Laugh Track – The Syllabus
North Seattle College
Fall, 2015
Quick Links: The Basics – Contact Information, Prerequisites, Instructional Software,
Technical & Physical Requirements
Course Information – Course Description, Outcomes, Grading, Assignments,
Required Text
Policies – Communication, Email, Weekly Discussions, Other Discussions,
Late Work, Plagiarism, Disability Accommodations
Help – Technical Support, Writing Help
FAQ
Schedule
The Basics
Instructors:
JC Clapp & Dawson Nichols
Email:
Please email us from within Canvas when emailing about this course. (It
makes email easier to organize and expedites replies to you.) If Canvas is
temporarily unavailable, use SCD email:
jc.clapp@seattlecolleges.edu
gregory.nichols@seattlecolleges.edu. (Gregory is my first name, but I never use it.)
Telephone:
Office:
Office Hours:
JC – 206/934-4531 : Dawson – 206/934-0196
JC – IB 2313A : Dawson – LB 1237A
By appointment or visit Dawson Monday 8-10 AM.
Class Meeting
Times:
Tuesdays 6-10PM and online.
Coordinated
Studies
Requirement:
This is a Coordinated Studies class, which means that it integrates materials
from several different classes and treats them together. The class is 10
credits, and so all students are required to sign up for two of the
following classes: DRMA& 101, ENG & 102, HUM 110.
This is a hybrid class, meaning that instruction takes place both online and
in a live classroom. Because we only meet live once every week, it is
important that you not miss any live classes. The online and live portions of
this class work together, but live instruction is live and if you miss it there is
no way to make up for it online. The online portions of the class are
asynchronous, meaning there are no specific times at which you must be
online. You may do the work for this course at any time of the day you like,
provided you meet the deadlines. Be aware, however, that THERE ARE
DEADLINES. This is not a correspondence course and we will be sticking
the schedule. You are expected to visit the course website daily and keep
up with the work.
Prerequisites:
English 101 or the equivalent. This class requires a significant amount of
reading, listening (to films and lectures), and writing, and we expect all
writing to be at the college level. (This includes online discussions.)
Instructional
Software:
We are using Canvas as our online courseware (or Learning Management
System). To access our online course students should go to
https://canvas.northseattle.edu/. Instructions for logging in are there at
the login page. If you have trouble logging on, please contact the Distance
Learning office help desk at (206)934-3738 or email them at
distance@sccd.ctc.edu. You should have access to the online class about 3-4
days before the quarter starts.
Technical &
Physical
Requirements:
A great deal of this course is delivered online, so you are required to have
access to an internet-connected computer along with the skills to use it.
Help is available through the Distance Learning offices mentioned above.
This course also requires that you physically attend two plays at live
theaters. Getting to these performances is your responsibility.
Course Information
Course
Description:
The central theme of this course is humor. We will use various theories of
humor to analyze recorded and live performances, asking whether humor is
a universal phenomenon or a cultural phenomenon. We will examine how
humor arises in different narrative contexts and how different artistic
disciplines deploy different kinds of humor to diverse ends.
This is a course in which we will engage in collaborative learning. This
means that you will prepare for class by reading, watching films, seeing
plays, writing, thinking, and engaging in other activities so that you can
actively participate in class, both live and online. Expect to spend 20 hours
per week reading and preparing for class.
What?! 20 hours per week IN ADDITION to the in-class work? Really?
Yes.
Content Disclaimer!
We will be openly and frankly discussing some difficult subject matter. You
will see graphic media images (i.e. sexual and violent) and discuss topics
(and read/hear language or profanity) that may not be entirely comfortable
for you. The intent of this course will never be to offend you, but comedy
does sometimes incorporate material that some people find offensive.
Films may have an R-rating, so if you are under 18 years of age, please check
with your parent/guardian to determine if this course is appropriate for
you. A great deal of learning can happen through examining the limits of
different comfort zones and questioning why people (including ourselves)
are uncomfortable. However, if you don't feel this course material is
appropriate for you, please consider withdrawing from the course, since
alternatives will not be provided.
Course
Outcomes:
This course has been designed to meet the following Essential Learning
Outcomes:
 Through our exploration of theater and film history, theory and
practice, you will learn facts, theories, and perspectives associated
with theater and filmmaking. Through discussion and analysis you
will exercise critical and integrative thinking by applying your
knowledge to different films and plays. What does all that mean in
practice? You’re gonna:
 Learn about the history of Western Theater and American film.
 Explore how theater and film reflect the human experience,
especially through comedy.
