Justin Horton

EVIDENCE OF TEACHING EFFECTIVENESS

CONTENTS:
I.

List of Courses Taught

II.

Student Evaluations: Overall Teaching Effectiveness

III.

Student Evaluations: Complete Quantitative Data

IV.

Student Evaluations: Selected Qualitative Comments

V.

Student Evaluations: Complete Sets

a. FILM 1010: Aesthetics & Analysis
b. FILM 4780: Puzzle Films & Complex Narratives

7
9

Teaching Evaluations from Faculty

a. Tonia Edwards, PhD (Spring 2011)
b. Kathryn Fuller-Seeley, PhD (Fall 2012)

11
14

Sample Syllabi
a. FILM 4780: Puzzle Films & Complex Narratives
b. FILM 2700: History of Motion Pictures

16
25

Sample Assignments
a. FILM 1010: Aesthetics & Analysis
b. FILM 2700: History of Motion Pictures
c. FILM 2700: History of Motion Pictures
d. FILM 4780: Puzzle Films & Complex Narratives

30
31
32
35

VI.

VII.

VIII.

Justin Horton
COURSES TAUGHT
Film 1010: Film Aesthetics and Analysis (instructor of record)
General elective and Film/Video major core course. Introductory, writing-intensive course on
formal analysis and interpretation focusing on cinematography, editing, sound, genre, and theory.
Fall 2011: 34 students
Summer 2011: 25 students
Spring 2010 (2x): 26, 31 students respectively

Film 2700: History of Motion Pictures (instructor of record)

General elective and Film/Video major core course. Introductory survey of film history from the
mediums inception to the present encompassing its aesthetic development and national film
movements; and the political, industrial, and cultural influences thereof.
Summer 2014: 58 students
Spring 2012: 115 students
Fall 2011: 33 students
Spring 2011: 109 students
Fall 2010: 33 students
Film 4780: Puzzle Films and Complex Narratives (instructor of record)
Upper-level course for Film/Video majors. Examines the recent cycle of complex narrative films
characterized by intricate narrative structures, fractured chronology, unreliable
narrators/narration, and alternate timelines, worlds, or selves.
Spring 2012: 41 students
Speech 1000: Introduction to Human Communication (instructor of record)
General elective and Speech major core course. Introductory survey of human communication
including language development; verbal, nonverbal, interpersonal, small group, organizational,
and intercultural communication; and basic public speaking.
Fall 2010: 35 students
Summer 2010: 24 students

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Justin Horton
OVERALL TEACHING EFFECTIVENESS EVALUATION SCORES
Course
FILM 1010
Film Aesthetics & Analysis
FILM 1010
Film Aesthetics & Analysis
FILM 1010
Film Aesthetics & Analysis
FILM 1010
Film Aesthetics & Analysis
FILM 2700
History of Motion Pictures
FILM 2700
History of Motion Pictures
FILM 2700
History of Motion Pictures
FILM 2700
History of Motion Pictures
FILM 2700
History of Motion Pictures
FILM 4780
Puzzle Films & Complex Narratives
SPEECH 1000
Introduction to Human Communication
SPEECH 1000
Introduction to Human Communication

Semester

Enrollment

Question #17

Fall 2011

39

4.6

Summer 2011

26

4.7

Spring 2010

36

4.6

Spring 2010

30

4.5

Summer 2014

64

4.6

Spring 2012

119

4.6

Fall 2011

34

4.6

Spring 2011

113

4.5

Fall 2010

35

4.6

Spring 2012

41

4.7

Fall 2010

35

4.6

Summer 2010

26

4.3

OVERALL

4.59

S.D.

0.12

QUESTION #17:
Considering the overall limitations and possibilities of the subject matter and course, how
would you rate the overall teaching effectiveness of the instructor?
(1=Poor; 5=Very High)

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Justin Horton
SELECTED COMMENTS FROM STUDENT EVALUATIONS
From FILM 1010: Aesthetics & Analysis
I really enjoyed this class... I really did! :) Professor Horton was a very engaging instructor, and
shed new light on what it means to study film. He made the class both entertaining and
informative and spark both debate and group interaction. As a result of his incredible instruction,
I am sure that a career in film is what I want to pursue! (Spring 2010)
I really enjoyed the overall structure of the course and how interactive it was with students and
teachers. (Spring 2010)
Horton is an extremely confident and passionate educator. It was abundantly clear that he
enjoyed the subject matter and welcomed dissent on views that did not match his own. This I
found most motivating in the course and allowed for more retention of the topics we
learned/discussed/wrote about in the class. He is an asset to GSU. (Spring 2010)
Was a very tough course. I really didn't expect so much. But it showed me what my weaknesses
are and now i know what i need to work on. (Summer 2011)
I cannot speak highly enough of Horton. He taught me more than any other professor this
semester and I hope to have another film class with him in the future. (Fall 2011)
Justin Horton was an excellent teacher and was able to open my eyes to the world of film. If I
was staying at GSU, even though film isn't my major, I would take another class from him.
Interesting, funny, fair, and approachable. (Fall 2011)
From FILM 2700: History of Motion Pictures
A wonderful course in every aspect. I could not ask for a better experience. (Spring 2010)
Great teacher! Funny, understood our workload, and incorporated material that was both
familiar to us and also opened our minds. Would definitely recommend him to others. (Spring
2010)
Professor Horton is awesome. His class has been one of my favorites at GSU. His passion for
film is truly apparent. And he is willing to work with students to ensure their success in the
course. (Summer 2010)

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Even though it was my fault for messing up my own grade, Professor Horton was a great
teacher. His teachings are on point and now I can't even see films the same. GREAT
TEACHER! (Fall 2010)
I loved taking this class! I learned so much about film history and Professor Horton made the
class a lot of fun. (Fall 2010)
Justin Horton does a brilliant job teaching this course. He is very enthusiastic and passionate
about what he is teaching. That can certainly be appreciated from the student's point of view.
(Spring 2011)
One of the best professors I've ever had! (Spring 2011)
Professor Horton is an amazing teacher, he knows his stuff about Film History. He connects
well with the students and knows how to get our attention. I can honestly say I looked forward
coming to his class everyday! (Spring 2011)
Professor Horton is an excellent instructor. He clearly enjoys film and is well-versed in its many
aspects. The class far exceeded my expectations and I genuinely enjoyed attending each session.
I am pleasantly surprised by what this course taught me and will benefit from such knowledge in
my future endeavors. (Spring 2012)
Best class I have ever taken. (Spring 2012)
Mr. Horton is a wonderful film professor and he has a vast knowledge on what he teaches. I
don't think there is any better lecturer than him. His classes are very interesting and keep me
wanting to learn more. (Spring 2012)
Justin Horton is an unforgettable professor. Even though I'm not a film major, he made this
class very memorable and enjoyable! (Spring 2012)
I love Mr. Horton !!!! He is my favorite professor! I wouldnt mind spending a full semester
with him. He made the class fun. I thought it was going to be boring. Who wouldnt? I had a
wonderful time. (Summer 2014)
This unexpectedly may be the one of the best courses I've taken at Georgia State. I learned so
much about film and movies. Prof. Horton made the class very interesting and enjoyable. Great
Professor. I wish I could take another one of his classes, but I have to graduate. (Summer 2014)

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From FILM 4780: Puzzle Films & Complex Narratives (Spring 2012)
This is the second time Ive taken his class. His classes are fun, engaging, challenging and some
of my favorite Ive taken at GSU.
This was the single greatest class I have ever taken in my 3 years at GSU and that is due mainly
to the fact that Justin Horton was a tremendous professor. I learned so much from Puzzle Films
and it is because of him that my love of film is renewed. I will most definitely recommend (and
have) this class and this wonderful professor to everyone I know!
I believe, considering the nature of this course, that Professor Horton executed his plan for the
class. He kept the entire class interested in the material. I thoroughly enjoyed how he keeps the
students involved in the class structure and I hope other students get to enjoy his class in the
future.
A very complicated topic, professor Horton was very good at making it a fairly easy ride. He
was friendly, approachable, and fair.
There should be more Professors like Mr. Horton.
From SPEECH 1000: Introduction to Human Communication
Mr. Horton is an excellent instructor for many reasons. First, he utilized class time effectively
and efficiently by being prepared to teach! He used lots of examples when explaining new
material, answered questions thoroughly, was great at critiquing and outlining the expectations of
the speeches that we all gave, and had a great knowledge of the material in general. I also
appreciated the timeliness in which test grades were posted. I think he is a great person and
instructor. (Spring 2010)

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Justin Horton
COMPLETE STUDENT EVALUATIONS (QUANTITATIVE AND QUALITATIVE)
Film 1010: Film Aesthetics and Analysis Fall 2011
1. Expained the goals of the class clearly

4.8

2. Explained the grading system fairly

4.7

3. Gave assignment related to the goals of the course

4.8

4. Followed the plan of the course as established in the syllabus

4.7

5. Was well prepared.

4.8

6. Spoke in a way that communicated the subject matter in an understandable manner.

4.8

7. Responded constructively and thoughtfully to questions and comments

4.9

8. Used class time effectively.

4.9

9. Had designated office hours and was available during these times

4.8

10. Assigned grades fairly.

4.8

11. Returned my work in a reasonable period of time

4.7

12. Met the class according to the published schedule of classes.

4.9

13. Stimulated my thinking and gave my new insights into the subject.

4.9

14. Related well to students.

4.8

15. Motivated me to learn.

4.9

16. Assigned readings that contributed to what I learned.

4.7

17. How would you rate the overall teaching effectiveness of the instructor?

4.8

Comments:
Great use of lecture.
Awesome class!
I thought this was a great class, and was taught and organized very well.
Excellent professor.
I now watch movies in a very different way after taking this class. I now pick out things I never
would have noticed before.
I cannot speak highly enough of Horton. He taught me more than any other professor this
semester and I hope to have another film class with him in the future.
Great class.

