Syllabus Cinemaandnewmedia AY20123 Sem1-Libre

8/10/2019 Syllabus Cinemaandnewmedia AY20123 Sem1-Libre

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Part 4 Week 11-12 Media Changes and Shifting SpectatorshipsWrap-up Week 13 Final Paper Proposal

Assigned Texts As this course will be drawing reading materials from a diverse range of sources, therewill be no required textbook. Relevant readings (both required and recommended) foreach session will be uploaded in PDFs onto the course website in the universitysEdventure.

Assignment ComponentsThe final grade for the course will be determined as follows:1. Participation: 10% (class participation: 5%, online postings: 5%)2. Discussion Leading: 15% 3. Two Film Reviews (15 percent each): 30% 4. Field Survey: 1 0% 5. Final Paper: 35%

The Continuous Assessment (CA) comprises 70% (component 1 to 4) and theexamination 30% of the final mark. The CA is based on performance in and out of classand assignments.

1. Online Postings (5%): Students are strongly encouraged to post your response toeach main film, supplementary film clips (both shown or not shown in the lecture), anddiscussion topics intermittently raised by the instructor or tutor. The postings will bemainly made in the Facebook page of the course, but students will post in theedveNTUres discussion board if they are willing to write a longer response to thescreened film, or are asked to engage in the discussion topics.

2. Discussion Leading (15%)

Each student (or a group of two students) is required to lead a 20-minute discussion thatwill take place on a regular basis from the Week 2 tutorial and onwards. He (or thegroup) will be responsible for summarizing key arguments of the required texts for thedesignated week (for instance, readings in Week 2 for the discussion in each week, andcovering recommended readings by the leader will be highly encouraged) in relation tothe film(s) screened, and raising issues that other students will engage for discussion.The student (or the group) will be able to consult the instructor in order to gainsuggested discussion topics related to the readings and the film.

3. Two Film Reviews (15% each): 30%In relation to Part 2 and 3, you will write two 4-5-page film reviews (times new roman 12

point, double-spaced, and with each margins size one inch) on a film related to thethemes of Part 2 (spectacular cinema) and 3 (non-spectacular digital films) respectively.The range of films includes not merely films screened or partly presented in thecorresponding lectures, but also other films that you think are relevant to any lecturetheme in Part 2 and 3. You are required to present how you understand key techniquesand film languages, and to make your own arguments on the topics covered in thereview, by examining and citing at least two readings of the lectures.The deadline for the first review is 21 Sep (Fri), and for the second review is 26 Oct(Fri). Submissions on soft copy (via email) are allowed .


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* For the review assignments, students should pick up a film that they will not deal within their own discussion leading. For instance, if a student will lead a discussion on thetopics of Week 2, he or she is not allowed to select the main film screened in the weekslecture.

4. Field Survey: 10%In relation to the themes of Part 4, you will write one 500-word survey report on one ofthe post-theatrical forms of film experience (viewing with the DVD or the portable screeninterface, fan fiction, Machinima, online video, Second Life, film blogging/videologging,etc.). In your report, you will answer the following questions. What cinematic experiencesor pleasures are extended to your experience of the form you chose? Does this formmake any change in your previous experience of a film, including your identification withits story or character, or your memory about it? In what ways do you define yourexperience of the form as participatory? In doing so, you must cite at least tworeadings of the related sessions.The deadline for the field survey via email is 9 Nov (Fri) .

5. Final Paper: 35% (proposal: 5%, paper: 30%)You will submit a 3,000-word final paper (times new roman 12 point, double-spaced, andwith each margins size one inch) that examines either a single film or a small samplingof films in terms of the (formal, narrative, industrial, spectatorial, or technical) relationshipbetween cinema and new media. Though you are allowed to choose any film (regardlessof whether it was shown in the class or not), the papers topic must be concerned withone of four parts of the lectures (Digital Media, Special Effects Cinema, DV Filmmaking,and Shifting Spectatorships). In your paper, you must cite at least six scholarly sources(books or articles), while you may need to draw on specific web pages or online sources.Only four of the sources may be from the required and recommended readings assignedin this course. The other sources must be ones from the additional bibliography, or onesthat you find in the library or elsewhere.

