600-01 - regent.edu 5 of 19 Regent University, CTV 600-01 THEORY & CRITICISM OF CTV Course Syllabus Additional materials (e.g., PowerPoint files, quizzes, media…

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COURSE SYLLABUS

SCHOOL OF COMMUNICATION & THE ARTS

DEPARTMENT OF CINEMA-TELEVISION

CTV 600-01 THEORY & CRITICISM OF CINEMA-TV

SPRING 2013 COURSE TYPE: CAMPUS

MEETING LOCATION: COM 146

MEETING TIME: TUESDAYS 1:30 – 4:30 PM

COURSE INSTRUCTOR: DR. J. DENNIS BOUNDS

All students are required to read and have a thorough understanding of the syllabus. Any questions or concerns need to be addressed to the instructor.

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Regent University, CTV 600-01 THEORY & CRITICISM OF CTV Course Syllabus

SECTION 1 – COURSE OVERVIEW

INSTRUCTOR INFORMATION:

Instructor: Dr. J. Dennis Bounds

Telephone: 757-352-4134

Fax: 757-352-4275

E-mail: [email protected]

In the subject line of your email, please include the course number (e.g. CTV 600) and

have your full name in your email signature. Note: All students are required to keep their

mailing address, e-mail address, and telephone numbers up to date in GENISYS to

facilitate communication between instructors and students.

Office Hours: Mondays & Thursdays 2:00 – 5:00 PM

Office Location: COM 260

Best time to contact me: During Office Hours.

I look forward to working with you in this course. The best ways to get in touch with me is by

email, rather than by phone. Or you may come by my office hours to have a chat. If these hours

do not work for you, we can usually work out an alternate day or time. I’m also available by

Skype at jdennbou. Follow me on Twitter: @jdennbou

SHORT BIO

J. Dennis Bounds, Associate Professor of Cinema-TV, was born and raised in Louisiana. He

earned his BA in Communications at Baylor University, Waco, TX, and his MA in

Screenwriting and PhD in Critical-Cultural Studies of Cinema-TV at the University of Texas at

Austin.

Bounds has worked as a videographer, cinematographer, reporter, producer, and director at two

television stations in Texas. At his current post at Regent University, Bounds helped create and

currently directs the Master of Fine Arts in Screenwriting.

Bounds has published articles, book chapters, and encyclopedia entries. His non-fiction book

Perry Mason: The Authorship and Reproduction of a Popular Hero (Greenwood Press), serves

as a key text on the character “Perry Mason” in literature, broadcasting and film. Bounds

currently teaches in the areas of cinema and TV writing, history, theory and criticism. He lives in

Chesapeake, VA, with his wife, Margaret, and dog, Marley.

COURSE DESCRIPTION

CTV 600 Theory & Criticism of Cinema-Television (3) Analysis of cinema and television;

from the early realists-formalist to auteur, genre, reception, semiotic, feminist, psycho-analytic,

Marxist and deconstructive theories as they apply to both film and television research. Students

will complete the course with the understanding of how to apply these theories to all types of

television and cinematic texts.

http://www.regent.edu/general/student_orientation/tutorials/genisys.cfm

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If you want to direct, you study the directors. If you want to write, you study the writers. If you

want to produce, you study the producers. But to know these things without grounding in the

theoretical underpinnings of how film form "works" on both the production and receptive levels,

is to disregard decades of media study and analysis. You need to consider the various theoretical

schools that influenced and continue to influence what is being created and how an audience

interprets it. Whether your field is film or television, you still can benefit from study of theory

& criticism. Contemporary media criticism draws from film criticism and theory. Go to the

source.

In this course we will explore the ways film and television are studied. We will proceed, topic

by topic, to identify and examine the film theories of Eisenstein and Kracauer through the tide of

auteur, genre, and semiotic movements. We will consider the work of feminist, Marxist, and

psychoanalytic theorists, considering their draws and drawbacks.

We will further compare and contrast film and television critical approaches. We will examine

the ways film theory has impacted television criticism through the works of such writers as

Newcomb, Thorburn and Hartley.

We will end with what can be termed a "critique of criticism." The student will be expected to

understand these theories and be able to discuss them cogently with the professor and the class.

The aim of this course will be to examine each of these theories in comparison or contrast within

the Christian worldview that demands of us that we come to Him and reason. Throughout this

course we will progress toward the concept of Christian film theory.

