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TIME: ROOM: PROFESSOR: OFFICE: OFFICE NUMBER: EMAIL: TEACHER’S ASSISTANT: TA CONTACT: OFFICE HOURS: (by appointment only) THURSDAYS 4:00PM – 6:45PM FOLINO THEATRE -­‐ MKS 106 HARRY UFLAND MKS 346 (714) 997-­‐6648 ufland@chapman.edu MIGUEL BERG berg114@mail.chapman.edu / (323)-­‐919-­‐0737 (cell) MONDAY WEDNESDAY THURSDAY By Appointment 2:00pm – 5:00pm 2:00pm – 3:30pm Additional times available upon request. To book an appointment please email MIGUEL (TA) This document and most other course related documents are available online by visiting the course web site. Please, visit http://blackboard.chapman.edu and log in using your Chapman ID and password, and then select this course. If you do not know your Chapman ID and password, contact the Computer Help Desk in the basement of the Leatherby Libraries building. "Marriage is like a tense, unfunny, version of "Everybody Loves Raymond", only it doesn't last twenty-­‐
two minutes. It last forever." – Knocked Up COURSE DESCRIPTION This course is a journey through the decades ranging from the most epic romances to contemporary films. The class explores on the big screen how love, sex, scandal, adventure and other themes function in the institution of marriage. We will discuss these themes, culture, and history of marriage in context with cinema as we track the evolution of its portrayals in some of our favorite films. COURSE OBJECTIVES Through this course, students should gain a range of understanding of the evolution of cinema, its comprehensive history, and the impact within the industry landscape with respect to social and cultural issues. COURSE COMMUNICATION AND REQUIREMENTS Students are expected to attend class, check their email, complete all assignments, follow the trades and review Blackboard often for course communication and possible changes. Course requirements, screenings, and schedule may change during the course of the semester at the discretion of the Professor. ATTENDANCE POLICY In this course attendance is mandatory. Missing 2 classes without approval from the professor or class TA will lower your grade by half a point, for instance from an A to an A-­‐. Three unexcused absences will lower your grade by a full point, for instance from an A to a B. More than three unexcused absences or extreme lateness will be cause to fail for the semester. If you are unable to attend class or anticipate being late, you MUST contact the professor and his TA prior to the start of class. It is the student’s responsibility to contact them in advance. SPRING 2015 | C OURSE SYLLABUS
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You are expected to always arrive at least 5 minutes prior to class time. Student will be required to submit their assignments to the TA at the start of class and expected to sign in, prior to screenings, as well as sign out after class discussion. Students are allowed a maximum of one unexcused absence during their required filming week. Students are NOT excused from class to work on OTHER students’ thesis or any other film productions. Kindly do not plan production meetings, location scouts or other production activities during our class. This policy will be firmly enforced. CLASS PROTOCOL Students are welcomed to use their laptops to take notes, check names and facts during class time however your attention should be entirely devoted to the discussion and/or screening. Everyone is to be seated within the first 5 rows within the Folino Theater. No food or drinks are allowed during class times. Water is OK. SCREENING SCHEDULE MOVIES ABOUT MARRIAGE - SCREENING/ASSIGNMENT SCHEDULE
No.