Youre asked to submit a 250-word proposal along with bibliography, in which you willoffer your papers key arguments, frameworks or methodologies, and objects of analysis.The deadline for proposals submitted by email is 12 Nov (Mon), and the deadlinefor final papers (only on hard copy) is 23 Nov (Fri). .* Students who will write selected outstanding papers will be encouraged to submit themto Film Matters (http://www.intellectbooks.co.uk/journals/view-journal,id=187/), aninternational journal for undergraduate film scholars, under the instructors guidance.

* For all the writing assignments, students must consult one of the three propercitation styles based on research using source materials - MLA (Modern Language Association) Style:

http://owl.english.purdue.edu/owl/resource/747/01/- APA Style: http://owl.english.purdue.edu/owl/section/2/10/- Chicago Manual Style: http://www.chicagomanualofstyle.org/home.html

* All late submissions will be penalized (a discount of one grade will be reflected onyour net grade per day).


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Course Schedule

Part 1: A Short Introduction to Digital Cinema and Media (3 Weeks)

Date Topic Screening Tutorial

Opening the Debate:Cinema after Film?

Excerpt from Film Socialisme(Jean-Luc Godard,2010)

Level 5 (ChrisMarker, 1997,104min.)

Introducing yourself;forming groups (ifapplicable)

Discussion on Week1Readings and Film

Week 1(14/15

Aug)

Readings:

Godfrey Cheshire, The Death of Film/The Decay of Cinema, New York Press , Dec.30, 1999

Anne Friedberg, The End of Cinema: Multimedia and Technological Change,

Reinventing Film Studies , eds. Christine Gledhill and Linda Williams (London: Arnold, 2000), pp. 438-452.

What is New Media andDigital Visual Culture?

The Russian Ark (Alexander Sukorov,2002, 99 min.)

Discussion on Week 2Readings and Film

Week 2(21/22

Aug)

Readings: Lev Manovich, Principles of New Media, What New Media is Not, The Language of

New Media (Cambridge, MA: MIT Press, 2001) , pp. 27-61.

Jay David Bolter and Richard Grusin, Immediacy, Hypermediacy, and Remediation, Remediation: Understanding New Media (Cambridge, MA: MIT Press, 1999), pp. 20-50.

Realer than Real: TheOntology of the DigitalImage

Jurassic Park (StevenSpielberg, 1993, 127min.)

Discussion on Week 3Readings and Film Week 3

(28/29 Aug)

Readings: Stephen Prince, True Lies: Perceptual Realism, Digital Images, and Film Theory,

Film Quarterly , Vol. 49, No. 3 (1996), pp. 27-37.

Warren Buckland, Realism in the Photographic and Digital Image, StudyingContemporary American Cinema: A Guide to Movie Analysis , eds. Thomas Elsaesserand Warren Buckland (London: Arnold Publishers, 2002), pp. 195-219.

Part 2: Digital Effects and the Spectacular Narrative Cinema (3 Weeks)


Week 4(4/5Sep)

Digital Visual Effects:Compositing New NarrativeSpace

The Day afterTomorrow(Roland Emmerich,2004, 124 min.)



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Readings: Dan North, The Computer, Performing Illusions: Cinema, Special Effects and theVirtual Actor (London: Wallflower Press, 2008), pp. 116-147.

Aylish Wood, Timespaces in Spectacular Cinema: Crossing the Great Divide ofSpectacle and Narrative, Screen , Vol. 43, No. 4 (Winter 2002), pp. 370-386.

Virtual Sensations: Games,Rides, and the Cinema of

Attraction

Hugo(Martin Scorsese,2011, 126 min.)


Week 5(11/12Sep)

Readings: Manovich, The Screen and the User, Navigable Space, The Language of New Media, pp. 94-115, 244-285.

Ndalianis, Angela, Special Effects, Morphing Magic, and the 1990s Cinema of Attraction, Meta-Morphing: Visual Transformation and the Culture of Quick-Change , ed. Vivian Sobchack (Minneapolis and London: University of MinnesotaPress, 2000), pp. 251-271.

Virtual Bodies and theBlurring of Cinema and

Animation

The Polar Express(Robert Zemeckis,2004, 100 min.)


Week 6(18/19Sep)

Readings: J. P. Telotte, Digital Effects Animation and the New Hybrid Cinema, Animating Space: From Mickey to Wall-E (Lexington, KY: The University Press of Kentucky,2010), pp. 222-251.

