{"id":6,"date":"2010-07-14T16:05:10","date_gmt":"2010-07-14T16:05:10","guid":{"rendered":"http:\/\/people.brandonu.ca\/kramer\/course-outlines\/30-3\/"},"modified":"2015-05-01T14:45:27","modified_gmt":"2015-05-01T19:45:27","slug":"30-27","status":"publish","type":"page","link":"https:\/\/people.brandonu.ca\/kramer\/home\/course-outlines\/30-27\/","title":{"rendered":"30:273 Narrative Film"},"content":{"rendered":"<p><strong>Fall 2014<i><\/i><\/strong><br \/>\n&nbsp;<br \/>\nDr. Reinhold Kramer<a href=\"https:\/\/people.brandonu.ca\/kramer\/files\/2010\/12\/Seventh-Seal.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright  wp-image-66\" src=\"https:\/\/people.brandonu.ca\/kramer\/files\/2010\/12\/Seventh-Seal-300x222.jpg\" alt=\"Seventh Seal\" width=\"281\" height=\"212\" \/><\/a><br \/>\n109 Clark Hall<br \/>\n727-7344 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 &#x6b;&#x72;&#97;&#109;e&#x72;&#x40;&#x62;&#114;an&#x64;&#x6f;&#110;&#117;&#46;&#x63;&#x61;<br \/>\nOffice hours:\u00a0 2:40-3:30 p.m. (Mon., Wed., Thur.)<br \/>\n<a href=\"https:\/\/people.brandonu.ca\/kramer\/\">https:\/\/people.brandonu.ca\/kramer\/<\/a><\/p>\n<p>&nbsp;<br \/>\n<b><span style=\"text-decoration: underline\">Course Description<\/span><\/b>:<br \/>\nA study of important cinematic works, with emphasis on the period from 1980 to the present. Students will learn the vocabulary of film studies, and will examine 10 or 11 films closely, most of them from among the following works:\u00a0 Renoir, <i>Rules of the Game<\/i>; Bergman, <i>Autumn Sonata<\/i>; Fellini, <i>La Strada<\/i>; Coppola, <i>Apocalypse Now<\/i>; Gilliam, <i>Brazil<\/i>; Allen, <i>Hannah and Her Sisters<\/i>; Arcand, <i>Jesus of Montreal<\/i>;; Kaufman, <i>Being John Malkovich<\/i>; Ethan and Joel Coen, <i>Fargo<\/i>; von Trier, <i>Dancer in the Dark<\/i>; Arriaga and I\u00f1\u00e1rritu, <i>21 Grams<\/i>; Russell, <i>I Heart Huckabees<\/i>; Demme &amp; Lumet, <i>Rachel Getting Married<\/i>. Films studied could change from year to year. This is not a course in film-making.<\/p>\n<p>&nbsp;<\/p>\n<p><b><span style=\"text-decoration: underline\">Assignments<\/span><\/b>: \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<br \/>\n1.\u00a0\u00a0 Class Participation\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 10%<br \/>\n2.\u00a0\u00a0 Test\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <b>14 Oct.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/b>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 25%<br \/>\n3.\u00a0\u00a0 Essay\u00a0 (10-12 pages)\u00a0\u00a0\u00a0 <b>\u00a0\u00a0\u00a0\u00a0 due 25 Nov. \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/b>25%<br \/>\n4.\u00a0\u00a0 Final Exam \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<strong>20<\/strong><b>\u00a0Dec.\u00a0\u00a0 9 &#8211; 11 a.m.<\/b>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 40%<\/p>\n<p>&nbsp;<br \/>\nNote:\u00a0 There may be penalties for lateness, depending upon circumstances.\u00a0 Missed tests cannot be rewritten without a doctor\u2019s note or other documentation.\u00a0 Cite all your sources \u2013 assignments containing plagiarism will be graded \u201c0\u201d and will result in disciplinary action.\u00a0 See BU <i>General Calendar<\/i> 4.2.2 \u201cAcademic Integrity.\u201d\u00a0 No cell phones in class.<\/p>\n<p>For the very shy:\u00a0 in place of \u201cclass participation\u201d you may hand in, 5 times during the course, short (1 page, double-spaced, typed) analyses, not plot summaries, of the movie under discussion that day.