FMS 1013-001 Introduction to Film and Media Studies
Course Logistics: Fall 2015 (CRN: 29268)
Lecture: 3:00-4:15 TR DH 200
Movie Screening: 4:30-6:45 W DH 200
Final Exam: W 12/16/15 4:30-6:30 (DH 200)
Professor: Katrina G. Boyd (kgboyd@ou.edu)
Please address me as Dr. Boyd or Professor Boyd
Walk-in Office Hours: No appointment necessary,
quick, 10 to 15-minute sessions
•
M: 2:45-4:15; T & W: 10:30-11:30 a.m.
Scheduled Appointments: 30-minutes or so, see
below for scheduling instructions
Office Location: SCI 321
Mailbox: SCI 304 (Main FMS Office)
Graduate Teaching Assistants (GTAs)
Responsible for grading and recordkeeping—assigned
alphabetically by last name (as indicated in parentheses).
Each GTA listed below has a mailbox in the main FMS
Office (see below).
Jordan Droira (droirajordan@gmail.com)
• Last Names: A - Da
Jeremy Fried (jfried@ou.edu)
• Last Names: De – J
Kenneth Kimbrough (Kenneth.D.Kimbrough-1@ou.edu)
• Last Names: K - Q
Renata Burchfield (e-mail: rlburchfield@ou.edu)
• Last Names: R - Z
GTA assignments are subject to change as enrollments shift.
In Case of Emergency: E-mail Professor Boyd to explain your situation. You may also call the FMS Office
during normal office hours at 325-3020 and they can contact me.
NOTE: The name of our program recently changed
from “Film and Video” to “Film and Media Studies.”
SCI
Library
Old Science Hall (SCI)
is at the extreme
southern end of the
“north oval” (first
building on the south
west end). If you walk
past the main library
heading north (with the
clock tower on your left
and library on your
right), Wallace Old
Science Hall is the next
building on the right.
Film and Media Studies (FMS) Offices
Enter Wallace Old Science from the west side (rear
entrance, farthest from the oval) to find the stairs and
elevator. Exit on the third floor and turn right:
Main Office (SCI 304): 8-5 weekdays, 325-3020
(Southeast corner of the building.) Allows access to
physical mailboxes for the professor and GTAs.
Prof. Boyd’s Office (SCI 321):
After reaching the east side of building, turn left. My door is
the second on the left. KNOCK so I know you are waiting.
FMS Library (SCI 322)—Hours below are for
week 2 – the week prior to finals (dead week):
MWR: 9-1 & 2-6; T: 9-1 & 3-6; F: 8-12 & 1-5
Continue past my office to the next door on the left (around
a corner). Call 325-6639 to reserve film/equipment
Course Description: In FMS 1013 you will work to develop visual literacy skills to enhance your appreciation of
film and other media forms. Early on you will gain vocabulary and concepts for analyzing both film narrative and
film language (editing, mise-en-scène, cinematography, and sound). Initially we will focus on a range of American
films (from Hollywood blockbusters, to classical Hollywood films, to silent film). To deepen your understanding of
both film history and film form, we will also devote considerable time to non-Hollywood cinema (international and
independent films). In examining a broad range of mass media texts (including some television), we will examine
their formal elements and relate them to their particular historical, institutional, cultural, and ideological contexts.
FILM WARNING: Please be aware that we are watching a representative sampling of films. Some films are rated
“R”/NC-17 and have strong language and/or disturbing content. IF YOU ARE NOT ABLE/WILLING TO
WATCH THESE TYPES OF FILMS, PLEASE SPEAK WITH ME IMMEDIATELY.
LET ME KNOW IF YOU ARE HAVING AN ISSUE WITH THE COURSE: Please, do not hesitate to speak
with me about issues that could affect course performance.
Last updated on 9/14/15
FMS 1013: Introduction to Film
Boyd, Fall 2015
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Personal issues: If a crisis arises, please notify me promptly. I will not pry but will ask for documentation if
possible. Even if you are just “not keeping up,” you should speak to me for recommendations.