WEEK
1
2/5/2015
CLASS TIME YEAR TRT (mins)
DIRECTOR
SPECIAL EVENT: SONY @ CHAPMAN with MICHAEL LYNTON
2 2/12/2015
3 2/19/2015
FILM
SPECIAL EVENT: PIRACY @ CHAPMAN with RUTH VITALE
160
1926
38
Ménilmontant
Dimitri Kirsanoff
1929
100
Wild Orchids
Sidney Franklin
22
DISCUSSION (Events, Class Intro, 1920's)
REFLECTION #1 (DUE - 2/25)
4 2/26/2015
169
1934
91
The Thin Man
W.S. Van Dyke
(+9)
1938
78
Blondie
Frank R. Strayer
REFLECTION #2 (DUE - 3/4)
5
3/5/2015
176
1940
84
Gaslight
Thorold Dickinson
(+16)
1940
92
His Girl Friday
Howard Hawks
REFLECTION #3 (DUE - 3/11)
6 3/12/2015
160
1945
25
Finish Previous Screenings
86
Brief Encounter
49
DISCUSSION (1920's - 1940's)
David Lean
MIDTERM #4 (DUE - 3/18)
7 3/19/2015
160
1948
105
Unfaithfully Yours
55
DISCUSSION (1940's)
Preston Sturges
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8 3/26/2015
9
4/2/2015
SPRING BREAK
187
1954
97
Journey To Italy
Roberto Rosellini
(+27)
1955
90
Marty
Delbert Mann
REFLECTION #5 (DUE - 4/8)
10 4/9/2015
158
1966
27
Finish Previous Screenings
131
Who's Afraid of Virginia Woolf? Mike Nichols
REFLECTION #6 (DUE - 4/15)
11 4/16/2015
160
1979
105
Kramer vs. Kramer
55
DISCUSSION (1950's - 1970's)
Robert Benton
REFLECTION #7 (DUE - 4/22)
12 4/23/2015
160
1987
119
Fatal Attraction
41
DISCUSSION (1980's)
Adrian Lyne
REFLECTION #8 (DUE - 4/29)
13 4/30/2015
160
1999
122
American Beauty
38
DISCUSSION (1990's)
Sam Mendes
REFLECTION #9 (DUE - 5/6)
14 5/7/2015
160
2003
135
Love, Actually
25
DISCUSSION (2000's)
Richard Curtis
REFLECTION #10 (DUE - 5/13)
15 5/14/2015
160
2010
106
The Kids Are All Right
54
DISCUSSION (1920's - 2010's)
Lisa Cholodenko
FINAL #11 (DUE - 5/20)
16 5/21/2015
180
2010
112
Blue Valentine
Derek Cianfrance
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ALTERNATES LIST
4 2/26/2015 1937 91 Make Way For Tomorrow
Leo McCarey
5
1940 88 My Favorite Wife
Garson Kanin
1941 95 Mr. and Mrs. Smith
Alfred Hitchcock
1950 103 Born Yesterday
George Cukor
1954 102 Seven Brides for Seven Brothers
Stanley Donen
1967 101 Belle Du Jour
Luis Buñuel
1967 108 Guess Who's Coming to Dinner
Stanley Kramer
1968 130 Faces
John Cassavetes
1969 105 Bob & Carol & Ted & Alice
Paul Mazursky
9
3/5/2015
4/2/2015
10 4/9/2015
11 4/16/2015 1973 118 The Way We Were
1977 155 New York, New York
1973
Sydney Pollack
Martin Scorsese
Scenes From A Marriage (TV SERIES) Ingmar Bergman
12 4/23/2015 1989 116 War of the Roses
Danny Devito
13 4/30/2015 1996 117 The Birdcage
Mike Nichols
14 5/7/2015
2005 120 Mr. and Mrs. Smith
Doug Liman
2008 96 Vicky Cristina Barcelona
Woody Allen
2009 96 Up
Peter Docter, Bob Peterson
16 5/21/2015 2014 149 Gone Girl
David Fincher
REQUIRED READING • “I do and I don't : a History of Marriage in the Movies” by Jeanine Basinger, Knopf, ISBN: 9780307269164 • “"Have You Seen . . . ?": A Personal Introduction to 1,000 Films” by David Thomson, Knopf, ISBN: 978-­‐
0500516416 • “Moments That Made The Movies” by David Thomson, Thames & Hudson, ISBN: 0500516413 SPRING 2015 | C OURSE SYLLABUS
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ADDITIONAL MATERIALS Below are a few sources that the student is encouraged to explore above and beyond what is provided in this course. **Please note the titles below that students are encouraged, but not required to read.** Students that read and write a two page summary of an additional book will be awarded up to 3 points extra credit up to 5% of the final grade. • “Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration” by Ed Catmull with Amy Wallace, ISBN: 9780679644507 • “Easy Riders, Raging Bulls” by Peter Biskind, Simon & Schuster, 1998, ISBN: 0684809966 • “Must, Maybes, and Nevers: A Book About The Movies” by David Picker, CreateSpace, 2013, ISBN: 1482649926 • “The Best Advice I Ever Got” by Katie Couric, Random House, ISBN: 9780812992779 • “So You Want To Be A Producer” by Lawrence Turman Three Rivers Press, ISBN:9781400051663 • “Crab Monsters, Teenage Cavemen, and Candy Stripe Nurses” by Roger Corman. vISBN: 0306808746 • “Pictures At A Revolution: Five Movies and the Birth of the New Hollywood” by Mark Harris, The Penguin Group, ISBN: 9781594201523 • “Making Movies” by Sidney Lumet, Knopf, 1985, ISBN: 9781299207554 • “Movies About the Movies: Hollywood Reflected” by Christopher Ames, University Press of Kentucky, ISBN: 0813120187 TRADES It is highly recommended that the trade publications and New York Times Corner Office be read regularly: • Trade Articles: Daily Trade Articles (Variety, Deadline, Hollywood Reporter). • Corner Office: Corner Office by Adam Bryant in the Friday and Sunday New York Times Business Section on Page 2. OFFICE HOURS / PROFESSOR MEETINGS All students