HONORS CINEMA SURVEY
FIL 1000H (3 credit hours)
Fall 2022
INSTRUCTOR: Barry Sandler
CLASS HOURS: Monday 6-8:50 pm
ROOM: NSCM 145
CONTACTING THE INSTRUCTOR
Office Hours: Wednesday 1-4 pm or by appointment
Office: NSCM 130F
Phone: 407-823-4387
E-mail Barry.Sandler@ucf.edu bsandler5678@yahoo.com
COURSE DESCRIPTION
An examination of the cinematic components and cultural currents in 15 landmark American films from
1960-2014 -- the ways those components are employed by filmmakers to create enduring works that
reflect and impact society, and the ways those films reveal the changes in both the cinematic styles of
movies and the cultural attitudes of the country.
What we are as a society is reflected in the movies we embrace. The films to be studied are both
cinematic and cultural milestones, selected not only for their groundbreaking filmic elements and
innovations, but for their social and historical significance. Seeing them in chronological order, over 50
years of social and cultural transformation, students will see the changes in filmmaking techniques as
well as the changes in depictions of characters, subjects and themes…
From the conservative 1950s of order and convention, rigid conformity, moral rectitude and sexual
repression, seeking artificial escapist movies with larger-than-life characters…
To the anti-establishment counterculture 60s/70s of anti-war fervor, social upheaval, defiance of
convention and authority, cultural revolution, sexual liberation and new social consciousness, seeking
honesty, realism and relatability in movies, venerating rebels, outsiders, and independent women…
To the cynical Watergate era with its distrust of government, feelings of betrayal and alienation,
identifying with transgressors, loners and misfits struggling to find their place in a corrupt world…
To the reactive 80s of materialism, militarism, nationalism, anti-feminism, and repression…
to the 90s and beyond, focused on work and personal empowerment…
COURSE OBJECTIVES
The class will study 50+ years of classic films, the elements that make them great, and what they reveal
about a changing America. By doing so, students will gain both a deeper knowledge and understanding
of film and cultural history, and a greater awareness and appreciation of the role of film as art form and
cultural indicator that will expand their own critical and creative perspectives.
CLASS FORMAT
Introductory lecture giving cinematic/historical/cultural context to the films being screened
Screening of film
Class discussion
COURSE REQUIREMENTS
There is no assigned text.
Attendance each week is mandatory.
Participation in class discussions is encouraged.
Students will be required to write 3 (THREE) papers, each at least 7-8 pages double-spaced, hard copy,
analyzing the films seen in class in the previous weeks from both cinematic and cultural perspectives,
with emphasis on personal insights and reactions.
Papers will be due in class on the following dates:
Paper 1 -- October 3
Paper 2 -- November 7
Paper 3 -- December 5 (day of scheduled final exam – there will be no final exam but class will be held)
EVALUATION METHODS AND TECHNOLOGY POLICIES
The course grade will be based on the three papers. Each paper will count for 1/3 of the final grade.
Failure to hand papers in on time will result in reduction of grade.
Failure to attend class without a legitimate documented excuse can result in reduction of final grade.
After two undocumented absences, each subsequent undocumented absence will lower the final grade
by a letter.
Students who miss a class are responsible for seeing the film missed.
Extra credit papers to raise a final grade will be accepted, after discussion with the Instructor.
Students are welcome to call or e-mail the Instructor at any time.
Laptops will be permitted in class FOR NOTE-TAKING ONLY.
NO CELL PHONES OR TEXTING ARE PERMITTED IN CLASS, AND ANY VIOLATION WILL RESULT IN
REDUCTION OF FINAL GRADE.
All directives and statements in this syllabus are subject to change at the discretion of the Instructor.
Assignments of films and topics of discussion do not equal an endorsement of the material. No lesson is
intended to espouse, promote, advance, inculcate or compel a particular viewpoint or belief.
