Harlacher FLM216
FLM216 INTRODUCTION TO FILM
HUM-218
Spring 2011
Instructor: Justin Harlacher
Office: HUM165
Office Hours: MWF 12:00-12:50pm and by appointment
E-Mail: jharlach@gmail.com
COURSE DESCRIPTION AND GOALS
This course is an introduction to film as a communicative and artistic medium, with
attention to its technological, industrial, social, and aesthetic dimensions. Students will
view a wide range of films, including classic as well as recent American and foreign films,
and learn about the various techniques used to express meaning in cinema (textual
analysis), as well as the major critical approaches that can be used to make sense of films
(contextual analysis).
REQUIRED TEXTS
Richard Barsam. Looking at Movies. Third Edition. W.W. Norton & Co., 2010.
Timothy Corrigan. A Short Guide to Writing About Film. Seventh Edition. New York:
Longman, 2010.
Selected readings on E-reserve (Password: COBALT)
PLEASE PURCHASE THE BARSAM AND CORRIGAN TEXTS AT THE YORK
COLLEGE BOOKSTORE IMMEDIATELY.
COURSE REQUIREMENTS: Midterm paper; final researched paper; weekly in-class
micro-essay assignments; a Humanities Film Series report; consistent class attendance;
regular and constructive participation in class, including course blog comments and
Reading Log; assigned readings in the required texts cited above; written notes on all class
lectures and film viewings.
PAPER REQUIREMENTS: You must write two (2) papers, each a full 5-7 pages in length,
the second including three (3) secondary works cited and documented in proper MLA
format. WORKS CITED PAGE DOES NOT COUNT TOWARD THE ASSIGNED PAGE
MINIMUM. These papers should be stapled together, typed, double-spaced, laser-printed,
titled, paginated, with your name and the course number in the top left-hand corner of the
first page. They should be carefully crafted (not last-minute work), spell-checked, and
neatly presented in a professional manner, on time.
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MIDTERM PAPER DUE MONDAY, MARCH 28, 2011. Topic: a five-page, typed, doublespaced analysis of one (1) of the films you watched outside of class during the first half of
the semester (Citizen Kane; Rope; The Shining; The Visitor; Run Lola Run; or The Hurt
Locker), with attention to how its director uses one (1) of the five formal elements we
studied during the first half of the course (composition and design, cinematography, acting,
editing, OR sound) to achieve a specific narrative goal (for example, to move the plot
forward, to define the characters or setting, to create the mood, OR to convey the
theme). Your essay should open with an introduction in which you establish your topic and
formulate a clear and focused thesis defining how the director uses the formal element you
have chosen to achieve a specific narrative goal in the film. In the body of your paper, you
should support this thesis by outlining at least three ways in which the director uses the
formal element you have chosen to achieve the narrative goal you describe in your
introduction, with reference to specific examples from the film. Your essay should
conclude with a summary of your argument and a discussion of how your approach to the
film helps us to better understand or appreciate it. Feel free to see me during my office
hours with questions and concerns about your paper; I am more than willing to look at
rough drafts. Also consult A Short Guide to Writing about Film for suggestions concerning
the paper: in particular, see pages 130-132 for a “Checklist for Writing an Effective
Essay.” As a general rule, I do not accept late papers. If unusual circumstances warrant it,
however, I will do so—with the understanding that a paper will be penalized a letter grade
for each day it is late and receive an automatic F after three (3) days.
