FSEM 100 J6 (Honors)
Alfred Hitchcock: The Master of Suspense
Department of Art and Art History
fall 2014
JeanAnn Dabb
Classroom: Melchers 107
Office: 112 Melchers, ext. 2039, e-mail: jdabb@umw.edu
Office Hours: T/TH 8:00-9:15; 1:00-1:45, W 1-1:45; 3:30-4:30 and by appointment
Course Description
Many critics and historians rank Alfred Hitchcock as one of the most influential artists of the
twentieth century. His impact on film has been universally acknowledged but his influence on
fine and popular art is less well known in published criticism yet remains demonstrated by
current film and television projects, art installations, and an ever-expanding bibliography. This
course is organized as an interdisciplinary survey of his films plus an examination of his legacy
in the contemporary works of filmmakers and artists such as John Baldessari, Douglas Gordon,
and Cindy Sherman. The seminar will include a chronological examination of Hitchcock films
beginning with the silent era to the acknowledged masterworks of the 1940s-1960s.
Course Objectives
This course is designed to be discussion based where all members are expected to be active
participants and arrive prepared for each class meeting. The films of Hitchcock will be our
primary "texts" that we will examine throughout the semester. Students will gain an
understanding of the synthesis of forms of visual expression and the varied methodologies that
have been employed by critics and historians of the media that will be evaluated during the
course. Students will learn the appropriate theoretical approaches to film and art and working
closely with staff at Simpson Library, will become familiar with standard print and electronic
sources, plus relevant databases, for research in film and visual art as they develop their own
ideas about these media. Much emphasis will be placed on the development of speaking and
writing skills in relation to the topic of the seminar. The instructor will provide detailed
speaking and writing assignment descriptions as students learn organization and documentation
styles appropriate to the disciplines of film and art history. Writing and speaking assignments
are designed to build from initial proposals and gathering of sources through refinement of draft
versions prior to the finished products of essays and formal presentations. Throughout the term,
formal feedback will be provided by both peers and the instructor.
Additional Course Goals
*Students will become better writers and comprehend writing style and citation standards
appropriate to specific disciplines
*As a result of the numerous opportunities for discussion and formal presentations,
students will become better public speakers capable of developing convincing
arguments and communicating effectively
*Students will become adept at using both primary and secondary sources for their
research, formulate
and organize sound argument, and become familiar with the various research methods
standard in the disciplines of film and art
*Students will develop a greater understanding and appreciation of the interdisciplinary
nature of fields of study such as film and art
*Students will learn to integrate various viewpoints in their analyses of film and art
First-Year Seminar Course Goals
*Utilize active, discussion-based, participatory learning, be exploratory in nature, rather than
just presenting conclusions
*Read primary sources, not simply textbooks
*Synthesize material from multiple sources to develop their own views on the topic
First-Year Seminar Student Learning Outcomes
*Utilize a variety of research techniques to retrieve information efficiently, evaluate retrieved
information, and synthesize information effectively to support their messages or arguments
*Improve development and organization of written arguments
*Demonstrate the ability to edit and revise in the writing process
*Apply the basic theories and principles of oral communication;
*Communicate effectively in a variety of settings, including public speaking and group
discussion
Course Requirements
Students will engage in writing and speaking assignments that will include film analysis, critique
of works of art, and review of studies in film history. Students will also have the opportunity to
select from a list of topics a project that they will develop throughout the semester and then
present their findings to peers in the final two weeks of the semester. Students are expected to
keep current with the schedule of reading assignments and film screenings. Since most of the
work in the course is dependent on participation in discussion, only two unexcused absences will
be permitted without impact on your participation grade. Participation in class
discussions/activities (20%) and blog posts (20%) will count toward the 40% participation
component of the final grade. A paper proposal and annotated bibliography will be required
(10%) leading toward the critical analysis paper (30%) plus oral presentation (20%) all
contributing to 60% of the final grade. No late work will be accepted without prior approval
of the instructor in the case of medical or other emergency.
Final grades will be assigned according to the standards set forth in the UMW Dictionary of
Academic Regulations. D grade work will be reported as unsatisfactory on the mid-semester
reports. Please note that the UMW Honor Code will be in force at all times.
