"8 1/2" was one of the longer movies that we watched in class, but it was my favorite of them all. I usually detest black and white/older movies, but this one was different because it was absurdly relevant to my life. I can't believe this was my favorite movie in the class because it was all black and white, over two hours long, and had English sub-titles. However, my past/present love life is so similar to that of Fellini's that it kept my attention and fascination throughout the entire movie to see how my life might play out some day. Some lines are actual lines I have heard in the past from either my mother, past girlfriends, or ex-girlfriends and that is how relatable this movie was to my own experiences. I learned a lot from this film about myself and I ended up analyzing my own romantic behavior after watching it. I now know what I must do to keep my relationship going strong, so that I will not end up old and lonely.

TOP 200 FILMS

This list includes my favorites, a good representation of great directors, genres and styles, historically important films and titles that anyone seriously interested in movies should see at least once. It is not meant to be perfect, just personal.

2001: A Space Odyssey
39 Steps, The
8 ½
Adventures of Robin Hood, The
Akira
Alexander Nevsky
Alien
Alphaville
American in Paris, An
Annie Hall
Apartment, The
Apocalypse Now
Asphalt Jungle, The
Augirre: the Wrath of God
Bad and the Beautiful, The
Bad Day at Black Rock
Battleship Potemkin
Beauty and the Beast (’46)
Bicycle Thief, The
Birth of a Nation, The
Black Cat, The (Karloff/Lugosi)
Blade Runner
Blow-Up
Blue Velvet
Bonnie and Clyde
Brazil
Bride of Frankenstein
Bridge on the River Kwai
Bringing Up Baby
Cabinet of Dr. Calagari, The (‘20)
Casablanca
Cat People (’42)
Chinatown
Citizen Kane
City Lights
Clockwork Orange
Conformist, The
Conversation, The
Crouching Tiger, Hidden Dragon
Crowd, The
Day the Earth Stood Still, The
Detour (’45)
Diary of a Country Priest
Die Hard
Die Nibelungen
Dirty Harry
Discreet Charm of the Bourgeoisie, The
Do the Right Thing
Double Indemnity
Dr. Strangelove
Dracula (’31)
Duck Soup
Duel
Easy Rider
Eraserhead
Exorcist, The
Eyes Without a Face
Fall of the House of Usher, The (Corman)
Fantasia
Fargo
Flash Gordon (serial)
Fleischer Studios – animation
Footlight Parade
Forbidden Planet
Freaks
French Connection
General, The (’27)
George Meilies – films
Ghostbusters
Gladiator
Godfather, The
Gojira
Gold Rush, The
Goldfinger
Gone With the Wind
Good, the Bad and the Ugly, The
Graduate, The
Grand Illusion, The
Grapes of Wrath, The
Greed
Gun Crazy (’50)
High Noon
High Sierra
His Girl Friday
Hitch-Hiker, The
Hud
Hustler, The
I Am a Fugitive From a Chain Gang
Ikuru
In the Heat of the Night
Intolerance
Invasion of the Body Snatchers (’56)
It Happened One Night
It’s a Wonderful Life
Jason and the Argonauts
Jaws
Jules and Jim
King Kong (’33)
Kiss Me Deadly
L’Aventura
La Dolce Vita
La Strada
Last Laugh, The
Last Year at Marienbad
Laura
Lawrence of Arabia
Lord of the Rings, The (Jackson)
Lost Horizon
Luis Bunuel – early films
Lumiere Brothers – films
M (’31)
Maltese Falcon, The
Manchurian Candidate, The
Manhattan
Metropolis (’27)
Mr. Hulot’s Holiday
My Man Godfrey
Network
Night of the Living Dead
North by Northwest
Nosferatu (‘22)
Nothing But a Man
Notorious
On the Waterfront
Once Upon a Time in the West
One Flew Over the Cuckoos Nest
Onibaba
Out of the Past
Passion of Joan of Arc, The
Peeping Tom
Persona
Phantom of the Opera (’25)
Place in the Sun, A
Playtime
Psycho
Raging Bull
Raiders of the Lost Ark
Ran
Rashomon
Rear Window
Rebecca
Rebel Without a Cause
Red Shoes, The
Repulsion
Road Warrior, The
Rome: Open City
Rules of the Game, The
Sacrifice, The
Salt of the Earth
Scarface (‘32)
Searchers, The
Set-Up, The
Seven Samurai, The
Seventh Seal, The
Shadows
Shock Corridor
Silence of the Lambs
Sin City
Singin’ In the Rain
Snow White and the Seven Dwarfs
Some Like It Hot
Sons of the Desert
Spirited Away
Stagecoach
Stalker
Star Wars
Straw Dogs
Sullivan’s Travels
Sunrise
Sunset Boulevard
Taxi Driver
Terminator, The
Texas Chainsaw Massacre, The
Thief of Bagdad (’24)
Thief of Bagdad (’40)
Third Man, The
Throne of Blood
To Be or Not To Be (’42)
To Kill a Mockingbird
Top Hat
Touch of Evil
Treasure of the Sierra Madre, The
Triumph of the Will, The
Ugetsu
Unforgiven
Vampyr
Vertigo
Videodrome
Wages of Fear, The
Warner Bros. cartoons – Chuck Jones
West Side Story
White Heat
Wild Bunch, The
Wild Strawberries
Wind, The
Winsor McKay – films
Wizard of Oz, The
Wolf Man, The
Woman Under the Influence, A
Yojimbo

Horror Genre and Class Movie

I love that we watched the horror genre and the old movie of Frankenstein and his bride was a classic film that involved everything a typical horror movie should involve. I think it was an excellent choice for the class to watch, thank you Professor Hammond.

