Course Prefix:
COM

Component Type	Contact Hours
Lecture	3.0

Enrollment Component	Per Semester	Per Section	Multiple Sections?	Comments
Lecture	N/A	N/A	No	N/A

Catalog Description

Technological developments and aesthetic movements that shaped international cinema production from the beginning of the industry to 1940. Formal evolution in camera movement, editing, sound, narrative form, and the documentary. The rise to prominence of Hollywood and international cinemas in historical, economic, and cultural contexts.

Justification for each revision:

n/a

Does this course have a fee?

List amount and justification for fee:

Is this a GEP Course?

Yes

GEP Categories

Global Knowledge
Visual & Performing Arts

Humanities Open when gep_category = HUM

Each course in the Humanities category of the General Education Program will provide instruction and guidance that help students to:

List the Instructor's student learning outcomes that are relevant to the GEP Humanities Objective 1:
Obj. 1) Engage the human experience through the interpretation of culture.

Measure(s) for the above outcome(s): Describe the assessments that will be used to determine if students have achieved the outcome. Including a relevant example assignment/question/prompt is encouraged for clarity.

List the Instructor's student learning outcomes that are relevant to the GEP Humanities Objective 2:
Obj. 2): Become aware of the act of interpretation itself as a critical form of knowing in the humanities.

List the Instructor's student learning outcomes that are relevant to the GEP Humanities Objective 3:
Obj. 3) Make academic arguments about the human experience using reasons and evidence for supporting those reasons that are appropriate to the humanities.

Attach Additional GEP Information if applicable

Mathematical Sciences Open when gep_category = MATH

Each course in the Mathematial Sciences category of the General Education Program will provide instruction and guidance that help students to:

List the Instructor's student learning outcomes that are relevant to the GEP Mathematical Sciences Objective 1:
Obj. 1) Improve and refine mathematical problem-solving abilities.

List the Instructor's student learning outcomes that are relevant to the GEP Mathematical Sciences Objective 2:
Obj. 2) Develop logical reasoning skills.

Attach Additional GEP Information if applicable

Natural Sciences Open when gep_category = NATSCI

Each course in the Natural Sciences category of the General Education Program will provide instruction and guidance that help students to:

List the Instructor's student learning outcomes that are relevant to the GEP Natural Sciences Objective 1:
Obj.O 1) Use the methods and processes of science in testing hypotheses, solving problems and making decisions

List the Instructor's student learning outcomes that are relevant to the GEP Natural Sciences Objective 2:
Obj. 2) Make inferences from and articulate, scientific concepts, principles, laws, and theories, and apply this knowledge to problem solving.

Attach Additional GEP Information if applicable

Social Sciences Open when gep_category = SOCSCI

Each course in the Social Sciences category of the General Education Program will provide instruction and guidance that help students to:

List the Instructor's student learning outcomes that are relevant to the GEP Social Sciences Objective 1:
Obj. 1) Examine at least one of the following: human behavior, culture, mental processes, organizational processes, or institutional processes.

List the Instructor's student learning outcomes that are relevant to the GEP Social Sciences Objective 2:
Obj. 2) Demonstrate how social scientific methods may be applied to the study of human behavior, culture, mental processes, organizational processes, or institutional processes.

List the Instructor's student learning outcomes that are relevant to the GEP Social Sciences Objective 3:
Obj. 3) Use theories or concepts of the social sciences to analyze and explain theoretical and or real-world problems, including the underlying origins of such problems.

Attach Additional GEP Information if applicable

Interdisciplinary Perspectives Open when gep_category = INTERDISC

Each course in the Interdisciplinary Perspectives category of the General Education Program will provide instruction and guidance that help students to:

List the Instructor's student learning outcomes that are relevant to the GEP Interdisciplinary Objective 1:
Obj. 1) Distinguish between the distinct approaches of two or more disciplines.

List the Instructor's student learning outcomes that are relevant to the GEP Interdisciplinary Objective 2:
Obj. 2) Identify and apply authentic connections between two or more disciplines.

List the Instructor's student learning outcomes that are relevant to the GEP Interdisciplinary Objective 3:
Obj. 3) Explore and synthesize the approaches or views of two or more disciplines.

To assist CUE in evaluating this course for inclusion on the Interdisciplinary Perspecitves list, please answer these additional questions.
1. Which disciplines will be synthesized, connected, and/or considered in this course?