FINAL PAPER DUE WEDNESDAY, MAY 4, 2011. Topic: a detailed, five-page, typed,
double-spaced, research-supported analysis of one (1) film of your choice using one (1) of
the five critical approaches to film we studied during the second half of the semester:
auteur criticism, genre criticism, national cinemas criticism, ideological criticism, OR
historical criticism. Your essay should open with an introduction in which you establish
your topic and formulate a clear and focused thesis defining how the type of film criticism
you have chosen can be applied to your film. In the body of your paper, you should discuss
at least three points in support of this thesis, referencing specific examples from the film
and from secondary sources. Your essay should conclude with a summary of your
argument and a discussion of how your approach to the film helps us to better understand
or appreciate it. This paper must cite at least three (3) secondary sources as part of your
documentation and include a works cited page at the end of the manuscript. Feel free to see
me during my office hours with questions and concerns about your paper; I am more than
willing to look at rough drafts. Also consult A Short Guide to Writing About Film for
suggestions concerning the final paper: in particular, see pages 130-132 for a “Checklist for
Writing an Effective Essay,” pages 167-178 for guidelines on how to quote from and
document secondary sources as well as correct formatting for the MLA Works Cited. As a
general rule, I do not accept late papers. If unusual circumstances warrant it, however, I will
do so—with the understanding that a paper will be penalized a letter grade for each day it is
late and receive an automatic F after three (3) days.
RESEARCH TIPS: There are four kinds of secondary sources you can use in your final
paper: books, articles, websites, and electronic recordings. Books on film include
encyclopedias, dictionaries, guides, and other factual sources, as well as more interpretive
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sources like biographies and critical studies. The best way to find books on your topic is to
do a keyword search in the Schmidt Library Catalog. You will probably not have time to
read book-length sources in their entirety, but you can use their tables of contents or
indexes to find specific chapters or pages that might be helpful to you. Most of York
College’s books on film can be found in the Upper Level, East Wing (PN1990s) of the
Schmidt Library. If you need a book that the library does not have, try using its
EZBorrow service, which can often obtain the book you need in 4-7 days. Articles on film
appear both in journals and in book-length anthologies. The easiest way to locate them is
by using two electronic indexes available through Schmidt Library: Academic Search
Premier and the MLA Bibliography. Academic Search Premier catalogues articles on film
from mainstream publications like Film Comment and Sight and Sound, while the MLA
Bibliography catalogues articles found in academic journals and anthologies. Perform a
key word search in these indexes to find articles that look useful, then do title searches in
the Schmidt Library Catalog to determine whether the library carries the journals or
anthologies that contain those articles. Most of York College’s film journals can be found
on the Main Floor, East Wing (Periodicals Collection) of the Schmidt Library.
Occasionally, Academic Search Premier and the MLA Bibliography will provide you with
the full text of an article, which you can print out, save to disk, or e-mail to your home
computer. If you need an article that the library does not have, try using its Document
Delivery service, which can often obtain the article you need in a week or two. Websites on
film, like books, fall into two categories: factual and interpretive. If you are looking for
factual information about a film, the best website to visit is the Internet Movie Database
(www.imdb.com). If you are looking for interpretations of a film, visit online film journals
like Senses of Cinema (www.sensesofcinema.com) and The Film Journal
(www.thefilmjournal.com). You also might try doing a keyword search in the Schmidt
Library Catalog, which carries listings for some film websites. Be careful about using
Google or Yahoo to find secondary sources on the Internet. Make sure that any website
you cite in your papers is substantive and authoritative; stay away from discussion forums,
personal webpages, blogs, and other unregulated sites. If you are unsure of a potential
source, please ask me. Electronic recordings on film include things like documentaries,
audio interviews, and special features found on DVDs: directors’ commentaries, “makingof” videos, and other supplements. Schmidt Library carries documentaries on film, as well
as a large collection of DVDs, many of which contain special features that you might find
useful in your research; you can often find audio interviews archived online. NOTE: The
film you write about in your paper does not count as a secondary source—it is your
primary source. You may use your two textbooks and the E-Reserve articles as secondary
sources. You may not use movie reviews or wiki websites (such as Wikipedia) as secondary
sources. Not all of your secondary sources have to discuss the film you are writing about
and not all of your secondary sources have to be on the subject of film; as long as they
relate directly to your topic, your secondary sources can be about anything.