Grade distribution:
100-95 A
94-90 A82-80 B79-76 C+
69-66 D+
65-63 D
89-86
75-73
62-0
B+
C
F
85-83
72-70
B
C-
Texts available in Bookstore
A Hitchcock Reader, Deutelbaum and Poague, eds., Iowa State University Press, Ames, 2nd
edition, 2009
Hitchcock Films Revisited, Robin Wood, Columbia University Press, New York, revised edition,
2002
Selected Texts (available at the Simpson Library Reserve Desk)
Hitchcock at Work, Bill Krohn, London, 2000
Hitchcock on Hitchcock: Selected Writings and Interviews, Sidney Gottlieb, ed., London, 1995
Hitchcock's Notebooks, Dan Aulier, New York, 1999
The Encyclopedia of Alfred Hitchcock, New York, 2002
The Alfred Hitchcock Story, Ken Mogg, Taylor Publishing, Dallas, 1999
The Films of Alfred Hitchcock, Harris and Laskey, Secaucus, 1976
Film Art: An Introduction, Bordwell and Thompson, McGraw Hill, New York, 1997
Notorious: Alfred Hitchcock and Contemporary Art, Museum of Modern Art, Oxford, 1999
A Short Guide to Writing about Art, Sylvan Barnet, 2010
A Short Guide to Writing about Film, Timothy Corrigan, 2007
Films to be screened by all seminar members
The Lodger
Blackmail
The 39 Steps
Shadow of a Doubt
Spellbound
Strangers on a Train
Rear Window
Vertigo
Psycho
The Birds
Other Resources
All required films will be available at the reserve desk of Simpson Library. Students are also
encouraged to subscribe to Netflix or another streaming service if you do not already have an
account so that you might more easily have access to films at all times.
Further Information
The Office of Disability Services has been designated by the University as the primary office to
guide, counsel, and assist students with disabilities. If you receive services through the Office of
Disability Services and require accommodations for this class, make an appointment with me as
soon as possible to discuss your approved accommodation needs. Bring your accommodation
letter with you to the appointment. I will hold any information you share with me in strictest
confidence unless you give me permission to do otherwise. If you have not made contact with
the Office of Disability Services and have reasonable accommodation needs, (note taking
assistance, extended time for tests, etc.), I will be happy to refer you. The office will require
appropriate documentation of disability.
Schedule of Class Meetings
Week 1
Introduction. Hitchcock biography, personality, and the cameo appearances
26, 28 August Reading: Maurice Yacowar, "Hitchcock's Imagery and Art" A Hitchcock Reader,
pp. 25-34 Anthony Lane, "In Love with Fear" The New Yorker, Aug. 16, 1999,
pp. 80-86
Week 2
The Silent Era. Early Film
2,4 September Screening: The Lodger
Reading: Lesley Brill, "Hitchcock's The Lodger," A Hitchcock Reader, pp. 75-84
Week 3
9 September
Transition to Sound
Meet with Peter Catlin at Simpson Library, 2nd floor classroom
Proposal for Critical Analysis Paper Due
11 September Screening: Blackmail
Reading: Robin Wood, "Symmetry, Closure, Disruption: The Ambiguity of
Blackmail" Hitchcock's Films Revisited, pp. 249-274
Week 4
Classic British Period. Recipe for Suspense
16,18 September Screening: The Thirty-Nine Steps
Charles L.P. Silet, "Through a Woman's Eyes: Sexuality and Memory
in The 39 Steps" A Hitchcock Reader, pp. 114-125
Week 5
Hitchcock in Hollywood. The Studio System and Auteur Theory
23,25 September Reading: Andrew Sarris, "Notes on the Auteur Theory in 1962," Film Theory
and Criticism, pp. 561-564
Week 6
Hitchcock and Writers.
30 September/2 October Screening: Shadow of a Doubt
Reading: James McLaughlin, "All in the Family: Alfred Hitchcock's
Shadow of a Doubt," A Hitchcock Reader, pp. 145-155
Week 7
Hitchcock and Visual Artists: Dalí.
7,9 October Screening: Spellbound
Reading: Nathalie Bondil-Poupard, "Such Stuff as Dreams are Made on: Hitchcock
and Dalí, Surrealism and Oneiricism" Hitchcock and Art: Fatal Coincidences,
pp. 155-171
9 October: Annotated Bibliography Due
Week 8
Gendered Views.
