Brunner-Sung, Vera N.

English

University of Montana

University of MontanaScholarWorks at University of MontanaSyllabi Course Syllabi1-2014MAR 101L.51: Introduction to Media ArtsVera N. Brunner-SungUniversity of Montana - Missoula, vera.brunner-sung@umontana.eduLet us know how access to this document benefits you.Follow this and additional works at: https://scholarworks.umt.edu/syllabiThis Syllabus is brought to you for free and open access by the Course Syllabi at ScholarWorks at University of Montana. It has been accepted forinclusion in Syllabi by an authorized administrator of ScholarWorks at University of Montana. For more information, please contactscholarworks@mso.umt.edu.Recommended CitationBrunner-Sung, Vera N., "MAR 101L.51: Introduction to Media Arts" (2014). Syllabi. 2466.https://scholarworks.umt.edu/syllabi/2466MAR 101L.51 Online Introduction to Media ArtsSpring 2014Jan. 27-May 16Professor: Vera Brunner-SungOffice Hours: Scheduled—Skype or in-personEmail: vera.brunner-sung@mso.umt.eduCOURSE DESCRIPTIONThe purpose of the course is to  introduce you to  the analytical processes involved in "reading" film  narrative. We w ill cover three major areas: fictional, documentary and experimental filmmaking. On a broader level this course delivers experiences that should help you expand your ability to:- th ink creatively- develop your ideas through collaborative and lateral thinking processes- articulate core meaning and them atic concepts in existing films and your own work- understand the context behind your personal point-of-view and to  look empathetically at other global cultures whose context may be quite d ifferent from your ownGOALS I. FILM LANGUAGE AND STRUCTURESA successful student w ill be able to  understand and clearly articulate the ir understanding of film  stories through the follow ing modes of analysis:THE FOUR COMPONENT AREAS: Dramatic, Filmic, Structural, Literary- GENRE DESCRIPTION/CLASSIC PLOT MODELS NORTHRUP FRYE'S MODES OF NARRATIVE (HERO)ROBERT MCKEE'S STORY TRIANGLEFOUR MODES OF DOCUMENTARYII. THE WORLD INSIDE—YOUR POINT-OF-VIEW AND CANONICAL STATEThrough the principles that broaden your understanding of the idea of storytelling, you will be able to  articulate the nature of your "world view" as well as themes, characters and types of stories that might emerge from someone like you. These principle are based in:-THE THREE LEVELS OF READING- FOLK PSYCHOLOGY-THE CANONICAL STATE OF BEING -THE IDEA OF "CORE"- STORYTELLING AS A MEANING-MAKING PROCESSIII. THE WORLD OUTSIDE—THE DEVELOPMENT OF EMPATHYBy focusing on other cultures (outside and inside of our own country) and the ir stories you will be able to  compare and contrast your context w ith theirs and therefore open up your mind to  what stories might mean to  them and you.TEXT & MATERIALSThere is no required text fo r the class, but the class requires viewing of films tha t are to  be your responsibility. This means having access to  them via Netflix, iTunes, Amazon, or some othersource from which you can access the materials. The rest of the material is available in documents and video packages tha t will be found on our Moodle shell.WORK LOAD & TIME MANAGEMENTThere are a to ta l of FOURTEEN weekly units tha t are to  be completed in sequential order. Each unit has video material, documents and, most weeks, a movie to  view. This is not a small amount of material so the best advice I have is: get started on your work early in the week and make sure to get movies lined up in advance! For the sake of consistency, each week w ill be structured in a similar manner:Materials to study:1) Murph videos: These instructional mini-lectures by UM Media Arts Professor Michael Murphy are from 3-6 minutes in length and get at the main focus of a given week's work. I highly recommend viewing each one at least tw ice—once before you read the week's documents and then once after!2) Weekly documents: These offer more detail than