Philosophy & Cinema (PHL 42)
Pierce College
Fall 2016 (section 3319)
Thursday 3:45-6:55p
Dr. Melanie McQuitty
Email: [email protected]
Email: [email protected]
Instructor Communication
• Instructor Office: FO 2604
• Office Hours: T 1p-2:10p & 7-8:20p; TH 1-2:10p & 7-8:20p; by appt.
• Email: [email protected]: Please identify yourself by stating your full name and
section. Please use an appropriate name for your address. In the subject line, please
write: Philosophy 42 – Your Name. Practice proper grammar when writing emails.
Think before you send. Remember that what you write in in an email becomes part of
a permanent record of interaction with me.
• Phone: (818) 710-3645 — Please do not call me. It is best to reach
me via the Q&A Forum or email.
Course Description:
Imagining life without movies is like imagining a tray of cupcakes without icing. The medium of film, although little more than a century old,
has overtaken just about all other artistic and communicative media in
its powers to mold our beliefs, desires, fears, and even our identities—
sometimes for better, sometimes for worse. To this extent, film invites philosophical reflection in two broad ways, which will structure
the discussions, readings, and screenings of this course.
First, films can—like other art forms—serve as a vehicle for philosophical ideas. These include, for example, reality and appearance, good
and evil, and knowledge and skepticism. Second, the experience of
watching films— especially when one becomes acquainted with a variety of films, styles, genres, and directors—has a way of reflecting back
upon itself and nudging us to ask what film is in a deeper sense. In
this case, asking questions such as the following, for example: Does
film passively mirror reality? Or does it provide an alternative reality of
its own? Is the viewer active in constructing any film narrative? Or is
the viewing experience a passive one? [see clips]
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Some films will be screened during class time, whereas you are required to see other films on your own in time for class discussions. All
film screenings are listed on the class schedule.
Student Learning Outcomes: My hope is that students’ thinking will
be transformed as a result of taking this class in the following ways:
1. Students will demonstrate knowledge of film from different genres from a variety of traditions and cultures.
2. Students will demonstrate the ability to critically evaluate and
interpret film using rigorous philosophical methods.
Course Policies on Attendance, Participation, and Lateness:
You are expected to attend all class meetings and to come prepared.
Coming to class allows you the benefit of the insight and experience of
your peers and your professor, as well as adding your own voice to the
discussion, all of which is essential to this course. It is imperative that
anyone taking this course keeps up with the reading and attends class
regularly.
This course meets only once per week, so absences will be excused
only under special circumstances. Excessive unexcused absences will
result in “downsizing” of your participation grade, since if you are not
present, you cannot participate. Please do not arrive to class late unless you give me advance notice. Unexcused lateness will not be tolerated and may result in downsizing your participation grade. The same
applies to leaving early.
You are expected to have read ALL of the assigned material before
class and be ready to participate in discussions and in-class activities.
By participate I mean be present, be aware, be engaged, and be involved. Not doing so may have a negative impact on your participation
grade. You need to be very honest with yourself at this point: are you
willing to take a class that will require 5-10 hours of work (in addition
to class time) per week?
Doing the Readings
If you have not read philosophy before you may find the readings
harder and stranger than most things you’ve read. Don’t take these
difficulties personally; everyone finds philosophy hard to read at first,
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and a lot of it is very strange. On the other hand, once you get past
the difficulties, the material may seem familiar. Philosophy deals with
questions that people all over the world, adults and children, have
been asking ever since there have been people. You have undoubtedly
asked some yourself. What makes philosophy difficult is the rigor with
which philosophers approach these common questions.
Plan to read everything three times; once quickly, and a second time
more carefully; then once more after you come to class or before the
exam to review what we talked about. Keep some written record of
your thoughts, whether you do so in the margin or in a journal or
some other place. If you do this, and if you bring questions to class
and to the discussion board, you will find yourself both learning and
enjoying the class, and your grades on exams and papers should be
good ones. If you slack off, and do last minute cram reading, you are
most likely not to have a clue, your grade will show it, and you won’t
have gotten your money’s worth. The choice is yours.
Online resources do not take the place of carefully reading the assigned material. If you do not read carefully and instead get your answers and information from the Internet, your assignments will show it
and passing the exams is unlikely.
Work/Assignments/Grading
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Reaction Papers — Essentially, you might treat these as short
essay opportunities, which will force you to elaborate more and
provide reaction to some of the ideas/concepts discussed. Reaction Papers correspond to a particular reading(s) for a given
week and are due at the beginning of each class. Reaction Papers are 1 double-spaced, 12” font, left-justified page—no more,
no less. Papers that do not follow the guidelines will not be accepted. The point of these papers is for you to try your hand at
essay writing in a shorter format while developing editing skills.
