Greetings to all of you! I’m really looking forward to a semester of sharing some of my
favorite films with you. Some are old, and some are new, but all remind me why going to
the movies is not just something to while away a rainy afternoon, but can also be a deeply
intellectual and artistic study as well. I took my first film course as a sophomore in college
and was so excited to discover that there are many people who also love the film experience
and who actually delve into the art that goes into creating a film. Afterwards I remember
thinking, “Gosh, I can’t just sit and enjoy a movie anymore” – but the truth is that an
introductory film class can make you appreciate film in so many ways; the enjoyment is
much richer. I can’t wait to share my love of film with you.
Dr. Eleanor Welsh
Here’s how to get in touch:
Message through Canvas (go to Inbox) then click on the icon to compose
Office: SCI 124
Work Phone: 410-822-5400 x 5847
Don't be a stranger!
Here’s what we will be reading and watching!
Sikov, E. (2010). Film Studies: An Introduction. New York: Columbia University Press.
This may be one of the most concise and inexpensive texts you will ever by for a college
class. It's available for Kindle as well as from the bookstore.
Films that you will need to watch on your own:
The easiest way to do this is to subscribe to NetFlix or Amazon and queue up the films you need.
Do not assume that these films will be available at your local library or Red Box. We have
copies of the movies at the LRC on main campus, but obviously not enough for everyone to
check them out!
Campion, J. (Director). (1993). The Piano [Motion picture]. Australia: Australian Film
Commission.
Chaplin, C. (Director). (1936). Modern Times [Motion picture]. USA.
DeSica, V. (Director). (1948). Bicycle Thieves [Motion picture]. Italia: ENIC.
Ford, John (Director) (1962). The Man who Shot Liberty Valance. [Motion
picture]. USA: Paramount.
Scorsese, M. (Director). (2011). Hugo [Motion picture]. USA: Paramount.
Truffaut, F. (Director) (1962). Jules et Jim [Motion picture]. France. Les Films du Carrosse.
Zeitlin, B. (Director). (2012). Beasts of the Southern Wild. [Motion Picture].
USA: 20th Century Fox.
What to expect:
In formal terms, this is an academic seminar in an online format, focusing on online discussions,
reading, and writing. You will watch films, participate in discussions, write film analysis papers,
and share a presentation with the class.. There are handouts and assignment details for each of
these major parts of your grades.
Once we get through this introductory week and our first film, Hugo, you will see that the
semester is divided into five two week chunks, centered around a film -- usually from a different
time period or different part of the world, and concentrating on specific film techniques or
components -- and introduced by reports by you, the members of the class. Plan to have read (in
the book) or watched (the film) the text before class starts on Monday. There will always a
discussion for the week, and you should plan to get involved in each of the week’s questions,
either by answering the instructor posts directly or responding to other members of the class. It is
entirely inadequate to plan to log in once a week, answer the questions, and forget about
discussions until next week: that is not a discussion, just a response. Once a week responses will
never get full credit!
There will be a short quiz on each assigned textbook reading , just to be
sure you are getting some of the vocabulary and technical expertise you will need in the
analyses. The quizzes are short and easy, and you can do them open book, but the concepts are
important!
There will also be a short paper for each film, focusing on some aspect of the film or films we
have just viewed.
You should sign up for your report topic (follow the directions in the help guide) right away, and
then share your presentation -- a PowerPoint, Prezi, short film, emaze.com or wiki page -- in the
module of the week when it is due.
Your final exam is an essay that will allow you to highlight your mastery of film vocabulary and
the analytical skills you have developed over the semester.
The semester will fly! I hope you are set to take off.
What do I have to do?
You are expected to actively participate in this course. Readings and written assignments are a
major part of the requirements to successfully pass this course. No meaningful discussion can
occur without proper preparation. Since discussions, critiques, and sharing information are the
primary methods of learning, class participation in the form of discussion is an integral part of
your work and potential success in the course.
This class requires rather intensive writing. There will be a short writing assignment based on
each of the films that we watch for the class, and for most of them, it’s your ideas I’m interested
in. I want you to use these papers to bring together the observations you made while watching
the film, the information you gathered from the textbook reading, and the thoughts that emerged
from the class discussions.
