FRN320: Studies in French Cinema Crossing Borders in Contemporary French Film: Screening Immigration, Identity, and Differences Professor: Dr. Leslie Kealhofer-­‐Kemp Class Meeting: Wednesday 4:00pm-­‐6:45pm, Swan 215 Office Hours: MWF 2-­‐3pm & by appointment, 131 Swan Hall E-­‐mail address: [email protected] Office phone number: 4-­‐4699 COURSE DESCRIPTION & GOALS Who controls borders? What creates or imposes borders, borderlines, and differences? Why, and in what circumstances, do people cross borders? How do people change when they cross borders? How can borders evolve or change? In this interdisciplinary course, you will use the complex concept of “borders” as an analytical framework through which to study a wide range of contemporary French films, each of which engages with borders, barriers, or differences – economic, linguistic, cultural, religious, or other – in some way. This course will also serve as an introduction to film analysis and the vocabulary of film analysis. No prior knowledge in French or film studies is assumed. OBJECTIVES Upon successful completion of the course, students will be able to: • Identify and summarize the key themes of several films directed by contemporary filmmakers in France that examine identity, immigration, and/or differences (cultural or other). • Recognize and critique your own cultural assumptions about cinema and differences between U.S. and French/European cinematic traditions. • Demonstrate knowledge of the cultural, historic, geographic, and political contexts in which the films in question are situated. • Recognize the relevance of these topics in contemporary France (and its neighboring countries, in come cases) and participate in discussions about them. • Recognize cinematic tools and techniques (framing, lighting, musical score, mise-­‐en-­‐scene, etc.) employed by filmmakers. • Develop hypotheses about how, when and why filmmakers adopt specific tools and techniques to obtain particular effects. • Analyze and discuss the films in question using appropriate vocabulary relating to film analysis (point of view shot, sequence, frame, extra-­‐diegetic music, etc). • Read and understand scholarly essays on French cinema. • Effectively use an on-­‐line forum to exchange insights with your peers. • Students taking the course for French credit: express yourself orally and in writing in French at the 300-­‐level using the appropriate vocabulary for film analysis. KEY QUESTIONS 1)
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How do the films studied this semester treat the complex concept of borders (national, geographic, social, etc.)? o To what extent do the characters in the films overcome, cross (or fail to cross) these borders? What other themes are of significance in the films, and how are they developed? Which cinematographic tools and choices are used to treat the concept of borders and other significant themes? To what extent do the films in our corpus consider or call into question binary oppositions (immigrant/“native” French, Paris/la banlieue (suburbs), male/female, North/South, etc)? What role (if any) does humor play in these films, and what purpose does it serve? To what extent can these films be seen to be critical of French culture, society and/or the French government? 1 GENERAL EDUCATION AREAS SATISFIED •
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Global Responsibilities (full) Humanities Knowledge (full) Global Responsibilities Student Learning Outcomes 1.