*Notes: not all readings for a given week will be included in
RQs. That DOES NOT mean you are not required to read them.
These readings are necessary to answer your journal questions.
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Moviegoer’s Journal—As you watch films this semester, either in
class or on your own, journal your thoughts and experiences.
You are required to have journal entries for at least all of the assigned screenings (based on instructor prompts and your gen-
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eral reaction to the film). Additional credit will be given for insightful entries based on films you view on your own time. I will
be collecting journals randomly throughout the semester, so be
sure to bring them to class every week. Journals should be kept
separate from your notes, either in the back of your notebook or
in a separate notebook. I will not grade journal entries that are
scattered in between course notes. See Chapter 2, “Writing
about Films,” from your “Film Viewer’s Guide,” by David
Bordwell, for tips on writing Reaction Papers and Journal Entries.
•
Exams—There will be two in-class exams. Make-up exams are
not an option unless there is proof of extreme, unavoidable circumstances such as a car accident, prison, or hospitalization.
•
Class Participation—By participate I mean be present, be aware,
be engaged, and be involved.
ATTENTION: I do not accept emailed assignments under any circumstances. There are no exceptions to this rule, so please do not ask. Assignments handed in late will be downsized one level for every day
late.
Final Grade Breakdown
Exam 1= 20%, Exam 2 = 20%, Reaction Papers = 20%, Participation/Attendance = 20%, Journal= 20%
A=90 or higher; B=80-89; C=70-79; D=60-69; F=59 or lower
ATTENTION: I do not discuss grades via email. If you'd like to discuss
your grade, feel free to see me in my office during office hours.
Required Texts:
Thomas Wartenberg, The Philosophy of Film: Introductory Readings
(Blackwell, 2005),
Mark T. Conrad and Aeon Skoble, Woody Allen and Philosophy (Open
Court, 2004).
Gordan Marino, ed., Basic Writings in Existentialism (Modern Library,
2004).
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**Additional readings will be posted on Canvas. Always print Canvas
handouts and bring them to class.**
Recommended Texts:
David Bordwell, Film Viewer’s Guide (McGraw Hill, 2003).
Blackburn, Simon, The Oxford Dictionary of Philosophy (Oxford University Press, 1996).
Canvas:
By enrolling in this course, you are enrolled in Pierce College’s online
community, Canvas. I will use Canvas to post assignments, readings,
and course announcements from time to time. Canvas also provides us
with an opportunity to discus the readings more informally, raise questions, clear up confusion, and/or continue class discussions.
Campus Resources:
Pierce College aims to create an environment where you are able to
enjoy learning. Please take advantage of all the resources the College
offers you. The following are some of these:
•
Center for Academic Success: Provides basic reading, writing,
and math assistance by appointment or on a walk-in basis.
Hours: Mon. - Thurs. 9am-5:30pm, Fri. 10am-2pm. Pop in or
call for an appointment: 818-719-6414.
•
Philosophy Tutor: A philosophy tutor has been assigned to this
class and will be available for assistance during specified hours.
The Philosophy tutor can be found at the Center for Academic
Success. Pop in or call for an appointment.
•
Pierce College Library: Offers a number of services to students,
including a 1-unit (8-week) course on Internet Research Methods (Library Science 102).
•
Pierce Library Databases: The Pierce library subscribes to a
number of online databases, which includes academic journals.
To access these databases, go to the library homepage and click
the “online articles” tab. You may access these using your student ID and birthday month and day.
•
Online Writing Lab: Provides help with proofreading, grammar
skills, etc. and is available via Canvas.
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Special Services: Provides services to students with disabilities.
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Financial Aid Office: Helps pay for books and other college expenses. Visit the financial Aid Office online at
http://www.piercecollege.edu/offices/finaid or in person at the
College Services Building. Call the office at (818) 719-6428.
•
The Health Center: Takes care of your health concerns and offers a wide range of services to students.
Helpful Websites:
•
Study Tips:
o www.how-To-Study.com
o www. studygs.net
•
Critical Thinking:
o The Reasoning Page: http://pegasus.cc.ucf.edu/~janzb/reasoning/
o Critical thinking Web: http://philosophy.hku.hk/think/
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General Philosophy:
o A Guide to Philosophy on the Internet: http://www.earlham.edu/~peters/philinks.htm
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Miscellaneous:
o UBU Web (your Internet guide to the avant-garde):
http://www.ubu.com/
On Plagiarism and Other Policies:
Plagiarism is the unacknowledged use of another person's labor: another person's ideas, words, or assistance. There are many forms of
plagiarism: repeating another person's sentence as your own, adopting
a particularly apt phrase as your own, paraphrasing someone else's argument as your own, or even presenting someone else's line of thinking in the development of a thesis as though it were your own. All
these forms of plagiarism are prohibited both by the traditional principles of academic honesty and by the regulations of Pierce College. The
development of independent thought and a respect for the thoughts of
others is essential to intellectual growth. The prohibition against plagiarism and cheating is intended to foster this independence and re-
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spect. The penalty for plagiarism or cheating as a first offense is normally an F in the assignment in which the offense is committed. In
such cases, the instructor will write a report to the College.
