SIMON FRASER UNIVERSITY
?
MEMORANDUM
Si ........
.
.
ENATE ?
From ?
SENATE
1-tiOlE'S..........................................
COMMITTEE ON UNDERGRADUATE
CENTRE FO THE ARTS - CURRICULUM
Subject,
CHANGES: NEW
COURSE
PROPOSALS; ?
Date ?
APR
I L I 5, 1981
CHANGES
IN
THE FILM MINOR REQUIRE- ?
-
lNT;
DE
SCRIPTIONS,
4Qa
CUMGES
AND OF RELATED
IN PREJEQUISITES,
MATTER
Action undertaken by SCUS, at its meeting of April 7, 1981
gives rise to the following motions.
MOTION I:
"That Senate approve and recommend approval to the Board
of Governors, as set forth in S.81-76 the proposed new
courses:
(a)
FPA. 372-2 Technical Production I;
FPA. 373-2 Technical Production II.
(b)
FPA. 234-3 Introduction to Film Studies;
EPA. 331-3 The Crafts of Film III
EPA.
436-5
Selected Topics in Film Studies I."
Note: Subject to approval by Senate and by the Board of Governors,
SCUS has approved waiver of the time
lag requirement to
permit first offering of FPA. 234-3, FPA. 372-2 and
EPA. 436-5 in Fall 81-3,
MOTION 2:
"That Senate approve and recommend approval to the Board
of Governors, as set forth in S.81 ?
,proposed changes in
the Film Minor requirements."
S
?
v '^2
I
SENATE ?
2
?
SENATE COMMITTEE ON UNDERGRADUATE
STUDIES
FOR INFORMATION
Acting under its delegated authority, at its meeting of April
7, 1981, SCUS approved changes related to the following:
(i)
FPA. 104-3 Music Fundamentals - Change in prerequisite
and description.
FPA. 230-3 The Crafts of Film I - Change in prerequisite.
(ii)
FPA. 236-3 The History of Aesthetics of Cinema I - Change
in number to FPA. 136-3 (effective September 1981). Students
with credit for FPA. 236-3 may not take this course for
further credit.
FPA 237-3 The History of Aesthetics of Cinema II - Change
in number to FPA 137-3; also change in prerequisite from
FPA 236-3 to FPA 136-3 recommended effective September
1981. Students with credit for FPA. 237-3 may not take
this course for further credit. ?
0
(iii) FPA. 334-3 Film Analysis - Change in prerequisite.
FPA. 430-5 Directed Studies in Film Production I -
Change in prerequisite.
1^1
* ?
SiMON FRASER UNIVERSITY--- -'-3
'/
(7L
MiMORANDUM
M.
Evans ?
From ..
W ?
Registrar Secretary of the
?
Faculty of Interdisciplinary
Senate . c4;?. on
.4r g .d
ipe
?
Studies
?
4e
Studies ?
Curriculum Committee
Subject
.....................................................
.
Date......
.
pri1
Re: Centre for the Arts - Curriculum Changes and New Course Proposals.
I.S.C. 81-2.
Attached are the following items for inclusion on the
agenda of the Senate Committee on Undergraduate Studies:
FPA. 104-3, Music Fundamentals.
Revision of Calendar description and prerequisite.
FPA. 372-2, Technical Production I, and
FPA. 373-2, Technical Production II.
The above are new course proposals which are being
S ?
forwarded with the request that a waiver of the two-semester time lag
requirement be granted in order that FPA. 372-2 may be offered in 1981-3.
Reorganization of the Film Minor.
FPA. 234-3, Introduction to Film Studies.
FPA. 331-3, The Crafts of Film III.
FPA. 436-5, Selected Topics in Film Studies I.
The above are new course proposals which are being
forwarded with the request that a waiver of the two-semester time lag
requirement be granted in order that FPA. 234-3 and FPA. 436-5 may be
offered in 1981 3.
Changes in the Film Minor requirements.
All the foregoing items were considered and approved
at a meeting of the Faculty of Interdiscip mary Studies Undergraduate
Curriculum Committee held on Tuesday, March 24, 1981.
4(7.
Janet Blanchet, Secretary
JB:jk ?
F.I.S.C.
Attachments
7C'1fUJ
'
?
I
SIMON FRASER UNIVERSITY'
?
MEMORANDUM
3
Curriculum Committee
Centre for the Arts
Subject?
.
?
Course
.
?
929 ?
I ?
. I
?
Date .............
I
? .r.ch. .9,..!98
1
........................
Please examine the attached new course proposals from the Centre for the Arts
for duplication or overlap.
?
I do not anticipate any problems, but please
contact me by March 23rd if you foresee difficulties -- we are trying to make
the Faculty of Interdisciplinary Studies Curriculum Committee meeting of
March 24.
Thank you.
(•
) ?
( .
(Local 3686/3363)
?
S
DISTRIBUTION
For Course Overlap:
Dr. Curt Griffiths, Chairman, IDS Curr.Committee (Crim.Dept.)
Dr. Wyn Roberts, Chairman, Faculty of ARTS Curr.Committee (Lang.,Ling.,Lit.)
Dr. Alden Sherwood, Chairman, Faculty of SCIENCE Curr.Committee (Chemistry)
Dr. Kieran Egan, Chairman, Faculty of EDUCATION Curr.Committee (Education)
For information/comments:
T.C. Dobb, University Librarian
Harry Evans, Registrar
ss:encl.
C
SiMON FRASER
UNIVERSITY
MEMORANDUM
a
From
Kieran
Egan,
?
Director
rgua ?
P
Unde ?
radte ?
rograms
............
Curriculum
c.c.ntrefor
Committee
the
A•s
Fac ?
at ion
Subject.........
.
FPA 372
7•3..,
Date..................
March12th,
?
.....
.
4 36-5
The Faculty of Education has no concerns regarding overlap
of the new curriculum from the Department of Arts.
Kieran Egan
?
19
KE:vs
End. ?
.
0
SiMON FRASER UNIVERSITY
?
S
MEMORANDUM
To.
Professor Santa AloiChairperson'
Curriculum Committee, Centre for the
.................
Ar ••t••
Suect..
.
..
t4
W.
COURSE PROPOSALS
From. .
S
•
hel 1 a Roberts, Secretary
Faculty of Arts
Curriculum Committee
Date. 1981-03-26
.
The Faculty of Arts Curriculum Committee at it meeting of March 26th,
•:onsiiereri new ,curses (IPA
.
372_2
,
373-2, 234-3, 3)-3 and
435-5)
and saw
no overlap with
?
courses offered in the Faculty of Arts.
LLLJJ'
S. Roberts
S
S
C]
?
0
?
Date: ?
191.0.23 --
SFU LIBRARY COLLECTION EVALUATION
(To be completed only for new course
or program proposals.)
1.
Course No. and Name or
Progra;
FPA
372, 373 Technical Production I & II
Date to be offered:
?
Fall 1981-3
2.
Resources currently in collection:
Reading lists. No. and 2 of titles available:
?
2 ?
50z
Related materials in general collection:
Monographs:
Serials Subscriptions:
Backf Lies:
Other:
3. Recommended additions to collection:
(Indicate approx. no. of titles, vols.,
date, as appropriate)
Monographs:
?
