English 493: FILM ART
is
a hands-on study of
style and narration in the fiction film. After a reminder of
the pre- and post- production processes, we’ll focus on individual directorial
styles. We’ll also make a communal film to explore the capabilities and
shortcomings of the available equipment. Then, as a part of a very small group, each
student will be given a chance to write/adapt, direct, film, and edit a short
film using digital video cameras and non-linear editing equipment. We’ll look at those films in light of the
latest theories of narrative and the knowledge about cinema acquired from the
film-maker’s end. The final versions of
all films will be burnt to DVDs. If there are musicians among us, they will be
given a chance to score a film and/or do sound design.
No special knowledge
of technology is presumed. A course on film (X
through film, X
and film, the X of film, film as X, X on film, film X, etc.) should be decent preparation
for this class; an upper level course in art, creative writing, literature,
semiotics, or literary criticism would also be of even greater help. Limited to
Juniors and Seniors.
Texts:
Gwynn and Gioia, The
Longman Anthology of Short Stories ®
Peacock, The Art
of Moviemaking: Script to Screen 0-13-087942-8
Abbott, The
Gross and Ward, Electronic
Moviemaking 0-534-55971-9
Directors:
(Underlined titles indicate that the film is available in MDVD
format)
Kurosawa (The Magnificent Seven, Ran, After the Rain);
Coen Brothers (Blood Simple, Raising
Kusturica (Underground, Black Cat, White Cat, Do
You Remember Dolly
Lynch (Blue Velvet, Lost Highway, Wild at
Heart,
Tarrantino (Pulp Fiction, Reservoir Dogs, Jackie Brown);
Tarkovski (The Sacrifice, Solaris, Nostalgia)
VonTrier (The Idiots, Breaking the Waves, Dancer in the Dark);Also: Tons of shorts
Graded work: Participation, (in class, on the communal film, and on
other people’s films); discussion leading (in groups of two); one two-page
paper on a director’s style; one short (two-page) explication of a short film;
a screenplay you may write/adapt, individual short film you make, a final essay
(you decide the length) titled “Reflections on Making Films at Davidson
College.” The grading will be done on
the portfolio approach, but you may consult me about your progress at any
point.
|
Date |
|
Film(s) |
Work Due |
|
|
|
|
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1/16 |
Getting Started;
Variety of Reproducible Cinematic Experience |
Shorts |
|
|
1/23 |
Porter, |
Shorts |
|
|
1/30 |
G&W, |
Director 1: Lynch
(Dan and Eric); Shorts |
Script for Communal Shaggy
Dog Film Discussion of Lynch |
|
2/06 |
G&W, Chs. 2 & 3 Pre-production and Production Roles Peacock, Chs. 3 & 4: The Look and the Talent |
Director 2: Tarkovsky (Luke and Chris); Shorts |
Discussion of Tarkovsky Tasks assigned for
Communal Film |
|
2/13 |
Peacock, Ch 5: Directing G&W, |
Director 3:
Tarantino/Coen Bros. (Garrett and Charles); Shorts |
Discussion of Tarantino/Coens Shooting and Editing
of Communal Film |
|
2/20 |
Peacock, Ch 6: The
Shot G&W, |
Director 4: Kurosawa (Chirs
and Nikki); Shorts |
Communal Film Due Discussion
of Kurosawa |
|
2/27 |
G&W, Chs. 6 and 7:
Lights and Filters |
Director 5: Von
Trier (Greg and Carolyn) |
Discussion of Von
Trier |
|
3/13 |
G&W, Chs. 8, 9, 13: Mics, Recorders,
and Mixers |
|
|
|
3/20 |
G&W, Chs. 10 and 11: Post-Production (And why it does not
really fix what went wrong on the set) |
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|
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3/27 |
G&W, Porter, Chs. 1,2,3: The
Shifting Boundaries between Narrative and Life |
|
Group Film Due |
|
4/03 |
Porter, Chs. 4, 5, 6: The
Grammar of Narrative |
|
|
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4/10 |
Porter, Chs. 10, 11, 12:
Finally, Character Issues |
|
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4/13 |
|
Director 6:
Kusturica |
Discussion of
Kusturica |
|
4/17 |
Porter, Chs. 7, 8:
Interpreting our cinematic narratives in light of Porter’s theoretical
concerns |
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4/24 |
Post |
|
Individual Film Due |
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5/1 |
Summing up |
Film Night |
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5/7 |
Classes End |
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5/9 |
Final Exams Begin |
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5/14 |
Final Exams End |
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5/18 |
Graduation |
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