Course Schedule

Introduction 

Other Studio Systems: Britain, Japan, India, China

READING:

Thompson, Bordwell & Smith, Chapter 11 "Other Studio Systems" pp. 209-227

SCREENING:

The Story of the Last Chrysanthemum (Kenji Mizoguchi, 1939)

Cinema and the State: The USSR, Germany, and Italy (1930-1945)

READING:

Thompson, Bordwell & Smith, Chapter 12 "Cinema and the State: The USSR, Germany, and Italy (1930-1945)" pp. 228-246

SCREENING:

Ossessione (Luchino Visconti, 1943)

France: Poetic Realism (1930-1945)

READING:

Thompson, Bordwell & Smith, Chapter 13 "France: Poetic Realism, The Popular Front, and the Occupation (1930-1945)"
pp. 247-256

SCREENING:

The Rules of the Game (Jean Renoir, 1939)

France: The Popular Front and the Occupation (1930-1945)

READING:

Thompson, Bordwell & Smith, Chapter 13 "France: Poetic Realism, The Popular Front, and the Occupation (1930-1945)"
pp. 256-264

SCREENING:

Children of Paradise (Marcel Carné, 1945)

Leftist, Documentary, and Experimental Cinemas (1930-1945)

READING:

Thompson, Bordwell & Smith, Chapter 14 "Leftist, Documentary, and Experimental Cinemas (1930-1945)" pp. 265-282

SCREENING:

Blood of a Poet (Jean Cocteau, 1932)

American Cinema in the Postwar Era: Postwar Changes in Hollywood (1945-1960)

READING:

Thompson, Bordwell & Smith, Chapter 15 “American Cinema in the Postwar Era (1945-1960)" pp. 285-298

SCREENING:

Vertigo (Alfred Hitchcock, 1958)

American Cinema in the Postwar Era: The Evolution of the Classical Hollywood Style (1945-1960)

READING:

Thompson, Bordwell & Smith, Chapter 15 “American Cinema in the Postwar Era (1945-1960)" pp. 298-308

SCREENING:

The Asphalt Jungle (John Huston, 1950)

Midterm

Postwar European Cinema: Neorealism and its Context (1945-1959)

READING:

Thompson, Bordwell & Smith, Chapter 16 “Postwar European Cinema: Neorealism and its Context (1945-1959)" pp. 309-326

SCREENING:

Bicycle Thieves (Vittorio De Sica, 1948)

Postwar European Cinema: France, Scandinavia, and Britain (1945-1959)

READING:

Thompson, Bordwell & Smith, Chapter 17 “Postwar European Cinema: France, Scandinavia, and Britain (1945-1959)"
pp. 327-342

SCREENING:

Bob le Flambeur (Jean-Pierre Melville, 1959)

Postwar Cinema: Soviet Union, Asia, and Latin America (1945-1960)

READING:

Thompson, Bordwell & Smith, Chapter 18 "Postwar Cinema Beyond the West (1945-1959)" pp. 343-364

SCREENING:

The Cloud-Capped Star (Ritwik Ghatak, 1960)

Art Cinema and the Idea of Authorship Part I

READING:

Thompson, Bordwell & Smith, Chapter 19 “Art Cinema and the Idea of Authorship" pp. 365-375

SCREENING:

Ikiru (Akira Kurosawa, 1952)

Art Cinema and the Idea of Authorship Part II

READING:

Thompson, Bordwell & Smith, Chapter 19 “Art Cinema and the Idea of Authorship" pp. 375-384

SCREENING:

L'Avventura (Michelangelo Antonioni, 1960)

New Waves and Young Cinemas: The French New Wave and the Left Bank (1958-1967)

READING:

Thompson, Bordwell & Smith, Chapter 20 “New Waves and Young Cinemas (1958-1967)" pp. 385-396

SCREENING:

Cleo from 5 to 7 (Agnès Varda, 1962)

New Waves and Young Cinemas: New Waves Beyond France (1958-1967)

READING:

Thompson, Bordwell & Smith, Chapter 20 “New Waves and Young Cinemas (1958-1967)" pp. 396-419

SCREENING:

Daises (Věra Chytilová, 1966)

Final

Important Dates for Fall 2024:

Day Class Begins:  September 3

Last Day to Drop Class for 100% Refund:  September 12

Last Day to Add:  September 20

Last Day to Drop Without 'W': September 20

Last Day to Drop With 'W': November 21

Last Day to select P/NP: November 21

Day Class Ends:  December 20

Final Grades Available via MyRam: January 8

Assignments:

Our class starts at 8am on Monday, January 29. The course consists of 17 Modules. This class covers 1 Module each week. You will be able to read material, watch films, and complete assignments for each week beginning each Monday at 8 am. All assignments and quizzes for each week must be completed by 11:59pm on Sundays. Most modules will require a discussion post, a response post, and a quiz. 

