UCC1: New Course Transmittal Form
Department Name and Number
English 3123
Recommended SCNS Course Identification
N
G
Level
History
of
Film,
Part 3
Full Course Title
Prefix
E
3
Course Number
1
2
3
Lab Code
Transcript Title (please limit to 21 characters) History of Film 3
Effective Term and Year
Amount of Credit
4
Spring 2013
Contact Hour:
Rotating Topic
Base
4
yes
or Headcount
no
S/U Only
Repeatable Credit
yes
■ no
If yes,
total repeatable credit allowed
Variable Credit
yes
■ no
If yes,
minimum and
yes
■ no
maximum credits per semester
Course Description (50 words or less)
History of film from 1960 to the present
Prerequisites
Co-requisites
One prior course with AML, CRW, ENC, ENG, ENL or LIT
prefix, or instructor permission.
Baccalaureate
Degree Type (mark all that apply)
Category of Instruction
Introductory
none
Graduate
Professional
Intermediate
Other
Advanced
Rationale and place in curriculum
This course is the third in a three-part sequence on the history of film. History of Film, Part 1 and History
of Film, Part 2 already exist and are taught regularly (ENG 3121 and ENG 3122). The course sequence
provides an overview of the history of film from its origin to the present. They do not need to be taken in
chronological order. History of Film, Part 1 and History of Film, Part 2 are required for the Film and
Media Studies track in the English Department. We are requesting ENG 3123 as the third required
course in the sequence for the Film and Media Studies track in English.
Department Contact
College Contact
Name
Stephanie Smith
Phone
(352) 294-2849
Name
David Pharies
Phone
(352) 392-2264
Email
ssmith@ufl.edu
pharies@ufl.edu
Email
Rev. 10/10
ENG 3123
History of Film, Part 3
Meeting times: T 5-6, R 6, screening M E1-E3
Professor: Roger Beebe
Email: rogerbb@ufl.edu
Phone: 392-6650 ext. 245
Office address: Turlington 4410
Office hours TR 7 Per. (or by request)
Course Description:
History of film from 1960 to the present
Course Objectives:
By the end of the semester it is expected that students will: be deeply familiar with film history of
the period from 1960 to the present in a national and international context; understand films'
different historical, industrial and artistic contexts; and be able to analyze individual films
critically based on different methodological approaches in the field of Film Studies as they apply
to diverse genres and movements that we discuss in this class.
Texts:
All of the readings will be available for download on the UF Libraries course reserve website.
These readings will be essential to a meaningful participation in the course; you must keep up
with these readings because they will be the basis for both of your written assignments as well as
for much of the class discussion. Begin downloading these pdfs now, because people have had
trouble in the past when too many students have attempted to access the files at once. I strongly
recommend making yourself printed copies of these articles too, because having them before you
in class and being able to underline and otherwise annotate them is likely to greatly improve your
experience of the class.
I have intentionally limited the number of total pages that you will have to read in the interest of
assuring that you read everything thoroughly. There will additionally be regular quizzes on the
readings (see below) designed to guarantee that you are keeping up.
In addition to the coursepack, you might find a good video guide useful. I recommend the
Videohound’s Golden Movie Retriever or The Scarecrow Movie Guide. You should also be
aware of the Internet Movie Database (www.imdb.com), an invaluable online resource.
Screenings:
Monday screenings are mandatory and will be discussed in class the following two class
meetings. They are nearly as important to a full experience of the course as are the readings. If
you cannot make the screening, you are required to watch it on your own. Rather than attempt to
keep track of who is watching these films at home, I will give quizzes on the screenings as well.
Even if you have seen one of these films before, I would strongly encourage you to watch itagain
for the class, because it will be critical to be able to summon precise details rather than just a
vague recollection of the plots of these films.
Additionally, you are encouraged to watch as many films outside of the course as possible. Your
papers will require that you write on films not discussed directly in class, so the more films you
have watched, the greater your options will be. I have provided a handful of suggestions on the
syllabus of films that I thought might be most immediately beneficial. You will need to watch at
least two of these per week in addition to the in-class screening in order to complete your
response papers [see below]. If you want additional suggestions for screenings or want me to
help guide you to titles based on your interests, let me know and I’ll be happy to help.
2
Assignments:
There will be a series of very short screening response papers which you’ll keep in your viewing
journals as well as two more significant papers at the mid-term and the end of the semester (of 5
pages and 7 pages, respectively).
Short Paper: The short paper focuses on an analysis of one short film or a short sequence from a featurelength film that we have either viewed in class or that is from the same time period. Please focus on the
close reading of the formal elements of the film in your analysis. Length: 5 pages with 12pt font and 1
inch margins, including page numbers.