COURSE SCHEDULE
8/22 PSYCHO (1960) (directed by Alfred Hitchcock) re-defined horror on the screen with new realism
and shocking narrative twists
8/29 WEST SIDE STORY (1961) (directed by Robert Wise & Jerome Robbins) took the movie musical in
daring new directions through stylized naturalism, innovative choreography, and
bold depiction of racial conflict
9/12
THE MANCHURIAN CANDIDATE (1962) (directed by John Frankenheimer) startling combination
of political thriller and black comic satire, far ahead of its time, now regarded as
a classic
9/19
WHO’S AFRAID OF VIRGINIA WOOLF? (1966) (directed by Mike Nichols) based on the landmark
play, considered the best film adaptation of a play in movie history with the
two greatest performances, with its groundbreaking use of language bringing
down the Production code and ushering in the ratings system, and its lacerating
portrayal of marriage shattering anything on the screen that came before
9/26
THE GRADUATE (1967) (directed by Mike Nichols) transformed the concept of the male movie
star, established the youth audience, employed groundbreaking use of innovative
cinematic techniques, now hailed as one of the two landmark 60s films that
defined the era and represented the new freedom of the screen
10/3
BONNIE AND CLYDE (1967) (directed by Arthur Penn) the other landmark 60s film that
defined the era, celebrating the outlaw anti-hero and the use of screen
violence to create cinematic effect and character revelation
10/10
THE GODFATHER (1972) (directed by Francis Ford Coppola) the epic three-hour saga of
an American crime family, considered one of the greatest films of all time
10/17
LADY SINGS THE BLUES (1972) (directed by Sidney J. Furie) a cinematic milestone as the
first major studio film produced, written by and starring Black filmmakers and
actors, bringing to the screen the turbulent life of legendary Black musical icon
Billie Holiday with a monumental film debut by the legendary Black musical icon
Diana Ross
10/24
ORDINARY PEOPLE (1980) (directed by Robert Redford) searing portrait of an American
family coming apart, depicting themes of alienation, teen suicide, family conflict,
repression and guilt with an intensity rarely seen before on the screen
10/31
FATAL ATTRACTION (1987) (directed by Adrian Lyne) terrifying look at the deadly price of
adultery, a film portraying 80s morality and sexual attitudes that became a
cultural phenomenon, and
THE SILENCE OF THE LAMBS (1991) (directed by Jonathan Demme) the dark, creepy tale
of Hannibal and Clarice that became a horror classic
NOTE * -- THIS IS A SPECIAL HALLOWEEN HORROR DOUBLE FEATURE WITH FOOD
PROVIDED BETWEEN FILMS FOR THOSE STUDENTS ABLE TO STAY
11/7
c
BORN ON THE FOURTH OF JULY (1989) (directed by Oliver Stone) epic, panoramic portrait
of America before, during and after the VietNam War and its effect on both
those who fought in it there, and those who rallied against it here -- the most
realistic depiction of the period, the treatment of veterans, and the
conflicting attitudes of the country ever put on film
11/14
PULP FICTION (1994) (directed by Quentin Tarantino) one of the cinematic milestones
of the 90s in its groundbreaking use of the fractured narrative structure,
innovative storytelling techniques, and portrayals of wild characters
11/21
FIGHT CLUB (1999) (directed by David Fincher) a startling, subversive look at
American consumerism and masculinity that is both hypnotic and
unsettling, and has endured as a classic
11/28
THE GREAT GATSBY (2013) (directed by Baz Luhrmann) dazzling, stylized,
visually eye-popping adaptation of the great American novel,
both passionately faithful to its story and characters, and
daringly original in its cinematic approach
BARRY SANDLER -- background information
With BA and MFA Film degrees from UCLA, Barry Sandler has written screenplays for
numerous motion pictures, including the transgressive psychosexual cult classic CRIMES OF
PASSION (New World/Orion/ Kathleen Turner, Anthony Perkins/dir.Ken Russell) THE MIRROR
CRACK’D (EMI/Elizabeth Taylor, Rock Hudson, Tony Curtis, Kim Novak, Angela Lansbury/dir.
Guy Hamilton), EVIL UNDER THE SUN (Universal/Peter Ustinov, Maggie Smith, James
Mason, Diana Rigg/dir. Guy Hamilton), THE DUCHESS AND THE DIRTWATER FOX (20th
Century Fox/Goldie Hawn,George Segal/dir. Melvin Frank), THE OTHER SIDE OF MIDNIGHT
(20th Century Fox/Susan Sarandon, Marie-France Pisier/dir. Charles Jarrott), GABLE AND
LOMBARD (Universal/Jill Clayburgh, James Brolin/dir. Sidney J. Furie), ALL-AMERICAN
MURDER (Trimark/ Christopher Walken, Charlie Schlatter/dir. Anson Williams), THE LONERS
(Fanfare/Dean Stockwell, Gloria Grahame/dir. Sutton Roley), THE VALLEY (Lagoon/Gerard
Depardieu/dir. Barbet Schroeder) , EVIL NEVER DIES (Warner Bros/Katherine Heigl, Thomas
Gibson/dir. Uli Edel), KANSAS CITY BOMBER (MGM/Raquel Welch, Jodie Foster/dir. Jerrold
Freedman), and the groundbreaking landmark film MAKING LOVE (20th Century Fox/Michael
Ontkean, Harry Hamlin, Kate Jackson/dir. Arthur Hiller), the first major studio film to present a
positive portrayal of LGBTQ men and women.