MY GRADING GUIDELINES FOR PAPERS
Aim & Organization – Does the paper have a thesis? Is it well-defined and demonstrable?
Does the paper have a clear plan? Is it unified? Is all material presented relevant to the
thesis statement?
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Development – Does the paper use specific examples, illustrations, facts, or other forms of
evidence to support the thesis? Are they relevant? Are they sufficient?
Mechanics – Is the paper free of gross spelling errors? Is punctuation used correctly? Is the
paper free of errors of agreement (subject/verb, pronoun/antecedent, etc.)? Is the paper free
of major sentence errors (fragments, comma splices, and run-ons)?
Content – Is the paper interesting? Are the ideas fresh and original?
Diction – Is the vocabulary that of a college student? Has the author avoided slang and/or
ineffective clichés? Are the word choices informed and appropriate? Is most of the language
clear and concrete?
Style – Is the writing effective (not wordy or confusing)? Do the sentence length and
structure vary? Do the sentences and paragraphs begin differently? Has the writer achieved
a natural voice? Is the paper serious and devoid of forced and/or sophomoric attempts at
humor?
MY DEFINITIONS OF A, B, C, D, AND F PAPERS
The C Paper – The C paper is adequate, nothing more or less. The writer has organized the
material ably, employed details to support generalizations, and handled mechanics
satisfactorily. Although more might have been accomplished in any one or all of these areas,
the student has shown competence in them. What a C paper usually lacks is some
praiseworthy feature: significant or fresh ideas, ease of expression, or grace of style. A C
paper generally fails to impress, though it explains an idea of some substance in a clear and
acceptable manner. In general, it usually elicits both favorable and unfavorable comment
and neither pleases nor displeases the reader.
The D Paper – The D paper is typically deficient in one of these three major areas: aim &
organization, development, or mechanics. If the writer fails to present a clear and
demonstrable thesis, organize the paper or paragraphs adequately, provide sufficient
support for the thesis, or avoid numerous errors in mechanics, the paper deserves a D. A D
is a passing grade, thus a D paper should contain some redeeming features that indicate
growth in skills.
The F Paper – The F paper is deficient in two or three of the major areas. Although an F
paper is not necessarily a total failure, the writer does not demonstrate sufficient ability to be
given a passing grade of D. If the paper lacks worthwhile content; displays no real sense of
organization, support, or mechanics; or is difficult, frustrating, or confusing to read, then the
paper will receive an F.
The B Paper – The B paper is not only competent in all the major areas, it excels in several.
As opposed to the C paper, the B paper contains certain achievements that make it more
than adequate. Usually, these are in the areas of content and language. Although lapses may
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appear in the paper, they are typically trivial and few. More than compensating for them is
the skill displayed in organizing and supporting ideas, in handling mechanics, and in treating
the subject judiciously, maturely, and insightfully. The B paper demonstrates proficiency in
all six major areas, and excellence in some. Still, mere absence of errors does not assure a
paper a B grade.
The A Paper – The A paper is a superior piece of work that is a pleasure to read. It need not
be flawless, but it is outstanding for a college writer. Usually the A paper supercedes the B
paper in content, diction, and style. The writer of an A paper generally treats the subject in a
relatively original manner, revealing keen perception, mature judgment, and sound logic.
The student also uses language with sensitivity, assurance, and vitality. The style is fluent
and graceful.
MICRO-ESSAY REQUIREMENTS: At the beginning of class on most Fridays, you will be
required to write (on a 4x6 inch index card that I will provide) a micro-essay analyzing a
scene that I will show from the film you viewed outside of class earlier in the week. This will
take about 10-15 minutes. You may take notes while watching the clip and use these notes,
as well as your notes on the entire film and your class notes, as a memory aid when writing
the micro-essays. In these micro-essays you are to avoid plot summary and focus instead on
describing a moment from the clip and explaining how it can be analyzed in light of the topic
we have studied that particular week. Occasionally, I will provide you with a writing
prompt to aid you in the composition of these micro-essays, but it is important that you
come to class on Wednesdays prepared to write them. Do the reading, see the film, and
then spend some time before class going over your notes and thinking about how the topic
we have been discussing that week applies to the film in question. Spelling and grammar
do not count in these micro-essays, but focus and clarity do. I will drop the lowest microessay grade at the end of the semester when calculating your final grade. I do not allow
students to make up missed micro-essays; please do not ask.