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Justin Horton was an excellent teacher and was able to open my eyes to the world of film. If I
was staying at GSU, even though my major isnt film, I would take another class from him.
Interesting, funny, fair, and approachable.
Very cool teacher. He has a passion for he does and he is very fair!

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Justin Horton
COMPLETE STUDENT EVALUATIONS (QUANTITATIVE AND QUALITATIVE)
Film 4780: Puzzles Films and Complex Narratives Spring 2012
1. Expained the goals of the class clearly

4.6

2. Explained the grading system fairly

4.5

3. Gave assignment related to the goals of the course

4.8

4. Followed the plan of the course as established in the syllabus

4.7

5. Was well prepared.

4.5

6. Spoke in a way that communicated the subject matter in an understandable manner.

4.8

7. Responded constructively and thoughtfully to questions and comments

4.8

8. Used class time effectively.

4.7

9. Had designated office hours and was available during these times

4.7

10. Assigned grades fairly.

4.7

11. Returned my work in a reasonable period of time

4.7

12. Met the class according to the published schedule of classes.

4.8

13. Stimulated my thinking and gave my new insights into the subject.

4.7

14. Related well to students.

4.7

15. Motivated me to learn.

4.7

16. Assigned readings that contributed to what I learned.

4.9

17. How would you rate the overall teaching effectiveness of the instructor?

4.7

Comments:
This is the second time Ive taken his class. His classes are fun, engaging, and challenging and
some of my favorite Ive taken at GSU.
This was the single greatest class I have ever taken in my 3 years at GSU and that is mainly due
to the fact that Justin Horton was a tremendous professor. I learned so much from Puzzle Films
and it is because of him that my love of film is renewed. I will most definitely recommend (and
have) this class and this wonderful professor to everyone I know!
I believe that, considering the nature of the course, Professor Horton executed his plan for the
class. He kept the entire class interested in the material. I thoroughly enjoyed how he keeps the
students involved in the class structure and I hope other students get to enjoy his class in the
future.
If it is decided to do the class wiki page again, I would suggest getting started earlier in the
semester. Also, I enjoyed the readings, but some of them just droned on for a long while. Other

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than that, I really enjoyed the class, and I appreciate how well the professor related to us. I felt
like I could share my true opinion in class.
Great class! Please teach it again!
A very complicated topic. Professor Horton was good at making it a fairly easy ride. He was
friendly, approachable, and fair.
There should be more Professors like Mr. Horton

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Teacher:
Observer:

Justin Horton
Tonia Edwards

Date:
Time/Place:

3/25/10
R 5:30-6:45; CS 309; FILM 1010

I. Class Content
1. Comments reflected a sound grasp of the concepts being taught
SA A N D SD
2. Discussed concepts appropriate to the unit being studied.
SA A N D SD
Your class gets clearly linked to course concepts. This class focuses on non-linear narration strategies. Your
discussion circles around and focuses on this very nicely.
3. Covered an appropriate amount of material during this class session.
SA A N D SD
4. Used an adequate number of good examples to clarify and/or amplify main ideas.
SA A N D SD
5. Used examples that appeared relevant and enlightening to the students.
SA A N D SD
6. Provided clear explanations and directions for class exercises and assignments.
SA A N D SD
It would be helpful to offer more framing information before showing the clip. What do you want them to
look for specifically? Help draw their attention to the points that are most pertinent for the class. You do this
at some points really effectively.
7. Presented material at a level appropriate to student knowledge and ability.
SA A N D SD

Comments:

Very nice job drawing students attention to key elements in the clip. Good illustration of
diegetic/non-diegetic sound.

II. Organization of the Class

1. Stated the purpose of the class
SA A N D SD
Visually reinforced by power point sliding announcing course topic.
2. Presented a brief overview of the class content.
SA A N D SD
It would be helpful to more fully articulate the plan for the day.
3. Made explicit the relationship between this class and previous meetings.
SA A N D SD
4. Arranged the class content in an organized fashion.
SA A N D SD
5. Visually reinforced key ideas
SA A N D SD
6. Provided good transitions and internal summaries of key ideas, as needed.
SA A N D SD
7. Reserved time at the end of class to summarize and deal with student concerns.
SA A N D SD
When returning papers, its helpful to allow a bit of time at the end of class for this.
8. At the end of class, related this days class to future meetings.
SA A N D SD
Comments:

You begin with a brief overview, and then you move directly into a quiz. The quiz is clearly presented on a
power point slide, and your students seem well versed in the process for taking and submitting what seem to be
regular quizzes. Well structured and efficiently administered. Excellent use of the short quiz format to verify
student preparation.
You open the discussion with a nice, general question (What questions or comments do they have about the film?)
that gives all of the students a potential way into the discussion. Its a good non-threatening way to give everyone
a place in the discussion before moving onto more specific course concepts.
Very nice use of clips to structure your discussion. You do a very nice job using the clips to tease out the films
central themes.

SA: Strongly Agree

A: Agree

N: Neutral

D: Disagree

SD: Strongly Disagree

Horton 11

III. Student Instructor Interaction

1. Encouraged all students to make comments and ask questions
2. Consistently appeared to be listening carefully to students comments
3. Able to Use Students input to further the concepts being explored.
4. When leading a classroom discussion, highlighted important concepts.
5. Encouraged the expression of diverse points of view.
6. Asked good open questions that students apparently found thought provoking
7. After asking questions, paused to give the students a chance to respond thoughtfully.
8. Treated students with fairness and respect for them as individuals

SA A N D SD
SA A N D SD
SA A N D SD
SA A N D SD
SA A N D SD
SA A N D SD
SA A N D SD
SA A N D SD

Comments:

You do a very nice job alternating between general and specific questions. The way you frame discussion does a
really nice job of pulling big observations from your students. This is a really high level discussion for an
introductory aesthetics class. Im very impressed that you generated such a great discussion.
o The student who made the observation about the mirroring of the wooden board in the first shot and in the
incest scene makes an excellent point. It would be interesting to more fully explore the parallels between
these two films. Push them further to explore this in more depth and detail.
You have a really nice range of students participating in the discussion. They seem really invested in the
discussion of the film.
You do a very nice job leading class discussion.

IV. Presentation
1. Spoke with energy and enthusiasm
SA A N D SD
2. Maintained good eye contact with students.
SA A N D SD
3. Used bodily movement and gestures in effective ways.
SA A N D SD
You might consider using your laptop remote to find your clips to allow you to remain visible to the class during
discussion. From the back of the room, youre visually lost at points.
4. Spoke at an appropriate tempo
SA A N D SD
SA A N D SD
5. Vocal projection and emphasis were appropriate and effective.
6. Spoke fluently and articulately
SA A N D SD
7. Used audio-visual aids effectively.
SA A N D SD
8. Seemed to enjoy teaching.
SA A N D SD
Comments:
Good use of white board to provide visual reinforcement of your discussion and structure their responses.
Great use of humor; engages students. Your students all seem to be interested and engaged.

Justin,
As an instructor, you have a real strength for leading class discussion. You clearly have a mastery of the material, and
consequently, it seems as if youre very comfortable asking a combination of good open-ended discussion questions and
SA: Strongly Agree

A: Agree

N: Neutral

D: Disagree

SD: Strongly Disagree

Horton 12

more specific questions meant to guide students to a higher level understanding of course material. You demonstrate
through your class discussion the type of analysis we would expect from students in their written work. Very effective!
Please let me know if youd like to talk further about any of my comments. It was a pleasure to see you teach.
Tonia

SA: Strongly Agree

A: Agree

N: Neutral

D: Disagree

SD: Strongly Disagree

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Horton 15

Film%4780%%
Puzzle%Films%and%Complex%Narratives%%
Georgia(State(University((|((Spring(2012((|((Justin(Horton,(Instructor(
CRN:(17898(
Email:(jhorton10@gsu.edu(
Office:(1020FA(One(Park(Place(
Class:((MW(1:30F2:45p,(Aderhold(312(
Office(Hours:(TR(1:30F3:30pm(
Screening:(W(10:30F12:20p(Arts/Humanities(406(
Course(Blog:(justinhorton.net
(
(
(
(
(
(
Course%Description%
This(course(takes(as(its(focus(a(recent(cycle(of(films,(variously(labeled(puzzle,(forkingFpath,(
database(or(mindFgame(movies,(that(fall(under(the(umbrella(term(Complex(Narrative(Cinema.(
Complex(narratives(are(characterized(by(their(intricate(structures,(fractured(chronology,(and(intentional(
attempts(to(confound(or(confuse(the(spectator.(Thus,(this(class(seeks(to(understand(the(degree(to(which(
these(films(may(be(said(to(deviate(from(classical(storytelling,(the(spectatorial(skills(they(call(upon,(the(
historical(antecedents(for(such(narrative(constructions,(and(the(cultural(and(technological(contexts(that(
might(be(influencing(their(recent((reF)emergence.(The(complex(narrative(film(allows(us(an(opportunity(
to(consider(a(number(of(diverse(yet(interrelated(topics,(among(them(narratology,(cognitive(film(theory,(
media(industry(studies,(fan(studies,(new(media(theory,(continental(philosophy,(game(theory,(quantum(
physics,(and(chaos(theory.(At(their(best,(then,(complex(narratives(open(onto(profound(questions(of(
consciousness,(agency,(fate,(memory,(and(time.((
(
Course%Objectives%
By(the(end(of(the(course,(students(will(be(able(to:(
! Analyze(inFdepth(the(narrative(strategies(at(work(in(both(classical(and(complex(narrative(texts.(
! Grasp(key(terms(and(theories(from(film(studies(and,(more(broadly,(narratology.(
! Read,(comprehend,(and(critique(scholarly(writing(in(film(studies(and(other(humanistic(
disciplines.((
! Demonstrate(digital(literacy(competencies(by(contributing(to(an(online,(collaborative(group(
project.((
! Conduct(research(in(the(field(of(cinema(studies.(
(
Required%Texts%
! Readings(posted(either(to(ULearn(or(available(on(the(web.((
(
Film%Screenings%
Students(are(required(to(attend(weekly(film(screenings(in(the(Arts(&(Humanities(Building,(even(though(
they(may(have(already(seen(or(have(access(to(these(films(at(home.(Attendance(will(be(taken(both(before(
and(after(the(screenings(and(absences(will(be(counted(against(ones(attendance(grade.(Should(one(miss(
a(screening(entirely,(it(is(her(responsibility(to(view(the(film(on(her(own(time.(Many(of(the(films(are(

