Read more.)
