Introduction to Film (for Non-Majors)
York University / Faculty of Fine Arts / Department of Film
FA/FILM 1401Y 6.0
Course Website: https://moodle11.yorku.ca/moodle/
Textbook website: http://highered.mcgraw-hill.com/sites/0073386162/student_view0/
Prerequisite / Co-requisite: none.
Course Exclusion: Film 1400
Course Instructor Michael Zryd
Office: Centre for Film & Theatre (CFT) 227
Telephone: 416-736-2100 x 22513
Office hours: by appointment
Lectures & Screenings: Mondays 2:30-5:20, Price Family Cinema, Accolade East 102 (ACE 102)
Tutorials: Tutorials are small group sessions that are held in conjunction with lectures and screenings. ATTENDANCE IS MANDATORY. You are assigned to one of the 50 minute tutorials listed below:
01: T 9:30 ACE 012 Cameron Moneo
02: T 10:30 ACE 012 Cameron Moneo
03: T 11:30 ACW 009 Zoran Maric
04: T 12:30 ACW 009 Zoran Maric
05: T 13:30 ACW 104 Eli Horwatt
06: T 14:30 ACW 104 Eli Horwatt
07: T 15:30 ACE 003 Masaki Kondo
08: T 16:30 ACE 003 Masaki Kondo
09: W 9:30 ACE 006 Chase Joynt
10: W 10:30 ACE 006 Chase Joynt
11: W 9:30 ACE 010 Genne Spears
12: W 10:30 ACE 010 Genne Spears
13: W 11:30 ACE 008 Tamas Nagypal
14: W 12:30 ACE 008 Tamas Nagypal
15: W 13:30 ACE 012 Chloe Johnson
16: W 14:30 ACE 012 Chloe Johnson
17: W 15:30 ACE 012 Birgit Schneidmuller
18: W 16:30 ACE 012 Birgit Schneidmuller
Expanded Course Description and Course Learning Objectives
This course provides a broad survey of the art and criticism of film. Students are introduced to some of the major films and movements that have come to define the evolution of cinema as a popular culture, political discourse and art form. Within an historical framework students will be introduced to the general vocabulary and syntax of film studies. They will also learn about the major technological innovations, aesthetic movements and political discourses that have underscored the development of cinema as a culture industry.
Specific Learning Objectives
1. Depth and breadth of knowledge
a. Demonstrate a general knowledge of the history of cinema from its beginning to the present including major international films, artists, and movements.
b. Understand the key concepts and debates underlying theories of cinema and media.
c. Engage with multiple cultural perspectives.
2. Knowledge of methodologies:
a. Grasp the fundamentals of cinema and media analysis in the context of general critical thinking and analytical skills.
3. Application of knowledge
a. Employ critical and creative research and writing skills.
b. Conduct research of print, electronic, and visual resource texts.
c. Accept constructive feedback and revise work effectively.
d. Gather, review, evaluate and interpret relevant textual evidence in support of original arguments.
4. Communications skills
a. Analyze, argue and communicate clearly in a range of oral and written forms, addressing diverse audiences.
b. Work collaboratively and ethically with others and foster a shared learning environment.
c. Effectively research, develop, present, critically evaluate and give peer feedback on creative and scholarly work.
d. Understand and employ disciplinary terminology
5. Awareness of limitations of knowledge
a. Understand the limits of their knowledge and how this might influence their analyses and interpretations.
6. Autonomy and professional capacity.
a. Identify the industries and institutions involved in the production, distribution and exhibition of film and new media.
b. Meet deadlines and develop a rigorous discipline in academic and creative work.
Organization of the Course
The course involves formal lectures by the course director and weekly tutorial sessions of about 25 students each led by the tutorial leaders. The course director and tutorial leaders will work as a teaching team. Films and videos will supplement the lectures and tutorials. Tutorial meetings will be the main locus for discussion of required and recommended readings and assignments in the course. Tutorial leaders are teaching assistants (TAs), who are graduate students in the Cinema & Media Studies program.
