SEMESTER AT SEA COURSE SYLLABUS
Voyage: Fall 2013
Discipline: Media Studies
Course Number and Title: MDST 3559-101 Globalization Through Film
Division: Upper Division
Faculty Name: Gregory Mason
Pre-requisites: A previous course on film or media studies strongly advised. For those new to
film study, necessary introductory and background materials will be briefly reviewed and indicated
with readings
COURSE DESCRIPTION
In the globalized world of today, Hollywood films rule. People everywhere eagerly watch films
but most of them are made in the USA. From its earliest days, silent film was hailed as the bearer
of a “universal language” of gesture that could unite humanity. Charlie Chaplin was the universal
“little man,” and viewers embraced him worldwide. The advent of sound brought an
accompanying babble of competing languages, while the postwar economic and political
dominance of the United States led to a Hollywood-dominated film industry around the world.
At the same time, the development of low-cost digital technology has allowed filmmakers
worldwide to work, often outside the studio system, to develop original, alternative styles.
Inspired by national and regional traditions, such filmmakers are expressing their memories,
dreams and aspirations in visual and auditory languages that come not from Hollywood, but from
their own cultures. They are also engaging the critical issues that arise from the conflicts between
traditional ways and the pervasive, homogenizing influences of globalization. This course will
study both films that celebrate the influences of globalization and those that resist it, as
individual filmmakers try to reach large audiences and still chart their own authentic paths. At
the same time, it will use the medium of film as a vehicle through which to explore and
understand the many facets of globalization. Whenever possible, course films will be set in the
countries of ports of call on our voyage and showcase some aspect of the country and its culture.
COURSE OBJECTIVES
To study notable films from contemporary world cinema, and to gain an appreciation for their
artistic richness and for range of individual and national styles they represent
To become more discerning critics of film through close attention to the nuances of style and
expression in the films that that we study. To this end, students will write individual critical
reflections and formal response papers, as well as a longer comparative paper on an approved topic
of the student’s choice
To better understand the complex phenomenon of globalization, cultural, social, economic and
political as it is expressed through the range of films we will study
To benefit from the films we study to better understand and appreciate the different ports of call on
our voyage and the cultures that they represent and embody
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REQUIRED TEXTBOOKS
AUTHOR: Timothy Corrigan and Patricia White
TITLE: The Film Experience
PUBLISHER: Bedford/Saint Martins
ISBN #: 978-0312445850
DATE/EDITION: 2009, 2nd edition
AUTHOR: Manfred Steger
TITLE: Globalization: A Very Short Introduction
PUBLISHER: Oxford University Press
ISBN #: 98-0199552269
DATE/EDITION: 2009, 2nd edition
TOPICAL OUTLINE OF COURSE
A1- August 26: Introduction. World Cinema and Globalization. Opening Questions
Share course design and discuss class expectations. Collect class writing sample.
B1- August 27 Before A2, view film Dirty Pretty Things (UK, Stephen Frears, 2002)).
A2-August 28: Discuss opening readings on globalization and on elements of film
Prepare for Saint Petersburg. Port field assignment prompt given
Readings in Corrigan and Steger TBA
October: Ten Days That Shook the World (Russia, Sergei Eisenstein, 1928),
Russian Ark (Russia, Alexander Sokurov 2002)
Man With A Movie Camera (Russia, Dviga Vertov, 1929)
Also recommended: Battleship Potemkin (Russia, Sergei Eisenstein, 1925)
August 29-September 1: St. Petersburg
B2- September 2
A3- September 3: Debrief and reflect on Saint Petersburg port stay
Readings in Corrigan and Steger TBA
Prepare for Hamburg. Port field assignment prompt given
Before A4, view film The Edge of Heaven (Germany, Fatih Akin, 2007).
Also Recommended: Head-On (Germany, Fatih Akin, 2003)
B3- September 4
September 5-8: Hamburg
A4- September 9: Debrief and reflect on Hamburg port stay
Respond to The Edge of Heaven
Readings in Corrigan and Steger TBA
Before A5, view film In Bruges (UK, Martin McDonagh, 2008)
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B4- September 10
A5- September 11: Prepare for Antwerp and Le Havre port stays.
Port field assignment prompt given
Discuss film In Bruges
Readings in Corrigan and Steger TBA
Before A6, view film Five Minutes of Heaven (Ireland, Oliver Hirschbiegel, 2009)
Also recommended: Joyeux Noel: Merry Christmas (2005, 116 mins)
September 12-14: Antwerp
September 15-16: Le Havre
B5- September 17.