Scary Movies

These are some that I like:

Scream
A Haunting in Connecticut
The Secret Window
The Amityville Horror (the 2005 version, I haven't seen the 1979 version)
The Skeleton Key
Signs
The Sixth Sense
What Lies Beneath

"Prelude" by Levi Beamish

I recently found this video on YouTube, and thought it would be good to share. It's not a professional video, it was just made by a guy in New Zealand, but it's really good. Since we were talking about editing a few weeks ago, I thought it would be appropriate since the editing is great, and it's got a lot of really excellent visuals.
http://www.youtube.com/watch?v=Uv6JNPM841A

Analysis of Image

For the analysis of an image paper I used the famous picture from the film "The Shining"

Below is the image I used for my paper and a video I found humorous regarding how one can misinterpret the meaning behind an image. In this case: the overall plot of the shining was turned around to seem happy rather than frightening.

YOUTUBE VIDEO: http://www.youtube.com/watch?v=Os6raCCmAFk

ENJOY.

31 Nights of Horror.

Although October is more than halfway over, I have created a challenge for myself at the beginning of the month to watch one horror movie per day for all 31 days of october to celebrate the coming of Halloween. It's been challenging to set aside time during the week with homework and class and such, but i've managed to successfully stick to the challenge. In addition, I've been further challenged to watch films that I have not yet seen before. Here's the list so far (I've doubled up on some days.)

OCT 1: A Nightmare on Elm Street (the original)

OCT 2: The Evil Dead

OCT 3: Bram Stoker's Dracula

OCT 4: An American Werewolf in London

OCT 5: (Clive Barker's) Lord of Illusions

OCT 6: The Wolfman (2010)

OCT 7: Bloodsucking Freaks

OCT 8: Suspiria

OCT 9: Black Xmas

OCT 10: Cabin Fever

OCT 11: Dead Snow

OCT 12: Fright Night

OCT 13: Pet Semetary

OCT 14: 100 Tears/Let the Right One In

OCT 15: Last House on the Left/The Sentinel

OCT 16: Hellraiser

OCT 17: The Shining

OCT 18: Slither

OCT 19: Prom Night

OCT 20: Friday the 13th: A New Beginning

OCT 21: The People Under the Stairs

I'M TAKING REQUESTS SO COMMENT YOUR THOUGHTS AND WHAT NOT! :)

Horror?

I don't see the point in purposefully scaring yourself. If we are going to watch a horror film, I think we should focus on the elements of horror, and not just watching a horror movie because its "scary."

This is the image I used for the image analysis paper

Pan's Labyrinth Review-Molly Jacobson

Molly Jacobson
Professor Hammond
Visual Literacy
October 20, 2010

Pan’s Labyrinth Film Review

Pan’s Labyrinth is a unique and twisted representation of strategically blended childhood fantasies with reality type situations. Ofelia, the main character, has a run in with the faun, a grotesque creature said to be from a realm of fairies sent to bring the fairy princess (Ofelia) back to the kingdom before the last portal to return was destroyed. The faun told the young and naive Ofelia that she was secretly the lost princess that needed to be returned to the fairyland and would need to successfully finish three difficult and dangerous tasks in order gain access and become a princess again. If Ofelia can effectively finish the tasks she will unlock the portal to return to her real father waiting for her in the fairy world, and regain her position as the fairy princess, something that she longs to be.

After finishing the three tasks, going through the painful loss of her mother, and the horrible wrath of her stepfather, Ofelia finally makes her way to the finish the final obstacle; bringing her brother to the labyrinth. Meanwhile during her journey the world surrounding her is crumbling, the maid Mercedes and the Doctor are secret insiders for the crusaders surrounding the camp, trying to take over the stepfather’s army. The movie ends with Mercedes people killing the patrolmen and killing the stepfather.

I have read many different reviews of Pans Labyrinth and have come to my own conclusion about what the movie is trying to portray. The visual aspects of the movie such as the music and mise-en-scene of a gloomy, depressing, and dark place make the viewer feel and see the undesirable and dangerous world that the director Guillermo del Toro was trying to depict.

In the very ending of the movie Ofelia is trying to finish her final task of bringing her baby brother to the labyrinth. After poisoning her stepfather he continues to chase her through the maze until he finally reaches her, grabbing the child and chillingly putting one bullet into her chest as he watches her drop to the floor, leaving her to die as he turns his back on her to leave.

One thing I noticed at the end when Ofelia held the baby talking to the faun was that when the camera was from her point of view you could see the faun, but when it was from the stepfather’s point of view you were unable to see him, revealing just how powerful the girls imagination is. Thus it continued to make my notion that death was the ultimate final step for Ofelia to return to the kingdom of her father and return to her thrown as the fairy princess in the made up world she had conjured up for herself.

Additionally, there are some details of the movie where I looked deeper so I could understand it better. For instance the chalk that can draw and make a door where as there would be no other way of getting into the place. That little piece of chalk is so significant because it is one of the most popular ‘activities’ of young children and allows them to express their imagination on the ground below them. It brings back memories of my childhood drawing flowers, butterflies, and stick figures on my driveway, thinking that I had created something real, only for it to be washed away by the rain and forgotten about. I can think of a million times I drew on my driveway with chalk hoping it would lead me to a different place, even pretending it did. Thus my final analysis to my thesis that in the end the only way for Ofelia to become a princess again and remember her previous role was to die.

