FMS461:FilmTheoryandCriticism

Prof.DanGilfillan
Spring2009
Office:LL449C
Monday:FilmScreenings6:309:00pm
OfficePhone:480/9658245
Wednesday:ClassMeeting6:309:00pm
OfficeHours:Mon/Thurs35pm
FMSConferenceRoom
EMail:dgilfil@asu.edu

CourseTexts(additionalcoursereadingsmadeavailableaselectronictexts)

ChristineGledhillandLindaWilliams,eds.,ReinventingFilmStudies(NewYork:Arnold,2000).
JohnHillandPamelaChurchGibson,eds.FilmStudies:CriticalApproaches(NewYork:OxfordUP,2000).

CourseDescriptionandGoals

Thiscoursewillexaminethemajorpositionsandissuesinfilmtheorywithaneyetounderstanding
connectionsbetweentheearlydaysoffilmandcontemporaryapproachestounderstandingfilm.Whilefilm
productionmethodshaveexperiencedincredibleadvancesinthelastdecade,contemporaryfilmtechnique
findsmanythreadsbacktoapproachesdevelopedthroughoutthehistoryoffilm.Sincethe1970s,film
scholarshavedevelopedandmodifiedarangeofcompellingcriticalmethodsforthestudyofmediatexts:
psychoanalysis,feminism,Marxism,culturalstudies,queertheory,audience/starstudies,postcolonialism,
genreanalysis,amongmanyothers.Thesecriticalmethodsarenot,however,setinstonetheyrequire
consistentandinformedreassessmenttoremainasviableandengagedwaysofthinkingaboutfilmand
othermediatexts.

Throughanalysisandreexaminationofthemajorareasoffilmtheoryandcriticism,thiscoursewillhelpto
situateyouasinformed,criticallyengagedreaders/viewersofglobalmediatextsandpractices.Inaddition
totheapproacheslistedabove,wewillalsofocusonrealism,formalismauteurcriticism,genrecriticism,and
theoriesofspectatorshipandreception.Throughthecombinationoftheheavyhittersoffilmtheoretical
approachesandthemorecontemporarylensesdevelopedsincethe1970s,thiscourseshouldprovideyou
withthetoolsnecessarytointerpretfilmsascollaborativeartworks,astechnicalartifacts,associocultural
andideologicalproductions,andasproductsofaglobalizedmediaworld.

Assignments

Participation/DiscussionBoards

15%
CriticalResponsePapers(23pp.each)
20%;5%each
DiscussionLeading

15%
OralPresentation

15%
FilmEssay(1012pp.each)

35%

DiscussionBoards:studentswillbeaskedtorespondtodiscussionboardpromptsontheBlackboard
coursesiteassociatedwiththiscourse,andthenpostresponse(s)toanothercolleaguespost.Thegoalhere
istoprepareyouforthatweeksinclassdiscussionandwillhaveadirectcorrelationwithyourparticipation
grade.Therewillbe10ofthesethroughoutthesemester.

DiscussionLeading:studentswillsignupatthebeginningofthesemestertoleaddiscussioninoneclass
session.Leadingdiscussionmeans:

1. readingtheessay(s)markedwithanasteriskfortheclasssessioninwhichyouwillleaddiscussion,
andthenreadingthemasecondtime,
2. preparinga1pagehandout(typed)withenoughcopiesforyourcolleagues,whichshouldincludean
outline/summaryofthemainpointsoftheessay(s)assignedforthatparticularclasssessionandaset
of34critical,openendedquestionsmeanttofacilitateclassdiscussion,
3. drawingsomebroadconnectionstothecontentofourcourse,and/ortootherreadingsassignedfor
thatday,and
4. workingcollaborativelywiththepersongivinganoralpresentationtonegotiatepointsofoverlap

OralPresentation:eachstudentwillparticipateinasolooralpresentation(suggestedlength:15minutes).
Studentswillchooseaparticularessayorgroupingofessaysfromtheweekscriticalandtheoreticalmaterial
andprovideanoverviewandanalysisoftheminrelationtothefilmsunderdiscussion.Presentersshould
dealwithcriticalpositions,historicaldevelopmentoftheoreticaldiscourses,andclosereadingsofparticular
films(withclipswhereappropriate)andshouldprovideadditionalquestionsforclassdiscussion.Theoral
presentationshouldnotoccuronthesamedaythatyourareresponsibleforleadingdiscussion.