can be contained in a short video and include the major vocabulary and concepts fo r the class.3) Film clips: Sections of films referenced in the class are here fo r additional viewing.4) Additional resources: This area gives you the opportun ity to  expand your research into topics generated through assignments and forums.5) The Core Forum: This is our central "meeting place," the only spot where we will access the group as a whole. It is fo r me to  share additional information; and fo r you to  ask questions of me or of your classmates. You w ill notice tha t there are no points, but I consider it to  be a place where I can get to  know you and tha t is a big help when it comes to  understanding how to  address your particular thoughts and challenges. You might also th ink of it as "classroom participation." It's a good place fo r me to  look if I'm wavering between one grade and another at the end o f the semester, to  consider your level of engagement.Weekly Activities:1) Assignments (450-600 words, 4pts. each). Each week w ill have a w ritten assignment, due via its Moodle upload zone, by the end of that week by 11:55 pm. I do my best to upload my individual feedback to  you by the follow ing Tuesday (either as a document or as notes — make sure to  check your gradebook to  view this). The criteria fo r each week will be found through the link in the assignment upload area fo r the week.IMPORTANT:• Only the following file formats are accepted: .doc .docx .pdf• Use the following form at for file name: Lastnam e_Assignment#.form atExample: M y f irs t assignment fo r  week one, handed in as a W ord .doc, would be: Brunner-Sung_assignmentl.doc2) Weekly quizzes (2pts. Each.) Each week o f the course, a quiz w ill be available to  take beginning Sunday morning and closing the follow ing Saturday night 11:55 pm. In order to  get all 3 points you must get all answers correct fo r the quiz of the week. You will be allowed three attempts in order to  do so.3) Final reflection assignment (4pts). A chance fo r you to  reflect on your experience of the course this term , what you've learned, etc.4) Final exam (12pts). This covers the material from the previous quizzes. You are perm itted one attempt.MAR 101L Points DistributionAssignments (14 @ 4pts.) 56 pts.W eekly Quizzes (14 @ 2pts.) 28 pts.Final reflection assignment 4 pts.Online Final Exam 12 pts.Total Points for the semester 100 pts.DEADLINES AND LATE WORK!!!The only possibility for turning in LATE WORK is with weekly assignments. You may turn in a late assignment during the week immediately following its due date, for up to 50% of the points allotted for that assignment (i.e., 2 points). NO ASSIGNMENTS WILL BE ACCEPTED AFTER THIS "GRACE WEEK." THERE ARE NO LATE QUIZZES.A NOTE ON VIEWING FILMS!! VERY IMPORTANT!!We are in a brave new world of the film  "experience." All o f the movies we w ill be viewing this term  were intended to  be watched in the company o f strangers, in a darkened theater. YOU, however, can watch them on your computer, and if you have a laptop, tablet, or smartphone, you could be just about anywhere. And along w ith this comes infinite distractions. Out of respect fo r the films, filmmakers, and your own education (which, after all, is a big part o f what we are all here for), please be a conscientious viewer. Minimize your distractions: turn o ff your phone, close the door, dim the lights. Do your best to  watch these films w ithout interruptions, as they were intended to  be seen. You'll be glad you did.STILL HAVE QUESTIONS?As mentioned, the Core Forum is the place fo r us to  talk — about the course material, as well as about clarifications on the syllabus, schedule, assignments, etc. Chances are, if you have a question, your classmates w ill, too, so let's keep it public! I w ill be checking in there several times per week. If you would like to  contact me personally, please use the email address listed at the top of this