FALL 2023
Instructor Information
DR. ANDREW REPASKY McELHINNEY
Instructor’s office address:
Temple University, Theater, Film and Media Arts, 1301 W. Norris St., Philadelphia, PA 19122
Office phone number 215-425-0640 (weekdays between 11 AM and 5 PM only, please)
Instructor E-Mail: tuk48567@temple.edu
Office Hours: THURSDAY 4:30-5:30 PM online & online by appointment
THE CINEMATIC CITY
TEMPLE UNIVERSITY, FILM AND MEDIA ART
CA-FMA-0869-009-49164-202336
FULLY ONLINE A-SYNCHRONOUS
NOTE: This course fulfills the World Society (GG) requirement for students under GenEd and International Studies (IS) for
students under Core. Students cannot receive credit for this course if they have successfully completed FMA 0969.
Also, prior to fall 2023, the title for FMA 0869 was "Imaginary Cities."
SYLLABUS
• A syllabus should be viewed as a binding agreement between student and instructor, in which both parties agree upon
rules, methods, procedures, etc, for the course of the semester.
• The syllabus is lengthy because it contains ALL the information you need for success in the course. Read it closely.
COURSE DESCRIPTION
This course takes students to cities around the world, and across time, examining how national cinemas have richly depicted and
interpreted urban life during the last hundred years. We will study both screen images as well as the business structure that
produces them and the audiences that view them. The urban focus of the course is international, including Tokyo, London and
Rome, but the "home" setting is Philadelphia itself.
COMMON COURSE LEARNING OUTCOMES
The learning outcomes for your course have been determined by the course coordinators and are the same across all sections of
the course, regardless of department, college, or campus. Reach out to your course coordinator if you have one for the course
learning outcomes, to the appropriate General Education Area Coordinator, or to gened@temple.edu if you are unable to locate
the outcomes.
GEN ED PROGRAM COMPETENCIES
https://bulletin.temple.edu/undergraduate/general-education/#Program_Competencies
Please note all GenEd courses are required to include learning activities designed to help students develop critical thinking,
written/oral communication and information literacy skills
GEN ED AREA GOALS
https://bulletin.temple.edu/undergraduate/general-education/#GenEd_Courses
REQUIRED COURSE MATERIALS AND ESTIMATED COSTS OF THE COURSE
There are no books you have to buy for this class, and many of the things we study will be linked on Canvas or via the TU Library.
However, students may need to rent the occasional movie via Amazon or The Criterion Chanel, and this should be considered a
book cost. For this course, the cost range, including all books, online access fees, expenses, and other materials, is under $50.00.
EXPECTATIONS FOR CLASS CONDUCT
It is important to foster a respectful and productive learning environment that includes all students in our diverse community of
learners. Our differences, some of which are outlined in the University's nondiscrimination statement, will add richness to this
learning experience. Therefore, all opinions and experiences, no matter how different or controversial they may be perceived,
must be respected in the tolerant spirit of academic discourse.
Treat your classmates and instructor with respect in all communication, class activities, and meetings. You are encouraged to
comment, question, or critique an idea but you are not to attack an individual. Please consider that sarcasm, humor, and slang
can be misconstrued in online interactions and generate unintended disruptions. Profanity should be avoided as should the use
of all capital letters when composing responses in discussion threads, which can be construed as “shouting” online. Remember
to be careful with your own and others’ privacy. In general, have your behavior mirror how you would like to be treated by
others.
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TECHNOLOGY SPECIFICATIONS
Students must have daily access to Canvas. All students must have AND USE a Temple ID and email address. Student will need
web access with speakers where they can stream clips as well as feature films.
All students are required to comply with Temple University’s Computer and Network Security Policies.
Limited resources are available for students who do not have the technology they need for class. Students with educational
technology needs, including no computer or camera or insufficient Wifi-access, should submit a Student Technology Assistance
Application located in TUPortal and linked from the Dean of Students Support and Resources webpage. The university will
endeavor to meet needs, such as with a long-term loan of a laptop or Wifi device, a refurbished computer, or subsidized internet
access. The Affordable Connectivity Program is available to purchase discounted internet services and devices for qualified
individuals.
On-campus computer labs have resumed normal operations and are available for student use. Here is a list of all of these labs:
https://its.temple.edu/computer-labs.
Note that there are technology resources available for students, including laptop share and battery share. Some software that is
available for free download on the ITS Academic Support page. Other specialty software may be available for remote access
through ITS.
ACCEPTABLE AND UNACCEPTABLE USE OF AI
The use of generative AI tools (e.g. ChatGPT, Dall-e, etc.) is permitted in this course for the following activities:
● Brainstorming and refining your ideas;
● Fine tuning your argument through-line;
● Finding information on your topic;
● Checking grammar and style.
The use of generative AI tools is not permitted in this course for the following activities:
● Impersonating you in classroom contexts, such as by using the tool to compose discussion board prompts assigned to you or
content that you put into a Zoom chat.
● Organizing your thoughts and outline for your essays
● Completing group work that your group has assigned to you, unless it is mutually agreed upon that you may utilize the tool.
● Writing a draft of a writing assignment.
● Writing entire sentences, paragraphs or papers to complete class assignments.
You are responsible for the information you submit based on an AI query (for instance, that it does not violate intellectual
property laws, or contain misinformation or unethical content). Your use of AI tools must be properly documented and cited in
order to stay within university policies on academic honesty. Any assignment that is found to have used generative AI tools in
unauthorized ways will be marked as a zero. As second offense, the student risks failing the class.
GRADING BREAKDOWN AND DUE DATES
• YOUR RESUME TO DATE (CV) 5%
DUE SEPT 17, 2023 (PDF UPLOADED TO CANVAS -> ASSIGNMENTS BY 11:59 PM)
This assignment is not designed to accompany students learning objectives. It's an introduction, and writing a resume is
a good life-skill to have in your tool box. And, everyone should always have a current resume ready-to-send out. This
assignment will help with the job market and employment.