Sandler also produced CRIMES OF PASSION, ALL-AMERICAN MURDER,
KNOCK ‘EM DEAD, and associate produced MAKING LOVE.
Sandler has also written FUTURE HOUSE for Warner Bros., BRAINWAVE and LOVELAND for
Universal, THE COMMON MANN for Columbia, TORCH for CBS, HOLLYWOOD HUSBANDS
for NBC, STAR LADIES, ACTRESS and STAT for ABC, THE FRONT RUNNER for Wildcat
Entertainment, NIGHTMARE MAN for Planet Productions, FREAK SHOW and MINDBLOWER
for Regent Entertainment, STARCHILD for Four Leaf Productions, and THE BLUE HOTEL for
Cinema Line.
In 2010, his essay on Montgomery Clift, co-written with Tison Pugh, was published in LARGER
THAN LIFE: MOVIE STARS OF THE 1950'S by Rutgers University Press.
Sandler is the recipient of the GLAAD Media Award, the Southern California Psychotherapy
Association Courage in Filmmaking Award, the People for the American Way Defending
Freedom Citation, the PFLAG Oscar Wilde Award, the MECLA Humanitarian Award, the
GLCSC Award, the FMPTA Crystal Reel Award, and the Outfest 2002 Gay Pioneer Award for
Courage
and
Artistry.
He has been honored by the Berlin, Seattle, Florida, Asheville, Santa Barbara, Outfest, Gay
Orlando and Q2 Film Festivals, profiled in the New York Times, the Los Angeles Times, the
Advocate, the Orlando Sentinel, the Orlando Weekly, the Miami Herald, the Chicago Sun Times,
After Dark, Daily Variety, Esquire Magazine, GQ, the Village Voice, Wikipedia, Filmmakers
Forum, ABC 20/20, NBC Today Show, A&E Biography, CBC Saturday Night, WHO’S WHO IN
AMERICA, and THE CELLULOID CLOSET by Vito Russo. He served as on-screen
commentator in Rob Epstein and Jeffrey Friedman’s award-winning documentary THE
CELLULOID CLOSET. In the acclaimed book by Eric Marcus, MAKING HISTORY: THE
STRUGGLE FOR GAY AND LESBIAN EQUAL RIGHTS 1945-1990, he is profiled in the chapter
“The Hollywood Screenwriter – Barry Sandler”
In 2002, Sandler was named by The Advocate as one of the most influential gay artists in
America.
Sandler currently has film projects in development at Dirtwater Productions and Rapid Heart
Pictures, and is mounting a stage adaptation of CRIMES OF PASSION which premiered at the
Edinburgh Festival in 2010. In addition, he serves on the WGA Credit Arbitration Committee,
the WGA Policy Review Board, the American Cinemateque Advisory Board, and has been a
member of the Academy of Motion Picture Arts and Sciences since 1977, as well as being
Artistic Director of the Outfest Screenwriting Lab and advisor to the Orlando Gay and Lesbian
Center.
Since 2003, in addition to screenwriting, Sandler has been on the faculty of the University of
Central Florida, where he teaches Feature/TV Writing and Film history in the Film Program of
the Nicholson School of Communication and Media. He was the inaugural instructor in the UCF
Honors College LGBTQ program.
In 2007, Sandler was selected as one of the WGA Gay Groundbreakers. In 2008, he was
chosen as an honorary guest speaker at California State University, Northridge.
I
In 2009, he was honored with a week-long tribute and retrospective of his work by the University
of Nebraska, and in 2010 he was honored by the Florida Queer Arts Council wit
commemoration of his contribution to advancing the positive images of gay and lesbian people
through his work
In 2002, Sandler was honored by UCLA with a 20th anniversary tribute screening of his historic
MAKING LOVE. In 2011 he was honored by the Orlando Gay and Lesbian Center with a
month-long tribute of his work and a celebration of MAKING LOVE. In 2012, he was an Outfest
Legacy Project honoree for that film, and in 2012, the Chelsea Arts Center in New York honored
his film CRIMES OF PASSION, which was also given a special 25th Anniversary tribute
screening in 2009 at the Florida Film Festival, where Sandler was honored along with the film's
legendary
director,
Ken
Russell.
