EASTERN MICHIGAN UNIVERSITY
DIVISION OF ACADEMIC AFFAIRS
REQUEST FOR NEW COURSE
DEPARTMENTS/SCHOOL: ART & COMMUNICATION, MEDIA, & THEATRE DEPARTMENTS
COLLEGE: CAS
CONTACT PERSONS: RICHARD RUBENFELD & HENRY ALDRIDGE
CONTACT PHONE:
7-1268
CONTACT EMAIL: RRUBENFEL@EMICH.EDU &HALDRIDGE@EMICH.EDU
REQUESTED START DATE: TERM :WINTER 2013
A. Rationale/Justification for the Course
This course will offer students the opportunity to explore the relationship that exists between the fine arts (such as
painting, photography, and sculpture) and film since the beginning of the twentieth century. This class will be in accord
with the University’s commitment to offering courses that are interdisciplinary and multicultural. Students will be
exposed to a broad range of subjects, styles, and themes in the visual arts that are both universally relevant as well as
indicative of the values and concerns of specific cultures. Co-taught by faculty members in the Art Department and the
Communication, Media and Theatre Arts Department, the class will serve as an elective course for majors and minors
in each department as well as for students who will participate in the proposed interdisciplinary film studies minor. In
addition, offering this class without prerequisites will attract students in other colleges and departments who wish to
study art and film in an elective class. Finally, the class has been offered as an interdisciplinary special topics class
three times since 2005, and, based on enrollment and student evaluations, has been well-received.
B. Course Information
1. Subject Code and Course Number:
2. Course Title:
ARTH 255
VISUAL AND CINEMATIC ARTS SINCE 1900
3. Credit Hours:
3
4. Repeatable for Credit? Yes_______
No____X__
If “Yes”, how many total credits may be earned?_______
5. Catalog Description (Limit to approximately 50 words.):
This is an interdisciplinary course that explores the similarities and differences among the visual and cinematic arts as well as their influences
on one another since 1900. Students will see paintings, drawings, photographs, and films representative of key artistic movements of the last
century and explore the social, economic, political, and aesthetic factors that influenced their creation.
6. Method of Delivery (Check all that apply.)
a. Standard (lecture/lab) X
On Campus
X
Off Campus
b. Fully Online
c. Hybrid/ Web Enhanced
7. Grading Mode:
Normal (A-E)
X
Credit/No Credit
8. Prerequisites: Courses that MUST be completed before a student can take this course. (List by Subject Code, Number and Title.)
NONE
9. Concurrent Prerequisites:
Code, Number and Title.)
Courses listed in #5 that MAY also be taken at the same time as a student is taking this course. (List by Subject
New Course Form
NONE
10. Corequisites: Courses that MUST be taken at the same time as a student in taking this course. (List by Subject Code, Number and Title.)
NONE
11. Equivalent Courses. A student may not earn credit for both a course and its equivalent. A course will count as a repeat if an equivalent
course has already been taken. (List by Subject Code, Number and Title)
NONE
12. Course Restrictions:
a. Restriction by College. Is admission to a specific College Required?
College of Business
Yes
No
X
College of Education
Yes
No
X
b. Restriction by Major/Program. Will only students in certain majors/programs be allowed to take this course?
Yes
No
X
If “Yes”, list the majors/programs
c. Restriction by Class Level Check all those who will be allowed to take the course:
Undergraduate
Graduate
All undergraduates X
All graduate students____
Freshperson
Certificate
Sophomore
Masters
Junior
Specialist
Senior
Doctoral
Second Bachelor X
UG Degree Pending_____
Post-Bac. Tchr. Cert._____
Low GPA Admit_______
Note: If this is a 400-level course to be offered for graduate credit, attach Approval Form for 400-level Course for Graduate
Credit. Only “Approved for Graduate Credit” undergraduate courses may be included on graduate programs of study.
Note: Only 500-level graduate courses can be taken by undergraduate students. Undergraduate students may not register for
600-level courses
d. Restriction by Permission. Will Departmental Permission be required?
Yes X___
No
(Note: Department permission requires the department to enter authorization for every student registering.)
13. Will the course be offered as part of the General Education Program?
Yes
No
X
If “Yes”, attach Request for Inclusion of a Course in the General Education Program: Education for Participation in the Global Community
form. Note: All new courses proposed for inclusion in this program will be reviewed by the General Education Advisory Committee. If this
course is NOT approved for inclusion in the General Education program, will it still be offered? Yes
No
Miller, New Course
Sept. ‘09
Page 2 of 2
New Course Form
C. Relationship to Existing Courses
Within the Department:
14. Will this course will be a requirement or restricted elective in any existing program(s)? Yes
No
X
If “Yes”, list the programs and attach a copy of the programs that clearly shows the place the new course will have in the curriculum.