 Examine how comedy communicates to the individual viewer as well
as the larger culture.
 Learn about the practices involved in creating theater and film
(production, casting, designing, editing, etc.).
Grading:
This course is graded as follows:
17 Quizzes (10 film quizzes, 7 textbook quizzes, about 20 points each) 375
11 Online Discussions (30 points each)
330
2 Live Theater Reports (100 points each)
200
1 Summary/Critique Paper
100
1 Follow-the-Source Research Assignment
120
1 Rhetorical/Argument Analysis Paper
120
1 Monologue Performance
75
1 Final Capstone Paper
200
Total
1190
Extra credit opportunities will also be available.
Final grades will be assigned as follows:
Letter
Decimal
Percentage
Grade
Grade
96% or more
4.0
A
94%-95%
3.9
93%
3.8
92%
3.7
A91%
3.6
90%
3.5
89%
3.4
B+
88%
3.3
Indication of
Performance
Exceptional
Above Average
87%
86%
85%
84%
83%
82%
81%
80%
79%
78%
77%
76%
75%
74%
73%
72%
71%
70%
69%
68%
67%
66%
65%
64% and
below
B
B-
C+
C
C-
D+
D
D-
F
3.2
3.1
3.0
2.9
2.8
2.7
2.6
2.5
2.4
2.3
2.2
2.1
2.0
1.9
1.8
1.7
1.6
1.5
1.4
1.3
1.2
1.1
1.0
0.0
Average
Acceptable
Only
Unsatisfactory
Please note that NSCC grading policy no longer allows grades under 1.0. If
you earn less than 65% your grade will be zero and you will fail the course.
Assignments:
Readings are all from our textbook and from the PDFs provided in our
online classroom. You will read one to two chapters each week
through week 7. Quizzes on readings will be due by midnight
each Friday. The PDF readings are sometimes required, and other
times supplemental, so read the calendar to be sure. When you
have a PDF reading, be prepared to discuss it in class.
Film Viewings will be handled differently by each of you. How you acquire
the movies (so long as you do it legally) is not of concern to us.
But please be aware that it is YOUR responsibility to make sure
you can obtain access to each of these films and view them at
the assigned times. These films are widely available through a
number of services – the NSC Library, Scarecrow video, Netflix,
Amazon, King County Library, Seattle Public Library, DVD,
BlueRay, etc. – so we will not accept the excuse that you couldn’t
get access to a copy of a film. You can, you just need to plan ahead.
Here’s a list of the films and the weeks they are due:
The Great Dictator (1940) Charlie Chaplin
Shakespeare in Love (1998) by John Madden
Bamboozled (2000) Spike Lee
This Film Is Not Yet Rated (2006) Kirby Dick
Wag the Dog (1997) Barry Levinson
Harold and Maude (1971) Hal Ashby OR When Harry Met Sally
(1989) Rob Reindr
7. Cabaret (1972) Bob Fosse OR Tootsie (1982) Sydney Pollack
8. Bridesmaids (2011) Paul Feig OR The Hangover (2009) Todd
Phillips
9. Tucker and Dale VS. Evil (2010) Eli Craig
10. Pulp Fiction (1994) Quentin Tarantino OR Dr. Strangelove (1964)
Stanley Kubrick
11. Good Morning Vietnam (1987) Barry Levinson
1.
2.
3.
4.
5.
6.
Textbook Quizzes are multiple choice and can be taken twice. These
quizzes are due every Friday.
Film Quizzes are essay and may only be taken once. These quizzes are due
every Tuesday (except in Week 1) and cover the films seen the
previous week as well as the ideas contained in textbook chapters
previously read.
Online Discussions cover all materials previously assigned, including films,
plays, textbook chapters, and online readings and videos. Other
than the first discussion, all discussions are open until midnight on
Wednesday of the week they are due. The minimum requirement
for each discussion is to post on at least four days, so you can
easily get it done during the week. You are by no means required
to visit the discussions on the weekends, but having them
available to you on the weekends gives you some wiggle room.
This is one great advantage of an online class. Discussions are
directed by prompts given when you enter each discussion. See
Policies below for more detailed information on how posts are
graded.
Theater Reports are analyses of live theater productions you will see for
this class. The forms for these are available in the appropriate
weekly Modules or through the Files tab on the Course homepage.
The Summary/Critique Paper asks that you read an article, summarize it,
and then provide a critique.
The Follow-the-Source Research Assignment requires you to find a
scholarly article and then track down other sources that cite it.
The Rhetorical/Argument Analysis Essay is where you’ll read an article
and then analyze the writer’s rhetorical moves and argument.
