SiMON FRASER
MEMORANDUM
UNIVERSITY
?
S-7745
O
T
o . . SENATE ?
.Fro
m
....
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SENATE COMMITTEE ON UNDERGRADUATE
STUDIES
Subject .... .....
Centre for
the
ArtS
. M,'n.Qr in .
Date ........
April.
13,197.7
Film and New Course Proposals
Action taken by the Senate Committee on Undergraduate
Studies at its meeting on April 12, 1977 gives rise to the following
motion:
MOTION I
That Senate approve, and recommend approval to the
Board of Governors, the Minor program in Film as
outlined in paper S.77-45.
NOTE - In recommending approval SCUS noted that in February, 1976
Senate approved in principle the development of minor programs in
• ?
Dance, Theatre and Film. The proposed minor in Film has been
developed within the principles articulated in paper S.76-21. The
courses FPA. 132-3, Introduction to Filmmaking (a replacement for
FPA. 130); FPA. 236-3, The History and Aesthetics of Cinema I; and
FPA. 237-3, The History and Aesthetics of Cinema II, will be open
to students generally as well as those taking the minor in Film.
The "craft" courses will require selection of students and the first
two of these, FPA. 230-3 and FPA. 231-3, will provide a systematic
and disciplined approach to filmmaking. The main component of
upper division requirements for the minor will consist of participatior
in a production unit through the Simon Fraser Film Workshop and
registration as appropriate in Directed Studies in Film Production,
FPA. 430-5, FPA. 431-5 and FPA. 432-5. Finally, one additional
course will be required - either FPA. 382-3, already approved,
which involves the comparative investigation of Film, Dance and
Theatre; or FPA. 334-3, Film Analysis (a course yet to be fully
developed and approved).
Some concern was expressed about the proposed introduction
of the laboratory fee in filmmaking courses but the majority of
members present in the SCUS meeting considered it necessary and
appropriate to expect students to share in the cost of materials
for filmmaking. It was noted that the introduction of such fees
would require approval by the Board of Governors.
.
2...
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Senate ?
-
2 -
?
April
13, 197'
is
MCIFPT(ThT TT
That Senate approve, and recommend approval to the Board
of Governors, the following new courses as outlined in
paper
S.77-
FPA
132-3 -
Introduction to Filmmaking
FPA.
230-3 -
The Crafts of Film I
FPA.
231-3
-
The Crafts of Film II
FPA.
236-3
-
The History and Aesthetics
of Cinema I
FPA.
237-3
-
The History and Aesthetics
of Cinema II
FPA.
430-5
-
Directed Studies in Film
Production I
FPA.
431-5
-
Directed Studies in Film
Production II
FPA.
432-5
-
Directed Studies in Film
Production III
NOTE - SCUS has approved a waiver of the two semester time lag
requirement for FPA.
132-3,
FPA.
230-3,
FPA.
236-3
and FPA
430-5,
and FPA.
431-5.
/ñ
-
Daniel R. Birch.
.
cp
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77-7
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PROPOSAL FOR A MINOR IN FILM
The Centre for the Arts requests approval of a minor program in film,
effective January 1, 1978.
Following the approval in principle given by Senate in February of 1976
(S.76-21) for the development of minor programs in Dance, Theatre and Film,
the department has carefully considered the development of a film program
in relation to the principles approved by Senate. We now propose a minor
program that in our view best fulfills these principles.
In designing the film minor we have attempted to take full advantage of
the successful film workshop that has run for a number of years. Students
are given a reasonably thorough grounding in the fundamentals of filmmaking
S
in the lower division, and then become practising members of a production
unit as the major component of their upper division requirements. Students
are also required, particularly in the lower division work, to master some
historical knowledge and critical insight into the art of film and its rela-
tion to other arts.
Each student initially will take FPA. 132-3, Introduction to Filmmaking.
This course is a replacement of the current FPA. 130, one which emphasizes
the forms of creativity that are essential to filmmaking. While it does not
require the intensive use of equipment, this course does provide the oppor-
tunity for each student to complete a one-minute film, and should be a stimu-
lating course even for those who do not wish to pursue further practical work
in film. The continuation of practical work in film will necessarily depend upon
a selection process. However, we propose two further courses on film,
required for minors and available to the entire student body. These courses,
FPA. 236 and 237, are introductions to the History and Aesthetics of the Cinema.
The first of these covers the early history of film and pays special attention
to the fundamentals of film as an art form. The second course explores varieties
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of filmic expression through attention to more recent film history. We
anticipate that these courses on the art of film will prove popular and
will provide a useful complement to the different approach to film studies
undertaken by the Department of Communication Studies.
Three further lower division courses are required of each student in the
minor. First, students must take a single 6-credit "context" course, in
order to insure that they receive some exposure to the historical and
aesthetic relationships among the arts. Students who are admitted into
FPA. 230 begin an intensive two semester introduction to the crafts of film
that leads directly on to the later production work. 230 and 231 together
take students through a careful and disciplined approach to each stage of
the filmmaking process.
Students who successfully complete 230 and 231 will earn the right of
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admission to the Simon Fraser Film Workshop. For significant participation
in the workshop students may earn a total of 15 hours of Directed Study
credit, divided into three 5-hour units, FPA. 430, 431 and 432. As further
explained in the individual course proposals, this mechanism enables us to
retain the advantages of a production-oriented workshop, while permitting
qualified students to earn credit for their participation in a reasonably
flexible way. To complete the minor, each student must earn credit for one
of two additional courses, each of which is designed to engage the student
in a critical and reflective approach to the art of film. The student may
choose FPA. 382-3, already approved, which involves a comparative investigation
of film, dance and theatre; or, the student may take FPA. 334-3, Film Analysis,
once it has been fully developed and approved. This course will involve a
highly detailed, "shot-by-shot" investigation of a variety of film sequences.
The intent of this course will be to provide both filmmakers and others with
a serious interest in film an opportunity to explore cinematic language closely
and analytically with particulariattention to the relationships between method
and effect.
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We believe that the sequence of courses proposed here will provide a sig-
nificant number of university students with a good exposure to the art of
film and will provide the particularly talented and interested with an
excellent foundation in film production. Although the practical courses
will necessarily involve extensive familiarization with technical processes,
the creative aspects of filmmaking will be emphasized at every stage. More-
over, through the individual courses as well as through the balance of
requirements, we hope to encourage the recognition among our students of
the importance of having something to say in film. Although our curriculum
is not being developed solely with regard to the requirements of the film
industry, we hope that some of our graduates may find useful roles there,
as well as having the ability to use film as an art form and tool of communi-
cation, and having an enlarged appreciation of film from a filmmaker's point
of view.
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Resources for the Film Minor
Faculty: ?
With the regularization of two faculty positions, presently
authorized, we will have a sufficient base of faculty to offer
the minor. In addition, we will need to continue the instruc-
tional assistance in the workshop that has always existed, and
employ a single Teaching Assistant each time FPA. 132 is taught.
We plan to continue occasionally to bring instructional specialists
on to campus in conjunction with practical work in film. For
the present, the film studies courses can be taught by faculty
of the Centre and faculty seconded from elsewhere, although even-
tually these courses should become part of the regular teaching
load of one of the Centre's faculty. Once these various adjust-
ments have been made and when the program is in full operation,
the incremental cost of instructional salaries over the current
situation will be equivalent to approximately one FTE faculty.
