I. ASCRC General Education Form (revised 2/8/13)
Use to propose new general education courses (except writing courses), to change
or renew existing gen ed courses and to remove designations for existing gen ed
courses.
Note: One-time-only general education designation may be requested for experimental
courses (X91-previously X95), granted only for the semester taught. A NEW request
must be submitted for the course to receive subsequent general education status.
Group
(submit
separate
forms if
requesting
more than one
general
education
group
designation)
II. Mathematics
VII: Social Sciences
III. Language
VIII: Ethics & Human
Values
III Exception: Symbolic Systems
*
IX: American & European
IV: Expressive Arts
X: Indigenous & Global
V: Literary & Artistic Studies
XI: Natural Sciences
w/ lab □ w/out lab □
VI: Historical & Cultural Studies
*Courses proposed for this designation must be standing requirements
of majors that qualify for exceptions to the modern and classical
language requirement
Dept/Program MAR
Course #
Course Title
Intro to Media Arts
Prerequisite
None
101L
Credits
3
II. Endorsement/Approvals
Complete the form and obtain signatures before submitting to Faculty Senate Office
Please type / print name Signature
Instructor
Michael R. Murphy
Date
2/12
/14
Phone / Email 406-360-2712
Program
Chair
Mark Shogren
Dean
Stephen Kalm
III. Type of request
New
One-time Only
Renew
X
Reason for Gen Ed inclusion, change or deletion
Description of change
Change
Rolling Review
Remove
IV. Description and purpose of the general education course: General Education
courses must be introductory and foundational within the offering department or within
the General Education Group. They must emphasize breadth, context, and
connectedness; and relate course content to students’ future lives: See Preamble:
http://umt.edu/facultysenate/archives/minutes/gened/GE_preamble.aspx
The purpose of the course is to introduce students to the analytical processes involved in
“reading” film narrative. It covers three major areas: fictional, documentary and experimental
filmmaking. The course also introduces the ideas and philosophies behind the basic theories
that underly the construction and delivery of film stories from its beginnings in silent film,
through the larger historical shifts that affected the arts over the last century.
V. Criteria: Briefly explain how this course meets the criteria for the group. See:
http://umt.edu/facultysenate/documents/forms/GE_Criteria5-1-08.aspx
Courses cover a number of works in one
or more of the various forms of artistic
representation; they also establish a
framework and context for analysis of the
structure and significance of these works.
Students view numerous films in the
categories of fiction, documentary and
experimental work over the course of the
semester. The framework for analysis is
In addition, these courses provide
mechanisms for students 1) to receive
instruction on the methods of analysis and
criticism,
Instruction on the modes of analysis is
established to analyze these “texts” using a
number of different tool sets. Each week a
new form of analysis is introduced and
applied to the work being viewed.
given through online video “mini-lectures”
created and delivered by the instructor of
record as well as supporting documents
designed for each week’s work. Concepts,
vocabulary and criticism is delivered
through interaction with the students
weekly assignment (written analysis) and
quizzes.
2) to develop arguments about the works
from differing critical perspectives.
The first half of the semester introduces a
core set of analytical tools and the second
semester requires the student to continue to
apply these methods of analysis to material
that becomes more varied in its forms of
delivery. These early forms of analysis are
based on more classical principles and as it
becomes relevant new critical perspectives
are offered to add to the developing
arguments.
VI. Student Learning Goals: Briefly explain how this course will meet the applicable
learning goals. See: http://umt.edu/facultysenate/documents/forms/GE_Criteria5-108.aspx
1. The student should be able to analyze
works of art with respect to structure and
significance within literary and artistic
traditions, including emergent movements
and forms.
Students analyze a number of films from
several points-of-view as follows:
2. The student will be able to develop
coherent arguments that critique these
works from a variety of approaches, such as
historical, aesthetic, cultural, psychological,
political, and philosophical.