The Monologue Performance will be a short monologue performed in
class. Signups and instructions for this will be available during the
first live class.
Extra Credit is available in two ways. First, by seeing a film in current
release and writing a report on it. This is due in week 8 and is
worth 25 points. Second, by seeing the live production of Buyer
and Cellar and writing a report on this play. This is due in week
10 and is worth 25 points. There is one extra credit discussion, as
well, worth 30 points. Other extra credit opportunities may arise.
File Formats used in this class are limited. When turning in online
assignments you must submit your work in .pdf, .doc, or .docx,
formats. Other formats will not be accepted.
Late Assignments are not accepted unless they have been prearranged and
approved. See Late Work below under Policies.
Required Text:
Film Art: An Introduction, David Bordwell and Kristin Thompson, McGraw
Hill, 10th edition, 2012, ISBN: 978-0073535104. Please make sure to get
the 10th edition, as the quizzes for this course are based on that edition.
This textbook is available for rental online through CourseSmart at:
http://www.coursesmart.com/film-art-an-introduction-10thedition/bordwell-david-thompson-kristin/dp/0077410238
At the time of this writing the 90-day rental was $65.17. There are other
online services such as Amazon that are cheaper.
The online and print editions are identical, so you are also welcome to
purchase a physical copy. Be aware, however, that ‘I ordered it but it hasn’t
arrived yet’ is not an acceptable excuse for late work. If you are planning
ahead, however, you may consider: http://www.bestbookbuys.com to
purchase the book or chegg.com to rent a physical copy for under $40:
http://www.chegg.com/textbooks/film-art-an-introduction-10th-edition9780073535104-0073535109 . I cannot stress enough, however, that it is
your responsibility to have the text and be ready to get started with it
right away.
A copy of our class textbook is on reserve in the NSC Library for you to use
for free.
Policies
Other texts will be posted in the appropriate modules or distributed in
class.
Communication: Because a great deal of this class takes place online, it is extremely
important that you check in with your account at least once a day. Even
if you are ahead on your assignments, there may be announcements, so log
on daily. We will check the course and email at least twice every weekday
too, so we should stay in fairly constant contact.
Please write in standard English when you post to discussion groups or
email us. Use full sentences with correct punctuation and avoid stream-ofconsciousness writing. Compose your thoughts and write clearly. Texting
acronyms are not allowed. If you think it’s important that everyone know
how funny you thought something was, write it out, don’t just throw an ‘lol’
at the end of your sentence.
Finally, remember that we want to create an open and welcoming forum for
everyone to share their ideas. Please avoid being hostile or overly critical
toward anyone in class. This is a class about comedy, so we want to keep it
light and fun. But do try to avoid sarcasm and potentially hurtful jokes.
Netiquette rules are outlined at:
http://www.albion.com/netiquette/corerules.html
Please follow these rules except for number 7, which indicates that some
flaming is acceptable. NO FLAMING is acceptable in this class. We like
exuberance, but this is a classroom and we need to keep our emotions,
positive or negative, under control.
Email Policy:
For assistance with this course you should email through Canvas. We will
respond to these emails within 24 hours, Monday through Friday –usually
much faster. (Note that if you email us Friday afternoon we may not get to
that email until Monday morning. Sorry, but sanity depends on weekends
free from emails.) If you haven’t received a reply from us in the specified
amount of time, go ahead and use SCD email directly), but please put ‘Laugh
Track’ in the subject line so that we can track your email.
Weekly
Discussions:
Discussions can be accessed through the appropriate weekly modules.
The aim of these discussions is to harness the intellectual power of
everyone involved with the class in order to obtain a deeper understanding
of the material. This is the part of the course that most closely
approximates the kind of daily discussion we don’t have time for in a oncea-week class, and we expect each of you to engage in discussions seriously.
Read the other posts in the discussions and respond to the ideas presented
there. This is not simply a forum for you to express your own ideas. Share
your ideas, but then read other people’s ideas and interact with them.
Respond, question, discuss.
Generally you should plan to spend 2.5 hours cumulatively on each
discussion. You should spend more time reading posts than writing them,
but it is your writing that we will assess. To ensure that you get full credit
for discussions, make sure you follow these rules:
You must participate in every discussion. Participation means
engaging with the conversation on at least 4 days and producing
at least one substantive original post (10 points) and three
substantive responses to other students’ posts or responses (5
points each). Another 5 points will be awarded for your interaction
beyond the above-mentioned posts. Responses should specifically
refer back to what the other student has said. Participation in any
discussion should begin with a substantive original post. (You can
still read other people’s posts to get ideas first, if you like.)
