CART 329 : TELEDRAMATIC HISTORY II Fall 2014

Professor Caitlin Manning

CRN Number: 41861
Email: cmanning@csumb.edu
Time: T/TH 6-8
Location: Harbor Hall - Rm. 102
Office Hours: Tuesdays 4-5, . (Other hours and phone appointments
may be available by request). Email by Friday for an appointment the
following week.
Office Location: Bldg 201 room 309C
Course Description:
This is the second semester of a two-semester course sequence
through which students examine the history, aesthetics, production
technologies and cultural impact of significant films and film
movements. We will look at a variety of national and/ or aesthetic
movements such as: international art cinema; the French new wave;
and the explosion of various forms of radical and postcolonial
filmmaking in the 1960s and 1970s, as well as mainstream Hollywood.
We will learn to analyze specific films, and relate each film to specific
historical and political moments, cultural movements, cinematic styles
and technological developments. At the same time we will examine
how cinema has represented gender, class, race, ethnicity, or
nationality at various moments of time.
Class will be conducted as a mix of screenings, lecture and discussion.
The Tuesday session of each week will be conduction online. You will
be required to view a film and write-up answers to specific questions
on the film. Since we will only meet once a week on Thursdays for
most of the semester, it is essential that you attend every class. It is
expected that you participate in class discussion, take notes on films
as you are viewing them and do all the required viewing, reading and
writing assignments each week.
BE SURE TO CHECK THE WEBSITE EACH WEEK FOR
ASSIGNMENTS
NOTE: THIS CLASS FULFILLS THE C1 ARTS CURRICULUM. THIS
IS A REQUIRED CLASS FOR TAT STUDENTS, AND MUST BE
PASSED WITH A C OR HIGHER IN ORDER TO COUNT TOWARDS
THE MAJOR DEGREE.

Course expenses:
There is no expense for textbooks. Course readings will be made
available online.
You will be required to rent/check out a film each week. Costs are
about $3-4 dollars for streaming films on Amazon and other sites, (or
you can become an Amazon Prime member and stream films for free).
A membership to Netflix is around 6 dollars per month. Many of the
films are also available in the CSUMB library on course reserve for
this class. You are encouraged to watch these films in groups.
At the end of the semester you will be required to watch a film that
costs $12.00 on Itunes or may be rented at most local video stores.
Again, you are encouraged to do this in groups.
Course Policies:
Attendance: I expect you to attend all classes (more than one absence
entails a lowering of your grade), be punctual, come to class
prepared, actively participate in class discussion and be respectful of
your peers. If you do miss a class, it is your responsibility to find out
what transpired and view any work screened in class.
Attention:
No electronic devices, including phones and laptops, may be on
during class unless you have a reason that you discuss with me
beforehand. I expect your full attention to be in the classroom.
Academic honesty:
Your writing for this class must be original. While ideas always grow
out of others ideas, learning how to cite sources or inspirations is a
crucial part of the education process. Within the CAHSS College,
plagiarism and other forms of academic dishonesty are not tolerated.
Students who are found by faculty to have committed plagiarism in an
assignment will, at minimum, upon the first offense fail that
assignment. Upon the second offense, a student will, at minimum, fail
the class. Each incident and the student's name will be reported to the
college administration.
For Clarification: Excerpt From U.C. Berkeley Code of Conduct
http://students.berkeley.edu/uga/conduct.asp
Plagiarism is defied as the use of intellectual material produced by
another person without acknowledging its source. This includes, but is
not limited to:
(a.) Copying from the writings or works of others into one's academic
assignment without attribution, or
submitting such work as if it were one's own;
(b.) Using the views, opinions, or insights of another without
acknowledgment; or