2
New serials subscriptions:
Serials backfiies:
Other (specify):
ESTIMATED 'COST
62.00
Total
?
62.00
4. ?
Comments:
These are technical courses which require little by the way.
of library resources save càpies of a few standard works.
Fo Library ??
'
For
Faculty I'epartment
.
17^
Total
- ?
.. ? Date: ?
81.03.23
STU LIBRARY
C
OLLECTION EVALUATION
(To be completed only for new course or program proposals.)
1.
?
Course No.
and
Name or
Program:
fA 331.
?
The Crafts
of
Film III
Date to
be
offered:
Fall
82-3
2.
Resources currently in collection:
Reading list.. No. and 2 of titles available:
Related materials in general collect
-
jo
nl
Monographs:
Serials Subscription$:
ackfji,s
Other:
3. Recommended additions to collection:
(Indicate
approx. no. of
title g
, vol..,,
date,
as
appropriate)
Monographs:
New serials subscriptions:
Serials backf ties:
Other
(specify):
4.
?
Comments:
This is a studio course with no direct library involvement.
- ?
.
?
S
For Library ?
For Faculty "epartment
Date: ?
8
1 .3.23
U JAy
COLLECTION
EVALUATION
(To be completed only for new course or program proposals.)
1. Course No. and Name or Program:
FPA• ' 234-3 ?
Introduction to-Film Studies
Date to be offered:
?
Fall 198I-3
S
2. Resources currently in collection:
Reading list., No. and Z of titles available;
Related materials in general collection:
Nonographn
?
600+
Serials
Su
bscriptions;
20
Backfjles;
?
25 (titles)
Otheri
3. Recommended additions to collection:
(Indicate approx. no. of titles, vols.,,
date, as appropriate)
Monographs:
New serials subscriptions:
Serials backf lies:
Other (specify):
66 z
TIMATED COST
20.00
150.00
r
Total ?
1170.00
4.
?
Comments:
The Library has a copy of the single text fecommended.
Film extracts will be bought by the Centre for the Arts.
The 600+ volumes alluded to above are monographs on film
history and theory. The two monographs on the reading 1i€
that are not here are new (1980 and 81) UK imprf€s which
should come in this year.
For
Library ?
For Faculty "epartment
S
Total
Date:
_1981.03.23
SF13 LIBRARY COLLECTION EVALUATION
(To be completed only for new course or program proposals.)
1.
Course No, and Name or Program: FPA':436.:
Selected Topics in Film Studies
Date to be offered:
?
Fall 1981-3
2.
Resources currently in collection:
Reading lists. No. and Z of titles available:
Related materials in general collection:
Monographs:
Serials Subscriptions:
Backfileg;
Other:
3.
Recommended additions to collection:
?
- ?
S
(Indicate approx. no. of titles, vols.,
date, as appropriate)
Monographs:
New serials subscriptions:
Serials backfiles:
Other (specify):
4. ?
Comments:
A reading course such as this one is, of course, dependant on
library resources. However, there can be no measurement, unless that means
one of the entire collection related to possible film topics.
Rather, the individual student should, in the course of décTd4rig upon a
topic, survey the library to ehsure that there is sufficient material.
For instance, while we would have enough on Fel1iniorEjsjtejn
view
for such
of post-war
a paper,
Japanese
we might
films.
be
-
hard pressed on the póaiãTytic
?
5
.-
For Library ?
'
For Faculty 'epartment
SiMON FRASER UNIVERSITY
?
U
WV
MIMORANDUM
.
To ?
Dr. Curt Griffiths. Chairman
Curriculum Committee of
Faculty of Interdisciplinary Studies
From Santa Alof , Chairperson,
.
tri'iit ?
ifle.......................
Centre for t e Art
Request for the 8-month Waiver
I
?
..................................
The Centre for the Arts would like to institute the courses contained in
this proposal as soon as possible, since their implementation in some cases
is crucial to development of a coherent program. Therefore, we request a
waiver of the 8-month regulation for
FPA.234, 372
and
436.
SA/s
's
S
S
SiMON
FRASER UNIVEkSI4J79 .;
MIMORANDUM
?
I
Janet Knutsen, Secretary ???
?
To...
?
. .
.
.
?
. .
?
. ?
.
Interdisciplinary Studies
.o................
March 2e FISC meeting
Suzie Szekeres, Secretary to
From
Curriculum Committee
Centre for the Arts
D
el. ....... March .9.,..3a81.............................
The attached are proposals for calendar changes and new courses to be
discussed at the March 2+ Faculty of:.Interdiscipllnary Studies Curriculum
meeting.
For Calendar Changes, the format of (1) Present Calendar Entry (2) Proposed
Changes
(3)
Rationale has been used. All additions or changes from the
present calendar entries are typed In
Italics.
Course proposals are being sent to the regular channels across campus to
check for course-overlap. I have requested that the Centre be contacted
prior to March 23 should there be any questions or complications.
Below is a list of the attachments with this memo:
I. CALENDAR CHANGE (in prerequisite): FPA.104-3 MUSIC FUNDAMENTALS
II. NEW COURSE PROPOSALS -.
a)
FPA.372-2 TECHNICAL PRODUCTION I
b)
FPA.373-2 TECHNICAL PRODUCTION II
RATIONALE
III. FIL.M PACKAGE: RE-ORGANIZATION OF FILM MINOR -
a)
INTRODUCTION & RATIONALE
b) COURSE SCHEDULE: 1981-82,198243 and
future...
c) COURSE PROPOSALS -
1) FPA.234-3 INTRODUCTION TO FILM STUDIES
ii)
FPA.331-3 THE CRAFTS OF FILM III
iii) FPA.436-5 SELECTED TOPICS IN FILM STUDIES
d) CALENDAR' CHANGES IN FILM
MINOR REQUIREMENTS
e)
CALENDAR CHANGES -
1) in
COURSE NUMBERS from
236 & 237 to 136 & 137
ii) in
PREREQUISITES
for
FPA.230-3 and FPA.430-5
I amenclósing
?
Of this package for distribution to the FISC Committee.
Please phone me if I have overlooked anything (Local 3363).
SS/encl.
0 ?
CALENDAR CHANGES FOR FPA.104-3 MUSIC FUNDAMENTALS
(Changes and/or additions are typed in Italics)
I) Present Calendar Entry
This course is designed to provide a basic understanding of the elements
of music and to teach the skill of reading music notation. An intro-
duction to music theory and the application of music materials in a wide
spectrum of music literature will be accompanied by sight-sing
'ing:exercises.
The course is designed for students with no formal music training.
2)
Proposed Calendar Entry (in description and prerequisite)
This course is designed to provide a basic understanding of the elements
of music and to teach the skill of reading music notation. An intro-
duction to music theory and
exposure to
the application of music materials
in a wide spectrum of music literature will be accompanied by
practical
exercises.
This course is designed for students with no formal music train-
ing.
Prerequisite:
This is
a limited
entry course. ?
Written permission of the
Department is
required
in advance
of registration.
3)
Rationale
FPA.104-3 is intended for students withoutformal music training and because
of the mode of instruction, a limited number of students are allowed to
register. In the past, a number of students with music background have
pre-registered for the course anticipating that, with their previous know-
ledge, they will obtain an easy three credits. These students take up a
relatively large number of available space, leaving those students fulfill-
ing the requirements for course entry (no formal music training) unable to
take FPA.10
1
. This screening procedure is to discourage students with
previous music knowledge from pre-registering in FPA.1014-3.