Throughout the movie we never knew the fate of Ofelia’s real father, but I had assumed he was dead. So in order for her to be reunited with him she would need to die as well. I was a bit confused with Mercedes being the fairy queen at the ending but the conclusion I made was ever since Ofelia’s mother died, Mercedes had taken her under her wing and cared for her as a mother would, even while her mother was still alive and ill, Mercedes represented a motherly figure in a constant way that was not shown from her biological mother.

Lastly, in a film review of Pan’s Labyrinth by A.O. SCOTT from the New York Times in 2006 had a quote that I thought was worthy of being included, “Fairy tales (and scary movies) are designed to console as well as terrify. What distinguishes “Pan’s Labyrinth,” what makes it art, is that it balances its own magical thinking with the knowledge that not everyone lives happily ever after.”

Children are always going to have an imagination and think outside of the box, something they may truly think is real, such as Ofelia believing in the faun and the fairy world, but is not actually existent in the adult world and is just a fantasy is my final thought on Pan’s Labyrinth. The ending for the child is a happy ending because she really believes she becomes a princess, where as for the adult it’s a disastrous unhappy ending that can only be death.

HORROR MOVIE SUGGESTION

I really think that we should watch Paranormal Activity. I heard it was a really scary movie, but it is not gorey and gruesome like other horror films. Therefore, I think it is appropriate for the genre we are discussing now and it would be something everyone in the class could watch.

My ever-expanding Horror list...

Yes it's that time of year again, the time where we shove our faces with candy corn, die our hair, put on a mask and becoming the ghoulish creatures we really are. This personally is my favorite time of year. I've grown up on horror movies watching one almost every Saturday night for the past few years back home with my brother and best friends. I've also collected an obscene amount of Halloween decorations back home where I created a yearly haunted house or Halloween display.

An example can be seen down here:

Anyways, aside that...I am a horror movie enthusiast and have created a list of some of the scariest horror movies and some of the most entertaining ones in the last 50 years...(I tried to avoid things on the syllabus because I haven't seen them yet) All of which are MUST sees and brilliant for what they are. The following list was composed by myself and several horror movie fiend friends and have been assembled into the collection because they have a strong: original story, cinematography/artistic value, they may conform to the classic clichés, they’ve pushed the genre forward, and/or they have a good scare value to them.

Enjoy and Happy Haunting! :D

Serial Killers:

Halloween – 1978

Halloween II – 1981

Halloween H20 – 1998

(We pretend the others never happened okay?)

Se7en – 1995

Friday the 13^th – 1980

Nightmare on Elm Street - 1984

Scream – 1996

The Silence of the Lambs – 1991

Texas Chainsaw Massacre - 2003

Demons:

The Excorcist - 1973

Psycho/Psychological:

The Shinning – 1980

Misery – 1990

Psycho – 1960

Gothika – 2003

Saw – 2004

Carrie – 1976

The Sixth Sense - 1999

Vampires:

Let the Right One In – 2008

The Lost Boys - 1987

30 Days of Night – 2007

Fright Night – 1985

Monsters:

Trick R' Treat – 2007

Jaws – 1975 (yes it’s also an adventure movie but it’s a classic so work with me here!)

Hellraiser - 1987

Werewolves:

An American Werewolf in London - 1981

Silver Bullet - 1985

Cursed – 2003

Zombie Movies:

Dawn of the Dead – 1978 / 2004

Night of the Living Dead - 1968

28 Days Later – 2002

The Crazies – 2010

Haunted House:

Poltergeist – 1982

Amityville Horror - 2005

Haunting in Conneticut - 2009

Other:

Children of the Corn - 1984

Mirrors – 2008

Dead Silence - 2007

House - 2008

The Ring – 2002

Pet Semetary - 1989

The Human Centipede – 2009 (I was forced to put this on but I’m too squeamish and afraid to watch lol)

A few classic not-so-scary movies that I couldn’t pass bringing up! ;D

These are for the faint of heart…just classics that I like to curl up on my couch with a bag of candy corn to every year. J

Sleepy Hollow – 1999

Beetlejuice, Beetlejuice, Beetlejuice! - 1988

The Addams Family – 1991

Special Thanks to: My brother Nick, and second family: Alyssa, Kyle, Nancy and Dylan for their help on this! :D

What do you think? Comment below! :D

My top horror films

1.Silence of the Lambs
2.Seven
3.Jaws
4.Saw(series)
5.Friday the 13th (series)
6.Nightmare on Elm Street (series)
7.Texas Chainsaw Massacre (series)
8.Halloween (series)
9.Scream (series)
10.The Lost Boys

while some of these may not entirely horror films (Jaws, Seven, Silence of the Lambs) I feel that they had elements of horror films. I will admit that The Ring, and The Exorcist were the two scariest films that I have seen, but they were so scary that I did not enjoy them. Some others that I was considering were I am Legend, and Signs. My top 8 were head and shoulders better than the others. These were my ten favorite, not necessarily the best because my preferences are different than yours might be.

HORRORS!!!

Halloween is coming up! It’s time to select your favorite fright films. We are studying film genres this term and horror is one of our stopping-off points. List the movies that scare you the most. If you are a real fan, you can put down your Top Ten. Photos and clips are welcome. We might even watch a full length feature in class before the fateful night itself.

Guidelines For a Film Review Assignment

Turning the paper in, on time, properly presented and cited is worth 40% of the grade.

1. Turned in and on time – 10% deducted if it is handed in after class is over on the due date. An additional 10% is taken off for every additional late day. If you anticipate a problem, let me know in advance.
2. Proper presentation means printed, double spaced, and stapled with your name at the top of the front page. (10%)
3. Mention all the works you researched. If you directly quote something, cite it in standard footnote form. If it is a general knowledge source from your readings or viewings on the subject, include it in a bibliography at the end. It is expected that you will do some research and thus have such references. A paper without any looses 10%.