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Special needs: I am happy to accommodate students with special needs—such as a learning difficulty—
whenever possible. Supporting documentation may be required.
Required Course Materials: See below and consult D2L announcements for additional details and web site links.
To Purchase:
1) Textbook: Essential Cinema: An Introduction to Film Analysis by Jon Lewis may be bought through the OU
affiliated bookstores, such as the OU Bookstore, Ratcliffs and Beat the Bookstore. You are also welcome to use
online sources. Any format of this book is acceptable. It is available as a paperback or e-book.
2) Top Hat: We will be using the Top Hat (www.tophat.com) classroom response system in class. You will be
able to submit answers to in-class questions using text messaging as well as WiFi connections via smartphones,
tablets, or laptops. Top Hat will require a paid subscription, and the standard pricing for the cheapest option is
$24 for 4-months of unlimited access. NOTE: If you are using it in multiple classes in the same time-period,
you still only pay for a single subscription. For a full breakdown of all subscription options available please
visit www.tophat.com/pricing.
You can visit tinyurl.com/TopHatStudentGuide for the Student Quick Start Guide which outlines how you will
register for a Top Hat account, as well as providing a brief overview to get you up and running on the
system. An email invitation will also be sent to your school email account (if you don't receive this email, you
can register by visiting our course website tophat.com/e/974239).
In addition to providing a Bring Your Own Device (BYOD) in-class response system, Top Hat will allow me
to post Power-Point Slides, discussion questions and other materials for access in and out of class.
To Access (No Charge): Although most of our reading will be covered in the textbook, there will be some other
readings posted to D2L (Desire2Learn: learn.ou.edu). You should regularly check D2L, which will have the
following resources.
1) Announcements Page: All e-mails sent to the entire class will also be posted here.
2) Assignments:
a. Dropbox Folders: All written assignments will be submitted in Microsoft Word (.docx/.doc).
b. On-line Quizzes: I will post quizzes online (see grading policy). These have the advantage of not
taking up class time and being automatically graded so that the results are available quickly.
3) Content: This section of D2L is very important and will include the following types of information:
a. Information Sheets (syllabus, exam review sheets, etc.).
b. Any additional required readings not included in the textbook
c. NOTE: Power Point slides will be available through Top Hat rather than D2L.
4) Grade Book: The online grade book will be updated periodically. Use it to check your standing in the class
and attendance statistics.
ATTEDANCE: Attendance of both lectures and screenings is absolutely required. Many vital visual examples are
shown and analyzed in lecture/discussion.
• EXCUSED ABSENCES: If you miss a class due to a legitimate conflict (illness, religious holiday, special
exam, attending a funeral, etc.), you may ask to have the absence excused:
o You should inform me (via e-mail or in person) regarding the specific issue to see whether it can be
excused and find out what type of documentation might be required.
o In virtually all cases you will be asked to provide supporting documentation in a timely manner.
• UNEXCUSED ABSENCES: You are allowed THREE “unexcused” absences (counting BOTH lectures and
screenings) before incurring grade penalties (see below for the grade breakdown).
o AVOID MISSING CLASS: I STRONGLY encourage you to attend ALL classes, BUT you are an
adult and may make strategic decisions to miss class (it’s your birthday, parents visiting, etc.). It is
YOUR responsibility to find out what you missed (see below).
FMS 1013: Introduction to Film
Boyd, Fall 2015
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“MAKING UP” for a MISSED LECTURE/DISCUSSION: It is essential that you attempt to catch up on the
material as completely as possible.
1. OTHER STUDENT NOTES: Ask fellow students about their own notes.
2. TOP HAT: Review the Power-Point Slides posted.
3. READINGS: Make sure you have done the required reading in the textbook and on D2L (“contents”).
4. INFORMATION SHEETS: Check D2L for new information sheets and review them.
5. ASSIGNMENTS: Check to make sure you did not miss any assignments (a quiz, etc.).
6. STILL NEED HELP: If you are confused about the material covered—after you have done steps 1-5
above—you may feel free to come to my walk-in hours OR to schedule an appointment to review concepts.