Grades are based on the following activities:
Type of activity
Film Analysis Papers:
These writings should reflect a sound
understanding of the material
summarized in a short and succinct
fashion, and show critical (that
is analytical, not negative) viewing
and thinking.
Reading Checks:
Details
1.
2.
3.
4.
5.
6.
Frame Analysis
Shot Analysis
Sequence Analysis
Element Analysis
Genre Analysis
Comparison
Percentage of final grade
1
5%
2
5%
3
5%
4
5%
5
10%
6
10%
There will be a graded self- check
The first quiz is based on the Altogether, these selfbased on the readings for each
syllabus and course set up;
checks are worth
week. They are due on Thursday after that, on the assigned
textbook readings for the
nights and MAY NOT be made
5%
up. You will, however, have two
week.
opportunities to take each quiz, and
the average grade will be recorded (so
it does pay to do well the first time!).
Discussions:
Each week you are expected to
participate in the online discussions
of the films and readings. All
discussions are due on Sunday
nights, and may not be made up.
Reports:
Early in the semester you will select
from the list of topics on the Reports
handout included in this folder. The
due date will vary with your choice,
but about five of you will report each
week.
Here is the overview
There are three pieces to turn in:
the Annotated Bibliography
the Visual
You should plan to watch the Altogether, discussions are
film early in the week, and
worth
log in at least every other
day. Waiting until Sunday 15%
night to “discuss” is a lame
strategy that will not earn you
an A, even if your single
entry is brilliant.
These reports are shared with
the class to increase
understanding of the film
terminology viewed that
week, the director, film
techniques, and historical
context associated with that
film.
10% Working
Bibliography
10% Visual
10% Reflection
You must show that you can
find and use appropriate film
study research for this report
and the annotated
bibliography.
There is also a reflection
piece that you turn in to me.
the Reflection
Final
This will include both essay
and short answer questions on
the specific films you are
10%
assigned to watch as well
application to those films of
the terminology from the
textbook.
Grading:
I promise to provide timely feedback (before the next paper is due) on each assignment you
submit, and expect you to do your part by taking your work seriously and getting it to me on
time. If you earn less than a C, you are encouraged to re-write.
As your instructor I do take responsibility in guiding you towards this achievement. Ultimately,
however, the responsibility for performance is yours.
A
90% and above
Excellent, outstanding
B
80% and above
Very Good, well above average
C
70% and above
Good basic job
D
60% and above
Unsatisfactory, below average
F
Below 60%
Insufficient to pass
Something I wish I didn’t have to say….
Of course, if you read about a film and get some ideas for your own papers, that's not a bad
thing! However, if you do some outside reading, you will need to document properly including
both in text citations and a references page in APA format (use Noodlebib!!). If you do not
document, you will be guilty of plagiarism; you can refer to your student handbook on academic
honesty. You may want to review these web pages from Purdue University’s Online Writing
Lab to remind you about the differences between quoting, paraphrasing, and summaries AND
the need to document each of these ways of using other people’s ideas. To help you identify
potential plagiarism problems, note that all of your papers will be submitted through TurnItIn.I
do not allow re-writes of plagiarized papers. It’s easy, for you and for me, to find film reviews
online…All of the writing assignments are submitted through TurnItIn, which checks published
reviews as well as other student papers that have been submitted through this originality checker.
What to do when….
Please note that the reading and watching assignments should be completed early in or
before the week starts to facilitate a prompt beginning to the discussions.
Reading checks are due on Thursday nights. Discussions are all due on Sunday
nights. Writing assignments are due on Wednesday nights.
Be alert! I'll try to stick to this schedule, but sometimes we have to adapt. If there are
changes, I'll put an announcement in Canvas, and send an email as well.
What’s up?
Preparation
Intro: Getting to know you
Read through all course materials Sunday, January 25
and get familiar with the course set
up and with Canvas.
Syllabus Check
through Sunday night
Who are we, and why are we
studying this subject?
Read: Sikov, Introduction
Assignments due
Discussion 1
Dates: January 20 - 25
Module 1:
How did films get started?
How do we look at a frame?
Dates: January 26 – February 8
Read: Sikov, Chapter 1 (Mise-en- Thursday January 28
scene: Within the Image)
Self Check
Watch: Hugo
Sunday February 1
Start: Frame Analysis (due next
Wednesday)
Hugo Discussion
Doing research on Film: the library Wednesday, February 4
unit
Frame Analysis
Sunday, February 8
Working Bibliography
Module 2:
What was the draw of silent film?