Program
Required
Restricted Elective
Program
Required
Restricted Elective
15. Will this course replace an existing course? Yes
No
X
16. (Complete only if the answer to #15 is “Yes.”)
a. Subject Code, Number and Title of course to be replaced:
b. Will the course to be replaced be deleted?
Yes
No
17. (Complete only if the answer #16b is “Yes.”) If the replaced course is to be deleted, it is not necessary to submit a Request for
Graduate and Undergraduate Course Deletion.
a. When is the last time it will be offered?
Term
Year
b. Is the course to be deleted required by programs in other departments?
Contact the Course and Program Development Office if necessary.
Yes
No
c. If “Yes”, do the affected departments support this change?
Yes
No
If “Yes”, attach letters of support. If “No”, attach letters from the affected department explaining the lack of support, if available.
Outside the Department: The following information must be provided. Contact the Course and Program Development office for
assistance if necessary.
18. Are there similar courses offered in other University Departments?
If “Yes”, list courses by Subject Code, Number and Title
Yes
X
No
ARTH 379 & CTAT 379 (offered as Special Topics class)
19. If similar courses exist, do the departments in which they are offered support the proposed course?
Yes
X
No
If “Yes”, attach letters of support from the affected departments. If “No”, attach letters from the affected department explaining the lack of
support, if available.
D. Course Requirements
20. Attach a detailed Sample Course Syllabus including:
a.
b.
c.
d.
Miller, New Course
Sept. ‘09
Course goals, objectives and/or student learning outcomes
Outline of the content to be covered
Student assignments including presentations, research papers, exams, etc.
Method of evaluation
Page 3 of 3
New Course Form
e.
f.
g.
h.
Grading scale (if a graduate course, include graduate grading scale)
Special requirements
Bibliography, supplemental reading list
Other pertinent information.
NOTE: COURSES BEING PROPOSED FOR INCLUSION IN THE EDUCATION FOR PARTICIPATION IN THE GLOBAL
COMMUNITY PROGRAM MUST USE THE SYLLABUS TEMPLATE PROVIDED BY THE GENERAL EDUCATION
ADVISORY COMMITTEE. THE TEMPLATE IS ATTACHED TO THE REQUEST FOR INCLUSION OF A COURSE IN THE
GENERAL EDUCATION PROGRAM: EDUCATION FOR PARTICIPATION IN THE GLOBAL COMMUNITY FORM.
E. Cost Analysis (Complete only if the course will require additional University resources.
Fill in Estimated Resources for the
sponsoring department(s). Attach separate estimates for other affected departments.)
Estimated Resources:
Year One
Year Two
Year Three
Faculty / Staff
$_________
$_________
$_________
SS&M
$_________
$_________
$_________
Equipment
$_________
$_________
$_________
Total
$_________
$_________
$_________
F. Action of the Department/School and College
1. Department/School
Vote of faculty: For ___17______
Against __________
Abstentions __________
(Enter the number of votes cast in each category.)
Department Head/School Director Signature
Date
2. College/Graduate School
A. College
College Dean Signature
Date
B. Graduate School (if Graduate Course)
Graduate Dean Signature
Date
G. Approval
Associate Vice-President for Academic Programming Signature
Miller, New Course
Sept. ‘09
Date
Page 4 of 4
The Visual and Cinematic Arts Since 1900
Winter, 2012
ARTH 379-002, ARTH 592-001
Dr. Richard Rubenfeld
217 Ford Hall
487-1268
rrubenfel@emich.edu
Office Hours: Monday, 4:30—5:30 p.m.; Tuesdays and Thursdays, 9:00—9:30 a.m. and 11:00—
12:30 p.m.; or by appointment only Wednesdays, 1:00—5:00 p.m.
CTAT 379 (23929)
Dr. Henry B. Aldridge
714 F Pray Harrold
487-7865
haldridge@emich.edu
Office Hours: Monday, 12:00 noon—3:00 p.m. and immediately before class.
Introduction. This is an upper level course designed to explore the similarities and differences
among the visual and cinematic arts as well as their influences upon one another since the
beginning of the twentieth century. We will see paintings, drawings, photographs, and films from
the key artistic movements since that time and explore the social, economic, political and
aesthetic factors that influenced their creation.
Approach. Our class meets once a week for almost three hours. On most evenings, we will
devote a portion of each class to a lecture, another segment to the viewing of slides and films,
and another portion to discussion. Your participation is invited and expected. Please share your
ideas and observations as we go along.
Texts.
David Britt ed. Modern Art: Impressionism to Post Modernism, London: Thames and
Hudson, latest or 2008
.
Bordwell and Thompson, Film Art: An Introduction, 7,8, or 9th edition.