The following items should be included in your film reviews. Each category is valued at 10% of the total.

1. Introduction – Identify the film, its creator(s), its origins, genre, setting or period, year and country of origin, etc. Anything that relates to your subsequent paragraphs should be set up here.
2. Argument – State the idea you are going to argue here. Also list the basic points you will use to support your opinions. Your primary or general argument should be clearly stated.
3. Synopsis – Recount the story in a few paragraphs. This is also an opportunity to introduce elements of the film and comment upon them, such as actors and the quality of their individual performances.
4. Thematic Analysis – Were the filmmakers successful in conveying their ideas as storytellers? This is a good place to talk about the script (plot, character, theme) and why it works or doesn’t as an entertaining and enlightening entity.
5. Technical Analysis – Were the filmmakers successful as artists? Although this and the previous category can and will overlap, here the concentration should be on quality of direction, design, cinematography, editing, musical score, etc.
6. Opinion – Summarize and declare your final statement, supporting your original argument.

These six categories represent areas that need to be covered in a close critical analysis of a film. Although this seems to be a logical progression, it does not dictate a rigid outline. I expect you to exercise your own style when completing these assignments.

My Top 25 Horror Movies (in no specific order)

1. Resident Evil

2. The Descent

3. 30 Days of Night

4. Wrong Turn

5. Scream 3

6. Dawn of the Dead (remake)

7. Halloween: H20

8. Vacancy

9. My Blood Valentine (remake)

10. Hostel Part 2

11. Urban Legends 1 and 2

12.Pitch Black

13. Saw 4

14. Deep Blue Sea

15. Piranha (old version)

16. Anaconda

17. The orphanage

18. Boogeyman

19. Phantoms

20. Mindhunters

21. Jeepers Creepers

22. The Birds 2

23. Captivity

24. The Cube

25. High Tension

aspects of photography

http://www.youtube.com/watch?v=wDCUg182rY0

After looking at photography for the papers, I was searching youtube for a walk through of the different aspects of photography, and I really liked this one video. Found it to be really informational for being only 2:30

http://http://www.youtube.com/watch?v=BHekCJdQUHE

love this movie and the message in it. this is just the trailer but if you have time to watch the entire movie its very good.

lh

Pan's Labyrinth

I thought the movie had great visual effects and the overall theme was depressing, but enlightening. It opened my eyes to evils of the Spanish War and also to the fact that every fairytale doesn't have a happy ending. However, it is debatable whether this movie ended in a positive way because the baby lives on and the dying young girl, Ofiela, has one last glimpse of her accomplishment. It made me feel a range of different emotions, but I enjoyed the ride.

-Nate Walters

What Do We Think of "Blow Up?"

After viewing the film "Blow Up" in class on Thursday, I personally have neutral feelings. I didn't entirely dislike it... however there wasn't much to work with. For me it was one of those films where the entire time you're waiting for something to happen and then the end credits come up on the screen and all you can think is, "what the hell? That's It?"

On a brighter note, the story line was good and the main character was pretty interesting which held my attention (throughout various parts of the film.)

What did everyone else think about it? Feedback please.

What is art?

Patrick Bostian

Thomas Hammond

Visual Literacy

September 13, 2010

What is art?

There is a joke that begins with, “Every hot chick with a camera thinks she’s a photographer.” Photography is more than just taking pictures and art is more than any expression of feeling. A work of art in most any field takes effort. Occasionally great photography can be created through luck and timing but everyone with a camera phone is not a photographer. Art certainly needs to be something. A license for creativity does not mean it can be anything.

Art is not universal. That is unless you believe that God created the Universe, in which case the Universe would be a work of art but that is another issue entirely. I don’t mean to be negative but when we call everything that is beautiful or everything that is an expression of some sort art, we really devalue that which has been worked on tediously. That is not to say that only paintings are works of art. Music, movies, still photography, etc. all of those are works of art. They express feeling and have been created to show that feeling. In all honesty art is in the eye of the beholder. Not to sound cliché but it is true.

Someone might find heavy metal to be a great work of art while in my opinion it is just noise. Throwing junk together is not really art. There may have been expression but it needs to form something. Many would say that anything that isn’t beautiful cannot be art. I think beautiful things are more artistic but there are dark and sad things that carry much expression of an artist.

To me art requires skill. True art cannot be stumbled upon. Beautiful occurrences like a lucky photo or a song that seems to pop into the musicians mind can seem like accidents but these opportunities need skill to be taken advantage of. That fleeting moment that would have been a great picture only becomes art if someone takes that photo. A gorgeous sunset only becomes art when someone takes the time to set up the photo. The famous picture of Muhammad Ali towering over a fallen Sonny Liston comes to mind when speaking of chance occurrences. That photo was taken in a split second when Ali motioned at Liston to get back up and take more of a beating. The photographer was sure lucky to have caught the classic pose, but it was also taken perfectly.

While on occasion art can occur by chance, most great art is created by a skilled professional who puts time and detail into their work. Artists like Jackson Pollack and Andy Warhol are praised for their artwork but to me art is more than a simple picture of a can or a splatter of paint. Sometimes I think we find art where there really is none. If there is one thing I have learned in considering the legitimacy of art it’s that quite possibly there is no steadfast definition of art. What we need to remember is that not everything is art, but we need to keep an open mind as to what art can be.