Theme Scripture:

“The Spiritual Man makes judgments about all things, but he himself is not subject to any man’s

judgment: ‘For who has known the mind of the Lord that he may instruct him?’ But we have the

mind of Christ’.” 1 Corinthians 2:15-16

INTEGRATION OF FAITH

This as all courses in the School of Communication and the Arts is ultimately concerned with

how the committed Christian can blend his/her faith with what they learn here. Especially of

concern is how the issues raised by this course are to be considered in comparison to your own a

priori world view. You will be urged to consider all readings, screenings and discussions in light

of your own Christian faith.

SECTION 2 – COURSE EXPECTATIONS

COURSE THEORY & CRITICISM OF CINEMA-TV OUTCOMES

Upon completion of this course, students should be able to:

To examine the various theories and trends in film and television criticism dating

from their inception to the current trends at work today

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o This will be done through reading the original texts of the most important

theorists in the field and passing two written essay exams on those writers.

To become well versed in these theories and their practical application.

o This will be demonstrated through a comprehensive presentation to the

instructor and the class of a theory and its importance and impact.

To demonstrate the ability to master and apply a theory to a film or filmmaker.

o This is demonstrated through the writing of a journal-quality final research

paper that applies one or more of the theories we examine.

REQUIRED MATERIALS

Students are responsible for acquiring the following books and materials for this course before

the first class meeting:

Braudy, Leo, and Marshall Cohen, eds. Film Theory and Criticism. 7th

ed.

New York: Oxford University Press, 2009. ISBN: 9780195365627.

Newcomb, Horace. Television: A Critical View. 7th

ed. New York: Oxford

University Press, 2006. ISBN: 9780195301168

Stam, Robert. Film Theory: An Introduction. New York: Blackwell Press,

2000. ISBN: 9780631206545

Recommended Resources:

For those of you to whom reading a great deal of material and comprehending it really fast is a

problem or at least a challenge, I urge you to take advantage of the Speed Reading workshop

available through the CTL. Here's the link:

http://www.regent.edu/admin/stusrv/student_dev/online_workshops/speedreading/

Also, you can go to our Blackboard course website and view a little video that gives a very

tutorial on how to increase your reading AND comprehension of articles and essays.

Note: The School has partnered with the Regent Bookstore to have textbooks available

for purchase for all students, including distance students. Items may be ordered using the

secured online catalog found at www.regentbookstore.net.

Daily access to the Internet and email

Microsoft Office (Word, Excel, PowerPoint, etc.) version 2007 or later.

The latest version of a web browser compatible with Blackboard and media players. For

assistance, visit the links provided in the Helpful Resources section of the course in

Blackboard or contact IT Helpdesk via their website, phone at 757-352-4076, or email

[email protected].

http://www.regent.edu/admin/stusrv/student_dev/online_workshops/speedreading/

http://www.regentbookstore.net/

http://www.regent.edu/it/helpdesk/

mailto:[email protected]

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Additional materials (e.g., PowerPoint files, quizzes, media, and the like) may be

provided via Blackboard. Students are responsible for the information and materials

distributed in class and on Blackboard (see “Use of Blackboard” below for more

information).

Understand and adhere to the Regent Honor Code found in the Student Handbook. A

persistent link can also be found in Blackboard’s “RU Resources” tab.

Recommended Course Materials:

Other resources such as writing style guides, Blackboard tutorials, University

policies, IT Helpdesk, and information may be accessed via the “RU” and “Helpful

Resources” tabs in Blackboard as well as in the Helpful Resources section of this

course.

USE OF BLACKBOARD

Blackboard will be used to aid communication and delivery of extemporaneous and other content

as the semester progresses. We may also utilize the Discussion Board to extend our in-class

discussions. Participation in Blackboard does not supplant course requirements for attendance or

class participation. Therefore, while access to and use of Blackboard is required for this course, it

should not be seen as a surrogate for class attendance or other course requirements. Also, please

keep the following in mind:

All discussion posts should be scholarly in nature and respectful of colleagues.

Students are expected to check the Announcements section of Blackboard each week

beginning one week before the start of the course.

Students must keep their e-mail address current in Genisys in order to receive

communications from Blackboard and the instructor. Students are expected to check their

Regent e-mail daily to ensure timely receipt of messages from the professor.

