FALL 2008
ENG 275 Introduction to Film: Film Criticism
Dr. Ostherr
Seminar: T/Th time TBA
Screening: W 7-9:30pm
Office: Herring 313, x4318
Office Hours: W 11am -1pm & by appt.
Email: kostherr@rice.edu
This writing-intensive course will teach students to view films analytically and write film criticism. Each week, students will view a film, read some criticism of that film, and write their own review of the film. Screenings will be taken from important movements in world cinema history. Special emphasis on influential relationships between criticism and film styles.
Cross-listed as HART 285. 4 credit hours.
Required Texts:
Timothy Corrigan, A Short Guide to Writing About Film, 5th ed.
Course packet/Library reserves.
Assignments:
- Attendance at all classes and screenings is mandatory.
- Due (almost) every Tuesday in class – a 500-1,000 word essay on the film screened the previous week. Nine papers total, plus one revision.
*PLEASE SEE ATTACHED SHEET ON COURSE POLICIES.
WEEK 1
T. 8.26: Introduction.
Th. 8.28: Corrigan ch. 1 & 2.
WEEK 2
T 9.2: Corrigan ch. 3.
W 9.3: Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (Charles, 2006)
Th. 9.4: Corrigan ch. 4, 5.
WEEK 3
T 9.9: Writing/Discussion essay #1 – before writing, read Corrigan ch. 7.
W 9.10: Pulp Fiction (Tarantino, 1994)
Th 9.11: Hoberman, Lane, & Kaufman reviews + bring Pulp Fiction screening notes to class.
WEEK 4
T 9.16: Writing/Discussion essay #2
W 9.17: Roma, Città Aperta (Rome, Open City) (Rossellini, 1945)
Th 9.18: Cesare Zavattini, “Some Ideas on the Cinema.”
WEEK 5
T 9.23: Writing/Discussion essay #3
W 9.24: Ladri di Biciclette (Bicycle Thieves) (de Sica, 1949)
Th 9.25: André Bazin, “An Aesthetic of Reality: Neorealism,” “Bicycle Thief,” and “De Sica: Metteur en Scène.”
WEEK 6
T 9.30: Writing/Discussion essay #4
W 10.1: Monkey Business (Hawks, 1952)
Th 10.2: Eric Rohmer, “Rediscovering America.” Jacques Rivette, “The Genius of Howard Hawks.” Jean-Louis Comolli, “The Ironical Howard Hawks.”
WEEK 7
T 10.7: Writing/Discussion essay #5
W 10.8: Les quatre cents coups (The 400 Blows) (Truffaut, 1959)
Th 10.9: André Bazin, “On the politique des auteurs.”
WEEK 8
T 10.14: MIDTERM RECESS - NO CLASS
W 10.15: NO SCREENING
Th 10.16: Writing/Discussion essay #6
WEEK 9
T 10.21: Revision workshop – pre-distribute electronically
W 10.22: A Bout de Souffle (Breathless) (Godard, 1960)
Th 10.23: Luc Moullet, “Jean-Luc Godard.” Jean-Luc Godard, “From Critic to Film-Maker.”
WEEK 10
T 10.28: Writing/Discussion essay #7
W 10.29: La Battaglia di Algeri (Battle of Algiers) (Pontecorvo, 1966)
Th 10.30: Comolli and Narboni, “Cinema/Ideology/Criticism.” Solanas and Getino, “Towards a Third Cinema.” Glauber Rocha, “An Esthetic of Hunger.” Julio García Espinosa, “For an Imperfect Cinema.”
WEEK 11
T 11.4: Writing/Discussion essay #8
W 11.5: Bonnie and Clyde (Penn, 1967)
Th 11.6: Pauline Kael, “Bonnie and Clyde.” Sarris, “Notes on the Auteur Theory in 1962.” Kael, “Circles and Squares: Joys and Sarris.”
WEEK 12
T 11.11: Writing/Discussion essay #9 – before writing, read sample essays in Corrigan pp.145-152
W 11.12: Festen (The Celebration, Vinterberg, 1998)
Th 11.13: MacKenzie, “Manifest Destinies: Dogma ’95 and the Future of the Film Manifesto” & “Dogma 95 Manifesto”
WEEK 13
T 11.18: Writing/Discussion essay #10
W 11.19: Atanarjuat (The Fast Runner) (Kunuk, 2001)
Th 11.20: Internet research & discussion of film.
WEEK 14
T 11.25: Writing/Discussion essay #11 - before writing, read Corrigan ch. 6
W 11.26: NO SCREENING
Th 11.27: NO CLASS - THANKSGIVING
WEEK 15
T 12.2: Revision workshop – pre-distribute electronically
W 12.3: NO SCREENING
Th 12.4: Final Revision workshop – pre-distribute electronically
Fall 2008 Course Policies
- Papers: Eleven papers are assigned, but you are only required to write NINE – divided about evenly between the halves of the semester. Papers must be 500-1,000 words long, and they must be submitted at the beginning of class each Tuesday. One of these papers will be revised and resubmitted at the middle or end of the semester (for Revision Workshops), and the new grade for that paper will supersede the old grade. For Revision Workshops, the original paper and the revised paper must be distributed electronically to the class by 5pm on the day before class.
- Presentations: Each student will receive feedback from the entire class THREE times, in addition to receiving written and verbal feedback from Dr. Ostherr on all of the papers. Students will sign up in advance for these presentations, and will be required to bring extra copies of their paper for the other students.
- Grading: Each paper counts for 10% of the final grade (papers total 90%). Participation in class discussion will count for 10% of the grade.
- Attendance: Attendance at all class meetings and screenings is required. If you absolutely cannot attend a class or screening, notify Dr. Ostherr in advance to make alternate arrangements. More than two unexcused absences will affect the student’s grade for participation as follows: for each additional absence, the participation grade will be reduced by an entire grade (e.g. from a ‘B’ to a ‘C’). If you miss or are late for a class or screening, it is your responsibility to check with Dr. Ostherr about announcements you may have missed.
- Late Papers: Extensions are granted at Dr. Ostherr’s discretion. Except in cases of emergency, extensions will only be considered if the student approaches Dr. Ostherr at least one week before the paper is due with a legitimate conflict. If an extension is not granted, the late paper will not be accepted (it will receive a grade of ‘F’). Because papers are due so frequently in this class, extensions will RARELY, IF EVER be granted.
- Rewrites: Because papers are due every week, and one rewrite is built into the requirements for this class, no other rewrites will be accepted. However, additional feedback on writing is available for any of the papers.
- Disabilities: Any student with a documented disability needing academic adjustments or accommodations must speak with me during the first two weeks of class. All discussions will remain confidential. Students with disabilities should also contact Disability Support Services in the Ley Student Center, at ext. 5841.
- Honor Code: Students should abide by the Honor Code on all assignments. Cite all sources (direct and indirect) in papers by author’s last name and page number in parenthesis at the end of the sentence that contains the quotation. Example (Corrigan, 23). Internet research must be explicitly cited in the paper, even if you do not directly quote your source. Peer editing of papers is permitted, and encouraged. For more details, see http://honor.rice.edu/index.cfm
- Pronunciation: Dr. Ostherr’s name is pronounced “Aw-stair.”