16 October Screening: Strangers on a Train
Reading: Robin Wood, "The Murderous Gays: Hitchcock's Homophobia"
Hitchcock's Films Revisited, pp. 336-357
Week 9
21,23 October I See You
Screening: Rear Window
Reading: Robert Stam and Roberta Pearson, "Hitchcock's Rear Window:
Reflexivity and the Critique of Voyeurism" A Hitchcock Reader, pp. 199-211
Week 10
No class meeting on October 28
30 October
The Masterpiece.
Screening: Vertigo
Reading: Marian Keane, "A Closer Look at Scopophilia: Mulvey, Hitchcock, and
Vertigo" A Hitchcock Reader, pp. 234-249
Week 11
The Experiments.
4,6 November Screening: Psycho and The Birds
Reading: Robin Wood, "Psycho" and "The Birds" Hitchcock's Films Revisited, pp.
142-172
Week 12
11 November Discussion: The Birds
13 November Hitchcock on Television.
Screenings: extracts from Alfred Hitchcock Presents and The Alfred Hitchcock
Hour Reading: Martin Grams and Patrik Wikstrom, Alfred Hitchcock Presents:
A Companion, pp. 19-41
13 November: Draft version of paper due
Week 13
Oral Presentations
18, 20 November Presentations will be delivered in chronological order of the films chosen as
topics for individual projects.
Week 14
The Final Films and Unrealized Projects
25 November Reading: various authors, "Directors on Hitchcock" Sight and Sound, 1999, pp.
20-36
Weeks 15
Hitchcock beyond Film
2,4 December Reading: Stéphane Aquin, "Hitchcock and Contemporary Art" Hitchcock and Art:
Fatal Coincidences, pp. 173-188
Final Exams: Critical Analysis Papers Due during your scheduled exam time
Section 1: Thursday, 11 December, 8:30-11:00 a.m.
Section 2: Tuesday, 9 December, 12:00-2:30 p.m.
Class Discussions and Responsibilities of Discussion Leaders
At least once during the semester you (along with a partner) will have the opportunity to
coordinate a discussion based on assigned readings, film screening, or other activity required of
class members. You will have at least one week's notice to prepare for this experience. Your
role is to facilitate discussion and not deliver prepared speeches to the group.
Some ideas you should consider:
* Work in cooperation with your partner as you decide who will do what during the
discussion period and what important points you wish to raise with the group. You may want to
practice going over your topics and watch the time so that you will be confident you can
coordinate the conversation in the allotted time and cover the specifics you decide are important
to address.
* Carefully read the assigned article/chapter/text/ or view the film and single out the
important thesis/theses or themes. Analyze the method or theory used by the author/director as
well as the message or content presented.
*If you determine it would be effective for the discussion, create a powerpoint
presentation with works of art, film clips, or images which would enhance the discussion or raise
important points you wish to address. Arrive on the day of your assignment a bit early for class
so that the powerpoint can be loaded and ready by the start of class.
*Arrive on the day of the discussion ready to pose questions, announce the specific points
you wish to address to the class, or introduce details that will prompt the sharing of opinions.
Your questions and comments should garner some anticipated responses from the class members
but you should also be prepared for some unexpected responses. Your peers could be slow to
comment and so consider ways that you might draw out their responses.
Please consult with the instructor if you have any questions about this assignment.
FSEM 100 J6 Alfred Hitchcock: Master of Suspense
Speaking Assignments
Expectations for Class Discussion (20 %) and Oral Presentation (20%)
After the first meeting of the course, it is expected that all assigned readings and screenings will
be completed by the first class meeting of the week. This means that all class members will be
prepared to engage in discussion of the topics under review for that week. Every class member
will also have an opportunity to act as a discussion leader at least once during the semester. On
the date of your assignment you will be responsible for developing questions to pose to the
group, prompt more detailed conversation when comments lag, and anticipate alternate points of
view to introduce to the group. You are not to prepare a lecture-style presentation but lead a
discussion. No letter grade will be assigned for this task but participation points will be noted by
the instructor.
______________________________________________________________________________
Students will be assigned a presentation date for their oral presentation based on the chronology
of their chosen topics (see ideas for topics in the Writing Assignment description.) We will
address the films in the order of their release dates. Each student should arrive in class on their
assigned date with a carefully practiced, power-point presentation that should run between 7-8
minutes leaving time for a few questions after each presentation.