Final Paper: The final paper is 7 pages long on a research topic on two films made between 1960 and
now that you have developed throughout the course. It should go beyond class discussion. Your paper can
discuss films that we have seen in class or films that we have not seen in class. The paper topic has to
relate to the overall topic of the course. The final paper has to integrate at least two outside source of
scholarly texts that we did not read in class and at least one academic text from class. The final paper has
to be typed in 12pt font with 1 inch margins, include your name and page numbers.
Grading:
Final grades will be determined according to the following formula:
Quizzes
Screening response papers
Paper #1
Paper #2
class participation
10%
15%
20%
35%
20%
Class participation does not refer to attendance, but rather to both the quantity and quality of in
class comments. You should not feel afraid to make "dumb" comments in class, but try to make
your comments productive and keep the discussion flowing. This is, finally, your class, and I'll
expect you to carry much of the weight of discussion. While I am here partially to impart
information to you, I feel that a much more valuable goal of the course is to develop your ability
to think critically about films (and culture more generally) and to articulate that thinking. I
cannot stress enough how important this aspect is—perhaps the fact that it accounts for 1/5 of
your final grade will make that clear.
Attendance:
Attendance is mandatory. You are allowed three unexcused absences. After three absences, I will
subtract 1/2 letter grade from your final grade per additional absence. Absences will be excused
in accordance with UF policy. Acceptable reasons include illness, religious holidays, military
obligation, and the twelve-day rule:
https://catalog.ufl.edu/ugrad/current/regulations/info/attendance.aspx
Late work:
Work submitted after the due date will be marked down. The only exception is for medical
reasons—again only with a doctor's excuse—and must be brought to my attention BEFORE the
assignment is due. For each week that the assignment is delayed, it will be marked down a full
letter grade. Again, this is a very easy way to get a very bad grade.
3
Grading Scale:
A
AB+
B
BC+
C
CD+
D
DF
4.0
3.67
3.33
3.0
2.67
2.33
2.0
1.67
1.33
1.0
0.67
0.00
93-100
90-92
87-89
83-86
80-82
77-79
73-76
70-72
67-69
63-66
60-62
0-59
930-1000
900-929
870-899
830-869
800-829
770-799
730-769
700-729
670-699
630-669
600-629
000-599
Final grade appeals:
Students should consult Prof. Stephanie Smith, Associate Chair. Grade appeals may result in a
higher, unchanged, or lower final grade.
Statement of student disability services:
The Disability Resource Center in the Dean of Students Office provides information and support
regarding accommodations for students with disabilities. For more information, see:
http://www.dso.ufl.edu/drc/
Statement on harassment:
UF provides an education and working environment that is free from sex discrimination and sexual
harassment for its students, staff, and faculty. For more about UF policies regarding harassment,
see:
http://www.dso.ufl.edu/sccr/sexual/
Statement on academic honesty:
All students must abide by the Student Honor Code. For more information about academic
honesty, including definitions of plagiarism and unauthorized collaboration, see:
http://www.dso.ufl.edu/sccr/honorcodes/honorcode.php
4
Course outline:
WEEK ONE [Aug. 24/26]: the transition to post-classical Hollywood
Mon: screen Psycho (1960)
Tues: Basic introduction
Thurs: What is classical cinema?