2. How will the instructor present the material so that these disciplines are addressed in a way that allows the students "to integrate the multiple points of view into a cohesive understanding"?

Attach Additional GEP Information if applicable

Visual & Performing Arts Open when gep_category = VPA

Each course in the Visual and Performing Arts category of the General Education Program will provide instruction and guidance that help students to:

List the Instructor's student learning outcomes that are relevant to the GEP Visual & Performing Arts Objective 1:
Obj. 1) Deepen their understanding of aesthetic, cultural, and historical dimensions of artistic traditions.

Explain aesthetic, cultural and historical dimensions of film history prior to 1940.

Sample exam question: Discuss the visual and narrative techniques at work in The Only Son (Yasujiro Ozu. 1936). How does Ozu approach camera placement. framing, and editing (specifically note two formal devices that are unique to Ozu)? How does the film differ-in form. style, and narrative- from the kinds of films being made in Hollywood in the 1930s (use one 1930s American film to make these points)?

List the Instructor's student learning outcomes that are relevant to the GEP Visual & Performing Arts Objective 2:
Obj. 2) Strengthen their ability to interpret and make critical judgements about the arts through the analysis of structure, form, and style of specific works.

Interpret and make critical judgments about film history prior to 1940 through an analysis of structure, form and style of specific films.

Sample exam question: Using The Arrival of a Train (Lumieres, 1895), The Kiss in the Tunnel (G. A. Smith, 1899). and A Trip to the Moon (Melies, 1902), explain what each film reveals about the evolving nature of film making during cinema's first decade, especially in relation to narrative and editing practices. Be sure to note the structural and stylistic advances evident in each film.

List the Instructor's student learning outcomes that are relevant to the GEP Visual & Performing Arts Objective 3:
Obj. 3) Strengthen their ability to create, recreate, or evaluate art based upon techniques and standards appropriate to the genre.

Evaluate films produced prior to 1940 based upon techniques and standards appropriate to the discipline of film studies.

Sample exam question: Discuss some of the different ways in which the following films build tension and suspense: The Great Train Robhe1y (Edison/Potter, 1903), M (fritz Lang, 1931), and The 39 Steps (Alfred Hitchcock, 1935). What techniques-both .formal and narrative- do these respective directors use to create suspense? Be sure to use specific examples from each film.

Attach Additional GEP Information if applicable

Health and Exercise Studies Open when gep_category = HES

Each course in the Health and Exercise Studies category of the General Education Program will provide instruction and guidance that help students to:

List the Instructor's student learning outcomes that are relevant to the GEP Health & Exercise Studies Objective 1:
Obj. 1) Acquire the fundamentals of health-related fitness, encompassing cardio-respiratory and cardiovascular endurance, muscular strength and endurance, muscular flexibility and body composition.

List the Instructor's student learning outcomes that are relevant to the GEP Health & Exercise Studies Objective 2:
Obj. 2) Apply knowledge of the fundamentals of health-related fitness toward developing, maintaining, and sustaining an active and healthy lifestyle.

List the Instructor's student learning outcomes that are relevant to the GEP Health & Exercise Studies Objective 3:
Obj. 3) Acquire or enhance the basic motor skills and skill-related competencies, concepts, and strategies used in physical activities and sport.

List the Instructor's student learning outcomes that are relevant to the GEP Health & Exercise Studies Objective 4:
Obj. 4) Gain a thorough working knowledge, appreciation, and understanding of the spirit and rules, history, safety, and etiquette of physical activities and sport.

Attach Additional GEP Information if applicable

Global Knowledge Open when gep_category = GLOBAL

Each course in the Global Knowledge category of the General Education Program will provide instruction and guidance that help students to achieve objective #1 plus at least one of objectives 2, 3, and 4:

List the Instructor's student learning outcomes that are relevant to the GEP Global Knowledge Objective 1:
Obj. 1) Identify and examine distinguishing characteristics, including ideas, values, images, cultural artifacts, economic structures, technological or scientific developments, and/or attitudes of people in a society or culture outside the United States.

Identify and explain the importance of films produced outside the United States from the 1890s to 1940.

Sample Exam Question: How do you understand the relationship between the choices in subject matter, narrative structure, editing, and visual style in Un Chien Andalou (Luis Bunuel and Salvador Dali, France, 1928) and Strike (Sergei Eisenstein, Soviet Union, 1925) in relation to the films being produced in Hollywood during the same time period? In what ways do these films represent the differing goals/theories of their respective movements and why are they important to those movements? You will need to pay attention to technology, form, style, genre, and industry practices in the course of your response.