Monday, February 9
First Reporters
How does the camera move?
Read: Sikov, Chapter 2,
Who is the “author” of a film?
Mise-en-scene: Camera
Movement;
Thursday, February 12
Self check
Sunday, February 15
Chapter 8, Filmmakers
February 9 – February 22
Discussion
Sunday, February 22
Watch: Modern Times
Modern Times discussion
Get Started: Shot Analysis
Monday, February 23
Module 3:
Second Reporters
What are different ways of
representing the world in film?
How do we move from shot to shot
(editing and transitions)?
Read: Sikov, Chapter 4: Editing
from Shot to Shot
Wednesday, February 25
Shot Analysis
Watch: Bicycle Thieves
Dates: February 23 – March 8
Thursday, February 26 Self check
Get Started: Sequence Analysis
Sunday, March 1: Discussion
Sunday, March 8
Bicycle Thieves discussion
Module 4:
Monday, March 9 Third Reporters
How does sound play a role in film?
Wednesday, March 11
How do actors influence a film?
Read: Sikov, Chapter 5: Sound
Sikov, Chapter
Nine: Performance
Dates: March 9 – March 29
Sequence Analysis
Thursday, March 12 Self check
Sunday, March 15: Discussion
Watch: The Piano
Sunday, March 29
NOTE: Break is break. There are no Get Started: Element Analysis
official assignments from
The Piano discussion
March 16 – March 22.
Module 5:
Monday, March 30 Fourth Reporters
How are books and other narratives
developed on screen?
Wednesday, April 1 (no joke)
Read: Chapter 6: Narrative
Element Analysis
What are genres of film?
Chapter 10: What is Genre? Thursday, April 2 Self check
Dates: March 30 – April 12
Sunday, April 5 Discussion
Watch: The Man who Shot Liberty Sunday, April 12
Valance
Liberty Valance discussion
Get Started: Genre analysis
Module 6: the New Wave
Monday, April 13 Fifth Reporerts
How do films become modern? How
do films represent the modern
zeitgeist?
Read:
Wednesday, April 15
Genre Analysis
Income taxes
Dates: April 13 – April 26
Watch: Jules et Jim
Thursday April 16: Self check
Sunday, April 19: Discussion
Get Started: Comparison
Sunday, April 26
Jules et Jim discussion
Wednesday, April 29 Comparison
Module 7: Putting it together
Dates: April 27 – May3
Watch: Beasts of the Southern
Wild
Thursday, April 30 Self check
Sunday, May 3:
Review discussion
Finals due May 8
Finals Period
The official word…
From the college catalogue
A study of film as artistic communication. Film is studied as an art form which reflects and
communicates social realities. Aspects of the cinema are studied from technical and theoretical
perspectives. Technical aspects include photography, mise en scene, editing, sound,
performances, etc. Theoretical concerns delve into the conception of various representations of
reality, from realism to symbolism, the role of ideology in film production, and the economy of
the film industry.
Specifically, we will be assessing these learning outcomes:
At the successful completion of this course, you will be able to
1. Identify and purposefully use the vocabulary of film studies to analyze film as an art;
2. Develop detailed, focused, and accurate written analyses of films, reflecting knowledge of
the elements of cinema;
3. Locate and ethically use both professional reviews and appropriate scholarly research in film
studies;
4. Explain the relationships of films to their social, historical, technological, and cultural
contexts;
5. Identify, explore, and explain ethical problems in filmmaking and production.
Here are some of the key concepts we will be covering:
1. Describe the development of film as an art form, and industry, and a social phenomenon.
2. Know the basic terminology used in camera work and use these terms to describe and
analyze film sequences;
3. Identify and compare acting styles and methods from different periods in film history;
4. Define screenwriting, and explain its relationship to play writing, novel writing, and other
literary works;
5. Describe the evolution in the use of sound in film and analyze the impact of different
sound techniques on a film;
6. Identify specific examples of editing styles and techniques and explain the role of editing
in creating the rhythm of a film;
7. Identify the responsibilities of the director and explain the role of director as the “author”
of a film.