Suggested outside screenings: House on Haunted Hill (1959), The Tingler (1959), Homicidal
(1961), What Ever Happened to Baby Jane? (1962), Hush…Hush, Sweet Charlotte (1964)
WEEK TWO [Aug. 31/Sept. 2]: the New Hollywood, part I (counterculture)
Mon: screen Easy Rider (1969)
Tues: read Linda Williams, “Discipline and Fun: Psycho and Postmodern Cinema”
Thurs: read Cahiers du Cinéma (excerpts); Andrew Sarris, The American Cinema (excerpts)
Suggested outside screenings: Bonnie and Clyde (1967), The Graduate (1967), Head (1968),
Medium Cool (1969), Putney Swope (1969), Five Easy Pieces (1970), Two-Lane Blacktop
(1971), Badlands (1973), Nashville (1975)
Suggested outside reading: Peter Biskind, Easy Riders, Raging Bulls
WEEK THREE [Sept. 7/9]: the New Hollywood, part II (movie brats)
Mon: screen The Long Goodbye (1973)
Tues: read Fredric Jameson on pastiche (excerpts)
Thurs: read Justin Wyatt, “From Roadshowing to Saturation Release”
Suggested outside screenings: The Last Picture Show (1971), The Godfather (1972), American
Graffiti (1973), Mean Streets (1973), Paper Moon (1973), Chinatown (1974), The Conversation
(1974), Taxi Driver (1976), The Deer Hunter (1978), Apocalypse Now (1979)
WEEK FOUR [Sept. 14/16]: the era of the Blockbuster
Mon: screen Jaws (1975)
Tues: read Justin Wyatt, High Concept (excerpts)
Thurs: read Fredric Jameson, “Reification and Utopia in Mass Culture” (excerpts)
Suggested outside screenings: Star Wars, Episode IV: A New Hope (1977), Rambo: First Blood
Part II (1985), Lethal Weapon (1987), Die Hard (1988), Terminator 2: Judgment Day (1991),
Independence Day (1996)
Suggested outside reading: Jon Lewis, “Money Matters: Hollywood in the Corporate Era” in The
New American Cinema
WEEK FIVE [Sept. 21/23]: the rise of Independent Film
Mon: screen Do The Right Thing (1989)
Tues: read Ed Guerrero, “The Black Image in Protective Custody”; screen clip from Lethal
Weapon
Thurs: read Ed Guerrero, “The Black Film Wave at Middle Age”
Suggested outside screenings: sex, lies, and videotape (1989), Drugstore Cowboy (1989),
Metropolitan (1990), Trust (1990), Slacker (1991), Reservoir Dogs (1992), El Mariachi (1992),
Go Fish (1994), Pulp Fiction (1994)
Suggested outside reading: John Pierson, Spike, Mike, Slackers, and Dykes: A Guided Tour
Across a Decade of American Independent Cinema; Peter Biskind, Down and Dirty Pictures:
5
Miramax, Sundance, and the Rise of Independent Film
WEEK SIX [Sept. 28/30]: Digital Cinema / The Mainstream Documentary
Mon: screen Roger & Me (1989)
Tues: read John Belton, “Digital Cinema: A False Revolution”
Thurs: read Jean Baudrillard, Simulations (excerpts)
Suggested outside screenings: Jurassic Park (1993), Toy Story (1995), Fast, Cheap, & Out of
Control (1997), The Big One (1997), Bowling for Columbine (2002), The Fog of War (2003),
Spellbound (2003), Super Size Me (2004), March of the Penguins (2005), An Inconvenient Truth
(2006)
Suggested outside reading: Lev Manovich, “What is Digital Cinema?” (available online)
WEEK SEVEN [Oct. 5/7]: Metahistory
Mon: screen The 400 Blows (1959)
Tues: read Hayden White, “The Modernist Event”; Vivian Sobchack, “What is Film History?, or,
the Riddle of the Sphinxes”
Thurs: read Peter Wollen, “The Canon”
Suggested outside screenings: Breathless (1960), Hiroshima Mon Amour (1959), Shoot the Piano
Player (1960), Last Year at Marienbad (1961), Vivre Sa Vie (1962), Cleo from 5 to 7 (1962),
Jules and Jim (1962), The Umbrellas of Cherbourg (1964), Pierrot le Fou (1965), Le Bonheur
(1965), La Chinoise (1967), Week-end (1967), One Plus One/Sympathy for the Devil (1968)
WEEK EIGHT [Oct. 12/14]: The New Waves, part I (the Nouvelle Vague)
Mon: screen Vivre Sa Vie (1962)
Tues: read Harun Farocki and Kaja Silverman from Speaking about Godard
Thurs: read Sylvia Harvey, May ’68 and Film Culture (excerpts)
Suggested outside screenings: Breathless (1960), Hiroshima Mon Amour (1959), Shoot the Piano
Player (1960), Last Year at Marienbad (1961), Cleo from 5 to 7 (1962), Jules and Jim (1962),
The Umbrellas of Cherbourg (1964), Band of Outsiders (1964), Pierrot le Fou (1965), Le