Staff:
?
Current staff of the Centre is adequate to handle the technical
and administrative requirements of the minor.
Space:
?
With the conversion of some former Centre offices to film editing
rooms and the dedication of the theatre video studio to film instruc-
tion, the minimum laboratory space for the minor is now available.
Equipment: The Centre has been fortunate in receiving sufficient funds over
the past year to obtain an adequate equipment base for the minor.
Library:
?
Current library resources, augmented by the small number of prac-
tical works on film already ordered, should be adequate for a film
minor of this nature. The collection on film study should continue
to grow at a modest rate.
Other: ?
There will be some increment in audio-visual and materials costs
devoted specifically to the film program. These new costs, however,
are a relatively small proportion of the total costs involved in
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Other: ?
the present primarily non-credit program. Moreover, the new
Cont'd ?
costs will very largely be accounted for by the consolidation
and re-direction of the programs of the Centre, and thus involve
no substantial increase in the overall budget. The obligation
of the Centre to provide cultural opportunities to campus
audiences, for example, will in part be discharged by the regu-
lar showing of excellent films in conjunction with
FPA.
236 and
237. On the production side, the de-emphasis of work in video
art that we have found necessary for space and equipment reasons
will go a long way toward paying for the introduction of the
second year practical courses. We are also proposing a continu-
ation of the principle of laboratory fees for practical work to
defray materials costs.
Evan Alderson
Director, Centre for the Atts
March 30, 1977
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FPA. 132-3
FPA.
230-3
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FPA.
231-3
FPA.
236-3
FPA.237-3
.
PROPOSED CALENDAR ENTRY
REQUIREMENTS FOR A MINOR IN FILM
Film Minors will complete 21 hours of Lower Division credit, distributed
as follows:
Any one of:
FPA. 110-6 (formerly G.S. 110) The Arts in Context:
The Renaissance
FPA. 114-6 The Arts in Context: The Modernist Era
FPA. 116-6 The Arts in Context: North American Styles
or Similar
six
credit "Arts in Context" courses to be introduced
in this series.
Plus all of:
Introduction to Filmmaking
The Crafts of Film I
The Crafts of Film II
History and Aesthetics of Cinema I
History and Aesthetics of Cinema II
Film Minors will also 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 in Film Production II
FPA. 432-5 Directed Study in Film Production III
Plus one of:
FPA. 3343 Film Analysis
FPA. 382-3 The Aesthetics of Performance
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SENATE COMMITTEE ON UNDERGRADUATE STUDIES
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• C.
NEW COURSE PROPOSAL FORM
?
OCalendar
Information ?
Department:Centre for the Arts
Abbreviation Code:FPA.
?
Course Number:132 ?
Credit Hours:3
?
Vector:
2-0-4
Title of Course:
?
Introduction to Filmmaking
Calendar Description of Course:
An ex p
loration of the creative processes essential to the art of film. A study of
photographic imagery and the construction of image sequences will lead to the production
of a very brief film by each student.
Nature of
Course Lecture/Laboratory
Prerequisites
(or special instructions):
Students should expect to pa
y
a laboratory fee. Students who have earned credit
for FPA. 130 may not take this course for further credit.
What course (courses), if any, is being dropped from
the
calendar if this course is
approved:
?
FPA. 130
2.
Scheduling
How frequently will the course
be offered? ?
Twice a year
Semester in
which the course will first be offered?
?
77-3
Which of your present faculty w.'utc
be
available to make the proposed offering
possible?
R.
Nichol
3.
Objectives of the Course
See attached rationale and course outline.
4.
Budgetary and Space Requirements (for information only)
What additional resources will
be
required in the following areas:
Faculty ?
A
second faculty member (authorized) will be required to offer this and
Staff ?
None ?
other planned film courses.
Library ?
None
Audio Visual None
Space ?
None
Equipment ?
None
• Approva
l
Date:7I ?
"p7
•
Department Chairman
t4/c,
19-17
Dean
Chairman, SCUS
SCUS 73-34b:-
(When completing this form, for instructions see Memorandum SCUS 73-34a.
?
7
Attach course outline).
.3 ?
1
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FPA. 132 - INTRODUCTION TO FILMMAKING
STATEMENT OF RATIONALE
This course is designed to replace the present FPA. 130 - Introduction to
the Film and Video Arts. We have discovered after one year's experience with
it that FPA. 130 is too condensed for what it has attempted to achieve, too
equipment intensive for a relatively open access introductory course, and not
as effective a preparation toward the planned film minor as we would wish.
Although FPA. 132 will provide some initiation into the technical aspects of
filmmaking, it is designed primarily to engage the student's creativity in
relation to the fundamentals of film as an art form. Emphasis will be placed
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upon the awareness of imagery and the juxtaposition of images into the structure
of a film. Students will be encouraged to realize the importance of having
something to say as well as to practice focusing ideas into a specific visual
story. From its inception, the course will insist that students recognize the
responsibilities entailed by working in an expensive medium as well as the crea-
tive opportunities it provides.
As well as an awareness of imagery, this course will provide the student with a
grasp of the fundamentals of filmmaking technique. The essentials of the medium
will be taught, supported by exercises in the operation of the tools of the craft.
Initially the required creative exercises will not involve substantial use of
equipment. After the student has become familiar with the necessary techniques,
however, the production of a one-minute film will give each student an opportunity
to put into practice the basic concepts of filmmaking, from the original idea, its
design and execution in shooting, through to its final visualization in the editing
process.
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FPA. 132 - INTRODUCTION TO FILMMAKING
COURSE
OUTLINE
The following presents a weekly progression of lecture/discussions together
with a brief description of supporting exercises.
Week 1
The image - content, composition and visual impact.
- What?- The subject.
- Why? The motive, the feeling behind the image.
- What is meant by selectivity in the subject, the angle, the mood.
- How? How to balance in the frame, practice in framing and composition
with the camera.
Week 2
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Images types - archetypal, syñtbolic, and the cliche'.
- Visualization is the way filmmakers think. Students will be expected
to bring in examples of images based on cultural traditions and reflecting
varieties of style and social response... how different cultures here
viewed women, for example.
Week
3
Communication of idea - elements of style and personal expression.
- Each student will be asked to comment on the content and style of a film
sequence or photostorv.
Week
Color - mood and psychological effect.
- Students will be asked to collect images that help to explore the emotional
impact of color.
.
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Week 5
Objective and subjective interpretation of reality.
- Exercises in discovering the universal through the particular; the docu-
mentary approach to imagery as opposed to the created; opening the eye to
the imagination.
Week 6
The image sequence - collage, montage, sequence design and pattern recognition.
- Exercises in the plasticity of image relationships; students will be asked
to build a montage or collage from selected images.
Week 7
The storyboard - how to tell a story visually.
- The exercise will involve building a sequence from images in juxtaposition
and sketched in storyboard fashion.
Week 8
The one-minute film.
- Students will be taught how to use the camera, lights, tripod and editing
equipment, and how to read the light and execute a shot.
Week 9
Sound.
- Mini workshop on sound created and natural, to support the film with an
adjacent sound track.
While students are working intensively in laboratory sessions on the completion
of the one-minute films, lecture/discussions will take up the following topics:
Film is an art form, a mass communication technique, an instrument of education
and a language in its own right: Critical insight into the practical application
of film in our society by an investigation of the types of films and their func-
tions.