ATTENDANCE AND PARTICIPATION

Attendance is required in order to complete this course. Students failing to attend a minimum

number of campus class meetings will automatically fail the course unless arrangement is made

with the professor to take an “Incomplete” grade in order to complete the course at a later date in

accordance with University policy (see student handbook for more information about

withdrawing from a course or the University or for incomplete grades). To prevent automatic

failure of a course, the minimum class attendance is as follows:

For a 16 week course: Must attend at least 9 weeks of campus class meetings. (This is

our course type!)

For a 10 week course: Must attend at least 6 weeks of campus class meetings.

For a 5 day Modular (Intensive) course: Must attend all 5 days of campus class

meetings.

http://www.regent.edu/acad/schedu/pdfs/honor_code.pdf

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Note: International students should consult the Office of International Student Services for

how immigration status may be impacted if you fail to meet attendance requirements for this

course. All students should consult the Financial Aid office for information on how their

funding may be impacted as well. International students should consult the Office of

International Student Services before registering for a Distance or Modular course.

In the event of an emergency, it may be necessary for Regent University to suspend normal

operations. During this time, Regent University may opt to continue delivery of traditional

classroom instruction using the Blackboard Course Management System. It is the responsibility

of the student to monitor the course Blackboard site in the event of campus closure.

SUBMISSION OF ASSIGNMENTS

Unless otherwise instructed, all assignments for this course must be submitted via the

“Assignment Link” found in Blackboard. All files should be submitted using the following

naming convention:

YourName_AssignmentName (e.g. John Smith_Essay 1)

Papers should be in MS Word format (.docx) compliant with the MLA writing style

guide.

Scripts should be in Final Draft or Movie Magic software format.

Plus, any assignment will be returned in like kind (that is, I will return an attached Word file that

is marked up with the Word Comment function and files in .pdf will be returned with notes

added. Be sure that you have the latest version of Adobe Acrobat Reader for this course if you

choose to submit your assignments in this form. And make sure you can access and read my

comments.

And tragic it may be on many levels, losing computer access, a crashed computer or hard drive

or anything of this sort will not excuse lack of participation in the course. Also, all monetary

burdens for computer access are borne by the student.

Screenings:

We are all adults in this school. Any film or video I encourage you to study is purely for

educational and instructive purposes to develop critical abilities -- rather than for entertainment.

In the case that the film or video recommended is at the R rated level, I will offer a substitute at

the PG-13 or lighter rating. All screenings that occur during class will be made available under

MEDIA in the week it is assigned on Blackboard.

Unless otherwise stated in Blackboard, no assignment will be accepted if submitted via any

method other than Blackboard. Assignments are due no later than 11:59 pm on Monday. It is

recommended that students give themselves a buffer of time before the deadline to allow for

http://www.regent.edu/admin/stusrv/iss/

https://www.regent.edu/admin/finaid/



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trouble-shooting should your upload attempt fail. Students should look at the assignment

submission page to verify that the submission was successful.

Late Assignments

Unless stated by the me in class, all assignments are due on the date stated in the syllabus at the

beginning of that class period. Late assignments will be graded down one letter grade for

each day they are late without an approved extension. Except in cases of emergency,

requests for extensions must be made to me at least twenty-four hours before the assignment is

due. Be prepared to defend your reason why you need the extension. Remember, deadlines in

the film business are taken very seriously. This class, in preparing students to work

professionally will take the same attitude.

NOTE: Technical difficulties when submitting to Blackboard will not be accepted unless

documented by the IT Help Desk. The IT Help Desk is your first point of contact for problems

with Blackboard. Deadline extensions will be allowed only when a system issue occurring on

Blackboard’s side is documented by Regent University IT department.

METHOD OF EVALUATION

The final grade for the course will reflect mastery of course content and quality of thought as

expressed in:

Assignments:

A. Participation: (10%) Each student will be graded on how well they participate in

the class discussions. This will be a way of gauging how well a student is grasping

the material. This will be determined by my evaluation of your discussion with me on

Skype and your participation on the Discussion Board (required).

B. Mid-Term Exam: (20%) At about midpoint in the semester, the class will be given

an essay exam that will cover the readings and class discussions-to-date.

C. Presentation: (20%) At some time during the course each student will give a

presentation to be posted on the Discussion Board on any theoretical position.

Ideally, this would be the position the student will take for his/her term paper.

D. Term Paper: (25%) Each person will write a journal-quality Term Paper (20-25

pages) that applies a theory (or theories) to an artifact (or actor, studio, director,

producer, etc.). The topic and theory will need to be approved in advance after

conversation with me.