A6- September 18: Debrief and reflect on Antwerp and Le Havre port
Readings in Corrigan and Steger TBA
Prepare for Dublin port stay. Port field assignment prompts given
Discuss Five Minutes of Heaven
Also recommended: Sunday, Bloody Sunday (2001, 110 mins)
Michael Collins (UK, 1996, 184 mins)
The Wind That Shakes the Barley (UK, Ken Loach, 2006)
FIRST FILM REVIEW OR PORT STORYBOARD ASSIGNMENT DUE
B6- September 19
September 20-23: Dublin
A7- September 24: Debrief and reflect on Dublin port stay
Before A8, B7, view film: Talk To Her (Spain, Pedro Almodovar, 2002)
B7- September 25: Prepare for Lisbon and Cadiz port stays.
A8- September 26:
Review of film and globalization readings and theory, Readings TBA
Discuss film Talk to Her
Also recommended: All About My Mother (Spain, Pedro Almodovar, 1999)
Pan’s Labyrinth (Spain, 2006, 112 mins)
Exploring Globalization (2007, 44 mins, Jim Lehrer, Paul Salman)
An Inconvenient Truth (2006, 96 mins, Al Gore)
September 27-28: Lisbon
September 29: in Transit
September 30-October 1: Cadiz
October 2: No Class. Morocco. Preparation.
October 3-6: Casablanca
B8- October 7 Before A9, view The Daughter of Keltoum (Algeria, Mehdi Charef, 2001)
Also recommended: The Sheltering Sky (Italy, 1990, Bertolucci, 138 mins)
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A9- October 8: Discuss The Daughter of Keltoum
Review of film and globalization readings and theory
B9- October 9
October 10: Study Day
A10- October 11:
Before A11, view film Mooladé (Senegal, Ousmane Sembene, 2002)
Also recommended: Black Girl (1965, Senegal80 mins Sembene)
Hyenas (1992, Senegal, 113 mins. Dir. Djibri Mambéty)
Blood Diamond (US, 2006, 143 mins, set in Sierra Leone)
Readings TBA
OTHER, EITHER FIRST FILM REVIEW OR STORYBOARD ASSIGNMENT DUE
B10- October 12
A11- October 13: Discuss film Mooladé
Prepare for Ghana port stays. Port field assignment prompt given
Review of film and globalization readings and theory, Readings TBA
B11- October 14
October 15-16: Tema
October 17-18: Takoradi
October 19. Study Day
A12- October 20: Debrief and reflect on Ghana port stays
Before A13, view film Tsotsi (South Africa, Gavin Hood, 2005)
Also recommended: Cry, The Beloved Country (James E. Jones 1995, 106 mins)
Cry Freedom (1987, 159 mins, about Steve Biko)
A Dry White Season (A Brink novel w/ Brando & Sutherland 1989, 107 mins)
Yesterday (2004, 95 mins feature on HIV in Africa)
In My Country (2004, 103 mins on Truth and Reconciliation Trials)
Invictus (2009, 133 mins, Mandela supporting white SA Rugby team))
Boesman and Lena (1999, 84 mins, based on Athol Fugard play)
Nelson Mandela (documentary, 2004, 103 mins)
B12- October 21
A13- October 22: Discuss film Tsotsi
Readings TBA
October 23. Study Day
B13- October 24 MIDTERM IN-CLASS WRITING ASSIGNMENT
A14- October 25: MIDTERM IN-CLASS WRITING ASSIGNMENT
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, Readings TBA
October 26-30: Cape Town
October 31. Study Day.
B-14 November 1 Debrief and reflect on Cape Town port stay, Readings TBA
A15- November 2: Before A16 view film District Nine (South Africa, Neill Blomkamp, 2009)
SECOND FILM OR PORT FIELD STORYBOARD ASSIGNMENT DUE
B15- November 3
November 4. Study Day.
A16- November 5: Discuss film District Nine
Before A17, view The Secret in Their Eyes (Argentina, Juan Campanella 2010
Also recommended: The Official Story (1988, 114 mins)
Evita (1996, 135 mins)
Readings TBA
B16- November 6
A17- November 7: Discuss The Secret in Their Eyes
Readings TBA
November 8. Study Day.
B17- November 9
A18- November 10: Prepare for Buenos Aires port visit. Readings TBA
View film, Whisky Romeo, Zulu (Argentina, Enrique Piñeyro, 2004)
Port field assignment prompt given, Readings TBA
PROPOSAL FOR COMPARATIVE PAPER DUE
B18- November 11
November 12-16: Buenos Aires
A19- November 17: Debrief and reflect on Buenos Aires port visit.