Secondly, the Centre's Minor Program in Contemporary Music requires that
students without previous background in music must obtain knowledge in
music fundamentals through FPA.104-3. This new interview system will
largely insure that these students wishing to advance in music at SFU
receive the necessary instruction enabling them to enter the Minor Program.
0
SENATE COMMITTEE ON UNDERGRADUATE STUDIES
?
NFil
COURSE PROPOSAL FORM
Calendar Information
?
Department:
CENTRE .FOR.'THE ARTS
Abbreviation Code:
FPA.
?
Course Number:
372 ?
Credit
flours:
2 ?
Vector:
0-0-6
Title of Course:
TECHNICAL PRODUCTION I
Calendar Decription of Course:
Students with basic technical theatre experience will undertake intermediate level
Production responsibilities. As crew chiefs and stage management personnel, students
will be required to research problems in construction, staging and organization of
production and to apply their solutions within the production process.
Nature of Course
Open Lab./Seminar
Prerequisites (or special instructions):
Co/Pre-requisite of FPA.370-3 and written permission of the Department.
What course (courses), if any, is being dropped from the calendar if this course is
approved:
None
2.
Scheduling
How frequently will the course be offered?
Fall and Spring
Semester in which the course ill first be offered?
Fall 1981-3
Which of your present faculty would be available to make the proposed offering
possible?
John Macfarlane and teaching assistants
3.
Objectivesof the Course
The course is intended to provide more academic
concentration
on activities already
being conducted in an informal manner within dance and theatre teaching productions.
Production work on an intermediate level in the areas of lighting, settings, costumes
and stage management will be brought within the framework of this course. This will
provide continuity between FPA.170-3 and directed studies courses in technical theatre.
4.
BudgetaryandSpaceRe
q u
irements
(for information only)
What additional resources will be required in the following areas:
Faculty ?
None
Staff ?
None
Library ?
Small purchase of resource materials
Audio Visual
None
Space
?
None
Equipment
?
None
5. Approval
MAR - 91981
Date:_____________________
airman
Dean
?
Chairman, SCUS
SCUS 73-34b:- (When completing this form, for instructions see Memorandum SCUS
73-34a.
SENATE COMMITTEE ON WDERGRADUATF STUDIES
NEW COURSE PROPC)SAE. IOR}%
?
1. Calendar Information
?
Department:
CENTRE FOR THE ARTS
Amok
Abbreviation Code:
?
FPA.
Course Number:
373 ?
Credit flours:
2
Vector:
0-
.
0-6
W ?
Title of Course
TECHNICAL PRODUCTION II
Calendar Description of Course:
As a
continuation
of FPA.372-2, students with some intermediate level technical
theatre experience will undertake further production responsibilities. As crew
chiefs and stage management personnel students will be required to research
problems in construction, staging and organization of production and to apply
their solutions within the production process.
Nature of Course
?
Open Lab./Seminar
Prerequisites (or special instructions):
FPA.372-2 and written permission of the Department.
What course (courses), if any, is being dropped from the calendar if this course is
approved:
INone
2.
Scheduling,
How frequently will the course be offered?
?
Fall and Spring
Semester in which the course
rfill
first be offered?
spring 1982-1
Which
of your present faculty
would
be available to make the proposed offering
possible? ?
John Macfarlane and teaching assistants
3.
objectives of the Course
The course is intended to provide more academic
concentration
on activities
already being conducted in an informal manner within dance and theatre teaching
productions. Production work on an intermediate level in the areas of lighting,
settings, costumes and stage management will be brought within the framework of
this course. This will provide continuity between FPA.170-3 and directed studies
courses in technical theatre.
4.
Budgetary and Space
?
rements (for information only)
What additional resources will be re4uired in
the
following areas:
.
Faculty
None
Staff ?
None
Library
Small purchase of resource materials
Audio Visual
•None
Space
None
1
Equipment ?
None
5. Approval ?
41
1
Date:
?
MAR9 1981
1ie part ent
?
irman ?
Dean
Chairman,
SCUS 73-34b:- When completing this form, for instructions see Memorandum SCUS 73-34M.
FPA.372-2
FPA.373-2
TECHNICAL PRODUCTION 1 & 11
Rationale
Currently in the Centre's technical theatre program, there is a discontinuity
between production work in FPA.170 and higher level production and design responsi-
bilities being carried on under the aegis of FPA.458-5/459-5 and G.S.400-5.
Students usually accept intermediate level responsibilities on a volunteer and
therefore less supervised basis prior to being accepted for directed studies work.
Consequently there is a recurrent problem of students enrolling for diçected
studies courses in technical theatre without sufficient grounding in the myriad
technologies and techniques of the stage. Although FPA.370-3 (already-approved
for 1981-3) will address scenographic problems of an intermediate level, the weight
in this course is intended to be largely in workshops and seminars less tied to
specific production work.
FPA.372-2 and 373-2 would provide a consistency of approach by formalizing the
existing situation in which intermediate level production responsibilities are
largely undertaken by volunteers. Theoretical consideration of the relationship
between artistic concerns and technical problems would be as important as the
technical training itself.
S
These courses are organized around regularly scheduled dance and theatre
teaching productions of the Centre for the Arts. Each production has a similar set
of requirements for its realization.
• ?
This implies a set of responsibilities which are not sequential but which
require different skills and each of which can provide a focus for learning. During
a given semester a student would take responsibility for one or two of the areas of
production. These might include the following:
- electrical crew head
- construction crew head
- props crew head
- costume crew chief
- assistant to lighting designer
- assistant to set designer
- audio operator
- lighting operation - small production
- assistant stage manager
The courses would have some of the characteristics of a directed studies in
that each student would naturally focus on a different area of technical theatre
under the direct supervision of the faculty technical director and resident.
professionals associated with each production. However,
p all. students would meet in
a weekly seminar to discuss general concerns regarding the totality of the pro-
duction. Problems and possible solutions for each students particular area of
concern would also be discussed in this forum thus contributing to a wider experience
S
for each student.
It is conceived that both courses will run simultaneously but that students
will be enrolled in only one in a given semester. As responsibilities will vary
in importance depending upon the nature of each production, students enrolled
in FPA.373 would be directed towards areas of greater difficulty requiring
broader experience. Students
in
the second course would also focus upon an area
of technical theatre different from that central to
their experience in FPA. 372.
Evaluation. A specific set of production responsibilities will be identified
at
the beginning of the course for each student. Evaluation will be made through-
out the production period by supervising faculty and will be based on the following
criteria:
- the attainment of an appropriate level of craft mastery as shown by the
quality of work on productions and practical skills tests
- the attainment of an understanding of the nature of production; especially
of the relationship between the artistic aspects of performance and design
and the technical expression and support of the production
.
