Introductory Topics in Cinematic Expression
Groups and Texts ("Path 2")

ornamental line


"The childish fascination with the everyday miracle is a
very good place to start when you make a film [. . .]"
Lars von Trier, interview with Lars Schwander (1983)

the basics / diversity / content & communication / course goals / materials /
assignment calendar / path 1 / path 2 /miscellany

THE BASICS

English 272: Introductory Topics in Cinematic Expression
class location: virtual, asynchronous
instructor: Dr. Paul Marchbanks
e-mail: pmarchba@calpoly.edu
office: 805-756-2159 / building 47 (the "maze"), hallway 35, office A / 10-11 A.M. Zoom MTWR & by appointment


The United States entertainment industry has recently begun a much-needed transition, altering the kinds of folk hired to stand both in front of and behind the camera. An industry long-dominated by white men has begun hiring a greater assortment of actors, screenwriters, cinematographers, and directors to better reflect the complexity of diverse audience experiences.

These welcome pressures have also begun to revolutionize issues of representation. Once upon a time, an actor demonstrated her artistic prowess by performing an embodied or cultural difference not her own. Today, a sensitive and empowered audience immediately problematizes such performances, questing for more authentic alternatives. What creative license should we accord actors and filmmakers in the twenty-first century? Should there be strictures in place that discourage certain creative endeavors from getting off the ground, or are we content to allow creative types the freedom to generate whatever content they wish? This course will consider such pivotal questions as we examine the history of screen performance both within and outside the United States.

This course will require students to process films in a multi-staged way that will alter, and hopefully enrich, the viewing process:

  1. Watch my intro. video for a given film at Digging in the Dirt. These short reflections do not provide plot summaries, nor are they traditional film reviews. Instead, they set up a particular topic or theme I encourage viewers to consider when they finally watch the film.
  2. Look over study questions I've generated for each film, what I call "Points for Reflection," linked from the Path 1 calendar. Do this before watching the film.
  3. Watch the film closely, taking notes and, occasionally, professional-looking screenshots (no cell phones)--some of which you will use later.
  4. Watch and take notes on my my video lecture about the film (linked from the Path 1 calendar). Some written assignments require you to avoid reproducing what I've said in boht my intro. video and the subsequent video lecture.


DIVERSITY, ACCOMODATION, & ACCESSIBILITY


CONTENT & COMMUNICATION

The films and literature I teach run the gamut of human experience, from the ecstatic and joyful to the degrading and sordid.  Many visual and literary artists regularly exercise this kind of topical license, operating under the assumption that representing even the most difficult material can serve a beneficial purpose.  One viewer or reader might actually become sensitized to social problems they had hitherto ignored when they encounter such problems dramatized in art.  Another might find in a tale’s situations and dialogue helpful analogues for painful things they have themselves experienced: the story, that is, might provide them a voice—useful words and strategies for expressing their own grief and suffering.

Others, however, might be re-traumatized by watching something that hits too close to home because they’re not yet ready to re-experience their pain—even through the medium of fictional art.  Or, they might fundamentally disagree with the creators’ representation of challenging subject matter—might be offended by the representation and quickly point to other, more politic and sensitive portrayals of such difficult material.  They might even hold that the creator has no right to represent what they have placed in their art because that creator’s own identity factors do not closely enough mirror the elements they have chosen to represent.

Recognizing that even detailed content warnings have limited value, I’d like to supplement them with an open invitation to exercise your freedom to disagree with the perspective of others (incl. myself), and to approach me during office hours or via email with concerns.


COURSE GOALS

MATERIALS


ASSIGNMENT CALENDAR [200 pts total]


PATH 1 Assignments (110 pts of 200 pts total)


PATH 2 Assignments (90 pts of 200 pts total)


MISCELLANY

Grading: go here for an elaboration of terms used below

A = 94-100

A- = 90-93

A (18-20 on 20-pt scale, 5.4-6.0 on 6-pt scale): creative, topically focused, tightly structured, supported with the most convincing evidence, and virtually error-free

 C+ = 77-79

C = 73-76

C- = 70-72

C (14-15.9 on 20-pt scale, 4.2-4.79 on 6-pt scale): a relatively focused essay with clear sense of progression from one idea to the next; argument bolstered by some supporting evidence; distracting number of grammatical errors
B+ = 87-89

B = 83-86

B- = 80-82

B (16-17.9 on 20-pt scale, 4.8-5.39 on 6-pt scale): topically focused, tightly structured, supported with solid evidence, and containing just a few stylistic or grammatical bumps

 D = 65-69

D (13-13.9 on 20-pt scale, 3.9-4.19 on 6-pt scale): topic clear but ineffectively argued; evidence provided tangentially relates to argument; loose sense of structure; profound difficulties w/ grammar
    F = 0-64

F (0-12.9 on 20-pt scale, 0-3.89 on 6-pt scale): little evidence of effort, or contains plagiarism

Contact
Take advantage of my office hours. Go here to find an open slot, then email me to reserve that time for an office visit. The fastest way to contact me if you have a quick question is via email. You can also reach me in my office at 805-756-2159, or in the evening (before 10 p.m.) at 593-0192.

Writing Lab Center
Experienced writers at the Writing and Learning Center (in Kennedy Library, Room 111-C) offer free assistance with writing assignments for any course. Using this service will improve even the best writer’s output. If writing remains a challenge for you, you might consider enrolling in ENGL 150, a one-credit writing support course.

Plagiarism and the Honor Code
I encourage you to improve your writing with the help of peers, instructors, and myself. Remember, however, that all work you submit must be your own. (I will occasionally vet student work to verify authorship.) Any paper containing borrowed but undocumented thoughts or words will receive a failing grade (this includes material created by generative A.I.), and I am obligated to report all instances of plagiarism to the Vice President of Student Affairs. Let me know if you have further questions concerning this important issue.


A chair standing on one leg on a pedestal in a garden. Dark shadows and bright highlights
Christina's World (1948)
Andrew Wyeth


Dr. Paul Marchbanks
pmarchba@calpoly.edu