NOTES:

Canvas (canvas.sfu.ca) All the additional required and recommended readings will be found on Canvas. You can also find copies of the syllabus, assignments, lecture Powerpoints, and additional materials. We will also use Canvas for submitting class assignments. You access Canvas using your SFU computing account – please make sure you can access the course material.

Lecture/Screening/Tutorial Normally lecture will be divided into two or three parts. Typically the first hour to 90 minutes will be lecture, followed by the screening of that week’s film. Sometimes lectures will follow the film. Tutorials will be devoted to close discussion of the films and readings.  If for any reason you miss a screening, you are responsible for seeing the film on your own. Most -- not all -- films will be on reserve or available online.  

Office Hours and Correspondence Students are encouraged to visit me during my office hours (Tuesdays, 10am-12pm in GCA3550) or by appointment. The best way to reach me is always via email, jec10@sfu.ca.   

TAs Micaela Kwiatkowski: micaelak@sfu.ca Office hours: Wednesdays 12pm-1pm (GCA2815) Gabriel Juliano: gjuliano@sfu.ca Office Hours: TBA

In-Class Response Writing To facilitate discussion in tutorial, there will be a short writing response based on the screening and/or reading that you will be required to complete at the beginning of tutorial.  You should write these responses on the index card provided (with your name and student number) and submit them to your TA. These responses will be graded pass/fail and will make up 5% of your final grade.  

Essay Assignments You’ll receive a detailed prompt for both of the essay assignments in class – these prompts will also be posted to Canvas. All assignments should be submitted on the day they are due. Extensions will be granted only in advance and under exceptional circumstances. Unless you have negotiated an extension with your TA, late assignments will be graded down each day (i.e. B+ becomes a B, etc). Students must complete all exams and assignments in order to pass the course.  

Attendance and Participation As discussion is a big part of the course, attendance and participation in lecture, screenings, and tutorial will be crucial to your success and the success of the class overall. Come to tutorial having watched the film, completed all the readings and prepared to discuss them thoughtfully with your classmates. All absences will affect your participation grade (10% of your final grade), but any student missing more than four tutorials will receive an F for the course.                                                                                                         

Exams/lectures/reading  Exams will cover key material from the lectures, required readings, and screenings. ·      Lectures will often cover things not included in the readings. If you miss a lecture you should get notes from a classmate, check to see if there is a Powerpoint on Canvas, and come to see me with questions. ·      We will not always get the opportunity to discuss the readings in detail in class. If you have questions about readings you should raise these in tutorial or see your TA or me during office hours. ·      Film History: An Introduction provides detail on significant aspects of film history. It uses many examples that we will not be covering in this class – while you will not be responsible for all of the detail covered in the textbook you will be expected to understand and apply the key concepts in the book (and other readings) to the films we see in class.  

Academic integrity and dishonesty Students are responsible for understanding and following SFU’s standards of academic integrity. You are REQUIRED to complete the plagiarism tutorial on Canvas. It is not included in your grade, but it is required that you complete it before you will receive a final grade in this class. Please do this in the first week of the semester.   Students are encouraged to consult the following websites for more information and for links to the policies that govern academic integrity at SFU:   http://www.lib.sfu.ca/help/academic-integrity/plagiarism   https://www.sfu.ca/students/academicintegrity.html  

Writing assistance It is difficult to provide all the support necessary for learning to write well in this course.  I will provide some tips before the first assignment.  Also, feel free to see your TAs or me during office hours. We don't however have time to edit your papers or provide help with serious problems with writing, grammar or usage. All students can benefit from seeking assistance at the Learning Commons in the library. You can make an appointment to discuss your papers there.  Visit http://www.lib.sfu.ca/about/branches-depts/slc for more information.   Additional resources – especially useful for those who speak/write English as a second language – can be found at http://owl.english.purdue.edu/owl/  

A final note on computer use in class: computers, laptops, cell-phones, i.e. electronic devices other than wrist watches and similarly necessary things -- are not to be used in lecture or tutorial without prior permission from the instructor. I will only grant permission if you have a legitimate reason to use your computer (such as a disability).