• POSTING ORIGINAL ANSWERS TO CANVAS-DISCUSSIONS FOR THE TEN ASSIGNED STUDENT-CENTERED DISCUSSION
QUESTIONS 20% [or, 2% each] NO LATER THAN SEPT 3 (11:59 PM) ANSWER STUDENT-CENTERED DISCUSSION QUESTION 1 (OF 10) ON CANVAS
NO LATER THAN SEPT 10 (11:59 PM) ANSWER STUDENT-CENTERED DISCUSSION QUESTION 2 ON CANVAS
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NO LATER THAN SEPT 17 (11:59 PM) ANSWER STUDENT-CENTERED DISCUSSION QUESTION 3 ON CANVAS
NO LATER THAN SEPT 24 (11:59 PM) ANSWER STUDENT-CENTERED DISCUSSION QUESTION 4 ON CANVAS
NO LATER THAN OCT 8 (11:59 PM) ANSWER STUDENT-CENTERED DISCUSSION QUESTION 5 ON CANVAS
NO LATER THAN OCT 22 (11:59 PM) ANSWER STUDENT-CENTERED DISCUSSION QUESTION 6 ON CANVAS
NO LATER THAN OCT 29 (11:59 PM) ANSWER STUDENT-CENTERED DISCUSSION QUESTION 7 ON CANVAS
NO LATER THAN NOV 12 (11:59 PM) ANSWER STUDENT-CENTERED DISCUSSION QUESTION 8 ON CANVAS
NO LATER THAN DEC 3 (11:59 PM) ANSWER STUDENT-CENTERED DISCUSSION QUESTION 9 ON CANVAS
NO LATER THAN DEC 4 (11:59 PM) ANSWER STUDENT-CENTERED DISCUSSION QUESTION 10 (LAST) ON CANVAS
ESSAY ONE 30%
DUE OCT 1, 2023 (SINGLE SPACED PDF UPLOADED TO CANVAS -> ASSIGNMENTS BY 11:59 PM)
ESSAY TWO 25%
DUE NOV 5, 2023 (SINGLE SPACED PDF UPLOADED TO CANVAS -> ASSIGNMENTS BY 11:59 PM)
ESSAY THREE - FINAL EXAM ESSAY 20%
DUE DEC 15, 2023 (SINGLE SPACED PDF UPLOADED TO CANVAS -> ASSIGNMENTS BY 11:59 PM)
NO EXTRA CREDIT
NO LATE WORK
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GRADING RUBRIC
• "A" LEVEL - student completes all course assignments, work is constantly successful in addressing course prompts, work
displays intellectual curiosity and/or original thought, student participates meaningfully in peer review, student
considers secondary or external sources to augment course work, attends Skype office hours as needed
• "B" LEVEL - student successfully completes most course assignments, work addresses course prompts in meaningful
ways that display intellectual engagement, student participates meaningfully in peer review, attends Skype office hours
as needed
• "C" LEVEL - student attempts all course assignments as scheduled with various degrees of success but displays an
emerging cohesion of ideas and thought, work sometimes addresses course prompts in meaningful ways but may
require more specific expression and/or focus, student does makes use of "frame and case" to build arguments, student
participates in peer review as required, attends Skype office hours as needed
• "D" LEVEL - student does not attempt all course assignments, but does make a connection (however tenuous) with the
course materials, student has multiple (4+) missing assignments, student does not participate in peer review as
required, does not attend Skype office hours
• FAILURE - numerous missing assignments, iritic engagement with the online interface, does not participates in peer
review as required, no midterm, online presentation or final paper submitted, does not attend Skype office hours
GRADING CALCULATIONS
• A 94-100
• A- 90-93
• B+ 87-89
• B 84-86
• B- 80-83
• C+ 77-79
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C 74-76
C- 70-73
*NOTE C- (or better required to fulfill GenEd area)
D+ 67-69
D 64-66
D- 60-63
F 0-59
ADDITIONAL POLICIES
• All original course materials copyright © Andrew Repasky McElhinney. All right reserved. Do not duplicate or disseminate.
• If you don’t know, ask.
• Neatness counts.
• Be actively responsible for yourself—a lack of planning on your part is not, nor should be, an emergency for anyone else.
• This is asynchronous, fully online class that has no scheduled meeting times.
• Students should subscribe to “Announcements” for course updates.
• The class has a limited amount of online space, video files will only be online for the week they are assigned
• Students must attempt and complete all assigned class work in order to pass the course.
• All assignment must be labeled correctly when submitted electronically. The correct format is:
Your Last Name, the class, assignment
i.e Smith - Cities Final Essay
If you do not label your submission like this it will not be accepted and it will consequently be marked late.
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All emails to the instructor must be labeled properly in the subject line to be accepted and read. The subject line must be
formatted as follows:
Class type and name; your first initial and last name
i.e. “Cities – J. Smith”
At the top right of the first page of every paper you turn in, you must label the following (single spaced lines). PDF
without names and dates on them will not be accepted.:
Your Name
The Assignment
The Date
Academic Honesty/Plagiarism: You are expected to do your own work and any form of academic dishonesty—plagiarism
and cheating—is as unacceptable in this course as it is across the University and throughout higher education. Plagiarism is
defined in the Bulletin as “the unacknowledged use of another person's labor, another person's ideas, another person's
words, and another person's assistance.” According to the University Student Code of Conduct, students must not commit,
attempt to commit, aid, encourage, facilitate, or solicit the commission of academic dishonesty and impropriety including
plagiarism, academic cheating, and selling lecture notes or other information provided by an instructor without the
instructor’s authorization. Violations may result in failing the assignment and/or failing the course, and/or other sanctions
as enumerated in the University Code of Conduct.
Consistent preparation of readings and assignments, and active participation in discussions, peer reviews, and other
classroom activities is required.
Participation is an integral part of your grade this semester. This includes, but is not limited to, participation in online
classroom discussions and group activities as they occur throughout the semester and the use of webcams in synchronous
meetings such as class lectures, office meetings, oral presentations and group projects. If the use of your webcam is
problematic, please contact instructor privately
All written work must be typed, single spaced, with pages numbered.
Grades will be lowered on late assignments and papers.
Students must participate in all class activities.
All Temple University Academic Policies will be upheld.
All Temple University Academic Policies (Links to an external site.) will be upheld.
The Information Science & Technology, M.S. website (Links to an external site.) details program expectations.
Course Minimum Grade: Although D- is a passing grade, a minimum grade of C- is required in all courses to complete the
program. For more information, please see Temple University's Academic Policies on Grades and Grading.