\u00a0 These commentaries must be handed in <i>before<\/i> the movie is discussed in class and are worth 2% each.\u00a0 No commentaries will be accepted after class discussions for <i>any<\/i> reason.<\/p>\n<p>Students with disabilities who require accommodation should register with the Disability Services Coordinator.\u00a0 It\u2019s possible that a student may find certain films and\/or discussions troubling.\u00a0 If so, please contact the instructor immediately for alternative films or an alternative course.<\/p>\n<p>&nbsp;<\/p>\n<p><b><span style=\"text-decoration: underline\">Grading<\/span><\/b><span style=\"text-decoration: underline\">:<\/span><\/p>\n<p>Outstanding\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Good\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Satisfactory\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Weak\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Inadequate<br \/>\nA+\u00a0 90 &amp; up\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0B+ 77-79\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 C+ 67-69\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0D 50-59\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 F 0-49<br \/>\nA\u00a0\u00a0\u00a0 84-89\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0B\u00a0\u00a0 74-76\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0C\u00a0\u00a0 64-66<br \/>\nA-\u00a0\u00a0 80-83\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0B-\u00a0 70-73\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0C-\u00a0 60-63<\/p>\n<p>&nbsp;<\/p>\n<p><b><span style=\"text-decoration: underline\">Texts<\/span><\/b>: <i><\/i><br \/>\nBruce Kawin.\u00a0 <i>How Movies Work<\/i>.<i><\/i><br \/>\nNorman, Colin.\u00a0 <i>Writing Essays:\u00a0 A Short Guide<\/i>.\u00a0 2nd ed.\u00a0 Queen\u2019s. (optional)<\/p>\n<p>&nbsp;<\/p>\n<p><b><span style=\"text-decoration: underline\">Tentative Schedule<\/span><\/b><b><\/b><\/p>\n<p>Sept.\u00a0\u00a0\u00a0 9\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Introduction to Cinema<\/p>\n<p>16\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Preston Sturges,<i> Sullivan\u2019s Travels<\/i> (1941) (1:30)<\/p>\n<p>Read Kawin, 2-25, 27-30, 37-46, 48-54 (introduction, shot)<\/p>\n<p>157-62, 167-77 (frame composition)<\/p>\n<p>&nbsp;<\/p>\n<p>23\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Howard Hawks, <i>The Big Sleep <\/i>(1946) (1:54) *<b>film starts @ 1:00*<\/b><\/p>\n<p>Read Kawin, 97-110 (montage, <i>Citizen Kane<\/i>)<\/p>\n<p>133-5, 137-8 (perspective, depth of field)<\/p>\n<p>201-34 (shot, take, camera angle, camera movement, shot relns)<\/p>\n<p>&nbsp;<\/p>\n<p>30\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ingmar Bergman, <i>Det Sjundte Inseglet <\/i>(<i>The Seventh Seal<\/i>,<i> <\/i>1956) (1:36)<\/p>\n<p>Read Kawin, 54-7 (film as sign), 71-9 (voice, POV shot)<\/p>\n<p>110-17 (montage: <i>Close Encounters<\/i>)<\/p>\n<p>234-42 (camera movement, <i>Sunrise<\/i>, <i>Vertigo<\/i>)<\/p>\n<p>&nbsp;<\/p>\n<p>Oct.