I am happy to help, BUT I cannot redo an entire lecture; this is why steps 1-5 are essential.
REQUIRED SCREENINGS: The screenings are a vital and required aspect of the course and attendance is taken.
• Standing Conflict: Students who have a very compelling need to miss the screenings (such as a conflict with
another required class, a sport, etc.) should see me individually within the first week of class.
• Can I leave early or skip the screening if I’ve already seen the film? No. Even if you have seen a film
repeatedly before, you are required to see it with the class in order to be ready to discuss it at the level of detail
necessary for a visual literacy course. The attendance sheet is passed during the screening; those who come
very late or leave early may also be counted absent.
• If I miss a screening, what should I do? Watch the film BEFORE the next class session whenever possible
(see below for options). Although you are REQUIRED to make up the screening, doing so DOES NOT “makeup” the absence (that would depend on whether or not you have a legitimate reason to miss—see above).
WATCHING THE FILMS OUTSIDE OF CLASS (To prepare for the paper, because you missed a class, etc.)
Option 1 (FREE): You can screen the films for free on site at the FMS Digital Media Lab & Library.
• CALL the Digital Media Lab Manager, Karl Schmidt, at 325-6639 in advance when possible.
• Old Science 322 (see page one directions), Open:
o M, W, R: 9 a.m. – 1:00 p.m. and 2:00 – 6:00 p.m.
o Tuesday: 9 a.m. – 1:00 p.m. and 3:00 p.m. – 6:00 p.m.
o Friday: 8 a.m. – 12:00 p.m. and 1:00 p.m. – 5:00 p.m.
Option 2 (PAY): You are welcome to rent films locally or from internet services (such as Netflix, Amazon, etc.). I
am not endorsing any particular site. You may wish to use http://www.canistream.it to check availability.
MEET WITH PROFESSOR BOYD: I am very happy to answer questions via e-mail or to meet with students in
person. Here are some of my guidelines for taking full advantage of my availability during office hours, by
appointment and via e-mail.
Walk-in Hours (see hours /location at the top)
• No appointment is necessary during “walk-in
hours.” However, you should be prepared to wait if
there are multiple students. In general, I will meet
with students for 10-15 minutes during walk-in
hours. If you wish to meet for a longer time, you
should schedule an appointment.
• Always let me know you are waiting by knocking
politely, even if I am with someone. If I am not
aware that other students are waiting, I may spend
more time with a student.
Available by Appointment
• If my walk-in hours conflict with your schedule or if
you wish to meet for longer than 10-15 minutes
please feel free to schedule an appointment.
• Talk to me after class or via e-mail to schedule
appointments.
• When requesting an appointment via e-mail, please
list AT LEAST THREE TIME RANGES during
which you could meet with me. I will confirm a
time. In general you should make the request at least
twenty-four hours before you hope to be seen.
E-MAIL CONTACT (kgboyd@ou.edu): E-mail is an excellent way to reach me with concerns and questions.
Within 24 hours (slower on weekends), I try to acknowledge receipt of e-mails. I often provide a full response with
my first reply, but for more involved questions that may not be possible. If I must gather more information, I will let
you know when you can expect a follow up e-mail. Please understand that I receive MANY special requests from
individual students, so follow these guidelines. It is important that you are very clear about what you need:
FMS 1013: Introduction to Film
Boyd, Fall 2015
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SUBJECT LINE: Indicate the course name (or number) up front AND clearly state the topic.
o RE: FMS 1013: J. Smith’s Paper Outline or INTRO: Julia M. Confirming Appointment
AVOID GENERIC SUBJECT LINES, such as “hi,” because I’m likely to mistake this for junk mail.
BE SPECIFIC; PROVIDE ALL RELEVANT INFORMATION.
o Avoid vague phrases: “I’m the student who talked to you yesterday about that problem I was having.”
CLEARLY STATE WHAT ACTION you would like me to take and indicate ANY DEADLINES involved.
USE PROPER ETIQUETTE: consider this a “business” communication and write accordingly.
ALWAYS SIGN FULL NAME: Always sign off politely with your full name.