Jessica Aldred, From Synthespian to Avatar: Re-framing the Digital Human in Final Fantasy and The Polar Express , Mediascape , Winter 2011,http://www.tft.ucla.edu/mediascape/Winter2011_Avatar.html

Part 3: Genres and Aesthetics of Digital Video Filmmaking (4 Weeks)


DV Features: The Pursuitof Authenticity Across theGlobe

Ten (AbbasKiarostami, 2002, 91min.)


Week 7(25/26Sep)

Readings: Holly Willis, The Future of the Feature, New Digital Cinema (London: Wallflower

Press, 2005), pp. 19-45.

Adam Ganz and Lina Khatib, Digital Cinema: The Transformation of Film Practiceand Aesthetics, New Cinemas: Journal of Contemporary Film , Vol. 4, No. 1(2006), pp. 21-36.

Week 8(9/10

Documentarys ExpandedFields

Waltz with Bashir(Ari Folman, 2008,90 min.)



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min.)

Readings:

Barbara Klinger, The Contemporary Cinephile: Film Collecting after the VCR, Beyond the Multiplex: Cinema, New Technologies, and the Home (Berkeley, CA:University of California Press, 2006), pp. 54-90.

Francesco Casetti, Back to the Motherland: The Film Theatre in the Postmedia Age, Screen , Vol. 52, No. 1 (2011), pp. 1-12.

Fan Production,Machinima, Youtube,Mashups: the Poetics ofParticipatory Forms

Rehearsals for Retirement (PhilSolomon, 2007),

The French Democracy (AlexChan, 2005)

LOuvroir (Marker,2009, video clipmade with SecondLife)


Week 12(5/6Nov)

Readings:

Henry Jenkins, Quentin Tarantinos Star Wars?: Digital Cinema, MediaConvergence, and Participatory Culture, Rethinking Media Change: The Aestheticsof Transition, ed. David Thorburn and Henry Jenkins (Cambridge, MA: MIT Press,2004) , pp. 281-312.

Henry Lorwood, High-performance Play: The Making of Machinima, Journal of Media Practice , Vol. 7, No. 1 (2006), pp. 25-42.

Chuck Tyron, Hollywood Remixed: Movie Trailer Mashups, Five Second Movies,and Film Culture, Reinventing Cinema: Movies in the Age of Media Convergence (New Brunswick, NJ: Rutgers University Press, 2009) pp. 149-172.

Wrap-up


No Class: DeepavaliHoliday

No screening No Tutorial:Each student willindividually meet the

instructor and obtain hiscomments and suggestionson his/her final paperproposal(Appointments will bedetermined later)

Week 13(Nov13/14)

Readings:

No Readings


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Additional Bibliography for Recommended Readings

Week 1Elsaesser, Thomas, Digital Cinema: Delivery, Event, Time, Cinema Futures: Cain, Abel

or Cable? The Screen Arts in the Digital Age , eds. Elsaesser and Kay Hoffmann(Amsterdam, The Netherlands: Amsterdam University Press, 1998), pp. 201-222.

Belton, John, Digital Cinema: A False Revolution, October , Vol. 100 (Spring 2002), pp.98-114.

Spielmann, Yvonne, Visual Forms of Representation and Simulation: A Study of ChrisMarkers Level 5 ,Convergence: The International Journal into Research into New Media Technologies , Vol. 6, No. 2 (2000), pp. 18-40.

Jovanovic, Stefan, The Ending(s) of Cinema: Notes on the Recurrent Demise of theSeventh Art, Offscreen (online journal, 2003), online athttp://www.horschamp.qc.ca/new_offscreen/death_cinema.html

Week 2Binkley, Timothy, Digital Dilemmas, Leonardo . Supplemental Issue, Vol. 3 (1990), pp.13-19.

Darley, Andrew, Genealogy and Tradition: Mechanized Spectacle as PopularEntertainment, Visual Digital Culture: Surface Play and Spectacles in New Media Genres (New York and London: Routledge, 2000), pp. 37-57.

Hansen, Mark B.N., Introduction and Chapter 1, New Philosophy for New Media (Cambridge, MA: MIT Press, 2004), pp. 1-45.