Each student will have ten minutes for their topic. You might want to begin with a brief
overview of the film or immediately address a specific aspect of your chosen approach to the
film--each approach has its merits. You should decide what might be most interesting to your
audience such as matters of style, character development, narrative, etc. and use the limited time
to present what you find most compelling about the film or that period in Hitchcock's career.
You are required to consult with the staff of the Speaking Center for assistance and advice on
preparing for this assignment. This will require that you plan in advance since appointments are
often not available at the last minute before due dates. I recommend you consider having a runthrough of your talk taped at the Center and make any adjustments deemed necessary after you
and a staff member critique your performance.
A short question and answer period will follow each presentation so you should come prepared
to address issues that might not have been covered during your presentation but which are
relevant to the topic. Be prepared for your audience to be curious about aspects of the topic you
may not have addressed directly, or at all.
The presentation/presenter will be evaluated on the following criteria:
* presentation integrates formal description and visual evidence effectively
* speaker engages audience by providing new information while relying on shared body of
knowledge about the Hitchcock's films
* speaker delivers ideas in clear, cliché-free prose without distracting mannerisms
* speaker makes effective use of time yet does not exceed limit
Each presenter will complete a self-evaluation and all class members will complete peer
evaluations. The instructor will also provide specific feedback regarding each presentation
including a letter grade.
FSEM 100 J6 Alfred Hitchcock: Master of Suspense
Writing Projects: General Description
Blog posts (20%) will be assigned throughout the semester. These will be evaluated as part of
the 40% participation component for the course. A formal research paper will also be graded
and counted toward the 60% portion of the final grade. All students are required to visit the
Writing Center and are encouraged to consult with tutors in the Writing Center for their research
paper. Such appointments are documented and reports forwarded to the instructor. Students are
also required to follow the guidelines for writing and documentation styles that are introduced in
Barnet's A Short Guide to Writing about Art and Corrigan's A Short Guide to Writing about
Film. Recommendations in Corrigan's book do not indicate Chicago style which you must use
for this assignment.
______________________________________________________________________________
All writing assignments are to be completed in Times Roman, double spaced 12 point font on
pages with one inch margins. All writing assignments will be due on the date assigned. No
electronic submissions will be accepted.
Each student in the seminar will select a Hitchcock film beyond the list included in the course
syllabus. Possible options include but are not limited to:
The Ring, Easy Virtue, Champagne, The Farmer's Wife, The Manxman, Juno and the Paycock,
Murder!, The Skin Game, Rich and Strange, Number Seventeen, The Man Who Knew Too Much
(1934 or 1956 version), Secret Agent, Sabotage, Young and Innocent, The Lady Vanishes,
Jamaica Inn, Rebecca, Foreign Correspondent, Mr. and Mr. Smith, Suspicion, Saboteur,
Lifeboat, Notorious, The Parradine Case, Rope, Under Capricorn, Stage Fright, I Confess, Dial
M for Murder, To Catch a Thief, The Trouble with Harry, The Wrong Man, North by Northwest,
Marnie, Torn Curtain, Topaz, Frenzy, Family Plot.
The selected film will be the topic of three writing assignments that are:
* Proposal (2 pages minimum)
* Annotated Bibliography (minimum of twelve sources, six of which must be print)
* Critical Analysis (8 pages of text minimum, not including endnotes in Chicago style,
bibliography, and illustrations.) You will also submit an abstract of your paper that you
will post on the class blog.
Proposal
Each student will submit two-page (minimum length) description of their proposed topic, ideas
for addressing the topic, plus any bibliographic sources discovered to date but not yet fully
examined. If you have already drafted a thesis be sure to include it and any ideas you may have
about the development of your topic. After reading your proposal, I may suggest alternative
approaches and additional resources for you to consider. This proposal will be due on 9
September.
I will be happy to consult with you as you select a topic and remind you to be aware that not all
sources for your research will be available in Simpson Library so this means you will be
expected to use the Inter-Library Loan system. While you begin your search in Simpson Library,
you should consult useful publications such as those available in the reference section, the
Reserve Desk, and other bibliographic or database sources. (Our session with Peter Catlin of
Simpson Library will introduce many of these resources.) Take advantage of books and articles
listed in footnotes and bibliographies--start with readings listed on the syllabus, in the books
assigned for readings, and those available at the Reserve Desk.