\u00a0\u00a0\u00a0\u00a0\u00a0 7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Wes Anderson, <i>Moonrise Kingdom<\/i> (2012) (1:34)<b><\/b><\/p>\n<p>Read Kawin,\u00a0 327-61 (pre-production, design, costume)<\/p>\n<p>148-53, 178-83, 188-91 (lighting, colour)<\/p>\n<p>376-82 (cinematography), 465-7 (Foley editing)<\/p>\n<p>&nbsp;<\/p>\n<p>14\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <b>Test<\/b> Francis Coppola, <i>Apocalypse Now<\/i> (1979) (2:33)<\/p>\n<p>Read Kawin, 30-4 (political criticism)<\/p>\n<p>21\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <i>Apocalypse Now <\/i>(con\u2019t)<\/p>\n<p>Read Kawin, 25-27, 288-301, 362-67 (auteurism, direction)<\/p>\n<p>302-21, 326, 482-6 (development, producers, money, marketing)<\/p>\n<p>&nbsp;<\/p>\n<p>28\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Arriaga &amp; I\u00f1\u00e1rritu, <i>21 Grams<\/i> (2003) (1:58) *<b>film starts @ 1:00*<\/b><b><\/b><\/p>\n<p>Read Kawin, 243-63 (scene, <i>King Kong<\/i>, <i>Hiroshima<\/i>), 435-41 (editing)<b><\/b><\/p>\n<p>59-71 (narrative structure, genre)<\/p>\n<p><b>\u00a0<\/b><\/p>\n<p>Nov.\u00a0\u00a0\u00a0 \u00a0 4\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Joel &amp; Ethan Coen, <i>A Serious Man<\/i> (2009) (1:46)<b><\/b><\/p>\n<p>Read Kawin, 264-85 (sequence, <i>October<\/i>, <i>The Godfather<\/i>)<\/p>\n<p>&nbsp;<\/p>\n<p>18\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Charlie Kaufman &amp; Spike Jonze, <i>Being John Malkovich<\/i> (1999) (1:48)<\/p>\n<p>Read Kawin, 367-76 (actor), 34-7 (feminist criticism)<\/p>\n<p>495-505 (film and society, <i>Flashdance<\/i>, deconstruction)<\/p>\n<p>511-14 (<i>All That Heaven Allows<\/i>)<\/p>\n<p>&nbsp;<\/p>\n<p>25\u00a0\u00a0\u00a0\u00a0<b>Term paper due<\/b><\/p>\n<p>Jonathan Demme, <i>Rachel Getting Married <\/i>(2008) (1:53) *<b>film starts @ 1:00*<\/b><\/p>\n<p>Read Kawin, 198-200, 397-400, 447-59 (sound, music)<\/p>\n<p>Dec.\u00a0\u00a0\u00a0\u00a0 2<i>\u00a0\u00a0\u00a0\u00a0\u00a0<\/i>David O. Russell, <i>I \u2665 Huckabees<\/i> (2004) (1:42)<\/p>\n<p>Read Kawin, 514-20 (movies and behaviour)<\/p>\n<p>Review<\/p>\n<p><b>Dec.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 20\u00a0\u00a0\u00a0\u00a0\u00a0 Saturday, 9 &#8211; 11 a.m.<\/b>\u00a0\u00a0 \u00a0\u00a0<b>Final Exam<\/b><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Fall 2014 &nbsp; Dr. Reinhold Kramer 109 Clark Hall 727-7344 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 k&#114;&#97;&#x6d;&#x65;&#x72;&#x40;b&#114;&#97;&#110;&#x64;&#x6f;&#x6e;u&#46;&#99;&#97; Office hours:\u00a0 2:40-3:30 p.m. (Mon., Wed., Thur.) https:\/\/people.brandonu.ca\/kramer\/ &nbsp; Course Description: A study of important cinematic works, with emphasis on the period from 1980 to the present. Students will learn the vocabulary of film studies, and will examine 10 or 11 films closely, [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":0,"parent":15,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-6","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/people.brandonu.ca\/kramer\/wp-json\/wp\/v2\/pages\/6","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/people.brandonu.ca\/kramer\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/people.brandonu.ca\/kramer\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/people.brandonu.ca\/kramer\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/people.brandonu.ca\/kramer\/wp-json\/wp\/v2\/comments?post=6"}],"version-history":[{"count":23,"href":"https:\/\/people.brandonu.ca\/kramer\/wp-json\/wp\/v2\/pages\/6\/revisions"}],"predecessor-version":[{"id":628,"href":"https:\/\/people.brandonu.ca\/kramer\/wp-json\/wp\/v2\/pages\/6\/revisions\/628"}],"up":[{"embeddable":true,"href":"https:\/\/people.brandonu.ca\/kramer\/wp-json\/wp\/v2\/pages\/15"}],"wp:attachment":[{"href":"https:\/\/people.brandonu.ca\/kramer\/wp-json\/wp\/v2\/media?parent=6"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}