Horton 16

available(at(the(library,(via(delivery/streaming(services(such(as(Netflix(or(Amazon,(or(at(retail(video(
stores.(Bear(in(mind(that(complex(narratives(often(require(more(than(one(viewing(in(order(to(analyze(
them(effectively;(thus,(allow(for(time(to(screen(these(films(again(on(your(own,(especially(if(you(are(
working(with(one(of(them(for(an(assignment.((
(
Grade%Breakdown%
Grades(for(the(semester(will(be(determined(according(to(the(following(scale:(
1000F965(((A+( (
894F865((((B+( (
794F765(((C+( (
694F595(((D(
(
964F935(((((A( (
864F835((((B(
(
764F735(((C(
(
594(and(below((((F(
934F895(((((AF( (
834F795((((BF( (
734F695(((CF(
(
Grades(are(weighted(as(follows:(
Participation( (
(
(
(
(
(
50(points(
2(Reading(Response(Essays((500F750(words)(
(
(
100(points(each(
Discussion(Leader(
(
(
(
(
(
100(points(
Narrative(Analysis(Essay(#1((1000F1500(words)( (
(
200(points(
Narrative(Analysis(Essay(#2(+(Segmentation((1000F1500)((
200(points(
Final(Collaborative(Project(
(
(
(
(
250(points(
1000(points(
(
Assignments%
1. Participation:(Each(student(is(expected(to(arrive(at(class(having(read(carefully(the(assigned(
articles(and(be(prepared(to(ask(and(answer(questions(about(this(material.(You(will(be(graded(on(
the(quality((and(not(necessarily(the(quantity)(of(your(contributions(to(our(discussions.(Total:(50(
points.(
2. Reading(Response(Essays:(Students(will(complete(two(reading(response(essays((500F1000(
words)(over(the(course(of(the(semester,(one(before(the(semester(midpoint((February(24th)(and(
one(after.((Details(below)(Total:(100(points(each.(
3. Narrative(Analysis(Essay(#1((1000F1500(words):(Students(will(complete(a(narrative(analysis(of(a(
classical(narrative(film(of(their(choice.((Details(below)(Total:(200(points.(
4. Narrative(Analysis(Essay(with(Segmentation((1000F1500(words):(Students(will(first(perform(a(
narrative(segmentation(of(one(of(a(complex(narrative((either(one(from(class(or(one(approved(in(
advance(by(the(instructor).(Then,(they(will(write(an(analytical(essay(about(the(films(construction(
along(with(a(visualization(of(this(structure.((Details(below)(Total:(200(points.(
5. Discussion(Leader:(Each(student(will(sign(up(for(a(week(to(lead(our(group(discussions.(Students(
will(come(prepared(to(ask(and(answer(questions(about(the(readings(and(put(them(in(
conversation(with(the(films(weve(screened.((Details(below)(Total:(150(points.(
6. Final(Collaborative(Project:(In(lieu(of(a(traditional(final(paper,(students(will(collaborate(on(a(
group(wiki(project(on(a(films(and(topics(they(select(from(a(list(of(preFapproved(choices.(Total:(
250(points.(
(
Attendance%Policy%
I(will(take(attendance(at(the(beginning(of(each(class(session.(If(a(student(arrives(after(the(attendance(
sheet(has(been(circulated,(they(may(signFin(late(but(they(will(be(charged(with(a(halfFabsence.(At(
screenings,(attendance(will(be(taken(before(and(after(the(screening.(Thus,(if(a(student(arrives(late,(they(
will(be(charged(a(halfFabsence.(Similarly,(if(s/he(leaves(before(the(film(ends,(they(also(will(be(charged(
with(a(halfFabsence.(Students(are(allotted(a(total(of(three%absences(without(penalty.(These(absences(
may(be(for(any(reason:(illness,(family(emergency,(car(trouble,(hangover,(mental(health(day,(etc.(I(do(

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not(need(to(be(notified(in(advance(of(the(absence.(After(the(third(absence,(a(students(overall(grade(will(
be(reduced(by(5%(for(each(missed(day.((
(
MakeMup%Policy%
All(work(must(be(turned(in(via(Google(Docs(by(the(start(of(class(on(the(dates(listed(on(the(syllabus,(
regardless(of(if(the(student(attends(class(that(day.(Work(turned(in(after(the(deadline(will(be(subject(to(a(
5%(penalty(for(each(24Fhour(period(in(which(it(is(late.(Exceptions(will(be(made(at(the(instructors(
discretion(and(only(in(the(event(of(documented(family(or(medical(emergency.(
(
Google%Docs%
All(students(must(have(a(Google(account(for(this(class.(A(Google(account(is(NOT(the(same(thing(as(a(
Google(GFMail(email(account.(You(may(use(any(email(address(you(like(to(set(up(this(free(account.(
Students(will(turn(all(assignments(except(the(final(wiki(project(via(Google(Docs(.(You(may(compose(these(
documents(in(Google(Docs(or(use(another(word(processor(and(upload(or(cutFandFpaste(them(into(
Google(Docs.(All(work(must(be(shared(with(me(at(justinbhorton@gmail.com.(Please(use(the(naming(
convention(of(Last(Name,(First(initial,(Assignment(Title.(Example:%DoeJ_Reading%Response%1(
(
Classroom%Behavior%
The(classroom(is(our(shared(space.(Thus,(each(and(every(member(of(the(classand(this(includes(me
will(be(treated(with(respect.(This(means(not(speaking(when(others(are(talking,(refraining(from(sidebar(
conversations,(not(texting(or(browsing(the(web(on(your(cell(phones,(or(otherwise(causing(a(disruption(or(
disturbance(for(your(fellow(students.(You(may(both(eat(and(drink(in(class(as(long(as(you(are(doing(so(in(a(
way(that(does(not(distract(others.(Sleeping(in(class(is(not(permitted.(
(
A%Note%on%Content%
Some(of(the(films(we(will(screen(for(this(class(may(contain(profanity,(graphic(sex(and/or(violence,(or(
other(content(that(some(students(may(find(objectionable.(I(encourage(students(to(research(the(assigned(
screenings(in(advance.(If(you(have(concerns(about(such(content,(you(may(want(to(reconsider(your(
enrollment(in(this(class.(
(
Course%Calendar%
The(below(course(calendar(provides(a(general(plan(for(the(course;(deviations(may(be(necessary.((
NOTE:(Readings(marked(with(an(asterisk((*)(are(either(literary(selections,(articles(from(the(popular(
press,(or(simply(too(short(to(be(eligible(for(reading(responses(or(discussion(leading.(
(
1.#Introduction:#The#Labyrinth#vs.#The#Maze(
(
1/9(
DISCUSSION:( (
A(Brief(History(of(Puzzles(
(
(
(
2.#Classical#Film#Narratives(
(
1/11( SCREENING:(( (
Rear-Window((Hitchcock,(1954,(112(min.)(
(
READING:((
(
Bordwell,(Principles(of(Narration((12pp)(
(
(
(
(
(
1/16( NO(CLASS(F(MLK(HOLIDAY((
(
(
(
(
(
(
(
#
#