Bonheur (1965), La Chinoise (1967), Week-end (1967), One Plus One/Sympathy for the Devil
(1968)
Suggested outside reading: Godard on Godard, Cahiers du Cinéma
WEEK NINE [Oct. 19/21]: Avant-Garde Film, part I
Mon: screen Stan Brakhage, “Window Water Baby Moving,” Hollis Frampton, “hapax
legomena 1: (nostalgia),” Kurt Kren, “Bäume im Herbst” and “Mama und Papa,” Bruce Conner,
“A Movie,” Paul Sharits/Michael Snow/Peter Kubelka
Tues: read Scott MacDonald, “Introduction” to Avant-Garde Film: Motion Studies
Thurs: read David James, Allegories of Cinema (excerpts); PAPER 1 DUE
Suggested outside screenings: By Brakhage (DVD compilation—multiple dates), The Films of
Kenneth Anger, Vol. 1 & 2 (DVD compilation—multiple dates), Maya Deren: Experimental
Films (DVD compilation—multiple dates)
Suggested outside reading: Scott MacDonald interviews with Brakhage and Bruce Conner in A
Critical Cinema
WEEK TEN [Oct. 26/28]: Independent Cinema, the long view, part I
Mon: screen Pink Flamingos (1972)
Tues: read Susan Sontag, “Notes on Camp”
Thurs: Carol Clover, Men, Women, and Chainsaws (excerpts)
6
Suggested outside screenings: Shadows (1959), A Bucket of Blood (1959), Little Shop of Horrors
(1960), X: The Man with X-Ray Eyes (1963), Faster Pussycat! Kill! Kill! (1965), Faces (1968),
Night of the Living Dead (1968) Sweet Sweetback’s Baadasssss Song (1971), Super Fly (1972),
A Woman under the Influence (1974), The Texas Chainsaw Massacre (1974), Death Race 2000
(1975), Killer of Sheep (1977), Eraserhead (1977), Dawn of the Dead (1978), Halloween (1978)
WEEK ELEVEN [Nov. 2/4]: The New Waves, part II (New German Cinema)
Mon: screen Ali: Fear Eats the Soul (1974)
Tues: read Thomas Elsaesser, Fassbinder’s Germany: History Identity Subject
Thurs: screen La Soufrière (1977)
Suggested outside screenings: Yesterday Girl (1966); Aguirre: The Wrath of God (1972), The
Enigma of Kaspar Hauser (1974), Alice in the Cities (1974), Fox and His Friends (1974), The
Marriage of Maria Braun (1978), Querelle (1982), Fitzcarraldo (1982), Paris, Texas (1984),
Wings of Desire (1987)
WEEK TWELVE [Nov. 9]: The Documentary, the long view
Mon: screen Primary (1960)
Tues: read Bill Nichols, Introduction to Documentary (excerpts)
Thurs: NO CLASS—VETERANS DAY
Suggested outside screenings: Chronique d’un été (1961), Don’t Look Back (1967), Titicut
Follies (1967), Salesman (1968), High School (1968), Grey Gardens (1975), Harlan County
USA (1976), Reassemblage (1982), Heavy Metal Parking Lot (1986), The Thin Blue Line (1988)
WEEK THIRTEEN [Nov. 16/18] : The New Waves, part III (Iran/Mexico)
Mon: screen Taste of Cherry (1997)
Tues: The Iranian New Wave; read Teshome Gabriel, "Towards a Critical Theory of Third
World Cinema"
Thurs: The Mexican New Wave
Suggested outside screenings: The White Balloon (1995), Turtles Can Fly (1996), The Wind Will
Carry Us (1999), Amores Perros (2000), Y Tu Mamá También (2001), The Devil’s Backbone
(2001), Ten (2002), Children of Men (2006), 21 Grams (2003), Turtles Can Fly (2004), Pan’s
Labyrinth (2006)
WEEK FOURTEEN [Nov. 23]: Avant-Garde Film, part II
Mon: screen Tributlation 99 (1992), Su Friedrich/Barbara Hammer/Abigail Child, Marlon Riggs,
Tongues Untied (1990) or Black Is…Black Ain’t (1994)
Tues: read Scott MacDonald interview with Craig Baldwin in A Critical Cinema
Thurs: NO CLASS--THANKSGIVING
Suggested outside screenings: Sonic Outlaws (1995), De Profundis (1997), Spectres of the
Spectrum (1999), Decasia (2002), Naomi Uman, Milking and Scratching (DVD compilation—
multiple dates), Bill Brown, The Next Best Place (DVD compilation—multiple dates)
WEEK FIFTEEN [Nov. 30/Dec. 2]: Independent Cinema, the long view, part II
Mon: screen Stranger Than Paradise (1982)
Tues: reading TBA
Thurs: reading TBA
Suggested outside screenings: The Return of the Secaucus Seven (1980), Down by Law (1986),
Brother from Another Planet (1984), Matewan (1987), Mystery Train (1989), Jon Jost’s
Frameup (1993), Mutual Appreciation (2005), Interkosmos (2006)
7
WEEK SIXTEEN [Dec. 7]: Paper Conferences
Mon: NO SCREENING
Tues: NO CLASS—PAPER CONFERENCES
FINAL PAPER DUE FRIDAY, DECEMBER 10