Course Director and Teaching Assistant Availability
The instructor and tutorial leaders will be available by appointment. Please e-mail or speak to us at lecture. Although problems encountered in the course may be discussed with any member of the teaching team, in most cases it would be appropriate to speak first with your tutorial leader. You are encouraged to see us; we can discuss any topic or issue you like, including assignments, difficulties you are having with the course, suggestions for further reading, or clarification and expansion of issues that interest you. Unfortunately, most students wait until the week before assignments are due to consult instructors. Don’t get caught in the rush. Written messages can be left for us at the Department of Film main office (CFT 223).
- We will endeavour to answer e-mail as promptly as we can, but allow for one week for a response.
- Please reserve e-mail for making appointments and for asking brief questions of information. Substantive discussions about course material and assignments should occur in conversation during face-to-face appointments.
- I will occasionally send information e-mails to the entire class via Moodle. If you regularly use a non-York e-mail account like gmail, hotmail, yahoo, rogers, etc., you MUST use York’s e-mail forwarding service. You are responsible for ensuring that you receive important course e-mail. See: http://www.yorku.ca/computing/students/email/mymail/faq.html#options
1. Short Essay – Due in tutorial 18/19 Oct 2011 10%
2. Partnered DVD Commentary Assignment – Due in tutorial – 25 Oct – 30 Nov
a. Sequence Breakdown (written) 5%
b. DVD Commentary (oral presentation + written script of 750-1000 words) 15%
3. Mid-year Exam – take home due 12 Dec 2011 15%
4. Research Essay Assignment
a. Topic and Academic Integrity Tutorial report due in tutorial 7/8 Feb 2012 pass/fail
b. Research prep assignment due in tutorial 28/29 Feb 2012 5%
c. Essay (1500-2000 words, 6-8 pages) due in tutorial 20/21 Mar 2012 15%
5. Final exam – date TBA – check York Winter exam schedule 20%
6. Attendance 5%
7. Tutorial Participation 10%
Grading, Assignment Submission, Lateness Penalties and Missed Tests
Grading: The grading scheme for the course conforms to the 9-point grading system used in undergraduate programs at York (e.g., A+ = 9, A = 8, B+ – 7, C+ = 5, etc.). Assignments and tests will bear either a letter grade designation or a corresponding number grade (e.g., A+ = 90 to 100, A = 80 to 90, B+ = 75 to 79, etc.). (For a full description of York grading system see the York University Undergraduate Calendar – http://calendars.registrar.yorku.ca/pdfs/ug2004cal/calug04_5_acadinfo.pdf)
Students may take a limited number of courses for degree credit on an ungraded (pass/fail) basis. For full information on this option see Alternative Grading Option in the Faculty of Fine Arts section of the Undergraduate Calendar – http://calendars.registrar.yorku.ca/calendars/2010-2011/faculty_rules/FA/grading.htm
Assignment Submission: Proper academic performance depends on students doing their work not only well, but on time. Accordingly, assignments for this course must be received on the due date specified for the assignment. Most assignments are to be uploaded electronically directly to the course Moodle site; some will be monitored by Turnitin.com, an academic honesty tool. All assignments must have your student name and number, tutorial leader, course title and number clearly indicated on the front page. Do not slip printed assignments under doors. Ensure that you keep hard copies of all submitted work. In case of lost assignments you are responsible for a replacement. Finally, you are responsible for keeping copies of graded work in case of disputes over final grade calculations.
Lateness Penalty: Late assignments will be penalized 5% per day late, including weekends (i.e. 10% for Saturday and Sunday). Exceptions to the lateness penalty for valid reasons such as illness, compassionate grounds, etc., may be entertained by the Course Director but will require supporting documentation (e.g., a doctor’s letter).
Missed Exams: Students with a documented reason for missing a course test, such as illness, compassionate grounds, etc., which is confirmed by supporting documentation (e.g., doctor’s letter) may request accommodation from the Course Instructor in the form of a make-up exam. Further extensions or accommodation will require students to submit a formal petition to the Faculty.