Incomplete: A student will be eligible for a grade of “Incomplete” only if he/she: 1) has completed at least 51% of the work
at a passing level, 2) is unable to complete the work for a serious reason beyond his or her control, and 3) files a signed
agreement with the instructor outlining the work to be completed and the time frame in which that work will be
completed. The student is responsible for initiating this process and all incomplete forms must be sent to the Associate
Dean for Academic Affairs prior to the start of study days in that semester. Please refer to the following for further details:
Temple University’s Incomplete Policy (Links to an external site.) (Policy #02.10.13).
Withdraw from the Course: If a student wishes to withdraw from a course, it is the student’s responsibility to meet the
deadline for the last day to withdraw from the current semester See Temple University's Academic Calendar (Links to an
external site.) for withdrawing deadlines and consult the University policy on withdrawals (Links to an external site.) (Policy
# 02.10.14).
Statement on Academic Rights & Responsibilities: Freedom to teach and freedom to learn are inseparable facets of
academic freedom. The University has a policy on Student and Faculty Academic Rights and Responsibilities (Links to an
external site.) (Policy #03.70.02).
BACK UP AND ARCHIVE YOUR FILES! Computer errors and crashes happen to an alarming degree. A technology
malfunction is not an acceptable reason for turning in late work. Make sure you back up your correctly labeled files
regularly (i.e TWICE A WEEK). You should have copies on your hard drive, on an external drive and online. When in doubt,
print it out!
TRIGGER WARNING
Adult Materials will be sometimes discussed in this classroom and/or assigned as reading/viewing. To talk about the city, culture
psychology, race, sexuality, crime, law, drugs, values, media, art and popular culture is to engage questions about diversity, what
is publically appropriate and inappropriate, to consider issues of censorship, and to think hard about the presentation of such
emotionally charged subjects as sex, violence, and profanity. What is right and wrong and who decides? This is a college course
for where such subjects will be examined. Please be aware that this class will require students to participate in mature
discussions about difficult political, social, historical, cultural, artistic, literary, geographic, economic realities, ideas and material
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in an effort to appreciate global interconnectivity. It is essential that all discussions remain respectful. Students are urged to
approach this course with both an open mind and a willingness to engage in critical thinking. Unfortunately, substitute material is
not available.
TEMPLE UNIVERSITY LIBRARIES
Temple University Libraries provide resources to assist Temple students with their class projects and research needs. Visit the
Libraries’ website to find millions of articles, books, video, and other resources, both in print and online.
A good place to start your research is at https://guides.temple.edu/fma.
This research guide was designed for Film and Media Arts students and provides a direct link to essential resources. You can use
resources on this guide off campus by logging in with your AccessNet ID.
Students may request appointments with Brian Boling, the subject librarian for FMA, for help on projects inside and outside the
classroom. Subject librarians provide targeted assistance at all stages of your project, including: developing a topic, exploring
Temple’s academic research tools, and identifying and citing sources. You can contact Brian at brian.boling@temple.edu.
DISABILITY DISCLOSURE
Any student who has a need for accommodations based on the impact of a documented disability or medical condition should
contact Disability Resources and Services (DRS) located in the Howard Gittis Student Center South, 4th Floor at drs@temple.edu or
215-204-1280 to request accommodations and learn more about the resources available to you. If you have a DRS accommodation
letter to share with your Instructor, or you would like to discuss your accommodations, please contact me as soon as practical. I will
work with you and with DRS to coordinate reasonable accommodations for all students with documented disabilities. All discussions
related to your accommodations will be confidential.
STATEMENT ON STUDENT AND FACULTY ACADEMIC RIGHTS AND RESPONSIBILITIES
Freedom to teach and freedom to learn are inseparable facets of academic freedom. The University has a policy on Student and
Faculty Academic Rights and Responsibilities (Policy #03.70.02) which can be accessed at policies.temple.edu
COUNSELING AND OTHER AVAILABLE SERVICES
As a student you may experience a range of issues that can cause barriers to learning, such as strained relationships, increased
anxiety, substance use, feeling down, difficulty concentrating and/or lack of motivation. These concerns or stressful events may lead
to diminished academic performance and ability to participate in daily activities. Counseling services are available to assist you at the
Tuttleman Counseling Center (Links to an external site.). If you are experiencing food insecurity or financial struggles, Temple
provides resources and support. Notably, the Temple University Cherry Pantry and the Temple University Emergency Student Aid
Program are in operation as well as a variety of resources from the Office of Student Affairs.
Student Support Services
The following academic support services are available to students:
Student Success Center
University Libraries
Undergraduate Research Support
Career Center
Tuttleman Counseling Services
Disability Resources and Services
If you are experiencing food insecurity or financial struggles, Temple provides resources and support. Notably, the Temple University
Cherry Pantry. There are also a variety of resources from the Division of Student Affairs.
FALL 2023 - COURSE SCHEDULE
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FULLY ONLINE A-SYNCHRONOUS
WEEK ONE - AUG 28
This course takes students to cities around the world, and across time, examining how national cinemas have richly depicted and
interpreted urban life during the last hundred years. We will study both screen images as well as the business structure that
produces them and the audiences that view them. The urban focus of the course is international, including Tokyo, London and
Rome, but the "home" setting is Philadelphia itself.
This course unfolds a history of moving images (thus far) and doing so develops the media literacy skills essential for everyone
navigating the 21st century. You will learn history and how to evaluate both the form and the content of media works (moving
beyond personal opinion and personal reaction).
Weeks 1-3 the class begins laying out the pre-history and start of cinema and its primary psychological binary of fiction/non-fiction
(fantasy vs documentary). We explore basic cinematic technique and cinematic grammar, genre theory vs the auteur theory, and
focus on montage (editing) as the creative phenomena unique to cinema. We continue forward in time unpacking the silent eras of
the 1910s and 1920s. We explore the birth of Global Visibility through cinema in the early 20th century. We also focus on two key,
and vastly influential movie genres, German Expressionism, and, The Street Film (aka, the City Symphony movie). Both of these
genres further complicate cinema's primary binary of fiction/non-fiction (fantasy/documentary).
AUG 28 - CLASSES BEGIN
SYLLABUS
READ SYLLABUS FULLY AND COMPLETELY - pdf on CANVAS (under Files
IF YOU HAVE A QUESTION ABOUT THE CLASS, POST IT TO CANVAS -> ALL STUDENT QUESTIONS. THIS WAY THE ENTIRE CLASS WILL
HAVE THE BENEFIT OF YOUR QUESTION AND THE ANSWER.
