*All readings are to be done before coming to class on the date listed below.
**Assignments are due by the start of class time on the dates listed below, or as otherwise indicated.
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Date |
Topics/Assignments |
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Tues. Jan. 19 |
Classes Begin. Technology, Meet and Greet, Course Overview. |
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Thurs. Jan. 21 |
Read: In Cinematography Theory and Practice: Imagemaking for Cinematographers and Directors, Blain Brown, the chapter titled, “Writing in Motion.” Do a book search on the library website: https://www.ggc.edu/academics/library/find-books/. Use the book title (in italics) to search for the item, and then read just the “Writing in Motion” chapter (xiv, 1-12). Make a List of Key Terms from the Reading. |
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Mon. Jan. 25 |
Drop/Add Ends |
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Tues. Jan. 26 |
Read: In Cinematography, Patrick Keating, “PostWar Hollywood, 1947-1967.” Do a book search on the library website: https://www.ggc.edu/academics/library/find-books/. |
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Thurs. Jan. 28 |
Watch: No Subtitles Necessary (Doc on 2 key cinematographers: Laszlo Kovacs and Vilmos Zsigmond) On Kanopy |
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Tues. Feb. 2 |
Watch: Shock Corridor (Samuel Fuller, Stanley Cortez, 1963) On Kanopy. Presentation on Stanley Cortez. Presenters: Examples for “Writing in Motion” Concepts. |
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Thurs. Feb. 4 |
Read: In Cinematography Theory and Practice: Imagemaking for Cinematographers and Directors, Blain Brown, the chapter titled, “Shooting Methods,” (14-37). Do a book search on the library website: https://www.ggc.edu/academics/library/find-books/. Make a List of Key Terms from the Reading. Presenters: Examples for “Shooting Methods” Concepts. |
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Tues. Feb. 9 |
Read: In Cinematography, Patrick Keating, “The Auteur Renaissance, 1968-1980.” Do a book search on the library website: https://www.ggc.edu/academics/library/find-books/. Due: Reading Worksheet, Posted by beginning of class, 3:30 pm to D2L Watch: Taxi Driver (Martin Scorsese, Michael Chapman, 1975) On Netflix. Presenation on Michael Chapman. |
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Thurs. Feb. 11 |
Read: In Cinematography Theory and Practice: Imagemaking for Cinematographers and Directors, Blain Brown, the chapter titled, “Visual Language,” (37-53). Do a book search on the library website: https://www.ggc.edu/academics/library/find-books/. Make a list of Key Terms from the Reading. Presenters: Examples for “Visual Language” Concepts. |
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Tues. Feb. 16 |
Watch: Noctuanl Animals (Tom Ford, Seamus McGarvey, 2016) On Netflix. Read: “The Queer Aesthetics of Tom Ford’s Film Adaptations: A Single Man and Nocturnal Animals,” by Scott F. Stoddart (We will watch A Single Man towards the end of the semester. Please still read this section. It is shourt). While watching (Note: Adult content): Pay really close attention to the use of color and framing. Note the ways in which the film works like a puzzle and we have to put the pieces together. I recommend taking some notes while watching to try to piece the multiple narratives together. We will do a thorough analysis of this film. |
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Thurs. Feb. 18 |
Read: In Cinematography Theory and Practice: Imagemaking for Cinematographers and Directors, Blain Brown, the chapter titled, “Lighting Basics,” (103-128). Do a book search on the library website: https://www.ggc.edu/academics/library/find-books/ Make a list of Key Terms from the Reading. Watch (Optional- This is a great overview for specifics about lighting. It covers a lot on styles and equipment): Lighting Gear: Making And Controlling Light (On Kanopy) Presenters: Examples for “Lighting” Concepts. |
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Tues. Feb. 23 |
Read: In Cinematography Theory and Practice: Imagemaking for Cinematographers and Directors, Blain Brown, the chapter titled, “Language of the Lens,” (54-66). Do a book search on the library website: https://www.ggc.edu/academics/library/find-books/. Make a list of Key Terms from the Reading. Presenters: Examples for “Language of the Lens” Concepts. |
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Thurs. Feb. 25 |
Due: Midterm – Scene Analysis (Due by 11:59 pm tonight on D2L) We do NOT have a Virtual Class Today |
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Tues. Mar. 2 |
Read: “Intensified Continuity: Visual Style in Contemporary American Film,” by David Bordwell. Watch: Eternal Sunshine of the Spotless Mind (Michel Gondry, Ellen Kuras, 2004) On Netflix. Presentation on Ellen Kuras Due: Reading Worksheet, Posted by beginning of class, 3:30 pm to D2L |
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Wed. Mar. 3 |
Mid-term Grades Due |
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Thurs. Mar. 4 |
Watch: Side by Side (Christopher Kenneally, 2012) Doc On Kanopy Presenters: Examples for “Digital Effects” Concepts. |
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Fri. Mar. 5 |
Last Day to Withdraw With a “W” |
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Tues. Mar. 9 |