HUMANITIES FILM SERIES REPORT REQUIREMENTS: The Humanities Film Series
at York College is an interdisciplinary program sponsored by the English & Humanities
Department that is designed to promote the humanities on campus and in the surrounding
community by encouraging a serious and ongoing examination of and discussion about
cinema. It typically consists of three film screenings per semester; at each event, a guest
scholar or filmmaker presents a movie and leads a question-and-answer session about it
afterwards. As part of this course, you will be required to attend one (1) of these events
and write a two-page, typed, double-spaced report on your experience, due in class the
Monday after the event takes place. This report should not be a review, but rather a
record of the event. It should answer the questions: What film was screened? What key
points did the guest speaker make about the film in his or her introduction? What
important questions were raised during the Q&A session after the screening? What part of
the event did you find the most interesting or informative? Make sure to take a notebook
with you to the event so that you can jot down your observations and remember them later.
I also encourage you to participate in the post-screening Q&A session. I will award any
student who asks a thoughtful, substantive question about the film or the speaker’s
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introduction during this portion of the event extra credit for Class Participation. Please
refer to series website or the class screening schedule for more information.
You have these dates in front of you, so be sure to arrange in your schedule to attend one of
these events.
ATTENDANCE GUIDELINES: Much of the learning in this course occurs in classroom
conversations and activities. Missing any of this means missing out on the course itself.
“Getting the notes” cannot compensate for a missed class—and working independently
denies the importance of the classroom community. I keep attendance records, to make
clear (both to you and to myself) the quantitative register of your engagement with the
class. Should you miss an occasional class, you are, of course, responsible for finding out
about what you missed. I recognize the complexity of your lives, but I expect you to
appreciate the framework of assignments, activities, and behaviors that create a successful
educational experience. If during the course of the term you fall seriously ill or encounter
disruptive personal problems that will keep you out of class for more than a week, please
notify me at the start of the absence. I will help you handle this fairly and efficiently. If
you have designated special needs (including, but not limited to, needs that will result in
absences), you must notify Dr. Carol Bair (Coordinator of Academic Advising) and me
within the first two weeks of the term, so that we may establish appropriate
accommodations. Please allow me (and other College personnel) to help you at the start of
any problem; in all cases, you must initiate conversations about your needs.
CLASS PARTICIPATION REQUIREMENTS: Although I will deliver interactive lectures
on a weekly basis, this is also a discussion class. Everyone must participate in class
discussions. There will never be any pressure on you to come up with polished
interpretations of the assigned readings and films. As long as we’re all trying to
understand them in ways that make sense to us, the class will be a fun and interesting place
to be. If you don’t make an effort to engage in classroom conversations, however, then the
class will suffer. I know that some people are more comfortable than others with speaking
in class. I will try my best to make class a relaxed and pressure-free place to air your
thoughts. I need your help in this regard because unless we all have a tolerant and patient
attitude in class, some people might be reluctant to participate. Since it is in everyone’s
interest to have a class where all students have a voice, it is incumbent upon all of us to be
considerate of one another and open to different points of view. In order to facilitate
everyone’s participation (and ensure that everyone completes the reading assignments), I will
ask you to maintain a Reading Log and/or contribute to the course blog throughout the
semester (see the Reading Log handout). Each log entry must be completed by the day on
which we discuss that reading in class. I reserve the right to collect this Reading Log at any
time and use it as a means of evaluating your class participation in the course. Five (5)
points will be deducted from your class participation grade for each incomplete log entry.