DO YOU HAVE ETHICAL STANDARDS? IF NOT, GET SOME. LIFE HAS RULES AND SO DOES OU.
• What is Academic Dishonesty? In laymen’s terms it is “cheating.” As with all your classes at OU, cheating on
exams (looking on another student's paper, bringing in notes, etc.) or other assignments is an extremely serious
offence with dire consequences.
• What is Plagiarism? In a nutshell, plagiarism is presenting someone else's work as your own. In formal
writing, works that have been published (including web sites) must be appropriately cited whether you
paraphrase or use a direct quote (even if we would know the source because it comes from articles read for this
course). Please note that plagiarism also covers presenting the work of OTHER STUDENTS as your own (for
example, using portions of a paper previously submitted in a different semester).
• Can I Submit the Same Assignment for More Than One Class? Sometimes paper topics and other
assignments are broad enough that a student can conceive of a paper that meets the requirements of assignments
for two different classes. This is sometimes called “double dipping,” and it is NOT allowed.
• Break the rules and you can earn an “F”: Depending on the seriousness of the occurrence, plagiarism or any
other type of academic dishonesty can result in an "F" on an individual assignment, an "F" on the entire course,
or expulsion from the university.
• “Maybe I can get away with it”: All typed assignments are run through TurnItIn an extremely effective site
that checks for plagiarism by comparing submissions to web sources and student submissions across the US.
WHAT DO YOU EXPECT OF STUDENTS?
• READ the assigned pages (textbook and D2L)
before the day they are “due.”
• PREPARE to discuss the readings and screenings
by trying to make connections between course
materials and particular films.
• PARTICIPATE by engaging in the class—
remaining visibly responsive to the course material,
participating in discussion and answering Top Hat
questions. Participating will likely enhance your
enjoyment and your grade. Help make the class
atmosphere supportive.
• SIGN IN using the paper attendance sheet, or Top
Hat (or both). I am experimenting with the best
methods for keeping track of attendance this
semester so stay attentive. It is your responsibility to
SIGN IN at EACH class session.
• TAKE NOTES ACTIVELY during lectures,
discussions and screenings:
o I STRONGLY encourage you to take notes.
Passively looking at the Power-Point slides is
NOT ENOUGH
o Figure out what works best for you. Studies
show student retention is better with
handwritten notes, but it is up to you.
WHAT IS NOT ALLOWED?
• INAPPROPRIATE BEHAVIOR (sleeping,
talking out of turn, etc.) will not only distract you
and others from learning the material, but can also
have a direct negative impact your grade (see
grading policy section for details). College is the
beginning of your professional life—consider how
you are presenting yourself to the world.
• SCREENINGS—NO DEVICES ALLOWED: As
in a regular movie theater, you are NOT to use cell
phones or other devices during the screening. We
will keep minimal lights on and you may take
handwritten notes.
• DEVICES DURING LECTURE—for Top Hat:
Phones, tablets and laptops are allowed (for Top Hat
and note taking), BUT I still reserve the right to call
students down for inappropriate use of devices
during class. In addition to greatly hindering your
own understanding and performance it is extremely
disrespectful to me and to your fellow students.
o Watch Out For What I Call “Facebook Face”:
I can tell when students are web-surfing rather
than attending to course material
• DISRESPECT: Do not show disrespect to the
instructors or to your classmates by talking out of
turn, speaking rudely, etc. Again, this is the start of
your professional life, not a return to middle school.
FMS 1013: Introduction to Film
Boyd, Fall 2015
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TURNING IN ASSIGNMENTS: With the exception of in-class quizzes and exams, all class assignments are to be
turned in to the D2L Dropbox and should be saved as Microsoft Word files (.docx/.doc).
LATE ASSIGNMENT POLICY: Make every effort to turn assignments in on time. BUT, if you have a late
assignment, here’s the policy:
• We will go by the date/time stamp for the document uploaded to D2L to determine the POINT PENALTY:
o 100 pt. Assignments: - 2 points for first day late; -1 for each additional day.
o 10 pt. Assignments: -.5 points for the first day late; -.25 for each additional day.