syllabus. I w ill do my best to  respond to  you w ith in 48 hours.PLAGIARISMAll students must practice academic honesty. Academic misconduct is subject to  an academic penalty by the  course instructor and/or a disciplinary sanction by the  University. All students need to  be fam iliar w ith  the Student Conduct Code. The Code is available for review online at http://www.um t.edu/SA/vpsa/index.cfm /page/1339STUDENTS NEEDING ACCOMMODATIONS SHOULD INFORM THE INSTRUCTORStudents w ith  disabilities who may need accommodations fo r this class are encouraged to  no tify  the  instructor o r TA and contact the Disability Services fo r Students (DSS) early in the semester so tha t reasonable accommodations may be implemented as soon as possible. Students may contact DSS by visiting the  Center (located in the Lommasson Center Room 154) or by phoning 243-2243 (voice) o r e-mailing dss@umontana.edu). All inform ation w ill remain confidential.MEDIA ARTS 101L DAILY SCHEDULE WINTERSESSION 2014Day 1 Jan. 2SECTION I—THE BASICS Story, Culture and Meaning-Making (What is Core?)Read: Word-Docs:Story and Meaning-making/3 Levels of Reading The Canonical State View: Murph Videos:The Core/3 Levels of ReadingThe Canonical State/Triangle/Square AnimationAssignment #1: Triangle/Square Animation—Story, yes or no?Quiz #1: Canonical and Meaning-makingDay 2 Jan. 3The Whole Story (Structural Components)Read: Word-Docs:4 C’s Structural Components Three-Act Structure in Casablanca View: Murph Video: Structure and Patterns/Narrative, Plot, Story View: Casablanca (1942) dir. Michael CurtizAssignment #2:Tell a story from your canonical stateand break i t  into acts. Quiz #2: Structural ComponentsDay 3 Jan. 6The Whole Story (Dramatic Components)Read: Word-Doc:Formalism v. Realism pt.1 4 C’s Dramatic Action Components View: Murph Video: Formalism/Realism Review: Casablanca (1942) dir. Michael CurtizAssignment #3: Analyzing a scene from Casablanca Quiz #3: Dramatic Action ComponentsDay 4 Jan. 7Editing: The Language of Film (Filmic Components)Read: Word-Docs:4 C’s Filmic Components/Editing and Film Grammar Shot Sizes/Aspect Ratio View: Murph Video: Editing View: The Graduate, dir. Mike Nichols (1967)Assignment #4: Scene From The Graduate—DramaticAction through shots Quiz #4: Editing and Filmic ComponentsDay 5 Jan. 8The Whole Story (Literary Components)Read: Word-Docs:Formalism v. Realism pt. 2 4 C’s Literary Components/It’s All Greek View: Murph Video: Formalism/Realism Review: The Graduate, dir. Mike Nichols (1967)Assignment #5: Analyze a scene from The Graduate forFormalism/Literary Componenets Quiz #5: Literary ComponentsDay 6 Jan. 9SECTION II—VARIATIONS Genre, Plot, Structure (Development and Lateral Thinking) Read: Word-Docs:Genre + Plot Types Categories of Hero Characteristics of Film Noir View: Murph Videos:GenreDevelopment/Plot Types View: Vertigo, dir. Alfred Hitchock (1958)Assignment #6: Identify the elements of Film Noir in Vertigo.Also, describe the protagonist in terms of Frye’s Categories of Hero Quiz #6: GenreDay 7 Jan. 13Beyond the Classical Hollywood Film: Other Canonicals Read: Word-Docs:Culture, Philosophy and the Canonical State View: Murph Video: “ Post WWII Canonical Shifts: Japan”“ What is Neorealism,”  by Kogonada for Sight & Sound: https://vimeo.com/68514760 Review The Canonical State Video View: Ikiru, dir. Akira Kurosowa, 1952Assignment #7:Analyze Ikiru from the point of view of McKee’s Triangle, Hero Types, Genre and Plot Types.Quiz # 7: In-depth Canonical and Meaning-makingDay 8 Jan. 14Beyond the Classical Structures: The Post-Modern Effect Read: Word Doc:Post-modernism and Self-Reflexivity in Film View: Murph Video: The Post-Modern in Film View: Adaptation, dir. Spike Jonze (2002)Assignment #8: In-depth on Structural Components Quiz #8: In-depth on Structural ComponentsDay 9 Jan. 15Reviewing th e  F iction  F ilm : S tructures and Dramatic ActionView: Blue Valentine, dir. Derek Cianfrance (2010)Assignment #9: Using the film  for the week discuss the use of these two component areas. Quiz #9: In-depth review and catch-up on vocabulary.Day 10 Jan. 16Reviewing th e  F iction  F ilm : L ite ra ry  and F ilm ic Review: Blue Valentine, dir. Derek Cianfrance (2010)Assignment #10: sing the film  for the week discuss theuse of these two component areas. Quiz #10: In-depth review and catch-up on vocabulary.Day 11 Jan 20SECTION III—ACTUALITY AND EXPERIMENTATION Docum entary: N arrative and A c tu a lity  Read: Doc: Documentary Modes pt.1 View: National Film Board of Canada Interview clipsVisit: h tto://film s.nfb.ca/caDturing-realitv/#/39/1. Under the “ topics”  tab, choose “ Exploring the Genre.”  Se­lect “ What is Documentary?”  and view the 5 clips.2. Return to the “ topics”  tab and “ Exploring the Genre”  again. Select “ Cinema Verite: The Fly on the Wall”  and watch the 6 video clips.3. Return to the “ topics”  tab, choose “Truth, Perspective 6t Ethics.”  Select “Truth,”  and view the 4 clips.View: Hearts and Minds, dir. Peter Davis, (1973)Assignment #11: Analyze Hearts and Minds using you understandingof the canonical state, structures and genre.Quiz #11: The DocumentaryDay 12 Jan. 21Post-Modern D ocum entary (R e flex iv ity )Read: Doc: Documentary Modes pt.2”View: Murph Video: From the Voice of Godto the Voice of EveryoneView: Stories We Tell, dir. Sarah Polley (2013)Assignment #12: Discuss Davis and Polley’s films, and explain howthey attempt to get at the Truth. Quiz #12: Documentary IIDay 13 Jan. 22Poetic rea lities : Experim enta l film s Read: What IS experimental film?”View: Murph Video: 2-Minute History Experimental Film View: Fake Fruit Factory (1986) dir. Chick Strand; Castro Street (1966) dir. Bruce Baillie; Diary (2010) dir. Tim Hetherington.Assignment #13: Which of the three films captivated you the most, and why? What are these films about? Are they “ documentary” ?Quiz #13: Experimental FilmDay 14 Jan. 23 FINAL ONLINE TEST

MAR 101L.51: Introduction to Media Arts

University of MontanaScholarWorks at University of MontanaSyllabi Course Syllabi9-2013MAR 101L.51: Introduction to Media ArtsVera N. Brunner-SungUniversity of Montana - Missoula, vera.brunner-sung@umontana.eduLet us know how access to this document benefits you.Follow this and additional works at: https://scholarworks.umt.edu/syllabiThis Syllabus is brought to you for free and open access by the Course Syllabi at ScholarWorks at University of Montana. It has been accepted forinclusion in Syllabi by an authorized administrator of ScholarWorks at University of Montana. For more information, please contactscholarworks@mso.umt.edu.Recommended CitationBrunner-Sung, Vera N., "MAR 101L.51: Introduction to Media Arts" (2013). Syllabi. 507.https://scholarworks.umt.edu/syllabi/507MAR 101L Online Introduction to Media ArtsAutumn 2013 - The University of Montana, MissoulaProfessor Vera Brunner-Sung email: vera.brunner-sung@ m so.um t.eduCOURSE DESCRIPTIONThe purpose of the course is to  introduce you to  the analytical processes involved in "reading" film  narrative. We w ill cover three major areas: fictional, documentary and experimental, as well as introducing the basic concepts behind media advertising. On a broader level this course delivers experiences tha t should help you expand your ability to th ink creatively, develop your ideas through collaborative and lateral thinking processes, articulate core meaning and thematic concepts in existing films and your own work, and finally, begin to  understand the context behind your personal point-of-view and to  look empathetically at other global cultures whose context may be quite d ifferent from  your own.GOALS I. FILM LANGUAGE AND STRUCTURESA successful student w ill be able to  understand and clearly articulate the ir understanding of film  stories through the follow ing modes of analysis:- THE THREE LEVELS OF READING- THE FOUR COMPONENT AREASDramaticFilmicStructuralLiterary- GENRE