A special note regarding cell phones: Turn them off before class begins. Ringing phones and
text messaging are a distraction and will not be tolerated. Students who fail to comply will be
asked to leave.
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FINAL GRADE BREAKDOWN
MIDTERM PAPER
RESEARCHED PAPER
MICRO-ESSAYS
FILM SERIES REPORT
CLASS PARTICIPATION
20%
20%
30%
10%
20%
FINAL GRADE SCALE
4.0
3.5
3.0
2.5
2.0
1.0
0.0
93-100%
88-92%
82-87%
76-81%
70-75%
60-65%
0-59%
GENERAL REQUIREMENTS AND ADVICE

Almost every week of the semester, you will be required to view a film on your own
outside of class. These films can be found on reserve on DVD at the Information
Services desk in the Main Floor Lobby of the Schmidt Library. You may watch the
assigned films free of charge in the library or you may rent them (if they are available)
from Blockbuster or another video rental source and watch them at your home. If you
do rent an assigned film from Blockbuster or another video rental source, make sure
that it is in the correct aspect ratio—this is especially important with regards to
widescreen films (see the Class Schedule handout). Additionally, I will offer one
screening of each film (see the Screening Schedule under Course Documents on the
course blog for dates and times). Remember: it is up to you to see the weekly films
before the deadlines listed in the Class Schedule handout. If you do not complete a
viewing assignment, you will not be able to write the weekly micro-essay or participate
in the class discussion about the film and your grade will suffer as a result.

Please buy a spiral-bound notebook of at least one hundred (100) pages exclusively
for notes on class lectures and the films you view outside of class. Taking good notes,
especially on the assigned films, is essential; it will help sharpen your observation skills,
aid you in writing your weekly micro-essays and papers, and improve the quality of your
participation in class discussions. Remember: this class is not about “hanging out and
watching movies”; it is about developing a critical eye for the way in which films
“work”—the way in which they express or convey meaning. It is fine to enjoy the films
you watch outside of class, but it is also important that you learn how to analyze or
“deconstruct” them as well; the best way to do so is to become fluent in the critical and
technical terminology we will learn in class and to employ it in your notes on each and
every film we view.
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
This is a discussion-oriented and writing-intensive course. You may wonder why, since
our primary objective is the study of film. The study of film, however, entails learning
not only how to analyze films more proficiently, but also how to communicate your
opinions about the films you analyze more effectively and persuasively both in speech
and in writing. In addition, learning these oral and written communication skills is an
important part of your education as a college student. As the York College Faculty
Manual states: “York College recognizes the importance of effective communication in
all disciplines and careers. Therefore, students are expected to competently analyze,
synthesize, organize, and articulate course material in papers, examinations and
presentations. In addition, students should know and use communication skills current
to their field of study, recognize the need for revision as part of their writing process,
and employ standard conventions of English usage in both writing and speaking.”

I always assume that students will maintain a high degree of personal integrity
regarding the fair and appropriate use of information sources in their work. Should a
student disregard this standard of academic honesty, however, I am prepared to follow
College guidelines for discipline. The Department of English and Humanities defines
plagiarism as “the incorrect use of information from a source. This offense occurs
when a writer uses another person’s wording and/or ideas without correct mention of
the source. The most obvious form of plagiarism is the blatant copying of information
without enclosing it in quotation marks and without providing appropriate
documentation. [Additionally, the use of other students’ work and the use of purchased
essays constitute plagiarism.] Unintentional plagiarism, however, often occurs when
source material is used carelessly.” Departmental guidelines stipulate that “Students
involved in academic dishonesty will receive a grade of ‘0’ for the course, and a brief
written report will be forwarded to the Academic Dean.” Plagiarism typically occurs
because of stress, busyness, sickness, personal troubles, an imminent graduation, the
difficulty of an assignment, or uncertainty about how to use source materials or about
what constitutes fair and appropriate use. If you ever feel tempted to plagiarize or
uncertain about what constitutes plagiarism, come and talk with me. Together, we can
work through whatever is troubling or confusing you.