Please complete at least 1 of the following student objectives.
List the Instructor's student learning outcomes that are relevant to the GEP Global Knowledge Objective 2:
Obj. 2) Compare these distinguishing characteristics between the non-U.S. society and at least one other society.

Compare and contrast film technology, form, style, genre, and industry practices prior to 1940 through analysis of a variety of national cinemas, including French, German, British, Italian, Soviet, Japanese and American.

Sample Exam Question: Discuss the visual and narrative techniques at work in the Japanese film The Only Son (Yasujiro Ozu, 1936). How does Ozu approach camera placement, framing, and editing (specifically note two formal devices that are unique to Ozu)? How does this Japanese film differ- in form as well as narrative-from the kinds of films being made in Hollywood in the 1930s (use one 1930s American film to make these points)?

List the Instructor's student learning outcomes that are relevant to the GEP Global Knowledge Objective 3:
Obj. 3) Explain how these distinguishing characteristics relate to their cultural and/or historical contexts in the non-U.S. society.

n/a

.n/a

List the Instructor's student learning outcomes that are relevant to the GEP Global Knowledge Objective 4:
Obj. 4) Explain how these disinguishing characteristics change in response to internal and external pressures on the non-U.S. society.

n/a

Attach Additional GEP Information if applicable

US Diversity Open when gep_category = USDIV

Each course in the US Diversity category of the General Education Program will provide instruction and guidance that help students to achieve at least 2 of the following objectives:
Please complete at least 2 of the following student objectives.

List the Instructor's student learning outcomes that are relevant to the GEP U.S. Diversity Objective 1:
Obj. 1) Analyze how religious, gender, ethnic, racial, class, sexual orientation, disability, and/or age identities are shaped by cultural and societal influences.

List the Instructor's student learning outcomes that are relevant to the GEP U.S. Diversity Objective 2:
Obj. 2) Categorize and compare historical, social, political, and/or economic processes producing diversity, equality, and structured inequalities in the U.S.

List the Instructor's student learning outcomes that are relevant to the GEP U.S. Diversity Objective 3:
Obj. 3) Interpret and evaluate social actions by religious, gender, ethnic, racial, class, sexual orientation, disability, and/or age groups affecting equality and social justice in the U.S.

List the Instructor's student learning outcomes that are relevant to the GEP U.S. Diversity Objective 4:
Obj. 4) Examine interactions between people from different religious, gender, ethnic, racial, class, sexual orientation, disability, and/or age groups in the U.S.

Attach Additional GEP Information if applicable

Requisites and Scheduling

What percentage of the seats offered will be open to all students?

100

a. If seats are restricted, describe the restrictions being applied.

Prerequisite: Sophomore standing and above

b. Is this restriction listed in the course catalog description for the course?

Yes.

List all course pre-requisites, co-requisites, and restrictive statements (ex: Jr standing; Chemistry majors only). If none, state none.

Prerequisite: Sophomore standing and above

List any discipline specific background or skills that a student is expected to have prior to taking this course. If none, state none. (ex: ability to analyze historical text; prepare a lesson plan)

None

Additional Information

Complete the following 3 questions or attach a syllabus that includes this information. If a 400-level or dual level course, a syllabus is required.

Title and author of any required text or publications.

Readings for this course are available to students on "e-reserve": https:/ /reserves.lib.ncsu.edu/ which students can log on to under "my course reserves." These readings include:

Breton, Andre. The Surrealist Manifesto. Translated by Patrick Waldberg. McGraw-Hill, 1971. 66-75.

Doherty, Thomas. "Criminal Codes." Pre-Code Hollywood: Sex, Immorality and Insurrection in American Cinema,
1930-1934. Columbia UP, 1999. 137-170.

Gunning, Tom. ''The Cinema of Attraction: Early Film, Its Spectator, and the Avant-Garde." Film and Theory: An
Anthology. Eds. Robert Starn & Toby Miller. Blackwell, 2000. 229-235.

Peterson, Jennifer. "Glimpses of Animal Life: Nature Films and the Emergence of Classroom Cinema." Learning
with the Lights off: Educational Film in the United States. Eds. Devin Orgeron, Marsha Orgeron, and Dan
Streible. Oxford, 2012. 145-167.

Vertov, Dzinga. ''The Factory of Facts and Other Writings." October 7 (1978): 109-128.

Major topics to be covered and required readings including laboratory and studio topics.