"Metropolis"

I feel that "Metropolis" was a movie ahead of its time. I also learned that many movies in the following years used concepts and actual parts of the movie to incorporate elements of these scenes into more recent movies such as "Indiana Jones: Temple of Doom". This connected the past to the present, which allowed me to draw comparisons from both movies after watching "Metropolis". A great example of this occurs when the wealthy, stable man trades places with one of the brainwashed peasants to experience the life of the "underground society" and to make meaning of it. It was a brillaint movie for its time and has been used a reference by many modern film-makers to this day.

-Nate Walters

"The Great Train Robbery" - USA 1903

In America, Edwin S. Porter, was taking film to a new level of entertainment. With imaginative camera placement and editing, the narrative cinema had taken a great leap forward.

"A Trip to the Moon" - France 1902

In just a few short years, film had gone from the moving pictures of everyday events that the Lumiere Brothers were busy cataloging to the full-fledged fantasy of George Melies. Although each shot was a long, static setup, stories were being told by putting strips of film together, also know as "editing".

The Lumiere Brothers - France 1895

The earliest films were simple representations of everyday life, taken with one camera set-up, one short roll of film, and no edits. Audiences, who had never seen pictures move before, were transfixed.

"Metropolis" - Germany 1927

Fritz Lang's great silent film is one of the most influential movies ever made. Due to the recent discovery of an original 16mm negative print in Brazil, it has been restored to its original length. That version should be released later this year on DVD.

"Battleship Potemkin" - Russia 1925

Sergei Eisenstein's 1925 silent film about the mutiny on board the Russian battleship, The Potemkin, and it's bloody aftermath, is a landmark in movie editing and a powerful statement about the struggle against corrupt authority.

SYLLABUS - TUESDAY/THURSDAY CLASS

COM 232: VISUAL LITERACY
FALL 2010 / T-Th – 2-3:50 PM
Professor: Tom Hammond
Office: TBA
Office Hours: by appointment
Phone: 813-900-4759
Email: thammond1946@yahoo.com

COURSE DESCRIPTION:

It is one of the great ironies of contemporary existence that we are beset, informed, controlled and constructed by images, yet we receive almost no formal training in understanding and creating visual communication.

Considering ideas from art history, photography, film, mass media and cultural studies, students are asked to analyze visual rhetoric, begin to see critically, articulate meaning, and author visual rhetoric of their own.

COURSE OBJECTIVE:

This course provides an introduction to the varied ways of understanding, analyzing, and theorizing visual culture. We will cover a few major concepts and debates in the broadly defined field of visual studies while exploring a number of key works and traditions in the visual arts.

COURSE GOALS:

The goals of this class are to learn to “read” visual images at a sophisticated level and to express your own informed ideas about visual communication.

READINGS:

You do not need to purchase any books. Suggested readings will be posted at our class website, http://vislit7.blogspot.com or distributed in class. Several of these books have chapters that are vital to some of your papers. You can get them at the library, share them or purchase them inexpensively (used) at Amazon.

REQIIRED VIEWING:

Since there is no required text purchase and most of this class revolves around film and various other visual mediums, you will be required to subscribe to Netflix. It is $9 per month and the first month is free. Only films which are “streamable” will be assigned as required viewing. As a subscriber, you can also receive movies by mail if you wish.

This allows us to spend more class time interacting instead of passively viewing.


LEARNING EXERCISES:

There are three areas of learning evaluation. Details are in the “Assignments” section.

(1) Response, Analysis and Review Papers: 6 papers, 2-4 pages each (60% of grade)

(2) Final Project: A visual essay to be presented in class. (20% of grade)

(3) Participation. You should regard class participation and attendance as an assignment. Participation is required and is a component of your final grade. Consider this a seminar and come prepared to contribute. Come to every class ready to discuss the topic. (20% of grade)

GRADING:

All learning exercises are given a letter grade.
100-94 A Outstanding
93-87 A/B Excellent
86-81 B Very Good
80-76 B/C Good
75-70 C Average
69-74 C/D Below Average
63-60 D Pass, Unsatisfactory
59-0 F Failure

ASSIGNMENT POLICIES:

Please follow these guidelines on all work turned in for evaluation:

1) All assignments must be typewritten or done on a computer. No hand-written assignments will be accepted. Multiple pages must be stapled.
2) You may hand in a hardcopy or post your paper to the Blog. No email submissions please. Either way it must be submitted by class time on the due date.
3) Late papers are counted down one full grade for each day they are late.
4) Grades are posted on Blackboard. A “0” in any column means I did not receive the assignment. “0s” turn to “Fs” a week after an assignment is due.

ATTENDANCE:

Attendance is linked to the “class participation” portion of the final grade. No distinctions are made between excused and unexcused absences.

TARDINESS:

Class begins at 2 PM. Late arrivals are noted. Any such pattern will hurt your grade.


GETTING HELP:

I’m happy to talk to you about the course, any assignments, general ideas, careers, favorite movies, or anything else that is on your mind. Currently, my office hours are by appointment or availability before and after class. Contact me in class or email me to schedule a time.

HONOR CODE:

All written work submitted in this class must be solely your own product. I expect that you know what plagiarism is and how to avoid it. If you have questions regarding this policy, error on the side of caution and raise them with me prior to turning in an assignment. Cheating, plagiarism, copying and any other behavior that is contrary to University standards of behavior will not be tolerated. Students found guilty of such offenses will be given an "F" as a final course grade and appropriate action taken with the University.

DISABILITIES STATEMENT:

If there is any student who has special needs because of a disability, please go directly to the Academic Center for Excellence in North Walker Hall. You may phone 813-258-7251, or e-mail jdelvalle@ut.edu to report your needs and provide documentation of your disability for certification. Jennifer Del Valle is the associate director of the Academic Center for Excellence, Student Disability Services. Please feel free to discuss this issue with me in private if you need more information.