Horton 18

3.#The#Art#Film(
(
1/18( SCREENING:( (
The-Draughtsmans-Contract((Greenaway,(1982,(103(min.)(
READING:(
(
Stockton,(The(Lady(or(the(Tiger?((7pp)*(
(
(
(
1/23( READING:((
(
Bordwell,(Art(Cinema(as(a(Mode(of(Film(Practice((7pp)(
(
SCREENING:( (
Beginning(of(Lost-Highway((in(class)(
(
(
(
(
(
(
(
(
(
4.#The#Puzzle#Film:#Reconciling#Syuzhet#and#Fabula(
(
1/25( SCREENING:( (
Lost-Highway((Lynch,(1997,(135(min.)(
(
READING:((
(
Ebert,(Review(of(Lost-Highway((3pp)*(
(
(
(
(
Edelstein,(Road(Kill((2pp)*(
(
(
(
(
(
1/30( READING:(
(
Buckland,(Making(Sense(of(Lost-Highway((19pp)(
(
5.#NonGLinear#Narrative(
(
2/1(
SCREENING:(( (
21-Grams((Irritu,(2003,(124(min.)(
(
2/6(
READING:(
(
Debruge,(Fractured(Flickers((2pp)*(
Issacs,(NonFlinear(Cinema((12pp)(
#
DUE:% %
%
Classical%Narrative%Analysis(
(
6.#The#Twist#(
(
2/8(
SCREENING(
(
Jacobs-Ladder((Lyne,(1990,(116(min.)(
READING(
(
Henry,(After(Twenty(Years*(
(
(
(
Kawin,(The(Minds(Eye(from(Mindscreens((20pp)(
(
(
(
(
(
2/13( READING(
(
Wilson,(Transparency(and(Twist(in(Narrative(Fiction(Film((15pp)(
Lavik,(Narrative(Structure(in(The-Sixth-Sense((9pp)(
(
7.#Forking#Paths:#Storytelling#and#Contingency(
(
2/15( SCREENING(
(
Sliding-Doors((Howitt,(1998,(99(min.)(
READING(
(
Bordwell,(Film(Futures((16pp)(
(
(
(
(
(
2/20( READING(
(
Branigan,(Nearly(True((10pp)(
(
(
(
Cameron,(Contingency,(Order,(and(Modular(Narratives((13pp)(
(
8.#The#Database#&#The#Logic#of#the#Digital(
(
2/22( SCREENING(
(
Existenz((Cronenberg,(1999,(97(min.)(
READING(
(
Kinder,(Hot(Spots,(Avatars,(and(Narrative(Fields(Forever((13pp)(
(
(
(
(
Manovich,(The(Database(from(Language-of-New-Media((25pp)(
(

Horton 19

SEMESTER%MIDPOINT%MM%FEBRUARY%24TH%(LAST%DAY%TO%WITHDRAW)(
(
2/27F3/4(
(
(
SPRING(BREAKNO(CLASS(
(
(
9.#Chronology,#Technology,#Memory(
(
3/5(
DISCUSSION( (
Introduction(to(the(Final(Project(
(
3/7(
SCREENING(
(
Memento((Nolan,(2000,(113(min.)(
(
READING(
(
Ghislotti,(Narrative(Comprehension(Made(Difficult((19pp)(
(
(
3/12( READING(
(
Benjamin,(On(Some(Motifs(in(Baudelaire((43pp)(
#
10.#Alternate#Worlds#&#Virtual#Realities(
(
3/14( SCREENING(
(
Run-Lola-Run((Twyker,(1998,(81(min.)(
READING(
(
Borges,(The(Garden(of(Forking(Paths*(
Perlmutter,(Multiple(Strands(and(Possible(Worlds((13pp)(
(
(
(
3/19( READING(
(
Deleuze,(The(Actual(and(the(Virtual((4pp)*(
Deleuze(&(Guattari,(Intro:(Rhizome,(from(Mille-Plateaux((22pp)(
(
(
11.#Cinema#as#Game(
(
3/21( SCREENING(
(
The-Spanish-Prisoner((Mamet,(1997,(110(min.)(
READING(
(
NO(CLASS:(Screen(Cach((Haneke,(2005,(117(min.)(at(home(
DUE:% %
%
Complex%Narrative%Analysis%(w/%Segmentation)%
(
3/26( READING(
(
Simons,(The(Name(of(the(Game,(from(Playing-the-Waves((20pp)(
Elsaesser,(Performative(SelfFContradictions((18pp)(
(
12.#LongGForm#and#MultiGplatform#Narrative:#Television#and#Transmedia(
(
3/28( SCREENING(
(
Selection(of(episodes:(Community,(Buffy-the-Vampire-Slayer,(Lost(
READING(
(
Mittell,(Narrative(Complexity(in(Contemporary(U.S.(TV((11pp)(
(
4/2(
READING(
(
Jenkins,(Searching(for(the(Origami(Unicorn((37pp)(
(
(
(
(
Kim,(et-al,(Storytelling(in(New(Media((approx.(10pp)(
(
13.#Mind#Games:#Dreams,#Hallucination,#Doubling,#and#Fugue(
(
4/4(
SCREENING(
(
Mulholland-Drive((Lynch,(2001,(147(min.)(
READING(
(
Elsaesser,(MindFGame(Films((26pp)(
(
4/9(
READING(
(
Andrews,(An(Oneric(Fugue((15pp)(
(
(
(
(
Cook,(Hollywood(Narrative(and(the(Play(of(Fantasy((12pp)(
(

Horton 20

14.#All#of#the#Above?(
(
4/11( SCREENING(
READING(
(
(
(
4/16( READING(

(
(
(

Donnie-Darko((Kelly,(2001,(113(min.)(
Booth,(Intermediality(in(Film(&(Video((16pp)(
Gaggi,(Navigating(Chaos(

Hill,(Film(and(Postmodernism((12pp)(
Everett,(Fractal(Films(and(the(Architecture(of(Complexity((13pp)(

(
(
15.#Abyme(
(
4/18( SCREENING(
(
Synecdoche,-New-York((Kaufman,(2008,(124(min.)(
(
(
(
(
4/23( READING(
(
Bordwell,(Subjective(Stories(and(Network(Narratives((29pp)(
(
Reading%Response%Essays%
Some(of(the(material(for(this(coursereadings(and(filmscan(be(challenging.(The(reading(responses(
provide(an(opportunity(for(you(to(reflect(on(these(challenges.(Students(must(complete(two(reading(
responses(of(500F1000(words,(one(prior(to(the(semester(midpoint(and(one(after.(Responses(must(be(
submitted(to(me(prior(to(our(inFclass(discussions(of(the(selected(reading.(You(may(chose(to(write(about(
any(one(reading(that(you(like.(The(goals(of(these(assignments(are(twoFfold:(1)(your(responses(
demonstrate(to(me(the(depth(with(which(you(are(reading(and(the(extent(to(which(you(are(engaging(with(
the(issues(of(the(course;(and(2)(it(helps(me(to(determine(which(concepts(or(arguments(students(are(
having(trouble(with(so(that(I(may(then(address(these(areas(in(class(later.(You(are(expected(to:(
1. Select(one(reading(that(you(find(particularly(interesting,(challenging,(frustrating,(or(intriguing.(
Readings(marked(with(an(asterisk((*)(are(literary(texts(are(not(eligible(for(reading(responses(or(
discussion(leading.(
2. Articulate(either(a)(the(primary(argument(of(the(article(in(summary(form;(or(b)(aspects(of(the(
article(that(you(do(not(fully(grasp.(
3. Relate(your(selected(article(to(earlier(readings,(that(weeks(assigned(film,(or(other(films(that(you(
think(this(reading(illuminates(in(some(productive(way.(Similarly,(you(may(write(about(how(a(
particular(reading(or(film(complicates,-reinforces,-or-enriches(an(earlier(assigned(reading(or(film(
(i.e.,(how(a(certain(film(doesnt(fit,(say,(Bordwells(discussion(of(forking(paths,(or(how(one(
reading(might(fill(in(the(gaps(of(one(we(read(earlier).(
4. Admit(if(you(are(stumped(by(any(reading(or(film;(after(all,(this(is(a(class(on(puzzle(films:(getting(
lost(or(stuck(is(to(be(expected.(This(is(part(of(the(fun.(
5. Share(the(response(with(me((justinbhorton@gmail.com)(via(Google(Docs(before(the(start(of(the(
class(in(which(we(will(discuss(your(selected(essay.((
(
Discussion%Leading%
Each(student(will(lead(a(class(discussion(of(an(assigned(reading.(Leading(discussion(is(not(the(equivalent(
of(giving(a(lecture:(rather,(you(will(help(get(the(ball(rolling(by(presenting(the(following:(
1. A(summary(of(the(general(argument(of(the(article(
2. The(implications(of(the(article((i.e.,(How(does(it(contribute(to(or(change(our(understanding(of(
how(puzzle(films(operate?)(
3. Draw(connections(between(your(particular(reading(and(the(weekly(screening(
4. Bring(in(a(film(clip((DVD(or(web)(of(2F3(minutes(that(you(think(illustrates(or(complicates(the(
reading(in(some(way.(Note:(the(weekly(screening(is(usually(best(here,(though(I(am(open(to(

Horton 21

branching(out.(
5. Pose(questions(to(the(class(that(will(help(us(unpack(the(article.(
It(would(be(wise(to(write(a(reading(response(for(the(class(session(in(which(you(will(be(leading(discussion,(
as(that(assignment(will(help(generate(the(summary(and(questions(you(may(then(use(in(class.((
(
Course%Bibliography%
Andrews,(David.(An(Oneric(Fugue:(The(Various(Logics(of(Mulholland-Drive,(The-Journal-of-Film-andVideo(56,(no(1((2004):(2540.%
Benjamin,(Walter.(On(Some(Motifs(in(Baudelaire,(in(Selected-Writings:-19381940((Cambridge,(MA:((
Harvard(University(Press,(2003):(313355.(
(
Booth,(Paul.(Intermediality(in(Film(&(Internet:(Donnie-Darko(and(Issues(of(Narrative(Sustainability,((
Journal-of-Narrative-Theory(38,(no.(3((2008):(398415.(
(
Bordwell,(David.(The(Art(Cinema(as(a(Mode(of(Film(Practice.(Film-Criticism(4,(no.(1((1979):(5664.(
.(Film(Futures.(SubStance(31,(no.(1((2002):(88104.(
(
.(Principles(of(Narration(in(Narration-in-the-Fiction-Film-(Madison,(WI:(University(of(Wisconsin(((((
Press,(1985):(4862.(
.(Subjective(Stories(and(Network(Narratives,(in(The-Way-Hollywood-Tells-It:-Story-and-Style-inModern-Movies((Berkeley:(University(of(California(press,(2006):(72101.Borges,(Jorge(Luis.(The(Garden(of(Forking(Paths,(in(Collected-Fictions((New(York:(Penguin,(1998):(119
128.(
(
Branigan,(Edward.(Nearly(True:(Forking(Plots,(Forking(Interpretations:(A(Response(to(David(Bordwell.(
SubStance(31,(no.(1((2002):(105114.(
(
Buckland,(Warren.(Making(Sense(of(Lost-Highway,(in(Puzzle-Films:-Complex-Storytelling-inContemporary-Cinema((Maldin,(MA:(WileyFBlackwell,(2009):(4261.(
Cameron,(Allan.(Contingency,(Order,(and(the(Modular(Narrative.(The-Velvet-Light-Trap(58((2006):(65
78.(
(
Cook,(Roger(F.(Hollywood(Narrative(and(the(Play(of(Fantasy:(David(Lynchs(Mulholland-Drive,(QuarterlyReview-of-Film-and-Video(28,(no.(5((2011):(369381.(
(
Debruge,(Peter.(Fractured(Flickers.(Daily-Variety.(10(Dec.(2007.((
Deleuze,(Gilles.(The(Actual(and(the(Virtual(in(Dialogues-II,(ed.(Claire(Parnet((New(York:(Columbia(
University(Press,(2007):(148152.(
(
(&(Flix(Guattari,(Intro:(Rhizome,(in(A-Thousand-Plateaus:-Capitalism-and-Schizophrenia,(trans.(
Brian(Massumi((Minneapolis:(University(of(Minnesota(Press,(1987):(328.((