Attendance and Participation
- Students are expected to attend ALL lectures, screenings, and tutorials.
- Please arrive on time.
- Please respect your fellow students‘ opportunity to learn in class by remaining quiet during lecture and screening. Disruptive behaviour will not be tolerated.
- Please turn your cell phones and laptops off. Laptop use during class invites multi-tasking, which reduces depth of learning. Students who wish to use laptops to take notes must sit in the first 5 rows at the front of ACE 102.
- Students are expected to take notes during lectures and after screenings. You must take notes by hand—it’s good practice for exam writing.
- Students are responsible for completing all readings for that week before the lecture.
- You are required to attend all screenings, including films you have already viewed. Study copies of most films (but not all) may be available at the Sound and Moving Image Library (SMIL), but a video screening at a monitor does not substitute for a large-screen projection.
- Students are responsible for ensuring that their attendance is noted for each tutorial. If you miss class, it is your responsibility to contact your tutorial leader to explain the circumstances.
- Your participation grade will be determined on the basis of the quality and frequency of participation in tutorial discussion, group work, and other activities, and on the basis of consistent improvement in assignments over the year.
Writing Skills: We cannot emphasize enough the importance of good writing skills. We strongly urge you to take advantage of the university’s Centre for Academic Writing (CAW), S329 Ross Bldg (416-736-5134), which offers one-on-one instruction, e-tutoring, mini-courses, and credit courses; see http://www.arts.yorku.ca/caw/students.html for more details.
If you have difficulties with the English language or if you have a learning, physical, psychological, or sensory disability, please speak to the lecturer and your tutorial leader so that we can make accommodations. (see Access/ Disability below).
Course Text / Readings: The required readings are central to the course. The lectures and tutorials will serve to enrich, clarify, and illustrate crucial issues from the assigned readings. Additional readings may be assigned or recommended during the course.
REQUIRED: Bordwell, David, and Kristin Thompson. Film Art: An Introduction. 9th ed. New York: McGraw-Hill, 2010. (B/T)
REQUIRED: Course kit available at York Bookstore (KIT)
REQUIRED: some readings will be available through the York Library website (ONLINE)
OPTIONAL: Turabian, Kate L. A Manual for Writers of Research Papers, Theses, and Dissertations. 7th ed. Chicago: University of Chicago Press, 2007. N.B. Students will be expected to use Chicago Style for references in papers; it is accessible online through the York Library website (www.chicagomanualofstyle.org)
OPTIONAL: Graff, Gerald and Cathy Birkenstein. They Say/I Say: The Moves that Matter in Academic Writing. 2nd ed. New York & London: W.W. Norton, 2010. (G/B)
Topics, screenings, and readings are subject to change. Unless otherwise noted, all films have sound and are screened on DVD.
Week 1 – 12 Sept – Introduction / Reflexivity in Film
Films by Louis and Auguste Lumière, France, 1895-~1900, ~1m each, b/w, sil@16fps)
Duck Amuck (Chuck Jones, Warner Bros., USA, 1953, 10m, Technicolor)
Sherlock Jr. (Buster Keaton, Buster Keaton Productions / Metro, USA, 1924, 44m, b/w)
NO TUTORIAL THIS WEEK
***HOMEWORK SCREENING: SCREEN ON YOUR OWN TIME BEFORE WEEK 2***
The Wizard of Oz (Victor Fleming/Richard Thorpe/King Vidor, USA, 1939, 101m, Sepiatone/Technicolor) [This is widely available on DVD from video stores or Scott Moving Image Library (SMIL)]
Week 2 – 19 Sept – Five Principles of Film Form / Four Types of Meaning
GUEST LECTURE: PROF. JANINE MARCHESSAULT
Meshes of the Afternoon (Maya Deren/Alexander Hammid, USA, 1943, 14m, b/w, sil @ 24fps)
Lola Rennt/Run Lola Run (Tom Tykwer, Germany, 1998, 81m, col)
Required Reading: B/T Ch.2 + 454-461, CD-ROM Ch. 2
TUTORIALS BEGIN 20-22 Sept
Week 3 – 26 September – Narrative I – Classical Hollywood Cinema (CHC)/Story & Plot
Casablanca (Michael Curtiz, USA, 1942, 102m, b/w)
Required Reading: B/T Ch. 3 + 470-473, CD-ROM Ch. 3
Tutorial 27-28 Sept
Week 4 – 3 Oct – Narrative II – Range & Depth of Narration
Chungking Express / Chongqing senlin (Wong Kar-wai, Hong Kong, 1994, 97m, col)
excerpt from: Marnie (Alfred Hitchcock, USA, 1964, 130m, Technicolor)
excerpt from: Le Scaphandre et le papillon/The Diving Bell and the Butterfly (Julian Schnabel, France/USA, 2007, 112m, col)
Required Reading: B/T Ch. 3, esp 92-101 + 417-422, 482-485, CD-ROM Ch. 3
Tutorial 4-5 Oct
Week 5 – 17 Oct – Modes of Production, Distribution, & Exhibition/How Do We Experience Movies?