B19- November 18 Before A20, view film Central Station (Brazil, Walter Salles 1998)
Also recommended: The Motorcycle Diaries (2004, 127 mins Walter Salles)
City of God (2003, Fernando Meirelles, 130 mins)
A20- November 19: Discuss film Central Station, Readings TBA
Before, A21, view The Mission (UK, Roland Joffe, 1986)
November 20-22: Rio de Janeiro
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November 23. Study Day
B20- November 24 Debrief and reflect on Rio port visit. Readings TBA
A21- November 25:
Discuss The Mission, Readings TBA
SECOND OTHER, EITHER FILM REVIEW OR STORYBOARD ASSIGNMENT DUE
B21- November 26
November 27. Study Day.
A22- November 28:, Readings TBA
FIRST DRAFT OF COMPARATIVE PAPER DUE
B22- November 29 Prepare for Manaus port visit. Port field assignment prompt given
A23- November 30: Port field assignment given
Readings TBA. Before A24, view The Constant Gardener (USA, Fernando Meirelles,
2005)
Also recommended:
At Play in the Fields of the Lord (Hector Babenco, Brazil, 1991, 185 mins)
The Emerald Forest (UK, John Boorman 1985, 114 mins)
Fitzcarraldo (Germany, Werner Herzog, 1981, 157 mins)
Life and Debt (documentary, 2001, 86 mins)
December 1. Study Day.
December 2-5: Manaus
December 6. Study Day.
B23- December 7
A24- December 8 Debrief on Manaus port visit.
Discuss The Constant Gardener
B24-December 9
December 10. Study Day.
A25-December 11; A Day Finals, Final In-Class Writing Assignment
COMPARATIVE PAPER DUE AT FINAL EXAM
December 12. Study Day.
B25-December 13: B Day Finals
A24- December 8: Review
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B24-December 9
December 10. Study Day.
A25-December 11; A Day Finals, Final In-Class Writing Assignment
COMPARATIVE PAPER DUE AT FINAL EXAM
December 12. Study Day.
B25-December 13: B Day Finals
FIELD WORK
FIELD LAB
Proposal One; Independent Filmmaking in Argentina: An Encounter with Enrique Piñeyro and His
Work
The day will begin in a seminar room setting, where the class will meet with our host
filmmaker, who will give the class some background about the current filmmaking scene in
Argentina, and the situation of the independent filmmaker. The class will learn about the level of
funding and other support filmmakers in Argentina enjoy, and more generally about the various
challenges and opportunities they encounter. After discussion on these issues, Mr. Piñeyro will
introduce one of his films and the class will then move to a viewing room where the film will be
screened for us. After watching the film, Mr. Piñeyro will host a discussion of the film over
lunch. In the afternoon, the filmmaker will take the class either on a walking or driving tour to
some destinations that are important for the city’s film culture, perhaps locations where films
have been shot, archives where films are curated and stored, or even art cinemas or cafes that
attract the city’s film aficionados.
Student Assignment for Field Lab One and Method of Evaluation
Each student will first write a reflective, critical response to the whole day’s experience, including
your impressions of our host, how he differed from or confirmed your prior expectations, what you
learned, and how your interest in and appreciation of film was affected by this encounter. Students
will also write a response to the film they saw, their initial personal reactions and how their final
response was altered or confirmed by the subsequent class discussion and Q and A session. Finally,
students will be asked to sum up what this experience has taught them about World Cinema and
the art of film that they couldn’t have learned from a book. Each student is encouraged include
and incorporate any visual images, photos taken or sketches made as part of the day’s encounter, as
part of the whole response essay.
Proposal Two: Tour of the Deichttorhallen Museum House of Photography
Student Assignment for Field Lab Two and Method of Evaluation
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Each student will write a detailed personal reflection about their experience visiting the
Deichtorhallen Photography Museum, how it was unique, or how it compared with other
photography or art museum visits they have made. Students will also write a critical response to
the talk they will hear, either from an artist or from a museum curator, and also a response to the
museum’s exhibits as a whole, and to a video installation in particular. In preparing for this field
lab, the class will have considered the place of film as a kinetic art compared to painting and
photography and the critical question of where to place video art in this continuum. The day’s visit
to the museum will broaden the horizons of some students, and should help all in developing their
personal visual aesthetics. Students will be encouraged to capture images of their own throughout
the day, to be a part of their “portfolio” report on the class field lab.