In 2012, Outfest presented a 30th anniversary commemorative screening of
MAKING LOVE in conjunction with the 30th anniversary of Outfest, in which the film was named
at the top of a list of “The Films That Changed Our Lives”, the most important LGBTQ films ever
made. In 2013, the Lavender Effect and the One Institute presented "Making Love Letters", a
benefit performance for LE consisting of prominent actors reading letters Sandler received from
hundreds of LGBTQ men and women around the country who were profoundly affected by the
film.
In July 2014, Outfest presented a special 30th anniversary screening of
CRIMES OF PASSION, followed by a panel reuniting cast and crew from the film.
In October 2014, the Montreal International Festival du Nouveau Cinema presented another
30th anniversary showing of the film, and in February 2015, the Spectacle Cinema in Brooklyn
presented a month-long tribute to the film.
In 2015, Sandler wrote and produced KNOCK 'EM DEAD, a black-comedy/mystery satire of
Hollywood, directed by David DeCoteau. The film is noteworthy for casting an entire cast of
Black actors in roles non-race-specific. It was released in theaters by eOne, followed by release
on
VOD,
DVD
and
Netflix.
In September 2016, Arrow Films released a special Blu-Ray edition of CRIMES OF PASSION,
for which Sandler did an extensive video interview that appears on the
Blu-Ray, discussing
his 40-year career as screenwriter and producer.
In January 2017, Outfest presented a special tribute/screening in Los Angeles of Sandler’s film
THE MIRROR CRACK’D, followed by a Q&A with Sandler, in anticipation of the Special Edition
Blu-Ray release of the film on which Sandler did an interview recounting his experiences
adapting Agatha Christie to the screen and working on the film in England with an all-star cast.
In July 2017, Laemmle Anniversary Events presented a special 35th anniversary tribute and
screening of MAKING LOVE in Los Angeles, followed by a panel discussion with Sandler on the
groundbreaking impact and legacy of the film after 35 years.
At its Closing Night Gala Ceremony in Los Angeles on July 16, 2017, Outfest presented Sandler
with its highest honor, the Thom/Tom Award, for Distinguished Service to the LGBTQ
Community.
In the fall of 2021, the American Cinemateque presented a special screening of
KANSAS CITY BOMBER.
On September 8, 2021, the WGA LGBTQ Writers Group presented their Inaugural Salon as a
tribute to Sandler and his groundbreaking landmark film MAKING LOVE. The event, “MAKING
LOVE WITH BARRY SANDLER” was a celebration of Sandler’s career, his contribution to
LGBTQ history and culture, and the film’s legacy and historical significance as the first major
studio film to present a positive portrayal of LGBTQ men and women.
On May 17, 2022, the American Cinemateque presented a special screening of CRIMES OF
PASSION in their series of classic, subversive erotic thrillers.
In May 2022, the Nuart Theater in Los Angeles presented a screening of CRIMES OF
PASSION as part of a week-long series of “Classic Films Set in L.A.”
On June 23, 2022, the Academy of Motion Picture Arts and Sciences held a special 40th
anniversary event screening of MAKING LOVE, celebrating the film’s role in LGBTQ cinematic
history and the positive impact it has had and continues to have for LGBTQ people around the
world. The sold-out screening was followed by a panel discussion with Sandler. Scott Berg and
Harry Hamlin on the film’s historical and cultural significance and its enduring legacy.
On Opening Night of Outfest 2022, Sandler was honored with an onstage tribute as one of the
“Architects of Outfest”.
Sandler has written the book for an original stage musical “KNOCK ‘EM DEAD: A CRAZY
MURDER MUSICAL”, that he’s currently working on with composer Daniel McCook, to produce
for the stage in 2023.
Policy Statements
This section should include the required core policy statements and any policies that relate to
your course. The standardized core policies are included below. Common additional policy
statements are available on the Faculty Center website for verbatim use or modification.
Academic Integrity
The Center for Academic Integrity (CAI) defines academic integrity as a commitment, even in
the face of adversity, to five fundamental values: honesty, trust, fairness, respect, and
responsibility. From these values flow principles of behavior that enable academic communities
to translate ideals into action. http://www.academicintegrity.org/icai/assets/FVProject.pdf
UCF Creed: Integrity, scholarship, community, creativity, and excellence are the core values that
guide our conduct, performance, and decisions.
1. Integrity: I will practice and defend academic and personal honesty.
2. Scholarship: I will cherish and honor learning as a fundamental purpose of my membership in
the UCF community.
3. Community: I will promote an open and supportive campus environment by respecting the
rights and contributions of every individual.
4. Creativity: I will use my talents to enrich the human experience.
5. Excellence: I will strive toward the highest standards of performance in any endeavor I
undertake.