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You will develop a sense of Global Identity by seeking out knowledge of other cultures independently and from provided sources. You will enhance your understanding of the importance of Global Communication and demonstrate knowledge of global differences through the framework of cinematic analysis. You will demonstrate an understanding of the perspectives and circumstances of others through your study of the cultural, historic, and geo-­‐political contexts of international films/directors studied in the course. Humanities Student Learning Outcomes 1. You will identify new vocabulary, terms, definitions and concepts related to film, film criticism and French history and culture. 2. You will recognize cinematic tools and techniques (framing, lighting, musical score, mise-­‐en-­‐scene, etc.) employed by filmmakers. 3. You will develop hypotheses about how, when and why filmmakers adopt specific tools and techniques to obtain particular effects. 4. You will locate appropriate resources for understanding and critiquing a cinematic body of work and its relevance in contemporary French civilization and culture. 5. You will apply your knowledge of the cinematic tools and techniques employed by filmmakers in order to analyze films and place them appropriately in their historical and geo-­‐political contexts. COURSE MATERIALS REQUIRED TEXTS: •
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Diener, Alexander C., and Joshua Hagen. Borders: A Very Short Introduction. Oxford: Oxford University Press, 2012. (URI BOOKSTORE) Corrigan, Timothy. A Short Guide to Writing about Film. New York, Longman. (Any edition). (Available on Amazon.com or other websites). REQUIRED VIEWING: FILMS -­‐ All of the films studied in this course are on reserve at the library in the Media Resource Center [URI]. Keep in mind that there are 30 students in the class – do not wait until the last minute to view the films, as they may be checked out by other students. Also, be sure to check the MRC hours before you go, as they differ from the general library hours: http://uri.libguides.com/media *Alternatively, most of the films are available online* (In most cases, you will need to purchase the films and/or subscriptions to be able to view them). FILM CORPUS & AVAILABILITY (films marked with * will be screened in class] Exiles/Exils.* Dir. Tony Gatlif. 2004. [URI] Hate/La Haine. Dir. Mathieu Kassovitz. 1995. [URI, Netflix DVD, Amazon streaming, Hulu Plus] Intouchables.* Dir. Olivier Nakache and Éric Toledano. 2011. [URI, Netflix streaming, Amazon streaming] Le Grand Voyage. Dir. Ismaël Ferroukhi. 2004. [URI, Netflix DVD, Amazon streaming] Le Havre.* Dir. Aki Kaurismäki. 2011. [URI, Netflix DVD, Hulu Plus, iTunes] Paris, I Love You/Paris je t’aime.* Multiple Directors. 2006. [URI, Netflix streaming] Queen to Play/Joueuse. Dir. Caroline Bottaro. 2009. [URI, Netflix streaming, Amazon streaming, Hulu] Tomboy. Dir. Céline Sciamma. 2011. [URI, Netflix DVD, Amazon streaming, Hulu Plus, iTunes] Welcome. Dir. Philippe Lioret. 2009. [URI, Netflix DVD, DVD available for purchase on Amazon] Welcome to the Sticks/Bienvenue chez les Ch’tis.* Dir. Dany Boon. 2008. [URI] e
The Women on the 6th Floor/Les femmes du 6 étage. Dir. Philippe Le Guay. 2010. [URI, Netflix streaming, Amazon streaming, Hulu Plus] 2 RESOURCES FOR STUDENTS TAKING THE COURSE FOR FRENCH CREDIT: 1) Vocabulary/Film analysis : http://www.centreimages.fr/vocabulaire/ 2) Dictionaries: 3)
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o (French-­‐French) Le trésor de la langue française informatisé : http://atilf.atilf.fr/ o (French-­‐English/English-­‐French) Larousse : http://www.larousse.com/en/dictionaries/french-­‐english Grammar review : http://www.laits.utexas.edu/tex/gr/index.html Verb conjugator : http://leconjugueur.lefigaro.fr/ ASSIGNMENTS & GRADE BREAKDOWN Overview • Preparation for Class and Participation in Class: 15% o Includes written assignments and activities completed in class, as well as quizzes • Midterm Essay: 15% • Midterm Exam (in class): 15% • Participation in Forum Discussions on Sakai: 15% • Oral Presentation (Groups of 2): 15% • Final Project: 25% GRADING SCALE
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B
C
D
93-100
83-86
73-76
60-66
ABCF
90-92
80-82
70-72
0-59
B+
C+
D+
87-89
77-79
67-69