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Week 10
The feature, the travel film and theatrical short.
Week 11
The documentary, traditional styles, cinema verite and the newsreel, the
propaganda or political film.
Week 12
The animated film and the experimental film.
Week 13
The educational film,the sponsored or industrial film and the TV commercial.
7TT.TT7PTflN.
Students will be graded upon the finished one-minute film and a term essay.
REQUIRED BEADING:
Guide to Filmmaking
?
Edward Pincus
Signet Press
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SENATE
COMMITTEE ON UNDERGRADUATE STUDIES
?
I .c •C .
77-7.
NEW COURSE PROPOSAL FORM
Calendar Information ?
Department:Centre for the Arts
Abbreviation Code:
?
FPA. Course Number: 230
?
Credit Hours: 3
?
Vector: 0-0-8
-
Title of
Course: ?
The Crafts of Film I
Calendar Description of Course:
An intensive study of the crafts of filmmaking, with emphasis on the use of the camera,
lighting, sound, and the screen-writing process. Introductions to the techniques of
filmmaking will be accompanied by exercises in their creative application.
Nature of
Course
?
Laboratory
Prerequisites (or special instructions):
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.
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?
?
77-3
Which of your present faculty
wuLri
be available to make the proposed offering
possible? ?
R. Nichol
3.Object
ivesof
the Course
This course is the first of two designed to give a rigorous and disciplined introduction
to filmmaking through exercises in the major crafts involved. See attached course outline
4.
BudgetaryandSpaceRequirements (for information only)
What additional resources will be required in the following areas:
Faculty
?
A second faculty member (authorized) will be required to offer this and
Staff ?
None ?
other planned film courses..
Library ?
None
Audio Visual Materials costs of approximately $2,000 will be required.
Space ?
Additional laboratory space is desirable but not immediately necessary.
Equipment ?
None
5.
Approval
Date: ?
i'
/1
?2
?
I ? _
77 ?
p-€_/
. 2,
/'77
• ?
(2_ J (_
?
'\97e
Department Chairman
?
Dean ?
-
?
Chairman, SCIJS
SCUS 73-34b:-
(When completing this form, for instructions see Memorandum
SCUS 73-34a.
Attach course outline).
?
12
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FPA. 230 - THE CRAFTS OF FILM I
COURSE OUTLINE
The following gives a weekly structure of topics and sample exercises:
Week 1
Introduction - What is film? What is a filmmaker?
- Discussions and screenings designed to orient the student to the approach
of 230 and 231.
Week 2
Characteristics of film emulsions.
- Camera tests on various emulsions will be done to show the quality of film
stocks and this will be complemented by a visit to a modern film processing
5
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laboratory.
Week 3
The camera - the basic tool and primary instrument through which the filmmaker
funnels his impressions and depicts the world around him.
- Familiarization with the variety of cameras and their various functions.
Week 4
Exposure - we must measure light and time. Through exposure we can alter mood,
create contrast and change the value of colour. It is an extremely important crea-
tive technique.
- Students will do tests for exposure and obtain practice in light-meter technique.
Week 5
Composition - the real power is in the image.
- Students will study form and content and learn how to place objects in the frame.
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.
Week 6
Cinematography - the creative use of camera.
- Simple exercises in angle, movement and framing, supported by screenings
and discussions of camera work.
Week 7
Lighting - a craft of its own to be learned in all its complexities. We light
to achieve mood, character, and create a "feel" to the shot.
- Basic lighting exercises.
Week 8
Advanced lighting.
- Exercises in lighting for dramatic situations.
Week 9
Colour - the psychology of colour and its use to achieve emotional effect.
- Screenings comparing black and white and colour and exercises in basic
colour design for scenes.
Week 10
Sound - basic sound recording and the nature of sound.
- How to cover a scene for sound, and how to mic. specific situations.
Week 11
Sound creation.
- A workshop in which sound effects are recorded, and the nature of sound is
explored both natural and electronic.
Week 12
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Scripting.
- A workshop in basic screen-writing techniques starting with research, organizing
the material, story boarding and preparation of the rough draft. Sample sequences
will be written by the students.
14
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Week 13
Advanced screen-writing.
- Dialogue and the dramatic script. A feature film will be shown with
accompanying script, to be studied. In addition students will create
their own scripts for V.T.R. and film exercises.
EVALUATION:
A written examination and an assessment of the student's practical work in
the course.
REQUIRED READING:
A Primer for Filmmaking
?
Kenneth H. Roberts and Win Sharples, Jr.
Pegasus Press, Bobbs-Merrill Company
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15
2 i2i
/ 7L
1
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Z.7
Dean
-I
thairman, SCUS
I..c. _77-7.
sENA'rF: COMMITTEE ON UNDERGRADUATE STUDIES
?
NEW COURSE
PROPOSAL FORM
40
Calendar
Information
?
Department:Centre for the Arts
Abbreviation Code:FPA.
?
Course Number:231
?
Credit Hours:
I ?
Vector:__
Title of Course:
The Crafts of Film II
Calendar
Description of Course:
An intensive study of the crafts of filmxnaking,with emphasis on production planning,
shooting, editing, and the post-production processes. Introductions to the techniques
of filmmaking will be accompanied by exercises in their creative application. This
course is
'a continuation of FPA. 230.
Nature of
Course Laboratory
Prerequisites (or special instructions):
FPA.
230. Students should expect to pay a laboratory fee.
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?
?
78-1
Which of your present faculty
W.iu!.d
be available to make the proposed offering
possible?
?
R. Nichol
3.
Objectives of the Course
This course is the second of two designed to give a rigorous and disciplined intro-
duction to filmmaking through exercises in the major crafts involved. See attached
course outline.
4.
Budgetary and Space Requirements (for information only)
What additional resources will be required in the following areas:
Faculty
?
A second faculty member (authorized) will be required to offer this and
Staff ?
None ?
other planned film courses.
Library ?
None
Audio Visual
?
Materials costs of approximately $2,000 will be required.
Space ?
Additional laboratory space is desirable but not immediately necessary.
Equipment ?
None
5. Approval
Date7eq
/'J
•
Department Chairman
SCUS 73-34b:- (When completing this form, for instructions see Memorandum
SCUS 73-34a.
16
Attach course outline).
FPA. 231
'-
THE CRAFTS OF FILM II
COURSE OUTLINE
The following gives a weekly structure of topics and sample exercises:
Week 1
Pre-production planning.
- Students will be taught how to deal with financial and administrative
details in handling location problems. Sample budgets and shooting schedules
will be made up.
Week 2
Shooting I - Interpreting the image and the essentials of cinematic technique
in manipulating the elements in the real world so that they will have a new
existence on the screen.
- A series of shooting exercises will be completed in black and white reversal
film stock dealing with basic problems and procedures on location.
Week 3
Shooting II.
- Practice in covering an event as a film crew and how to build a sequence
around it.
Week 4
The cutting room.
- Knowledge of basic cutting room procedures will be taught. How to organize
the material, practice, and familiarization with the equipment.
Week 5
Editing.
- Fundamentals of editing such as "syncing-up", selection, how to assemble
and telling a story shot by shot, how to build a sequence.
17
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Week 6
Advanced editing.