are asked to schedule at least one appointment through out the semester during normal office hours although more appointments would be more beneficial to the students and are encouraged. Appointments can be schedule by contacting the class TA. Failure to schedule and/or attend an appointment might reflect negatively on the student’s overall final grade. CLASS PARTICIPATION The class is designed so that preparation and participation are essential parts of the learning process. Students will be expected to come to class prepared to engage in active discussion and interaction with the professor. All assignments and exercises encourage all students, no matter what their specific emphasis or film discipline, to learn how to work effectively with professionals in the media industry and to understand the culture and environment in which success takes place. This includes proper screening etiquette. SPRING 2015 | C OURSE SYLLABUS
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COURSEWORK During the semester the class will focus on key areas that will prepare the student for learning about the history, social culture, and business of the entertainment industry. FILM REFLECTION ASSIGNMENTS Students will write a reflection paper (Minimum 1, but no more than 2 pages in length), analyzing the films from each class screening. Students are required to submit via Blackboard with the accompanying guidelines: FORMAT FOR PAPERS • Make sure that papers have your name and the assignment. • Single spaced, 1 page minimum. • Please remember to staple additional page together. • PLEASE DO NOT WAIT UNTIL THE LAST MINUTE TO PRINT YOUR PAPERS. PLAN ACCORDINGLY. PAPERS WILL BE MARKED AS LATE. SUBMISSIONS • Submissions should be made on Blackboard by WEDNESDAY 11:59pm, prior to the next scheduled class under the contents tab. See Screening/Assignment schedule for dates. • Submissions should be labeled as a PDF file and conform to MLA standards: [LAST NAME, FIRST NAME]_[#ASSIGNMENT]_[MOVIE TITLES]. (ex. SPIELBERG_STEVEN_#02_KINGKONG.PDF) Please submit your files as a PDF file. (This preserves your formatting and is a more professional presentation method). FINAL PROJECT Students will write a paper (minimum 3, but no more than 5 pages in length), analyzing the film that taught them the most about the institution of marriage, its themes, and the treatment of women throughout history. Students are highly encouraged to be specific, citing examples from films, books, and/or trades and if possible relate it to the present. EXTRA CREDIT Art/Cultural Visits: Visit at least two museums and write a short reflection (no more than page) about the work of art that moves you the most and why? Compare the chosen work of art to a film, if possible, and why you find it significant. SPRING 2015 | C OURSE SYLLABUS
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Extra Credit Films: On your own, watch a film from the following Extra Credit Film List and write a short reflection (no more than one page) about the film based on the provided prompt: Extra Credit Prompt Based on your selected film, describe what you found most significant about the institution of marriage and the treatment/portrayal of women with specific reference to the decade/era. Be sure to cite specific examples and themes from the film and/or historical references, including trades of the era, to support your views. Are there any similarities and/or differences between then and now? Extra Credit will be awarded (up to 3 points per assignment) up to 5% of the final grade. All assignments must follow the accompanying format guidelines. An electronic and a hard copy of the assignment must be submitted no later than 3pm Thursday May 7, 2015. EXTRA CREDIT LIST
1930s
1 1932 83 Trouble In Paradise
Ernst Lubitsch
2 1934 105 It Happened One Night
Frank Capra
3 1938 90 Vivacious Lady
George Stevens
1940s
4 1940 112 Philadelphia Story
George Cukor
5 1941 99 Suspicion
Alfred Hitchcock
6 1942 88 The Palm Beach Story
Preston Sturges
7 1949 103 Letter to Three Wives
Joseph L. Mankiewicz
1950s
8 1950 86 Cheaper By The Dozen
Walter Lang
9 1951 113 American in Paris
Vincente Minnelli
10 1953 118 Roman Holiday
William Wyler
11 1953 94 Captain's Paradise
Anthony Kimmins
12 1954 102 Seven Brides for Seven Brothers Stanley Donen
1960s
13 1960 103 The Facts of Life
Melvin Frank
14 1963 102 Contempt
Jean Luc-Godard
15 1967 111 Two For The Road
Stanley Donen
1970s
16 1970 99 Love Story
Arthur Hiller
17 1978 125 A Wedding
Robert Altman
18 1978 124 An Unmarried Woman
Paul Mazursky
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1980s
19 1981 109 On Golden Pond
Mark Rydell