The following definitions of plagiarism and misuse of sources comes from the Council of
Writing Program Administrators <http://wpacouncil.org/node/9> and has been adopted by
UCF’s Department of Writing & Rhetoric.
Plagiarism
In an instructional setting, plagiarism occurs when a writer deliberately uses someone else’s
language, ideas, or other original (not common-knowledge) material without acknowledging its
source. This definition applies to texts published in print or on-line, to manuscripts, and to the
work of other student writers.
Misuse of Sources
A student who attempts (even if clumsily) to identify and credit his or her source, but who
misuses a specific citation format or incorrectly uses quotation marks or other forms of
identifying material taken from other sources, has not plagiarized. Instead, such a student should
be considered to have failed to cite and document sources appropriately.
Responses to Academic Dishonesty, Plagiarism, or Cheating
UCF faculty members have a responsibility for your education and the value of a UCF degree,
and so seek to prevent unethical behavior and when necessary respond to infringements of
academic integrity. Penalties can include a failing grade in an assignment or in the course,
suspension or expulsion from the university, and/or a "Z Designation" on a student's official
transcript indicating academic dishonesty, where the final grade for this course will be preceded
by the letter Z. For more information about the Z Designation, see
http://goldenrule.sdes.ucf.edu/zgrade.
For more information about UCF's Rules of Conduct, see http://www.osc.sdes.ucf.edu/.
Unauthorized Use of Class Materials
There are many fraudulent websites claiming to offer study aids to students but are actually cheat
sites. They encourage students to upload course materials, such as test questions, individual
assignments, and examples of graded material. Such materials are the intellectual property of
instructors, the university, or
publishers and may not be distributed without prior authorization. Students who engage in such
activity are in violation of academic conduct standards and may face penalties.
Unauthorized Use of Class Notes
Faculty have reported errors in class notes being sold by third parties, and the errors may be
contributing to higher failure rates in some classes. The following is a statement appropriate for
distribution to your classes or for inclusion on your syllabus:
Third parties may be selling class notes from this class without my authorization. Please be
aware that such class materials may contain errors, which could affect your performance or
grade. Use these materials at your own risk.
In-Class Recording Policy
Outside of the notetaking and recording services offered by Student Accessibility Services, the
creation of an audio or video recording of all or part of a class for personal use is allowed only
with the advance and explicit written consent of the instructor. Such recordings are only
acceptable in the context of personal, private studying and notetaking and are not authorized to
be shared with anyone without the separate written approval of the instructor.
Course Accessibility Statement
The University of Central Florida is committed to providing access and inclusion for all persons
with disabilities. This syllabus is available in alternate formats upon request. Students with
disabilities who need specific access in this course, such as accommodations, should contact the
professor as soon as possible to discuss various access options. Students should also connect
with Student Accessibility Services (Ferrell Commons, 7F, Room 185, sas@ucf.edu, phone
(407) 823-2371). Through Student Accessibility Services, a Course Accessibility Letter may be
created and sent to professors, which informs faculty of potential access and accommodations
that might be reasonable.
Campus Safety Statement
Emergencies on campus are rare, but if one should arise in our class, we will all need to work
together. Everyone should be aware of the surroundings and familiar with some basic safety and
security concepts.
· In case of an emergency, dial 911 for assistance.
· Every UCF classroom contains an emergency procedure guide posted on a wall near the door.
Please make a note of the guide’s physical location and consider reviewing the online version at
http://emergency.ucf.edu/emergency_guide.html.
· Familiarize yourself with evacuation routes from each of your classrooms and have a plan for
finding safety in case of an emergency. (Insert class-specific details if appropriate)
· If there is a medical emergency during class, we may need to access a first aid kit or AED
(Automated External Defibrillator). To learn where those items are located in this building, see
http://www.ehs.ucf.edu/workplacesafety.html (click on link from menu on left). (insert class
specific information if appropriate)
· To stay informed about emergency situations, sign up to receive UCF text alerts by going to
my.ucf.edu and logging in. Click on “Student Self Service” located on the left side of the screen
in the tool bar, scroll down to the blue “Personal Information” heading on your Student Center
screen, click on “UCF Alert”, fill out the information, including your e-mail address, cell phone
number, and cell phone provider, click “Apply” to save the changes, and then click “OK.”
· If you have a special need related to emergency situations, please speak with me during office
hours. · Consider viewing this video (https://youtu.be/NIKYajEx4pk) about how to manage an
active shooter situation on campus or elsewhere.
Deployed Active Duty Military Students
If you are a deployed active duty military student and feel that you may need a special
accommodation due to that unique status, please contact your instructor to discuss your
circumstances.
.