ResponsePapers:studentswillsubmitshort(23page)responsestothefilmand/orreadingsstudiedinthe
leaduptotheweektheresponsepaperisdue.Youwillbeaskedtofocusoncoursereadingsandfilms
screenedaspartofclass.Responsesincorporatingmorethanonetext/approachshoulddrawpointsof
comparisonorconsiderwaysthearticlescontributetoyourinterpretationsofcoursefilms.Theseshouldnot
involvedoinganyexternalresearch.

FilmEssay:studentswillwriteonemajorpaperemployingaparticularcriticalmethodology(orcombination
ofmethods)toanalyzeafilmstudiedinclass(oronethatyouchooseinconsultationwithme).Allwritten
worksubmittedforthecoursemustbetyped,doublespaced,12ptfont,with1margins.Irequireawrite
upofanessayproposalinwhichyououtlinethesubjectandcriticalapproachyouressaywilltake,aswellas
listanyoutsidesourcesyouvealreadylocated.Youmayconsultwithme,brieflyorinofficehours,regarding
yourideasfortheessay.Optionalthesisstatementscanbesubmitteduntiloneweekbeforetheessaydue
date.

Exam:themidtermwillevaluateyourknowledgeandapplicationofcoursematerials.Itwillconsistofessay
questionsaskingyoutodefineandapplyparticularareasoffilmtheoryandcriticism.Themidtermwillbe
givenasatakehomeexam,pickedupattheendofoneclasssession,anddueoneweeklateratthe
beginningofthatclasssession.

Policies/Needs

AttendanceandLateWork:Regularattendanceandparticipationiscrucialtoyoursuccessinthiscourse.
Sincewemeetonlyonceperweektodiscussreadingandviewingmaterials,itisessentialthatyouattend
allcoursemeetings.Pleaseconsultwithmeinadvanceifyoumustmissclass,andmakearrangementsto
getnotesorothermissedmaterialfromaclassmate.Withtwoabsences,yourparticipationgradedecreases
bytwolettergradesforeachadditionalabsence.Ifyoumissfourormoreclasses,youwillnotpassthe
course.Lateassignmentswillbepenalized.Youmustcompleteallassignmentstopassthecourse.

PlagiarismandAcademicIntegrity:Theaimofeducationistheintellectual,personal,social,andethical
developmentoftheindividual.Theeducationalprocessisideallyconductedinanenvironmentthat
encouragesreasoneddiscourse,intellectualhonesty,opennesstoconstructivechangeandrespectforthe
rightsofallindividuals.Selfdisciplineandarespectfortherightsofothersintheuniversitycommunityare
necessaryforthefulfillmentofsuchgoals.

AccordingtotheStudentAcademicIntegrityPolicy,everyassignmentthatthestudentcompletesmustbe
her/hisownworkandcreatedspecifically(only)forthisclass.Plagiarismispunishablebytheuniversityand
ultimatelymayresultinafailinggradefortheassignmentorfortheentirecourse.Informationonthispolicy
canbefoundat:

http://www.asu.edu/studentaffairs/studentlife/judicial/academic_integrity.htm

SpecialNeeds:Ifyouareinneedofspecialaccommodationforassignmentsorexams,pleasecommunicate
thistotheinstructoratthebeginningofthesemestertoassurethatyourneedsaremet.Inorderto
guaranteethenecessaryaccommodation,youmustpresentdocumentationfromtheDisabilityResource
Center,locatedinMathewsCenter.

Problems:Ifanythingisinterferingwithyourworkinthecourse,talktomeimmediately.Problemscanbe
addressed,buttheendofthesemesterisprobablytoolatetodoso.

CourseSyllabus

****PleaseusetheonlinecoursesyllabusonourBlackboardcoursesite(http://myasucourses.asu.edu)for
anyactivelinkstotherequiredreadingsandwebsiteslistedintheprintversionofthissyllabus.****

[RFS=ReinventingFilmStudies;FS=FilmStudies:CriticalApproaches]

Week1

01/21:

IntroductiontoFilmTheoryandCriticism.WhatisandWhyTheory?
ReadingsDue:
1. JulesRomains,TheCrowdattheCinematograph(PDF/handout)
2. J.Lye,IdeologyandFilm:ABriefGuide(1997)(Web)

Week2

TakingStockofFilmStudies

01/26:

FilmScreening:
1. Decasia:TheStateofDecay(US,BillMorrison,2002,67min.)