Commingled Containers (Stan Brakhage, USA, 1996, 3m, sil @ 24fps)
Saputi/Fishtraps (Zacharias Kunuk, Canada, 1993, 30m, col)
Passionless Moments (Jane Campion, Australia, 1983, 13m, b/w)
La Jetée (Chris Marker, France, 1966, 28m, b/w)
Camera (Prelude) (David Cronenberg, Canada, 2000, 6m, col)
Required Reading: B/T Ch. 1, CD-ROM Ch. 1
Tutorial 18-19 Oct: RESPONSE PAPER DUE
Week 6 – 24 October – Mise-en-scène
Cabinet of Dr. Caligari (Robert Wiene, Germany, 1920, 75m, b/w)
excerpt from: Batman Returns (Tim Burton, USA, 1992, 126m, Technicolor)
excerpt from: Ed Wood (Tim Burton, USA, 1994, 127m, b/w)
excerpt from: The Harder They Come (Perry Henzell, Jamaica, 1973, 103m, col)
Required Reading: B/T Ch. 4 + 461-463; CD-ROM Ch. 4
ONLINE: J.A. Place and L. S. Peterson. “Some Visual Motifs of Film Noir.” Film Comment 10.1 (January 1974): 30-35. You will find a .pdf from the York Library website by a) searching the library website for Proquest; b) “Click to access this resource”; c) search for the article by title.
Tutorial 25-26 Oct: DVD Commentary Presentations begin. Sequence breakdown and written script for this assignment are due the day of your presentation.
Week 7 – 31 October – Cinematography I – Lighting
Visions of Light (Arnold Glassman & Todd McCarthy, USA/Japan, 1993, 92m, b/w/col)
excerpt from: Night of the Hunter (Charles Laughton, USA, 1955, 92m, b/w)
Lemon (for Robert Huot) (Hollis Frampton, USA, 1969, 7.5m, col, sil@16fps)
Required Reading: B/T Ch. 4, esp 131-138, CD-ROM Ch. 4
Tutorial 1-2 Nov: DVD Commentary Presentations Continue
Week 8 – 7 November – Cinematography II – Framing / Special Effects
La Passion de Jeanne D’Arc (Carl Theodor Dreyer, France, 1928, 82m, b/w)
Variations on a Cellophane Wrapper (David Rimmer, Canada, 1972, 8m, col)
Required Reading: B/T Ch. 5, esp 167-173, 179-198, CD-ROM Ch. 5
Tutorial 8-9 Nov: DVD Commentary Presentations Continue
Week 9 – 14 November – Cinematography III – Perspective Relations / Long Take / Mobile Framing
La Grande illusion/The Grand Illusion (Jean Renoir, France, 1937, 120m, b/w)
Tennis Ball and Deodorant (William Wegman, USA, 1970-78, 1m each, b/w)
excerpt from Touch of Evil (Orson Welles, USA, 1958, 95m, b/w)
Required Reading: B/T Ch 5, esp 173-178, 198-222 + 473-474, CD-ROM Ch. 5
Tutorial 15-16 Nov: DVD Commentary Presentations Continue
Week 10 – 21 November – Sound
Singin’ in the Rain (Stanley Donen/Gene Kelly, USA, 1952, 103m, Technicolor)
Growl (William Wegman, USA, 1970-78, 1m, b/w)
excerpt from: M (Fritz Lang, Germany, 1931, 118m, b/w)
excerpt from: Alphaville (Jean-Luc Godard, France, 1965, 98m, b/w, sd)
Required Reading: B/T Ch. 7, 470-474, CD-ROM Ch. 7
Tutorial 22-23 Nov: DVD Commentary Presentations Continue
Week 11 – 28 November – Sound + Music
Required Reading: B/T Ch. 7, CD-ROM Ch. 7
Tutorial 29-30 Nov: DVD Commentary Presentations Continue
Week 12 – 5 December – Style
Citizen Kane (Orson Welles, USA, 1941, 120m, b/w)
Required Reading: B/T Ch. 8, CD-ROM Ch. 8, review of 104-114.
