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Course Information (click
on pictures) Erin Brockovich Norma Rae Burning Time
to Kill
One Flew Over the
Cuckoo’s Nest
Additional Films Dead Man Walking
Cool Hand Luke
The
Long Walk Home
On the Waterfront Constant
Girl in the Cafe
Contact Information
Office: Mercy Hall, 250
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“ Students will be able to: Ø
analyze, compare, and contrast the themes of social justice in
the movies studied; Ø
define film terms and explain
film concepts and apply both to specific movies; Ø
write critical analysis papers; Ø
develop effective note-taking strategies; Ø
deliver collaborative oral class presentations Ø
use multimedia tools (e.g., PowerPoint and
online discussions) to communicate course concepts and online databases to
access articles pertinent to movies studied Essential Questions These questions reflect the broad understandings
that students should develop as a result of the course. þ
How do cinematic techniques underscore a film’s
theme? We study cinematic
techniques (e.g., editing, shot composition) and the role of director,
cinematographer, screenwriter, actors, and others, who work collaboratively
to create a film. The textbook Looking at Movies: An Introduction to Film
and additional reading material provide background on cinematic concepts. We
apply these concepts to the films studied to understand how filmmakers use cinematic
techniques to convey their messages and elicit audience response. The goal is
to develop a critical perspective for viewing movies and gaining an aesthetic
appreciation of movies as an art form. þ
How do The theme of
fighting for justice is popular in films; generally film viewers like to see
underdogs win. In the course, we focus
on a variety of films that depict rebels fighting bravely, sometimes alone,
for justice. In each film, the way in which the protagonist rebels and how
the concept of social justice is developed vary. Viewers will find some
protagonists altruistic and others egotistical. None of the films present a one-sided view.
The films examine timely issues, such as environmental pollution, unfair
labor practices, the fight for civil rights, racial and bureaucratic
oppression, inhumane institutionalization of the mentally ill, abuse of
power, and capital punishment. Students
will question the motives of the rebels, the value of their fights, and
whether social justice is served. The meaning of the
term social justice is itself ambiguous, and the course examines a variety of
definitions. (See the quotations below as a start point, and consider how
philosophers, political scientists, and others define both justice and social
justice.) Of note, several
of the films derive from historical events (Mississippi Burning), others are biographical (Erin Brockovich and Norma Rae) and still others borrow
from literary texts (e.g., One Flew
over the Cuckoo’s Nest, Time to Kill, and Shawshank Redemption). The way filmmakers interpret source
material reflects their stance on social justice. We will study how the
filmmakers’ adaptations differ from the source and hypothesize as to why
changes were made as we come to understand each filmmaker’s position on
social justice. We will also consider movies not seen in class that deal with
social justice, such as Quotations on the Theme of Justice “Why should there not be a patient confidence in the ultimate justice
of the people? Is there any better or equal hope in the world?” Abraham Lincoln, First Inaugural Address, “I am somehow less interested in the weight and convolutions of
Einstein's brain than in the near certainty that people of equal talent have
lived and died in cotton fields and sweatshops.” Stephen Jay Gould “The moral arc of the universe
bends at the elbow of justice.” Martin Luther King, Jr. “Human progress is neither
automatic nor inevitable... Every step toward the goal of justice requires
sacrifice, suffering, and struggle; the tireless exertions and passionate
concern of dedicated individuals.” Martin Luther King, Jr. Course Format Units of study begin by viewing a film over two or three
classes. Following the full screening, specific sequences are replayed to
study cinematic techniques and thematic elements. Students have access to copies of films for
viewing outside of class. For the first three course films, students are
required to take notes; this entails a second viewing of the movie, usually
outside of class time. Guides provide a structure for writing notes, and
students may follow the guides at their discretion. Tips for writing
effective notes in a condensed timeframe are offered. For the fourth and
fifth course films, students prepare oral presentations and collaborative
notes for class sharing. In addition, students are responsible for taking
notes on the textbook readings and the accompanying DVD clips. Two formal
papers are assigned, each comparing two course films. Course Textbook Barsam, Richard. Looking
at Movies: An Introduction to Film. (2nd ed.) Prejean, Helen. Dead Man
Walking. Course Materials Ø
Three-ring, loose-leaf binder with dividers and pockets Ø
Course handouts to be distributed Ø
Ø
regularly and kept in
loose-leaf binder Ø
SJC e-mail and Blackboard accounts, as well as ID card for
library use Ø
Books and films on reserve in the library and books and DVDs in
the College library Ø
Course textbook website at wwnorton.com/movies Ø
Course website and blog Background
about SJC and FYS First-Year Seminar Philosophy First Year Seminar (FYS) introduces students to academic life in a
college community setting. The course
addresses social, emotional, and academic aspects of the transition to
college life. Mercy values and
mission, academic honesty, healthy lifestyles, effective communication,
critical thinking, collaborative learning, and research skills are addressed
in the course. By exploring the
purpose of higher education and institutional mission, the students learn
about the philosophy and values of the College as the foundation for their
learning and for involvement in the College community. Academic Integrity Academic
integrity is the responsibility a student assumes for honestly representing
all academic work. The responsibility
implies that the student will in no way misrepresent her work or unfairly
advance her academic status.
Furthermore, the student will not assist another student in unfairly
representing her work. Academic work
includes take-home assignments, papers, and course projects. The use of all
source material must be documented.
Because academic integrity is inherent in the philosophy of Saint
Joseph College, it expected that all members of the College will refer
perceived breaches of this code and questions to a member of the Judicial
Review Board. General Education Curriculum: Integral Skills Written & oral communication: two analytical papers and
two oral presentations Critical thinking: critical notes on films, critical
notes on textbook, two analytical papers, discussions focused on comparing
movie adaptations to their source and comparing movie themes and techniques Research/scholarship: background research for papers and presentations, use of MLA
documentation style and online databases for papers, critiquing the
credentials and credibility of Internet sources Collaboration: peer reviews of papers,
oral presentations, online collaborative activities (e.g., Blackboard
discussions and postings to class blog). Selected Bibliography (books available in SJC library) Ball,
Howard. Murder in Brockovich,
Erin with Mark Eliot. Take It From Me:
Life’s a Struggle But You Can Win. Fireside,
Huie,
William Bradford. Three Lives for Leifermann,
Henry P. Crystal Lee: A Woman of
Inheritance. |
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Email jarzt@sjc.edu | @
Judy Arzt, 2005-2007 | Last revised: |
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