ࡱ> 5D6 5#bjbjT~T~ .2665/////CCCC$gC^tttV/!tt!!//UUU!6//U!UUU`hCWU.0^UivU/Ut"U_tttvttt^!!!!ttttttttt : ENGL 765/865: Film & Ethics Fall 2011 Tom Slater Required Texts: Downing, Lisa and Libby Saxton. Film and Ethics: Foreclosed Encounters. New York: Routledge, 2009. Girgus, Samuel. Levinas and the Cinema: Time, Ethics, and the Feminine. New York: Columbia U P, 2010. Kolker, Robert. Film, Form, and Culture, 3rd ed. Boston: McGraw Hill, 2006. Films: All films are on reserve at the library circulation desk. Just go there, give them my name and the course number, and ask for the film you need to see. You need to watch the film, do the assigned reading, and take notes during the week before we meet to discuss the scheduled film. You dont have to watch the copy on reserve. If you wish to somehow obtain your own copy of the film through rental or purchase, thats fine. You should also check the Indiana Free Library. They have a fairly good collection. Course Goals: The most important concept for students to learn is that films are texts that require our attention in the same way that literary texts do. This includes commercial Hollywood cinema, B movies, avant-garde films, and any others that we choose to consider. We understand what a film communicates by learning to recognize and define how it communicates. We do this by learning the discourse that helps us describe what we hear and see through the film, which is organized through the relationships between the narrative elements and the stylistic elements. Stylistic elements consist of four basic categories of film art: mise-en-scene, cinematography, editing, and sound. Within each of these areas, a filmmaker has hundreds (if not thousands) of artistic choices. When we can define the choices that have been made and speculate on the reasons for them, we can reach some conclusions about what the film is communicating, how effectively it is doing so, and what the significance of the work is. Within this course, we will study both mainstream American films and European art house films mainly in relation to the ethical theories of Emanual Levinas, seeking to define whether or not films can present the idea of the human potential to achieve more compassion for others rather than the self. Even if certain characters seem to achieve that status, does the film provide arguments and motivations for viewers to do the same? Hopefully, by the end of this course, you will have improved your ability not only to read a film and write your arguments about it effectively, but you will also have gained some philosophical perspectives that can help you throughout your scholarly careers. Course Assignments: 3 short essays 10% each. Short essays should be approximately six-pages long. If you need more space, thats fine, as long as the material is important to your argument. These essays will require you to use materials from readings, films, and class discussions. The questions will ask you to present your knowledge of material covered in class. No research required on these. Small group presentations, 30%., will require each group of three or four to study a film of their choice and present it to the class in approximately 45 mins. The group should decide what themes and arguments in the nature of ethics the film raises and the questions and choices with which viewers are presented. The group should have some ideas of how the narrative and stylistic elements communicate these arguments and use brief clips for the class to observe and discuss. The group can also draw on secondary sources to support its ideas and use hand-outs or other techniques to help present their findings and get students involved in discussing. One technique to consider is to use your presentation as a teaching opportunity in which your goal is not so much to present answers as to help the rest of us reach our own. Major research paper, 60%. The focus of the major research paper should not be on a film or literary work already scheduled for in-class study. But you can use our text-book to help you select a film, filmmaker, author, literary work, or theme. Your essay should present a significant argument, show your own study of the work or works youve chosen to focus on, show your knowledge of how text(s), writer(s), or filmmaker(s) use narrative and stylistic elements to communicate about the issue you focus on, and use at least three sources other than the film or our textbooks. They should be at least 10-pages long. But make sure you are working to present a strong argument and show a thorough knowledge of your material rather than making an effort to stay to a ten-page limit. With the short and major essays, I will be happy to read rough drafts of your work at any point. These do not need to be complete. But the more material you provide, the more feedback I can give. You might note that I would like to have a research paper topic from you by Oct. 19. But I will be happy to get them any time before then. My one restriction is that I will not allow duplications. So, when youve decided on something, you may wish to tell me so you will be certain to be able to work on your first choice of topics. Rough drafts for your research papers will be due by Thanksgiving break. Final drafts will be due at our final class session, Dec. 7. How to Contact Me: Office, SUT 345; Hrs. TR, 1-3, W 2:30-4:30 or by appointment. Ph. X7-4879. Email:  HYPERLINK "mailto:tslater@iup.edu" tslater@iup.edu Assignments 8/31 Intro to course. Film: Shoah (Claude Lanzmann, 1986). 9/7 Reading: D & S, 1-21, 91-106; Kolker, 1-38. 9/14 Viewing Before Class: Mr. Smith Goes to Washington (Frank Capra, 1939). Readings: Girgus, 1-76; Kolker, 38-50, 211-15. 9/21 Reading: Girgus, 77-112. Kolker, 51-80. Study of various film clips in class. 9/28 Viewing Before Class: The Passion of Joan of Arc (Carl Theodore Dreyer, 1928) and Ordet (Dreyer, 1955). Reading: Girgus, 107-20; Kolker, 81-107. Assign short essay 1. 10/5 Viewing Before Class: The Unbearable Lightness of Being (Phillip Kaufman, 19) Reading: Girgus, 113-43; Kolker, 133-39, 166-88. Short essay 1 due. 10/12 Viewing Before Class: Shadow of a Doubt (Alfred Hitchcock, 1943). Reading: D & S, 134-46; Kolker, 151-53. 10/19 Viewing Before Class: La Dolce Vita (Federico Fellini, 1961). Reading: Girgus, 144-67. Assign short essay 2. Statements of research topics due. 10/26 Viewing Before Class: LAvventura (Roberto Rosselini, 1960). Reading: C & J, 112-27. Short essay 2 due. 11/2 Viewing Before Class: Persona (Ingmar Bergman, 1966); Reading: D & S. 11/9 Viewing Before Class: Thelma and Louise (Ridley Scott, 1991) Reading: D & S, 36-49. 11/16 Viewing Before Class: Any Kill Bill or Alien(s) film. Reading: D & S, 147-59. Rough drafts of research papers due by the end of this week. Assign short essay 3. 11/30: Presentations. 12/7 Presentations. Final Exam Period: Wed., Dec. 14, 7:15-9:15. 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