NO TURORIALS THIS WEEK
*MIDTERM EXAM distributed at the end of lecture 5 December and due 12 December on Moodle*
Week 13 – 9 January – The Development of Editing and Narrative Codes
La Voyage dans la lune / A Trip to the Moon (Georges MélièsFrance, 1902, 14m, sil @16fps)
The Great Train Robbery (Edwin S. Porter, USA, 1903, 11m, b/w, sil@18fps)
The Lonedale Operator (D.W. Griffith, USA, 1911, 14m, b/w/tinted, sil@18fps)
excerpt from: Bram Stoker’s Dracula (Francis Ford Coppola, USA, 1992, 128m, Technicolor)
Required Reading: B/T Ch. 6, 454-461, CD-ROM Ch. 6 + 12
KIT: “The Emergence of Cinema.” In Mark Jancovich and Sharon Montheith, eds., Film Histories: An Introduction and Reader, 3-20. Toronto: University of Toronto Press, 2007. This article contains an introduction to early cinema and Tom Gunning’s essay, “The Cinema of Attractions.”
Optional Reading: G/B XIII-XXVI, 1-29; Turabian 1-11, 129-130.
Tutorial 10-11 Jan
Week 14 – 16 January – Continuity Editing
His Girl Friday (Howard Hawks, USA, 1940, 92m, b/w)
excerpt from: The Maltese Falcon (John Huston, USA, 1941, 101m, b/w)
excerpt from: Night of the Ghouls (Edward D Wood, Jr., USA, 1959, 69m, b/w)
excerpt from: The Big Picture (Christopher Guest, USA, 1989, 100m, DeLuxe)
Required Reading: B/T Ch. 6, esp 236-255, 395-400, CD-ROM Ch. 6
Optional Reading: G/B 30-41; Turabian 12-23
Tutorial 17-18 Jan
Week 15 – 23 January – Discontinuity Editing
A bout de soufflé/Breathless (Jean-Luc Godard, France, 1960, 90m, b/w)
excerpt from: Bronenosets Potemkin/Battleship Potemkin (Sergei Eisenstein, USSR, 1925, 95m, b/w, sil@16fps)
Prelude: The Heart of the World (Guy Maddin, Canada, 2000, 6m, b/w)
Required Reading: B/T Ch. 6, esp 223-235, 256-268, + 408-413, 467-469, 475-477.
ONLINE/KIT: Sergei Eisenstein. “The Dramaturgy of Film Form.” In Eisenstein: Writings 1922-1934, edited and translated by Richard Taylor, 161-180, 318-319. London: BFI, 1988.
Optional Reading: G/B 42-51; Turabian 24-47
Tutorial 24-25 Jan
Week 16: 30 January – Authorship
The Big Sleep (Howard Hawks, USA, 1946, 114m, b/w)
Required Reading: B/T 443-451
ONLINE/KIT: Thomson-Jones, Katherine. “Authorship.” In Aesthetics and Film, 40-56. London: Continuum, 2008.