Horton 22

Ebert,(Roger.(Review(of(Lost-Highway.(Chicago-Sun]Times.(27(Feb.(1997.(
http://www.rogerebert.com/reviews/lostFhighwayF1997.(
(
Edelstein,(David.(Road(Kill.(Rev.(of(Lost-Highway.(Slate.com.(26(Feb(1997.(
http://www.slate.com/articles/arts/movies/1997/02/road_kill.html.(
Elsaesser,(Thomas.(MindFGame(Films,(in(Puzzle-Films:-Complex-Storytelling-in-Contemporary-Cinema,(
ed.(Warren(Buckland((Malden,(MA:(WileyFBlackwell,(2009):(1341.(
(
.(Performative(SelfFContradictions:(Michael(Hanekes(Mind(Games,(in(A-Companion-to-MichaelHaneke,(ed.(R.(Grendmann((Malden,(MA:(WileyFBlackwell,(2010):(5374.((
(
Everett,(Wendy.(Fractal(Films(and(the(Architecture(of(Complexity,(Studies-in-European-Cinema-2,(no.(3(
(2005):(2005):(159171.(
Gaggi,(Silvio.(Navigating(Chaos,(in(New-Punk-Cinema,(ed.(Nicholas(Rombes((Edinburgh:(University(of(
Edinburgh(Press,(2005):(113125.(
(
Ghislotti,(Stefano.(Narrative(Comprehension(Made(Difficult:(Film(Form(and(Menmonic(Device(in(
Memento,(in(Puzzle-Films:-Complex-Storytelling-in-Contemporary-Cinema,(ed.(Warren(Buckland(
(Malden,(MA:(WileyFBlackwell,(2008):(87106.(
(
Henry,(O.(After(20(Years,(in(The-Four-Million.((New(York:(Doubleday,(1906):(1216.(
Hill,(John.(Film(and(Postmodernism,(in(The-Oxford-Guide-to-Film-Studies((Oxford,(UK:(Oxford(University(
Press,(1998):(96105.(
(
Issacs,(Bruce.(NonFlinear(Cinema,(in(New-Punk-Cinema,(ed.(Nicholas(Rombes.((Edinburgh:(University(of(
Edinburgh(Press,(2005):(126138.(
Jenkins,(Henry.(Searching(for(the(Origami(Unicorn:(The-Matrix-and(Transmedia(Storytelling,(in(
Convergence-Culture((New(York:(NYU(Press,(2008):(93130.(
(
Kawin,(Bruce.(The(Minds(Eye,(in(Mindscreens-(Princeton,(NJ:(Princeton(University(Press,(1978):(322.(
Kim,(et-al,(Storytelling(in(New(Media:(The(Case(of(Alternate(Reality(Games,(First-Monday(14,(no.(6(
(2009).(http://firstmonday.org/ojs/index.php/fm/article/view/2484/2199.(
(
Kinder,(Marsha.(Hot(Spots,(Avatars,(and(Narrative(Fields(Forever:(Buuels(Legacy(for(New(Digital(
Media(and(Interactive(Database(Narrative.-Film-Quarterly(55,(no.(4((2002):(215.(
(
Lavik,(Erlend.(Narrative(Structure(in(The-Sixth-Sense.(The-Velvet-Light-Trap(58((2006):(5564.-(
(
Manovich,(Lev.(The(Database(in(The-Language-of-New-Media((Cambridge,(MA:(The(MIT(Press,(2002):(
218243.(
(
Mittell,(Jason.(Narrative(Complexity(in(Contemporary(American(Television,(The-Velvet-Light-Trap(58(
(2006):(2940.(

Horton 23

(
Perlmutter,(Ruth.(Multiple(Strands(and(Possible(Worlds.(Canadian-Journal-of-Film-Studies(11,(no.(2(
(2002):(4461.(
(
Simons,(Jan.(The(Name(of(the(Game,(in(Playing-the-Waves:-Lars-Von-Triers-Game-Cinema(
(Amsterdam:(Amsterdam(University(Press,(2007):(179202.((
(
Stockton,(Frank(R.(The(Lady(or(the(Tiger?(The-Century(25,(no.(1((1882):(8386(
Wilson,(George.(Transparency(and(Twist(in(Narrative(Fiction(Film.-Journal-of-Aesthetics-and-ArtCriticism(64,(no.(1((2006):(8195.

Horton 24

Film%2700%%History%of%Motion%Pictures%
Georgia(State(University((|((Fall(2012((|((Justin(Horton,(Instructor(

(
(((((
(
((((((((((((((Justin(Horton((jhorton10@gsu.edu)(
CRN:(10531(
TR(4:00F5:15pm(
(((((((((((((((((((((((((((((((((((((Office:(1020FA,(One(Park(Place(
General(Classroom(300(
(((((((((((((((((((((((((((((((((((((((((((((((((Hours:(TR,(1:30F3:30pm(
(
((((
(
(((((((((((((((((((Twitter:(@justinbhorton(
(
(((((((((((((((((((((((((((((((((((((((((((
Course%Objectives(
This(course(will(trace(the(history(of(the(cinematic(moving(image(along(with(the(cultural,(technological,(
social,(industrial,(and(economic(factors(that(influenced(the(mediums(development.(We(will(consider(
how(these(various(elements(shape(film(aesthetics,(film(genres,(and(film(movements.(
(
(
(
(
(
(
(
Required%Materials(
! Thompson(&(Bordwell,(Film-History,(GSU(Custom(Edition.(Only(purchase(a(used(copy(of(the(
textbook.(You(do(not(need(the(electronic(access(code(that(is(bundled(with(the(book.(
! A(Twitter(account([free(at(Twitter.com.(Access(to(a(free(Twitter(client(such(as(Seesmic(or(
TweetDeck(is(optional,(though(highly(recommended.](
! Means(of(accessing(the(mandatory(films.(You(will(be(required(to(view(11(films(outside(of(class(
this(semester.(I(recommend(either(Netflix(DELIVERY(($8/month;(most(films(are(not(available(for(
streaming)(or(Amazon(Streaming(($3(per(film).(I(highly(suggest(you(split(memberships(or(watch(
the(films(in(groups.(
(
(
(
(
(
(
(
Attendance(
Given(the(number(of(students(in(this(class,(I(will(not(be(taking(attendance.(However,(regular(attendance(
is(absolutely(necessary(for(success(in(this(course.(The(vast(majority(of(the(exam(material(will(come(from(
class(lectures;(reading(the(textbook(alone(will(not(sufficiently(prepare(one(for(the(exams.(
(
(
(
(
(
(
(
If(you(find(that(you(are(unable(to(attend(class,(you(need(not(notify(me(in(advance.(However,(be(aware(
that(I(will(not(under(any(circumstances(provide(my(lecture(notes(or(Powerpoint(slides(to(students(who(
were(not(in(class.(Students(must(seek(out(their(classmates(to(gain(access(to(the(material(they(have(
missed.(