E. Final Exam: (20%) On the last day of class, the class will get a second essay exam

that will cover the readings and discussions since the first exam.

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F. Regent/Hollywood Speaker Series: (5%) At times during the semester we will have

guest speakers coming to the Virginia Beach campus representing the film and

television industries. Those who live in the area are expected to attend these

presentations and write a one-page reaction paper to turn in one week after each

presentation. Those distance students who are unable to come to the campus may

instead write a one-page reaction paper based on viewing any “Making of”

documentary on filmmaking. Note: before you submit the paper, make sure you clear

the artifact with me.

EVALUATION AND GRADING

Assignments will be graded as follows:

Assignment Weight

Participation 10%

Mid-Term Exam 20%

Presentation 20%

Final Exam 20%

Term Paper 25%

Regent/Hollywood Speaker Series 5%

TOTAL: 100%

Grading Rubric for Critical Studies Courses:

A level (A or A-) = your writing quality, scholarship, and argument of your thesis meet or

exceed my intent for the assignment.

B level (B+, B, or B-) = your writing quality, scholarship, and argument of your thesis meet the

average level of what is expected for this assignment.

C level (C+, C, or C-) = your writing quality, scholarship, and argument of your thesis are barely

meeting what is expected for this assignment.

D level (D+, D, or D-) = your writing quality, scholarship, and argument of your thesis barely

meet part of what is expected for this assignment.

F = your writing quality, scholarship, and argument of your thesis don’t not meet any part of

what is expected for this assignment.

Note: Within each grade level, “+” or “-“ or just the letter grade are given based upon my feeling

of the potential of the writer’s chances to improve from this point on.

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The following grading scale will be used:

Grade Percentage

Score Quality Points

A 96-100 4.00

A- 93-95 3.67

B+ 90-92 3.33

B 85-89 3.00

B- 81-84 2.67

C+ 78-80 2.33

C 75-77 2.00

C- 71-75 1.67

D+ 68-70 1.33

D 65-68 1.00

D- 60-65 0.07

F 0-59 0.00

SECTION 3 – SCHEDULE AND EVALUATION

COURSE SCHEDULE

The schedule below includes the due dates for all assignments in this course. It is recommended

that you place this Course Schedule in a convenient place and refer to it each week of the course.

You need to follow it closely, as late assignments may be subject to a grade reduction.

Tuesday marks the beginning of the week for this course. Therefore, unless otherwise stated in

Blackboard, assignments for each week must be submitted no later than Monday, 11:59 pm

(Eastern time) of each week.

Week 1: January 8 to January 14

Introduction to the Course: Theory and Criticism of Cinema-TV

o Read the Syllabus –Introduction to Theory and Criticism:

o Why study this in the first place?

o Christian Film and Television Theory:

o Is there or, better yet, should there be such a thing?

o comment on your background and interest in Film or TV

READINGS

o None

SCREEN [COURSE VIDEOS]

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o Episode of Alfred Hitchcock Presents-- “Dip in the Pool”


Expressionist vs. Realist; Expressionist Approach to Film and Television

READINGS

o FTAI: viii-47

o FTC: Kracaur, “Basic Concepts” 147

Arnheim, “The Complete Film" 167

“Film and Reality” 282

“The Making of a Film” 286

Eisenstein, “Beyond the Shot” 13

“The Dramaturgy of Film Form” 24

Panofsky, “Style and Medium in the Motion Pictures” 247

Mast, “Projection”

Balasz, “The Close-Up” 273

“The Face of Man” 275

Cavell, “Photograph and Screen” 304

“Audience, Actor, and Star” 305

“Types, Cycles as Genres” 307

“Ideas of Origin” 312

o TCV: Newcomb, “Television and the Present Climate of Criticism” 1

“Part 1: History” 11

“Part 2: The Production Context” 129

Levine, “Toward a Paradigm for Media Production Research: Behind the

Scenes at General Hospital.” 133

Bodroghkozy, “Negotiating Civil Rights in Prime Time: A Production and

Reception History of CBS’s East Side/West Side.” 37

Lotz, “Textual (Im)Possibilites in the U.S. Post-Network Era: Negotiating

Production and Promotion Processes on Lifetime’s Any Day Now.” 273


o Weapon of Choice (music video)

o Clips from Waking Life (2002 - Richard Linklater)


