LAN 350 - WORLD CINEMA
General Information
 College of Arts and Letters. Department of Modern Languages
 LAN 350 - WORLD CINEMA
 Once a year
 Patricia Frederick
 Office: BAA 219
 TTh 11:10-12:25
Course prerequisites
Eng 105
Course description
This course explores cross-cultural identity and global engagement through film
and texts from a wide range of countries throughout the world. At least two-thirds
of the content of the course, as reflected in the syllabus, learning outcomes, and
reading/viewing assignments focus on the experience and perspective of nonWestern peoples such as immigrants residing in Europe or inhabitants of
Francophone regions of Africa, Southeast Asia and the Caribbean. It addresses all
three Global Learning Outcomes: global engagement, diversity and sustainability.
Students in LAN 350 will be required to view, discuss and critically examine
approximately 20 films from such diverse countries as Senegal, Cameroon,
Martinique, etc., as well as films by French or German directors that cover
various immigration issues in contemporary Europe. They will also read articles
and short literary texts that treat the main themes of the course and specific films.
Students will be evaluated on the basis of oral presentations and written
assignments dealing with the cultural topics presented in the course.
Student Learning Expectations/Outcomes for this Course
* Comprehension and appreciation of films from around the world.
* Understanding of cinematography and terminology.
* Improvement of critical thinking through discussion, debate and writing.
* Understanding the political and artistic interconnectedness of the
cultures of the target-language-speaking populations represented on a
global scale. Demonstrating transcultural and translingual competence.
* Analyzing the socio-historical context, language, themes, and structure
of film - as well as other literary, visual, and cultural forms - and
reflecting upon the nature and consequences of diversity and on how it is
represented in these works.
* Recognize, investigate, and produce written or oral discourse
communicating findings about historical, environmental, ethnic, and other
related contemporary issues.
Course policy
• Retests/makeup will only be granted for excused absences.
• Attendance is mandatory and missed classes or meetings will result in a
lower participation grade.
•This course enforces strictly to the university policy on academic
honesty.
Course structure/approach
All of the films to be studied appear as digitized streaming media on the
Vista shell for LAN 350 and are also available for viewing at Media
Services. They should be seen PRIOR to class discussions/activities
scheduled for that particular film. A journal for taking notes during film
viewing is highly recommended but not required.
Class time will be devoted to lectures, group discussion, activities and
student oral presentations.
Required materials
Nochimson, Martha. World on Film: An Introduction [Paperback], 2010.
•Readings from www.vista.nau.edu
Selections from The Oxford History of World Cinema and A History of
Narrative Film.
Filmography
“The Other Europe” (2006) - a study of the immigrant experience in Germany,
Spain and England.
“Africa Dreaming” (1997) presenting the theme of love in four African countries.
“Le Malentendu colonial” (2004) that examines the role of German missionaries
in colonial Africa.
“Femmes aux yeux ouverts” (1994) about women in Africa by an award-winning
Togolese female director.
“Ainsi meurent les anges” (2001) about a Senegalese poet who is neither at home
in Europe nor in Africa.
“Lumumba” (2000) - a treatment of the struggle for independence in the Belgian
Congo by Haitian director Raoul Peck.
“Soul Kitchen” (2009) and “Wir haben vergessen, zurückzukehren” (“We Forgot
to Return Home”) a film and documentary about immigrants in Germany by
renowned Turkish-German director Fatih Akin, who is known for remixing
elements from a diversity of cultures.
“Salut Cousin” (1996), by Franco-Algerian director Merzak Allouache, that
explores the Algerian immigrant experience in Paris.
“La Promesse” (1996) about illegal immigrants in Belgium.
“Knockin’ on Heaven’s Door” (1997) - a German-Belgian co-production by
Thomas Jahn.
“With Eyes Wide Open” (2010) - a sensitive treatment of homophobia from
Israel, France and Germany by Haim Tabakman.
“The Class” (2008) about inner city schools in Paris.
“Indochine” (1992) about the French colonization of Vietnam.