Annotated Bibliography
The bibliography must have a one page, single-spaced cover sheet where you introduce the topic,
summarize the information you have gathered, and identify the thesis of your paper. The twelve
entries must follow Chicago Style form for the initial citation (be sure to consult the handout
provided.) Each bibliographic entry should be followed by explanatory text of sufficient length
to explain the value of each article, book or website as it relates to your topic. Those sources you
find most useful are likely to have longer entries than those you dismiss as less relevant. The
bibliography is due on 25 September.
Critical Analysis Paper
Read "Appendix: Writing a Critical Analysis of a Film" pp. 431-437 in Film Art: An
Introduction, Bordwell and Thompson, McGraw Hill, New York, 1997. This excerpt will help
you refine a thesis, organize your ideas, and identify a conclusion to your essay. You may
choose to focus primarily on cinematography, narrative, or style. Your paper may also address
varied topics as long as you identify a goal for your essay in a well-defined thesis.
A draft version of your paper will be submitted during the 12th week of class on Thursday 13
November before the final due date. This will allow each student to receive feedback from the
instructor and then to edit and revise both style and content. Students are also encouraged to
seek feedback from peers in the seminar and tutors in the Writing Center. The draft will not be
graded but submission to the instructor is required.
The final paper will be evaluated on the following criteria:
* author exhibits command of subject matter and cites relevant sources in notes and
bibliography
* text displays clarity of expression and organization (thesis is sound and evidence
supports the premise)
* paper possesses interesting details (prose descriptions, discussion of specific features of
the film or selected works of art used for comparison, etc.)
* author shows command of grammar and comprehension of the mechanics of written
expression
Criteria for Grading: A paper earning an F will not have met any of the requirements for the
assignment. A paper earning a D grade will not have met all the minimum requirements for the
assignment. A paper earning a grade of C will have met the minimum requirements and also
display sound writing style and adequate citations. Analysis of works of art and sources will be
basic. A grade of B will be assigned to a paper with substantial references and solid critical
foundation for addressing the thesis under investigation. The writing style will be free of clichés,
and full of insightful observations. An A grade paper will possess excellent citations, critical
evaluation of scholarly literature or relevant sources, and superior writing.
FSEM 100 J6 Honors Alfred Hitchcock: The Master of Suspense
Oral Presentations
Each of you will have ten minutes for your topic. Define your thesis and state the purpose of
your presentation as you begin. You should decide what might be most interesting to your
audience-matters of technique, style, historical context, theme, etc. and use the limited time to
present what you find most compelling about the film. Your ideas must be grounded in the
critical literature on your topic, and the films of Hitchcock in general, and where relevant you
should directly reference the work of established scholars.
I do not have a preference for the nature of your presentation. You may read from text or note
cards or speak more extemporaneously, but any approach should reflect a practiced delivery style
that includes dynamic voice modulation versus monotone delivery. Your speaking style should
also be free of vocal tics and fillers. You will be evaluated on both the form and content of your
presentation.
A short question and answer period will follow the presentations of each day so you should come
prepared to speak about issues that might not have been covered during your presentation but
which are relevant to the topic. Be prepared for your audience to be curious about aspects of the
topic you may not have addressed directly, or at all.
You are encouraged to consult with the Honors mentor (Ray Celeste Tanner) and the staff of the
Speaking Center for assistance and advice on preparing for this assignment. I recommend you
consider having a run-through of your talk taped at the Center and make any adjustments deemed
necessary after you and a staff member critique your performance. At minimum you should
consult with Ray Celeste and the Speaking Center if you are working to overcome anxiety about
public speaking or have been told your public speaking style could use improvement in areas
such as distracting mannerisms, etc.
The presentation/presenter will be evaluated on the following criteria:
*presentation adheres to 10 minute time limit
*presentation reflects practiced delivery and dynamic style
* presentation integrates description and visual evidence effectively
* presentation combines opinions of presenter grounded in a knowledge of critical theory
and scholarly literature
* speaker appears enthusiastic about the topic and engages the audience by providing
new information while relying on a shared body of knowledge about Hitchcock's
work and the literature covered in class
* speaker delivers ideas in clear, cliché-free prose without distracting mannerisms (of
voice and gesture)
* speaker uses appropriate visual aids that support ideas of the topic
* speaker makes effective use of time yet does not exceed limit