Name: Trina Lopez
Online contact: Use the Canvas Inbox to contact Trina
E-mail: trina.lopez@mail.ccsf.edu -- Only use if the Canvas Inbox system is not working or if you haven't gotten a response from Trina within 48 hours of sending her a message. This generally includes weekends unless otherwise stated.
Virtual office hours: Available by appointment. Use the Canvas Inbox to request an appointment. I can arrange to meet with you in-person on Tuesdays if needed. Contact me via the Canvas Inbox to arrange an appointment.
Course Name: Cinema 18 -- American Cinema
Course Record Number (CRN) for Spring 2020: 31216
Prerequisite(s): None
Course description: An introductory course in film studies bringing Hollywood filmmaking into clear focus as an art form, as an economic force, and as a system of representation and communication. Explores how Hollywood films work technically, artistically, and culturally to reinforce and challenge America’s national self image. These 3 units are transferable to a CSU or UC. Expect 8-10 hours of course work/week.
Student Learning Outcomes:
Upon successful completion of this course a student will:
- Define American cinema’s history from the silent era to present-day movies and identify its influence on changing cultural preferences
- Compare how developing film technology influences aesthetics
- Articulate how camera angles, lighting, editing and sound create a universal cinematic grammar
- Assess directing styles and popular genres employed by American filmmakers over the course of cinematic history.
- You are required to log in to the Canvas online course, complete all assignments, read all material and view all films and video clips. You may be dropped from the class if you do not participate for three or more weeks during the semester.
- It is the student's responsibility to inform the instructor of circumstances that may affect her/his ability to complete coursework. Contact the instructor if you have questions about assignments as soon as possible. You must inform the instructor BEFORE an assignment deadlines if you anticipate difficulty with completing the assignment.
- Complete the required reading assignments at the indicated times so you can fully participate in class discussions and understand the relationship between the films and reading assignments.
- Assignments: Course assignments will be based on materials covered in lectures, class discussions, films, and assigned reading. The critical paper will be a five-page essay. Details will be provided later.
- No late assignments or make-up assignments are permitted unless you make prior arrangements with the instructor.
- There will be no extra credit assignments. Students are expected to keep up with course material.
- Student integrity is required. Plagiarism or other inappropriate actions that violate the CCSF Student Code of Conduct may result in a failing grade for the course. The CCSF Student Code of Conduct outlines rules you must follow when participating in CCSF courses.
- Please be polite and thoughtful when communicating with your fellow online students and the instructor. Inform your responses in a way that reflects careful consideration of course material. Be respectful of your colleagues’ and the instructor’s thoughts and opinions. Keep your responses clear and concise. Review this information for more Rules of Netiquette for this online course.
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The Core Rules of Netiquette
When you communicate electronically, all you see is a computer screen. You don't have the opportunity to use facial expressions, gestures, and tone of voice to communicate your meaning; words -- lonely written words -- are all you've got. And that goes for your correspondent as well.
Computer networks bring people together who'd otherwise never meet. But the impersonality of the medium changes that meeting to something less -- well, less personal.
#2: Adhere to the same standards of behavior
In real life, most people are fairly law-abiding, either by disposition or because we're afraid of getting caught. And, perhaps because people sometimes forget that there's a human being on the other side of the computer, some people think that a lower standard of ethics or personal behavior is acceptable in cyberspace.
Be ethical : Don't believe anyone who says, "The only ethics out there are what you can get away with." if you encounter an ethical dilemma in cyberspace, consult the code you follow in real life.
Breaking the law is bad Netiquette : If you're tempted to do something that's illegal in cyberspace, chances are it's also bad Netiquette.
#3: You are not the center of cyberspace
When you're working hard on a project and deeply involved in it, it's easy to forget that other people have concerns other than yours.
You're taking up other people's time (or hoping to). It's your responsibility to ensure that the time they spend reading your posting isn't wasted.
Don't expect instant responses to all your questions.