- How to edit to a rough cut stage, cutting points, temporal and spacial
continuity, sequence weight and structure. Students will practice editing
and structure using material or cuts from previous workshop productions.
Week 7
Specific editing problems.
- Dealing with pacing, structure, continuity, trimming and the fine cut.
How to lay out opticals and prepare the film for neg cutting. Supported
by simple exercises in solving problems.
Week 8
Sound and music editing.
. ?
- Basic principles and technique supported by practical exercises in laying
music and sound effects. How to make out the cue sheet and prepare film
for the mix.
Week 9
Opticals and titles.
- The creative use of opticals and titles. Exercises in design and layout
for film, supported by screenings.
Week 10
Film Animation - basic techniques.
- Some exercises in painting on cels and layout, a short animated film will
be shot as an example.
Week 11
Post-production I.
S
- Mixing and the recording studio, music and narration recording.
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Week 12
Post-production II.
- Neg cutting, the answer print and timing. Supported by a visit to a
post-production house.
Week 13
Summary.
PT.TTyrPTCTh1.
A written examination and an assessment of the student's practical work in
the course.
REQUIRED READING:
A Primer for Filmmaking ?
Kenneth H. Roberts and Win Sharples, Jr.
Pegasus Press, Bobbs-Merrill Company
.19
SENATE COMMITTEE ON UNDERGRADUATE STUDIES
NEW COURSE PROPOSAL FORM
?
S
Calendar Information ?
Department:
Centre
fcr the Arts
Abbreviation Code:_
FPA. ?
Course Number:
236
?
Credit Hours: 3
Vector:2-0-4
Title of Course:
?
The History and Aesthetics of Cinema I
Calendar Description of Course:
This course will examine the early development of
cinema from 1890 until about 1930, with particular emphasis on the fundamental•;principles
of film as an art form. A substantial number of films will be shown during laboratory
sessions.
Nature of Course
Lecture/Laboratory
Prerequisites (or special instructions):
What course (courses), if
any, is being dropped from the calendar if this course is
approved: None
2. Scheduling
Row frequently will the
course be offered?
? Once a year
Semester in
which the course will
first be
offered? ?
773
Which
of
your present
faculty wDuld
be
available to make the proposed
offering
possible? ?
J. Wall
0.
ObjectivesoftheCourse
This course is the first of two intended to give an overview of film history
and
aesthetics. It is designed for the general student as well as for those with a
special interest in film. See attached course outline.
4.
Budgetary and Space
Requirement
s
(for information only)
What additional resources
will be required
in
the following
areas:
Faculty
?
This course and 237 will eventually re
quire
one-'half of a faculty position.
Staff ?
None
Library ?
None
Audio Visual
Approximately $2,000 will be required for film rental. Showings will be
free and public.
Space
?
None
Equipment ?
None
5.
Approval
' '
Date:
AL
_/
2
_'7
/'--
•
Department Chairman
--Dean
Chairman, SCUS
SCUS 73-34b:-
(When completing this form, for instructions see Memorandum SCUS
73-34a.
Attach course outline).
0
FPA. 236 - HISTORY AND AESTHETICS OF THE CINEMA I
COURSE OUTLINE
An introductory survey of the cinema from its invention to the opening of the
sound era. The course will trace the development of the cinema as a form of
mass entertainment, as an art, an industry. Following a general historical
sequence, the principal aesthetic and theoretical problems of film as art, as
entertainment, as information, and as industry will be discussed. The develop-
ment of national film industries, academies and the aesthetic and critical issues
identified with them will be followed; technical developments will be analyzed
and explained in terms of the changes they brought about and at the same
time reflected in the new art form. Using examples, the nature and historical
•
?
development of film's narrative and signifying conventions and structures will
be investigated; in this connection the cinema's relationships with painting and
sculpture, theatre and literature will be discussed. The course will aim at
presenting a coherent account of the silent era and its aesthetics; the place of
further technical innovations such as synchronized sound on the theories and atti-
tudes toward the "film art" will be dealt with in order to help the student create
an understanding of the basic issues in the history and aesthetics of film and a
beginning grasp of the methodology involved in the critical consideration of the
medium.
The course will be structured into one two-hour lecture and two two-hour film
showings each week. There will be opportunity for discussion following the film
showinqs. Evaluation will be based on short papers and an examination.
.
21
-2-
The following gives a weekly breakdown of topics to be addressed in the course.
Films shown will be selected from among those listed or closely related alter-
natives, depending upon availability.
Week 1
THE INVENTION OF CINEMA
- Photography and Research into the Illusion of Motion: Plateau, Muybridge,
Marey, Edison
- The 19th Century Theatre and Illusionism
- The Illusion of Reality in Painting and the Popular Novel
- Popular Entertainment: The Pre-Cinema
- Lumire and M1is: The Posing of the Basic Aesthetic Opposition: Documentary
and Fantasy
4 0 ?
Studies in Film:
Roger Leenhardt:
?
The Biography of the Notion Picture Camera (1947)
Thom Anderson: ?
Eadweard Nuybridge
zoopraxographer (1974)
Lumire & Nelies Program
Week 2
FILM PIONEERS IN FRANCE, ENGLAND, ITALY AND AMERICA
- Beginning of the Movie Business
- The First Studios and Their Pictures: Biograph, Pathe, Gaumont, etc.
- The Nickelodeon
- The Industry, the Trust and the Feature Film
- The Move to Hollywood
- The film becomes more than a technical novelty and demands its own dramatic
(narrative) and artistic identity. The "movie" emerges from the 1-and 2-reel
. ?
"show" and becomes identifiable as an artistic and economic unit
- The Film d'Art in France
- The Italian Spectacles
22
-3-
S
Week 2 (Cont'd)
Studies in Film:
Edwin S. Porter
Andre CalmeLtes:
Enrico Guazzoni:
Giovanni Pastrone:
Griffith Before 1914
Thomas Ince
The Great Train Robbery (1903-04)
L'Assassinat du Duc de Guise (1908)
Quo Vadis? (1912)
Cabiria (1913)
Week 3
D.W. GRIFFITH
Studies in Film:
D.W. Griffith: ?
Birth of a Nation (1914)
• ?
The Avenging Conscience (1914)
Intolerance (1916)
Broken Blossoms (1919)
Way Down East (1920)
Isn't Life Wonderful (1924)
Weeks 4, 5 & 6
THE SOVIET CINEMA
- Futurism and Revolution
- The Theory of Film
- Montage and the Aesthetics of the Silent Film
- Fact and Fiction
Studies in Film:
Lev Kuleshov:
?
The Extraordinary Adventures of Mr. West in
i s ?
the Land of the Bolsheviks (1924)
-
?
23
-4-
.
Weeks 4, 5 & 6 (Cont'd)
Studies in Film (Cont'd):
Serges M. Eisenstein:
V.I. Pudovkin:
Dziga Vertov:
Kosintsev & Trauberg:
Alexander Dovzhenko:
Strike (1924)
Battleship Potemkin (1925)
October (1927)
Mother (1926)
Storm Over Asia (1928)
Man With a Movie Camera (1928)
The New Babylon (1929)
Arsenal (1929)
Earth (1930)
Week 7
FRANCE IN THE TWENTIES
The First "Avant-Garde", and Surrealism: Delluc, Dulac, Bunuel
The Commercial Film as Art:
Feuillade, Epstein, Clair, Gance, Renoir,
Gremillon, L'Herbier, Vigo
Studies in Film:
Louis Feuillade:
Fant6mas (1913)
Vampires (1915)
Judex (1916-17)
Tih Minh (1918)
Louis Delluc:
Fever (1921)
La Femme de Nulle Part (1924)
Marcel L'Herbier:
Eldorado (1922)
Feu Matthias Pascal (1925)
Abel Gance:
La Roue (1929)
Napoleon (1927)
Jean Epstein:
Lé Coeur Fidle (1923)
Fall of the House of Usher (1928)
Rene Clair:
Entr'acte ?