BEFORE CINEMA
WATCH: Eadweard Muybridge 4' - https://www.sfmoma.org/artist/Eadweard_Muybridge
THE BINARY OF CINEMA FROM ITS INCEPTION - DOCUMENTARY VS FANTASY
WATCH: Dr Andrew on The Binary Of Cinema From Its Inception, Documentary vs Fantasy '35
https://vimeo.com/453306526/d1d39526f5
this video includes the shorts:
Workers Leaving The Lumière Factory in Lyon (Louis Lumière, 1895)
AND
A Trip to the Moon (Georges Méliès, 1902)
INTRODUCTION TO MEDIA PHILOSOPHY
READ: McElhinney - Second Takes: Remaking Film, Remaking America - Introduction: "Remakes, From Shakespeare To the PostLiterate Problem" - pdf on CANVAS (under Files)
(NOTE: WEEK ONE CONTINUES NEXT PAGE)
(...WEEK ONE CONTINUES ON THIS PAGE...)
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UNDERSTANDING BASIC VISUAL GRAMMAR (YOUR VIEWING TOOL KIT)
COMPOSITION OVERVIEW 11'
WATCH: https://www.youtube.com/watch?v=aHq5KwFvtns
PERSPECTIVE OVERVIEW 8'
WATCH: https://www.youtube.com/watch?v=ePv-9mVnTVk
BASIC LIGHTING OVERVIEW (THREE AND FOUR POINT LIGHTING SYSTEM) 1'
WATCH: https://www.youtube.com/watch?v=rq0q3Ea5fkQ
EDITING OVERVIEW
READ: Rosenblum & Karen - When The Shooting Stops ...The Cutting Begins: A Film Editor's Story - Ch 3, 4 and 5 - pdf on CANVAS
(under Files)
KULESHOV EFFECT 6
WATCH: https://vimeo.com/453095477/a6a04a1cf3
THE BECHDEL TEST 5'
WATCH: https://vimeo.com/453095498/8ce8bb89ba
MLA 8TH EDITION FORMATTING AND STYLE GUIDE
READ: MLA pdf on CANVAS (under Files)
THE BIRTH OF THE SUPERHERO MOVIE (...IN PARIS & NEW YORK CITY)
NOTE: Remember that while most silent feature movie screened live in their era (before aprox 1930) with some sort of musical
accompaniment, from orchestras and organs in the big venues, to pianos in the small ones, the music you mostly hear today
accompany silent films was newly added after the fact, often quite recently (within the past two decades). So, while the score of a
silent does influence your viewing experience, be sure to sure focus your examination of the movie's images themselves. Also , Black
& White Silent movies were often color tinted (by the projectionists, according to cues) or sometimes the Black & White images were
hand painted frame by frame... To the audiences of silent movies in their day, the tinting often delineated mood, place or time of day.
Today, the recreation of tinting on digital editions of classic silent movies only sometimes represents the intentions or practices of the
original filmmakers — so be sure to sure focus your examination of the movie's images themselves (not the tinting).
Les Vampires (Louis Feuillade, 1915-16) 15'
https://vimeo.com/453091646/2152cb20f3
The Bat Whispers (Roland West, 1930) 17'
https://vimeo.com/453091754/abbeba8550
King Kong (Cooper/ Schoedsack, 1933) 26'
https://vimeo.com/453305971/028adb5d04
NO LATER THAN SEPT 3 (11:59 PM) ANSWER STUDENT-CENTERED DISCUSSION QUESTION 1 (OF 10) ON CANVAS
WEEK TWO - SEPT 4
SEPT 4 - LABOR DAY, NO CLASSES HELD
SERGEI EISENSTEIN - GAME CHANGING SOVIET MONTAGE THEORY
WATCH: 1925: How Sergei Eisenstein Used Montage To Film The Unfilmable 6.5'
https://vimeo.com/453098745/e6648699ff
WATCH: Eisenstein's Methods of Montage 6'
https://vimeo.com/453098781/fe09ab0983
GERMAN EXPRESSIONISM
WATCH: What is German Expressionism? 4'
https://vimeo.com/453095632/8211af4239
WATCH: The Cabinet of Dr. Calagari (1919) 21'
https://vimeo.com/454552172/5efe28274b
WATCH: The Golem (1920) 1'
https://vimeo.com/453292545/2ee95dbd0f
FRITZ LANG - FROM BERLIN TO LOS ANGELES ...BECAUSE OF WORLD WAR TWO
WATCH: Dr Andrew on Fritz Lang (...and von Harbou & Riefenstahl)
https://vimeo.com/745050658/8ed5daca14
READ: "Lang" - Shivas 1962 - pdf on CANVAS (under Files)
WATCH: Metropolis (1927) 19'
https://vimeo.com/455062046/99bd96052f
WATCH: M (1931) 20'
https://vimeo.com/455061541/6cdff2795b
WATCH: Fury (1936) trailer, 2'
https://youtu.be/-glpbcSDPNI
WATCH: The Big Heat (1953) 3'
https://youtu.be/MZb5BBV52DM
THEA VON HARBOU, FRITZ LANG COLLABORATOR
READ: https://en.wikipedia.org/wiki/Thea_von_Harbou
LENI RIEFENSTAHL, NAZI COLLABORATOR
READ: https://en.wikipedia.org/wiki/Leni_Riefenstahl
NO LATER THAN SEPT 10 (11:59 PM) ANSWER STUDENT-CENTERED DISCUSSION QUESTION 2 ON CANVAS
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WEEK THREE - SEPT 11
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SEPT 11- LAST DAY TO DROP OR ADD
THE STREET FILM AKA, THE CITY SYMPHONY MOVIE
READ: Hutchinson - Where to Begin with City Symphonies
https://www.bfi.org.uk/news-opinion/news-bfi/features/where-begin-city-symphonies
WATCH: The Man With a Movie Camera (Vertov, 1929) 68'
https://librarysearch.temple.edu/catalog/991020783659703811
READ: Isenberg - People On Sunday: Young People Like Us
https://www.criterion.com/current/posts/1904-people-on-sunday-young-people-like-us
WATCH: People on Sunday (Ulmer/Siodmak Bros/Wilder/Zinnemann/Schufftan, 1930) 72'
https://librarysearch.temple.edu/catalog/991037488679303811
READ: Server - Curt Siodmak Interview - pdf on CANVAS (under Files)
CINEMA AND CINEMA CENSORSHIP
READ: Code to Govern the Making of Talking, Synchronized and Silent Motion Pictures (June 13, 1934) - pdf on CANVAS (under Files)
READ: Martinko - The XXX Filmography 1968-1988, Introduction - pdf on CANVAS (under Files)
WATCH: This Film Is Not Yet Rated (2006)
https://youtu.be/aCiqO2WqW4k
SUSAN SONTAG & AN INTRODUCTION TO CULTURAL THEORY
READ: Sontag - Against Interpretation - pdf on CANVAS (under Files)
WATCH: Dr Andrew on Sontag's essay Against Interpretation (1964) (46m)
https://youtu.be/FX1CRNAAKAM
READ: Sontag - Imagination of Disaster - pdf on CANVAS (under Files)
WATCH Dr Andrew on Sontag's Imagination of Disaster 1965 (27m)
https://vimeo.com/644349538/9496572610
READ: Sontag - Notes on Camp - pdf on CANVAS (under Files)
NO LATER THAN SEPT 17 (11:59 PM) ANSWER STUDENT-CENTERED DISCUSSION QUESTION 3 ON CANVAS
SEPT 17 - YOUR RESUME TO DATE DUE (PDF UPLOADED TO CANVAS -> ASSIGNMENTS (BY 11:59 PM)
PDFS without names and dates on them will not be accepted.