Assignments. There will be four graded assignments during the term. These will consist of three
essay examinations ( including the final) and a term paper. If you are doing well by the end of
the term, you may elect not to take the final. Graduate students must take the final. We will
follow the standard university grading scale and discuss the exams and term paper in more detail
later on.
Grading Scale:
A
=
94-----100
Exam I=
25%
A=
90------93
B+
=
87------89
B
=
84------86
B=
80-------83
Etc. for C and D. Anything below a 60 is an E.
Exam II=
Paper =
Final =
25%
25%
25%
If you are doing well and are satisfied with
your grade, you may elect not to take the
final. Then each assignment will count
33.3%. Once again, grad students have to
take the final.
Plagiarism. You are expected to do your own work on the exams and the term paper. If you use
sources, you must clearly cite them. You will receive a zero on any assignment in which you do
not give proper credit for the sources that you have used. You will be asked to submit your term
paper electronically to Turnitin.com and a hard copy to the instructor.
Attendance. Because we meet only once a week, attendance is very important. We will pass
around an attendance sheet at the beginning of each class. You will be allowed one unexcused
absence. Each unexcused absence after that will reduce your final grade substantially.
Minimum Grade Requirement: If you plan to count this course toward fulfilling the
requirements of the Electronic Media and Film Studies Major (or Film Studies Concentration),
you must have a final grade of C or better.
Food and Drink. Because this room is on an alarm system, it is not accessible to custodians on a
regular basis. Please help us to keep it clean by not bringing food and drink into the classroom.
Make sure to take books, newspapers, umbrellas and other personal belongings with you when
you leave.
Studying. You will be expected to take notes on all lectures, slides, and film examples and to do
all assigned readings. Please feel free to ask questions and to participate in class discussions.
Cell Phones and Laptops. Please turn off all cell phones and laptops before you enter the
classroom. Anyone who uses either during class will be asked to leave. Their use is distracting
and their glowing screens interfere with the presentation of slides and films.
Topics and Readings.
Rather than giving page numbers for the reading assignments, we are listing the titles of the
chapters only. This will allow you to use different editions with greater ease.
l. Monday, January 9. Introduction to Class. A consideration of art/film design, style, content,
purposes and their function as documents of society. The Cityscape, Technology, and War. Read
Bordwell, Film as Art: Creativity, Technology, and Business; Britt, Preface.
2. Monday, January 16. MARTIN LUTHER KING DAY
3. Monday, January 23. Style and Interpretation. Bordwell, The Significance of Film Form,
Narrative as a Formal System, The Shot: Cinematography, Sound in the Cinema.
4. Monday, January 30. Early Modern Art and Film. Bordwell, Film Art and Film History. Britt,
Impressionism, also Symbolism and Art Nouveau
5. Monday, February 6. Screening of Frida. Essay Questions for Exam I given out.
6. Monday, February 13. Expressionism. Bordwell, The Shot: Mise-en-Scene; Britt, Fauvism and
Expressionism.
Exam I Due.
7. Monday, February 20. Formal/Abstract Art. Bordwell, Documentary, Experimental, and
Animated Films; Britt, Cubism, Futurism and Constructivism.
8. Monday, February 27. WINTER RECESS.
9. Monday, March 5. Art, Film, and Music.
10. Monday, March 12. Fantasy and Surrealism. Britt, Dada and Surrealism.
11. Monday, March 19. Realism/ Social Commentary, Bordwell, The Relation of Shot to Shot:
Editing, Style as A Formal System. Give out essay questions for Exam 2
12. Monday, March 26. Artists/Auteurs, Screening of Vertigo, Britt, Abstract Expressionism.
Exam 2 due
13. Monday, April 2. Popular Culture/Pop Art, Bordwell, Film criticism; Sample Analyses,
Writing a Critical Analysis of a Film; Britt, Pop.
14. Monday, April 9. Experimental Contemporary Art and Film. Britt, Pluralism since 1960.
Term Paper Due.
15. Monday, April 16. Final Exam Questions Given Out. Screening of Run, Lola Run.
16. Monday, April 23. Final Exam due. Screening of Pollock
Bibliography for Visual Arts Since l900 Proposal
Affron, Charles and Mirella. Sets in Motion: Art Direction and Film Narrative, (New
Brunswick, NJ: Rutgers University Press, l995)
Alton, John. Painting with Light, (New York: Macmillan, l949)
Armes, Roy. Film and Reality: A Historical Survey, rev. ed. (London: Penguin, 1974)
Arnason, H.H. and Mansfield, Elizabeth C. History of Modern Art, 6th ed. (Upper Saddle
River, New Jersey: Prentice-Hall, 2009)
Arnheim, Rudolph. Art and Visual Perception: A Psychology of the Creative Eye, rev.