You must post on at least 4 days each week. Constant contact with these
discussions gives continuity to our course and keeps you involved
with the material. Every discussion is open for at least 5 weekdays
and 2 weekend days, so attending a discussion on at least 4 days
shouldn’t be too hard.
You will only receive credit for 1 substantive post to any discussion on
a single day. Again, this means that you must engage with each
discussion on at least 4 days to receive full credit, so starting
discussions early is essential. Don’t put it off.
Four of your posts must be substantive. In order to receive full credit for
a substantive post, it must contribute to the discussion in some way.
Random thoughts and off-topic comments will not count. One and
two sentence posts, while appropriate for general discussion, will
not get full credit for substantive posts. Discuss the ideas in the
textbook and the films. Specific references and quotes are strongly
encouraged, as these ensure that you are on topic. Proper use of
terminology and key concepts is also beneficial. Finally, make sure
you are engaging in dialogue, not just monologue. (See the end of
this syllabus for examples of what I mean by substantive.)
Your posts must be coherent. Again, use proper English and compose
your thoughts, don’t just spew. If English is not your native
language you may have to work harder here, but be aware that you
are expected to use correct grammar.
Don’t be flip or sarcastic. “’The Hangover’ is stupid” is not an appropriate
post. You are welcome to have this opinion, but we want informed
discussion, not knee-jerk reactions and inarticulate chatter. “‘The
Hangover’ has a flawed dramatic structure” is better because it
conveys more specific ideas in a respectful way.
Your posts must be original/unique. You can’t repeat what anybody else
has already said and everything you contribute needs to further the
discussion and provide more/different information and examples.
That means that you’ll have to read what others have written before
you post to make sure you are contributing to the conversation in an
original way.
Discussions will close at 11:59 pm on Wednesdays, after which no further
postings will be permitted. Plan accordingly. The first discussion is an
exception - it will end at midnight on Monday of Week 2.
We will monitor discussions and participate at times, but we will not
actively participate with every conversation thread. Mainly we will be
making sure that discussions stay on topic, prompting you to investigate
some things more deeply or urging you to look at something from a
different perspective. These discussions are where you will learn from and create knowledge with - your fellow students. As in a physical
classroom, our primary role is to set up the circumstances in which learning
is likely to take place and then to guide you through the process. So we are
the coaches, but you are the ones playing the game. We will read almost
everything and we will be providing feedback in the form of discussion
grades and written responses, but don’t get worried if we haven’t
responded to your posts in a while. We’re still here.
One final note on discussions. The online mode is convenient, but just like
live classes, it requires DAILY participation. As an online student you must
have a great deal of self-discipline so that you don’t fall behind. Discussions
have proven to be a difficult aspect of courses for many students, not
because the discussions are hard but because they require frequent
contributions. Please be aware of this.
We don't want to sound like big brother, but you should know that Canvas
allows us to see your activity in this course. When we are grading these
discussions we are given not only the texts of all of your posts, but also the
dates and times of the posting, how long you spent online, how many people
replied to your posts and whether you responded to those replies, etc. In
other words, it is relatively easy for us to see how seriously you are taking
these discussions. So... please do take part.
Some reminders:


Open Forum:
You can only get credit for 1 substantive post on a single day. This
means that if you only visit a discussion once, the most you can earn
is 12/30. It doesn't matter if you submit 20 posts that day, you'll
still get 12/30. (10 for the original post and 2 for general
participation.) The reason is because these are meant to be
DISCUSSIONS, not monologues. It is not a discussion when 10 people
reply to someone's post and that person never returns to see what
they said or answer their questions. You wouldn’t say you’d had a
discussion if you opened a door, shouted at a group of people, then
closed the door on them. So don’t do that here either.
Don’t aim for the minimum number of posts – 4 is not enough. As it
says above, you are required to submit 4 SUBSTANTIAL posts – but
this will only get you 25/30. To get the other 5 points you must
participate in more general discussion - short posts that agree,
disagree, ask for clarification, etc. Again, this is meant to be a
CONVERSATION.
In addition to the regular discussions there is the ungraded Open Forum.
This is an open discussion room where you can discuss anything about
comedy, theater or film that interests you. It is optional and nothing in this
discussion is graded, so anything goes. (Well, please be civilized.) This is a
great place for you to share information about current films you think
others might be interested in, but you can also rant about films you hate,
continue or broaden discussions on comedy, anything you like. I'll
contribute too, but essentially this is your space.
