FMS 504
Film Analysis
Professor:
Email:
Office:
Office Hours:
Dr. Aaron Baker
Aaron.Baker@asu.edu
LL-645
By Appointment
Course Description: This course offers graduate students an advanced introduction to some of
the central methodologies for studying film. We will begin with the assumption that film
analysis requires careful attention to form--how filmmakers communicate through systems such
as narrative structure, editing, mise-en-scene, and cinematography. We will then move on to look
at the concept of authorship in film, as well as several genres and styles of movies, and finally to
how the medium represents stardom, social identities, national culture and history.
Reading: There is one required text that you need to buy for this class: Film Art: An Introduction
(Ninth Edition, 2009) by David Bordwell and Kristin Thompson. You can find it at the ASU
bookstore or from an online distributor such as Amazon.com.
You will also be reading a number of articles, posted online within the class website. To honor
copyright law, I ask that you do not share nor distribute these documents. Read the assignments
carefully and on time, as they will help you understand the lectures and form the basis of our
online seminar (eBoard) discussions.
Screenings: You are responsible for screening one film per lesson. The films are available to
stream from the course website. Click on Screening and then the film’s title.
I will make reference to the assigned films in the PowerPoint/Audio Lectures and in the
discussion board questions.
GRADED WORK
Participation (100 Points): You are responsible for participating in the online seminar
discussions that take place on the eBoard. At a minimum, you should answer the questions
posted by your professor and provide classmates with constructive feedback for a minimum of
four (4) posts per lesson.
All of your posts should be substantive; i.e., thoughtful, developed, connected to the lesson topic,
and more than four sentences long. These posts must keep up with the progress of the course.
You cannot, for example, post to a lesson after it has been completed and expect for the posts to
be counted toward your participation grade. I will check the eBoard the morning after each
lesson is due, and posts need to be there at that time for you to receive credit. I will also be
assessing the value of what your posts bring to this interactivity. Refrain from flaming or ad
hominem comments. Please be rigorous but constructive.
Paper Proposal (100 Points): Your paper proposal should have the following topic headings:
1) Project Description (a short summary of the significance of your project); 2) Working Thesis
(the argument you are posing in your paper); 3) Methodology (the strategy you are using to
prove your thesis); and 4) Annotated Bibliography (the primary and secondary sources you will
use to both prove and link your thesis to the field). The bibliography must include seven-to-ten
sources. Half of them must be scholarly (no internet originated sources) and the others can be
popular (newspaper articles, interviews, etc.). The annotation should be brief and include: 1) one
or two sentences summarizing or describing the source (What are its main arguments?) and 2)
one or two sentences evaluating how it fits into your research (How will you use this source in
your research paper?). Your proposal should be double-spaced, one-inch margins, and no more
than three (3) pages. Your grade will be based on clear and concise writing and adherence to the
assignment guidelines.
1. Please save your proposal as follows: Last name, First Name – Proposal.doc
2. When submitting your paper via email, it must be in Word.
First Draft (100 Points): In your first draft, no more than 25% of your paper may be in outline
form. In all cases, the introduction should be well developed and well-written; the thesis
statement should be evident and well-structured. Your grade will be based on the clarity and
relevance of your thesis, clear and concise writing, and adherence to the assignment guidelines.
It should be double-spaced, have one-inch margins all-around, be no less than ten pages
including endnotes, and follow either the Chicago or MLA Style.
1. Please save your paper as follows: Last name, First Name – First Draft.doc
2. When submitting your paper via email, it must be in Word.
Final Draft (100 Points): The final draft should reflect the comments and feedback you've
received. It should be more than just a revision; it should reflect substantial refining and
reorganizing of your ideas. Your grade will be based on how well you incorporate suggestions
for revision, as well as the clarity and relevance of your thesis, clear and concise writing,
relevant use of sources, and adherence to the assignment guidelines. It should be double-spaced,
have one-inch margins all-around, be between twelve and fifteen pages including endnotes, and
follow either the Chicago or MLA Style.
1. Please save your paper as follows: Last name, First Name – Final Draft.doc
2. When submitting your paper via email, it must be in Word.
Grading Scale: 0 to 400 Points
A+ ..... 400+ Points
A ..... 372 - 400 Points
A- ..... 360 - 371 Points
B+ ..... 352 - 359 Points
B ..... 332 - 351 Points
B- ..... 320 - 331 Points
C+ ..... 312 - 319 Points
C ..... 280 - 311 Points
D
E
..... 240 - 279 Points
..... 000 - 239 Points
Academic Dishonesty: You are expected to turn in original work for this course. Quotations or
ideas paraphrased from other work must be properly cited. Taking credit for another’s ideas or
writing is plagiarism, which is a serious violation of the University’s Code of Academic
Integrity. In the “Student Academic Integrity Policy” manual, ASU defines “’Plagiarism” [as]
using another's words, ideas, materials or work without properly acknowledging and
documenting the source. Students are responsible for knowing the rules governing the use of
another's work or materials and for acknowledging and documenting the source appropriately.”