DESCRIPTION/CLASSIC PLOT MODELS- NORTHRUP FRYE'S MODES OF NARRATIVE (HERO)- ROBERT MCKEE'S STORY TRIANGLE- FOUR MODES OF DOCUMENTARYII. THE WORLD INSIDE—YOUR POINT-OF-VIEW AND CANONICAL STATEThrough these principles you w ill be able to  articulate the nature o f your "world view" as well as themes, characters and types o f stories tha t might emerge from  someone like yourself.III. THE WORLD OUTSIDE—THE DEVELOPMENT OF EMPATHYBy focusing on other cultures and the ir stories you w ill be able to  compare and contrast your context w ith  theirs and therefore open up your mind to  what stories might mean to  them and you.IV. THE ESSENTIAL CORE—THEMATIC RESONANCEIf humankind is essentially a meaning-making life form , then you should leave this class w ith  a much w ider range o f understanding in relation to  the nature o f core. Theme and idea drive organization — surface vs coreTEXT & MATERIALSThere is no required text fo r the class, but the class requires viewing of films tha t are to  be your responsibility. This means having access to  them via Netflix, Hulu, iTunes, Amazon Instant View, or otherwise. A list o f vetted sources tha t have met our minimum standards fo r quality, w ill be provided to  you. The rest of the course material is available in documents and video packages tha t w ill be found on our Moodle shell.MAR 101L POINTS DISTRIBUTIONAssignments (12 @ 3pts.) 36 pts.Weekly Forum (12 @ 3pts.) 36 pts.Core Forum (weekly) 8 pts.On-line M id-term  Essay Test 10 pts.Online Final Multiple-Choice Test 10 pts.Total Points for the semester 100 pts.WEEKLY INSTRUCTIONSThere are a to ta l o f fifteen Weekly Units tha t are to  be completed in sequential order. Each unit has video material, documents and, most weeks, a movie to  view. This is not a small amount of material, so the best advice I have is: get started on your work early in the week and make sure to get movies lined up in advance!For the sake of consistency, each week w ill be structured in a similar manner:Materials to  study:1) Murph Videos: These instructional mini-lectures are from  3-6 minutes in length and get at the main focus of a given week's work. I highly recommend viewing each one at least tw ice—once before you read the week's documents and then once after!2) Weekly documents: These offer more detail than be contained in a short video and include the major vocabulary and concepts fo r the class.3) Film Clips: Sections o f films referenced in the class live here in fo r purposes of re­viewing them.4) Additional Resources: This area gives you the opportun ity to  expand your research into film  and additional topics generated through assignments and forums.Weekly Activities:1) Assignments (3 pts each). Each week will have a w ritten  assignment due by Saturday night o f tha t week by 11:55 pm. The criteria fo r each week and length of the assignment w ill be found through the link in the Assignment area fo r the week, where you will also upload completed work. Assignments are only accepted through Moodle; no e-mail.**IMPORTANT**When uploading assignments, use the following file formats only:.doc .docx .pdf .jpeg or Quicktime media filesWhen uploading assignments use the follow ing format for file name: FirstlnitialLastname_Assign#.formatExample: My first assignment turned in as a Word Document fo r unit one should be:VBrunner-Sung_Assignl.doc2) Weekly Forums (3 pts each). Each week of the course, a discussion question w ill be posted fo r your response. A guide, clearly describing how you w ill be assessed, is available in the Syllabus area. This document should be thoroughly reviewed! The content o f your response should reflect an in-depth study o f tha t week's videos and reading materials. Discussions, as Assignments, are due by Saturday n ight a t 11:55pm fo r the week assigned.3) Core Forum (8 pts total): This forum spans the entire semester. A grade w ill be entered at m id-term and at the end o f the semester, w ith  to ta l o f 4 points available fo r each grading period. The forum  will deal w ith  issues and questions generated by viewing the series The Story o f Film: An Odyssey, as well as questions generated by the instructor and students.Two online tests are only events tha t separate from  this pattern:1) Mid-term short answer essay test (10 pts)2) Final multiple choice test (10 pts)111! !»»