Students will be evaluated for the field lab, based on attendance at all parts of the day’s program,
on curious and engaged participation, and on the quality of their response papers. First informal
drafts of response papers must be submitted within 48 hours. Revised versions may be submitted at
a later date, after receiving instructor feedback.
Field Lab worth 20% of course grade
FIELD WORK
Field Assignments for Other Ports of Call, Each student will be required to submit a “storyboard”
assignment of at least five images for two separate ports of call of their choice during the voyage.
A storyboard is a series of sketches of the shots in a scene. In this case they will be images
captured by students, either sketched or photographed, to form some kind of action, process or
mood-setting sequence. Typically, storyboards also contain notations about costume, setting,
lighting and camerawork, and this will give students the chance to show their imaginative grasp of
these filmic elements in hypothetical film sequences of their own designing. These field
assignments will both require students to get a feel for the sense of place and the life of each port
they choose, and to incorporate their knowledge as film critics into mini creative projects of their
own. Storyboards can be filed as a paper or a power point. Images used must be provable images
that students themselves have captured or created. No library or internet images permitted.
Storyboards will be evaluated both for their visual and narrative or lyrical quality, and for the
understanding they display of the filmmaking process. This project is worth 20% of course grade.
METHODS OF EVALUATION / GRADING RUBRIC
Attendance and informed participation in class discussion*
20%
Field Lab
20%
Port Field Storyboard Assignments
15%
Two Reviews of films viewed in class
15%
Comparative Paper
15%
Final In-Class Writing Assignment
15%
* Attendance and Participation. Students must attend each class session and be sure to have
completed the assigned reading and any other assigned preparatory tasks for the day’s session.
Students should also participate actively in all class discussions, exercises, and group projects.
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RESERVE LIBRARY LIST
AUTHOR:
TITLE:
PUBLISHER:
ISBN #:
DATE/EDITION:
Tom Zaniello
The Cinema of Globalization
Cornell University Press
978-0-8014-7306-7
2007
AUTHOR:
TITLE:
PUBLISHER:
ISBN #:
DATE/EDITION
Linda Badley, editor
Traditions in World Cinema
New Brunswick, NJ, Rutgers UP
0813538742
2006
AUTHOR:
TITLE:
PUBLISHER:
ISBN #:
DATE/EDITION
Tyler Cowen
Creative Destruction: How Globalization is Changing the World’s Cultures
British Film Institute
9780691090160
2002
AUTHOR:
TITLE:
PUBLISHER:
ISBN #:
DATE/EDITION
Toby Miller, editor
Global Hollywood 2
British Film Industry Publishing
978184457039
2005
ELECTRONIC COURSE MATERIALS
ADDITIONAL MATERIALS ACCESSED THROUGH ELECTRONIC FOLDER
AUTHOR:
CHAPTER TITLE:
BOOK TITLE:
VOLUME:
DATE:
PAGES:
Tom Zaniello
Introduction
The Cinema of Globalization
Cornell University Press
978-0-8014-7306-7
2007
1-16
AUTHOR:
Linda Badley, R. Barton Palmer, and Steven Jay Schneider, eds.
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CHAPTER TITLE:
BOOK TITLE:
VOLUME:
DATE:
PAGES:
Introduction
Traditions in World Cinema
Rutgers UP ISBN #:
0813538742
2012
1-12
AUTHOR:
Tyler Cowen
CHAPTER TITLE: Why Hollywood Rules the World and Whether We Should Care
BOOK TITLE:
Creative Destruction: How Globalization is Changing the World’s Cultures
VOLUME:
Princeton UP
9780691090160
DATE
2002
PAGES:
73-101
AUTHOR:
CHAPTER TITLE:
BOOK TITLE:
VOLUME:
DATE:
PAGES:
Toby Miller, editor
Introduction (excerpt) and Ch. I (excerpt)
Global Hollywood 2
British Film Industry Publishing
ISBN #: 978184457039
2005
1-7, 50-59
ADDITIONAL RESOURCES
Each student will benefit greatly from having a personal laptop computer with DVD player
capability, and a digital camera to record images at our ports of call (unless she or he is an
excellent sketch artist).
HONOR CODE
Semester at Sea students enroll in an academic program administered by the University of
Virginia, and thus bind themselves to the University’s honor code. The code prohibits all acts of
lying, cheating, and stealing. Please consult the Voyager’s Handbook for further explanation of
what constitutes an honor offense.
Each written assignment for this course must be pledged by the student as follows: “On my honor
as a student, I pledge that I have neither given nor received aid on this assignment.” The pledge
must be signed, or, in the case of an electronic file, signed “[signed].”
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