Don't assume that all readers will agree with, or care about, your passionate arguments.
#4: Make yourself look good, Share expert knowledge
Don't flame, or post flame-bait. Be courteous!
You may not be judged by the color of your skin, eyes, or hair, your weight, your age, or your clothing. You will, however, be judged by the quality of your writing. Use proper spelling and grammar.
Pay attention to the content of your writing. Be sure you know what you're talking about; bad information propagates like wildfire on the net. In addition, make sure your writing is clear and logical. It's perfectly possible to write a paragraph that contains no errors in grammar or spelling, but still makes no sense whatsoever.
#5: Be forgiving of other people's mistakes; Never be arrogant or self-righteous
When someone makes a mistake -- whether it's a spelling error, a silly question or an unnecessarily long answer -- be kind about it. If you feel strongly about it, think twice before reacting.
If you do decide to inform someone of a mistake, point it out politely, and preferably by private email rather than in public. Give people the benefit of the doubt; assume they just don't know any better.
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Required Reading and Viewing Materials:
Both books will be on reserve in the Rosenberg Library at the CCSF Ocean Campus. Visit the Circulation Desk, give them course and instructor information, and they will check the book out to you. The instructor claims no responsibility for missed portions of reading material if you choose to use another edition of the course textbook.
- Textbook: American Cinema/American Culture, John Belton, McGraw Hill, 5th edition (2017) (book). You may use digital versions of this edition.
- Supplemental Reading:
- Writing About Movies, Karen Gocsik, Richard Barsam, Dave Monahan. W.W. Norton and Company, 4th Edition (2016).
- You must be able to use a computer to access the Canvas course website and to check your City College Google e-mail address to receive messages from the school. This is also how you will receive correspondence with your instructor outside of the Canvas system, if needed.
- Use the Canvas Inbox to communicate with the instructor. Only use e-mail if Canvas is not functioning or of you have not received a message from Trina within 48 hours of contacting her with the Canvas Inbox.
- The course website is on the CCSF Canvas distance learning system. To access Canvas:
- Go to ccsf.edu
- Click on the “My CCSF” link on the upper right side.
- Under “My CCSF”, go to “RAM ID Login Portal”
- Enter your RAM ID information. If you don’t have a RAM ID account, go to the RAM ID Login Portal, and under “Need Help?”, find “New Users” and click on the “Instructions” link next to it.
Communication, Participation, and Grading Policies:
- The instructor will respond to Canvas inbox messages within 48 hours of receipt. Please e-mail the instructor if you have not received a response to your Canvas inbox message within 48 hours.
- The instructor will send a brief message at the beginning of every week that will have important information and updates. Please be sure to read all new announcements as soon as possible in the week.
- The instructor will respond to a Discussion post from each student at minimum every other week. Students may receive responses more frequently than this. This is to guarantee that students are receiving routine feedback on their work.
- Students can expect to have their work graded the Wednesday following the previous Sunday Discussion submission deadline. The instructor will let you know if there is a delay in assignment grading.
- Please be sure you are consistently participating in class. You may be dropped from the class if you do not participate for three or more weeks during the semester.
300 points total for the semester
- Online discussion submissions: 17 total (5 - 20 points each) = 170 points
- Quizzes: 5 total (10 points each) = 50 points
- Quiz #1: Week 3
- Quiz #2: Week 6
- Quiz #3: Week 10
- Quiz #4: Week 12
- Quiz #5: Week 14
- Midterm exam: Week 8: = 25 points
- Critical paper: Week 11: = 25 points
- Final exam: Week 16: = 30 points
Important Administrative Dates:
- Monday, January 27th: First day of access to the class
- 2/5/20: Last day to drop full-term class for a 100% refund
- 2/18/20: Last day to enroll in this class. Last day to drop this course without a “W” (Withdrawn) appearing on transcript
- ???: Last day to drop classes for 50% refund.
- 3/2/20: Last day to apply for Pass/No Pass (P/NP) grade option.