Throughout the course students analyze
works based on the application of the
presence of a canonical state of being that
I. FILM LANGUAGE AND STRUCTURES
A successful student will be able to
understand and clearly articulate their
understanding of film stories through the
following modes of analysis:
- THE FOUR COMPONENT
AREAS
Dramatic
Filmic
Structural
Literary
- GENRE DESCRIPTION/
CLASSIC PLOT MODELS
- NORTHRUP FRYE’S
MODES OF NARRATIVE
(HERO)
- ROBERT MCKEE’S STORY
TRIANGLE
- FOUR MODES OF
DOCUMENTARY
begins each story. This “world of the
story” is based on researching the
physical, psychological and historical
circumstances that underly a given film
and set up its ability to create meaning. It
requires the student to place themselves
in states of being other than their own
and to develop an understanding of the
point-of-view of the protagonist of a
given piece. The douse begins with films
made in the United States but widens its
reach over the second half of the
semester, including stories from Japan
after WWII, documentaries that are
tackling global questions and
experimental works that move into highly
subjective experience.
The aesthetes of Formalism and Realism
are brought forward early and reiterated
through many of the assignments during
the semester. Political and philosophical
movements behind the growth of NeoRealism after WWII are explored as is
the influence of Postmodernism on the
nature of story deliver if films in the post
Vietnam war era.
VII. Justification: Normally, general education courses will not carry pre-requisites,
will carry at least 3 credits, and will be numbered at the 100-200 level. If the course has
more than one pre-requisite, carries fewer than three credits, or is upper division
(numbered above the 200 level), provide rationale for exception(s).
There are no pre-requisites for the course.
VIII. Syllabus: Paste syllabus below or attach and send digital copy with form. ⇓ The
syllabus should clearly describe how the above criteria are satisfied. For assistance on
syllabus preparation see: http://teaching.berkeley.edu/bgd/syllabus.html
Have sent Syllabus/Schedule documents along with this form.
Please note: Approved general education changes will take effect next fall.
General education instructors will be expected to provide sample assessment items and
corresponding responses to the Assessment Advisory Committee.
MAR 101L (01) Hybrid Online
Introduction to Media Arts
Spring 2014
Professor Michael Murphy - McGill
229
Office Hours: Scheduled—Skype or
in-person
email:
michael.murphy@mso.umt.edu
COURSE DESCRIPTION
The purpose of the course is to introduce you to the analytical processes involved in “reading”
film narrative. We will cover three major areas: fictional, documentary and experimental
filmmaking.
On a broader level this course delivers experiences that should help you expand your ability to:
think creatively
develop your ideas through collaborative and lateral thinking processes
articulate core meaning and thematic concepts in existing films and
your own work
understand the context behind your personal point-of-view and to look
empathetically at other global cultures whose context may be
quite different from your own.
GOALS
I. FILM LANGUAGE AND STRUCTURES
A successful student will be able to understand and clearly articulate their understanding of film
stories through the following modes of analysis:
- THE FOUR COMPONENT AREAS
- Dramatic
- Filmic
- Structural
- Literary
- GENRE DESCRIPTION/ CLASSIC PLOT MODELS
- NORTHRUP FRYE’S MODES OF NARRATIVE (HERO)
- ROBERT MCKEE’S STORY TRIANGLE
- FOUR MODES OF DOCUMENTARY
II. THE WORLD INSIDE—YOUR POINT-OF-VIEW AND CANONICAL STATE
Through the principles that broaden your understanding of the idea of storytelling, you will be
able to articulate the nature of your “world view” as well as themes, characters and types of
stories that might emerge from someone like yourself. These principle are based in:
- THE THREE LEVELS OF READING
- FOLK PSYCHOLOGY
- THE CANONICAL STATE OF BEING
- THE IDEA OF “CORE”
- STORYTELLING AS A MEANING-MAKING PROCESS
III. THE WORLD OUTSIDE—THE DEVELOPMENT OF EMPATHY
By focusing on other cultures (outside and inside of our own country) and their stories you will
be able to compare and contrast your context with theirs and therefore open up your mind to
what stories might mean to them and you.
