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CSU COM 221 - Viewing Log Instructions and Approved Films

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1COM 221, Introduction to Film Fall 2006 Dr. Kim Neuendorf Viewing Log Instructions and Approved Films 9/6/06 version NOTE: You are required to complete three film logs, from three different categories below. One of these three must be a Category 7, Film Theory Applications. Each of the three required logs is worth a maximum of 5 percentage points (total=15% of your course grade). All required film logs are due to me by the last day of class (the week before exams). Additionally, you may accrue up to 15 percentage points in extra credit by completing more logs. You will receive one percentage point for each film log acceptably completed; If you complete an extra credit paper as well (described in another section), the maximum you may receive total from the two types of extra credit is 15 percentage points. All extra credit logs are due to me by the final exam. The film logs are devised by me (not of your own making), and are available from me or from the class website (http://academic.csuohio.edu/kneuendorf). All logs must be completed in their entirety, with the response to each of four essay questions consisting of at least 50 words. All completed logs must demonstrate that the student has viewed the approved film, and understands the course concepts contained in the logs. All log entries must be completely original--similar or identical entries among students will result in no credit for the log, and may result in a charge of plagiarism. Below are listed seven categories of films, with approved films for viewing listed. You must complete the appropriate log for the approved film. There are seven different Viewing Log types. (For example, if you view Jean Renoir's The Golden Coach, you must complete an Auteur Viewing Log. For The Loved One, a Genre Film Viewing Log, etc.) The logs contain specific questions about the category of film you are viewing. You must answer all questions accurately (where appropriate), and fully—again, at the bare minimum, 50 words per open-ended question (item 8 under "general info.," and all three analysis questions). Most of the films listed are available in the VHS or DVD format for rental or library loanout. Some of the films are owned by the CSU Library Film Service (3rd floor of the Library, x2495), for viewing at their facility by appointment (this is noted on the attached list). Note that some films are showing at the Cleveland Cinematheque (http://www.cia.edu/campuslife/cinematheque/default.asp); you will receive double extra credit for each of these approved films if you attach your ticket stub. You may use Leonard Maltin's 2007 Movie Guide (2006; on reserve at the Library) or the Internet Movie Database (www.imdb.com) to help you select your films. The class website (http://academic.csuohio.edu/kneuendorf) may update the list of films from time to time, adding films that class members nominate, and films that may be shown at venues such as the Cleveland Cinematheque or the Museum of Art. Note that some of the films are rated R, and may be objectionable to some viewers. For every Auteur category film, you need to read the short listing for the director in The Film Encyclopedia (2005), on reserve at the CSU Library (listed under Dr. Neuendorf, COM 221). And for every Film Theory Application category film you need to read the short chapter for that film in Film Analysis: A Norton Reader (by J. Geiger & R. L. Rutsky), also on reserve at the Library. You will see that the goal of the extra credit viewing is to provide a widely varied list of offerings, generally films that most of you have not seen, a list that represents different aspects of film study--the films listed are not2necessarily the best films ever made. But they do represent an interesting selection of important traditions in filmmaking! CATEGORY 1: Expressionism in Film Basquiat, Julian Schnabel, US, 1996* Blue Velvet, David Lynch, US, 1986 Brazil, Terry Gilliam, US, 1985 Cabaret, Bob Fosse, US, 1972* and ** (9/25/06) A Clockwork Orange, Stanley Kubrick, Gr. Britain, 1971* The Cook, The Thief, His Wife, & Her Lover, Peter Greenaway, France/Holland, 1989 The Discreet Charm of the Bourgeoisie, Luis Bunuel, France, 1972* Kiss of the Spider Woman, Hector Babenco, US/Brazil, 1985* L'Age D'or, Luis Bunuel, France, 1930* Natural Born Killers, Oliver Stone, US, 1995 Nosferatu, F. W. Murnau, Germany, 1922* Run Lola Run, Tom Tykwer, Germany, 1998* Schindler’s List, Steven Spielberg, US, 1993 Twelve Monkeys, Terry Gilliam, US, 1995 CATEGORY 2: The Film Auteur Dogville, Lars von Trier, Denmark/Sweden/Britain/France/Germany/Netherlands, 2003 Fargo, Joel Coen, US, 1995 The General, Buster Keaton, US, 1927* The Golden Coach, Jean Renoir, Italy, 1953* La Dolce Vita, Federico Fellini, Italy, 1960* Lifeboat, Alfred Hitchcock, US, 1944* Live Flesh, Pedro Almodovar, Spain/France, 1997** (9/28/06) The Player, Robert Altman, US, 1992 Roger and Me, Michael Moore, US, 1989* The Scarlet Empress, Josef von Sternberg, US, 1934 Taxi Driver, Martin Scorsese, US, 1976* Women on the Verge of a Nervous Breakdown, Pedro Almodovar, Spain, 1988** (9/22/06) CATEGORY 3: International Films Aguirre, The Wrath of God, Werner Herzog, West Germany, 1972* Akira, Katsuhiro Otomo, Japan, 1988 Alphaville, Jean-Luc Godard, France, 1965* and ** (10/20/06) Beauty and the Beast, Jean Cocteau, France, 1946* Closely Watched Trains, Jiri Menzel, Czechoslovakia, 1966* Diabolique, Henri-Georges Clouzot, France, 1955 Grave of the Fireflies, Isao Takahata, Japan, 1988 Kiki’s Delivery Service, Hayao Miyazaki, Japan, 1989 The Killer, John Woo, Hong Kong, 1989 Les Carabiniers, Jean-Luc Godard, France, 1963** (10/26/06) Like Water for Chocolate, Alfonso Arau, Mexico, 1992* M, Fritz Lang, Germany, 1931* Potemkin (The Battleship Potemkin), Sergei Eisenstein, Soviet Union, 1925* Shoot the Piano Player, Francois Truffaut, France, 1960* Talk to Her (Hable con Ella), Pedro Almodovar, Spain, 2002** (9/24/06)3Truimph of the Will, Leni Riefenstahl, Germany, 1936* Wings of Desire, Wim Wenders, West Germany/France, 1988 The Wonderful, Horrible Life of Leni Riefenstahl, Ray Muller, Germany/Belgium/Gr. Britain, 1993* CATEGORY 4: African-American & Female Images The Best Man, Malcolm Lee, US, 1999 Born Yesterday, George Cukor, US, 1950* Daughters of the Dust, Julie Dash, US, 1991* The Emperor Jones, Dudley Murphy, US, 1933* Imitation of Life, John M. Stahl, US, 1934 (NOT 1959)* Mi Vida


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