Preparation for Class and Participation in Class: 15% Grading Criteria: A = Outstanding. You consistently meet all of the following criteria. -­‐You attend every class and always come prepared, having thoroughly completed the readings and written work assignments. -­‐You come to class with at least three written questions relating to the film and/or readings that you prepared for class. (We may not have time to discuss all of these, but they could also serve as avenues for further study – ie. your final paper). -­‐You volunteer a thoughtful comment, answer, or question during large group discussions at least once during every class. -­‐You participate actively in small group discussions and activities. -­‐You are an active and attentive listener at all times. -­‐You remain on task during the entire class. This means that: -­‐You take diligent notes during class. -­‐Any discussion with a partner or small groups relates to the assignment given by the professor. If your group has nothing else to say on the topic and time remains, reorient the discussion to make connections with other films and readings that you’ve seen/read this semester. -­‐You do not touch your phone unless authorized to do so by the professor. B = Good work. You are successful in consistently meeting most of the above criteria (improvement is needed on 1-­‐2 items). C = You are successful in meeting some of the above criteria (improvement is needed on 3-­‐4 items). D = You meet few of the above criteria. Significant improvement is needed. F = You meet very few or none of the above criteria. *Unexcused absences will have a significant impact on your participation and preparation grade. 3 Midterm Essay: 15% 3-­‐4 pages (in English) or 2-­‐3 pages (in French). 12-­‐pt font, double-­‐spaced, 1-­‐inch margins. You will write an essay on one of the films studied this semester. It will be an analysis of a theme, character, or other aspect of the film that you would like to develop. You may choose to analyze one of the key questions or develop another topic (in consultation with the professor). Don’t forget to include a catchy title! *See the grading rubric for papers and presentations on the syllabus to help you prepare. Upload to Sakai (under ‘Assignments’) Midterm Exam: 15% This exam will be open note and completed in class – you thus have a very good incentive to prepare thorough notes on the films and readings for every class! Details on the midterm exam will be provided later in the semester. Oral Presentation (Groups of 2): 15% You will prepare an oral presentation this semester (with a partner). It will include: 1) A summary of an assigned reading, accompanied by PowerPoint slides/Prezi Presentation. 2) An analysis of the film in question, accompanied by PowerPoint slides/Prezi Presentation. Unless otherwise indicated on the syllabus, you will analyze 1-­‐2 of the course’s “Key Questions” or develop your own question (this must receive prior approval from the professor). Refer to the grading rubric on the syllabus as you prepare this part of your presentation. Length: 10-­‐12 minutes (roughly 3-­‐4 minutes to summarize the reading and 7-­‐8 minutes to analyze the film in question). Group members must speak for the same amount of time (give or take one minute). • Group members must work together on both parts of the presentation. •
The presentation must be accompanied by a PowerPoint/Prezi presentation that is e-­‐mailed to Professor Kemp ([email protected]) no later than 3pm on the day of your presentation. In addition, bring your presentation to class on a jump drive or CD, just in case the Internet is down during class time or there are technical difficulties. o Use bullet points in your presentation (too much text can be distracting) o Proof-­‐read your PowerPoint carefully •
Students taking the course for French credit: complete the assignment in English, but include in your PowerPoint a list of KEY VOCABULARY in French (5-­‐10 words) that would be helpful to students writing about the film in French. Final Project: 25% 5%: Outline & Bibliography Outline of the final paper – 1-­‐2 pages, double-­‐spaced. It must include: 1) Title 2) Thesis statement and/or questions that will be examined in your paper. (Be specific!) For example: In this paper, I will examine/analyze… 3) The topic sentences of at least three body paragraphs + supporting points (as detailed as possible) Bibliography: It will include at least 5 sources that you plan to use to support your argument (cited using either MLA, Chicago, or APA format – be consistent). 20%: Final Paper. 6-­‐7 pages in English or 4-­‐5 pages in French, 12-­‐pt font, double-­‐spaced, 1-­‐inch margins. You will write an essay on one or two films. It will be an analysis of a theme, character, or other aspect of the film that you would like to develop. Students may choose to analyze one of the key questions or develop another topic (in consultation with the professor). *Refer to the grading rubric as you prepare your paper. 