- 5/1/20: Last day for withdrawal from full-term courses with a W (Withdrawn) grade.
- 6/1/20: Final grades available on Web4
Class Schedule: (subject to change)
Note that there will be Discussion posts that you'll be completing on a weekly basis Your original submissions are due on Friday at 11:59p.m. for credit on the week assigned. You must respond to two colleagues by Sunday at 11:59p.m. each week. Discussion Posts are not listed below.
Introduction and the Beginnings of American Cinema
Introduction and overview
Screenings:
- Carmencita (Director: Thomas Edison; 1894; 21 seconds)
- The Great Train Robbery (Director: Edwin S. Porter; 1903; 14 minutes)
- Looking at Movies tutorials:
Read:
- Textbook: American Cinema / American Culture, 5th Edition. Author: John Belton
- Introduction
- Part 1: The Mode of Production (pp. 1-2)
- Chapter 1: The Emergence of Cinema as an Institution
- Glossary (pp. 398-404)
- PowerPoint to Accompany Textbook Chapter 1
- Basic Film Glossary document
The Emergence of Cinema as an Institution
Screenings:
- Broken Blossoms (Director: D.W. Griffith; 1919; 1 hour, 30 minutes)
- Looking at Movies tutorial: Shot Types and Implied Proximity (6:13)
Read / Review:
- Textbook: American Cinema / American Culture, 5th Edition. Author: John Belton
- Read:
- Chapter 6, "Silent Film Melodrama"
- PowerPoint to Accompany Textbook Chapter 6
- Review:
- Introduction
- Part 1: The Mode of Production (pp. 1-2)
- Chapter 1: The Emergence of Cinema as an Institution
- PowerPoint to Accompany Textbook Chapter 1
- Glossary (pp. 398-404)
- Basic Film Glossary document
Classical Hollywood Cinema: Narration -- QUIZ #1
Screenings:
- Napoleon Dynamite (Director: Jared Hess; 2004; 96 minutes)
- Looking at Movies tutorials:
- Camera Angles (6:09)
- The Moving Camera (4:32)
Read:
- Textbook: Chapter 2 (“Classical Hollywood Cinema: Narration”)
- Document: The Motion Picture Code of 1930 (This is set of guidelines that film studios used to self-censor film content)
- PowerPoint to Accompany Textbook Chapter 2
- Basic Film Glossary document (keep reviewing)
Classical Hollywood Cinema: Style and The Studio System (Part 1) – Examination of Casablanca
Screenings:
Read:
- Textbook: Chapter 3 -- “Classical Hollywood Cinema: Style”
- Textbook: Chapter 4 (“The Studio System”)
- PowerPoint to Accompany Textbook Chapter 3
- PowerPoint to Accompany Textbook Chapter 4
The Hollywood Studio System (Part 2) and the Hollywood Star System -- Focus on Marilyn Monroe
Screenings:
Read:
- Textbook: Review Chapter 4 (“The Studio System”)
- Textbook: Chapter 5 (“The Star System”). Pay extra attention to the section on Marilyn Monroe, pages 92-93.
- PowerPoint to Accompany Textbook Chapter 4
- PowerPoint to Accompany Textbook Chapter 5
- Document: The Motion Picture Code of 1930 (This is set of guidelines that film studios used to self-censor film content). See how you think its regulations are exhibited in Gentlemen Prefer Blondes and upcoming films. The Production Code directly relates to the discussion on page 101-102 of your textbook, which you'll read this week.