SCHEDULE

Listed below is the tentative reading and assignment schedule, subject to change as our semester together progresses.

A NOTE ABOUT THE MEDIA SHOWN IN CLASS:

We will be watching media clips and entire films for every class meeting. Whether something is “good” or “bad” and whether we found it enjoyable or boring, it is crucial to keep in mind that we’re not here to be entertained. We’re here as students and scholars. We must move beyond the surface of things and ask “why” and “how?” Given that a few of the films shown in this class deliberately seek to subvert traditional forms of entertainment, some of you may find them difficult to watch. These films, however, have been highly regarded by a number of people. They have been deemed significant and worthy of study by respected scholars and critics. If you’re bored or even offended by a film, I hope you’ll re-consider that first response by asking why someone else might find the work interesting and by thoughtfully considering the film’s visual content and techniques.





CLASS ASSIGNMENTS
Below are details of the assignments, along with due dates. All learning exercises are to be turned in hardcopy form and stapled, with your name clearly printed on the first page.
I also encourage you to post these papers on our blog at http://vislit7.blogspot.com and to freely critique and comment on the work of your classmates. This is part of your participation grade.
Be sure you communicate any questions, problems, or issues regarding the assignments.

Suggested readings – Although there are no required textbooks for this course, two of the following assignments draw directly from these works:
Nick Lacey – “Image & Representation: Key Concepts in Media Studies”
Susan Sontag – “On Photography”
Neil Postman – “Amusing Ourselves to Death”
You can find them at the library or at reduced prices on Amazon.com. I encourage you to buy them if you can.
NOTE: I am more than happy to read drafts of papers and/or help you produce quality work. This can be done by email, by appointment or after class sessions.


CRITICAL ANALYSIS, REVIEW AND RESPONSE PAPERS

You will write six 2-3 page papers which are detailed below. There is also a seventh paper topic available for extra credit. This will only be accepted if all of the other six assignments have been completed. Writing should be focused on class readings, outside texts or articles and assigned viewings. General grading criteria for the papers are insightfulness, organization, focus, use of sources and clarity of writing.

What is Art? - Due: Tuesday, Sept 14th
Answer these questions: What is art? Is art universal? What isn’t art? How would you defend a work as art if someone took exception to your view? Give examples for each.
Although I encourage you to research this question, your response should be personal.

Close analysis of an image - Due: Tuesday, Sept. 28th
This assignment asks you to do a close reading of an image of your choice. Be sure to first read Nick Lacey’s “Introduction to Image Analysis” from Image and Representation: Key Concepts in Media Studies.
First, pick any kind of public image you deem noteworthy or significant (people, of course, do not need to be present in the image). By “public,” I mean any image that is publicly available (and not necessarily commercial). It can be a painting found in a museum or on the side of a building; a photograph in a newspaper or in a glossy magazine; an image used as part of an advertisement or one that perhaps seeks to criticize commercialism. Be sure the paper briefly explains where the image was/is found, its significance, and why it is worth studying.
Next, clearly distinguish your analysis on two levels: content and composition. Lacey’s chapter will prove helpful here.
When evaluating the content of the image, analyze a range of possible interpretations. What is the preferred “reading” of the image? Are there other ways the image could be “read?” Does the image try to convey a message, idea, or theme? Be sure to address not only how you see the picture, but how others might see it as well.
When evaluating the image’s composition, pay attention to the formal features of the image. In what ways do they influence how we “read” the image? Aside from lectures in class, I will supply you with a handout and a Blog posting that outlines these features.
Be prepared to discuss your image in class. Please bring a copy for showing (digital is best).

Film review of Blow Up - Due: Tuesday, Oct. 12th
On Tuesday, Sept. 21st, Michelangelo Antonioni’s film Blow Up will be shown in class.
This assignment asks you to write a critical review of the film, attending to any aspect of the film you deem important and/or noteworthy. You need to draw from and cite other reviews of the film, but the central point/observation you make about the film should be your own. There are a number of decent reviews of the film, which you should be able to easily find on-line. I’ll also post some reviews to the blog this week as well.
Make sure the paper has a thesis and/or a very specific point/observation about the movie. The best papers will be ones that have an overreaching argument – each paragraph will advance your analysis and point(s).

Image and Reality - Due: Tuesday, Oct. 26th
Address these questions: Are there any limits to visual or photographic knowledge? Are some subjects better communicated through photographs opposed to written or spoken words? What examples would you cite?
Responses that engage Susan Sontag’s On Photography in relation to the questions above are encouraged.


The relationship between movies and society - Due: Tuesday, Nov. 9th
The “classic” period of Film Noir is generally located from the 1940s to late 1950s. Associated with a group of movies made primarily in America, these films are commonly characterized by a distinct visual style that has roots in German Expressionism. They are also recognized as arising from and speaking to the aftermath of WWII, the budding Cold War, and alienation in a bureaucratic, military, and increasingly commercialized society. With this in mind, in what ways do more recent films reflect contemporary society? Is there a “type” or genre of film that is emblematic of American society right now? Are there themes or subjects or even visual aesthetics that speak to modern-day life?
A single, fleshed-out point or observation with specific examples will work best here. The paper needs to cite scholars, regarded texts, and/or respected reviews of films. If you’re not familiar with it, MetaCritic is an excellent place to find reviews: http://www.metacritic.com/
Start with a specific film that you think is popular. If you think the public like it simply because it’s entertaining, then ask yourself why entertainment of this kind is socially popular? Why this film over others? Once you have a specific movie or two in mind, think about how that movie (or its type) “speaks to” modern society. For example, “zombie” films might seem like superficial entertainment to many, but there are underlying themes in many of them that deserve attention. “Night of the Living Dead” had impact because it reflected the splintering of classes and generations during the Vietnam War. “Dawn of the Dead” is about the destructive aspects of American consumerism. The “28 Days Later” films are concerned with the deconstruction of modern society, a fear that is currently shared by many.