Academic dishonesty, including inappropriate collaboration, will not be tolerated. There are
severe sanctions for cheating, plagiarizing and any other form of dishonesty.
LEARNING TASKS
This course is comprised of 15 lessons. Each lesson includes all or some of the following tasks:
1. Reading:
Assigned Reading(s) on the Topic of the Lesson
2. Screening:
Study Films Screened for Class
3. Media Clip:
Review Scenes Referenced in Readings and Lectures
4. Lecture:
Listen to Streaming Audio Lectures with PowerPoint Slides
5. Online seminar: Answer a Question and Dialogue with Classmates on the Electronic
Bulletin Board
Lesson 01:
Reading:
Screening:
Media Clip
Lecture:
Seminar:
Lesson 02:
Reading:
Screening:
Media Clips:
Lecture:
Seminar:
Lesson 03:
Reading:
Screening:
Media Clips:
Classical Hollywood Cinema (Thursday, 7/3)
From A Certain Tendency of the Hollywood Cinema, pp. 25-69 (Ray, 1985)
“Taking Hollywood Seriously” (Maltby, 2003)
Casablanca (Curtiz, 1942)
Casablanca (Curtiz, 1942)
Classic Hollywood Cinema
Answer discussion questions, discuss with classmates
Narrative (Monday, 7/7)
Film Art, pp. 78-114 (Bordwell and Thompson, 2010)
Jurassic Park (Spielbergh, 1993)
Jurassic Park (Spielberg, 1993) – Clip #1
Citizen Kane (Welles, 1941) – Clip #2
Jurassic Park (Spielbergh, 1993) – Clip #3
Narrative Structure
Answer discussion questions, discuss with classmates
Mise-en-Scene (Wednesday, 7/09)
Film Art, pp. 118-159 (Bordwell and Thompson, 2010)
Smoke Signals (Eyre, 1998)
Arrival of the Train at La Ciotat (Lumiere Brothers, 1895)
A Trip to the Moon (George Melies, 1902) – Clip #1
Smoke Signals (Eyre, 1998) – Clip #2
Smoke Signals (Eyre, 1998) – Clip #3
Lecture:
Seminar:
Mise-en-Scene
Answer discussion questions, discuss with classmates
Lesson 04:
Reading:
Screening:
Media Clip:
Editing (Friday, 7/11)
Film Art, pp. 223-265 (Bordwell and Thompson, 2010)
The Limey (Soderbergh, 1999)
Syrianna (Gaghan, 2005) – Clip #1
The Limey (Soderbergh, 1999) – Clip #2
Do the Right Thing (Lee, 1989) – Clip #3
The Limey (Soderbergh, 1999) – Clip #4
The Limey (Soderbergh, 1999) – Clip #5
Editing
Answer discussion questions, discuss with classmates
Lecture:
Seminar:
Lesson 05:
Reading:
Screening:
Media Clips:
Lecture:
Seminar:
Cinematography (Monday, 7/14)
Film Art, pp. 167-218 (Bordwell and Thompson, 2010)
Raging Bull (Scorsese, 1980)
Ocean’s Eleven (Soderbergh, 2001) – Clip #1
Touch of Evil (Wells, 1956) – Clip #2
Raging Bull (Scorsese, 1980) - Clip #3
Cinematography
Answer discussion questions, discuss with classmates
Lesson 06:
Reading:
Film Genre (Wednesday, 7/16)
Film Art, pp. 328-337 (Bordwell and Thompson, 2010)
“Public Enemies, Public Heroes” (Munby, 1999)
Screening: Goodfellas (Scorsese, 1990)
Media Clips: The Godfather, Part II (Coppola, 1974) – Clip #1
Goodfellas (Scorsese, 1990) – Clip #2
Goodfellas (Scorsese, 1990) – Clip #3
Lecture:
Film Genre
Seminar:
Answer discussion questions, discuss with classmates
Paper Proposal: Due as an email attachment on Thursday, 7/17, by 5 p.m. Arizona time.