NO LATE PAPERS
WEEK FOUR - SEPT 18
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Weeks 4-5 presents the "Golden Age" of Hollywood, deep dives into the careers of auteurist director Alfred Hitchcock, and
culminates with an examination of censorship, as well as a survey of the classic Hollywood genre of Film Noir (1939-1958), and then
its post-modern, currently active, descendent, Neo-Noir (1959-present).
ALFRED HITCHCOCK- AUTEURIST DIRECTOR, LONDON TO HOLLYWOOD
WATCH: Dr Andrew's Introduction to Hitchcock
https://vimeo.com/672929648/2c6ff2fa15
WATCH: The Hitchcock cameos 10'
https://vimeo.com/453099007/a97632a4f9
WATCH: The Lodger: A Story of the London Fog (1920) 1' 1.5
NEW TRAILER - https://youtu.be/qNKkEUv6g74
ON THE NEW 2017 SCORE - https://youtu.be/m2rwxdUKt68
READ: McElhinney on Hitchcock's The Lodger - https://reeleastfilm.wordpress.com/2014/08/13/andrew-repasky-mcelhinney-onhitchcocks-the-lodger/
WATCH: The Lady Vanishes (1938) 1.5
https://www.criterion.com/films/358-the-lady-vanishes
WATCH: Rear Window (1954) 16.5'
https://vimeo.com/467574721/54b7938964
WATCH: The Wrong Man (1956) 4'
https://www.newyorker.com/video/watch/the-wrong-man?verso=true
WATCH: Alfred Hitchcock Presents... (1955-65, TV) - "Lamb to the Slaughter" (13 April 1958) 26'
https://vimeo.com/466265559/793404a675
WATCH: Vertigo (1958) 3'
https://youtu.be/rHxdPHMsIdk
WATCH: Psycho (1960) 6.5'
TRAILER - https://youtu.be/DTJQfFQ40lI
SHOWER SCENE - https://youtu.be/s22lNU5jXM4
WATCH: Kaleidoscope (Hitchcock, 1964-67, unrealized) 3'
https://youtu.be/8uU1pANKiyE
ORSON WELLES - COUNTRY VS CITY LIFE
WATCH: Dr Andrew's Introduction to Orson Welles - https://vimeo.com/749758120/bff6c37775
READ: The Infamous “War of the Worlds” Radio Broadcast Was a Magnificent Fluke
https://www.smithsonianmag.com/history/infamous-war-worlds-radio-broadcast-was-magnificent-fluke-180955180/
LISTEN: The Mercury Theatre on the Air's The War of the Worlds (broadcast 30 Oct 1938)
https://archive.org/details/TheWarOfTheWorldsHGWells
(NOTE: WEEK FOUR CONTINUES NEXT PAGE)
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ORSON WELLES - CONTINUED FROM PERVIOUS PAGE
WATCH: Citizen Kane (1941)
opening (27m) - https://vimeo.com/457575960/3ce9b42e61
love nest discovered (5.5 min) - https://vimeo.com/460660201/b827c2fc26
WATCH: The Magnificent Ambersons (1942) '7
https://vimeo.com/460660100/2e91e075b1
WATCH: Bernard Herrmann: A Master of Movie Music '6
https://vimeo.com/453098907/28b4eb8394
WATCH: Touch of Evil (1958) '20
https://vimeo.com/455059431
WATCH: The Trial (1962) '10
https://vimeo.com/455062854/1184404aa6
NO LATER THAN SEPT 24 (11:59 PM) ANSWER STUDENT-CENTERED DISCUSSION QUESTION 4 ON CANVAS
11
WEEK FIVE - SEPT 25
FILM NOIR - ULTIMATE CITY GENRE
WATCH: American Cinema - 100 Years of Filmmaking: Film Noir 55'
https://librarysearch.temple.edu/catalog/991037334521703811
READ: "Film Noir" (Nachbar) - pdf on CANVAS (under Files)
WATCH: Dr. Andrew Repasky McElhinney on Film Noir 7'
https://youtu.be/MsgFzvuJYDs
05/03/1948 - U.S. SUPREME COURT - UNITED STATES V. PARAMOUNT
READ: The day the Supreme Court killed Hollywood’s studio system
https://constitutioncenter.org/blog/the-day-the-supreme-court-killed-hollywoods-studio-system
NEO-NOIR
READ: Willis - "Neo-Noir: The Cultural Significance (and Insignificance) of a Film Style - pdf on CANVAS (under Files)
WATCH: Following (Christopher Nolan, 1999, 70 minutes) - streaming via the TU library
https://librarysearch.temple.edu/catalog/991038038937603811
WATCH: Dr Andrew on Following (30 min)
https://vimeo.com/753426643/15a96eab92
OCT 1 - ESSAY ONE DUE (SINGLE SPACED PDF UPLOADED TO CANVAS -> ASSIGNMENTS BY 11:59 PM)
PDFS without names and dates on them will not be accepted.