VIDEO & DVD RENTAL
Best Local Sources:
York College
Blockbuster Video
Schmidt Library
2192 White St
815-1345
852-9664
Best Out-of-Town Sources:
Facets Multimedia
1517 West Fullerton Ave.; Chicago, IL 60614
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Phone: 1-800-331-6197 [8am-8pm M-F]
<www.facets.org>
Home Film Festival
P.O. Box 2032; Scranton, PA 18501-2032
Phone: 1-800-258-3456 [8am-7pm M-F]
<www.homefilmfestival.com>
Online Rental:
NETFLIX (www.netflix.com) is the most popular online DVD rental service and offers the
most mainstream selection of titles to choose from. Their “two-at-a-time” plan allows you
to rent as many DVDs as you want for $14.99 a month with unlimited streaming. You keep
a revolving library of two DVDs at a time and can exchange them for new available DVDs
as often as you like.
GREENCINE (www.greencine.com), based in San Francisco, specializes in indie, arthouse,
anime, foreign, classics, documentaries and other esoteric fare. They basically stock what
the other mainstream rental companies do not. Their “two movies out” plan is $14.95 per
month.
CAFEDVD (www.cafedvd.com), founded in 1999, also has a good collection of
independent, arthouse, foreign, classic and hard-to-find titles on DVD. The cost is $14.95
per month, for 6 DVDs. They also have an “A La Carte Rental Program” that allows you to
rent DVDs for $3 each, with no subscription required.
VIDEO & DVD PURCHASE
If you are shopping locally, try the Borders bookstore at 3000 Whiteford Road (755-0800).
They have a large selection of DVDs, including classic films, foreign films, and obscure cult
films
If you are shopping on-line, always try AMAZON.COM (www.amazon.com) first—it is the
safest and most reliable merchant on the Internet. Often, it sells videos and DVDs of films
relatively inexpensively and can deliver them to you within a week (most other dealers take
anywhere from 2-4 weeks to ship items). HOWEVER, if the title you are interested in is
categorized by Amazon.com under “Special Order,” do NOT place an order with them—
purchase it through one of the web sites below or, if necessary, through one of the
Amazon.com Marketplace sellers.
In addition to AMAZON.COM, the following online merchants are useful for certain hard to
find or specific titles:
FACETS (www.facets.org) boasts a tremendous selection of classic and contemporary
films—foreign and domestic—on video and DVD. You might pay a bit more than usual, but
it’s well worth it to have films that aren’t available anywhere else.
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KINO INTERNATIONAL (www.kino.com) specializes in foreign and classic American
films; they have a smaller catalogue and their product is pricier than average, but their
editions of videos and DVDs are often the definitive editions.
MILESTONE FILM & VIDEO (www.milestonefilms.com) is a boutique distributor of
classic and art films. A dedicated and classy company that specializes in tracking down
rare and forgotten films from the silent and sound eras, made in the U.S. and elsewhere,
and transferring them to video and DVD.
VIDEO SEARCH OF MIAMI (www.vsom.com/store.asp) offers obscure foreign and
domestic “B”, cult, and exploitation movies duplicated on VHS or DVD that are otherwise
unavailable in the U.S. For similar items, you might also take a look at SOMETHING
WEIRD VIDEO (www.somethingweird.com) and SINISTER CINEMA
(www.sinistercinema.com).
A MILLION AND ONE WORLD-WIDE VIDEOS (wwvideos.com) specializes in finding
out-of-print videos, rare movies, and lost films; try them as a last resort if you can’t seem to
find the film you are looking for anywhere else. For similar help, you might also check out
MOVIEHUNTER (www.moviehunter.tv).
AVOID websites like REEL.COM and DEEP DISCOUNT DVD that order videos from
distributors at a discount—the service is invariably slow and shoddy.
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