• Contact me (via e-mail) to let me know if you will be submitting the assignment late.
• For any assignment that is more than five days late, you should contact me to discuss your situation.
• If you have a legitimate reason (such as documentable illness), then you may not be penalized, but you must
inquire about this as soon as possible and provide the appropriate documentation.
GRADING SCALE—Your performance will be graded on the following scale:
• A (90-100) = Excellent. “A” work requires a full command of the material, a strong sense of purpose, clear and
compelling thought, and skillful writing.
• B (80-89) = Good to very good. This is work that provides a very solid fulfillment of the assignment. Papers
and essay questions demonstrate clear argumentation.
• C (70-79) = Acceptable. This is work that fulfills the minimum required by the assignment. It might lack
skillful argumentation, but show an understanding of the material. It might also suggest interesting approaches
to the material, but falter in carrying them out.
• D (60-69) = Deficient. A major deficiency in writing and argumentation.
• F (0-59) = Unacceptable. The work does not satisfy the minimum required by the assignment.
o Any “F” grade is certainly cause for concern and you should speak with me or your GTA.
HOWEVER, there is a BIG DIFFERENCE between a “59” and a “0”—FAILURE TO TURN IN A
MAJOR ASSIGNMENT or SKIPPING SHORT ASSIGNMENTS can lead to an “F” in the course.
WEIGHTED GRADING SYSTEM: Assignments and Grade Breakdown
Attendance: While I strongly encourage you to attend all class sessions, you are allowed up to THREE
UNEXCUSED ABSENCES. After that, students will lose 5 pts. in the attendance category per class
session missed. You can also be penalized for leaving early/coming late.
Please let BOTH Professor Boyd AND your GTA know of situations in which your absence should be
excused (you may need to provide documentation of serious illness, family emergency, etc.). In addition
to affecting 10% of your TOTAL/FINAL GRADE, poor attendance will have a serious negative impact
on your ability to perform well on all assignments (especially exams and papers).
Participation: Participating “live” in class can count towards this, but this category will primarily be
judged for interacting via TOP HAT. Points will be awarded for participation (and sometimes based on
“correctness”) for in-class questions and discussion questions. Details on the Top Hat point-values will be
posted to D2L separately. If you have any concerns about using Top Hat, please contact me.
Short Assignments: Some are online quizzes and some are short written assignments. I URGE YOU to
complete all assignments, although the lowest grade will be dropped from this category.
Writing Assignments:
2 Pre-Writing Assignments to help you prepare for the formal paper: A) Intro. Paragraph/Thesis (10 pts.)
and B) Formal Outline (40 pts.)
Formal Paper: One short analytical paper (5-6 pages).
2 Exams: There will be two of these. They will involve BOTH objective questions (fill-in-the-blank,
multiple choice, etc.) and open-ended questions (short answer and essay). (200 pts. each)
TOTAL POINTS:
POINTS
100
100
150
50
200
400
1000
FMS 1013: Introduction to Film
Boyd, Fall 2015
COURSE OVERVIEW
Topics & Readings
Week
Unit 1: Film Form and Classical Hollywood Cinema
1
Introduction/Film Form and Narrative: Course content, goals, ground
rules; film form; Hollywood cinema; NARRATIVE
6
Screenings & Due Dates
W 8/26: Die Hard (John
McTiernan, 1988) 131 min.
Read: (Lewis) Part of Ch. 1: 1-3, 1-3a (pages 12-14); Part of Ch. 2: 2-1,
2-2, 2-3a ONLY (“Form and Formula: The Western”); (D2L): Barsam on
“Levels of Meaning”
Note: We will often read only parts of the textbook but the entire chapter
is summarized at the end. After you read a section, think about what you
understood and see how that aligns with that section of the summary at the
end of the chapter.
2
3
Silent Cinema and the Origins of Film Language: The development of
cinema; cinema of attractions; understanding silent cinema; CAMERA
DISTANCE
W 9/2: Sunrise: A Song of Two
Humans (F.W. Murnau, 1927)
95 min.