Horton 25

Course%Blog(
I(will(be(maintaining(a(course(blog(where(students(may(find(instructions(for(assignments(and(
supplemental(materials(that(may(be(of(interest.(Students(should(make(it(a(point(to(check(the(blog(
frequently(for(updates.(
(
(
(
(
(
(
(
Participation(
Ideally,(students(will(attentively(contribute(to(inFclass(discussions.(However,(the(size(of(this(class(makes(
this(difficult.(Therefore,(all(students(are(required(to(utilize(Twitter(for(outsideFofFclass(discussions.(
Starting(on(Thursday,(January(19,(students(must(respond(via(Twitter(to(topics(I(post(to(the(courseblog(at(
least(three(times(per(week(using(the(course(hashtag(#film2700.(Your(participation(with(Twitter(is(
mandatory;(failure(to(do(so(will(result(in(a(substantial(deductions(from(your(participation(grade((see(
grading(scale(below).((If(you(are(unfamiliar(with(Twitter,(dont(fret.(I(will(be(providing(an(inFclass(
demonstration(as(well(as(a(number(of(resources(to(assist(you.)(
(
(
(
(
(
(
(
AtMhome%Screenings(
There(are(11(films(that(students(must(screen(on(their(own(time.(It(is(the(students(responsibility(to(find(
copies(of(these(films.(One(copy(of(each(of(the(required(films(will(be(placed(on(twoFhour(reserve(at(the(
library.(Keep(in(mind,(however,(that(with(over(100(students(taking(this(class,(the(DVD(you(need(to(view(
may(not(be(available.(For(this(reason,(I(highly(recommend(that(students(subscribe(to(Netflix((starting(at(
$7.99/month).(To(rent(physical(copies(locally,(I(recommend(two(video(stores:(Videodrome((617(N(
Highland(Ave.(NE)(and(Movies(Worth(Seeing((1409(N(Highland(Ave.(NE().(
(
(
(
(
(
(
(
Classroom%Behavior(
It(is(my(base(expectation(that(you(will(attend(class(as(scheduled,(will(arrive(on(time,(and(be(attentive.(
Cell(phones(are(to(silenced(and(put(away(at(the(start(of(class.(Please(do(not(engage(in(text(messaging(in(
class,(as(this(is(both(rude(and(distracting.(I(will(not(tolerate(any(student(creating(distractions(that(hinder(
others(from(learning.(Such(distractions(include(sidebar(discussions,(unnecessary(commentary(during(film(
clip(screenings,(or(use(of(computers(for(purposes(other(than(noteFtaking.(
(
(
(
(
(
(
(
(
(
(
(
(
(
(
Assignments%and%Grading(
Twitter(Participation((min.(3(tweets/wk(for(full(credit)( (
(
100(pts((
Screening(Quizzes((1(for(each(mandatory(film)(( (
(
(
100(pts(
Exam(#1(
(
(
(
(
(
(
(
200(pts(
Exam(#2(
(
(
(
(
(
(
(
200(pts(
Exam(#3(
(
(
(
(
(
(
(
200(pts(
Research(Project(
(
(
(
(
(
(
200(pts(
(
(
(
(
(
(
(
(
Total:(( 1000(pts(
(
(
Twitter(Participation:(Beginning(in(the(second(week(of(class,(you(must(tweet(at(least(three(times(
per(week(using(the(designated(hashtag((#film2700)(in(order(to(receive(the(full(200(points.(Every(
week(that(a(student(fails(to(tweet(three(or(more(times(will(result(in(a(10Fpoint(reduction(in(his(or(
her(participation(grade.(

Horton 26

(
(
((
(
(
(
(
(
(
(
(
Quizzes:(You(will(be(given(a(quiz(over(each(of(the(required(films(on(the(day(listed(on(the(
syllabus.(These(quizzes(are(designed(to(ensure(compliance(with(outFofFclass(screenings.(
( (
(
(
(
(
(
(
Exams:(You(will(be(completing(three(exams(in(class.(These(exams(are(not(cumulative((i.e.,(exam(
#2(will(not(cover(material(from(exam(#1)(and(may(contain(multiple(choice,(short(answer,(true/(
false,(and/or(short(essay(questions.(
(
(
(
Research(Project:(Each(student(will(complete(a(research(project(in(which(he(or(she(will(examine(
the(historical(significance(of(a(film(selected(from(a(list(provided.(This(is(not(a(term(paper;(rather,(
the(student(will(compile(sources(that(illuminate(his(or(her(selected(film.(
(
(
(
(
(
(
Grade%Scale(
1000F965(A+(( (
894F865(B+(
(
794F765(C+(
(
694F595(D(
964F935(A(
(
864F835(B(
(
764F735(C(
(
594F0(F(
934F895(A(
(
834F795(BF(
(
734F695(CF(
(
(
(
(
(
(
(
MakeMup%Assignments(
Students(will(be(permitted(to(make(up(exams(only(in(the(event(of(an(emergency((illness,(family(crisis,(
etc.)(All(make(up(exams(will(be(given(at(the(end(of(the(semester(at(a(date(to(be(determined.(Appropriate(
documentation(of(emergency(and(prior(approval(is(required(before(a(makeFup(exam(will(be(permitted.(
Under(no(circumstance(will(students(be(allowed(to(make(up(missing(Tweets(or(Quizzes.(
%
Course%Schedule(
The-course-schedule-provides-a-general-plan-for-the-course;-deviations-may-be-necessary.(
(
(
(
Week(1(
Jan(10( (
(
Introduction(to(Course(&(Twitter(Demo( (
(
(
(
(
(
(
(
(
(
(
Jan(12( (
(
The(Invention(of(Cinema(
(
(
(
READING:(Film-History,(Ch.(1(
(
Week(2(
Jan(17( (
(
Edison,(The(Lumiere(Brothers,(and(Early(Exhibition((
READING:(Film-History,(Ch.(2( (
(
(
(
(
(
Jan(19( (
(
Vaudeville,(The(Cinema(of(Attractions,(Silent(Comedy(
(
(
(
SCREEN(AT(HOME:(The-General-(Bruckman(&(Keaton,(1926,(75(min.)(
(
Week(3(
Jan(24( (
(
Early(Editing(and(Special(Effects((
READING:(Film-History,(Ch.(5(

Horton 27

(
Jan(26( (
(
Week(4(
Jan(31( (

Birth-of-a-Nation:(Masterpiece(or(Disgrace?((

Cinema(and(Ideology:(The-Cheat(
READING:(Film-History,(Ch.(4(Soviet(Montage(and(Surrealism(

(
Feb(2( (
(
Soviet(Montage(and(Surrealism(
(
(
(
SCREEN(AT(HOME:(The-Man-with-the-Movie-Camera-(Vertov,(1929)((
(
Week(5(
Feb(7( (
(
German(Expressionism(and(Weimar(Cinema(
(
(
(
READING:(Film-History,-Ch.(6((
(
Feb(9( (
(
The(Transition(to(Sound(
(
(
(
SCREEN(AT(HOME:(Nosferatu-(Murnau,(1922,(84(min.)((
(
Week(6(
Feb(14( (
(
EXAM(#1(
(
Feb(16( (
(
The(Hays(Code:(Before(and(After(
(
Week(7(
Feb(21( (
(
The(Hollywood(Golden(Age(and(Classical(Hollywood(Style(
(
(
(
READING:(Film-History,(Ch.(7(
(
Feb(23( (
(
Citizen-Kane:(Greatest(Film(Ever?(
(
(
(
SCREEN(AT(HOME:(His-Girl-Friday((Hawks,(1940,(92(min.)(
(
FEB%25%M%MAR%3:%SPRING%BREAK%M%NO%CLASSES(
(
Week(8(
Mar(6( (
(
Film(Noir(
READ:(Film-History,(Ch.(10(
(
Mar(8( (
(
Italian(Neorealism(
SCREEN(AT(HOME:(Double-Indemnity-(Wilder,(1994,(107(min.)(
(
Week(9(
Mar(13( (
(
Italian(Neorealism,(Contd((
READING:(Film-History,(Ch.(12(
(
(
(
(
(
(
(

Horton 28

Mar(15( (

(
(
Week(10(
Mar(20( (
(
Mar(22( (
(
Week(11(
Mar(27( (
Mar(29( (

French(New(Wave(
SCREEN(AT(HOME:(Pierrot-le-Fou-(Godard,(1965,(110(min.)(
(
(
(
(

European(Art(Cinema(and(Auteur(Theory((

EXAM(#2(

(
(

Kurosawa:(Auteruism(and(Art(Cinema(Beyond(Europe(
Introduction(to(the(Final(Research(Project((
Presentation:(Nedda(Ahmed,(Film(and(Arts(Librarian(

Hitchcock:(Hollywood(Auteur;(Exploitation(Cinema((
READING:(Film-History,(Ch.(14(

New(Hollywood(Era(

Representation(in(Popular(Culture(

(
(

The(Blockbuster(Era(
SCREEN(AT(HOME:(Do-the-Right-Thing((Lee,(1989,(120(min.)(

(
(

Third(Cinema;(Radical(Feminist(Aesthetics(
DUE(IN(CLASS:(Final(Research(Project(

(
(

Indie(Cinema;(Media(Conglomeration;(Globalization(
SCREEN(AT(HOME:(Fallen-Angels-(Wong,(1995,(90(min.)(

(
Week(12(
Apr(3( (
(
Apr(5( (
(
Week(13(
Apr(10( (
(
Apr(12( (
(
(
(
Week(14(
Apr(17( (
(
(
(
Apr(19( (
(
(
(
FINAL%EXAM:%%
%
%

APR%26,%4:15M6:45pm%M%GCB%300(
%
%
%
(

Horton 29

Essay #1 | The Virgin Suicides (Coppola, 1999)

FILM 1010: Film Aesthetics & Analysis | Horton, Fall 2011

The$Virgin$Suicides!is!a!peculiar!film,!at!once!dark!and!lyrical.!Right!away,!we!are!told!the!significance!of!
the!films!title:!during!one!summer!in!1974,!not!one!but!all!five!teenage!daughters!of!the!Lisbon!family!
committed!suicide.!This!central!puzzlewho!were!these!girls!and!why!did!they!take!their!own!lives?
haunts!the!neighborhood!boys!into!adulthood.!Thus,!The$Virgin$Suicides!is!something!of!a!dreamy,!
evocative!mystery!film,!one!that!expertly!orchestrates!its!mise2en2scne.