See topical outline below.

List any required field trips, out of class activities, and/or guest speakers.

None

Consultation

Instructional Resources Statement

n/a

Course Objectives/Goals

Student Learning Outcomes

n/a

Student Evaluation Methods

Evaluation Method	Weighting/Points for Each	Details
Other	N/A	N/A

Topical Outline/Course Schedule

Topic	Time Devoted to Each Topic	Activity
Introduction to Film History	1 class	Screening: Edison Co.: Sandow (The Strong Man) (1894); Barber Shop (1893) Annabelle Butterfly Dance (1894); Corbett and Courtney Before the Kinetograph (1894) The Invention of Cinema: USA, France, England
The Invention of Cinema: USA, France, England	1 class	Reading: Tom Gunning, "The Cinema of Attractions" Screening: Edison Co.: Cockfight (1894); Annie Oakley (1894); The Kiss (1896); Interrupted Lovers (1896); Going to the Fire (1896) Lumiere Brothers (1895-1897): Leaving the Factory; The Baby's Meal; The Sprinkler Sprinkled; Arrival of a Train; Niagara Falls; Swimming in the Sea; Promenade of Ostriches; Childish Quarrel; Photograph; Transformation by Hats Birt Acres: Rough Sea at Dover (1895) Actualities: President McKinley at Home (1896)
The Invention of Cinema: USA, France, England	1 class	Screening: R.W. Paul: The Countryman & the Cinematograph (1901); A Chess Dispute (1903); Extraordinary Cab Accident (1903) George Albert Smith: The Kiss in the Tunnel (1899); As Seen Through a Telescope (1900); Mary Jane's Mishap (1903) Bamforth & Co.: The Kiss in the Tunnel (1899); Ladies' Skirts Nailed to a Fence (ca. 1900) James Williamson: The Big Swallow (1901) Cecil Hepworth: How It Feels to Be Run Over (1900); Explosion of a Motor Car (1900) Pathe: Parle Trou De Serrue (1901); Dream and Reality (1901)
The Grammar of Narrative Cinema	1 class	Reading: Jennifer Peterson, "Glimpses of Animal Life" Screening: James Williamson: Fire (1901) Georges Melies: A Trip to the Moon (1902) Sheffield: Daring Daylight Burglary (1903) Edison/Porter: The Great Train Robbery (1903)
The Grammar of Narrative Cinema	1 class	Case Study: Thomas Edison & Co. Screening: Mr. Edison at Work in His Chemical Laboratory (1897) Jack and the Beanstalk (1902), The Gay Shoe Clerk (1903) Dream of a Rarebit Fiend (1906), The "Teddy" Bears (1907)
International Cinematic Developments: 1906-1912	1 class	View Before Class: The Acrobatic Fly, Charles Urban Co., (England, 1910) http://www.youtube.com/watch?v=8hlocZhNcOM Reading: "Some Tricks of the Moving Picture Maker" (1909) "House Fly Actors Make Their Debut" (1910) Screening: San Francisco Earthquake: Aftermath (US, 1906) Troubles of a Grass Widower, Max Linder (France, 1908) Nero, or the Fall of Rome, Arturo Ambrosio (Italy, 1909) Princess Nicotine; Or, The Smoke Fairy, J. Stuart Blackton (US, 1909) The Fly Pest (England, 1910)
International Cinematic Developments: 1906-1912	1 class	Case Study: Alice Guy Blache Reading: "Alice Guy Blache: A Prominent Figure in Motion Pictures" (1912) Alice Guy Blache, "Woman's Place in Photoplay Production" (1914) Mark Garrett Cooper, "Preface," Universal Women Screening: Making an American Citizen (US, 1912) Falling Leaves (US, 1912) Matrimony's Speed Limit (US, 1913)
International Cinematic Developments: 1906-1912	1 class	Case Study: D. W. Griffith Reading: Janet Staiger, "Mass Produced Photoplays" "Lessons from Lyman Howe" and "Moral Teaching by Films" (1911) Screening: The Girl and Her Trust (1912) The Musketeers of Pig Alley (1912) The Birth of a Nation (1915) (excerpts)
International Cinematic Developments: 1906-1912	1 class	View Before Class: The Temple of Moloch (1914), Thomas Edison Co. http://archive.org/details/temple _of_ moloch Screening: How Men Propose, Lois Weber (1913) Cabiria (1914) (excerpt), Giovanni Pastrone The Immigrant (1917), Charlie Chaplin Within Our Gates (1919) (excerpt), Oscar Micheaux