Lesson 07:
Reading:
Film Authorship (Friday, 7/18)
“The Cult of the Auteur” & “The Americanization of
Auteur Theory” (Stam, 2000)
“Having Your Way with Hollywood” (Lim, 2000)
Screening: Traffic (Soderbergh, 2000)
Media Clips: Traffic (Soderbergh, 2000) – Clip #1
Ocean’s Eleven (Soderbergh, 2001) – Clip #2
Lecture:
Film Authorship
Seminar:
Answer discussion questions, discuss with classmates
Lesson 08:
The Art Film (Monday, 7/21)
Reading:
“Authorship and Narration in Art-Cinema” (Bordwell, 2003)
Screening: Central Station (Salles, 1998)
Media Clip: Central Station (Salles, 1998) – Clip #1
Central Station (Salles, 1998) – Clip #2
Lecture:
The Art Film
Seminar:
Answer discussion questions, discuss with classmates
Lesson 09:
Reading:
Documentary (Wednesday, 7/23)
Film Art, pp. 349-365 (Bordwell and Thompson, 2010)
“Defining the Documentary” (Aufderheide, 2007)
Screening: Born into Brothels (Briski, 2004)
Media Clips: Fahrenheit 9/11 – Clip #1
Born into Brothels (Briski, 2004) – Clip #2
Lecture:
Documentary Film
Seminar:
Answer discussion questions, discuss with classmates
Lesson 10:
Reading:
Screening:
Media Clips:
Lecture:
Seminar:
American Independent Cinema (Friday, 7/25)
From Cinema of Outsiders (Levy, 1999)
Lone Star (Sayles, 1996)
Mission Impossible II (Woo, 2000) – Clip #1
Lone Star (Sayles, 1996) - Clip #2
Lone Star (Sayles, 1996) - Clip #3
American Independent Cinema
Answer discussion questions, discuss with classmates
First Draft of Essay: Due as an email attachment on Saturday, 7/26, by 5 p.m. Arizona
time.
Lesson 11:
Reading:
Stars (Monday, 7/28)
“Introduction” to Heavenly Bodies (Dyer, 2004)
“Articulating Stardom” (King, 1991)
Screening: Erin Brockovich (Soderbergh, 1999)
Media Clip: Pretty Woman (Marshall, 1990) – Clip #1
Erin Brockovich (Soderbergh, 1999) - Clip #2
Lecture:
Film Stars
Seminar:
Answer discussion questions, discuss with classmates
Lesson 12:
Reading:
Gender in Film (Wednesday, 7/30)
“Visual Pleasure and Narrative Cinema” (Mulvey, 1975)
“Masculinity as Spectacle” (Neale, 1993)
Screening: Gas, Food, Lodging (Anders, 1992)
Media Clips: Rear Window (Hitchcock, 1954) - Clip #1
Raging Bull (Scorsese, 1980) – Clip #2
Gas, Food, Lodging (Anders, 1992) – Clip #3
Lecture:
Gender in Film
Seminar:
Answer discussion questions, discuss with classmates
Lesson 13:
Reading:
Screening:
Media Clips:
Lecture:
Seminar:
Race in Film (Friday, 8/1)
“Aesthetics, Ethics and Politics in the Films of Spike Lee” (Kellner, 1997)
Do the Right Thing (Lee, 1989)
Birth of a Nation (Griffith, 1915) – Clip #1
To Sleep With Anger (Burnett, 1990) – Clip #2
Daughters of the Dust (Dash, 1991) – Clip #3
Race in Film
Answer discussion questions, discuss with classmates
Lesson 14:
Reading:
Mexican Cinema (Monday, 8/4)
“Cinema and the State in Contemporary Mexico, 1970-1999” (Maciel, 1999)
“Seducing the Public: Images of Mexico in Like Water for Chocolate and Amores
Perros” (Shaw, 2003)
Screening: Amores Perros (Iniarritu, 2000)
Media Clips: Like Water for Chocolate (Arau, 1992) - Clip #1
Amores Perros (Iniarritu, 2000) – Clip #2
Lecture:
Mexican Cinema
Seminar:
Answer discussion questions, discuss with classmates
Lesson 15:
Reading:
Immigration and Film (Wednesday, 8/6)
“Celluloid Palimpests: An Overview of Ethnicity and American Film” (Friedman,
1991)
From From Immigrants to Ethnics (Nelli,1983)
Screening: The Golden Door (Crialese, 2006)
Media Clips: Gangs of New York (Scorsese, 2002) – Clip #1
The Golden Door (Crialese, 2006) - Clip #2
Lecture:
Immigration and Film
Seminar:
Answer discussion questions, discuss with classmates
Final Draft of Essay: Due as an email attachment on Monday, August 11, by 5 p.m. Arizona
time