Optional Reading: G/B 55-77; Turabian 48-70
Tutorial 31 Jan – 1 Feb
Week 17 – 6 February – Genre
Brick (Rian Johnson, USA, 2005, 110m, col)
Lost Motion (Janie Geiser, USA, 1999, 11 m, col)
Required Reading: B/T Ch. 9 + 477-482, CD-ROM Ch. 9
KIT: Schatz, Thomas. Hollywood Genres. New York: McGraw-Hill, 1981. 21-36, 111-116.
Optional Reading: G/B 68-77, 145-155
Tutorial 7-8 Feb: Topic for Essay + Academic Integrity Tutorial report due in tutorial
FRI FEB 10: LAST DAY TO DROP COURSE WITHOUT RECEIVING A GRADE
Week 18 – 13 February – National Cinema
The Sweet Hereafter (Atom Egoyan, Alliance Communications Corporation/Canadian Film or Video Production Tax Credit (CPTC)/Ego Film Arts/Gort of Canada/Harold Greenberg Fund, The Movie Network/Téléfilm Canada, Canada, 1997, 112m, col)
Required Reading: B/T 477-489
KIT: Jim Leach. “Introduction: Not Just Another National Cinema” and “Dark Mirrors: Reflections on Atom Egoyan.” In Film in Canada. Toronto: Oxford University Press, 2006. 1-10, 118-123.
Optional Reading: G/B 78-91; Turabian 71-81
Tutorial 14-15 Feb
READING WEEK: NO CLASSES 20-24 FEBRUARY
Week 19 – 27 February – Documentary I
Mothlight (Stan Brakhage, USA, 1963, 4m, col, sil@24fps)
Creature Comforts (Nick Park, UK, 1990, 5m, col)
excerpt from: Housing Problems (Arthur Elton/Edgar Anstey, UK, 1935, 17m, b/w)
Nanook of the North (Robert Flaherty, USA/Canada, 1922, 79m, b/w)
excerpt from: A Boatload Of Wild Irishmen: The Cinema of Robert Flaherty (Mac Dara Ó Curraidhín, Ireland, 2010, 78m, b/w/col)
Required Reading: B/T 349-365
KIT: Andre Bazin. “Ontology of the Photographic Image.” In What is Cinema? Edited and translated by Hugh Grey. Berkeley: University of California Press, 1967. 9-16.
Tutorial 28-29 Feb: Essay prep assignment due
Week 20 – 5 March – Documentary II
excerpt from Chronique d’un été/Chronicle of a Summer (Jean Rouch + Edgar Gorin, France, 1961, 85m, b/w)
Lonely Boy (Wolf Koenig/Roman Kroiter, Canada, 1962, 27m, b/w)
Rouli Roulant / The Devil’s Toy (Claude Jutra, Canada, 1966, 16m, b/w)
Ilha das Flores/Isle of Flowers (Jorge Furtado, Brazil, 1989, 12m, Eastmancolor)
Required Reading: TBA
Optional Reading: G/B 121-138
Tutorial 6-7 Mar
Week 21 – 12 March – Avant-Garde Cinema
Ballet mécanique / Mechanical Ballet (Fernand Léger/Dudley Murphy/George Antheil, France, 1924, 11m, b/w, sil@20fps, non-sync sd)
Un chien andalou/An Andalusian Dog (Luis Buñuel/Salvador Dali, France, 1929, 28m, b/w, non-sync sd)
A Movie (Bruce Conner, USA, 1958, 12m, b/w)
Window Water Baby Moving (Stan Brakhage/Jane Brakhage, USA, 1959, 12m, col, sil@24fps)
Hell Spit Flexion (Stan Brakhage, USA, 1983, 2m, col (handpainted and optically-printed animation), sil @24fps)
Very Nice, Very Nice (Arthur Lipsett, NFB, Canada, 1961, 7m, b/w)
Required Reading: B/T 366-381, 463-467, CD-ROM Ch. 10
KIT: Stan Brakhage. “From Metaphors on Vision.” In The Avant-Garde Film: A Reader of Theory and Criticism. Ed. P. Adams Sitney. New York: Anthology FIlm Archives, 1987., 120-128.