American Film in the 1920s	1 class	View Before Class: Wildlife 011 the Deserts of America's Great Southwest (William and George Allen, 192*) http://archive.org/details/wildlife _deserts_ americas_ southwest Reading: Jennifer Peterson, "Glimpses of Animal Life" Screening: One Week (1920), Buster Keaton & Edward Cline Struggle for Existence (1925), Bray Co. Bigelow family Kodacolor home movie (1929)
American Film in the 1920s	1 class	Screening: It (1927), Clarence Badger Paper Due to Moodle Site by 8:00 a.m.
American Film in the 1920s	1 class	Reading: "She Wants to Succeed," Motion Picture Classic (June 1926) "Interview with Clara Bow," Motion Picture (November 1928) "That Awful 'IT'," Photoplay (July 1930) Screening: The Life and Death of a Hollywood Extra (1928), Vorkapich & Florey
French Cinema in the 1920s: The Avant-Garde	1 class	Reading: Andre Breton, "The Surrealist Manifesto" (1924) Screening: Onesime, Clock Maker, Jean Durand/Ernst Bourborn (France, 1912) Entr'acte (1924), Rene Clair Anemic Cinema (1926), Marcel Duchamp Un Chien Andalou (1929), Luis Buiiuel/Salvador Dali
Soviet Cinema in the 1920s: Montage	1 class	Screening: Strike (1925), Sergei Eisenstein
Soviet Cinema in the 1920s: Montage	1 class	Reading: Dziga Vertov, "The Factory of Facts and Other Writings" Clips: Potemkin (1925), Sergei Eisenstein Man With a Movie Camera (1929), Dziga Vertov
German Cinema in the 1920s: Expressionism	1 class	Clips: The Cabinet of Dr. Caligari (1920), Robert Wiene Nosferatu (1922), F.W. Murnau Metropolis (1927)
The Coming of Sound	1 class	Stephen Botto more, "An International Survey of Sound Effects ... " Clips: Dickson Experimental Sound Film (1894/S) Cyrano de Bergerac (1900) The Jazz Singer (1927), Alan Crosland Sunrise (1927), F.W. Mumau Applause (1929), Rouben Mamoulian
The Coming of Sound	1 class	Screening: M (1931), Fritz Lang
American Film in the 1930s-In Black & White, and Color!	1 class	Clips: Modern Times (1936), Charlie Chaplin American Film in the 1930s-In Black & White, and Color!
American Film in the 1930s-In Black & White, and Color!	1 class	Screening: I Am A Fugitive from a Chain Gang (1932), Mervyn LeRoy
American Film in the 1930s-In Black & White, and Color!	1 class	Reading: Thomas Doherty, "Criminal Codes" Clip: Gold Diggers of 1933 (1933), Mervyn LeRoy
American Film in the 1930s-In Black & White, and Color!	1 class	Screening: The Wizard Of Oz (1939), Victor Fleming
American Film in the 1930s-In Black & White, and Color!	1 class	Reading: Douglas Churchill, "Hollywood Says Oz" (Oct. 30, 1938) Mervyn LeRoy, "Director LeRoy Explores a Myth" (Aug. 13, 1939) Frank Nugent, Review of The Wizard ofOz (Aug. 18, 1939) Screening: The Talio11 Punishment (1906), Pathe Flowers and Trees (1932), Disney
International Cinema in the 1930s	1 class	Japan: Screening: Hitori musuko (The 011ly So11) 1936, Yasujiro Ozu
International Cinema in the 1930s	1 class	France: Reading: Mariana Johnson, "Schools Out" Screening: Zero du conduite [Zero for Conduct] (1933), Jean Vigo L 'Hippocampe ou cheval marin [The Sea Horse) (1933) Jean Painleve
International Cinema in the 1930s	1 class	England: Screening: The 39 Steps (1935), Alfred Hitchcock
International Cinema in the 1930s	1 class	Clips: Blackmail (1929), Alfred Hitchcock The Lady Vanishes (1938), Alfred Hitchcock

Syllabus

Additional Documentation

ENG_COM 364_gep review.pdf

Additional Comments

Justification for this request

History

Viewing: ENG 364/COM 364 : History of Film to 1940

Last approved: Wed, 23 Mar 2016 14:48:02 GMT

Last edit: Wed, 23 Mar 2016 14:48:02 GMT