(1924)
Jean Renoir:
Nana ?
(1926)
La Chienne (1931)
Germaine Dulac:
The Seashell and the clergyman (1926)
Luis Bunuel:
Un Chien Anadalou (1928)
L'Age d'Or
?
(1930)
W
Las Hurdes ?
(1932)
Jean Vigo:
Apropos de Nice (1929)
Zro de Conduite (1932)
24
-5-
GERMANY
Weeks 8, 9 & 10
- Expressionism in Art, Literature and Theatre in the Domain of Cinema
- The Nightmare Machine: The Cinema of Myth and Archetype
Studies in Film:
Paul Wegener &
Stellan Rye:
Paul Wegener &
Hendrik Galleen:
Carl Mayer &
Robert Weine:
Arthur Robison:
The Student of Prague (1913)
The Golem (1920)
Cabinet of Dr. Caligari (1920)
Schatten (1923)
.
FRITZ LANG
Studies in Film:
Fritz Lang:
?
Der Müde Tod (1921)
Dr. Mabuse the Gambler (1922)
Siegfried and Kreimhild's Revenge (1924)
Metropolis (1926)
Spies (1927)
(1931)
F.W. MURNAU & G.W. PABST
Studies in Film:
F.W. Murnau: ?
Nosferatu (1922)
The Last Laugh (1924)
Faust (1926)
G.W. Pabst: ?
Joyless Street (1925)
Pandora's Box (1928)
The Threepenny Opera (1931)
.
25
-6-
.
Weeks 8, 9 & 10 (Cont'd)
THE SCANDINAVIAN CINEMA IN THE 20's
- Victor Sjstr6m, Mauritz Stiller, Carl Dreyer
Studies in Film:
Victor
.
Sjstrxn: ?
Ingeborg Holm (1913)
Mauritz Stiller:
?
Arne's Treasure (1919)
Gosta Berling's Saga (1924)
Carl Dreyer: ?
The Passion of Joan of Arc (1928)
Vampyr (1932)
HOLLYWOOD IN THE TWENTIES
Weeks 11, 12, & 13
- Hollywood the Film Capital and the Factory Town
- The Movie Genius: Producer, Writer, Director, Star
- Refinements of the Conventional Commercial Movie: Genres
- The Movie as Art: Directors
- The Movie as Mass Commodity: Producers and Writers
- The Movie as Myth and Dream Machine: Stars
Studies in Film: Silent Comedy
Mack Sennett:
Tillie's Punctured Romance (1915)
Buster Keaton:
Sherlock Jr.
?
(1924)
The Navigator (1924)
The General (1926
Charles Chaplin:
The Immigrant (1917)
The Kid (1921)
The Gold Rush (1924)
City Lights ?
(1931)
Harold Lloyd:
The Freshman (1925)
26
-7 -
Weeks 11, 12 & 13 (Cont'd)
Studies in Film (Cont'd): The Hollywood Movie
.
John Forth
Straight Shooting (1917)
The Iron Horse (1924)
Three Bad Men (1926)
Erich Von Stroheim:
Blind Husbands (1919)
Foolish Wives (1922)
Greed (1925)
Fred Niblo:
Blood & Sand (1922)
Ben Hur (1927)
Charles Chaplin:
A Woman of Paris (1923)
C.B. de Mule:
The Ten Commandments (1923)
James Cruze:
The Covered Wagon (1923)
Ernst Lubitsch:
The Marriage Circle (1924)
•
Lady Windermere's Fan (1925)
King Vidor:
The Big Parade (1925)
Alfred Hitchcock:
The Lodger (1926)
Frank Borzage:
Seventh Heaven (1927)
F.W. Murnau:
Sunrise ?
(1927)
City Girl ?
(1928/30)
Marshall Neilan:
Man, Woman and Sin (1927)
William Wellman:
Wings ?
(1927)
Josef Von Sternberg
Underworld (1927)
Docks of New York (1928)
Last Command (1928)
Victor Sjstr3m:
The Wind (1928)
Allan Dwan:
The Iron Mask (1929)
The First Sound Films
Ernst Lubitsch: ?
The Love Parade (1929)
Trouble in Paradise (1932)
Josef Von Sternberg:
?
The Blue Angel (1930)
Morocco (1930)
Shanghai Express (1932)
Howard Hawks:
?
The Dawn Patrol (1930)
Scarface (1932)
27
-8-
0
?
Weeks 11, 12 & 13 (Cont'd)
Studies in Film (Cont'd): The First Sound Films (Cont'd)
Lewis Milestone:
Alfred Hitchcock:
King Vidor:
Rouben Mamoulian:
Mervyn Leroy:
Busby Berkeley:
All Quiet on the Western Front (1930)
Rain (1932)
Murder (1930)
Street Scene (1931)
City Streets (1931)
I Am a Fugitive from a Chain Gang (1932)
Footlight Parade (1933)
0
Me
?
SENATE COMMITTEE ON UNDERCIAm1ATSTUDJ
?
l ..
C.
77-7.
E
NEW COURSE PROPOSAL FORM
Calendar Information ?
Department: Centre for the Arts
Abbreviation Code:
FPA. ?
Course Number:237
?
Credit Hours: .3
?
Vector: 2-0-4
T1t1c.
riF ('nIirse ?
The History and Aesthetics of Cinema II
Calendar Description
of Course: This course will examine selected developments in
cinema from 1930 to the present, with attention to various styles of artistic expression
in film. A substantial number of films will be shown during laboratory sessions.
Nature of Course
Lecture/Laboratory
Prerequisites (or special instructions):
FPA. 236
What course (courses), if
any, is being dropped from the calendar if this course is
approved: ?
None
2. Scheduling
Row frequently will the course be offered?
?
Once a year
Semester in
which the course will first be offered?
?
78-1
Which of your present
faculty
cu!cI
be available to make the proposed offering
possible?
N.E. Eliot-Hurst may be seconded from Geography for the initial offering.
Objectives of the Course
This course is the second of two intended to give an overview of film history and
aesthetics. It is designed for the general student as well as for those with a special
interest in film. See attached course outline.
4. Budgetary and
Space ReguiremejS_ (for information only)
What additional resources will be required
in
the following areas:
Faculty ?
This course and 236 will eventually re
q
uire one-half of a faculty position.
Staff ?
None
Library ?
None
Audio Visual Approximately $2,000 will be required for film rental. Showings will be
free and public.
Space
?
None
Equipment
?
None
5. Approval
Date
12.
'97/
ar€ ?
,
/977k
2
•
Xc
__
Chairman, SCUS
Department
Chairman
Dean
SCUS ?
73-34b:-
(When completing
this form,
?
for instructions see
Memorandum SCUS 73-34a.
?
29
Attach course
outline).