Optional Reading: G/B 92-120; Turabian 98-119
Tutorial 13-14 Mar
Week 22 – 19 March – Animation
The Quick and the Dead (Stephen Andrew, Canada, 2004, 1m, col)
Persepolis (Marjane Satrapi, France/Iran, 2007, 96m, b/w)
Fuji (Robert Breer, USA, 1974, 8m, col)
Required Reading: B/T 382-394
Tutorial 20-21 Mar: ESSAY DUE
***HOMEWORK SCREENING: SCREEN ON YOUR OWN TIME BEFORE WEEK 23***
The Matrix (Wachowski Brothers, USA/Australia, 1999, 136m, col) [This is widely available on DVD from video stores or Scott Moving Image Library (SMIL)]
Week 23 – 26 March – Digital Media, Video Games, Special Effects I
ONLINE: Henry Jenkins, “Searching for the Origami Unicorn: The Matrix and Transmedia Storytelling,” in Convergence culture: where old and new media collide (New York: New York University Press, 2006), 93-130. Available at http://quod.lib.umich.edu/cgi/t/text/text-idx?c=acls;idno=heb05936
Tutorial 27-28 Mar: last tutorial L
Week 24 – 2 April – Digital Media, Video Games, Special Effects II
Scott Pilgrim vs. the World (Edgar Wright, USA, 2010, 112m, col)
NO TUTORIALS THIS WEEK
MON 2 APRIL 2012 LAST DAY TO SUBMIT FALL/WINTER COURSE WORK
FINAL EXAM TBA IN EXAM PERIOD APRIL 2012
How NOT to fail Intro to Film:
1. Come to class. When you miss class, you miss important course content, changes in assignments, test and exam tips given during lecture and tutorials, and more generally lose sight of the course’s intellectual trajectory. Most students who fail the course mentally ‘drop out’ without telling the Registrar’s Office–or their teachers.
2. Tell us if you’re in trouble. Many students, especially in first year, have trouble adjusting to university. If you’re feeling lost, or if something bad happens (death/break-ups/health/depression/etc.), talk to your lecturer and tutorial leader. Many students try to “tough it out” only to discover at the end of the year that they are totally unprepared to write essays and exams, whether because of personal troubles or learning disabilities. By that point, it’s much more difficult to convince an academic counsellor that your circumstances merit extensions and permission to write special exams. If you have a learning disability, or suspect you may have some learning issues, please talk to the Counselling and Development Centre (CDC) immediately: they have study aids, and you may be able to write exams under special conditions. You MUST be registered with CDC in order to receive accommodations.
3. Make use of York resources. Get your money’s worth out of your tuition payments and make use of York’s multiple support services (it’s one of the university’s strengths).
4. Don’t plagiarize. Most cases of plagiarism are either committed out of ignorance (“you mean, when I cut and paste that paragraph from a website, it’s plagiarism?” “Duh.”) or panic (“I’ve done no work and it’s due tomorrow, so I’ll hand in my roommate’s essay”). In either case, plagiarizing is pretty moronic, and it will get you kicked out of university. You will be required to complete the Academic Integrity Tutorial for this class and all written assignments will be submitted to turnitin.com.
5. Keep track of your own performance. There are always a few students at the end of the year who find that they have unexpectedly failed the course (or received a lower grade than expected). If you want to appeal your grade, you need evidence. Keep all of your work graded by your tutorial leader until at least the end of the following summer. In case of appeal or lost/miscalculated grades, you are responsible for providing proof of grades awarded for your work.