The Assignment
Write!2I3!paragraphs!in!which!you!discuss!the!mise2en2scne!in!The$Virgin$Suicides.!You!may!select!a!
single!scene!or,!instead,!discuss!patterns!found!in!the!film!as!a!whole.!Either!way,!you!need!to!supply!at!
least!two!specific!details!from!the!film!and!explain!what!is!significant!about!them.!Dont!simply!list!(e.g.,!
the!bedroom!has!pink!walls!and!there!is!a!lamp!on!the!table!and!a!poster!on!the!wall)!and!dont!
state!the!obvious!(e.g.,!Trip!is!wearing!a!jacket,!so!it!must!be!cold!outside).!As!you!watch!the!film,!take!
note!of!specific!instances!in!which!the!mise2en2scne!seems!to!be!doing!some!heavy!lifting.!That!is,!find!
the!moments!in!which!the!film!is!conveying!information!in!a!highly!visual!way!without!relying!on!
dialogue!or!action.!Is!there!a!specific!prop!that!seems!to!carry!a!great!deal!of!meaning?!If!so,!identify!the!
prop!and!back!up!your!claim!with!examples!from!your!analysis.!Is!there!a!scene!in!which!the!mise2en2
scne!reflects!the!tension!of!the!scene!or!one!of!the!central!conflicts!of!the!film!generally?!Is!there!a!
pattern!of!mise2en2scne$throughout!the!movie!that!becomes!invested!with!meaning!by!films!end?!As!
long!as!you!provide!concrete!examples!and!back!up!your!argument,!you!may!write!about!any!aspect!of!
mise2en2scne!that!you!like.
DUE:%Share%your%essay%with%me%via%Google%Docs%by%11:00am%on%Wednesday,%September%7th.

Horton 30

Twitter Prompts | Week 9

FILM 2700: History of Motion Pictures | Horton, Spring 2012

Please!respond!to!the!following!prompt!by%the%beginning%of%class%on%Tuesday,%March%20th.
Luis!Buuel!was!perhaps!the!cinemas!preeminent!surrealist!filmmaker,!and,$for!the!most!part,!he!hated!
Italian!Neorealism.!He!once!wrote:
NeoIrealism!has!done!nothing!to!produce!in!its!films!what!is!proper!to!the!cinema,!that!is!to!
say,!the!mysterious!and!fantastic.!The!reality!of!neoIrealism!is!incomplete,!official!and!above!
all!rational;!but!poetry,!mystery,!all!that!completes!and!enlarges!tangible!reality,!is!completely!
lacking!in!its!working.
However,!he!loved!this!scene!from!Umberto$D!(De!Sica,!1952).!Heres!what!Buuel!had!to!say!about!it:
In!Umberto$D,!one!of!the!most!interesting!products!of!neoIrealism,!an!entire!reel!of!ten!
minutes!shows!a!little!maid!performing!actions!which,!a!little!while!before,!would!have!
appeared!unworthy!of!the!screen.!We!see!the!servant!enter!the!kitchen,!light!the!stove,!put!a!
pan!on!the!gas,!throw!water!on!a!line!of!ants!who!advance!on!the!wall!in!Indian!file,!give!the!
thermometer!to!the!old!man!who!feels!feverish!and!so!on.!Despite!the!trivial!nature!of!the!
situation,!these!activities!are!followed!with!interest!and!there!is!even!a!certain!suspense.1
Watch!the!clip!and!tell!me!if!you!agree!with!Buuel:!is!there!something!interesting!or!suspenseful!
about!it,!or!is!it!just!plain!dull?!Why!or!why!not?!!!!!!!HASHTAGS:!#film2700!!#Buuel

Luis Buuel,!Cinema,!Instrument!of!Poetry,!in!The$Shadow$and$Its$Shadow$(San!Francisco:!

City!Lights,!2001):!68.

Horton 31

Blogging Assignment
FILM 2700: History of Motion Pictures | Horton, Fall 2011
Each!student!will!be!required!to!contribute!to!the!course!blog!as!both!a!writer!and!a!
reader/commenter!according!to!the!schedule!and!groupings!below.!There!will!be!a!total!of!10!
blogging!assignments!for!the!semester:!one!in!which!we!introduce!ourselves!to!one!another!
and!get!acquainted!with!the!Wordpress!environment,!and!nine!wherein!we!will!discuss!the!
course!film!screenings!and!readings.!Students!may!earn!between!05!points!(rubric!below)!for!
each!blogging!assignment!for!a!maximum!total!of!50!participation!points!for!the!semester.!
GROUPS
The!class!will!be!divided!at!random!into!three!groupsA,!B,!or!Cwith!each!group!rotating!roles!on!the!
blog!week!by!week.!Find!your!group!below:!N.b.:$names$have$been$redacted$to$ensure$student$privacy.
Group!A:!![REDACTED]!
Group!B:!![REDACTED]
Group!C:!![REDACTED]

!!

ROLES
Each!group!shall!rotate!author!roles!on!the!course!blog!throughout!the!semester.!These!roles!are:
Initiators:!Initiators,!as!the!name!implies,!initiate!the!conversation.!Initiators!give!their!reactions!
to!the!assigned!film!and/or!the!readings!that!accompany!it.!Thus,!if!one!of!our!assigned!films!
was!Avatar,!a!responder!might!review!the!film,!discussing!what!he!or!she!liked!and!disliked!
about!it!and!why.!Alternatively,!the!responder!might!ask!questions!about!the!film!or!the!
readings.!For!instance,!why!was!3ID!suddenly!popular!again!in!2010!after!having!faded!out!
quickly!in!the!1950s?!Another!option!might!be!to!comment!on!parts!of!the!film!or!readings!that!
one!found!frustrating!or!confusing,!or,!conversely,!what!s/he!found!most!interesting!or!unusual.!
The!primary!goal!here!is!to!reflect!upon!what!you!are!reading!and/or!what!you!are!watching.!Be!
honest:!Whats!it!like!to!encounter!things!you!might!not!have!ever!considered!before?!Note:$it$is$
recommended$that$initiators$check$the$Notify$me$of$follow2up$comments$via$email$box$when$
the$post$is$submitted.
Commenters:!At!the!bottom!of!each!post!is!a!section!for!comments.!In!this!section,!commenters!
respond!to!the!posts!of!the!initiators.!This!is!a!space!for!dialogue!between!readers!and!writers:!
agree,!disagree!(politely),!ask!or!answer!questions,!add!to!a!point,!and!so!forth.!Commenters!

Horton 32

must!comment!on!at!least!five!posts!for!each!blogging!period.!Initiators!are!encouraged!to!
respond!back!to!commenters.!By!reading!and!responding!to!commenters,!blog!authors!become!
better!writers!and!gain!a!sense!of!community!with!their!readers.
Extenders:!Extenders!read!the!blog!post!of!initiators!and!then!branch!off!those!discussions!with!
their!own!blog!posts.!The!idea!is!to!broaden!or!deepen!the!conversation!by!bringing!in!other!
ideas.!For!example,!you!might!post!a!YouTube!clip!from!a!contemporary!film!that!resembles!or!
references!the!film!we!watched!that!week.!You!might!link!to!a!movie!review!or!two!about!the!
film!and!summarize!the!critical!reception!of!the!film.!One!may!also!give!a!longer!response!to!an!
initiators!post!than!would!be!possible!in!the!comments!section.!The!goal!is!extend!the!original!
discussion!and!move!it!in!different!directions.
By!performing!specific!roles,!students!gain!experience!as!primary!authors!and!as!readers!contributing!to!
the!discussion,!thereby!ensuring!that!the!blog!maintains!a!lively!giveIandItake.!
RUBRIC
During!each!blogging!week,!students!will!be!graded!according!to!the!following!rubric:
5.!Excellent:!Thoughtfully!discusses!the!film!and/or!readings!and!takes!a!clear!stance.!Post!is!
clear,!focused,!and!engaging.!Post!is!tagged,!uses!links!when!appropriate,!and!specifically!and!
correctly!cites!films,!people,!and/or!other!students.
4.!Satisfactory:!Post!is!reasonably!focused!and!reflects!a!moderate!engagement!with!the!topic.!A!
clear!stance!is!taken,!though!some!ideas!are!not!fully!developed.!Tags,!links,!and!attribution!are!
used!appropriately!if!not!consistently.
3.!Average:!Post!fails!to!stake!a!claim!and!relies!upon!summary!or!obvious!description!as!
opposed!to!an!engaged!analysis!or!critical!consideration.!Comments!may!be!appropriate!but!
seemingly!unrelated!to!one!another.!Tags,!links,!and!attribution!are!infrequently!utilized.
2.!Poor:!No!discernible!focus!or!main!idea.!Post!makes!no!claim,!recycles!ideas!from!lecture!or!
other!bloggers,!and!contributes!no!new!ideas.!Post!reflects!a!failure!by!the!student!to!engage!
with!the!topic.!Tags,!links,!and!attribution!are!not!present.
1.!Fail:!Student!fails!to!meet!deadline!or!presents!an!unfocused,!disjointed!claim!with!little!to!no!
support!or!explanation.!No!mention!of!specific!films!or!readings.
Note:!students!operating!in!the!role!of!commenters!will!be!graded!pass/fail!on!each!of!their!five!
comments!and!their!tally!will!serve!as!their!score!for!that!week.

Horton 33

SCHEDULE
FILM/TOPIC

INITIATORS

DUE

COMMENTERS

DUE

EXTENDERS

DUE

1. College

9/13

9/15

9/19

2. Nosferatu

9/20

9/22

9/26

3. His Girl Friday

10/4

10/6

10/10

4. Double Indemnity

10/13

10/15

10/19

5. The 400 Blows

10/25

10/27

10/31

6. Blow Up

11/1

11/3

11/7

7. Dog Day Afternoon

11/8

11/10

11/14

8. El Mariachi

11/15

11/18

11/28

9. George Washington

11/29

12/1

12/5

Horton 34

Segmentation & Analysis Assignment

FILM 4780: Puzzle Films & Complex Narratives | Horton, Spring 2012

This!assignment!has!two!stages:!first,!you!will!complete!a!segmentation!of!a!complex!narrative!film!of!
your!choice!from!the!list!below.!You!will!then!write!a!1000I1500!word!essay!based!on!the!findings!of!
your!segmentation.!Both!the!segmentation!and!your!analysis!are!due!to!me!via!Google!Docs!by!midnight%
on%Wednesday,%March%21st.