NO LATE PAPERS
12
WEEK SIX - OCT 2
13
Weeks 6-8 profiles the work of filmmakers who are particularly urban. We explore the history of women film directors like Lois
Webber, Maya Daren, Rose Troche, while examining the (all-too-typical) damage the industry inflicted to actor Barbara Payton. We
look at Spike Lee's urban body of work (thus far) and social conscience, along with probing "La Nouvelle Vague" (The French New
Wave) of trailblazers Alain Resnais and Jean-Luc Godard.
WOMEN AND CINEMA AND THE CITY
LOIS WEBBER
WATCH: Suspense (Lois Webber, 1913) 11'
https://vimeo.com/457918637/d9c40c9da5
WATCH: Dr Andrew on Suspense 11'
https://vimeo.com/610220667/9ef9b08fa9
WATCH: The Cinema of Lois Weber 8'
https://youtu.be/-dM3_O4FEZA
WATCH: The History of Female Editors 6'
https://youtu.be/yzuYgcBZsQ8
MAYA DAREN (THE AVANT-GARDE AND 'AMATEURISM')
WATCH: Maya Deren's Film Philosophy 5.5'
https://vimeo.com/453099052/e685abb666
WATCH: Dr Andrew's Intro to Maya Daren and Meshes of the Afternoon 21'
https://vimeo.com/755603319/65cac0020e
WATCH: Meshes of the Afternoon (Maya Daren/Alexander Hammid, 1943) 14'
https://vimeo.com/453099102/7b9bf90adf
BARBARA PAYTON (1927-1967)
READ: Barbara Payton PDF containing: Guild - "She Wasn't Ashamed" (1967) & Barbara Payton Chronology + "I Am Not Ashamed"
Prologue) - pdf on CANVAS (under Files)
WATCH: Murder is My Beat (1955, Edgar G Ulmer) - clip
https://vimeo.com/460659827/da98ed42e0
(NOTE: WEEK SIX CONTINUES NEXT PAGE)
(...WEEK SIX CONTINUES ON THIS PAGE...)
LESLIE HARRIS AND NEW YORK CITY
WATCH: Just Another Girl on the IRT (Leslie Harris, 1992) 26'
https://vimeo.com/463149236/75b2104f2c
READ: “Have I Mentioned I’m Working on a Sequel?” Leslie Harris on Her Groundbreaking 1993 Film Just Another Girl on the I.R.T.
https://filmmakermagazine.com/114800-interview-2022-leslie-harris-just-another-girl-on-the-i-r-t/#.Y8F0mezMLt0
ROSE TROCHE AND NEW YORK CITY
WATCH: Go Fish (Rose Troche, 1994) 23'
https://vimeo.com/463149341/7fb5d41baf
WATCH: Dr Andrew on Go Fish 1994 14'
https://youtu.be/AANowoOCFag
WATCH: The “Go Fish” origin story as told by Rose Troche and Guinevere Turner, video interview (5')
https://afterellen.com/the-go-fish-origin-story-as-told-by-rose-troche-and-guinevere-turner/
NO LATER THAN OCT 8 (11:59 PM) ANSWER STUDENT-CENTERED DISCUSSION QUESTION 5 ON CANVAS
14
WEEK SEVEN - OCT 9
SPIKE LEE AND NEW YORK CITY
WATCH: Dr Andrew's Introduction to the movies of director Spike Lee (19m)
https://youtu.be/7G2SD3y1Pp0
WATCH: Mo'ne Davis: Throw Like A Girl (2014)
https://youtu.be/V6Rfl1gWMYs
READ: The Essential Spike Lee
https://www.nytimes.com/2020/06/02/movies/spike-lee-best-movies.html
WATCH: BlackKkKlansman (2018) 3' 3.5 4' (10.5')
TRAILER - https://youtu.be/0vWHEuhEuno
OPENING - https://youtu.be/DmoOVhJw3i0
ENDING - https://youtu.be/1_QccgBBEHc
READ: ‘I Don’t Have the Answer’: Spike Lee on Race in Trump’s America
https://www.politico.com/magazine/story/2019/02/07/spike-lee-interview-race-america-blackkklansman-2019-224822/
WATCH: She's Gotta Have It (1986) 2'
https://youtu.be/BrK4-lAhkeg
WATCH: She's Gotta Have It (2017) 2'
https://youtu.be/gnVttWX_FbQ
WATCH: Do The Right Thing (1989) - all 120'
https://librarysearch.temple.edu/catalog/991037730619003811
READ: Ebert: Do The Right Thing
https://www.criterion.com/current/posts/98-do-the-right-thing
READ: White: Do the Right Thing: Spike Lee’s Misconceived Cri de Coeur
https://www.nationalreview.com/2020/06/spike-lee-do-the-right-thing-misconceived-cri-de-coeur/
WATCH: Jungle Fever (1991) 31'
https://vimeo.com/466203684/f63850f430
WATCH: Malcom X (1992) 22'
https://vimeo.com/463150729/a53cd79508
WATCH: 25th Hour (2002) 6'
https://vimeo.com/463149323/33c9f0c87c
WATCH: Da 5 Bloods (2020) 3'
https://youtu.be/D5RDTPfsLAI
NOTE: NO STUDENT-CENTERED DISCUSSION QUESTION THIS WEEK (WEEK SEVEN)
OCT 13: FALL WELLNESS DAY, NO CLASSES HELD
15
WEEK EIGHT - OCT 16
PARIS, FRANCE; AND "LA NOUVELLE VAGUE" (AKA, THE FRENCH NEW WAVE)
ALAIN RESNAIS AND CITES OF DEATH
Night and Fog (1956) is one of the most important movies we study. However, it is also a triggering documentary. Please first read
the linked essay:
Night and Fog: The Never-Ending Cries By Colin MacCabe
https://www.criterion.com/current/posts/4154-night-and-fog-the-never-ending-cries
Night and Fog (1956) 33'
WATCH: https://vimeo.com/469955042/70f099e251
READ: Hiroshima mon amour: Time Indefinite By Kent Jones
https://www.criterion.com/current/posts/291-hiroshima-mon-amour-time-indefinite
-Hiroshima Mon Amour (1959) 3.5' 18' [21.5]
WATCH: https://vimeo.com/472706610/cd4ee8b3ad
WATCH: https://vimeo.com/472780781/c830a3ed46
READ: Last Year at Marienbad: Which Year at Where? By Mark Polizzotti
https://www.criterion.com/current/posts/1177-last-year-at-marienbad-which-year-at-where
-Last Year at Marienbad (1961) 26'
WATCH: https://vimeo.com/472780815/051caa06f5
JEAN-LUC GODARD AND CITIES OF THE FUTURE
READ: 09/13/2022 Jean-Luc Godard, giant of the French New Wave, dies at 91
https://www.theguardian.com/film/2022/sep/13/jean-luc-godard-giant-of-the-french-new-wave-dies-at-91
READ: 04-14-2022 ‘Godard shattered cinema’: Martin Scorsese, Mike Leigh, Abel Ferrara, Claire Denis and more pay tribute
https://www.theguardian.com/film/2022/sep/14/godard-shattered-cinema-martin-scorsese-mike-leigh-abel-ferrara-lucaguadagnino-and-more-pay-tribute
READ: 'Breathless' continues to shock and surprise 50 years on
https://www.theguardian.com/film/2010/jun/06/film-jean-luc-godard-breathless-feature-philip-french-french-new-wave
-Breathless (1960) 3' 3.5'
WATCH: https://www.nytimes.com/video/movies/1247467887456/the-influences-of-breathless.html
WATCH: https://youtu.be/SqOJaGM-wQg
-Contempt (1963) 24.5'
WATCH: https://vimeo.com/472802691/12ab14bd80
READ: Godard - NY Film Bulletin 1964 - pdf on CANVAS (under Files)
(NOTE: WEEK EIGHT CONTINUES NEXT PAGE)
16
17
(...WEEK EIGHT CONTINUES ON THIS PAGE...)
