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Comparative Literature 302
Film Theory: Critical Concepts
Winter 2005

Professor James Tweedie
Email: jtweedie@u.washington.edu

Course Description:
This course provides an introduction to fundamental concepts in film theory. Readings will range from the formative work of early theorists like Sergei Eisenstein, to André Bazin’s influential writing on realist cinema, to more contemporary developments in the field, especially theories centered on the reception of films and the crucial role of stars in the history of the medium. The course will be designed around a series of key concepts that structure discussions of film throughout the twentieth century, including film’s relationship to modernism and modernity, cinematic realism, the development and persistence of genres, the nature of film authorship, the mythology of film stars, the implications of cinematic voyeurism and the gaze, and the political ramifications of the culture industry.

After successfully completing the course, students should be able to
•    understand crucial theoretical concepts developed by filmmakers, critics, and scholars;
•    use those concepts to analyze film texts;
•    locate those concepts within the historical, cultural, and cinematic contexts in which they were produced;
•    analyze and criticize those concepts;
•    situate the concepts in relation to others studied in the course;
•    communicate a critical analysis of both films and theories in discussion and in writing.

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Course Requirements:
Readings: The readings will consist of essays and book excerpts introducing influential approaches to film criticism and theory, most drawn from the anthology titled Film Criticism and Theory, and some available on the Internet. (Please note that some of the online readings will only be accessible from campus computers or to students who log in as remote users on the library website. If you have any questions about this process, please ask me.) Although the reading may not appear too extensive when measured in pages, the concepts are often complex and abstract, and the writing can be difficult and dense. The reading assignments require a greater degree of care and attention than most essays of their length, and they therefore demand a greater investment of time and energy than a first glance would suggest. Because these readings will provide background for and supplement the lectures, they should be finished before the first class meeting each week, unless otherwise noted. The exams will focus in part on the course readings, so it is important to remain current on the reading.

Screenings: The films screened for the class will provide a point of departure for the lectures and readings. They will illustrate some of the important historical and conceptual issues raised in the course; but, if viewed closely and attentively, they will also compel us to rethink some of those same categories. Study questions for each film will be posted on the course website before each screening (they will be hyperlinked to the film title on the schedule), and they should serve as a guide for class discussions and your exam review.

Assignments: There will be two exams, a midterm and a final (each 25% of the final grade). The exams will consist primarily of short-answer questions, some of which will be adaptations of questions posted on the course website. There will also be two major written assignments for the course: one midterm paper (4 pages; 25% of final grade); and one final paper (4 pages; 25% of final grade). The topics and format of the papers will be explained in forthcoming handouts, but their overall purpose is to give students an opportunity either to view films through the lens provided by one or more theoretical approaches introduced in class or to allow for an extended engagement with one particular theorist or school of thought. Because deadlines are a regular and necessary part of academic and everyday life, late papers are only barely acceptable and will be penalized by one quarter of one grade point for each day late. Students are required to complete all evaluated assignments. Non-fulfillment of any individual assignment listed above may result in a non-passing grade for the course as a whole.

Participation: You will be expected to participate actively in class discussions.

Plagiarism: Plagiarism is a serious offense. It undermines the fundamental mission of the university and sanctions are therefore severe. For information about the definition of plagiarism and the mandated UW penalties, please see the following website:
http://depts.washington.edu/grading/issue1/honesty.htm.

Disability-Related Needs: To request academic accommodations due to a disability, please contact UW Disabled Students Services, and please contact me as soon as possible to discuss any necessary accommodations.

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Last Updated:
01/03/06

Contact the instructor at: jtweedie@u.washington.edu

Home Syllabus contents: Course Description Course Requirements Required Readings Other Items	Comparative Literature 302 Film Theory: Critical Concepts Winter 2005
	Professor James Tweedie Email: jtweedie@u.washington.edu
	Course Description: This course provides an introduction to fundamental concepts in film theory. Readings will range from the formative work of early theorists like Sergei Eisenstein, to André Bazin’s influential writing on realist cinema, to more contemporary developments in the field, especially theories centered on the reception of films and the crucial role of stars in the history of the medium. The course will be designed around a series of key concepts that structure discussions of film throughout the twentieth century, including film’s relationship to modernism and modernity, cinematic realism, the development and persistence of genres, the nature of film authorship, the mythology of film stars, the implications of cinematic voyeurism and the gaze, and the political ramifications of the culture industry. After successfully completing the course, students should be able to • understand crucial theoretical concepts developed by filmmakers, critics, and scholars; • use those concepts to analyze film texts; • locate those concepts within the historical, cultural, and cinematic contexts in which they were produced; • analyze and criticize those concepts; • situate the concepts in relation to others studied in the course; • communicate a critical analysis of both films and theories in discussion and in writing. <-- Return to Top Course Requirements: Readings: The readings will consist of essays and book excerpts introducing influential approaches to film criticism and theory, most drawn from the anthology titled Film Criticism and Theory, and some available on the Internet. (Please note that some of the online readings will only be accessible from campus computers or to students who log in as remote users on the library website. If you have any questions about this process, please ask me.) Although the reading may not appear too extensive when measured in pages, the concepts are often complex and abstract, and the writing can be difficult and dense. The reading assignments require a greater degree of care and attention than most essays of their length, and they therefore demand a greater investment of time and energy than a first glance would suggest. Because these readings will provide background for and supplement the lectures, they should be finished before the first class meeting each week, unless otherwise noted. The exams will focus in part on the course readings, so it is important to remain current on the reading. Screenings: The films screened for the class will provide a point of departure for the lectures and readings. They will illustrate some of the important historical and conceptual issues raised in the course; but, if viewed closely and attentively, they will also compel us to rethink some of those same categories. Study questions for each film will be posted on the course website before each screening (they will be hyperlinked to the film title on the schedule), and they should serve as a guide for class discussions and your exam review. Assignments: There will be two exams, a midterm and a final (each 25% of the final grade). The exams will consist primarily of short-answer questions, some of which will be adaptations of questions posted on the course website. There will also be two major written assignments for the course: one midterm paper (4 pages; 25% of final grade); and one final paper (4 pages; 25% of final grade). The topics and format of the papers will be explained in forthcoming handouts, but their overall purpose is to give students an opportunity either to view films through the lens provided by one or more theoretical approaches introduced in class or to allow for an extended engagement with one particular theorist or school of thought. Because deadlines are a regular and necessary part of academic and everyday life, late papers are only barely acceptable and will be penalized by one quarter of one grade point for each day late. Students are required to complete all evaluated assignments. Non-fulfillment of any individual assignment listed above may result in a non-passing grade for the course as a whole. Participation: You will be expected to participate actively in class discussions. Plagiarism: Plagiarism is a serious offense. It undermines the fundamental mission of the university and sanctions are therefore severe. For information about the definition of plagiarism and the mandated UW penalties, please see the following website: http://depts.washington.edu/grading/issue1/honesty.htm. Disability-Related Needs: To request academic accommodations due to a disability, please contact UW Disabled Students Services, and please contact me as soon as possible to discuss any necessary accommodations. <-- Return to Top
Return to Top Last Updated: 01/03/06	Contact the instructor at: jtweedie@u.washington.edu