Analysis of “Blue Velvet” - Due: Tuesday, Nov. 23rd
On Tuesday, Nov. 9th , we will watch David Lynch’s “Blue Velvet”. While watching the film, pay close attention to the construction of every frame and scene, as this assignment asks you to write a close analysis of the film’s visual elements. This film is also streamable on Netflix for further study.
For your paper, do a critical analysis of some aspect of the overall story and the film’s way of visually treating the story. The paper may choose to address the relationship between film, the subconscious, and reality, or the paper might deal with a particular point about Surrealism as an art form in relation to the film. Be sure your analysis addresses at least one specific shot or scene and be sure you attend to the overall surrealistic elements of the film. More than anything, I am looking for your own considered analysis. You should also cite readings related to Surrealism as an art form. Google “surrealist film” and you’ll find more than you want. I’ll also post some links on the Blog.

Extra Credit Paper – Due: anytime before end of semester
This topic is about the adaptation of written works (novels, short stories, etc.) to the motion picture medium (TV included). You will read an original work in its entirety and watch its filmed version. This should be something you have not read or seen. I can give you suggestions if you wish.
Here are some of the possible areas you might choose to cover:
What are the similarities and differences between the two? Was the original easy or difficult to adapt? Why? What is the attraction of the original and was that realized in the film version? Was the whole of the written version used or just part of it? Was anything added or subtracted in the process that helped or hindered the film version? Does the film version stand on its own as an artistic accomplishment? Is it greater or less than the original? Is that last question a generally valid one to ask?
Here are the topics you must cover:
How have the filmmakers chosen to visually represent the original work and why? Were they successful and why?
The same standards apply to this paper as the other six.





GENERAL SUBJECTS & REQUIRED VIEWINGS BY WEEK

• Basic Visual Theory – The Beginnings of Film (Lumiere Bros., Georges Melies, Edwin S. Porter, D.W. Griffith ) – “Man With A Movie Camera” (in class)

• Montage vs. Mise En Scene – The Silent Era – Assigned: “Battleship Potemkin”, “Metropolis”

• Art & Experiment – Avant-Garde Cinema 1920s & ‘30s (in class) – Assigned: “The Passion of Joan of Arc”

• Art & Experiment – “Blow Up” (in class)

• Classical Technique & The Hollywood Style – Assigned: “Mr. Smith Goes to Washington”

• The Addition of Sound – Assigned: “M”

• Artistic Movements in Media: Expressionism – Assigned: “The Cabinet of Dr. Calagari”

• Artistic Movements in Media: Surrealism – “Un Chien Andalou” (in class) – Assigned: “Eraserhead”

• Genre Studies – The Horror Film – Assigned: “Susperia”

• Genre vs. Style – Film Noir – Assigned: “Night and the City” (Jules Dassin)

• The Auteur Theory – Akira Kurosawa – Assigned: “The Seven Samurai”

• Gender Studies – Sex, Violence & Censorship – Assigned: “This Film is Not Yet Rated”

• Documentary Theory – Non-Fiction Films – Propaganda – Assigned: “The Thin Blue Line”

• The Advent of Television – Social Impact of Electronic Media – Assigned: “Network”

• Artist & Society – Federico Fellini & Italian Neo-Realism – Assigned: “8½ “

• Projects

SYLLABUS - WEDNESDAY CLASS

COM 232: VISUAL LITERACY
FALL 2010 / Wed. – 6-9:50 PM
Professor: Tom Hammond
Office: TBA
Office Hours: by appointment
Phone: 813-900-4759
Email: thammond1946@yahoo.com

COURSE DESCRIPTION:

It is one of the great ironies of contemporary existence that we are beset, informed, controlled and constructed by images, yet we receive almost no formal training in understanding and creating visual communication.

Considering ideas from art history, photography, film, mass media and cultural studies, students are asked to analyze visual rhetoric, begin to see critically, articulate meaning, and author visual rhetoric of their own.

COURSE OBJECTIVE:

This course provides an introduction to the varied ways of understanding, analyzing, and theorizing visual culture. We will cover a few major concepts and debates in the broadly defined field of visual studies while exploring a number of key works and traditions in the visual arts.

COURSE GOALS:

The goals of this class are to learn to “read” visual images at a sophisticated level and to express your own informed ideas about visual communication.

READINGS:

You do not need to purchase any books. Suggested readings will be posted at our class website, http://vislit7.blogspot.com or distributed in class. Several of these books have chapters that are vital to some of your papers. You can get them at the library, share them or purchase them inexpensively (used) at Amazon.

REQIIRED VIEWING:

Since there is no required text purchase and most of this class revolves around film and various other visual mediums, you will be required to subscribe to Netflix. It is $9 per month and the first month is free. Only films which are “streamable” will be assigned as required viewing. As a subscriber, you can also receive movies by mail if you wish.

This allows us to spend more class time interacting instead of passively viewing.


LEARNING EXERCISES:

There are three areas of learning evaluation. Details are in the “Assignments” section.