“Persépolis” (2007) - the story of a young Iranian woman coming of age during
the Islamic Revolution.
“Rue cases nègres” (1983) - a study of race in 1930s Martinique by renowned
Black female director Euzhan Palcy.
“A Killer Bargain” (2006) - a documentary about textile production in India.
“Days of Glory” (2006) – a story of African soldiers fighting for France during
World War II.
Assessment of Student Learning Outcomes
20% Oral Presentations and Participation:
Students are expected to attend class and to participate energetically in all
discussions. Homework assignments will be assigned to complement the
course readings and/or to gain an understanding of important historical
background. Students will be asked to give oral presentations in class.
20% Two (2) two-page analytical papers:
Typewritten papers, involving a brief yet detailed analysis of the film, it’s
relation to a literary text, a theme, a specific character etc. Please note,
these papers are analyses, plot summaries or “reviews.” Papers will be
graded on content and quality of expression. Students may re-write these
papers to improve the grade.
30% Three (3) exams
There will be three exams. They will be based upon the assigned films
(content and analysis), readings, vocabulary, class discussions, oral
presentations, and any extra materials distributed in class or on Vista. The
exams will consist of vocabulary, identifications, short essay questions,
and definition of terms.
15% Final Paper.
A 5-page essay analyzing one or more of the films seen in class. Students
may revise and expand one of the their papers for this assignment. This
paper must also include secondary bibliography (minimum six sources),
formatted according to the MLA stylesheet.
15% Final Exam
The final will be comprehensive.
Class participation and attendance
Participation and attendance will be calculated into your final grade. A maximum
of two unexcused absences are allowed. If you are sick or unable to attend class
because of a personal emergency, the absence will be excused. Each absence past
the allowed two will drop your final grade score by one percentage point. For
example, if you average a 90% (i.e., A-), and you have four absences, your grade
will drop to 88% (i.e., B+).
Miscellaneous:
Students are encouraged to attend the NAU International Film Series this
semester.
Classroom Management Statement and Student Code of Conduct:
http://www.cal.nau.edu/languages/materials/statement
http://home.nau.edu/studentlife/handbook.asp
Students are asked to turn off cell phones at all times during class.
Grading System
A
B
C
D
F
90-100%
80-89%
70-79%
60-69%
< 60%
Course outline
Week 1
Week 2
Week 3
Week 4
Week
Week
Week
Week
Week
5
6
7
8
9
Week 10
Week 11
Week 12
Week 13
Introduction to World Film
History of Film
Impact of Globalization on International
Film
European Colonialism in Africa: “Le
Malentendu colonial”
Francophone Africa: Sénégal/ Cameroon
Belgium Colonialism: “Lumumba”
Southeast Asia: “Indochine”
The Caribbean
The Immigrant Experience in Europe:
“The Other Europe”
Inner-City Experience in France and
Belgium
Turkish Immigrants in Germany: Fatih
Akin
Narrative strategies in Hollywoodinfluenced film versus international
cinema; Readings
“With Eyes Wide Open”:
Israel/France/Germany
Homework 1; Readings
Homework 2
Homework 3; Paper
Draft
Paper #1 (2 pages)
Exam#1
Homework 4; Readings
Presentations
Presentations
Paper Draft
Paper #2 (2 pages)
Exam #2
Homework 5; Readings
Presentations
Week 14
Week 15
Week 16
Iran to Austria: “Persépolis”
Towards a New Postcolonial Cinema
Conclusion; End of semester week
Presentations
Exam #3
Final paper
Final exam: Consult the final exam schedule at:
http://home.nau.edu/registrar/calendars.asp
NORTHERN ARIZONA UNIVERSITY
POLICY STATEMENTS
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Individual students and faculty members are responsible for identifying instances
of academic dishonesty. Faculty members then recommend penalties to the
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The complete policy on academic integrity is in Appendix G of NAU’s Student
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SENSITIVE COURSE MATERIALS
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students that some course content may be considered sensitive by some students.
“University education aims to expand student understanding and
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