Lister, Martin, et al. excerpts from chapter 1 (New Media and New Technologies), New

Media: A Critical Introduction , 2nd

edition, (Routledge, 2009), pp. 10-45. Week 3Rosen, Philip, Old and New: Image, Indexicality, and Historicity in the Digital Utopia,

Change Mummified: Cinema, Historicity, Theory (Minneapolis: University ofMinnesota Press, 2001), pp. 301-349.

Rodowick, D. N., Paradoxes of Perceptual Realism, Real is as Real Does, Lost inTranslation: Analogy and Index Revisited, The Virtual Life of Film , (Cambridge,MA: Harvard University Press, 2007), pp. 99-124.

Prince, Stephen, The Emergence of Filmic Artifacts: Cinema and Cinematography in theDigital Age, Film Quarterly , Vol. 57, No. 3 (2004), pp. 24-33.

Doane, Mary Ann, The Indexical and the Concept of Medium Specificity, Differences: A Journal of Feminist Cultural Studies , Vol. 18, No. 1 (2007), pp. 128-152.

Week 4Cubitt, Sean, Digital Filmmaking and Special Effects, The New Media Book , ed. Dan

Harries (London: British Film Institute, 2008) pp. 17-29.


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Bordwell, David, Intensified Continuity: Visual Style in Contemporary American Film, Film Quarterly , Vol. 55, No. 3 (Spring 2002), pp. 16-28.

King, Geoff, Spectacle, Narrative, and the Spectacular Hollywood Blockbuster , Movie Blockbusters , ed. Julian Stringer (New York and London: Routledge, 2003), pp.114-127.

Pierson, Michele, The Wonder Years and Beyond, Special Effects: Still in Search ofWonders (New York: Columbia University Press, 2002), pp. 93-136.

Week 5Bukatman, Scott, The Ultimate Trip: Special Effects and Kaleidoscopic Perception,

Matters of Gravity: Special Effects and Superman in the 20 th Century (Durhamand London: Duke University Press, 2003), pp. 111-130.

Ross, Miriam, Spectacular Dimensions: 3D Dance Films, Sense of Cinema 61 (2011),online at http://www.sensesofcinema.com/2011/feature-articles/spectacular-

dimensions-3d-dance-films/.

Will Brooker, Camera-Eye, GC-Eye: Videogames and the Cinematic, Cinema Journal , Vol. 48, No. 3 (2009), pp. 122-128.

Crogan, Patrick, Logistical Space: Flight Simulators and the Animation of VirtualReality, Gameplay Mode: War, Simulation, and Technoculture (Minneapolis,MN: University of Minnesota Press, 2012), pp. 37-58.

Week 6 Allison, Tanine, More than a Man in a Monkey Suit: Andy Serkis, Motion Capture, and

Digital Realism, Quarterly Review of Film and Video 28 (2011), pp. 325-341.Brown, William, Beowulf: The Digital Monster Movie, Animation: An

Interdisciplinary Journal , Vol 4, No. 2 (2009), pp. 153-168.

Darley, Andrew, Simulation and Hyperrealism: Computer Animation and TV Advertisement, Visual Digital Culture , pp. 81-101.

Manovich, Lev, Image Future, Animation: An Interdisciplinary Journa l, Vol. 1, No. 1,pp. 25-44.

Week 7Munt, Alex, Digital Kiarostami and the Open Screenplay, Scan: The Journal of Media

Arts and Culture (Online), Vol. 3, No. 2 (October 2006), available athttp://scan.net.au/scan/journal/display.php?journal_id=74

Geuens, Jean-Pierre, The Digital World Picture, Film Quarte rly, Vol. 55, No. 4(Summer 2002), pp. 16-27.


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Levin, Thomas Y., Rhetoric of the Temporal Index: Surveillant Narration and theCinema of Real Time, CTRL [SPACE] : Rhetorics of Surveillance from Benthamto Big Brother , eds. Thomas Y. Levin, Ursula Frohne, and Peter Weibel(Cambridge, MA: MIT Press, 2002), pp. 578-593.

Rombes, Nicholas, DV Humanism, Real Time, Undirected Films, Cinema in the Digital Age (London: Wallflower Press, 2009), pp. 25-30, 84-89, 132-139.