!!!! IMPORTANT !!!!
TEXT & MATERIALS
There is no required text for the class, but the class requires viewing of films that are to be your
responsibility. This means having access to them via Netflix, iTunes, Amazon, or some other
source from which you can access the materials. The rest of the material is available in
documents and video packages that will be found on our Moodle shell.
There are a total of FOURTEEN Weekly Units that are to be completed in sequential order. Each
unit has video material, documents and a movie to view. This is not a small amount of material
so the best advice I have is: get started on your work early in the week and make sure to get
movies lined up in advance!
For the sake of consistency, each week will be structured in a similar manner:
Materials to study:
1) Murph Videos: These instructional mini-lectures are from 3-6 minutes in length and
get at the main focus of a given week’s work. I highly recommend viewing each one at least
twice—once before you read the week’s documents and then once after!
2) Weekly documents: These offer more detail than be contained in a short video and
include the major vocabulary and concepts for the class.
3) Film Clips: Sections of films referenced in the class live here in for purposes of reviewing them.
4) Additional Resources: This area gives you the opportunity to expand your research
into film and additional topics generated through assignments and forums.
5) The Core Forum:This is our central “meeting place,” the only spot where we will
access the group as a whole. It is for me to express more information than may be gotten in the
materials themselves. It is a place for you to ask questions of me or of your classmates. You will
notice that there are no points, but I consider it to be a place where I can get to know you and
that is a big help when it comes to understanding how to address your particular thoughts and
challenges. It also might be called “classroom participation.” It’s a good place for me to look if
I’m wavering between one grade and another at the end of the semester to see where your
level of engagement is at.
Weekly Activities:
1) Assignments (450-600 wds. 4pts. each) Each week will have a written
assignment due by the end of that week, which is always by Sunday night
before 11:55 pm. The criteria for each week and length of the assignment will
be found through the link in the Assignment area for the week.
Please Note:
When up-loading assignments please use the following file formats only:
.doc .docx .pdf .jpeg or quicktime media files
**IMPORTANT**
When up-loading assignments use the following format for file name:
Lastname_Assignment#.format
Example: My first assignment for unit one should look like:
Murphy_assignment1.doc
2) Weekly/Dailyt Quizzes (2pts. each) Each week of the course, a quiz will be available
to take beginning Monday morning and closing the following Sunday night 11:55 pm..
You will be allowed three attempts at each quiz. There are no attempts receiving credit
after a given quiz is closed.
POINTS FOR THIS CLASS
MAR 101L Points Distribution
Assignments (14 @ 4pts.)
56 pts.
Weekly Quizzes (14 @ 2pts.)
28 pts.
Online Final Test
12 pts.
Final Assignment
Total Points for the semester
4 pts
100 pts.
Weekly Instructions
There is only one event separate from these—your online Final Test. Criteria for that will be
available as we get nearer time to complete the test.
!!!DEADLINES AND LATE WORK!!!
!!!! Each week’s/day’s work is to be completed DURING THAT WEEK/DAY! The only possibility
for turning in LATE WORK is with Weekly/Daily Assignments. If you turn an ASSIGNMENT in
during the week/day after its due date you may receive up to 50% of the points allotted for that
assignment. However NO ASSIGNMENTS WILL BE ACCEPTED AFTER THAT “GRACE WEEK/DAY.”
A NOTE ON VIEWING FILMS!! VERY IMPORTANT!!
We are in a brave new world of the film “experience.” All of the movies we will be viewing this
term were intended to be watched in the company of strangers, in a darkened theater. YOU,
however, can watch them on your computer, and if you have a laptop, tablet, or smartphone,
you could be just about anywhere – your living room, a café, the back of a car – and along with
this comes infinite distractions. Out of respect for the films, filmmakers, and your own
education (which, after all, is a big part of what we are all here for), please be a conscientious
viewer. Minimize your distractions: turn off your phone, close the door, dim the lights. Do your
best to watch these films without interruptions, as they were intended to be seen. You’ll be glad
you did!