FPA. 237-3 - THE HISTORY AND AESTHETICS OF CINEMA II
COURSE OUTLINE
An introductory survey of the cinema from the addition of sound in the
1930's to the present day. Sound came into its own in Hollywood, and
Hollywood movies will be the starting point. The addition of a sound
track heightened the aims of early cinema, which were sharply divided
between a quest for "realities" on the one hand and magical fantasy on the
other. Now with sound the documentary and fictional narratives were
heightened in their effect. And it was the fictional narrative and 90-
minute melodrama produced in the "dream factory" of Hollywood that shaped
commercial cinema throughout the period under consideration.
No
considera-
tion of film can get very far without facing this inescapable fact - American
commercial cinema is world cinema, or as Jean Luc Godard put it "MOSFILM -
PARAMOUNT". As such Hollywood produces an art commodity, a film, which it
markets for a profit. But it's more than just a mere commodity, for Holly-
wood's standards bestow an importance on 35mm or 70mm film that is not given
to 16mm, 8mm or videotape; they give an importance to the narrative or melo-
drama as aesthetic forms which are not given to documentary, animation, shorts,
comedy, nonrepresentational films. And these very standards are also used to
judge films which themselves reject Hollywood, such as underground, third
world, and feminist films. To acknowledge Hollywood is to acknowledge reality.
"American capitalism finds its sharpest and most expressive reflection
in the American cinema.
Eisenstein
"I like my movies made in Hollywood."
Richard Nixon
But to acknowledge Hollywood is to
acknowledge critically Hollywood's
role
in the aesthetics of world cinema,
of how the revolutionary chanoes
in the
art form of film examined in FPA.
236 (liberating the camera from a
fixed
30
-2-
S
point, montage, and raw sound) become ossified over time into an institu-
tional book of rules; art technologies become smooth techniques, canons
of law supervised by Hollywood, scrupulously obeyed by filmmakers and
editors, immortalized in textbooks, and further enshrined by film schools.
From Hollywood's film industry, and its tentacles which stifle English
Canadian movies and are reflected around the world in national cinemas
more or less strongly, attention will be paid to a parallel development,
the documentary tradition, and then a series of reactions to the Hollywood
formula - aesthetic reactions which attempt to violate all the rules of
montage, realism, linear plot and narrative, and visual taboos. Subject
reactions which turn to animation, new technologies, new areas of coverage,
or which minimize cinema, subvert illusion and even eliminate camera and
artist.
• ?
The course will aim at presenting a coherent amount of current cinema and
its aesthetics, within a broad historical framework, its relationships with
other art forms, its role as a mass entertainment industry, and with regards
to various theories of film practice and criticism.
Week 1
THE HOLLYWOOD FORMULA
(1) ?
The Added Dimension - Sound
(ii) The Rule Book - Montage
- The mythology of editing; the linear plot and narrative; the
fictional narrative and 90-minute melodrama. The Hollywood
international "canon" of regulation, rules which became regarded
as logical, reasonable, and "right", reflecting an orderly pre-
dictable world.
Studies in Film:
?
(a) Sound experiments: Pas deDeux
Metropolis
31
Renoir•
Ross eli mi
S
?
Chabrol
Kadar/Klos
Paisan (1947)
La Grande Illusion (1937)
Le Beau Serge (1958)
Three Wishes (1958)
-3-
Studies in Film: (b) Formula Film of Various Eras:
Busby Berkeley ?
Gold Diggers of 1934
Arthur Penn
?
The Chase
Leo McCarey ?
My Son John
Week 2
HOLLYWOOD'S CANADA - AND CANADA
Hollywood's absorption of. production, distribution, and exhibition of
films in Canada has denied English Canada its own film narrative tradition.
At the same time Hollywood in the 1930's and 40's presented surrogate images
of Canada, "get-your-man" Mounties, inanimately costumed and thundering
across misplaced mountains; the inevitable hot-blooded French Canadian lusting
after all white women; the hostile Indian tribes set in a primeval forest.
The National Film Board was the result of John Grierson's coming to Canada
in 1938 to advise the government on film policy - at first very heavily
reliant on documentary, Grierson shaped an organization which continues to
5 ?
influence Canadian cinema, as opposed to Hollywood's images.
Studies in Film:
(i)
The NFB tradition - films from the 40's and 50's,
including Norman McClaren's Mail Early for Christmas (1941)
and Blinkity Blank (1955) as well as films by Stuart Legg,
Julian Hoffman, Cohn Low, Tom Daly, and Roman Kroiter.
(ii)
The Canadian Feature - The Mask (1961) (Canada's first and
only 3D movie); Goin Down the Road (1970) and Drylanders (1963).
Week 3
INTERNATIONAL CINEMA 1930 - 1950
Studies in Film:
I
S
32
-4-
S
?
Week 4
THE DOCUMENTARY TRADITION
From earliest filmmaking the human condition has also been revealed in news-
reels and a separate documentary tradition. From the beginnings in the 1920's,
John Grierson and R.J. Flaherty had developed by the 1930's and 40's a new
aesthetic approach in film.
Studies in Film:
John Grierson
Night Mail (1936)
Joris Ivens
The Land
Alan King
A Married Couple
Frederick Wiseman
Titticut Follies
Guernica
Peter Watkins
Culloden
5
Diary of a Harlem Family
Leni Riefenstàhl
Triumph of the Will
Week 5
AESTHETIC REBELS: ASSUALT ON MONTAGE
The violating of the rules - the creation of cinema as poetry. Creativity
replaces smooth continuity.
Studies in Film:
Jean-Luc Godard
?
Breathless (1959)
Miklos Jancso ?
The Red and the White (1968)
33
-5-
Week 6
AESTHETIC REBELS: COLLAPSE OF TIME AND SPACE
The shattering of static concepts
of time and space; time and space as
absolute equivalents were questioned by Joyce, Proust, and others, but
it is in cinema that the discontinuities and temporal/spatial ambiguities
reach their fullest expression.
Studies in Film:
Alain Resnais
?
Hiroshima Mon Amour (1959)
Last Year at Marienbad (1961)
Donald Smith
?
London to Brighton in 4 Minutes (1952)
Week 7
REACTIONS: NON-LINEAR PLOT AND NARRATIVE
S ?
The multi-faceted fluid nature of reality, as now understood, can no longer
?
be subsumed in the certainties of linear narrative structures.
Studies in Film:
Michaelangelo
Antofliofli
?
L'Avventura (1960)
B aruce 110/
Griffi
?
La Verifica Incerta (1965)
Week 8
THE EXISTENTIAL EYE
The quintessence of film as art.
.
Studies in rilm:
Vittorio de Sica
Francois Truffaut
Umberto D (1952)
The Wild Child (1967)
34
I
-6-
Week 9
WEAPONS OF SUBVERSION: BLUE COLLAR MOVIES
Studies in Film:
James Hill
?
The Kitchen (1961)
Elio Petri
?
The Working Class Goes to Heaven
G.W. Pabst
?
Kameradschaft (1932)
Week 10
WEAPONS OF SUBVERSION: BLUE MOVIES, THE POWER OF VISUAL TABOOS
Studies in Film:
Representative films will be chosen from the following categories:
Nudity:
Roger Vadim
Vigot Sjoman
Alex de Renzie
Homosexuality:
Kenneth Anger
Jean Genet
Andy Warhol
Barbarella (1958)
I Am Curious: Yellow (1967)
History of the Blue Movie (1971)
Fireworks (1947)
Un chant d'Amour (1950)
Blow Job (1963)
.