JEAN-LUC GODARD AND CITIES OF THE FUTURE - CONTINUED FROM PERVIOUS PAGE
READ: Alphaville By Andrew Sarris - https://www.criterion.com/current/posts/38-alphaville
READ: My favourite film: Alphaville- https://www.theguardian.com/film/filmblog/2011/dec/28/my-favourite-film-alphaville-godard
READ: ‘Alphaville’: Why This Piece of 60s Pulp Fiction is Must-See Jean-Luc Godard
https://www.indiewire.com/2014/04/alphaville-why-this-piece-of-60s-pulp-fiction-is-must-see-jean-luc-godard-clip-192506/
-Alphaville (1965) 19.5'
WATCH: https://vimeo.com/472789832/5acaa22749
READ: The Last Weekend By Gary Indiana - https://www.criterion.com/current/posts/1177-last-year-at-marienbad-which-year-atwhere
-Week-End (1967) 25.5
WATCH: https://vimeo.com/469953250/82d72ad15d
NO LATER THAN OCT 22 (11:59 PM) ANSWER STUDENT-CENTERED DISCUSSION QUESTION 6 ON CANVAS
WEEK NINE - OCT 23
18
Weeks 9-11 we challenge ourselves traversing avant-garde representations of the city by classic theater artists Kurt Weill, Bertolt
Brecht, Peter Sellars, Tennessee Williams and Stephen Sondheim.
THE AVANT-GARDE CITY I:
KURT WEILL / BERTOLT BRECHT / PETER SELLARS
WATCH: Dr Andrew on Brecht, Weill, The Seven Deadly Sins, and director Peter Sellars (40m)
https://vimeo.com/643939111/31dc3985ba
WATCH: The Seven Deadly Sins (Peter Sellars, 1993) 47'
https://vimeo.com/472794087/b37c5dafd7
RODNEY KING - HISTORICAL SPOTLIGHT (THE LOS ANGELES RIOTS: APR 29-MAY 4, 1992)
WATCH: CBS News - March 3, 1991: Rodney King beating caught on video
https://www.cbsnews.com/news/march-3rd-1991-rodney-king-lapd-beating-caught-on-video/
KURT WEILL / BERTOLT BRECHT BACKGROUND INFORMATION
READ: The Seven Deadly Sins - Many Voices and Women's Perspectives, KWN V37 No 1 - pdf on CANVAS (under Files)
READ: Kurt Weill Foundation for Music - Die sieben Todsünden (The Seven Deadly Sins) - https://www.kwf.org/works/siebentodsunden/
PETER SELLARS (the director not the comedian/actor, different spellings)
READ: Duffie Conversation Piece: Director Peter Sellars (1990) - pdf on CANVAS (under Files)
WATCH: Freedom From Fear: Ep. 4 - Peter Sellars
https://youtu.be/43LvucWmYOM
READ: An Interview with Peter Sellars (2004) - pdf on CANVAS (under Files)
WATCH: UMS - Peter Sellars: Art as Moral Action
https://youtu.be/fewt81B-9Ss
READ: Sellars’ ‘Figaro’ Gets Married on the 52nd Floor of Trump Tower - https://www.latimes.com/archives/la-xpm-1988-07-15-ca6960-story.html
WATCH: Mozart's The Marriage of Figaro in Trump Towers (Peter Sellars, 1988) - Overture and start of Act One clip 15'
https://vimeo.com/472787097/af816a9323
NO LATER THAN OCT 29 (11:59 PM) ANSWER STUDENT-CENTERED DISCUSSION QUESTION 7 ON CANVAS)
WEEK TEN - OCT 30
THE AVANT-GARDE CITY II:
TENNESSEE WILLIAMS
READ: Tennessee Williams: The Surprise of Reality - https://almeida.co.uk/the-surprise-of-reality
WATCH: Dr Andrew on Ten Blocks on the Camino Real 1966 TV (37m)
https://youtu.be/NAJqC4CBScQ
READ: Guare - Ten Blocks on the Camino Real: An Introduction in Eighteen Blocks - pdf on CANVAS (under Files)
WATCH: Ten Blocks on the Camino Real (1966) 66'
https://vimeo.com/453104112/7a9089953e
NOV 5 - ESSAY TWO DUE (SINGLE SPACED PDF UPLOADED TO CANVAS -> ASSIGNMENTS BY 11:59 PM)
PDFS without names and dates on them will not be accepted.:
NO LATE PAPERS
19
WEEK ELEVEN - NOV 6
THE CITY ON STAGE & FILMING THE (NEW YORK) STAGE:
FOLLIES (John Goldman / Stephen Sondheim, 1971)
WATCH: Old Show Queens: On Stephen Sondheim 8'
https://youtu.be/JuAGgBKSXBk
READ: Rich - The Last Musical (Follies) - https://www.thecrimson.com/article/1971/2/26/theatre-the-last-musical-pthese-are
WATCH: Follies - 2018 National Theater UK production 140'
https://vimeo.com/472805333/ef27edc921
WATCH: Follies - 2020 edit of collected 1971 home movie footage of the Original Broadway production 72'
https://vimeo.com/455059598/c0dbd97f77
WATCH: Dr Andrew - Sondheim Introduction 27'
https://youtu.be/V1b5J-nYvhM
NO LATER THAN NOV 12 (11:59 PM) ANSWER STUDENT-CENTERED DISCUSSION QUESTION 8 ON CANVAS
20
WEEK TWELVE - NOV 13
21
Weeks 12-14 the class culminates examining the intersecting, recent Philadelphia case histories of racist police commissioner and
politician Frank Rizzo, the radical MOVE organization, the West Philadelphia Powelton village community where MOVE was based,
and the case of Mumia Abu-Jamal and the death of Philadelphia police officer Daniel Faulkner.