ATTENDANCE AND THE ACADEMIC CODE
ATTENDANCE IS MANDATORY FOR THIS CLASS. THERE ARE NO EXCUSED ABSENCES. YOU ARE ALLOWED 2
ABSENCES OVER THE COURSE OF THE SEMESTER. ON THE THIRD ABSENCE YOU GRADE WILL DROP 5PTS.
ON THE FOURTH, 10PTS. ON THE FIFTH, 15PTS., ON THE SIXTH 20PTS. AFTER SIX ABSENCES YOU WILL
AUTOMATICALLY FAIL THE CLASS.
All students must practice academic honesty. Academic misconduct is subject to an academic penalty by
the course instructor and/or a disciplinary sanction by the University. All students need to be familiar with
the Student Conduct Code. The Code is available for review online at
http://www.umt.edu/SA/vpsa/index.cfm/page/1339
STUDENTS NEEDING ACCOMMODATIONS SHOULD INFORM THE INSTRUCTOR & T.A.
Students with disabilities who may need accommodations for this class are encouraged to notify the
instructor or TA and contact the Disability Services for Students (DSS) early in the semester so that
reasonable accommodations may be implemented as soon as possible. Students may contact DSS by
visiting the Center (located in the Lommasson Center Room 154) or by phoning 243-2243 (voice) or emailing dss@umontana.edu). All information will remain confidential.
MEDIA ARTS 101L (01) WEEKLY SCHEDULE
SPRING 2014
SECTION I—THE BASICS
Story, Culture and Meaning-Making (What is Core?)
Week 1
Jan. 28
Read: Word-Docs:
Story and Meaning-making/3 Levels of Reading
The Canonical State
View: Murph Videos:
The Core/3 Levels of Reading
The Canonical State/Triangle/Square Animation
Assignment #1: Triangle/Square Animation—Story, yes or no?
Quiz #1: Canonical and Meaning-making
The Whole Story (Structural Components)
Week 2
Feb. 4
Read: Word-Docs:
4 C’s Structural Components
Three-Act Structure in Casablanca
View: Murph Video: Structure and Patterns/Narrative, Plot, Story
View: Casablanca (1942) dir. Michael Curtiz
Assignment #2:Tell a story from your canonical state
and break it into acts.
Quiz #2: Structural Components
The Whole Story (Dramatic Components)
Week 3
Feb. 11
Read: Word-Doc:
Formalism v. Realism pt.1
4 C’s Dramatic Action Components
View: Murph Video: Formalism/Realism
Review: Casablanca (1942) dir. Michael Curtiz
Assignment #3: Analyzing a scene from Casablanca
Quiz #3: Dramatic Action Components
Editing: The Language of Film (Filmic Components)
Week 4
Feb. 18
Read: Word-Docs:
4 C’s Filmic Components/Editing and Film Grammar
Shot Sizes/Aspect Ratio
View: Murph Video: Editing
View: The Graduate, dir. Mike Nichols (1967)
Assignment #4: Scene From The Graduate—Dramatic
Action through shots
Quiz #4: Editing and Filmic Components
The Whole Story (Literary Components)
Week 5
Feb. 25
Read: Word-Docs:
Formalism v. Realism pt. 2
4 C’s Literary Components/It’s All Greek
View: Murph Video: Formalism/Realism
Review: The Graduate, dir. Mike Nichols (1967)
Assignment #5: Analyze a scene from The Graduate for
Formalism/Literary Componenets
Quiz #5: Literary Components
SECTION II—VARIATIONS
Genre, Plot, Structure (Development and Lateral Thinking)
Week 6
March 4
Read: Word-Docs:
Genre + Plot Types
Categories of Hero
Characteristics of Film Noir
View: Murph Videos:
Genre
Development/Plot Types
View: Vertigo, dir. Alfred Hitchock (1958)
Assignment #6: Identify the elements of Film Noir in Vertigo.