Late Work:
As a rule, late work is not accepted. In highly unusual circumstances
(HIGHLY unusual) AND if given prior notice we will consider allowing
students to turn in late materials, but be aware that technical difficulties
are not unusual circumstances.
Plagiarism:
Don’t do it. Using ideas of any kind from sources other than your own mind
without citing where you acquired the idea is plagiarism. This includes
cutting and pasting from online sources, even if you shift a few words
around. It’s okay to use outside sources, just give them proper credit. If you
don’t and you choose to plagiarize, three things will happen:
First, you will receive 0 points on the assignment.
Second, 100% of the points available for that assignment will be
deducted from your grade. (This means that if you plagiarize
on a quiz, not only will you receive a zero on that quiz, 20
points will also be deducted from your overall score. If you
plagiarize on a Theater Report, 100 points will be deducted
from your grade.)
Third, a formal report will be filed with the college requesting
disciplinary action.
You will not be given a warning. This policy aligns with the policies found in
the NSCC Student Handbook https://northseattle.edu/aboutnorth/publications.
Disability
If you have a disability of any kind that will affect your work in this class,
Accommodations: please get documentation from Disability Services so that we can make the
necessary accommodations. They can be reached at:
http://www.northseattle.edu/services/disability/.
We will do everything we can to work with you and to make the class and
class content accessible for you. This is done privately, and we do not
disclose your disability or accommodations to anyone. You are not required
to use your accommodations, but we recommend that you do. They are
there for a reason, and we both want you to be as successful as possible.
Help
Technical
Support:
If you are new to online learning, orient yourself by poking around
http://www.virtualcollege.org/ (for NSCC students) or
http://seattlecentral.edu/distance/index.php (for SCCC students). They
have a lot of information, including tutorials and FAQ.
If you are still having difficulty with Canvas or the Distance Learning
system, please contact the Distance Learning staff:
NSCC: 206-934-3738 or Email: Distance@sccd.ctc.edu
Writing Help:
The Page One Writing and Language Center is NSCC’s campus language
lab/writing center. One of the best services it offers is free tutoring. (Free!)
The tutoring sessions last 30 minutes, are held on a first-come first served
basis, and can help you with reading, writing, & grammar. They also do
ONLINE TUTORING. For more information:
https://northseattle.edu/tutoring/page-one-writing-center
FAQ
How can I get
an A?
As with most learning, the best advice here is simply to allow yourself to be
genuinely interested in this material. None of the assignments are
particularly difficult, but they do take time. Just do them. Students who put
in the effort and complete the assignments invariably do well. 95% of the
time when students don’t do well it is because they aren’t doing the work.
Don’t be one of those students and you’ll do well.
How much time
will this take?
The expectation with college level courses is that you will spend
approximately 15 hours per week on each 5-credit course. This course is a
2-in-1, 10-credit course and so the expectation is that you will spend 30
hours on the course each week. This includes in-class time as well as the
time viewing films, attending the theater, reading the textbook, writing
papers, etc. We expect that the majority of students will get through the
assignments for most weeks in substantially less than 30 hours, but be
aware that some weeks may require the full time.
Are grades
based on effort
or
improvement?
No. Grades in this class are based on content. There is no way for us to
ascertain how much effort students are putting into this class. Assignments
are graded according to how well they fulfill the published requirements.
Are there any
exceptions to
your “no late
assignments”
policy?
No.
Well, okay, two.
1. If something catastrophic has happened in your life, of course we can
make some accommodation. But it REALLY has to be catastrophic.
Please don’t make uw be cold-hearted about this – don’t even ask
unless it’s a serious and documentable disaster. If it’s just that your
cousin had the flu and you had to help out… sorry, that doesn’t cut it.
2. If a serious problem is coming up in your life AND you let us know at
least 5 days in advance, we may be willing to extend a deadline. Here
again, however, be aware that the problem has to be severe,
unexpected, and unavoidable. Projects in other classes, root canals,
divorce court hearings – these are predictable events and we expect
you to work around them without special accommodation.
If I miss a
discussion post,
can I make it
up?
No. Discussions are meant to be interactive, and posting something after
the conversation is over would be pointless. Making extra posts in other
discussions doesn’t help either because grades are given for each
discussion. Just stay up with it.
What if I lose
internet access?
Having reliable access to the internet is your responsibility. “I couldn’t
get online” is not an acceptable excuse.
If I have to be
away from the
internet for a
while, is there
anything I can
do?
Plan ahead. Most online assignments can be done in advance. Discussions
have open periods that allow some flexibility. As with any course, this one
demands your presence.