>DEADLINES AND LATE WORK<<<<<MIMEach week's work is to be completed DURING THAT WEEK! IF YOU MISS A FORUM DEADLINE, YOU WILL RECEIVE NO CREDIT. If you turn an ASSIGNMENT in during the week after it is due, you may receive up to (i.e., a MAXIMUM) of 50% of the points for that assigment. However, NO ASSIGNMENTS WILL BE ACCEPTED AFTER THAT "GRACE WEEK."INSTRUCTOR AVAILABILITYIf you have questions about the syllabus or schedule, VISIT THE Q&A FORUM located in the syllabus section o f our Moodle site. Over the course of the semester, you may contact me w ith questions/concerns via email, and I w ill do my best to  respond WITHIN 48 HOURS. That means, i f  you write me a question about an assignement on a Thursday, you may not hear from me in time to finish the assignment by the Saturday deadline. Be organized, start early!A NOTE ON VIEWING FILMS!! VERY IMPORTANT!!We are in a brave new world of the film  "experience." All o f the movies we w ill be viewing this term  were intended to  be watched in the company o f strangers, in a darkened theater. YOU, however, can watch them on your computer, and if you have a laptop, tablet, or smartphone, you could be just about anywhere -  your livingroom, a cafe, the back of a car. Out o f respect fo r the films, filmmakers, and your own education (which, after all, is a big part of what we are all here for), please be a conscientious viewer. Minimize distractions: tu rn  o ff your phone, close the door, dim the lights. Use full screen. Do your best to  watch these films w ithou t interruptions, as they were intended to  be seen. You'll be glad you did!THE ACADEMIC CODEAll students must practice academic honesty. Academic misconduct is subject to an academic penalty by the course instructor and/or a disciplinary sanction by the University. All students need to be familiar with the Student Conduct Code. Review the Code online: http://www.umt.edu/SA/vpsa/index.cfm/page/1339STUDENTS NEEDING ACCOMMODATIONS SHOULD INFORM THE INSTRUCTORStudents with disabilities who may need accommodations for this class are encouraged to notify the instructor and contact Disability Services for Students (DSS) early in the semester so that reasonable accommodations may be implemented as soon as possible. Students may contact DSS by visiting the Center (located in the Lommasson Center Room 154) or by phoning 243-2243 (voice) or e-mailing dss@umontana.edu). All information will remain confidential.MEDIA ARTS 101L sec 50-51 WEEKLY SCHEDULE - FALL 2013 (4 pages)Week #1 Aug. 26Story, Culture and M eaning-M aking (W hat is Core?)Read: Word-Docs: Story and Meaning-making, 3 Levels of Reading, 4 C's Extended AnalysisView: Murph Videos 1-2-3 ("Intro Core," "3 Levels of Reading," "The Canonical State,")and the 4-Triangle/Square AnimationForum #1: Triangle/Square Anim ation—Story, yes or no?Assignment #1: Your Own Canonical StoryEditing: The Language of Film (Nature of Language)Week #2 Sep. 2Read: Word-Docs: Editing and Film Grammar, Pudovkin v. Eisenstein, ShotSizes, Aspect RatioView: Murph Video 5—"Editing"++The Story o f Film: An Odyssey, Ep. 1: "The Birth of Cinema"Forum #2: Mamet's "W here do we put the camera?" exercise Assignment #2: Find Pudovkin v. Eisenstein clips and articulateWeek #3 Sep. 9Genre, Plot, Structure (Developm ent and Lateral Thinking)Read: Word-Docs: Genre + Plot Types, Categories of Hero, Characteristics of Film Noir, The Ugly DucklingView: Murph Videos 6-7-8 ("Narrative, Plot, Story" "Genre", "Developm ent/P lot Types"),++The Storv o f Film: An Odvssev, Ep. 4 "The Arrival o