4 General Grading Rubric for Papers *Also applicable to other assignments, such as presentations This rubric will help define both the expectations for what an “A” paper is and the criteria used to evaluate your papers and presentations in terms of four areas: 1) content, 2) organization, 3) documentation, and 4) style/writing skills. “A” paper ~ a superior essay that does all of the following: • Engages the chosen topic thoughtfully and imaginatively, using well-­‐chosen details. It analyzes and interprets (as opposed to summarizing and describing) narrative structures, themes, characters, events, using the appropriate vocabulary of analysis. (Content) • Clearly sets out and develops a thesis using a logical, well-­‐proportioned structure (Organization) • Uses well-­‐chosen and precise examples from the texts/films to support its assertions; shows that the student has mastered and can synthesize the material in question and can successfully select and use critical sources to support his/her argument. (Documentation) • Demonstrates mastery of standard usage in the chosen language at a level appropriate for the class and uses, among other things, varied vocabulary and transition words. (Writing Skills) • Can be read/understood easily and gives the reader a sense of enjoyment at having learnt something new “A-­‐” paper ~ does most (three out of four areas) of the following: • Engages the chosen topic thoughtfully and imaginatively, using well-­‐chosen details. It mostly relies on analysis and interpretation but may use summary and description of narrative structures and events. • Develops a thesis, using a logical, well-­‐proportioned structure • Uses well-­‐chosen examples from the texts, to support its assertions • Demonstrates a good command of standard usage in the chosen language, at a level appropriate for the class “B” paper ~ an effective paper that does most of the following: • Responds intelligently to the topic (though not with the superior originality and analysis of an “A” paper); may (over)rely on summary or description • Is well focused and provides an orderly progression of ideas; some transitions still need work • Uses appropriate examples • Makes few grammatical errors • As compared to an “A” paper, a “B” paper needs work in two out of the four areas. “B-­‐” paper ~ weaker in two or three out of the four areas. “C+” paper ~ significantly weaker in three out of the four areas “C” paper ~ satisfactory but lacks the purposeful development and fluency characteristic of “B” papers. It is significantly weaker in most of the four areas. “D” paper ~ unsatisfactory (simplistic, inappropriate, illogical) and is lacking in all four areas described above. 5 COURSE POLICIES Cell phones: Please do not text or use your phones during class. This is disrespectful to your fellow
students and to your professor.
Attendance: Successful completion of the course depends on your presence and active participation in
class. You will be expected to attend all classes. However, since unexpected things can arise for which
you have no official documentation to account for your absence (your car won’t start, you overslept, etc.),
you will have 1 unexcused absence, no questions asked, for the semester.
§ Be aware, however, that there are no make-ups for tests, quizzes, or other assignments missed during
an unexcused absence.
§ Three late arrivals to class will count as one unexcused absence.
§ Each unexcused absence after the first will negatively impact your participation and preparation
grade.
*In order to receive an excused absence, you must provide documentation (a doctor’s note, copy of court
documents etc.). Excused absences are granted at the discretion of your instructor. ***There is one
exception to the documentation rule, however*** à Illness Due to Flu.
If you have flu-like symptoms (such as a fever), DO NOT come to class until the fever has
subsided for 24 hours. Notify me at [email protected] to let me know of the situation, and we
will work together ensure that coursework is completed. If you miss a test or quiz because of the
flu, you will be allowed to make it up.
FYI: The Centers for Disease Control and Prevention have posted simple methods to avoid
transmission of illness. These include: covering your mouth and nose with tissue when coughing
or sneezing; frequent washing or sanitizing your hands; avoiding touching your eyes, nose, and
mouth; and staying home when you are sick. For more information please view www.cdc.gov/flu
or flu.gov. The URI Health Services web page, www.health.uri.edu, will provide advice and local
updates.
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Out of courtesy, please inform your instructor if you are going to miss class for any reason.
Students are responsible for the material covered in class, regardless of the reason they are absent (be
sure to get the class notes from a classmate).