01/28:

ReadingsDue:
1. Dyer,IntroductiontoFilmStudies(FS:18)
2. NowellSmith,HowFilmsMean(RFS:817)
3. Kolker,TheFilmTextandFilmForm(FS:927)

4. Gorbman,FilmMusic(FS:4148)

myASU/BlackboardAssignment:
1. PleasevisittheBlackboardCoursesitetoviewandcompletethisweeksdiscussionboard
assignment(http://myasucourses.asu.edu).

Week3

EarlySilentFilmTheory

02/02:

FilmScreening:
1. TheCabinetofDr.Caligari(Germany,RobertWiene,1919/20,71min.)

02/04:

ReadingsDue:
1. Gunning,TheCinemaofAttraction:EarlyFilm,ItsSpectator,andtheAvantGarde(PDF)
2. Arnheim,TheArtistryofSilentFilm(PDF)
3. Minden,PoliticsandtheSilentCinema:TheCabinetofDr.CaligariandBattleship
Potemkin(PDF)

CriticalResponse1Due.

Week4

RussianFormalism/SovietMontage

02/09:

FilmScreening:
1. BattleshipPotemkin(SovietUnion,SergeiEisenstein,1925,75min.)
2. TheManwithaMovieCamera(SovietUnion,DzigaVertov,1929,68min.)

02/11:

ReadingsDue:
1. Christie,FormalismandNeoFormalism(FS:5664)
2. Pudovkin,OnEditing(PDF)
3. Eisenstein,DramaturgyofFilmForm(PDF)
4. Balaz,TheCloseUp,(PDF)TheFaceofMan(PDF)
5. Hansen,TheMassProductionoftheSenses:ClassicalCinemaasVernacularModernism
(RFS:332350)

myASU/BlackboardAssignment:
1. PleasevisittheBlackboardCoursesitetoviewandcompletethisweeksdiscussionboard
assignment(http://myasucourses.asu.edu).

Week5

FilmRealism

02/16:

FilmScreening:
1. UmbertoD.(Italy,VittoriodeSica,1952,91min.)

02/18:

ReadingsDue:

1. Kracauer,:TheEstablishmentofPhysicalExistence,(PDF)
2. Benjamin,TheWorkofArtintheAgeofitsMechanicalReproduction,(PDF)
3. Bazin,TheOntologyofthePhotographicImage,(PDF)TheMythofTotalCinema,
(PDF)deSica:MetteurenScne(PDF)

myASU/BlackboardAssignment:
1. PleasevisittheBlackboardCoursesitetoviewandcompletethisweeksdiscussionboard
assignment(http://myasucourses.asu.edu).

Week6

TheAuteurandAuteurTheory

02/23:

FilmScreening:
1. Hiroshimamonamour(France,AlainResnais,1959,90min.)

02/25:

ReadingsDue:
1. Sarris,NotesontheAuteurTheoryin1962(PDF)
2. Wollen,TheAuteurTheory(PDF)
3. RoparsWuilleumier,HowHistoryBegetsMeaning:AlainResnaisHiroshimaMonAmour
(PDF)

CriticalResponse2Due

Week7

ApproachestoFilmGenre

03/02:

FilmScreening:
1. TheHitchHiker(US,IdaLupino,1953,71min.)

03/04:

ReadingsDue:
1. Gledhill,RethinkingGenre(RFS:221243);
2. Neale,DefinitionsofGenre(PDF)DimensionsofGenre(PDF)
3. BrgentHeald,DarkLimbo:FilmNoirandtheNorthAmericanBorders(PDF)

myASU/BlackboardAssignment:
1. PleasevisittheBlackboardCoursesitetoviewandcompletethisweeksdiscussionboard
assignment(http://myasucourses.asu.edu).

Week8

SpringBreak(NoClass)

Week9

Ideology,Class,andIndustry

03/16:

FilmScreening:
1. StellaDallas(US,KingVidor,1937,106min.)