Also, describe the protagonist in terms
of Frye’s Categories of Hero
Quiz #6: Genre
Beyond the Classical Hollywood Film: Other Canonicals
Read: Word-Docs:
Culture, Philosophy and the Canonical State
View: Murph Video: “Post WWII Canonical Shifts: Japan”
“What is Neorealism,” by Kogonada for Sight & Sound:
Week 7
March 11
https://vimeo.com/68514760
Review The Canonical State Video
View: Ikiru, dir. Akira Kurosowa, 1952
Assignment #7:Analyze Ikiru from the point of view
of McKee’s Triangle, Hero Types, Genre and Plot Types.
Quiz # 7: In-depth Canonical and Meaning-making
Beyond the Classical Structures: The Post-Modern Effect
Week 8
March 18
Read: Word Doc:
Post-modernism and Self-Reflexivity in Film
View: Murph Video: The Post-Modern in Film
View: Adaptation, dir. Spike Jonze (2002)
Assignment #8:Postmodernism and Adaptation
Quiz #8: Postmodernism
Reviewing the Fiction Film: Structures and Dramatic Action
View: Blue Valentine, dir. Derek Cianfrance (2010)
Week 9
March 25
Week 10
April 1
Spring Break
Assignment #9: Using the film for the week discuss the
use of these two component areas.
Quiz #9: In-depth review and catch-up on vocabulary.
SPRING BREAK
Reviewing the Fiction Film: Literary and Filmic
Review: Blue Valentine, dir. Derek Cianfrance (2010)
Week 11
April 8
Week 12
April 15
Assignment #11: sing the film for the week discuss the
use of these two component areas.
Quiz #11: In-depth review and catch-up on vocabulary.
SECTION III—ACTUALITY AND EXPERIMENTATION
Documentary: Narrative and Actuality
Read: Doc: Documentary Modes pt.1
View: National Film Board of Canada Interview clips
Visit: http://films.nfb.ca/capturing-reality/#/39/
-
Under the “topics” tab, choose “Exploring the Genre.” Select “What
is Documentary?” and view the 5 clips.
Return to the “topics” tab and “Exploring the Genre” again. Select
“Cinema Verité: The Fly on the Wall” and watch the 6 video clips.
Return to the “topics” tab, choose “Truth, Perspective & Ethics.”
Select “Truth,” and view the 4 clips.
View: Hearts and Minds, dir. Peter Davis, (1973)
Assignment #12: Analyze Hearts and Minds using you understanding of the
canonical state, structures and genre.
Quiz #12: The Documentary
Post-Modern Documentary (Reflexivity)
Week 13
April 22
Read: Doc: Documentary Modes pt.2”
View: National Film Board of Canada Interview clips
Visit: http://films.nfb.ca/capturing-reality/#/39/
View: Stories We Tell, dir. Sarah Polley (2013)
Assignment #13: Discuss Davis and Polley’s films, and explain how they
attempt to get at the Truth.
Quiz #13: Documentary II
Poetic realities: Experimental films
Week 14
April 29
Read: What IS experimental film?
View: Murph Video: 2-Minute History Experimental Film
View: Fake Fruit Factory (1986) dir. Chick Strand; Castro Street (1966) dir.
Bruce Baillie; Diary (2010) dir. Tim Hetherington.
Assignment #14: Which of the three films captivated you the most, and
why? What are these films about? Are they “documentary”?
Quiz #14: Experimental Film
Eisenstein and the Semiotics of the Television Commercial
Week 15
May 6
FINALS
WEEK!!
Read: The Return of Eisenstein: Coding in Commercials
View: Murph Video: Coded Canonicals
Assignment #15:Finding and analyzing a commercial
Quiz #15: Semiotics and Commericals
FINAL ONLINE TEST