20 1987 102 Moonstruck
Norman Jewison
21 1988 106 She's Having A Baby
John Hughes
1990s
22 1992 108 Husbands and Wives
Woody Allen
23 1993 131 Shadowlands
Richard Attenborough
24 1994 117 Four Weddings and a Funeral
Mike Newell
2000s
25 2001 114 Monsoon Wedding
Mira Nair
26 2002 95 My Big Fat Greek Wedding
Joel Zwick
27 2008 119 Revolutionary Road
Sam Mendes
2010s
28 2014 149 Gone Girl
GRADES WEIGHT ATTENDANCE ASSIGNMENTS MIDTERM FINAL PROJECT EXTRA CREDIT 20% 30% 20% 30% 5% David Fincher
GRADE BREAKDOWN A A-­‐ B+ B B-­‐ C+ 95%+ 90-­‐94.9% 87-­‐89.9% 83-­‐86.9% 80-­‐82.9% 77-­‐79.9% C C-­‐ D+ D D-­‐ F 73%-­‐76.9% 70-­‐72.9% 67-­‐69.9% 63-­‐66.9% 60-­‐62.9% BELOW 60% LATE WORK Any assignment not turned in on the date due is considered late, unless prior arrangement with the Professor and TA has been arranged. Late work will be penalized one grade level (e.g., B-­‐ to C+) for each day it is late. GRADE CALCULATIONS Your final grade will be computed by adding the four categories of the Grades Weight you receive. To convert your final score to a letter grade, see grade distribution table above. GRADE DISPUTES Students are permitted to dispute any evaluation in the course. If a student wishes to dispute a particular evaluation, he/she is expected to do so within one week of the posting of the grade in question. Failure to dispute the grade within this period indicates that the student has accepted the grade as posted. First round disputes must be made in writing either via email or in other written form to the instructor. The written notice of dispute should include convincing evidence as to why a particular mark should be changed. This evidence should be persuasive, logical and detailed in support of the proposition that the assessment of the work product was not correct. SPRING 2015 | C OURSE SYLLABUS
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ACADEMIC INTEGRITY POLICY Chapman University is a community of scholars that emphasizes the mutual responsibility of all members to seek knowledge honestly and in good faith. Students are responsible for doing their own work, and academic dishonesty of any kind will be subject to sanction by the instructor and referral to the university’s Academic Integrity Committee, which may impose additional sanctions up to and including dismissal. Violations of academic integrity include, but are not limited to, the following: cheating on an examination, test or quiz; plagiarism on any paper or report; falsifying data, research or report; presentation of forged documents; misrepresentation of information in oral or written form. This document represents the Academic Integrity Policy of Chapman University as it pertains to students and to the responsibility of faculty in handling cases of alleged academic dishonesty. For more information please visit the course catalog at: http://www.chapman.edu/academics/course-­‐
catalogs/index.aspx. STUDENTS WITH DISABILITIES The University strictly prohibits any form of discrimination on the basis of an individual’s disability and offers individualized assessment and reasonable accommodation to otherwise qualified individuals with disabilities. By providing full access to qualified students with disabilities, the University demonstrates its belief that the community will benefit from the skills and talents of these individuals. In compliance with ADA guidelines, students who have any condition, either permanent or temporary, that might affect their ability to perform in this class are encouraged to inform the instructor at the beginning of the term. You also may contact the Office of Disability Services at www.chapman.edu/disabilities. The University, through the Disability Services Office, will work with the faculty member who is asked to provide the accommodations for a student in determining what accommodations are suitable based on the documentation and the individual student needs. The granting of any accommodation will not be retroactive and cannot jeopardize the academic standards or integrity of the course. Important Addresses and Telephone Numbers Disabilities Services: Tutoring, Learning, and Testing Center: 410 N. Glassell Cecil B. DeMille Hall 130 Phone: (714) 997-­‐6778 Phone: (714) 997-­‐6828 EQUITY & DIVERSITY Chapman University is committed to ensuring equality and valuing diversity. Students and professors are reminded to show respect at all times as outlined in Chapman’s Harassment and Discrimination Policy: http://tinyurl.com/CUHarassment-­‐Discrimination Any violations of this policy should be discussed with the professor, the Dean of Students and/or otherwise reported in accordance with this policy.