EXPLORING SOCIAL JUSTICE (AND ITS LACK) IN 20TH CENTURY PHILADELPHIA, PART I
FRANK RIZZO
WATCH: Amateur Night at City Hall: The Story of Frank L. Rizzo (1978) 74' - streaming via the TU library
https://librarysearch.temple.edu/catalog/991037488606903811
THE CITY OF PHILADELPHIA VS. THE MOVE ORGANIZATION 1
WATCH: Let the Fire Burn (directed by Jason Osder, 2013) 88' - streaming via the TU library
https://sites.temple.edu/tulvid/let-the-fire-burn/
https://librarysearch.temple.edu/catalog/991000511479703811
WEEK THIRTEEN - NOV 20
22
NOV 20-22: FALL BREAK, NO CLASSES HELD
NOV 23-26: THANKSGIVING, NO CLASSES HELD
WEEK FOURTEEN - NOV 27
EXPLORING SOCIAL JUSTICE (AND ITS LACK) IN 20TH CENTURY PHILADELPHIA, PART II
THE CITY OF PHILADELPHIA VS. THE MOVE ORGANIZATION 2: NEIGHBORHOOD IMPACT
WATCH: The Bombing of Osage Ave (1987) 57'
https://www.pbs.org/video/whyy-specials-bombing-osage-avenue-1986/
READ: Remains of children killed in MOVE bombing sat in a box at Penn Museum for decades https://billypenn.com/2021/04/21/move-bombing-penn-museum-bones-remains-princeton-africa/
READ: She Was Killed by the Police. Why Were Her Bones in a Museum? Katricia Dotson’s remains were studied, disputed, displayed
and litigated. Lost in the controversy was the life of an American girl and her family https://www.nytimes.com/2022/10/19/magazine/philadelphia-move-bombing-katricia-dotson.html
THE CASE OF MUMIA ABU-JAMAL AND THE DEATH OF PHILADELPHIA POLICE OFFICER DANIEL FAULKNER
READ: 40 years after Mumia Abu-Jamal’s arrest, the case is ‘a symbol’ of a ‘broken’ justice system
https://whyy.org/articles/40-years-after-mumia-abu-jamals-arrest-the-case-is-a-symbol-of-a-broken-justice-system/
WATCH: Manufacturing Guilt (Vittoria) 25'
https://vimeo.com/71372627
WATCH: Long Distance Revolutionary : A Journey With Mumia Abu-Jama 121' - streaming via the TU library
https://librarysearch.temple.edu/catalog/991037334017003811
NO LATER THAN DEC 3 (11:59 PM) ANSWER STUDENT-CENTERED DISCUSSION QUESTION 9 ON CANVAS
WEEK FIFTEEN - DEC 4 (LAST DAY/LAST CLASS)
23
DEC 4 - LAST DAY OF CLASSES (FALL 2023)
We conclude with an exploration of Early Rap and Hip-Hop (born) in Philadelphia, and by taking a look at clips from some especially
emblematic Philadelphia-photographed movies from the last century (i.e. Rocky!)
EARLY HIP-HOP IN PHILLY
READ: "Philadelphia" from the Encyclopedia of Hip Hop Literature (2009) - pdf on CANVAS (under Files)
Lady B - "To the Beat Y'all" (1979 / 5.5 minutes)
https://youtu.be/cmTssM-tAuw
Super Nature (alter, Salt 'N Pepa) - Showstopper (1984, 5 minutes)
https://youtu.be/klZ0z_oOmCw
DJ Jazzy Jeff and The Fresh Prince - Girls Ain't Nothing But Trouble (1987, 5 min)
https://youtu.be/IOaFh-yJk_k
Schooly D - Smoke Some Kill (3.5 min)
https://youtu.be/x6lrEDI4sC8
Bahamadia - Funk Vibe (1993, 4 min)
https://youtu.be/kYrEl5gHiS0
The Roots - Organix (1993) - First Indie Released LP
https://youtu.be/xxAs9gxHg-Q
Eve - Gotta Man (1999)
https://youtu.be/NUEQ7BmGh9k
Beanie Sigel - The Truth (2000, 4 minutes)
https://youtu.be/See0q6nZQZ8'
PHILLY FICTION FILMS
WATCH: The Show Off (1926) 2' 9' [11']
https://vimeo.com/467580173/2c26570447
https://vimeo.com/469954205/ed9709b6e6
WATCH: Rocky (1976) 2' 4' 3' [9]
https://vimeo.com/472428329/e642ba6210
https://vimeo.com/472428385/66dc521bee
https://vimeo.com/472428480/d91cbac267
VISIT ONLINE: Rocky Filming Locations - http://totalrocky.com/filming-locations/
READ: The 'Rocky' Statue - https://whyy.org/programs/the-statue/
(CONTINUES NEXT PAGE)
24
PHILLY FICTION FILMS - CONTINUED
WATCH: Blow Out (1981) 13'
https://vimeo.com/467576803/eee496a8ca
WATCH: 12 Monkeys (1995) 9'
https://vimeo.com/467576890/c14c80b7b7
NO LATER THAN DEC 4 (11:59 PM) ANSWER STUDENT-CENTERED DISCUSSION QUESTION 10 (LAST QUESTION) ON CANVAS
DEC 15 - FINAL EXAM (ESSAY THREE) DUE (SINGLE SPACED PDF UPLOADED TO CANVAS -> ASSIGNMENTS BY 11:59 PM)
PDFS without names and dates on them will not be accepted.
NO LATE PAPERS
NO LATE WORK