Realist Film & Television

READINGS

o FTC: Bazin, “The Evolution of the Language of Cinema” 41

“The Ontology of the Photographic Image” 159

“The Myth of Total Cinema” 163

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“Theatre and Cinema” 345

Kracaur, “The Establishment of Physical Existence” 262

Perez, [On Keaton and Chaplin] 474

o TCV: Rivero, “Erasing Blackness: The Media Construction of ‘Race’ in Mi

Familia, the First Puerto Rican Situation Comedy with a Black Family” 207

Corner, “Sounds Real: Music and Documentary” 397


o Clip from Rashomon (1950 by Kurosawa)

o Documentary Short on J.J.Abrams’s work on Star Trek

o Clip from The Circus (by Charlie Chaplin)

o Cops (1922 short by Buster Keaton)

o And if you want to see an entire film of his, I recommend: Sherlock, Jr. (1924 by

Buster Keaton)

Week 4: January 29 to February 4

The Rise of the Film Auteur; The Television Auteur

Presentation: _________________________

READINGS

o FTAI: 83-92

o FTC: Wood, “Ideology, Genre, Auteur” 592

Sarris, “Notes on the Auteur Theory in 1962” 451

Wollen, “The Auteur Theory” 455

o TCV: “Part 3: The Programming Context”

Newcomb, “’This is Not Al Dente’: The Sopranos and the New Meaning

of Television” 561

Jaramillo, “The Family Racket: AOL, Time Warner, HBO, The Sopranos,

and the Construction of a Quality Brand” 579


o An episode of The Sopranos

Week 5: February 5 to February 11

Narrative Studies in Film; Narrative Studies in Television

Presentation: _________________________

READINGS

o FTAI: 92-153

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o FTC: Braudy, “Acting: Stage vs. Screen 356

Andrew, “Adaptation” 372

McFarlane, “Backgrounds” 381

Gunning, “Narrative Discourse and the Narrator System” 390

Bordwell, “Cognition and Comprehension: Viewing and Forgetting in

Mildred Pierce.” 427

o TCV: Alvey, “’Too Many Kids and Old Ladies’: Quality Demographics and

1960s U.S. Television” 15

Parry-Giles & Parry-Giles, “The West Wing’s Presidency: Mimesis and

Catharsis in a Postmodern Romance” 292


o House, M.D. “Three Stories”


Genre Theory vs. the concept of Auteur; Genre Theory in Film; Narrative and Genre;

Genre Theory in Television

Presentation: _________________________

Readings:

o FTC: Film Genres

Braudy, “Genre: The Conventions of Connection” 535

Schatz, “Film Genre and the Genre Film” 564

Altman, “A Semantic/Syntactic Approach to Film Genre” 552

Bordwell, “The Art of Cinema as a Mode of Film Practice” 649

Carroll, “The Specificity Thesis” 292

Warshow, “the Gangster as Tragic Hero” 576

Schrader, “Notes on Film Noir,” 581

o FTAI: 47- 55

o TCV: Mittell, “Cartoon Realism: Genre Mixing and the Cultural Life of The

Simpsons” 272

Waisbord, “McTV: Understanding the Global Popularity of Television

Formats” 375

Thorburn, “Television Melodrama” 438


o An episode of The Simpsons

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EXAM #1 – Essay – Covering the readings, lectures, screenings so far.

Week 8: February 26 to March 3

The Saussurian Impulse: Semiotics in Film; Signs and Meaning in Film and Television;

Semiotics in Ideology

Presentation: _________________________

READINGS

o FTAI: 185-229

o FTC: Metz, “Some Points in the Semiotics of the Cinema” 65

“Problems of Denotation in the Fiction Film” 71

Harman, “Semiotics and the Cinema: Metz and Wollen” 78

Dayan, “The Tutor-Code of Classical Cinema” 106

Rothman, “Against “The System of the Suture.” 118

Barthes, “The Face of Garbo” 471

Dyer, from Stars. 480

Browne, “The Spectator-In-The-Text: The Rhetoric of Stagecoach” 125

o TCV: Spigel, “Entertainment Wars: Television Culture after 9/11” 625

Silverstone, “Regulation, Media Literacy, and Media Civics” 654


o Stagecoach (1939, John Ford, director)

Week 9: March 4 to March 10

Modular Week


Reception Studies

Presentation: _________________________

READINGS

o FTAI: 229-262

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o FTC: L. Williams, “Film Bodies: Gender, Genre and Excess” 602