All quizzes are multiple choice and consist of 5 questions. You will have 10 minutes for each weekly quiz. Both the midterm and final consist of 25 fill-in-the-blank questions. You will have 35 minutes to complete the midterm and 35 minutes to complete the final. A study guide will be distributed one week before the midterm and final. The midterm covers Modules 1-8 and the final covers Modules 10-16.

The class requires a minimum of about 8-10 hours of work per module. You will fall behind if you do not plan ahead and complete the work throughout each week. You will not be able to watch feature films, complete the reading (and take quiz(zes) on the reading) and write a discussion post/response post for each Module if you wait until the weekend to complete the work. Discussion assignments make up the majority of the final grade and they require time to receive full points. I cannot open Modules before their scheduled time to accommodate travel plans, vacation, etc.

Attendance:

Students must login and complete work on Canvas in order to stay in the class. Students who do not complete all work (both discussion post assignments and quiz in Module 1 & 2) from the first week by Sunday, February 4th at 11:59pm will be dropped from the class. Students who do not complete two consecutive discussion assignments (both the initial post and response post) and do not communicate with me will be dropped from the class. Any student who falls below a 60% (total grade) at any point before the completion of Module 9 and does not communicate with me will be dropped from the class. I will maintain grade book records via Canvas.

Please see the City College of San Francisco's standards for Substantive Interaction for Distance Learning Courses for information about requirements as described in California Code of Regulations, Title 5: Education, under Chapter 6, Article 1 on Distance Education.  

Online and Hybrid Courses: Substantive participation is considered necessary for normal progress in an online or hybrid class. Therefore, a student taking an outline or hybrid course must participate in the class during the first week, and regularly participate throughout the term according to the requirements listed on the instructor's syllabus. Otherwise, the student may be dropped by the instructor as stated in AR 5075 Course Adds, Drops, and Withdrawals or as stated on the instructor's syllabus. Faculty will define required participation in the syllabus for an online or hybrid course and will determine the consequences of a lack of participation.

Completing quizzes or tests is not considered substantive interaction to satisfy attendance in this class. You must complete both the initial post and response post in each discussion assignment to meet the standards of 'instructor-to-student contact' and 'student-to-student contact' as outlined in CCSF's Substantive Interaction for Distance Learning Courses. Completing the response post and refraining from completing the initial post in each discussion assignment does not satisfy the attendance requirement in this class.

I will make my best effort to contact students at least once before dropping them from the course, but keep in mind I typically have hundreds of students per semester. Students are responsible for withdrawing from the course before the posted deadlines (see "Important Dates"). Keep in mind that I must report accurate census reports for all my classes after the first three full weeks of instruction. I also must report accurate records of midterm and final grades. Failure to do so may result in several consequences for CCSF, myself, and my students: the most serious accusation being involvement with financial aid fraud. I will contact students via Canvas Inbox. Please make sure that you check your Canvas Inbox or link Canvas messaging to your CCSF email or preferred email address.

Standards of Conduct

Students who register in CCSF classes are required to abide by the CCSF Student Code of Conduct

Violation of the code is basis for referral to the Student Conduct Coordinator or dismissal from the course or CCSF. You are expected to do your own work, and have your own unique answers to questions. Anyone found cheating or plagiarizing the work of others will receive a zero on the assignment and face disciplinary action at the college. PLAGIARISM = copying/citing the words, images, videos, or ideas of others without giving them credit.

DSPS Accommodations

Disabled Students Programs & Services

Students with disabilities who need academic accommodations should request them from the Disabled Students Programs and Services (DSPS) located in the Rosenberg Library, Room 323 on the Ocean Campus. Telephone: 

415-452-5481 (V) 415-452-5451 (TDD).