What is Segmentation?
As!the!name!implies,!segmentation!involves!breaking!a!film!down!into!tiny!pieces,!or!segments.!When!
we!watch!a!film!under!normal!conditions,!we!perform!the!sort!of!cognitive!work!that!Bordwell!
describes:!we!are!attempting!to!fillIin!gaps!in!our!knowledge!on!the!fly:!making,!changing,!or!confirming!
hypotheses!as!we!receive!new!information.!Segmentation,!however,!is!designed!to!slow!this!process!
down!so!that!we!can!identify!the!structure!that!underlies!the!narrative.!By!breaking!the!movie!into!small!
chunks,!we!may!begin!to!see!patterns!that!might!otherwise!escape!our!notice.!For!instance,!heres!a!
very!basic!segmentation!to!illustrate!the!idea:
The$Wizard$of$Oz!(Flemming,!1939)!consists!of!three!large!segments:
1. Kansas!
2. Oz!
3. Kansas!
But!we!can!put!a!finer!point!on!this,!right?!For!example,!how!do!we!know!when!we!are!in!Kansas!versus!
Oz?!And!what!motivates!the!Oz!sequence?!By!answering!these!questions,!we!can!modify!our!
segments!a!bit!further:
1. Kansas! !
(black!&!white)! !
[reality]!
2. Oz!
!
(color)! !
!
[dream]!
3. Kansas! !
(black!&!white)! !
[reality]!

Horton 35

We!can!see!that!the!narrative!follows!a!cyclical!pattern:!it!ends!where!it!begins.!Moreover,!the!film!
distinguishes!the!two!worlds!via!the!very!simple!variation!between!color!and!black!&!white.!This!serves!a!
thematic!role,!too,!as!the!dream!world!is!more!vivid!and!colorful!than!the!mundane!world!of!dayItoIday!
reality.
We!did!a!segmentation!in!class!on!the!first!15!minutes!of!21$Grams!(Iarritu,!2003).!Youll!recall!we!first!
thought!about!the!timeline!of!the!film!to!figure!out!what!the!key!plot!points!were.!The!major!one!was!
the!car!crash,!which!was!the!event!that!brought!all!of!these!characters!together.!Another!major!event!in!
the!plot!was!the!affair!between!Christina!(Naomi!Watts)!and!Paul!(Sean!Penn).!Youll!remember!that!we!
started!to!code!to!the!scenes!as!either!preI!or!postIcrash,!and!then!postIaffair.!In!short,!we!began!to!
notice!the!patterns!of!the!film!and!the!logic!of!its!narrative.
Camerons!essay!on!21$Grams!went!even!further!than!we!did.!He!argues!that!the!jumps!in!time!arent!
simply!there!to!open!up!Bordwellian!gapsthough!they!indeed!do!that,!but!also!to!associate!or!draw!
comparisons!between!situations.!Hence,!the!film!cuts!from!the!death!of!Christinas!family!to!a!shot!of!
her,!now!pregnant,!at!the!hospital.!This!is!the!type!of!thing!we!generally!dont!notice!when!we!watch!
movies!normally.!And!this!is!why!we!segment!

How to Segment
There!are!no!hardIandIfast!rules!about!segmentation:!Different!films!call!for!different!types!of!
deconstruction.!Im!trusting!you!to!find!the!best!way!to!break!down!your!movie.
Step!#1!is!to!watch!the!film!and!take!notes!scene!by!scene.!I!recommend!you!number!a!sheet!of!paper!
and!write!down!what!is!happening!in!that!scene!and!any!pertinent!information.!Jacobs$Ladder!(Lyne,!
1990),!for!instance,!opens!in!Vietnam.!We!see!Jake!get!stabbed,!but,!in!the!next!scene,!we!see!him!alive,!
as!though!waking!up!from!a!dream.!You!should!continue!doing!this!for!the!entire!movie.
Once!youve!broken!the!film!down!sceneIbyIscene,!you!then!can!look!for!patterns.!What!are!the!main!
divisions!within!the!film?!Dream/reality?!Reality/hallucination?!Real!life/purgatory?!Thats!up!to!you!
to!decide.!Your!goal!is!not!to!come!up!with!a!master!interpretation!of!the!film.!Rather,!I!want!you!to!
identify!the!deep!structure.It!might!help!to!attempt!to!reconstruct!a!fragmented!film!like!21$Grams.!
You!could!number!the!scenes!and!then!put!them!back!together!in!fabula!order!(scenes!5,!24,!7,!26,!1,!5,!
etc.)!Or,!for!Jacobs$Ladder,!you!could!chart!out!the!possible!explanations!or!motivations!for!what!we!
see.!Its!up!to!you!to!identify!whats!really!important!about!your!movies!construction.
Really!good!segmentation!can!find!all!sorts!of!cool!results.!Below,!for!instance,!is!one!persons!(absurdly!
detailed)!attempt!to!map!out!the!events!of!Inception!(Nolan,!2010).!Note!how!the!analyst!discovered!
a!pattern!of!reduction!with!regard!to!the!number!of!characters!present!each!dream!level.!With!each!
subsequent!dream,!the!one!who!dreamt!it!moves!straight!through!from!the!imaginary!world!back!to!
reality!(e.g.,!the!chemist!in!dream!level!#1,!Arthur!in!dream!level!#2,!and!so!on).!Eventually,!we!see!that!
Cobb!and!Saito!are!the!only!ones!left!still!dreaming!late!in!the!film.!
!

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Now,!I!dont!expect!you!to!construct!a!map!such!as!this!one!for!this!assignment,!but!if!youre!feeling!up!
to!it,!dont!let!me!stop!you!

The Essay
Once!your!segmentation!is!complete!and!youve!identified!the!patterns,!blocks,!and/or!structures!of!
your!movie,!I!want!you!to!write!a!1000I15000Iword!essay.!The!segmentation!is!like!a!science!
experiment,!and!the!essay!is!like!the!report.!This!essay!should!be!selfIreflective.!What!conclusions!can!
you!draw!about!the!films!construction?!Did!you!find!anything!that!surprised!you!about!the!film!after!
doing!the!segmentation?!Is!the!film!more!complex!than!you!initially!thought!or!less!so?!Does!the!film!
resolve!all!of!the!central!questions,!or!does!it!end!ambiguously?!Are!multiple!interpretations!possible,!or!
is!it!mostly!cutIandIdry?!In!other!words,!I!want!to!know!what!discoveries!you!made!through!this!process!
of!extremely!close!analysis!and!your!reflections!afterwards.!Turn!in!both!the!segmentation!AND!the!
essay!as!one!Google!Doc.

Due:%Wednesday,%March%21st%by%MIDNIGHT%|%Share%via%Google%Docs%
justinbhorton@gmail.com%
Please%select%can%edit%when%sharing%
Please%follow%the%file%name%convention%(e.g.,%4780_DoeJ_Segmentation)%

Film Choices (in no particular order)

(Note:!I!recommend!you!chose!a!film!youve!seen!before,!or!one!you!will!watch!completely!BEFORE!
beginning!the!segmentation.)

21$Grams!(Iarritu,!2003)!
Jacobs$Ladder!(Lyne,!1990)!
A$Scanner$Darkly!(Linklater,!2006)!
Existenz!(Cronenberg,!1999)!

Horton 37

Donnie$Darko!(Kelly,!2001)!
Pulp$Fiction!(Tarantino,!1994)!
Irrversible!(No,!2002)!
Eternal$Sunshine$of$the$Spotless$Mind!(Gondry,!2004)!
Tinker$Tailor$Soldier$Spy!(Alfredson,!2011)!
Angel$Heart!(Parker,!1987)!
Elephant!(Van!Sant,!2003)!
Swimming$Pool!(Ozon,!2003)!
The$Fountain!(Aranofsky,!2006)!
Short$Cuts!(Altman,!1993)!
American$Psycho!(Harron,!2000)!
The$Game!(Fincher,!1997)!
Fight$Club!(Fincher,!1999)!
Shutter$Island!(Scorsese,!2010)!
Vanilla$Sky!(Crowe,!2003)!
Abre$los$ojos!(Amenbar,!1997)!
The$Butterfly$Effect$(Bress!&!Gruber,!2004)!
The$Final$Cut!(Naim,!2004)!
Adaptation!(Jonze,!2002)!
Code$Unknown!(Haneke,!2000)!
Stranger$Than$Fiction!(Forster,!2006)!
Magnolia!(Anderson,!1999)!
Thirteen$Conversations$About$One$Thing!(Sprecher,!2001)!
The$Rules$of$Attraction$(Avary,!2002)!
Peppermint$Candy!(Lee,!2000)!
Blind$Chance!(Kieslowski,!1981)!
Amores$Perros!(Iarritu,!2000)!
Go!(Liman,!1999)!
Eye$of$God!(Nelson,!1997)!
The$Limey!(Soderbergh,!1999)!
The$Box$(Kelly,!2009)!
The$Double$Life$of$Vronique!(Kieslowski,!1991)!
2046!(Wong,!2004)!

Horton 38