f Sound"Film: Brick (2005) dir. Rian Johnson,Forum #3: The Ugly Duckling: Genre Scenarios in groups Assignment #3: Identify the elements of Film Noir in Brick. Also, describe theprotagonist in terms of Frye's Categories of Hero.Week #4 Sep. 16The W hole Story— Structural Components (In Film /In  Life)Read: Word-Doc: 4 C's Component Area. McKee Triangle View: Murph Video 9: Structure and Patterns Film: Casablanca (1942) dir. Michael CurtizForum #4: Casablanca and the world o f structure Assignment #4:Pick a character and articulate the ir character development and how tha t is related to  structure.Week #5 Sep. 23The W hole Story— Dram atic Action Components (Relationships)Read: Word-Doc: Formalism v. Realism p t . l  View: Murph Video 10: "Formalism/Realism"Film: Wendy and Lucy (2008) dir. Kelly ReichardtForum #5: How is Wendy and Lucy d ifferent from  Casablanca in terms o f what we've learned so far? Assignment #5: a) (due this week)Describe a scene from  your life and discussit in terms of dramatic action, b) (due in tw o weeks) Rework your Canonical Story using Genre and 3-act structureWeek #6 Sep. 30The W hole Story— Literary Components (M etaphor)Read: Word-Doc: Formalism v. Realism pt. 2 View: Murph Video 10: "Formalism/Realism"Film: The Piano (1993) dir. Jane CampionForum #6: Bring Formalist clips to  the Forum and discuss w ith  classmates Assignment #6:View The Piano, analyze a scene fo rDramatic Action and shots.Week #7 Oct. 7MID-TERM WRITING: ASSGNMENT #5 Developed and Due!ONLINE MID-TERM SHORT FORM ESSAY!Week #8 Oct. 17Beyond the Classical— N ew  Structures, Principles and Cultures Read: Docs: "Culture, Philosophy and the Canonical State."View: Murph Video 11: "Context, Culture and Form"View: "W hat is Neorealism," by kogonada fo r Sight & Sound: https://vimeo.com/68514760Murph Video 11: "Post WWII Canonical Shifts: Japan"++The Story o f Film: An Odyssey, Ep. 5: "Post-war Cinema"Film: Ikiru, dir. Akira Kurosowa (1952)Forum #7: a) W hat is the history of Japan tha t led to  thecreation of the film? b) If you were to  w rite  a social drama based in Realism what issues would you want to  explore? Assignment #7:Analyze Ikiru from  the point of view o f McKee's TriangleFrye's Hero Types , Genres, Plots and StructuresWeek #9 Oct. 21Beyond the Classical— Trends in Formalism (The Existential Auteur) Read: Doc: "The Auteur and Subjectivity"View: Murph Video 12: "The Formalist Auteur and Existentialism"++The Story o f Film: An Odvssev, Ep. 7: "European New Wave"Film: Vertigo, dir. Alfred Hitchcock (1958)Forum #8: What are unique themes from  your life tha t might be interesting in a film  story? W hat did Hitchcock use in his film  tha t was personal? Assignment #8: View Vertigo, and analyze a scene fo r D.A and shotsFrom Classical to  Post-M odern— (Self-Reflexivity and N ew  Structures) Read: Doc: "Post-modernism and Self-Reflexivity in Film"View: Murph Video 13: "The Post-Modern in Film: Irony Takes Hold?"++The Story o f Film: An Odyssey. Ep. 14: "New American Independents and theDigital Revolution"Film: Run Lola Run (1998) dir. Tom TykwerForum #9: Discuss Self-Reflexivity, Post-Modernism and Philosophy in relation to  Run Lola Run Assignment #9: Rework Canonical Story using principles o f Post-modernism.Week #11 Nov. 4M eanw hile , Back at Reality Ranch (Creative Truth)Read: Doc: Documentary Modes p t . lView: This week you'll view a series of short video clips taken from  interviews w ith documentary filmmakers.Visit: h ttp ://film s.nfb.ca /capturing-rea litv/# /39/1. Under the "topics" tab, choose "Exploring the Genre." Select "W hat is Documentary?" and view the 5 clips.2. Return to  the "topics" tab and "Exploring the Genre" again. Select "Cinema Verite: The Fly on the W all" and watch the 6 video clips.3. Return to  the "topics" tab, choose "Truth, Perspective & Ethics." Select "Truth," and view the 4 clips.Film:Salesman (1968), dir. Albert Maysles, David Maylses and Charlotte