Week 8 Wang, Yiman, The Amateurs Lighting Rod: DV Documentary in Postsocialist China,

Film Quarterly, Vol. 58, No. 4 (Summer 2005), pp. 16-26.

Tess Takahashi, Experiments in Documentary Animation: Anxious Borders, SpeculativeMedia, Animation: An Interdisciplinary Journal , Vol. 6, No. 3 (2011), pp. 231-245.

Tyron, Chuck, Digital Distribution, Participatory Culture, and the Transmedia

Documentary, Jump Cut , No. 53 (Summer 2011), online athttp://www.ejumpcut.org/currentissue/TryonWebDoc/text.html

Nichols, Bill, What Types of Documentary Are There, Introduction to Documentary (Bloomington, IN: Indiana University Press, 2001), pp. 99-138.

Week 9 Anderson, Steve F., Aporias of the Digital Avant-garde, Digital Humanities Quarterly ,

Vol. 1, No. 2 (Summer 2007), online athttp://digitalhumanities.org/dhq/vol/1/2/000011/000011.html

Turvey, Malcolm et al., Round Table on Digital Experimental Filmmaking, October 137(Summer 2011), pp. 51-68.

Le Grice, Malcolm, Digital Cinema and Experimental Films- Continuities andDiscontinuities, Experimental Cinema in the Digital Age (London: BFIPublishing, 2001), pp. 310-324.

Horwatt, Eli, A Taxonomy of Digital Video Remixing: Contemporary Found FootagePractice on the Internet, Cultural Borrowings: Appropriation, Reworking,Transformation , ed. Iain Robert Smith, Scope: 10 th Anniversary Special Issue(2010), pp. 76-91.

Week 10Bordwell, David, Film Futures, Substance , Vol. 31, No. 1 (2002), pp. 88-104.

Daly, Kristen, Cinema 3.0: The Interactive-Image, Cinema Journal , Vol. 50, No. 1 (Fall2010), pp. 81-98.

Cameron, Allan, Contingency, Order, and the Modular Narrative : 21 Grams and Irreversible ,The Velvet Light Trap 58 (2006), pp. 65-78.


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Thanouli, Eleftheria, Narration in World Cinema: Mapping the Flows of Formal

Exchange in the Era of Globalization, New Cinemas: Journal of Contemporary Film , Vol. 6, No. 1 (2008), pp. 5-15.

Week 11

Skopal, Pavel, The Adventure Continues on DVD: Franchise Movies as Home Video,Convergence: The International Journal of Research into New MediaTechnologies , Vol. 13, No. 2 (2007), pp. 185-198.

Mulvey, Laura, Passing Time, Death 24x a Second: Stillness and the Moving Image(London: Reaktion Books, 2006), pp. 17-32.

Verhoeff, Nanna, Theoretical Consoles: Concepts for Gadget Analysis, Journal ofVisual Culture, Vol. 8, No. 3 (2009), pp. 279-298.

Richardson, Ingrid, Faces, Interfaces, Screens: Relational Ontologies of Framing, Attention and Distraction, Transformations 18 (2010),http://www.transformationsjournal.org/journal/issue_18/article_05.shtml

Week 12Nitsche, Michael, Machinima as Media, The Machinima Reader , eds. Henry Lowood

and Michael Nitsche (Cambridge, MA: MIT Press, 2011), p. 113-126.

Shefrin, Elana , Lord of the Rings, Star Wars, and Participatory Fandom: Mapping NewCongruencies Between the Internet and Media Entertainment Culture , Critical Studies in Media Communication , Vol. 21, No. 3 (September 2004), pp. 261-281.

Li, Jinying, From D-Buffs to the D-generation: Piracy, Cinema, and an AlternativePublic Space in Urban China, International Journal of Communication 6 (2012),pp. 542-563.

Burgess Jean, and Joshua Green, The Entrepreneurial Vlogger: Participatory CultureBeyond the Professional-Amateur Divide, The YouTube Reader , eds. PelleSnickars and Patrick Vonderau (Stockholm, Sweden: National Library of Sweden,2009), pp. 89-107.

Andrejevic, Mark, Exploring YouTube: Contradictions of User-generated Labor, TheYoutube Reader , pp. 406-423.

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Syllabus Cinemaandnewmedia AY20123 Sem1-Libre