(c.) Paraphrasing the characteristic or original phraseology,

ILearn:
You will need to check in to the course website every week.
Ilearn will be used for posting required readings, announcements,
assignments, and additional materials. You will also use it to turn in
mid-term and final papers. Please familiarize yourself with it, and
note that weekly assignments (other than the mid-term and final) are
due at the latest by class time.
Disabilities
CSUMB is committed to providing support to students with
disabilities. Students with disabilities who may need accommodations
please make an appointment to see me by the end of the second week
of class.
Also contact Student_Disability Resources@csumb.edu Phone:
831/582-3672 voices, or 582-4024 fax/TTY, http://www.sdr.csumb.edu/
Speech:
It is inevitable that some of the films we study will embody ideas or
ideologies that some of us disagree with. Please always be respectful
of each other and of the work of constructive criticism so that our
classroom becomes an inviting space for engaged, honest dialogue.
Discriminatory speech or speech that creates a hostile environment
with respect to race, gender, sexual orientation, national origin, age,
religion, or ability, will not be tolerated.
Assignments and Exams
Answers to weekly questions on films are to be submitted in class
HARD COPY. Handwritten answers are ok if your handwriting is
legible. Otherwise, type them and print them out.
The written essay assignments (mid-term and final) are to be posted
on I-learn as word files (.doc or .docx single-sided by midnight
on the due date (page format - one inch margins; doublespaced; 12 pt
font).
Assignment Details
Specific topic suggestions for each essay/critique will be made
available on iLearn in advance of the due dates.
NO LATE WORK WILL BE ACCEPTED IN TAT 329, EXCEPT IN
CASES OF DOCUMENTED MEDICAL (or other) EMERGENCY.
YOUR WEEKLY QUESTIONS/ANSWERS MUST BE TURNED IT
AT THE BEGINNING OF CLASS OR THEY WILL NOT BE
ACCEPTED AND YOU WILL GET A 0 FOR THE ASSIGNMENT.

CART MAJOR LEARNING OUTCOMES

MLO 1 Foundations of Teledramatic Arts and Technology
Students gain an overview of teledramatics and foundational skills in
storytelling, media criticism, history, ethics. Students describe and
analyze the major historical movements (events, artists, genres,
developments, etc.) and their interrelationships with each other and
with technological, social, and historical changes. Students also
describe and analyze aesthetics and content, and the relationship
between them for varied teledramatic arts, using ethical analysis in
critique and production of teledramatic material.
COURSE OUTCOMES:
Students will develop an understanding of the history and evolution of
media technologies, their effects upon culture over time, and their
place within a global communications context.
Students will develop an understanding of development practices
across media.
Students will develop an understanding of historical and
contemporary methods of distribution across media.
Students will develop critical skills for the analysis media, allowing
them to make informed cultural decisions in their own creative
practice.
ASSIGNMENTS AND GRADING A
Class assessments:
1. Mid-term/Final (2 essays, 20 pts each. 1200-2000 words each) 40
%
DUE DATES: Oct 16th, November 27th
2. Weekly questions on films and readings
40
%
5. Class Participation
20%
TOTAL

100

COURSE SCHEDULE
(Note: Course schedules, like life, are subject to change. This
schedule may be altered or updated depending on class needs.
Updates will be posted on I-Learn. Check I-Learn EVERY WEEK
for readings, assignments etc.)

WEEK 1 Intro to Class and Dr. Strangelove

Tuesday Aug 25
Course Overview. Introductions, review of class and I-Learn site, how
to submit written assignment. Then well start the semester with a
comedy that challenged the zeitgeist of 50s Hollywood film.
Thursday Aug 27 Screening
View Dr. Strangelove, How I Learned to Stop Worrying and Love the
Bomb (Stanley Kubrick, 1964) available on Amazon streaming and
other sites, and at CSUMB library
Assignments due next week:
1. Reading: International Cinema in the1960s, from Flashback,
A Brief History of Film by Louis Gianetti /Scott Fyman, Chapter
13
2. Finish watching Dr. Strangelove online
3. Write answer to questions on I-learn, bring hard copy to class.