Class Etiquette:
You are expected to treat one another with kindness and make any
criticisms constructive. It’s basic courtesy to show up on time and refrain from eating & leaving the classroom (unless there is an emergency) during class time. Disruptive behavior or any other activity that
takes away from a professional classroom dynamic will also be dealt
with immediately on the classroom and college level. Each student
should look at their handbook for the rules and regulations for classroom behavior and etiquette.
Cell Phones:
This classroom is a cell phone-free zone. The use of cell phones in the
classroom will not be tolerated (this includes sending and receiving
text messages!). Please turn off all phones and other electronic devices before coming to class. Setting your phone to silent or vibrate is
not sufficient! Sending or receiving text messages will not be tolerated
and may result in your being dismissed from class that day.
Drop/Census Policy
The No Penalty Drop Date is the day before Census, which is the end
of the second week of classes. You must drop by the date or you will
be assigned a ‘W' for the class. You can only attempt a class three
times. That includes withdrawals, incompletes, and substandard
grades. Thus, ’W’s count against your total attempts. Use your attempts wisely!
Disability Accommodations and Services:
Any student who has a need for an accommodation based on the impact of a disability should contact me privately to discuss the specific
situation as soon as possible. Disability Resources and Services on
campus is available to assist with the coordination of reasonable accommodations for students with documented disabilities.
Course Outline:
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Below is a tentative course outline, which may be revised as I see fit.
It is your responsibility to check to the schedule regularly, so that you
are aware of all reading and homework due dates, exams, and paperrelated deadlines. All dates indicate the day the assignment is due.
WEEK 1 (September 1)—“Good Afternoon! And Welcome! ”
Welcome, People Introductions, Course Introduction/Outline/Expectations, Introduction to Philosophy & Cinema, What Is Philosophy?
In-class Screening: Hannah & Her Sisters (clip)
In-class Screening: The Matrix (clips)
________________________________________________________
WEEK 2 (September 8)—“Watching Films: Film Form and Philosophy”
Thomas Wartenberg, “Philosophy Screened: Experiencing the Matrix,”
in The Philosophy of Film, pp. 270-283.
David Bordwell, “The Significance of Film Form,” from Film Art,
handout available on Canvas, pp. 39-57.
Reaction Question: According to Bordwell, what is the film form and
what is the role of the viewer in determining the form of a film? Do
you think Bordwell’s discussion of film form contribute to the philosophy of film as Wartenberg understands it? Why or why not?
In-class Screening: Music Videos, Film Shorts, Mulholland Drive (Part
1)
________________________________________________________
WEEK 3 (September 15)—“Making Meaning: Narrative Construction
& the Lynchian Film”
David Bordwell, ‘Principles of Film Narration,” in The Philosophy of
Film, pp. 183-189.
In-class Screening: Mulholland Drive (Part 2)
Suggested Outside Screenings: Lost Highway, Inland Empire
Reaction Question: Describe the ways in which viewers make sense
of films, according to Bordwell. From what you’ve seen so far, does
Mulholland Drive support or challenge Bordwell's view? Explain using
examples from the film.
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________________________________________________________
WEEK 4 (September 22)— “From Construction to Perspective:
Interpreting Reality, Interpreting Films”
Friedrich Nietzsche, excerpts from Will to Power, #259, 339, 480-481,
493-500, 566-569, 570, 600, 602, 604-605, 636, 639, 677-678,
HANDOUT available on Canvas.
Reaction Question: According to your reading, and in your own
words, what does Nietzsche mean by 'perspectivism'? Be sure to refer
to specific passages in the reading to support your definition. Discuss
in detail how this idea relates to the plot of a film you’ve seen or your
experience watching a particular film.
In-class Screening: Rashomon
________________________________________________________
WEEK 5 (September 29)—“Philosopher Filmmaker: Woody Allen
& the Big Questions”
Mark T. Conrad, “God, Suicide, and The Meaning of Life in the Films of
Woody Allen,” from Woody Allen and Philosophy, pp. 7-23.
Ian Jarvie, “The Pragmatic Optimism of Woody Allen, from Woody Allen and Philosophy, pp. 48-65.