ed. (Berkeley: University of California Press, l974)
Barsacq, Leon. Caligari’s Cabinet and other Grand Illusions: A History of Film Design
(New York: New American Library, l976)
Barsam, Richard M. Non-Fiction Film: A Critical History, rev. ed. (Bloomington: Indiana
University Press, l992)
Basten, Fred E. Glorious Technicolor: The Movies’ Magic Rainbow (Camarillo, CA:
Technicolor, 2005)
Bazin, Andre. What is Cinema? Vols. 1 and 2, (Berkeley: University of California Press,
l970)
Bordwell, David. On the History of Film Style, (Cambridge, MA: Harvard University
Press, l997)
_____________. The Way Hollywood Tells It: Story and Style in Modern Movies
(Merkeley: University of California Press, 2006)
Bordwell, David, Janet Staiger and Kristen Thompson. The Classical Hollywood
Cinema: Film Style and Modes of Production to l960 (New York: Columbia University
Press, l985)
Branigan, Edward. Point of View in the Cinema: A Theory of Narration and Subjectivity
in Classical Film (New York: Morton, l984)
Britt, David, ed. Modern Art: Impressionism to Post Modernism (London: Thames and
Hudson, 2008)
Campany, David. Art and Photography (Themes and Movements) (London: Phaidon
Press, 2003)
Carr, Robert E. and R.M. Hayes. Wide Screen Movies: A History and Filmography of
Wide Gauge Filmmaking (Jefferson, NC: McFarland, l988)
Carroll, Noel. Interpreting the Moving Image (Cambridge: Cambridge University Press,
l998)
Dunning, William V. Changing Images of Pictorial Space: A History of Spatial Illusion
in Painting (Syracuse: Syracuse University Press, l991)
Fairservice, Don. Film Editing: History, Theory, and Practice (Manchester: Manchester
University Press, 2001)
Fineberg, Jonathan. Art Since 1940: Strategies of Being, 2nd ed. (Englewood Cliffs, New
Jersey, Prentice-Hall, 2000)
Harrison, Charles and Wood, Paul, eds. Art in Theory 1900-2000: An Anthology of
Changing Ideas, 2nd ed. (Oxford, England: Blackwell Publishing, 2003)
Meulmann, Dietrich, ed. Film Architecture: Set Designs from “Metropolis” to “Blade
Runner,” (Munich: Prestel, l996)
Lovejoy, Margot. Postmodern Currents: Art and Artists in the Age of Electronic Media,
2nd ed. (Upper Saddle River, New Jersey: Prentice-Hall, 1997)
Perkins, Victor F. Film as Film, (Baltimore: Penguin, l972)
Robertson, Jean and McDaniel, Craig. Themes of Contemporary Art: Visual Art After
1980, 2nd ed. (Oxford University Press, USA, 2009)
Stangos, Nikos. Concepts of Modern Art: From Fauvism to Postmodernism, 3rd ed.
(London: Thames and Hudson, 1994)
Tashiro, C.S. Pretty Pictures: Production Design and the History of Film, (Austin:
University of Texas Press, l998).
Tormey, Jane and Whiteley, Gillian. Telling Stories: Countering Narrative in Art, Theory
and Film (Cambridge, England: Cambridge Scholars Publishing, 2009)
Rickett, Richard. Special Effects: The History and Technologies (New York: Billboard,
2000)
Risatti, Howard, ed. Post Modern Perspectives: Issues in Contemporary Art, 2nd ed.
(Englewood Cliffs, New Jersey: Prentice-Hall, 1998)
Salso, Robert L. Cognition and the Visual Arts, (Cambridge, MA: MIT Press, l994)
Salt, Barry. Film Style and Technology: History and Analysis (London: Stanwood, l992)
Scharf, Aaron. Art and Photography (Harmondworth, England, Penguin, 1974)
Sitney, P. Adams. Visionary Film: The American Avant-Garde, l943—1978, 3rd ed.
(New York: Oxfvord University Press, 2002)
Taylor, Brendan. Avant-Garde and After: Rethinking Art Now (Upper Saddle River, New
Jersey: Prentice-Hall, 1995)
Tobias, Michael, ed. The Search for Reality: The Art of Documentary Filmmaking
(Studio City, CA: Wiese, l997)
Van Laar, Timothy and Diepeveen. Active Sights: Art as Social Interaction (Mountain
View, California: Mayfield Publishing Company, 1998)
Weismann, Donald L. The Visual Arts as Human Experience, (Englewood Cliffs, NJ:
Prentice-Hall, l974)
Wheeler, Daniel. Art Since Mid-Century: 1945 to the Present (Englewood Cliffs, New
Jersey and New York: Prentice-Hall and Vendome Press, 1991)