REQUIREMENTS:

January 8 Film after WWII Screening: The Bicycle Thief (Dir. Vittorio De Sica, 1948) Reading: Chapter 16: “Postwar European Cinema: Neorealism and its Context, 1945-1959,” in Film History: An Introduction, 324-241.

January 15 Hollywood after WWII Screening: Double Indemnity (Dir. Billy Wilder, 1944); The Big Sleep (Dir. Howard Hawks, 1946) Reading: Chapter 15: “American Cinema in the Postwar Era, 1945-1960,” in Film History: An Introduction, 298-323. January 22 Japanese Film after WWII Screening: Godzilla (Dir. Ishirō Honda, 1954) Reading: Chapter 18: “Postwar Cinema Beyond the West, 1945-1959,” in Film History: An Introduction, 358-380.  

January 29, Cinema and the Auteur Screening:  Cleo from 5 to 7 (Dir. Agnes Varda, 1962) Reading: Chapter 20: “Art Cinema and the Idea of Authorship,” in Film History: An Introduction, 381-383; Document: Andrew Sarris, “Notes on the Auteur Theory in 1962” in The Film Studies Reader, Joanne Hollows, Peter Hutchings, and Mark Jancovich eds. (Oxford University Press, 2000), 561-564; Pauline Kael, “Circles and Squares,” Film Quarterly, Vol. 16, No. 3, (Spring, 1963), 12-26.  

February 5 Film and (post) Colonialism Screening: Black Girl (Dir. Ousmane Sembène, 1966) Reading: Chapter 20: “New Waves and Young Cinema, 1958-1967,” in Film History: An Introduction, 403-434.   February 9: Short Essay Due   February 12 Reading break February 19 Midterm  

February 26 Hong Kong Studio System Screening: The Big Boss (Dir. Lo Wei, 1971) Reading: Chapter 22: “Hollywood’s Fall and Rise, 1960-1980,” in Film History: An Introduction, 473-490.   March 5 Film Festivals Reading: Roya Rastegar, “Difference, Aesthetics and the Curatorial Crisis of Film Festivals.” Screen 53:3 (2012): 310–317; Richard Fung. “Programming the Public.” [Queer Publicity: A Dossier on Lesbian and Gay Film Festivals]. GLQ: A Journal of Lesbian and Gay Studies 5:1 (1999), 89–93.  

March 12 Documentary Film Screening: Selection of documentary shorts and excerpts Reading: Chapter 21: “Documentary and Experimental Cinema in the Postwar Era, 1945-Mid-1960s,” and  Chapter 24: “Documentary and Experimental Film since the late 1960s” in Film History: An Introduction, 439-469, 536-565.  

March 19 Radical Politics, Radical Film Screening: You Are On Indian Land (Dir. Michael Kanentakeron Mitchell, 1969), The Hour of the Furnaces (Dir. Fernando Solanas, 1968) Reading: Chapter 23: “Politically Critical Cinema of the 1960s and 1970s” in Film History: An Introduction, 494-534. Document: Octavio Getino and Fernando Solanas, “Toward a Third Cinema,” Tricontinental No. 14. (October 1969), 107­132  

March 26 Indigenous Cinemas Screening: Waru (Dir. Briar Grace-Smith, Katie Wolfe ('Kawa'), Casey Kaa, Ainsley Gardiner, Chelsea Cohen, Renae Maihi, Paula Jones, Awanui Simich-Pene, 2017) Reading: Stuart Murray, “Indigenous Self-Expression: Outlining Fourth Cinema,” in Images of Dignity: Barry Barclay and Fourth Cinema  (Huia, 2008), 11-29   March 30: Festival Assignment Due  

April 2 Easter Monday – no class  

April 9 New Global Cinema Screening: A Girl Walks Alone At Night (Dir. Ana Lily Amirpour, 2014) Reading: Chapter 29: “Toward a Global Film Culture” in Film History: An Introduction, 494-534.  

3pm Saturday April 14, 2017: Take Home Exam Due