FILM PACKAGE Item (a) INTRODUCTION & RATIONALE: RE-ORGANIZATION OF
FILM MINOR
.
is
0
FILM PACKAGE: RE-ORGANIZATION OF FILM MINOR
a) INTRODUCTION & RATIONALE
b) COURSE SCHEDULE
c) COURSE PROPOSALS
i)
FPA.234-3 INTRODUCTION TO FILM STUDIES
ii)
FPA331-3 THE CRAFTS OF FILM III
iii)
FPA.436-5 SELECTED TOPICS IN FILM STUDIES
d) CHANGE IN FILM MINOR REQUIREMENTS
e) CALENDAR CHANGES
I)
?
in Course Numbers from 236 6 237
to 136 6 137
/
ii) in
p
rerequisites for FPA.230 and FPA.430
.
FILM PRODUCTION
• ?
At
present the film minor is. a 3-year program which is overly condensed.
We propose to re-organize already existing courses into a structure more consist-
ent with educational aims of the Centre and the University. As it exists now,
• ?
expectations, workload and scope of courses are too high. These have, been so in
order to achieve a reasonable standard at the advanced level. In order to achieve
a reasonable standard of production on the advanced level, the workload on lower
levels becomes excessive. For example, in second-year production courses, students
are expected to master all areas of film technology in
.
2 semesters, shoot their
own 3-5 minute (with sync. sound) films, participate in 2 to 4 group productions,
participate in analytical seminars, and screenwriting preliminaries. All this
work is necessary as preparation for upper division filmmaking using sophisticated
technologies. Under the current scheme, there is no provision for an intermediate
level of craft mastery. The overloading of the 200-level production courses can
be solved by removing the group production aspect of those courses and placing it
in an optional production course, FPA.331, for those interested in that area.
This will provide the first half of a third year in film production. By phasing
in FPA.331 and re-distributing already existing courses, we will achieve a more
manageable curriculum.
COST
The cost of implementing this program is minimal. To date, we have been
advised that a joint appointment between the Centre and Women's Studies has been
recommended in the area of Film Studies. This position and the continued second-
ment (from Geography) of M.E. Hurst and presently available film faculty are
sufficient to mount the new courses. A considerable body of film and film extracts
already exist In the Film Library, which would be the core resources for these
courses. Some costs would be found in the areas of library text acquisitions,
FPA. film library acquisitions (normally set at $1,200 per year), and a combined
RE-ORGANIZATION OF THE FILM MINOR: INTRODUCTION & RATIONALE
The following is a proposal for a re-organization of the Film Minor Program.
Its implementation will make it possible for students to focus on either film
studies or production, but will provide sufficient grounding in both theory and
practice to all film students. This new formulation is necessary in light of
specific problems with the existing minor program, the pressure of student
enrollments, limited resources, and'our long-term plans for the development of
a coherent major program.
FILM STUDIES
At present some work in film studies exists within the curriculum, but it
is compressed into introductory history and theory courses and one upper division
analysis course. These courses cannot provide the scope and depth which are
necessary to film studies. ReorganizationQf the Film Minor to provide focus on
film studies has several benefits. There is a general rise in academic interest
S
in film throughout North American educational institutions. Our courses would be
more easily transferrable to other universities and our students could gain better
access to graduate film departments. Reorganization in this area also allowsmore
students to minor in film, since the number of production students must be severely
limited by available resources. For this reason, the film minor will fit in very
well as another study stream within the Centre's FPA. Major. An Important feature
of this kind of re-organization of the film minor is that a student could not
study the academic aspects of film without some direct experience of filmmaking
fundamentals and crafts. Likewise, filmniàking students would be required to have
grounding in history and aesthetics (currently
offered as
236
and
237),
as well
as in theory and criticism (proposed
2314,
INTRODUCTION TO FILM STUDIES). These
provide groundwork for the presently required film analysis course (3314). With
this framework of film studies courses, the filmmaker must put his work into pers
pective
FILM PACKAGE Item (b) COURSE SCHEDULE FOR THE RE-ORGANIZATION
?
OF THE FILM MINOR
40
rentals of films (for
e
FPA.234 and 436) totalling $2,000 per year. No increase
in space or equipment is necessary. In the past, film studies courses have been
offered in cC-8100, the Multimedia Theatre (MMT at IMC), or CA Film. TLX-8480
will also become available for the new courses. There would be no budgetary
increases for the proposed
FPA
.331. This course would be offered within the
already existing production schedule.
S
A SCHEDULE FOR THE RE-ORGANIZATION OF THE FLLM MINOR.
11981 ?
1982 j
Introduction of new courses
YEAR ?
SEMESTER
I
COURSE NOt
COURSE TITLE
?
MAXIMUM ENROLMENT
YEAR
Fall
FPA.132-3
INTRODUCTION TO FILMMAKING
17
STUDENTS
FPA.136-3
HISTORY S AESTHETICS OF
CINEMA
?
I
Spring
FPA.133-3
FUNDAMENTALS OF FILMMAKING
17
STUDENTS
F
PA.137-3
HISTORY S AESTHETICS OF
CINEMA ?
II
YEAR ?
II ?
(ENTRY
INTO FILM MINOR)
Fall
FPA.230-3
THE
CPAOTt 6
FILM I.
16
STUDENTS
*
F PA.23-3
INTRODUCTION TO FILM STUDIES
20
STUDENTS
Spring
FPA.231-3
I
THE CRAFTS OF FILM ?
II
16
STUDENTS
ARTS IN CONTEXT
YEAR ?
III
S ?
Fall
FPA.430-5
DIRECTED STUDIES
?
IN FILM 16 STUDENTS
PRODUCTION ?
I
FPA.431-5
DIRECTED STUDIES
?
IN FILM
16
STUDENTS
PRODUCTION ?
II
* FPA.436-5
SELECTED TOPICS ?
IN FILM
20
STUDENTS
STUDIES
FPA.334-3
FILM ANALYSIS
20
STUDENTS
Spring
FPA.432-5
DIRECTED STUDIES ?
IN FILM
PRODUCTION ?
III
and/or
combined max.
FPA.433-5
DIRECTED STUDIES
?
IN FILM
16 STUDENTS
PRODUCTION ?
IV
[1982 -
1983 ?
Film Minor on Stream
YEAR ?
SEMESTER
?
COURSE NO.1 COURSE TITLE ?
I
MAXIMUM ENROLMENT
YEAR I
Fall ?
FPA.132-3
FPA.136-3
Spring
?
FPA.133-3
FPA. 137-3
INTRO. JO FILMMAKING
HISTORY S AESTHETICS OF
CINEMA I
FILMMAKING FUNDAMENTALS
HISTORY S AESTHETICS OF
CINEMA II ?
.
17 STUDENTS
17 STUDENTS
YEAR II (ENTRY It
Fall
Spring
YEAR III
Fall
Spring
[TO FILM MINOR)
FPA.230-3 THE CRAFTS OF FILM I
FPA
.234-3
.
INTRO. TO FILM STUDIES
FPA.
231-3 THE CRAFTS OF FILM II
ARTS IN CONTEXT
'
FP
A.331-3 THE CRAFTS OF FILM III
FPA.334-3 FILM ANALYSIS
FPA.
1
130-5 DIR.STUDIES IN FILM PROM
16 STUDENTS
20 STUDENTS
16
STUDENTS
16
STUDENTS
20 STUDENTS
16
STUDENTS
YEAR Iv
Fall
?
FPA.431-5 DIR.ST(JD. IN FILM PROD.II
?