Schedule
All readings are from Film Art: An Introduction, David Bordwell and Kristin Thompson,
McGraw Hill, 10th edition. The page numbers are the same whether you are working with
the physical or online version of the text.
I STRONGLY suggest you print out a copy of the schedule and refer to it often so that you will
stay up to date with assignments.
Week 1:
Sept. 28Oct 4
Weekly Flow
For Tuesday’s LIVE CLASS you must prepare the following:
Nothing this first week. We’ll be introducing the class and
some theories of comedy as well as watching a few short
films.
ONLINE THIS WEEK
Discussion 1 begins online and covers:
Introductions – favorite comic films, theater experiences.
Tuesday’s Online Film quiz will cover:
No Film Quiz this week.
Discussion 2 begins this Thursday & will cover:
The Great Dictator (film AND documentary), theories of
humor (from live class).
Friday’s Online Textbook quiz will cover:
Chapter 1 in Film Art.
Week 2:
Oct. 5-11
For Tuesday’s LIVE CLASS you must prepare the following:
Read Chapter 1 in Film Art.
Review Week 1 Module materials (videos, PowerPoints,
Readings)
Review any materials handed out in class last week
View The Great Dictator (film & documentary)
View Shakespeare in Love
ONLINE THIS WEEK
Discussion 2 continues until Wednesday:
Tuesday’s Online Film quiz will cover:
The Great Dictator (film & documentary)
Shakespeare in Love
Chapter 1 in Film Art.
Discussion 3 begins this Thursday & will cover:
Bamboozled (film), Bad Jews (play)
Peer Review of Summary/Critique: post your rough draft by
Friday at noon (Oct. 9), be done with reviews by Mon.
(Oct. 12)
Friday’s Online Textbook quiz will cover:
Chapters 2 & 3 in Film Art.
Due Dates and Reminders
 Arrange for access to
upcoming films.
 See Bad Jews at Seattle Public
Theater – Discussion in class
next week, Report due in
Week 3
 Look ahead to what you need
to have done for Tuesday of
next week (reading, viewing,
etc.)
 Prepare Bad Jews report –
due Friday of Week 3
 Look ahead and do the
reading/viewing for Tuesday
 Peer Review
Summary/Critique papers –
post your draft by Friday and
have reviews done by Monday
of Week 3
 Summary/Critique Paper
due Tuesday at 5:30 p.m. of
Week 3
Attend Bad Jews if you haven’t already
Week 3:
Oct 12-
For Tuesday’s LIVE CLASS you must prepare the following:
DUE Tuesday: Summary paper,
submit online by 5:30 PM
18
Read Chapters 2 & 3 in Film Art.
Review Week 2 Module materials (videos, PowerPoints,
Readings)
Review any materials handed out in class last week
View Bamboozled
Attend Bad Jews
ONLINE THIS WEEK
Peer Review of Summary/Critique: be done with reviews by
Mon. (Oct. 12)
Discussion 3 continues until Wednesday:
Tuesday’s Online Film quiz will cover:
Bamboozled
Chapters 2 & 3 in Film Art.
Discussion 4 begins this Thursday & will cover:
This Film is Not Yet Rated (film), Bad Jews (play)
Friday’s Online Textbook quiz will cover:
Chapter 10 in Film Art.
DUE Friday: Theater Report on Bad Jews, submit online by
midnight
Week 4:
Oct. 1925
For Tuesday’s LIVE CLASS you must prepare the following:
Read Chapter 10 in Film Art.
Review Week 3 Module materials (videos, PowerPoints,
Readings)
Review any materials handed out in class last week
View This Film is not Yet Rated
DUE Friday: Theater Report on
Bad Jews, submit online by
midnight
See Burns: A Post Electric Play
at ACT Theater –Report due in
Week 6
Begin working on your Followthe-Source assignment (rough
draft due Friday of Week 5)!
Be working on your Follow-theSource assignment (rough
draft due Friday of Week 5)!
ONLINE THIS WEEK
Discussion 4 continues until Wednesday:
Tuesday’s Online Film quiz will cover:
This Film is not Yet Rated
Chapter 10 in Film Art.
Discussion 5 begins this Thursday & will cover:
Wag the Dog
Friday’s Online Textbook quiz will cover:
Chapter 4 in Film Art.
Week 5:
Oct. 26Nov. 1
For Tuesday’s LIVE CLASS you must prepare the following:
Read Chapter 4 in Film Art.