Read: (Lewis) Part of Ch. 1: 1-1 (all), 1-2 intro & a (only); Ch. 9: intro, 91a, 9-1b
Short Assignment 1 (Die
Hard): DUE R 9/3, upload
Word doc to D2L BEFORE
START OF CLASS (3 PM).
Classical Hollywood Cinema and the Invisible Style: The Invisible
Style; Casablanca in its historical context; classical Hollywood cinema;
MISE-EN-SCENE
W 9/9: Casablanca (Michael
Curtiz, 1942) 102 min.
Read: (Lewis) Ch. 3: All sections (54-81; NOT page 82 on Psycho); See
Analyze M-E-S suggestions: Page 83
4
5
Hitchcock and Classical Hollywood: Classical Hollywood cinema; The
Invisible Style continued; Gender and classical Hollywood; Editing I:
Continuity Editing and Camera Movement
W 9/16: Notorious (Alfred
Hitchcock, 1946) 101 min.
Read: (Lewis) Ch. 5: 5-1, 5-2; “Analyze Editing” tips (147); Ch. 4: Intro,
4-1 (all), 4-2a, 4-2b and 4-2d; See relevant “Analyze Camera Work” tips
(117); Note: I will no longer remind you to check the “Analyze” tips
sections at the ends of chapters, but make it a habit;
Short Assignment 2
(Casablanca): DUE R, 9/17,
upload Word doc to D2L
BEFORE START OF CLASS
(3 PM).
Sound and Cinema: GENRE: The Musical; The Coming of Sound;
integrated and non-integrated musicals; SOUND I and
CINEMATOGRAPHY I: CAMERA MOVEMENT
W 9/23: Singin’ in the Rain
(Stanley Donen and Gene
Kelly, 1952) 103 min.
Read: (Lewis) Ch. 2: 2-3c; Ch. 6: 6-1, 6-2, and 6-3 c (“Musicals); Ch. 9:
9-1c
FMS 1013: Introduction to Film
Boyd, Fall 2015
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Late Hitchcock: Hitchcock as a director; Character subjectivity and
point-of-view; Auteur Studies
W 9/30: Psycho (Alfred
Hitchcock, 1960) 109 min.
Read: (Lewis) Ch. 2: 2-3b; After watching the film—see Ch. 3, page 82
(“Focus on M-E-S: Psycho); Ch. 9: 9-1d, 9-2c
Short Assignment #3 (D2L
Quiz): Online AFTER class on
T 9/29 (4:30)—due BEFORE
next class session; offline by
2:45 on R 10/1.
Pick up take-home exam on Thursday, 10/1; Due next Tuesday
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Unit 2: Changing Times/Changing Styles
The French New Wave (FNW): André Bazin and the Cahiers du cinema;
The New Wave’s love/hate relation with Hollywood; The influence of the
French New Wave; DISJUNCTIVE EDITING
Read: (Lewis) Ch. 1 Focus on Analyzing Films (pages 18-19): Citizen
Kane; Ch. 4: 4-2c (Handheld Camera); Ch. 5: 5-3 intro, 5-3 a & b; Ch. 9:
9-3; Ch. 10: Intro, 10-1, 10-1 and “Focus on Writing a Scene Analysis
Paper: Now, Voyager” (296-299); (D2L) Thompson and Bordwell on
“New Waves and Young Cinemas”; Ray on Conventions; Sleeper on how
the French New Wave influenced Tarantino.
8
New Hollywood I—Revisionist Filmmakers: Hollywood in the 1960s1970s; The “end” of the studio system; The fracturing of the audience;
New directors and new styles; The Film School Generation; SOUND II
Read: (Lewis) Ch. 4: 4-3; Ch. 6: 6-3a and 6-3b; (D2L) Beuka on The
Graduate
9
7
New Hollywood II—Revivalist Filmmakers: The Film School
Generation; revisionist and revivalist filmmakers continued;
INTENSIFIED CONTINUITY
T 10/6: MID-TERM EXAM
• Take-Home Section
uploaded as Word
document to D2L by 3:00
p.m. on T (10/6).
