ࡱ> ?A>o bjbj *4֘zf֘zfn n 8DC4 Bwwwww$Y"%z"ww0!!!ww!!!w-=v0 %!%%!! %n y: Communication 4850/6850: Film History 1 Course textbook: Film History (Thompson/Bordwell) Assignments (4850) Due Date/Date taken % of class grade Term paper 1 10/23 35% Term paper 2 12/4 35% Final Exam (comprehensive) 12/11 30% Assignments (6850) Due date % of class grade Research paper 12/4 65% Final Exam (comprehensive) 12/11 35% Grading scale: A+ (99-100) A (94-98) A- (90-93) B+ (88-89) B (84-87) B- (80-83) C+ (78-79) C (74-77) C- (70-73) D+ (68-69) D (60-67) F (59 and below) Please: Be punctual. Turn off all cell phones, pagers and PDAs. Attend regularly. Contribute to class discussions. Do not talk during film screenings. Submit assignments on their due date. I do not accept late work! Film Content Disclaimer: Some of the films and that we will view in this class may contain nudity, violence, sexual situations, and other potentially offensive material. If you anticipate that the content of a particular film will prove intolerable, please see me so that I may suggest an alternative film for you to view outside of class. Originality: According to the University of Memphis Student Handbook, your assignments must reflect your own effort. In situations where external sources are used, you must acknowledge your sources and add your own analysis. If you do not acknowledge your sources, you are plagiarizing. The minimum penalty for plagiarism or cheating is an F on the assignment. Other penalties could include an F for the course and/or suspension. All instances of academic dishonesty must be reported to the Office of Judicial Affairs. Students with Disabilities: Students with disabilities (including invisible disabilities such as chronic diseases or learning disabilities) are encouraged to notify me of their condition within the first two classes of the semester. The college and I will make reasonable accommodations for persons with documented disabilities. Course schedule: The schedule is subject to change, although any adjustments will be announced prior to the relevant class. August 28 Introduction to the course September 4 Lecture: Early cinema: technology, practice, exhibition Screening: Excerpts from films by the Lumiere brothers, Edison, Porter, Melies Reading: Chapters 1 and 2 11 Lecture: The birth of Hollywood Classicism Screening: Excerpts from works by D.W. Griffith Reading: Chapter 3 18 Lecture: German Expressionism and Kammerspiel Screenings: Nosferatu (Murnau, 1922) The Last Laugh (Murnau, 1924) Reading: Chapter 5 25 Lecture: Soviet Formalism Screening: Excerpts from works by Eisenstein, Pudovkin, Kuleshov, Vertov Reading: Chapter 6 October 2 Lecture: Hollywoods late silent era Screenings: Sunrise (Murnau, 1927) The General (Keaton, 1926) Reading: Chapter 7 9 Lecture: The coming of sound Screening: M (Lang, 1931) Reading: Chapter 9 16 No class - Fall Break 23 Lecture: Surrealism and Poetic Realism Screenings: Un Chien Andalou (Dali/Bunuel, 1930) LAtalante (Vigo, 1934) Reading: Chapter 14 30 Lecture: The Hollywood Studio System and the Hays Code Screening: The Public Enemy (Wellman, 1931) Reading: Chapter 10, pages 196-210 November 6 Lecture: Genre innovations and transformations Screening: Bringing up Baby (Hawks, 1938) Reading: Chapter 10, pages 210-218 13 Lecture: Other studio systems: Britain, India & Japan Screening: The Lady Vanishes (Hitchcock, 1938) Reading: Chapter 11 20 Lecture: France: Filmmaking and The Popular Front Screening: La Grande Illusion (Renoir, 1937) Reading: Chapter 13 27 Lecture: France: Filmmaking before and during The Occupation Screening: La Regle du Jeu (Renoir, 1939) Reading: Chapter 13 December 4 Lecture: Pre-war Hollywood: Transformations in style and content Screening: Citizen Kane (Welles, 1940) Reading: Chapter 10, page 209 11 Final Exam due via dropbox      '()*9;G[\]ino      ' ; < Q W Y c u " ' E ǣǣ핕hhCJOJQJh%2M hZehZe hZe5 hZe5>*hZehZe5>* hX5>*h6hhz{UhZe hh>*hDhDhD>* hh5hh hh5CJ hz{U5CJ:()*\]  ; < Y " J K S T a  & F h^`gdZe$a$E J K S T a  $ % & ' = ? 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