WEEK 2: Sept. 1 - 5 Breaking with Tradition: Modernism in

the Cinema, Part 1
In class, Thursday Sept. 3:
- Discuss readings and Strangelove. Lecture: the emergence of
art films and the French New Wave., Intro Breathless, Clips
400 Blows, etc.
Online screening:
View Breathless (Jean-Luc Godard, 1960: 90 minutes)
Film available for streaming Netflix, Amazon and in the CSUMB
library.
Assignments due next week:
1. Answer questions posted on I-learn and and bring hard copy to
class
2. Read Auteur Theory and the French New Wave in Closely
Watched Films by Marylin Fabe
WEEK 3: Sept. 8-14 Modernism in Cinema, Part 2

In Class Sept 10:

- Class discussion of Breathless. Bring notes for questions posted
last week.
- Lecture; How did Modernism in film progress in Europe? We
will look at new ways of representing inner mental states in the
work of Polanski, Ingmar Bergman, etc. Clips 8/12, Antonioni.
Online screening:
REPULSION (Roman Polanski, 1965: 105 minutes)
Film available on Amazon
Assaignments Due Next Week:
1. Answer questions posted on I-learn. Bring hard copy to class
2. Read
- What is expressionism?
- OPTIONAL - Closely Watched Films: An Introduction to
the Art of Film Narrative by Marilyn Fabe, Chapter 9 The
European Art Film: Federico Fellinis 8/12
WEEK 4

- September 15-21 Intro American Avant-Garde

In-Class Sept 17:

- Discuss Repulsion and readings.
- Intro American Avant-Garde : Brakhage, Anger, Clarke,
Scorcese. We will examine the explosion of artistic creativity
that emerged from the counterculture in the U.S. in the 50s and
60s; the influence of cinema verite and New Wave; the effects
of feminism, the anti-war movement and sexual liberation. Inclass screening of various shorts from Brakhage, Anger, Clarke
Online screening:
Shadows by John Cassavetes, available for rent on itunes and on other
sites
Assignments Due Next Week:
Read
- Points of Resistance: Shirley Clarke and the Avant-garde NY
- -"Metaphors on Vision, the Camera Eye, My Eye," from
Essential Brakhage, pp. 12-36
answer questions on readings

WEEK 5 : September 22-28 THIRD CINEMA

In-Class Sept 24:

- Discussion on Avant-Garde
- Intro To Third Cinema: Post-colonial cinema in Latin American
and Africa. View selections from Sembene La Noire de (Black
Girl, 1966) Ousmane
Online Screening:
Battle of Algiers (Gillo Pontecorvo, 1966: 121 minutes) available on
Amazon and other sites
Assignments Due Next Week:
1. Answer Questions on Film
2. Readings
- http://en.wikipedia.org/wiki/Third_Cinema
- Julio Espinosa, For an imperfect cinema (1969).
- Fernando Solanos and Octavio Getino, Toward a Third
Cinema (1969)
Other optional :
Colonialism, Racism &Representation (Stam and Spence, 1983)
The Virtual Barrio@TheOther Frontier (Gomez-Pena 1996)
http://en.wikipedia.org/wiki/Third_Cinema
3. Questions on the readings. Bring to class hard copies.

WEEK 6 : HOLLYWOOD RENAISSANCE PART 1

In-Class Oct 1
Discussion on Third Cinema
REMINDER: MID-TERM ESSAY #1 DUE NEXT WEEK

WEEK 7 (October 8): HOLLYWOOD RENAISSANCE PART 2

MIDTERMESSAY #1 DUE THIS WEEK
Intro to Hollywood Renaissance: Part 1 - Crisis of Hollywood / New
Hollywood : With classic Hollywood in decline, we will examine
how Hollywood filmmakers and the studios reinvigorated their
work, found new forms and new audiences. How do the films of
New Hollywood differ from the past? What impact did
maverick directors play in these changes? Clips from
Scorceses A Personal Journey With Martin Scorcese ( late 50s,
demise of Hollywood and rise of new filmmakers.)


Online Screening:
Bonnie and Clyde (Arthur Penn, 1967: 112 minutes) (Amazon)
Assignments Due Next Week:
1.
2.