16
STUDENTS
* FPA.436-5 SELECTED TOPICS IN FILM
?
20 STUDENTS
STUDIES
Spring ?
FPA.1432-5 DIR.STUD. IN FILM PROD.III )
?
combined max.
and/or ?
-
16
STUDENTS
FP
A.433-5 DIR.STUD.IN
FILM PROD.IV
* Courses currently being proposed (81-1).
El
LI
0
1^1
FILM
PACKAGE Item (c) NEW COURSE PROPOSALS
&
DESCRIPTIONS:
FPA.234-3 INTRODUCTION TO FILM STUDIES
FPA.331-3 THE CRAFTS OF FILM III
.
?
FPA.
1
e36-5 SELECTED TOPICS IN FILM STUDIES
r
YEAR I
Fall
FPA.I32-3
INTRO. ?
TO
FILMMAKING
FP A.136-3
HISTORY &
AESTHETICS OF
CINEMA ?
I
Spring
FPA.133-3
FILMMAKING
FUNDAMENTALS
FP
A.137-3
HISTORY &
AESTHETICS OF
CINEMA ?
II
YEAR ?
II ?
(ENTRY
INTO FILM MINOR/MAJOR)
Fall
FPA.230-3
THE CRAFTS
OF FILM ?
I
FPA.234-3
INTRODUCTION
TO FILM STUDIES
Spring
FPA.231-3
THE CRAFTS
OF ?
FILM ?
II
ARTS IN CONTEXT
17
STUDENTS
17
STUDENTS
16 STUDENTS
20 STUDIES
?
LI
16 STUDENTS
OUTLINE FOR THE EVENTUAL IMPLEMENTATION OF
A
MAJOR PROGRAM
?
S
R ?
SEMESTER
1
COURSE NO.1 COURSE TITLE
?
MAXIMUM ENROLMENT
THE CRAFTS OF FILM III
FILM ANALYSIS
DIRECTED STUDIES IN FILM
PRODUCTION I
CRITIQUE OF THEORY
DIRECTED STUDIES IN FILM
PRODUCTION II
SELECTED TOPICS IN FILM
STUDIES I
DIRECTED STUDIES IN FILM
PRODUCTION III
DIRECTED STUDIES IN FILM
PRODUCTION IV
SELECTED TOPICS IN FILM
STUDIES II
YEAR I I I
Fall
?
FPA.331-3
FPA. 334-3
Spring
?
FPA.430-5
FPA.337-3
YEAR IV
Fall
?
FPA.431-5
FPA. 436-5
Spring
?
FPA.432-5
and/or
FPA.433-5
FPA.437-5
16 STUDENTS
20 STUDENTS
16 STUDENTS
?
S
20 STUDENTS
16 STUDENTS
20 STUDENTS
combined max.
16 STUDENTS
20 STUDENTS
Courses to be proposed.
?
0
FPA. 234-3
?
INTRODUCTION TO FILM STUDIES
An introduction to the theory of film and its subsystems (genre, narrative,
structure, semantics). This course is concerned not so much with individual
films or techniques, as with the general cinematic capability itself, as
varyingly theorized since the
beginning of the century. The goal of film
theory has been to formulate schematic notions of the capacity of the film
• ?
medium. Various theories and theoretical positions will be assessed and
compared in terms of their related cinematic practice and ideological functions.
REQUIRED TEXTS: J. Dudley Andrew, The Major Film Theories: An Introduction,
Oxford University Press, 1976
Bill Nicols (ed.), Movies and Methods: An Anthology,
University of California Press, 1976
RECOMMENDED TEXTS: Noel Burch, Theory of Film Practice, Praeger, 1973
John Caughie (ed.), Theories of Authorship, BFI, 1980
G. Nowell-Smith
.
(ed.), Semiotics of Film, BFI, 1981
Brian Henderson, A Critique of Film Theory, Dutton, '1980
Christopher Williams (ed.), Realism and the Cinema, BFI, 1980
COURSE OUTLINE
Weeks 1 & 2 INTRODUCTION: REALISM AND NATURALISM
An examination of early film theories and the rise of the dominant theory!
practice of film. Examples of two realist filmmakers will be demonstrated.
View Flaherty's Man of Aran, Rossellini's Paisa/Pajsan. Readings from articles,
Screen magazine, recommended and other texts.
Week 3 FORMALISM
Opposition to the realist theories, originating from constructjvjsts,
futurists and formalists in the Soviet Union between 1920 and 1932. The
favburing of art forms which emphasize the nature of the artistic material
Itself. View Elsenstein's October. Readings from Eisenstein, articles, Screen
magazine, recommended and other texts.
Week 4 BASIC ELEMENTS: CAMERA, MOVEMENT AND SPACE, SOUND
The study of the theory of film through its photographic, temporal and
spatial articulations. Readings from recommended and other texts.
Week 5 AUTHORSHIP
• The problematic area of authorship, which stresses the "how" over the "what",
the history of films over
films in
history. View Orson Welles' Citizen Kane.
Readings from articles, Screen magazine, recommended and other texts.
FPA. 234-3
?
INTRODUCTION TO FILM STUDIES
Week ?
GENRE ?
•
In the late '60's and early '70's genre theory occupied a special and specific
space in film theory, first as a challenge to realist and auteur theories and
secondly in an effort to find the social grounding of film. View John Ford's
Stagecoach. Readings from Screen magazine, recommended and other texts.
Week 7 MISE EN SCENE
Theory and criticism has also been concerned with thematic patterns or meanings
in the formally visual sense (composition, lighting, texture) and visually
communicated sense (gesture, actions, camera movement). View Murnau's Sunrise.
Readings from articles, Screen and other magazines, recommended and other texts.
Week 8 SUBJECT AND IDENTIFICATION
Some early attempts and basically nonstructural/semiotic analysis of the
audience, identification and film text. View Walsh's Pursued. Readings from
articles, Screen magazine, rec
o
mmended and other texts.
Week 9 SEMIOTICS AND STRUCTURALISM
A more recently developed area of film theory with its roots in structural
linguistics. View Mulvey/Waller's Penistellia or Riddles of the Sphinx.
Readings from articles, Screen magazine, recommended and other texts.
Week 10 SUTURE AND NARRATIVE
An attempt to examine the viewer/image relationship from a theoretical and
system-oriented base. View Hitchcock's Psycho. Readings from Cinematics,
Screen and Film Quarterly magazines.
Week 11
?
THE DREAM MACHINE: PSYCHOANALYSIS AND FEMINIST THEORY
The central question which psychoanalysis has revised for film theory in
general and feminist film theory in particular, is what kind of reader the
film text constructs, the positioning of the subject in relation to patriarchal
ideology. View Song of the Shirt, a co-operative feminist film. Readings from
Freud, Mitchel and Wilder; articles from magazines, recommended and other texts.
Week 12 MARXIST FILM THEORY
Theoretical work in Marxism over the last decade, and the debates surrounding
these developments, have posed questions around ideology as a social instance
involving questions of industry and institutions and particular conjunctions.
View Godard's Nurnereux Deux. Readings from articles, magazines and other texts.
Week 13 ALTERNATIVE CINEMAS
A brief review of the avant garde cinema and the attempts to theorize its
position. Readings from articles, magazines and
other texts.