Various Sex Acts:
Luis Bunuel
Shirley Clarke
Roland Letteu
Stan Brakhage
Alan Ruskin
Stanley Kubrick
Paul Morrissey
C. Larkin
Pier Paolo Pasolini
Belle de Jour (1966)
Portrait of Jason (1967)
The Blood Thirsty Fairy (1968)
Lovemaking (1969)
The Man from Onan (1971)
Clockwork Orange (1972)
Heat (1972)
A Very Natural Thing (1974)
Salo (1975)
35
Ll
.
-7-
Studies in Film: Cont'd
Birth and Death:
Georges Franju
?
The Blood of the Beasts (1949)
Alain Resnais ?
Night and the Fog (1955)
Gunver Nelson
?
Kirsa Nicholina (1970)
Anti-Clericalism:
Luis Bunuel ?
L'Age d'Or (1930)
Viridiana (1961)
Robert Rossellini ?
The Miracle (1948)
Smith/Kernochan ?
Marjoe (1972)
Week 11
AESTHETIC REBELS: ANIMATION
Studies in Film:
Disney Techniques:
Grant Munro
My Financial Career (1962)
Yvon Malette
The Family that Dwelt Apart (1973)
Cut-Outs:
Oorida Wary
Happiness-Is
?
(1972)
Gayle Thomas
It's Snow (1974)
Pastels:
N. McClaren
Adelaide village (1972)
Line Drawing/Wash:
R y
an Larkin
walking (1968)
Drawings/Photographs:
Rene Jordan
A Children's Country (1967)
John Taylor
Prairie-Passing Through (1973)
I
.
-8-
Studies in Film: Cont'd
Line Drawing:
Elliot Noyes
Building Blocks:
Hoedeman
Charcoal:
Ryan Larkin
Pinscreen:
Alexandre Alexeieff
Live Animation:
N. McLaren
In a Box (1967)
The Men in the Park
Tchan-Tchan Co. (1972)
Cityscope and Syrinx (1965/66)
Pinscreen (1973)
Two Bagatelles (1953)
.
.
Week 12
THE TECHNOLOGICAL IMPERATIVE
Cinemascope, Todd A-O, Cinerama, Ultra-Panavision, "3D-Films", and the
multi-screen image assault aesthetics through the dominance of technical
visual tricks.
Studies in Film:
A. Chapman ?
A Place to Stand (1967)
Dufaux/Godbout ?
Multiple Man (1967)
Federico Fellini
?
La Dolce Vita
.
37
S
-9-
S
Week 13
AESTHETIC REBELS: MINIMAL CINEMA; ELIMINATION OF REALITY, SUBVERSION OF
ILLUSION, ELIMINATION OF THE CAMERA, ELIMINATION OF THE ARTIST.
CONCLUSION: TOWARDS AN AUDIENCE FOR THEIR ART
Studies in Film: (i)
Painting on Film:
N. McClaren ?
Fiddle-de-dee (1947)
Begone Dull Da y
s (1949)
Colour Wash on Film:
5
??
Guy Glover ?
Marching the Colours (1952)
Engraving on Film:
N. McClaren ?
BlinkityBlaflk (1955)
Pierre Herbert
?
Op-Hop-Hop-Op (1966)
Pen & Ink on Film:
N. McClaren ?
Dots
Hen
Loops
Hop
?
1944 to 1952
Hoppity Pop
Drawing on Film:
N. McClaren ?
StarS and Stripes (1971)
Computer Film:
Peter Foldes
?
Meta Data (1971)
Hunger (1974)
Minimal Film:
. ?
Andy Warhol ?
Kiss (1962)
Standish Lawder
?
Runaway (1970)
I
- 10 -
r
Studies in Film: (ii)
Jean-Luc Godard
?
Weekend (1968)
Godard/ Gorin
?
Pravda (1969)
REQUIRED READING:
?
Amos Vogel
Ralph Stephenson &
J.R. Debrix
Film as a Subversive Art
New York, Random House, 1974
The Cinema as Art
Penguin, Seconded, 1976
OTHER SUGGESTED READING:
The Major Film Theories
New York, O.U.P.,, 1976
Non-Fiction Film - A Critical History
New York, E.P. Dutton, 1973
A Handbook of Canadian Film
Toronto, Peter Martin, 1973
Ways of Seeing
Penguin, 1972
Women in Focus
Dayton, Ohio; Pflaum, 1974
Latin American Cinema
Los Angeles, U.C.L.A., 1975
Filmmaking: The Collaborative Art
Boston, Little Brown, 1975
Experimental Cinema
New York, Dell, 1972
The Consciousness Industry
New York, Seabury, 1974
The Moving Image - A Guide to Cinematic Literacy
New York, E.P. Dutton, 1970
J.D. Andrew
Richard Barsam
Eleanor Beattie
John Berger
Jeanne Betancourt
E. Bradford Burns
Donald Chase
David Curtis
Hans Magnus
Enzensberger
Robert Gessner
39
S
S
S
-
11 -
OTHER SUGGESTED READING: Cont'd
G. Hennebelle ?
Quinze Ans de Cinema Mondial
Paris, Les Editions de Cerf, 1975
Lewis Jacobs (ed)
?
The Documentary Tradition: FromNoflook toWoodstock
New York, Hopkinson and Blake, 1971
R. Leverant
?
Zen in the Art of Photography
San Francisco, Images Press, 1969
Richard MacCann (ed) ?
Film - A Montage of Theories
New York, E.P. Dutton, 1966
Kenneth MacGowan
?
Behind the Screen - The History and Techniques of the
Notion Picture
New York, Delta, 1965
G. Mast & N. Cohen
?
Film Theory and Criticism: Introductory Readings
(eds)
?
Toronto, O.U.P., 1974
G. Mast
?
A Short History of the Movies
New York, Bobbs-Merrill, 1971
T. McCarthy &
?
Kings of the B's: Working Within the Hollywood System
C. Flynn (eds)
?
New York, Dutton, 1975
Christian Metz
?
Film Language
New York, O.U.P., 1974
Michael Myerson
?
Memories of Underdevelopment: Films of Cuba
New York, Grossman, 1973
Marjorie Rosen
?
Popcorn Venus: Woman, Movies, and the American Dream
New York, McCann and Geoghegan, 1973
N. Slade ?
Language of Change: Moving Images of Man
Toronto, Holt-Rinehart, 1970
J.F. Scott
?
Film: The Medium and the Maker
New York, Holt-Rinehart, 1975
Stanley Solomon
?
The Film Idea
New York, Harcourt Brace Jovanovich, 1972
Parker Tyler
?
Screening the Sexes
New York, Anchor Books, 1972
Basil Wright
?
The Long View: An International History of Cinema
Paladin, 1976
S
40
5. Approval ?
Date;
Department airman
/2,
Chairman, SCUS
6
SENATE COMMITTEE ON UNDERGRADUATE STUDIES
?
NEW COURSE PROPOSAL FORM
Calendar Information
Abbreviation Code:
FPA.
Departdbnt:Centre for the Arts
Course Number:
43n ?
Credit Hours:
5
?