Answer Questions on Film

Readings:
Flashback by Gianetti : pp.222-224 The Bloated Era-pp. 232236, Bonnie and Clyde as a change in sensibility shifts in
tone indebted to the new Wave:
http://en.wikipedia.org/wiki/New_Hollywood
Optional: Bonnie and Clyde in Past Imperfect: A feminist
perspective, also talks about the context of emerging
social movements, the role of violence: Bonnie and
Clydes defiance, insouciance, and feeling for the
oppressed captured the contemporary sensibility of revolt
and not least, the revolt of women

WEEK 8 (October 15th):

In Class
Discuss Bonnie and Clyde and readings
Hollywood Renaissance, Part 2 1968-1976 American Film in the
Vietnam/Watergate Era
This week we will continue to examine how Hollywood reacted to
the tumultuous changes happening in the US and abroad. How
did the political landscape of the late 1960s and early 1970s
affect the style and substance of the films? Why is this period
often considered one of the best in Hollywood Cinema and in US
independent Cinema? (clips)
Martin Scorcese: auteur (screening The Big Shave, and other early
work)

Online Screening
Taxi Driver (Martin Scorsese, 1976: 113 minutes)

Assignments Due Next Week:

1. Answer Questions on Film
2. Read: Gianetti, Chapter 14; American Cinema in the 1970s- pp.
273-296
WEEK 9 (October 22rd) women film

DiscussionTaxiDriver
Women and Cinema from the 1970s Forward : We will exam
sexism in Hollywood, feminism, and how women, around the
world, struggled for equal opportunities as writers and
directors. How and where did they succeed? What work
remains? How do their visions differ from the Hollywood status
quo?
In-class Clips.

Online Screening:
Born in Flames (Lizzie Borden, 1983: 90min)
Assignments for Next Week:
1. Answer Questions on Film
2. Read
- Unequal opportunities: Women Filmmakers in The New
Hollywood by Jim Hillier pp. 122-142
- Reading on Born in Flames
WEEK 10 OCT 29 NO CLASS

WEEK11nov.5Blackfilmmaking

In Class
Discussion of Born in Flames and Readings
Intro: Unequal Opportunities: American Black Filmmaking
How has racism hindered Black filmmakers and how have they
overcome it and created powerful cinema? Well read about
some of the pioneers, including Charles Burnett and Melvin Van
Peebles, then look variety of Black Filmmaking.
ClipsBushmama


Online Screening:
BOYZ N THE HOOD (John Singleton, 1991: 112min) on amazon and
netflix
Assignments Due Next Week:
1. Answer Questions on Film
2. Readings: Chapter from The New Hollywood by Jim Hillier
3. Write 2 Discussion questions on Boyz in the Hood and
readings.

UPCOMING: ESSAY #2 due in (topic on iLearn)

WEEK 12 : nov 12 Corporate Hollywood and Reactions Against it

In Class:
Discussion of Boyz in the Hood
Corporate Hollywood and Reactions Against it: An overview of
the evolution of the modern blockbuster and its effect on global
filmmaking.
Online Screening:
BLADERUNNER (Ridley Scott, )
Assignments Due Next Week:
1. Readings online
2. Answer Questions on Film

WEEK 13(November 19th)

In Class:
Discuss Bladerunner
Intro Dogme movement

With the rise of the blockbuster, how did bold and non-commercial
filmmakers strike back? How did the rules of the Dogme 95
films react to Hollywood and why did they resonate with so
many filmmakers? What other film rebellions took place and
what kind of films resulted? Dogma clips:

Lars von Trier clip http://www.youtube.com/watch?v=uEUzuN7xfVM

Interview Harmony Korine: http://www.youtube.com/watch?
v=gVNCSiZLurQ
Online Screening:
3. The King is Alive (stream from:
http://www.sundancenow.com/film/the-king-is-alive/498)
(Readings: http://en.wikipedia.org/wiki/Dogme_95
http://mediebol.stu.cofc.edu/dogmemanifesto.htm The dogme
manifesto http://mediebol.stu.cofc.edu/chastity.htm
4. Questions on The King is Alive plus ReadingsKristian
Levring, 2000: 110)

WEEK 14 THANKSGIVING BREAK; NO CLASS

Final essay due next week

WEEK 15
Discuss the king is alive
Intro pans labyrinth
Homework L Watch Pans labyrinth

WEEK 16
Dec. 10
FINALESSAYDUETHISWEEKBYFRIDAY12PM

Discuss Pans labyrinth