• In-Class Exam on T (10/6)
W 10/7: Bande à part/Band of
Outsiders (Jean-Luc Godard,
1964) 95 min.
W 10/14: The Graduate (Mike
Nichols, 1967) 105 min.
Pre-Writing Assignment A:
Introductory Paragraph and
Thesis—Due R 10/15, upload
Word doc by 3 p.m.
W 10/21: Jaws (Steven
Spielberg, 1975) 124 min.
Read: (Lewis) Ch. 1: 1-2b; Ch 9: 9-1e, 9-1f; (D2L): Belton, “The Film
School Generation”; Bordwell on “Intensified Continuity”
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World Cinema—Hypervisual Cinema and Realism: Realism in terms
of “content” and “style”; Experimenting with visual style and narrative
structure
W 10/28: Cidade de Deus/City
of God (Fernando Meirelles,
Kátia Lund, 2002) Brazil and
France, 130 min.
Read: (Lewis) Ch. 4: 4-4; Ch. 10: 10-2b, 10-2-c.; (D2L) Rogers on City
of God; Backstein on City of God; Hamid, Rahul. "Review: Down These
Mean Streets."
11
Playing with Narrative and Visual Cues: Hollywood production system;
Contemporary filmmaking and the evolution of narrative and style; Film
in the digital age; High Concept cinema
Read: (Lewis) Ch. 4: “Focus on Camera Work: Jurassic Park” (115-116);
Ch. 5: “Focus on Editing: The Hurt Locker” (145-146); Ch. 9: 9-2d, 9-2e;
Additional on D2L TBA
W 11/4: Eternal Sunshine of
the Spotless Mind (Michel
Gondry, 2004) 108 min.
FMS 1013: Introduction to Film
Boyd, Fall 2015
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Self-Reflexive TV Sitcoms: Sit-coms about television production and
work families; ensemble cast shows; Gender issues on and off screen;
MULTI-CAMERA AND SINGLE-CAMERA television production.
Read: (Lewis) Ch. 1-Ch. 5: 5-3c; (D2L) Patterson, “Fracturing Tina Fey”;
Additional on D2L TBA
8
W 10/22: I Love Lucy (19511957); The Dick Van Dyke
Show (1961-1966); The Mary
Tyler Moore Show (19701977); 30 Rock (2006-2013)
Pre-Writing Assignment B:
Formal Paper Outline—
Due Thursday, 10/23
13
Television Drama: From series television to complex arc stories; new
modes of television production and viewings; other relevant topics related
to television series selected. Television shows, topics and readings will be
posted to D2L.
READ: (Lewis) Ch. 6-4, Ch. 6-5; Additional TBD based on series
selected
14
The Changing Media Landscape: Television and film in relation to new
medias
W 11/12: Student Choice 1—
Television Drama (TBD)
FORMAL PAPER: Due T,
11/11, upload Word doc to D2L
prior to class (by 3 p.m.)
T 11/24: CLASS MEETS
READ: (Lewis) Ch. 7: 7-3; Ch. 4: 4-4: Additional TBD
W 11/25: No Class & No Film
THANKSGIVING—Holiday
begins 5 p.m. on T 11/24
15
Independent American Cinema and/or Globalization: The rise of
American Independent Cinema in the late 1980s; Contemporary
Independent Cinema.
W 12/2: Student Choice 2—
Independent or Foreign Film
(TBD)
16
Contemporary Blockbuster Cinema: After having the opportunity to
nominate films the class will vote on a final film; I will cover topics
appropriate for the film selected. Film, topics and readings will be posted
to D2L.
W 12/9: Student Choice 3—
Mainstream/Blockbuster
Film (TBD)
Read (Lewis): Ch. 7: 7-1, 7-2, and “Focus on Film Promotion: Mission
Impossible”; (D2L) Additional TBD based on film choice
Final Exam: W 12/16/15 4:30-6:30 (DH 200)
Student Assignment 4 (Online
Quiz): Online after class (4:30)
on T 12/8; DUE BEFORE the
next lecture—off-line by 2:45
on Thursday, 12/10.