Read: “Deconstructing an Evil Fakeness: Digital Media and Truthin Dan Gilroy’s Nightcrawler.” (Emailed to you). Watch: Nightcrawler (Dan Gilroy, Robert Elswit, 2014) On Netflix Presentation on Robert Elswit Due: Reading Worksheet, Posted by beginning of class, 3:30 pm to D2L |
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Thurs. Mar. 11 |
Due: Scene Recreation 1 (Shock Corridor, Taxi Driver, Eternal Sunshine of the Spotless Mind or Nightcrawler). |
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Sun. Mar. 14-Sun. Mar. 21: Spring Break |
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Tues. Mar. 23 |
Read: “Time Passes: How Neorealism Has Influence Modern American Filmmakers,” by Megan Hess. Watch: Mystery Train (Jim Jarmusch, Robby Muller, 1989) On Kanopy Presentation on Robby Muller Due: Reading Worksheet, Posted by beginning of class, 3:30 pm to D2L |
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Thurs. Mar. 25 |
Watch: Ray Harryhausen: The Master of Animation Doc On Kanopy Watch: How to Bridge A Gorge (On YouTube) Presenters: Examples for “Stop Motion” |
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Tues. Mar. 30 |
Watch: American Honey (Andrea Arnold, Robbie Ryan, 2016) On Netflix “Riding in Cars as Girls: Discourses of Victimhood, Power, and Agency in Beneath Clouds and American Honey,” by Samantha Cater. Presentation on Robbie Ryan Due: Reading Worksheet, Posted by beginning of class, 3:30 pm to D2L |
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Thurs. Apr. 1 |
Deadline to Apply for Graduation, Fall 2021 Due: Scene Recreation 2 (Any of the films we’ve watched that you didn’t do for recreation 1). We’ll do some peer evaluations in class. (1/2 Class) |
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Tues. Apr. 6 |
Watch: XXY (Lucía Puenzo, Natasha Braier, 2007) On Kanopy Read: “Myth and the Monster of Intersex: Narrative Strategies of Otherness in Lucía Puenzo’s XXY” (Will be Emailed to You) Presentation on Natasha Braier Due: Reading Worksheet, Posted by beginning of class, 3:30 pm to D2L |
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Thurs. Apr. 8 |
Watch: Persona (Ingmar Bergman, Sven Nykvist, 1966) On Kanopy Read: “Sven Nykvist 1922-2006,” by Stuart Samuels Presentation on Sven Nykvist |
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Tues. Apr. 13 |
Watch: Mudbound (Dee Rees, Rachel Morrison, 2017) On Netflix Read: “Skin Tone and Faces: Cinematography Pedagogy Which Foregroiunds Inclusivity and Diversity in Teaching Lighting,” by Cathy Greenhalgh (Will be emailed to you). Presentation on Rachel Morrison Due: Reading Worksheet, Posted by beginning of class, 3:30 pm to D2L |
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Thurs. Apr. 15 |
Due: Scene Recreation 3 (XXY, Persona or Mudbound). We’ll do some peer evaluations in class. (1/2 class) |
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Tues. Apr. 20 |
Watch: In the Mood for Love (Kar-Wai Wong, Christopher Doyle, 2000) On Kanopy Read: In A Companion to Wong Kar-Wai, edited by Martha P. Nochimson, “Cinephiliac Engagement and the Disengaged Gaze in In the Mood for Love.” Do a book search on the library website: https://www.ggc.edu/academics/library/find-books/. Presentation on Christopher Doyle Due: Reading Worksheet, Posted by beginning of class, 3:30 pm to D2L |
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Thurs. Apr. 22 |
Watch: Carol (Todd Haynes, Edward Lachman, 2015) On Netflix Read: “Looking for a Way Out: Reimagining the Gaze in Carol,” by Gabrielle O’Brien Presentation on Edward Lachman Due: Reading Worksheet, Posted by beginning of class, 3:30 pm to D2L |
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Tues. Apr. 27 |
Watch: A Single Man (Tom Ford, Eduard Grau, 2009) On Netflix Read: “Falling In(To) Color: Chromophilia and Tom Ford’s A Single Man (2009),” by Kirsten Moana Thompson Presentation on Eduard Grau Due: Reading Worksheet, Posted by beginning of class, 3:30 pm to D2L |
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Thurs. Apr. 29 |
Due: Scene Recreation (In the Mood for Love, Carol, A Single Man). We’ll do some peer evaluations in class. (1/2 class) |
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Mon. May 3 |
Classes End |
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FINAL EXAM |
Due on the day assigned to us: Final Scene Analysis (On In the Mood for Love, A Single Man or Social Network) |
The final exam will be your final scene analysis. The date and time of the final exam is set by the registrar and will be posted at midterms. That date will be the due date for your assignment. The exam schedule cannot be changed at the convenience of the student.
January 19, 2021 Classes Begin (Full Session and Session A)
January 25, 2021 Drop/Add Ends (Full Session)
March 3, 2021 Mid-term Grade Due (Full Session)
March 5, 2021 Last Day to Withdraw With “W” (Full Session)
March 14-21, 2021 Spring Break
April 1, 2021 Apply to Graduate Deadline for Fall 2021
May 3, 2021 Classes End (Full Session)
May 4-10, 2021 Final Exams
May 12, 2021 End of Semester Grades Due (9:00am)
May 13, 2021 Commencement
May 19, 2021 Grades Available in Banner
This course syllabus provides a general plan for this course. The instructor reserves the right to make changes to the syllabus, including changes to assignments, projects, examinations, etc., in order to accommodate the needs of the class as a whole and fulfill the goals of the course.