The Concept of the Genre: The Western -- QUIZ #2
Screenings:
Read:
- Textbook: Pages 123-124 (“Genre and the Genre System”)
- Textbook: Chapter 11 (“The Making of the West”)
- PowerPoint to Accompany Textbook Chapter 11
- REVIEW ALL COURSE MATERIAL IN WEEK 5 THROUGH WEEK 7 IN PREPARATION FOR QUIZ #2
The Musical
Screenings:
- Singin’ in the Rain (Director: Gene Kelly, Stanley Donen; 1952; 103 minutes)
- Looking at Movies tutorial: Seeing the Lighting (9:34)
Read:
- Textbook: Chapter 7 (“The Musical”)
- PowerPoint to Accompany Textbook Chapter 7
American Comedy -- MIDTERM EXAM (2 hours)
Screenings:
- Modern Times (Director: Charlie Chaplin; 1936; 1 hour, 27 minutes)
Read:
- Textbook: Chapter 8 (“American Comedy”)
- PowerPoint to Accompany Textbook Chapter 8
- FINISH REVIEWING ALL CONTENT THROUGH WEEK 6 BEFORE YOU TAKE THE MIDTERM
War and Cinema
Screenings:
- Looking at Movies tutorial (watch before you watch The Hurt Locker):
- Point of View (5:07)
- Zoom and Moving Camera Effects (6:01)
- The Hurt Locker (Director: Kathryn Bigelow; 2008; 2 hours, 11 minutes)
- American Cinema episode: "The Combat Film"
Read:
- Textbook: Chapter 9 (“War and Cinema”)
- PowerPoint to Accompany Textbook Chapter 9
SPRING BREAK -- No class the week of March 30th
Film Noir: Somewhere in the Night -- QUIZ #3
Screenings:
- American Cinema: Film Noir (56 minutes) -- Watch before you watch Double Indemnity
- Looking at Movies tutorial: Focal Length (5:16)
- Double Indemnity (Director: Billy Wilder; 1944; 1 hour 37 minutes)
Read:
- Textbook: Chapter 10 (“Film Noir: Somewhere in the Night”)
- PowerPoint to Accompany Textbook Chapter 10
- REVIEW ALL COURSE MATERIAL IN WEEK 9 THROUGH WEEK 10 IN PREPARATION FOR QUIZ #3
Horror and Science Fiction / CRITICAL PAPER DUE
Screenings:
- Frankenstein (Director: James Whale; 1931; 1 hour, 10 minutes)
- Looking at Movies tutorial: Setting and Expressionism (5:48)
Read:
- Textbook: Chapter 12 (“Horror and Science Fiction”)
- PowerPoint to Accompany Textbook Chapter 12
Hollywood and the Cold War -- QUIZ #4
Screenings:
- Looking at Movies tutorial (watch before you watch this week's film): Diegetic and Non-Diegetic Elements (9:01)
- Salt of the Earth (Director: Herbert J. Biberman; 1954; 94 minutes)
Read:
- Textbook: Chapter 13 (“Hollywood and the Cold War”)
- PowerPoint to Accompany Textbook Chapter 13
- REVIEW ALL COURSE MATERIAL IN WEEK 11 THROUGH WEEK 12 IN PREPARATION FOR QUIZ #4
Hollywood in the Age of Television / The 1960s: The Counterculture Strikes Back
Screenings:
Read:
- Textbook: Chapter 14 (“Hollywood in the Age of Television”)
- Textbook: Chapter 15 (“The 1960s: The Counterculture Strikes Back”)
- PowerPoint to Accompany Textbook Chapters 14 and 15
The Film School Generation -- QUIZ #5
Screenings:
Read:
- Textbook: Chapter 16 (“The Film School Generation”)
- PowerPoint to Accompany Textbook Chapters 16
- REVIEW ALL COURSE MATERIAL IN WEEK 13 THROUGH WEEK 14 IN PREPARATION FOR QUIZ #3
Into the Twenty-First Century / and Concluding Thoughts / FINAL REVIEW
Screenings:
- Fruitvale Station (Director: Ryan Coogler; 2013; 85 minutes) OR
- Moonlight (Director: Barry Jenkins; 2016; 110 minutes)
Read:
- Textbook: Chapter 17: Into the Twenty-First Century
- PowerPoint to Accompany Textbook Chapters 17
Week 16 -- May 18th - 20th:
- Final exam must be submitted by May 20th at 10:59p.m. No late submissions accepted.