Review Week 4 Module materials (videos, PowerPoints,
Readings)
Review any materials handed out in class last week
View Wag The Dog
ONLINE THIS WEEK
Discussion 5 continues until Wednesday:
Tuesday’s Online Film quiz will cover:
Wag The Dog
Chapter 4 in Film Art.
Discussion 5 begins this Thursday & will cover:
Harold and Maude OR When Harry Met Sally
Friday’s Online Textbook quiz will cover:
DUE Monday of Week 6: Finish
peer reviews by noon
DUE Tuesday of Week 6:
Follow-the-Source
assignment final draft,
submit online by 5:30 PM
DUE Friday of Week 6: Outline
of Argument Analysis Paper
due by noon (Nov. 6)
Chapters 5 in Film Art.
Due Friday: Rough draft of Follow-the-Source posted for peer
review (Oct. 30); peer reviews must be finished by Mon. Nov. 2
Week 6:
Nov. 2-8
For Tuesday’s LIVE CLASS you must prepare the following:
Read Chapter 5 in Film Art.
Review Week 5 Module materials (videos, PowerPoints,
Readings)
Review any materials handed out in class last week
View Harold and Maude OR When Harry Met Sally
ONLINE THIS WEEK
Week 7:
Nov. 915
DUE Monday: Finish peer reviews by noon (Nov. 2)
DUE Tuesday: Follow-the-Source assignment final draft,
submit online by 5:30 PM (Nov. 3)
Discussion 6 continues until Wednesday:
Tuesday’s Online Film quiz will cover:
Harold and Maude OR When Harry Met Sally
Chapters 6 & 7 in Film Art.
Discussion 7 begins this Thursday & will cover:
Cabaret OR Tootsie & Burns: A Post Electric Play
Friday’s Online Textbook quiz will cover:
Chapters 6 & 7 in Film Art.
DUE Friday: Outline of Argument Analysis Paper due by noon
(Nov. 6); peer reviews due Mon. Nov. 9
For Tuesday’s LIVE CLASS you must prepare the following:
Read Chapters 6 & 7 in Film Art.
Review Week 6 Module materials (videos, PowerPoints,
Readings)
Review any materials handed out in class last week
View Cabaret OR Tootsie
DUE Friday: Theater Report on
Burns: A Post Electric Play,
submit online by midnight
Due noon on Monday of Week 7:
Peer review of Outlines
Due Friday of Week 7: Rough
draft of Argument Analysis
essay posted for peer review
by Friday at noon (11/13)
Due Monday at noon of Week 8:
Peer Review of Argument
Analysis essay
Due Tuesday at 5:30 of Week 8:
Final draft of Argument Analysis
essay
ONLINE THIS WEEK
Week 8:
Nov. 1622
Due Monday: Finish peer reviews of Outlines by noon
Discussion 7 continues until Wednesday:
Tuesday’s Online Film quiz will cover:
Cabaret OR Tootsie
Chapters 6 & 7 in Film Art.
Discussion 8 begins this Thursday & will cover:
Bridesmaids OR The Hangover
Friday’s Online Textbook quiz will cover:
Chapter 8 & 9 in Film Art.
Due Friday: Rough draft of Argument Analysis essay posted for
peer review by Friday at noon (11/13)
For Tuesday’s LIVE CLASS you must prepare the following:
Read Chapter 8 & 9 in Film Art.
Review Week 7 Module materials (videos, PowerPoints,
Readings)
Review any materials handed out in class last week
View Bridesmaids OR The Hangover
ONLINE THIS WEEK
DUE Tuesday: Rhetorical/
Argument paper, submit
online by 5:30 PM
Extra Credit DUE Friday:
Current Release Film
Report, submit online by
midnight
Due Monday: Peer Review of Argument Analysis essay by noon
(11/9)
Due Tuesday at 5:30 (11/10): Final draft of Argument Analysis
essay
Discussion 8 continues until Wednesday:
Tuesday’s Online Film quiz will cover:
Bridesmaids OR The Hangover
Chapters 8 & 9 in Film Art.
Discussion 9 begins this Thursday & will cover:
Tucker and Dale vs. Evil
No Friday Textbook Quiz going forward!
Week 9:
Nov. 2329
For Tuesday’s LIVE CLASS you must prepare the following:
Review Week 8 Module materials (videos, PowerPoints,
Readings)
Review any materials handed out in class last week
View Tucker and Dale vs. Evil
ONLINE THIS WEEK
Discussion 9 continues until Wednesday:
Tuesday’s Online Film quiz will cover:
Tucker and Dale vs. Evil
Film principles and terms from Film Art.