ZwerinForum #10: Do you th ink documentary can be objective? Is Salesman an objective film? W hat ethical issues can you see in the film? Assignment #10: Analyze Salesman using you understanding o f the canonicalstate, structures and genre.Week #12 Nov. 11Post-M odern Docum entary (Reflexivity)Read: Doc: Documentary Modes pt.2"View: Murph Video 14: "From the Voice o f God to  the Voice o f Everyone"Films for Week 12-13: The Fog of War (2003), dir. Errol Morris; The Gleaners and 1 (2000) dir. Agnes Varda.Forum #11: What are Varda and Morris's films about?In what ways are they meaningful? Assignment #11: Discuss the strategies and structures of Morris and Varda's films, and explain why you th ink they are tru th fu l.Week #13 Nov. 18 THANKSGIVING WEEKWeek #14 Nov. 25Poetic realities: experim ental films Read: What IS experimental film ?"View: Murph Video 15: "Outsiders and Manifestos"Films: Fake Fruit Factory (1986) dir. Chick Strand; Castro Street (1966) dir. Bruce Baillie; Diary (2010) dir. Tim Hetherington.Forum #12: Which o f the three films captivated you the most, and why? W hatare these films about? Are they "documentary"?Assignment #12: On last time, look at vour canonical storv over the course ofthe semester. Where might it f i t  in best of all the areas we've ventured into and why?Week #15 Dec. 2Eisenstein and the Semiotics of the Television Commercial Read: Doc: The Return o f Eisenstein: Coding in Commercials View: Murph Video 16: "Coded Canonicals"Assignment 13: For a possible 3 extra credit points discuss how your view o f film  has changed and what you've learned in this class!Thur. Dec. 12 FINALS DUEHowto Succeed in Forum Discussions: 3 points (12 total, 36pointstotal—THAT IS 25% OF YOUR GRADE FOR THE SEMESTER!Rubric for Threaded DiscussionsRanking0No Learner Engagement1Low Learner Engagement2Moderate Learner Engagement3High Learner EngagementDiscussionContentAvoidance and B.S. LevelBasic Knowledge and Comprehension LevelReflective- Application and Analysis LevelCritically Thinking- Synthesis and Evaluation LevelUnit postYou either don't post at all, or your contribution reflects no knowledge or comprehension of the materials for the week and/or you regurgitate the content of classmates' previously posted ideas/insights, without elaboration or critical engagement.Typical responses that warrant 0 pts.: "Great Jane. 1 agree with you.""My opinion is...(as in, 1 haven't read or studied but 1 can fake my way through it.")"1 disagree with you...(then 1 throw in an opinion as in the above)-o r  any version of using terminology for the course incorrectly just to use it.You restate ideas or issues from the readings and videos. You offer examples from the week's viewing to support your understanding of the materials. You either don't engage with others or revert to the responses offered in the column to the left.You accomplish Basic Knowledge and Comprehension. In addition you describe insights based on integration of past and current readings outside of the week's documents. You may agree or disagree, but you expand on the idea with examples from viewings or other sources.You demonstrate further analysis and insight.You recommend examples or other sources of information. You extend the conversation with peers.You accomplish Basic Knowledge and Comprehension as well as Reflective Application and Analysis. You also construct new meaning and application to the material. This includes applying learning to areas outside of the course and other fields. It includes multiple interactions you're your peers, each one of which is meaningful and adds new thinking and material to the conversationOriginal thread & at least two responses to fellow students# of postsNone or original thread onlyOriginal thread only Original thread & one response to fellow student

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MAR 101L.51: Introduction to Media Arts

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