Vector:__________
Title of Course:
?
Directed Studies in Film Production I
Calendar Description of Course:
This course requires a substantial contribution to a film production undertaken by
the Simon Fraser Film Workshop and participation in other.workshop activities. The
exact nature of each student's involvement will be assigned by the supervising instructor.
Nature of Course
Directed Study
Prerequisites (or special instructions):
FPA. 231. Students should expect to pay a laboratory fee.
What course (courses), if
any, is being dropped from the
calendar if this course is
approved:
None, but this course utilizes the resources of the present Film Workshop.
2. Scheduling
How frequently will the course
be offered?
?
Twice a year
Semester in which the course will first be offered?
?
77...3
Which of your present faculty
would
be available to make the proposed offering
, possible?
R. Nichol
Objectives of the Course
See attached statement.
4.
Budgetary and Space Requirements (for information only)
What additional resources will be required in the following areas:
Faculty ?
A
second faculty member (authorized) will be required to offer this and
Staff ?
None
?
I
other planned film courses.
Library
?
None
Audio Visual None
Space ?
None
Equipment ?
None
SCUS 73-34b:-
(When completing this form, for instructions see Memorandum SCUS
73-34a.
Attach course outline).
?
41
m
SENATE COMMITTEE ON UNDERGRADUATE STUDIES
?
1.S.C.
T1-7.
NEW COiRSE PROPOSAL FORM
Calendar Information
?
Department: CENTRE FOR THE ARTS
Abbreviation Code:
FPA.
?
Course Number:41
?
Credit Hours:5
Vector:_________
Title of Course:
?
Directed Studies in Film Production II
Calendar Description
of Course:
This course requires a substantial contribution to a film production undertaken by
the Simon Fraser Film Workshop and participation in other workshop activities. The
exact nature of each student's involvement will be assigned by the supervising instructor.
Nature of Course
?
Directed Study
Prerequisites (or special instructions):
FPA.
231. Students should expect to pa
y
a laboratory fee.
What course (courses),
if any, is being dropped from the calendar if this course is
approved:
None, but this course utilizes the resources of the present Film Workshop.
2. Scheduling
How frequently will the
course be offered?
?
Twice a year
Semester in
which the course will first be offered?
?
77-3
Which of your present
faculty wr.,uld
be
available to make the proposed
offering
possible? ?
R. Nichol
Objectives of the Course
See statement attached to FPA. 430 Proposal Form.
4.
Budgetary and Space Requirements (for information only)
What additional resources will be required
in
the following areas:
Faculty
?
A
second faculty member (authorized) will be required to offer this and
other planned film courses.
StaffLibrary ??
None
None
Audio Visual None
Space
?
None
Equipment ?
None
5.
Approval
Date:-i?
0
7?J
?
7/&./ J2/
I
t177 ?
(27IA.2 i3 f77
•ZL
Department Chairman
?
______
Dean
?
Chairman,
SCUS 73-34b:-
(When completing this form, for instructions see Memorandum SCUS 73-34a.
?
?
Attach course outline).
?
4
S. Approval
Date:_________________________
.
Department Chairman
1ALM
R4
W4
-
'
04
Dean
SENATE COMMITTEE ON UNDERCRADUATE STUDIES
?
C. 77,
NEW
COURSE
COURSE
PROPOSAL FORM
Calendar Information ?
Department:
Centre
for the Arts
Abbreviation
Code:
FPA. ?
Course Number:432
?
Credit Hours:5
?
Vector:_________
Title of Course:
?
Directed Studies in Film Production iii
Calendar Description of Course:
This course requires a substantial contribution to a film production undertaken by
the Simon Fraser Film Workshop and participation in other workshop activities. The
exact nature of each student's involvement will be assigned by the supervising instructor.
Nature of Course
?
Directed Study
Prerequisites (or special instructions):
FPA..
231.
Students should expect to pay a laboratory fee.
What course (courses), if any, is being dropped from the calendar if this course is
approved:
None, but this course utilizes the resources of the present Film Workshop.
2.
Scheduling
How frequently will the course be offered?
?
Twice a year
Semester in
which
the course will first be offered?
?
78-1
Which of your present faculty
c.u!1
be available to make the proposed offering
possible? ?
R. Nichol
3.
Objectives of the Course
See statement attached to FPA.
430
Proposal Form.
4.
Budgetary and Space Requirements (for information only)
What additional resources will be required in the following are
Faculty ?
A second faculty member (authorized) will be required to offer this and
Staff ?
None ?
other planned film courses.
Library ?
None
Audio Visual
None
Space
?
None
Equipment ?
None
er-'
Z/-
Chairman, SCUS
SCUS 73-34b:- (When completing this form, for instructions ace Memorandum SCUS 73-34a.
Attach course outline).
?
43
0 ?
FPA. 430, 431 & 432 DIRECTED STUDIES IN FILM PRODUCTION I, II & III
COURSE OBJECTIVES
These courses are designed to give students the opportunity to derive credit
from participation in
,
the Simon Fraser Film Workshop. The reasons for using
the mechanism of Directed Study courses requires some explanation.
Of all the workshop programs in the arts run by the Centre for Communications
and the Arts, the Film Workshop has probably been the most successful. The
non-credit basis of the workshop has permitted the organization of time around
the dictates of film production rather than an arbitrary course structure.
Film production is primarily a collective process which requires an extended
sequence of creative undertakings, from script-writing to post-production pro-
cesses. The workshop system permits a range of talents to be brought to film-
making and an appropriate distribution of those talents in a variety of produc-
tion roles. Most important, it permits a disciplined and professional approach
to the art which is rarely found in undergraduate film programs. Insofar as
possible we wish to retain these advantages while introducing credit work.
We anticipate that students in the film minor will be required to take all
three of the Directed Study courses. We expect that after having received the
creative and craft basis of the art in 132, 230 and 231, students will normally
take the three courses within the Fall and the Spring semesters of a single year.
This will enable the student to participate in the full production sequence of
the workshop, with emphasis on the earlier or later stages of production in
accordance with that student's talents and interests. Each student will be
under the guidance of an individual faculty member, however, and some flexibility
is possible. For example, if a summer script-writing workshop can be established,
some film students may be able to obtain credit for their participation, much as
dance students now obtain credit the the Summer Intensive Dance Residency.
Although the Directed Study system will permit students to emphasize certain
aspects of production in their training, it is not intended that students will
0
-2-
.
be able to concentrate narrowly on a single role in a single production. In
order to obtain credit for each production course, the student will be obliged
to perform a significant production role (as, for example, writer, director,
cinematographer, editor) , as well as to perform crew work on another production.
Structure of the Simon Fraser University Film Workshop:
- The Simon Fraser Film workshop will run from September through early April
on the model of a production company, normally undertaking 3 or 4 productions
each year.
- The workshop will be open to students who have successfully completed FPA. 231
and on a special audit basis to a very limited number of others who by reason
. ?
of their previous training or experience can facilitate the educational process
of the credit students.
- Ideas and scripts will be initiated at the outset and selected for production
by mid-November. Subsequent deadlines on all phases of production will be
strictly adhered to.
- Apart from definite screening dates and a weekly production meeting, the work-
shop hours will be organized around the availability of space, equipment, and
faculty time. All workshop members will be expected to audit FPA. 230 and 231
during visits by guest professionals.
45