Discussion 10 begins this Thursday & will cover:
Pulp Fiction OR Dr. Strangelove
Week 10:
Nov. 30Dec. 6
For Tuesday’s LIVE CLASS you must prepare the following:
Review Week 9 Module materials (videos, PowerPoints,
Readings)
Review any materials handed out in class last week
View Pulp Fiction OR Dr. Strangelove
Extra Credit DUE Friday:
Theater Report on Buyer
and Cellar at the Seattle
Rep, submit online by
midnight
ONLINE THIS WEEK
Discussion 10 continues until Wednesday:
Tuesday’s Online Film quiz will cover:
Pulp Fiction OR Dr. Strangelove
Film principles and terms from Film Art.
Discussion 11 begins this Thursday & will cover:
Good Morning Vietnam
Week 11:
Dec. 7
For Tuesday’s LIVE CLASS you must prepare the following:
Review Week 10 Module materials (videos, PowerPoints,
Readings)
Review any materials handed out in class last week
View Good Morning Vietnam
ONLINE THIS WEEK
Discussion 11 continues until Wednesday:
Tuesday’s Online Film quiz will cover:
Good Morning Vietnam
Film principles and terms from Film Art.
DUE Tuesday: Final Paper, hard
copy due at beginning of class
Discussion 12 is an extra credit course reflection and is open
all week until midnight on Friday.
Discussion Examples
These examples come from a Theater class’s discussion on theatrical realism. The specific
content isn’t important, the examples still show you better and worse practices.
Substantive Original Post Examples
Good Example – The example below is good because it reflects deep thought on the
subject. It uses terms from the text (‘fourth wall,’ ‘Poetic Realism,’ ‘Stanislavsky’)
and includes an example. The author wanders in his point a bit and gets a little
unclear at the end, but for the purposes of discussion this would receive full credit.
I think the essence of realism is to create an event that the audience can relate to on a personal level by
removing the fourth wall, not necessarily to make the events that occur 100% realistic. As long as the
audience can still picture themselves in the shoes of the protagonist or see themselves in the story lines, then
the spirit is intact. Take for instance Poetic Realism. In "Death of a Salesman" we move inside the minds of the
characters and shift between past and present. While this isn't how things work in the real world, it still
represents realism because the characters portrayed are very human and relateable in every sense, maybe
even more so because the extra depth through which we view them.
One of my favorite pieces of acting was by Leonardo Dicaprio in "The Basketball Diaries". His portrayal of a
heroin addict fallen from grace was unbelievably realistic, yet there were many unrealistic portions of the
movie like flashbacks and things like that. Although real life doesn't move the way it does in the movie, it
almost created a sense of hyperrealism where we enter the protagonists mind instead of just watching and
only experience the most dramatic portions of his life. This doesn't mean it isn't a great example of realism on
film. I think Stanislavsky would be proud.
Not So Good Example – The example below simply recounts what the text says. It
is confusing and it doesn’t add anything to the conversation. Also, it is too short to
be considered substantive. This would not receive full credit.
Even though there are different types of realism, it all has one main idea and that is that their is some truth
there. Whether it be European Realism or American Realism or Poetic realism the one thing they all have in
common is that their are realistic scene that happen in everyday life. Realism isn't necessarily behaving like
you would when people aren't around because even then you could be acting.
Substantive Reply Post Examples
Good Example – The example below is good because it refers back to the ideas contained
in the original post and expands on them. Here again the author wanders in her point a bit
and gets a little unclear at the end, but for the purposes of discussion this would receive full
credit.
I agree with your distinction between what is being portrayed by the actor as opposed to maybe how the actor
is actually acting. To depict a real character, you have to act, you have to be stylized, you have to be
something other than yourself, which is essentially unreal. But in what you are portraying, the story you are
telling, that is what is considered to be realistic or not, and that is where you can begin to judge the realism of
the play, not necessarily the realism of the actor.
So I like how you said realism is a style. It definitely isn't as simple as "acting like normal", because realism,
the portrayal of realistic events and people, can be taken in so many different ways. Like Denzel, by the way
you describe the film, it sounds like he got into his character, attacked the character's sense of normality from
multiple angels to accurately portray Alonzo in the style of realism.
Not So Good Example – The example below simply agrees with the original post.
Agreement is fine, but a substantive post would dig into the subject deeper. (How is
film realism different from theater realism, for example.) This post would
contribute to a student’s general discussion participation grade, but it would not
receive credit for a substantive response.
I really like that you take a different look at what realism is compared to the majority of the class. Realism is
definately something that differs from theater to movies et cetra.