Gunning, “An Aesthetic of Astonishment: Early Film and the

(In)Credulous Spectator” 736

Deleuze, “Preface to the English Edition,” 216

“The Origin of the Crisis: Italian Neo-Realism and the French New

Wave,” 218

“Beyond the Movement-Image,” 227

o TVC: “Part 4: Audiences, Viewers, Users” 451

Caron, “Translating Trek: Rewriting an American Icon in a Francophone

Context” 150

Siegel, “Double Vision: Large Screen Video Display and Live Sports

Spectacle” 185

Lembo, "Components of a Viewing Culture" 455

Hill, "Big Brother: The Real Audience" 471

La Pastina, "Telanovela Reception in Rural Brazil: Gendered Readings

and Sexual Mores" 486

Bjarkman, "To Have and to Hold: A Video Collector's Relationship with

and Etherial Medium" 530


o Mystery Science Theatre 3000 - “The Brain That Wouldn’t Die”


Marxist Film & Television Theories

Presentation: _________________________

ABSTRACTS DUE TODAY

READINGS

o Film Theory: An Introduction: 55-83

o Film Theory & Criticism: Henderson, “Towards a Non-Bourgeois Camera Style”

54

Comolli & Narboni, “Cinema/Ideology/ Criticism” 686

Benjamin, “The Work of Art in the Age of Mechanical Reproduction” 665

o Television: the Critical View: Godfried, “Identity, Power, and Local Television:

African Americans, Organized Labor, and UHF-TV in Chicago” 106

Jones, "From Insiders to Outsiders: The Advent of New Political

Television" 408

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Jacka, " 'Democracy as Defeat': The Importance of Arguments for Public

Service Broadcasting" 605

Garnham, "A Response to Elizabeth Jacka's 'Democracy as Defeat' " 618


o Street of Crocodiles

Week 12: March 26 to April 1

Psychoanalytic Film & Television Theory

Presentation: _________________________

READINGS

o FTAI: 153-169

o FTC: Baudry, “The Apparatus: Metapsychological Approaches to the Impression

of Reality in Cinema” 171

Carroll, “Jean-Louis Baudry and ‘The Apparatus’” 189

Metz, “Identification, Mirror” 694

“The Passion for Perceiving” 701

“Disavowel, Fetishism” 705


o Spellbound (1945, Alfred Hitchcock, director)

Week 13: April 2 to April 8

Feminist Theories of Film & Television

Presentation: _________________________

READINS

o FTAI: 169-185

o FTC: Haskell, “Female Stars of the 1940s”

Mulvey, “Visual Pleasure and Narrative Cinema” 711

Diawara, “Black Spectatorship: Problems of Identification and

Resistance” 767

Doane, “The Voice in Cinema: The Articulation of Body and Space” 318

Modleski, “The Master’s Dollhouse: Rear Window” 723

Freeland, “Feminist Frameworks for Horror Films” 627

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o TCV: Cassidy & White, “Innovating Women’s Television in Local and National

Networks: Ruth Lyons and Arlene Francis” 60

Murray, “Ethnic, Masculinity and Early Television’s Vaudeo Star” 85

Arthurs, "Sex and the City and Consumer Culture: Remediating

Postfeminist Drama" 315

Banet-Weiser, "Girls Rule! Gender, Feminism, and Nickelodeon" 332

Lu, "Soap Opera in China: The Transnational Politics of Visuality,

Sexuality, and Masculinity" 353

Cullity & Younger, "Sex Appeal and Cultural Liberty: A Feminist Inquiry

into MTV India" 507

o Handout: Studlar, “Masochism and the Perverse Pleasures of the Cinema”


o The Women (1939, George Cukor, dir.)

o I Dream of Jeanie (pilot)


The Postmodern theories; The cultural approach

Presentation: ____________________________

READINGS

o FTAI: 262-330

o FTC: Modleski, “The Terror of Pleasure: The Contemporary Horror Film and

Postmodern Theory,” 617

Stam & Spence, “Colonialism, Racism, and Representation: An

Introduction,” 751

Allen, “The Impact of Digital Technologies on Film Aesthetics,” 824

Yoshimoto, “The Difficulty of Being Radical: The Discipline of Film

Studies and the Postcolonial World Order,” 865

o TCV: Castiglia & Reed, “’Ah, Yes, I Remember It Well’: Memory and Queer

Culture in Will and Grace ” 249

Newcomb, “Part 5: Considering Television” 557

Hartley, "Television as Transmodern Teaching" 595


o Episode of Will & Grace

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Wrap-Up to the Course Part 1: discussion of the possibility of a Christian film and

television theory

TERM PAPER DUE

No Readings

No Screenings


EXAM #2 – Essay – Covering the readings, lectures, screenings since Exam #1

SECTION 4 – PROGRAM GOALS

SCHOOL OF COMMUNICATION AND THE ARTS MISSION STATEMENT

To prepare emerging and established Christian leaders to inspire, enrich and transform the

media, the arts, and the academy through excellence and innovation in scholarship and practice.