03/18:

ReadingsDue:
1. CommolliandNarboni,Cinema/Ideology/Criticism(PDF)
2. Gaines,Dream/Factory(RFS:100113)
3. Kleinhans,MarxismandFilm(FS:104114)
4. Curran,StellaattheMovies:Class,CriticalSpectatorship,andMelodramainStella
Dallas(PDF)

CriticalResponse3Due

Week10

Psychoanalysis,Gender,andAesthetics

03/23:

FilmScreening:
1. TheStepfordWives(US,BryanForbes,1975,115min.)

03/25:

ReadingsDue:
1. Creed,FilmandPsychoanalysis(FS:7588)
2. White,FeminismandFilm(FS:115132)
3. Mulvey,VisualPleasureandNarrativeCinema(PDF)
4. Doane,FilmandtheMasquerade:TheorizingtheFemaleSpectator(PDF)

myASU/BlackboardAssignment:
1. PleasevisittheBlackboardCoursesitetoviewandcompletethisweeksdiscussionboard
assignment(http://myasucourses.asu.edu).

Week11

QueerCinema

03/30:

FilmScreening:
1. WatermelonWoman(US,CherylDunye,1996,90min.)
2. LookingforLangston(US,IsaacJulien,1988,45min.)

04/01:

ReadingsDue:
1. Smelik,GayandLesbianCinema(FS:133145)
2. Doty,QueerTheory(FS:146150)
3. Diawara,TheAbsentOne:TheAvantGardeandtheBlackImaginaryinLookingfor
Langston(PDF)

FilmEssayProposalDue

myASU/BlackboardAssignment:
1. PleasevisittheBlackboardCoursesitetoviewandcompletethisweeksdiscussionboard
assignment(http://myasucourses.asu.edu).

Week12

FilmBodiesandPerformance

04/06:

04/08:

FilmScreening:
1. Safe(US,ToddHaynes,1995,119min.)

ReadingsDue:
1. Geraghty,ReExaminingStardom:QuestionsofTexts,BodiesandPerformance(RFS:
183202)
2. McDonald,FilmActing"(FS:2833)

CriticalResponse4Due

myASU/BlackboardAssignment:
1. PleasevisittheBlackboardCoursesitetoviewandcompletethisweeksdiscussionboard
assignment(http://myasucourses.asu.edu).

Week13

CulturalStudies,FilmAudiences,andReception

04/13:

FilmScreening:
1. ThelmaandLouise(US,RidleyScott,1991,129min.)

04/15:

ReadingsDue:
1. Perkins,Who(andWhat)IsItFor?(RFS7696)
2. Turner,CulturalStudiesandFilm(FS:193199)
3. Gripsrud,FilmAudiences,(FS:200209)
4. Jenkins,ReceptionTheoryandAudienceResearch:TheMysteryoftheVampiresKiss
(RFS:165182)

myASU/BlackboardAssignment:
1. PleasevisittheBlackboardCoursesitetoviewandcompletethisweeksdiscussionboard
assignment(http://myasucourses.asu.edu).

Week14

Globalization,Documentary,andThirdCinema

04/20:

FilmScreening:
1. Reassemblage:FromtheFirelighttotheScreen(US,Senegal,TrinhT.Minhha,1982,40
min.)
2. TaleofLove(US/Vietnam,TrinhT.Minhha,1995,108min.)

04/22:

ReadingsDue:
1. StamandShohat,FilmTheoryandSpectatorshipintheAgeofthePosts(RFS:381401)
2. Chow,FilmandCulturalIdentity(FS:167173)
3. TrinhT.Minhha,TheTotalizingQuestforMeaning(PDF)
4. SolanasandGetino.TowardsaThirdCinema(PDF)(Web)


myASU/BlackboardAssignment:
1. PleasevisittheBlackboardCoursesitetoviewandcompletethisweeksdiscussionboard
assignment(http://myasucourses.asu.edu).

Week15

CultCinemaandtheEnds/LimitsofCinema

04/27:

FilmScreening:
1. Mulholland Drive (US, David Lynch, 2001, 145 min.)

04/29:

ReadingsDue:
1. Sconce,TrashingtheAcademy:Taste,Excess,andanEmergingPoliticsofCinematic
Style(PDF)
2. Friedberg,TheEndofCinema:MultimediaandTechnologicalChange(RFS:438452)

myASU/BlackboardAssignment:
1. PleasevisittheBlackboardCoursesitetoviewandcompletethisweeksdiscussionboard
assignment(http://myasucourses.asu.edu).

Week16

05/##:

FinalsWeek
FilmEssayDue