SENATE COMMITTEE ON UNDERGRADUATE STUDIES
NL'Vi COURSE PROPOSAL. FORM
.
.
Calendar Information
?
Department:
CENTRE
FOR THE ARTS
Abbreviation Code:
FPA
?
Course
Number:
234-3
?
Credit Hours:
3
?
Vector:
2-0-2
Title of Course:
INTRODUCTION TO FILM STUDIES
Calendar Decription of Course:
An introduction to the theory of film and its subsystems (genre, narrative,
structure, semantics). This course is concerned not so much with individual
films or techniques, as with the general cinematic capability itself, as vary-
ingly theorized since the beginning of the century. The goal of film theory has
been to formulate schematic notions of the capacity of the film medium. Various
theories and theoretical positions will be assessed and compared in terms of their
related cinematic practice: and ideological functions.
Nature of Course:
Lecture-Laboratory
Prerequisites (or special instructions):
FPA.136-3 or FPA.137-3
What course (courses), if any, is being dropped from the calendar if this course is
approved: ?
None
2. Scheduling
How frequently will the course be offered?
Once a year - each Fall
S G
emcs t er in which the course will first be offered?
Fall 1981-3
Which of your present faculty would be available to make the proposed offering
possible?
Appointment is pending (authorized)
1
03. Objectives of the Course
(1)
To provide the student'with an introduction to film theory and its various
subsystems.
(2)
To serve as an introduction to contemporary methods of film analysis and
critique,semiotics, psychoanalysis, and structuralism.
(3)
To explore the development of film criticism and theory and to locate it
in the contemporary milieu.
4. Budgetary and Space
RequJreme
?
(for information only)
What additional resources will be required in the following areas:
Faculty
112 full-time faculty (authorized)
Staff
Library
Acquisition
of relevant texts; acquisition of relevant film extracts:
Audio Visual
Rental of relevant films
Space
None
Equipment
None
5. Approval
MAR 1981
Date:______________________
partment Chair
f
Chairman,
SCUS
SCUS 73-34b:- (When completing this form, for instructions see Memorandum SCUS 73-34a.
Attach course outline).
SENATE
COMMITTEE ON UNDERGRADUATE STUDIES
NFI1 COURSE.
PROPOSAL FORM
1. Calendar information
?
Department: C
E
NTRE FOR THE ARTS, ,*
Abbreviation Code:
FPA.
Course
-
Number:
331 ?
Credit iiours:
Tp_g
Title of Course:
THE CRAFTS OF FILM III
Calendar Description of Course:
An intensive study of the crafts of filmmaking, with emphasis
on location
sync. sound produOtion processes. Students will be expected to participate
in the realization of several sync. sound films.
Nature of Course
Laboratory
Prerequisites (or special instructions):
FPA.23l-3.
What course (courses), if any, is being dropped from the calendar if this course is
approved: ?
None
2.
Scheduling
Bow frequently will the course be offered?
Once a year (Fall semester)
Semester in which the course ill first be offered?
Fall 1982-3
Which of your present faculty would be available to make the proposed offering
possible? ?
N.
Kendall
3.
Objectives _of the Course
To give a rigorous and disciplined introduction to location shooting at an
intermediate craft level. See attached course outline.
4.
Budgetary and Space Requirements (for information only)
What additional resources will be required in the following areas:
.
Faculty
?
None (available)
SVaff ?
•None
Library
?
None
Audio Visual
NQ
Space ?
None
Equipment
None
' ?
MAR-91981 ?
2
)LA4:
Department C airman
?
ii&(
Dean
Chairman. SCUS
SCUS 73-34b:-
When completing this form, for instructions see Memorandum SCUS 73-34g.
SENATE COMMITTEE ON UNDERGRADUATE STUDIES
NLV COURSE PROPOSAL. VOR}%
.
1. Calendar Information
?
Department:
CENTRE
FOR THE ARTS ?
Abbreviation
Code:
FPA. ?
Course Number:
436
?
Credit Hours:
5
?
Vector:
0-4-4
?
Title of Course:
SELECTED TOPICS IN FILM STUDIES
I
Calendar Decription of Course:
This course features a study and analysis of selected topics in film theory,
history, aesthetics and ideology. Particular emphasis will be placed on issues
of contemporary
concern,
as reflected in a significant range of work. Students
are expected to write Original papers in an area of film studies to be determined
by student and available faculty.
Nature of Course
Selected Topics
Prerequisites (or special instructions):
?
FPA.334-3 and Permission of the Department.
What course (courses), if any, is being dropped from the calendar if this course is
approved:
None
2. Scheduling
How frequently will the course be offered?
Once a year
Semester in which the course will first be offered?
Fall 1981-3
Which of your present faculty would be available to make the proposed offering
S
possible?
A.
Razutis, M.E. Hurst, or film studies appointment (authorized).
3. Objectives
of the Course
(1)
To enable students to complete an advanced course of study in the area of film
-- one that results in an original research paper
(2)
To prepare students for possible graduate studies in film
(3)
To enable students whose interests are outside of advanced film production to
complete a Film Minor.
4. Budgetary and Space RequJreme
?
(for information only)
What additional resources will be required in the following areas:
Faculty
112 full-time
appointment (
authorized)
Staff
None
Library
Relevant texts
Audio Visual
Rental of relevant films
Space
None
Equipment
None
S. Approval
Date: ?
HAP - 91981
Department Chairman
lyrV-P
Dean
Chairman,SCUS
- -
SCUS 73-34b:--
(When completing this form, for instructions see Memorandum
SCUS 73-34a.
Attach couroc outline).
FPA.331-3
THE CRAFTS OF FILM Ill
This course is designed to provide a rigorous and disciplined introduction
to synchronized sound production work, Students will be expected to participate
in the collaborative realizations of several synchronized sound films, with
special reference to the exigencies of location work. Attendance at all product-
ion meetings is essential so that students may fully benefit from the discussions
and evaluation of the work undertaken.
Course Outline by week
Weeks 1 & 2
An examination of the specific skills and functions surrounding location
production work, with particular emphasis on dramatic and documentary
modes of production. Brief workshops will be conducted in the care,
maintenance and operation of sound, camera, and lighting equipment.
Weeks 2 & 3
An examination of the proposed scripts, in terms of their production
requirements. The scripts will be analyzed from the standpoint of tech-
nical and scenographic requirements, and the nature of production roles.
Students will be assigned specific roles on each production. These roles
Will be in the areas of camera, sound, and lighting assistants.
Weeks
1 4
-
lO
Location production work. Students will be expected to perform their
assigned tasks under the supervision of a production director.
Weeks 11 - 13
Criticism and analysis of the completed rushes, with particular attention
to the roles played by FPA.331 students.
Rationale
This intermediate level of craft work is highly beneficial to those students
interested in developing directing skills or major craft role (e.g., cinematography,
lighting, sound, editing) expertise. Much of the learning that takes place in film
is the result of direct experience and observation, rather than textbook reading.
Students in FPA.231 (the pre-requisite) have already explored the various crafts
and technologies of sync. sound filmmaking. But this previous exploration is short
of being comprehensive. The special dynamics that
are set into
motion on a location
shoot require an experience and learning process in themselves.
0
FILM PACKAGE Item (d) CHANGES IN FILM MINOR REQUIREMENTS
.