ACADEMIC INTEGRITY
Students are expected to be honest in all academic work. A student’s name on any written work, quiz or exam shall
be regarded as assurance that the work is the result of the student’s own independent thought and study. Work
should be stated in the student’s own words, properly attributed to its source. Students have an obligation to know
how to quote, paraphrase, summarize, cite and reference the work of others with integrity. The following are
examples of academic dishonesty (this is not an exhaustive list):
Using translation software such as Google Translate, Bing Translate and BabelFish for written assignments,
using material, directly or paraphrasing, from published sources (print or electronic) without appropriate
citation, claiming disproportionate credit for work not done independently, unauthorized possession or
access to exams, unauthorized communication during exams, unauthorized use of another’s work or
preparing work for another student, taking an exam for another student, altering or attempting to alter
grades, the use of notes or electronic devices to gain an unauthorized advantage during exams, fabricating
or falsifying facts, data or references, facilitating or aiding another’s academic dishonesty, submitting the
same paper for more than one course without prior approval from the instructors.
Documented Disabilities
Any student with a documented disability is welcome to his/her instructor as early in the semester as possible so that
we may arrange reasonable accommodations. As part of this process, please be in touch with Disability Services for
Students Office at 330 Memorial Union 401-874-2098.
6 Extra Help and Practice
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This is a challenging course. Success requires that you keep up with the work, do your homework on time,
understand course concepts, and study effectively.
Students are encouraged to make flashcards and/or study guides relating to vocabulary, grammar, and
conjugations.
You instructor is available for extra help during her office hours and by appointment.
The French Section and the Language Office both keep a list of tutors that are available to students studying
French. Please contact your instructor for more information.
The Academic Enhancement Center (http://www.uri.edu/aec/) is also a great resource. At the AEC you can work
alone or in groups, and tutors and professional learning specialists are available to help you to learn, manage your
time and work, and study well. On the Kingston campus, it’s open Monday through Thursday from 10 a.m. to 9 p.m.
and Fridays until 1 p.m. All services are free (the coffee is free as well!), and no appointment is needed. You can call
for complete information at 874-2367, or just stop by the center on the fourth floor of Roosevelt Hall. In Providence,
the Academic Skills Center (ASC) is at 239 Shepard Building, (401) 277-5221. Hours are posted each semester at
http://www.uri.edu/prov/studentresources/help/academicskills.html. In addition, the Saturday Skills for Success
program offers workshops and tutoring from 10 am -1pm during fall and spring semesters.
7 COURSE CALENDAR
HOMEWORK: TO BE COMPLETED BEFORE COMING TO CLASS *Films are to be watched on your own time IN CLASS before class, unless otherwise indicated* Week 1 Week 2 Introduction to the course In class screening of Intouchables (Nakache & Toledano, 113’); discussion Discussion of Intouchables Themes: •
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Week 3 Paris vs. la banlieue (suburbs) Social class & social exclusion in France Comedy & French Cinema The “Buddy Film” genre Success and criticisms of Intouchables IF TIME: Screening and discussion of a selection of the short films in Paris je t’aime. Discussion of La Haine/Hate (Kassovitz) Themes: •