Reaction Question: According to the Conard, what is the philosophy
of Woody Allen? Does Jarvie agree or disagree with Conard’s thesis?
Even if you haven’t seen a Woody Allen film, which essay is more persuasive, and why?
In-class Screening: Crimes & Misdemeanors
Outside Screening: Hannah & Her Sisters (Be sure to bring your journal entry for this film)
________________________________________________________
WEEK 6 (October 6)—“Existentialism Filmed:Freedom & Responsibility”
Jean Paul Sartre, “Existentialism,” in Basic Writings in Existentialism,
pp. 341-367.
Reaction Question: What does Sartre mean by “existentialism?”
There is a genre of film referred to as “existential cinema.” What could
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that mean? Describe how a film you’ve seen may fit into that genre.
Be sure to describe the basic tenets of existentialism as they suit that
genre.
________________________________________________________
WEEK 7 (October 13)— EXAM 1
In-class Screening: Harold and Maude
________________________________________________________
WEEK 8 (October 20)—“Existentialism Filmed: Nihilism, Bad Faith, and
New Wave Cinema”
Jean-Paul Sartre, from “Being and Nothingness,” in Basic Writings in
Existentialism, pp. 369-373 and 380-390.
Reaction Question: Explain in detail what Sartre means by “bad
faith.” Do you think any of the characters in Harold and Maude can be
described in this way? Provide examples from the film to support your
answer.
In-class Screening: Breathless
________________________________________________________
WEEK 9 (October 27)— “Freedom, Love, and Christian Existentialism”
Soren Kierkegaard, “Works of Love,” handout available on Canvas,
section 1, pp. 58-72.
Reaction Question: Explain the idea of Christian Love and why it is
the highest form of love, according to Kierkegaard? Does Kierkegaard
seem to think Christian is the only 'authentic' form of love? Can Christian love coexist with other forms of love? Be sure to provide examples
from the reading to support your answer.
In class Screening: Leon Morin, Priest (Part 1)
__________________________________________________
WEEK 10 (November 3)— “Freedom, Love, & Christian Existentialism”
Murray Smith, "Engaging Characters," in The Philosophy of Film, pp.
160-169.
Reaction Question: Explain Murray Smith's thesis in the “Engaging
Characters” an how recognition, alliance, and allegiance support his
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thesis. Analyze any film you've seen this semester based on thesis
ideas.
In class Screening: Leon Morin, Priest (Part 2)
________________________________________________________
WEEK 11: (November 10)— “Authenticity, Identity, and Love"
Plato, “Symposium,” handout available on Canvas.
Reaction Question: Which view on the nature of love from The Symposium do you agree with most? Explain that view and why it makes
the most sense to you? Describe a film that depicts that view of love in
some way.
In-class Screening: Hedwig and the Angry Inch
________________________________________________________
WEEK 12 (November 17)— “Existentialism Filmed: Being Toward
Death”
Heidegger, “Being Toward Death,” in Basic Writings in Existentialism,
pp. 316-322 and 328-336.
Reaction Question: What does Heidegger mean by being-towarddeath? Discuss your reaction to what he refers to as attunements in
relation to being-toward death. Describe a film that depicts these attunements in some way.
In-class Screening: The Seventh Seal
________________________________________________________
WEEK 13 (November 24)—Happy Thanksgiving!
________________________________________________________
WEEK 14 (December 1)—“Cinematic Time & the Eternal Return”
David Bordwell, “Narrative as a Formal System,” from Film Art,
handout available on Canvas, pp. 68-80.
Friedrich Nietzsche, “Eternal Return,” selected quotes from The Gay
Science, Will to Power, and Thus Spoke Zarathustra, handout available
on Canvas.
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Reaction Question: Explain how the notions of duration, order, and
frequency are relevant to cinematic time. How can film’s can play
‘games with time’ by using techniques to place story events out of sequence in novel ways? Describe a film that plays games with time in
some way.
In-class Screening: Run Lola Run
________________________________________________________
WEEK 15 (December 8)— "Film Adaptation and the Remake”
Dudley Andrew, “Adaptation,” from Concepts in Film Theory, handout
available on Canvas, pp. 96-105.
Reaction Question: According to Andrew, what is the difference between adaptation in the broad sense and adaptation in the narrow
sense. Explain each of the three types of adaptation (in the narrow
sense) discussed by Andrew and provide one example for each. Which
of these types of adaptation is do you think is best suited for avoiding
repetition and redundancy in filmmaking, and why?
In-class Screening: The 5 Obstructions
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WEEK 16 (December 15)— Exam 2 @ 4:30pm-6:30pm
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