.
0
.
FPA. L436_5
SELECTED TOPICS IN FILM STUDIES I
This course is offered at an advanced level
of
film studies. Emphasis
will be put on the production of an original critical analysis by the
Student.
The student's research must feature a well-documented examination of
the specific films, texts and area of focus. Drawing on various contemp-
orary methods of analysis (e.g., semiotics, psychoanalysis, structural
analysis), the resulting work must demonstrate original Insight and con-
tribute to the development of critical discourse.
Weekly seminar discussions will be supplemented by film screenings and
students' laboratory research. Students will be required to view and trans-
cribe film passages, as documented evidence, in support of their conclusion.
The following areas of studies would be offered by available faculty:
a) critique and analysis of work by the following film directors -
- J. Rivette
- Jean-Luc Godard
-
A.
Hitchcock
- Federico Fellini
b), critique and analysis of the following genre of film -
- the Documentary Film (from Flaherty to the present)
- Feminist Cinema (with particular attention given to European
Feminist films).
4 ? I' ?
S
CALENDAR CHANGES IN FILM MINOR REQUIREMENTS
(Changes and/or additions are typed
,
in Italics)
(1) Present Calendar/Present Film Minor Requirements
- LOWER DIVISION REQUIREMENTS:- as prerequisites
Film.Mlnors wil!complete 24 hours of lower division prerequisite
credit, distributed as follows:
any one of
FPIç.11O-6 The Arts in Context: The Renaissance
FP
A.113-6 The Arts in Context: European Romanticism
FPA.11
I
+-6 The Arts in Context: The Modernist Era
FPA.116-6 The Arts in Context: North American Styles
plus all of:
FPA.132-3 Introduction to Fil.mmaking
'F
P
A.13
'
3-3 Filmmaking Fundamentals
FPA
.230-3 The Crafts of Film I
FPA.231-3 The Crafts of Film II
FPA.236-3 The History & Aesthetics of Cinema I
FPA
.237-3 The History & Aesthetics of Cinema II
- UPPER DIVISION REQUIREMENTS
Film Minors also will complete 18 hours of upper division credit,
distributed as follows:
all of:
FPA.430-5 Directed Study in Film Production I
FPA.431-5 Directed.Study inFilm Production II
FPA.432-5
Directed Study in Film Production III
plus one of:
FPA.334-3 Film Analysis
FPA.382-3 The Aesthetics of Performance
Students intending to minor in film are advised to take FPA.176-3,
PHOTOGRAPHY AS AN ART FORM.
0
(2) Proposed Calendar/
p
roposed Film Minor Requirements?
(Changes are typed in Italics)
?
S ?
LOWER DIVISION
R
EQUIREMENTS - as prerequisites
Film Minors will complete 24 hours of lower division
pr erequisite
credit, distributed as follows:
y one 'of:
F
PA.110-6 The Arts In Context: The Renaissance
FP
A.113-6 The Arts in Context: European Romanticism
FPA.114-6 The Arts in Context: The Modernist Era
FPA.116-6 The Arts in Context: North American Styles
Plus all
FPA. 132-3
FPA. 133-3
FPA. 230-3
FPA. 231-3
FPA .234-3
Introduction to Filmmaking
Filmmaking Fundamentals
The Crafts of Film I'
The Crafts of Film II
Introduction to Film Studies
plus any one of:
FPA.136-3 The History and Aesthetics of Cinema I
FPA.137-3 The History and Aesthetics of Cinema II
UPPER DIVISION REQUIREMENTS
Film Minors also will complete 18 hours of upper diviston credit,
distributed as follows:
all of:
FPA.334-3 Film Analysis
FPA.430-5 Directed Study in Film Production r
plus
,
any two of:
FPA.431-5 Directed Study in Film Production ir
FPA.432-5
Directed Study in Film
P
roduction iii
FPA.4335 Directed Study in Film Production iv
F
PA.436-5 Selected Topics in Film Studies I
Students intending to minor in film are advised to take
FPA.'176-3,
PHOTOGRAPHY AS AN ART FORM.
Students Intending to minor in film, with
STUDIES.
film
an
OF
emphasis
FILM
studies,
III.
on
Students
are
film
advised
production,
intending
to take
are
to
F
PA436-5,
minor
advised
in
to
SELECTED
film,
take
with
FPA.331
!VPICS
an emphasis
.
r.3
IN FILM
THE CRAFTS
on
S
0
)
FILM
PACKAGE Item (e)
CALENDAR CHANGES:
- COURSE NUMBERS FROM
236 & 237 to 136 & 137
- Pre-requisites for 230 and 430
W
Rationale for Proposed Changes in Film Minor Requirements
(a) With the proposed introduction of
FPA.2311-3,
Introduction to Film Studies,
and with no proposed increase in lower division credit requirements, students
would be required to take only two of the possible three lower division film
studies courses (i.e., FPA.136,
137,
or 234).
.b)
FP
A.331-3, The Crafts of Film III, Is not listed in the lower division
credit requirements because FPA.231 still remains the prerequisite for FPA.1430.
However, students minoring in film, with emphasis on production, would be
encouraged to take 331.
(c) FPA.382-3, The Aesthetics of Performance, is being dropped as a possible
upper division requirement for the following reasons. First, 382 presents a
general overview of the relationship of film to the other performance arts.
It tends to duplicate material covered in FPA.136 and
137,
and FPA.132.
FPA.334, Film Analysis, is a course crucial to the student's understanding of
the very media he/she is working in. To allow a student the option of taking
a general overview course in place of a specific analytical course, as the only
upper division film studies course, has weakened our existing film minor in the
past and will continue to weaken our curricular development. In the current
(proposed)schematic,
FPA.3314 becomes the necessary prerequisite/corequisite for
entry into FPA.430.
.
(d)
All students minoring in film, and regardless of their areas of focus,
would be required to take FPA.430 (screenwriting and dramatic realization on
Video). Screenwriting is basic to anyone's understanding of narrative or
cinematic process, and video realization is a low cost method of seeing the
visual-cinematic language in operation.
(e)
The 18 hour upper division credit requirement remains unchanged. As we
have seen in the past, student work is rarely given the credit hours that it
deserves. For these reasons, the basic minor requirement for upper division
film production would remain at ten, but the possibility of credits given could
extend to
15.
This flexibility allows for rewarding work undertaken, and apply-
ing these rewards to future degree (or transfer credit) applications.
(f)
For students focussing on film studies, the upper division credit require-
ment of 18 could be fulfilled by taking FPA.334, 430, 436, and only one of the
Film Workshop production courses. It is our experience that many students change
their focus or interest at the upper division level and this schema allows for
such flexibility.
..
S
CALENDAR CHANGES FOR FPA.230-3 THE CRAFTS OF FILM. I
(Changes are typed in Italics)
1)
Present Calendar Entry
FPA
.230-3 THE CRAFTS OF FILM
An intensive study of the crafts of filmmaking with emphasis on the use of the
camera, lighting, sound and the screenwriting process. Introduction to the
techniques of filmmaking will be accompanied by exercises in their creative
application.
?
(Studio)
Prerequisites: FPA.130 or
132
or equivalent and permission of the Department.
This is a limited entry course. Written permission of the Department is
required in advance of registration.