6. Learn. Especially from your mistakes. When we hand back tests and essays, read the comments, consult with your TA and instructor, and try not to repeat your mistakes. This course provides you with a wealth of learning resources: lectures, tutorial discussions, screenings, textbook, CD-ROM, website, library. Use them. If you engage with the course, it’s pretty hard to fail. If you don’t care, why should we?
IMPORTANT COURSE INFORMATION FOR STUDENTS
All students are expected to familiarize themselves with the following information, available on the York University Secretariat Academic Standards, Curriculum and Pedagogy (ASCP) webpage (see Student Information Sheet under Reports, Initiatives, and Documents)
• Academic Honesty Policy and Procedures/Academic Integrity Website
• Access/Disability: course requirement accommodation for students with disabilities, including physical, medical, learning and psychiatric disabilities
• Ethics Review Process for research involving human participants
• Religious Observance Accommodation
• Student Conduct Standards
Academic Honesty and Integrity
York students are required to maintain high standards of academic integrity and are subject to the Senate Policy on Academic Honesty (http://www.yorku.ca/univsec/policies/document.php?document=69).
There is also an academic integrity website with complete information about academic honesty. Students are expected to review the materials on the Academic Integrity website (http://www.yorku.ca/academicintegrity).
York provides services for students with disabilities (including physical, medical, learning and psychiatric disabilities) needing accommodation related to teaching and evaluation methods/materials. These services are made available to students in all Faculties and programs at York University.
Students in need of these services are asked to register with disability services as early as possible to ensure that appropriate academic accommodation can be provided with advance notice. You are encouraged to schedule a time early in the term to meet with each professor to discuss your accommodation needs. Please note that registering with disabilities services and discussing your needs with your professors is necessary to avoid any impediment to receiving the necessary academic accommodations to meet your needs.
Additional information is available through Counselling & Disability Services at www.yorku.ca/cds or from disability service providers:
• Personal Counselling and Learning Skills Services: N110 BCSS, 416-736-5297
• Mental Health Disability Services: N110 BCSS, 416-736-5297
• Learning Disability Services: W128 BCSS, 416-736-5383
• Physical, Sensory and Medical Disability Services: N108 Ross, 416-736-5140, TTY: 416-736-5263
Deaf, deafened and hard-of-hearing students may also contact firstname.lastname@example.org
Ethics Review Process
York students are subject to the York University Policy for the Ethics Review Process for Research Involving Human Participants. In particular, students proposing to undertake research involving human participants (e.g., interviewing the director of a company or government agency, having students complete a questionnaire, etc.) are required to submit an Application for Ethical Approval of Research Involving Human Participants at least one month before you plan to begin the research. If you are in doubt as to whether this requirement applies to you, contact your Course Director immediately.
Religious Observance Accommodation
York University is committed to respecting the religious beliefs and practices of all members of the community, and making accommodations for observances of special significance to adherents. Should any of the dates specified in this syllabus for an in-class test or examination pose such a conflict for you, contact the Course Director within the first three weeks of class. Similarly, should an assignment to be completed in a lab, practicum placement, workshop, etc., scheduled later in the term pose such a conflict, contact the Course director immediately. Please note that to arrange an alternative date or time for an examination scheduled in the formal examination periods (December and April/May), students must complete an Examination Accommodation Form, which can be obtained from Student Client Services, Student Services Centre or online at http://www.registrar.yorku.ca/pdf/exam_accommodation.pdf (PDF)
Students and instructors are expected to maintain a professional relationship characterized by courtesy and mutual respect and to refrain from actions disruptive to such a relationship. Moreover, it is the responsibility of the instructor to maintain an appropriate academic atmosphere in the classroom, and the responsibility of the student to cooperate in that endeavour. Further, the instructor is the best person to decide, in the first instance, whether such an atmosphere is present in the class. A statement of the policy and procedures involving disruptive and/or harassing behaviour by students in academic situations is available on the York website http://www.yorku.ca/univsec/policies/document.php?document=82
Please note that this information is subject to periodic update. For the most current information, please go to the ASCP webpage (see Student Information Sheet under Reports, Initiatives, and Documents)