PROGRAM GOALS FOR THE DEPARTMENT OF CINEMA-TELEVISION.

MFA in Cinema-Television:

1. Christian Worldview Students will demonstrate the ability to integrate & apply the

Christian faith & biblical principles to the study & practices of mediated

communication.

2. Professional Artistry Students will articulate their personal artistic “voice” and

mastery of the production process as evidenced by excellence in their creative works.

3. Techniques (within majors):

o Producing: Students will demonstrate mastery of cinema and television

producing, which includes the development of leadership and stewardship skills within a spiritual, social, cultural, and global framework.

o Directing: Students will demonstrate mastery of cinema and television

directing, in storytelling, pre-visualization, production design, casting &

performance, cinematography, audio, post-production, and the application of

Christian leadership skills to the directing process.

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MA in Communication:

1. Christian World-View Students will demonstrate the ability to integrate & apply the

Christian faith & biblical principles to the study & practices of mediated communication.

2. Academics Students will demonstrate knowledge of relevant communication theories

related to the study of film & television.

3. Artistic Practice (within concentrations) Students will demonstrate proficiency and

excellence in the rigorous exploration and application within their chosen artistic

concentration:

o Producing: In the logistics of a film/TV production, including story and

production development, pre-production, scheduling & budgeting, legal issues &

business development, post-production, distribution, and the application of

Christian leadership to the producing process.

o Directing: In storytelling, pre-visualization, production design, casting &

performance, cinematography, audio, post-production, and the application of

Christian leadership skills to the directing process.

o Editing: In post-production – including non-linear, story structure, workflow,

acquisition, sound design, compositing, media formats & technology, graphics,

mastering, production process, and the application of Christian leadership in the

post-production process.

o Critical Studies: In the historical-critical analysis of film and television. This will

include mastery of classical, contemporary, and international research methods,

critical writing, understanding and application of relevant theory and histories

(national and international) – all combined with an understanding of the Christian

world-view.

SECTION 5 – UNIVERSITY POLICIES

Students should become familiar with all university policies as outlined in the Student Handbook

including:

Disability services (Note: Requests for accommodation must first be submitted through

Disability Services).

Regent Honor Code (as an academic and Christian community, Regent University takes

seriously the call for integrity and penalizes breaches of academic integrity.)

Withdrawing from a course or the University

http://www.regent.edu/admin/stusrv/student_handbook.cfm

http://www.regent.edu/admin/stusrv/student_life/disabilities.cfm

Page 19 of 19


Discipline policies

A link to the Student Handbook can also be found in Blackboard’s “RU Resources” tab along

with links to University Library, Student Services, University Bookstore, academic writing

assistance resources, and more.

Blackboard’s “Help” tab provides additional resources including:

Blackboard tutorials

IT Help Desk contact information

STUDENT COURSE EVALUATION

Students have the opportunity to provide feedback throughout the course through e-mail,

telephone, and on-campus appointments. Near the end of the course, students will complete an

anonymous online course evaluation form. Since the results contribute to improving course

design and presentation, it is important that students be honest and constructive in their

evaluations. Students will receive an e-mail reminder from the University when it is time to

complete these evaluations. Please take time to provide this input. Students can access the

online evaluation system at:

http://eval.regent.edu/regent/survey/students.cfm

If you have questions about the online evaluation please contact [email protected].

This syllabus is subject to change without notice.

Last updated: 11/8/2012

Regent University

1000 Regent University Drive, Virginia Beach, VA, 23464

Phone (888) 718-1222

©2012 Regent University, All Rights Reserved.

http://eval.regent.edu/regent/survey/students.cfm

mailto:[email protected]

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600-01 - regent.edu 5 of 19 Regent University, CTV 600-01 THEORY & CRITICISM OF CTV Course Syllabus Additional materials (e.g., PowerPoint files, quizzes, media…