Students should expect to pay a laboratory fee.
2)
Proposed Changes (in prerequisites)
FPA.230-3 THE CRAFTS OF FILM I
An intensive study of the crafts of filmmaking with emphasis on the use of the
camera, lighting, sound and the screenwriting process. Introduction to the
techniques of filrnmaking will be accompanied by exercises in their creative
application. ?
(Studio)
Prerequisites:
FPA.133,and 136 or 137, and permission of the Department.
This is a limited entry course. Written permission of the Department is
required in advance of registration.
Students should expect to pay a laboratory fee.
3)
Rationale
a)
FPA.133-3 is a newly credited •
course that serves to introduce the
student to 16mm technology and aesthetics. (FPA.132-3 has been re-
designed to focus on Super-8 experiments).. A proper introduction to
16m technology is a necessary prerequisite for work at the FPA.230
level.
b)
FPA.137-3
(formerly
FPA.237-3)
is a general survey course in the history
and aesthetics of cinema. Students undertaking film production at a
post-introductory level should be knowledgeable as t othe history and
aesthetics of cinema. FPA.137 could be taken concurrently (as co-
requisite) with FPA.230.
?
.
0
CALENDAR CHANGES FOR FPA236-3 AND
FPA.237-3
HISTORY & AESTHETICS OF CINEMA I & II
[Changes are typed in Italics]
1) Present Calendar Entry
(a)
FPA.236-3 THE HISTORY AND AESTHETICS OF CINEMA I
This course will examine the early development of cinema from 1890
until about 1930, with particular emphasis on the fundamental princi-
ples of film as an art form. A substantial number of films will be
shown during laboratory sessions.
?
(Lecture/Laboratory)
(b)
FPA.237-3
THE HISTORY AND AESTHETICS OF CINEMA II
This course will examine selected developments in cinema from 1930
to the present, with attention to various styles of artistic express-
ion in film. A substantial number of films will be shown during
laboratory sessions. ?
(Lecture/Laboratory)
Prerequisite: FPA.236-3 recommended.
2) Proposed Changes (in Course Numbers)
(a) FPA.136-3
THE HISTORY AND AESTHETICS OF CINEMA I
This course will examine the early development of cinema from 1890
until about
1930,
with particular emphasis on the fundamental princi-
ples of film as an art form. A substantial number of films will be
shown during laboratory sessions.
?
(Lecture/Laboratory)
(b) FPA.137-3
THE HISTORY AND AESTHETICS OF CINEMA II
This course will examine selected developments in cinema from 1930
to the present, with attention to various styles of artistic express-
ion in film. A substantial number of films will be shown during
laboratory sessions.
?
(Lecture/Laboratory)
Prerequisite:
FPA.136-3 recommended.
3) Rationale
FPA.236-3 and
237-3
are general survey courses, requiring no prerequisites.
Since only a broad and introductory examination is possible within the
time constraints of two semesters, these courses should
be
offered (and
listed) as first-year FPA. courses.
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0
SiMON FRASER
MIMO*ANDUM
UNIVERSITY
5 (
I
hu
. ?
To
...................................................
Senate Committee
ee
on Undergraduate
r
Studi
e
Subj.ct ......
..ntr ?
10 SCUS.meetinq
•
of April 7/81
Santa Aloi, Chairperson of
From
.......................................................
Departmental Curriculum Committee,
....
Cot.re..tor..the.Arts... ......................
6,
1981
Dat...
................................
The following omissions from the Centre's package of proposals(being
considered at the SCUS meeting of April 7)are merely due to oversight
In the compilation of the material; the issues are in fact being dealt
with withinthe entire package.
Changes/additions are typed in Italics.
CALENDAR CHANGE FOR FPA.334-3 FILM ANALYSIS
(I) Present Calendar Entry
FPA.334-3 FILM ANALYSIS
This course undertakes a detailed investigation of selected films
In order to acquaint students with film language in both theoretical
and applied aspects. The course is designed primarily for students
with some experience of film-making, but is open to others by consent
• ?
of the Department.
Prerequisites: FPA.236 or 237, and consent of the Department.
(2)
Proposed Calendar Entry
FPA.334-3 FILM ANALYSIS
This course undertakes a detailed investigation of selected films
In order to acquaint students with film language in both theoretical
and applied aspects. The course is designed primarily for students
with some experience of film-making, but is open to others by consent
of the Department.
Prerequisites:
FPA.231 and FPA.234.
(3)
Rationale
With the proposed introduction of FPA.234, the pre-requisites for FPA.334
must be changed. FPA.234 will serve to provide the student with a
thorough theoretical grounding for the applied investigations conducted
In FPA.334. The addition of FPA.231 as pre-requisite is in keeping with
the Film Minor's emphasis on both production and film studies require-
ments at the lower division levels. Students entering FPA.334 should
have a background in film production related activities, since much of
. ? the Investigative work derives from physical considerations (as evidenced
in the finished film).
CALENDAR CHANGES FOR FPA.430-5 DIRECTED STUDIES IN FILM PRODUCTION I
(Changes are typed in Italics)
1)
Present Calendar Entry
FPA.430-5 DIRECTED STUDIES IN FILM PRODUCTION I
This course requires a substantial contribution to a film production undertaken
by the Simon Fraser Film Workshop and participation In other workshop activities.
A particular emphasis will be placed on the areas of screenwrlting and dramatic
film direction, and the exact nature of each student's involvement will be
assigned by the supervising instructor.
?
(Directed Study)
Prerequisites: FPA.23I and permission of the Department.
Students should expect to pay a laboratory fee.
2)
Proposed Changes (in prerequisites)
FPA.430-5 DIRECTED STUDIES IN FILM PRODUCTION
This course requires a substantial contribution to a film production undertaken
by the Simon Fraser Film Workshop and participation In other workshop activities.
A particular emphasis will be placed on the areas of screenwrlting and dramatic
film direction, and the exact nature of each student's involvement will be
assigned by the supervising instructor.
?
(Directed Study)
Prerequisites:
FPA.231, FPA.334 and permission of
the Department.
Students should expect to pay a laboratory fee.
3)
Rat iOnale
Students enrolling in this course should have a background in upper
division film studies, criticism and analysis. They should also be
enrolled in the Film Minor program. For these reasons, FPA.33
1
4
FILM
ANALYSIS is a necessary prerequisite (or co-requisite).
0
Memo to SCUS for April 7/81 meeting - p.2
.
?
ADDITION TO CALENDAR DESCRIPTION OF
FPA. 136-3 THE HISTORY. AND AESTHETICS OF CINEMA I (formerly FPA.236-3)
(The following statement should be added at the end of the calendar des-
cription):
'Students with credit for FPA.236 may not take this
course for further credit.'
ADDITION TO CALENDAR DESCRIPTION OF
FPA.137-3 THE HISTORY AND AESTHETICS OF CINEMA II (formerly FPA.237-3)
(The following statement should be added after the pre-requisite so that
the pre-requisite will read):
Prerequisite: FPA. 136 recommended.
Students with credit
for FPA .237 may not take this course for further credit.
.
RATIONALE: The addition of the statement is to prevent
students from taking the same course twice,
each time under a different number. This Is
a university-wide procedure once a course
has a change In course number.
S - 6wn,
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