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The Trio “Black Blanc Beur” Banlieue Films (as a genre), social exclusion in France, masculine vs. feminine spaces The dichotomy Paris / la banlieue Esthetic choices made by the director, Mathieu Kassovitz Analytical Presentation 1: Analytical Presentation 2: Watch Intouchables if you were not present during the first class. Homework: See Sakai (Week 2) for a list of readings and written assignments that need to be completed before class. Watch La Haine/Hate Homework: See Sakai (Week 3) for a list of readings and written assignments that need to be completed before class. Please note: The homework assignment will include your first Forum Post. NOTE THE DEADLINE! Complete a Forum Post (150-­‐200 words in English / 100-­‐150 in French) on Sakai. Post a reflection on one of the “Key Questions” or a relevant topic of your choice (that relates to the film in question or readings for class). Deadline: Tuesday @ 11:59pm (the night before class) -­‐To do this: Click on “Forums” on the sidebar of the course site. Click on “Week 3 – La Haine”. Click on the conversation that I started, called “Instructions – REPLY TO THIS MESSAGE”. Read the instructions, then post your own reflection by clicking on the button “Reply to Initial Message” (to the right of the syllabus button). 8 Week 4 Week 5 Week 6 Discussion of Welcome (Lioret) Themes: Watch Welcome •
Illegal immigration in France and Europe •
The European Union & (the absence of) Homework: See Sakai (Week 4) for a list of borders readings and written assignments that need to •
La France, terre ‘d’accueil’ (land of be completed before class. welcome)? •
Solidarity, friendship, love •
The impact of Welcome in Europe Analytical Presentation 1: Analytical Presentation 2: Discussion of Le Havre (Kaurismäki) Watch Le Havre Themes: Homework: See Sakai (Week 5) for a list of •
National borders readings and written assignments that need to •
Illegal immigration be completed before class. •
Friendship and solidarity •
A humanist film? This includes: Midterm Essay •
Esthetic choices made by the director, Upload the Essay onto Sakai – in the Aki Kaurismäki ‘Assignments Tab’ – before 4pm. Analytical Presentation 1: Analytical Presentation 2: Discussion of The Women on the 6th Floor/ Watch The Women on the 6th Floor/Les Les femmes du 6ème étage (Le Guay) femmes du 6ème étage Themes: •
Spanish immigration to France Homework: See Sakai (Week 6) for a list of •
Class differences in Paris readings and written assignments that need to •
The role of humor be completed before class. Analytical Presentation 1: Analytical Presentation 2: 9 Week 7 SPRING BREAK Week 8 Week 9 Discussion of Joueuese/Queen to Play Themes: • The culture, history, geography, and politics of Corsica • Cultural and class differences in France • French Actresses (Sandrine Bonnaire) Analytical Presentation 1: Analytical Presentation 2: Have a great break! Bonnes vacances ! Discussion of Le Grand Voyage (Ferroukhi) Themes: • The Maghrebi (North African) population and people of Maghrebi origin in France. • Post-­‐colonial France • France & Islam • The road movie genre Analytical Presentation 1: Analytical Presentation 2: In class screening of Exils Themes: • The Algerian War of Independence • Road movies (continued) • Connections between North Africa and France • The films of Tony Gatlif • The diversity of North Africa (ethnicity, religion, traditions) Watch Joueuse/Queen to Play Homework: See Sakai (Week 7) Have a great break! Bonnes vacances ! Watch Le Grand Voyage Homework: See Sakai (Week 8) Homework: See Sakai (Week 9) 10 Week 10 Week 11 Week 12 Week 13 Discussion of Exils (Gatlif) Analytical Presentation 1: Analytical Presentation 2: Midterm Exam Following the exam: In class activities and analysis of a selection of short films ~ Paris je t’aime. Discussion of Tomboy Themes: • Gender, sexual identity, and recent debates in France Analytical Presentation 1: Analytical Presentation 2: In class screening of Bienvenue chez les Ch’tis (Boon) followed by a discussion Themes: • Cultural borders and differences within France’s national borders (Northern vs. Southern France) • The role of humor in representing difference • French comedic actors: Dany Boon FINAL PAPER : Upload the Essay onto Sakai – in the ‘Assignments Tab’ Homework: See Sakai (Week 10) Preparation 1) Prepare for the Midterm Exam (in class, open note) 2) Start working on your final paper outline and bibliography (due next week) Watch Tomboy Homework: See Sakai (Week 12) This week’s homework includes the first part of the final project: Outline & Bibliography (see the syllabus for detailed instructions) Homework: See Sakai (Week 12) The syllabus, course calendar, and assignments are subject to change at the discretion of the professor. 11