(1) Response, Analysis and Review Papers: 6 papers, 2-4 pages each (60% of grade)

(2) Final Project: A visual essay to be presented in class. (20% of grade)

(3) Participation. You should regard class participation and attendance as an assignment. Participation is required and is a component of your final grade. Consider this a seminar and come prepared to contribute. Come to every class ready to discuss the topic. (20% of grade)

GRADING:

All learning exercises are given a letter grade.
100-94 A Outstanding
93-87 A/B Excellent
86-81 B Very Good
80-76 B/C Good
75-70 C Average
69-74 C/D Below Average
63-60 D Pass, Unsatisfactory
59-0 F Failure

ASSIGNMENT POLICIES:

Please follow these guidelines on all work turned in for evaluation:

1) All assignments must be typewritten or done on a computer. No hand-written assignments will be accepted. Multiple pages must be stapled.
2) You may hand in a hardcopy or post your paper to the Blog. No email submissions please. Either way it must be submitted by class time on the due date.
3) Late papers are counted down one full grade for each day they are late.
4) Grades are posted on Blackboard. A “0” in any column means I did not receive the assignment. “0s” turn to “Fs” a week after an assignment is due.

ATTENDANCE:

Attendance is linked to the “class participation” portion of the final grade. No distinctions are made between excused and unexcused absences.

TARDINESS:

Class begins at 6:00 PM. Late arrivals are noted. Any such pattern will hurt your grade.


GETTING HELP:

I’m happy to talk to you about the course, any assignments, general ideas, careers, favorite movies, or anything else that is on your mind. Currently, my office hours are by appointment or availability before and after class. Contact me in class or email me to schedule a time.

HONOR CODE:

All written work submitted in this class must be solely your own product. I expect that you know what plagiarism is and how to avoid it. If you have questions regarding this policy, error on the side of caution and raise them with me prior to turning in an assignment. Cheating, plagiarism, copying and any other behavior that is contrary to University standards of behavior will not be tolerated. Students found guilty of such offenses will be given an "F" as a final course grade and appropriate action taken with the University.

DISABILITIES STATEMENT:

If there is any student who has special needs because of a disability, please go directly to the Academic Center for Excellence in North Walker Hall. You may phone 813-258-7251, or e-mail jdelvalle@ut.edu to report your needs and provide documentation of your disability for certification. Jennifer Del Valle is the associate director of the Academic Center for Excellence, Student Disability Services. Please feel free to discuss this issue with me in private if you need more information.

SCHEDULE

Listed below is the tentative reading and assignment schedule, subject to change as our semester together progresses.

A NOTE ABOUT THE MEDIA SHOWN IN CLASS:

We will be watching media clips and entire films for every class meeting. Whether something is “good” or “bad” and whether we found it enjoyable or boring, it is crucial to keep in mind that we’re not here to be entertained. We’re here as students and scholars. We must move beyond the surface of things and ask “why” and “how?” Given that a few of the films shown in this class deliberately seek to subvert traditional forms of entertainment, some of you may find them difficult to watch. These films, however, have been highly regarded by a number of people. They have been deemed significant and worthy of study by respected scholars and critics. If you’re bored or even offended by a film, I hope you’ll re-consider that first response by asking why someone else might find the work interesting and by thoughtfully considering the film’s visual content and techniques.





CLASS ASSIGNMENTS
Below are details of the assignments, along with due dates. All learning exercises are to be turned in hardcopy form and stapled, with your name clearly printed on the first page.
I also encourage you to post these papers on our blog at http://vislit7.blogspot.com and to freely critique and comment on the work of your classmates. This is part of your participation grade.
Be sure you communicate any questions, problems, or issues regarding the assignments.

Suggested readings – Although there are no required textbooks for this course, two of the following assignments draw directly from these works:
Nick Lacey – “Image & Representation: Key Concepts in Media Studies”
Susan Sontag – “On Photography”
Neil Postman – “Amusing Ourselves to Death”
You can find them at the library or at reduced prices on Amazon.com. I encourage you to buy them if you can.
NOTE: I am more than happy to read drafts of papers and/or help you produce quality work. This can be done by email, by appointment or after class sessions.


CRITICAL ANALYSIS, REVIEW AND RESPONSE PAPERS

You will write six 2-3 page papers which are detailed below. There is also a seventh paper topic available for extra credit. This will only be accepted if all of the other six assignments have been completed. Writing should be focused on class readings, outside texts or articles and assigned viewings. General grading criteria for the papers are insightfulness, organization, focus, use of sources and clarity of writing.

What is Art? - Due: Wednesday, Sept. 15th
Answer these questions: What is art? Is art universal? What isn’t art? How would you defend a work as art if someone took exception to your view? Give examples for each.
Although I encourage you to research this question, your response should be personal.

Close analysis of an image - Due: Wednesday, Sept. 29th
This assignment asks you to do a close reading of an image of your choice. Be sure to first read Nick Lacey’s “Introduction to Image Analysis” from Image and Representation: Key Concepts in Media Studies.
First, pick any kind of public image you deem noteworthy or significant (people, of course, do not need to be present in the image). By “public,” I mean any image that is publicly available (and not necessarily commercial). It can be a painting found in a museum or on the side of a building; a photograph in a newspaper or in a glossy magazine; an image used as part of an advertisement or one that perhaps seeks to criticize commercialism. Be sure the paper briefly explains where the image was/is found, its significance, and why it is worth studying.
Next, clearly distinguish your analysis on two levels: content and composition. Lacey’s chapter will prove helpful here.
When evaluating the content of the image, analyze a range of possible interpretations. What is the preferred “reading” of the image? Are there other ways the image could be “read?” Does the image try to convey a message, idea, or theme? Be sure to address not only how you see the picture, but how others might see it as well.
When evaluating the image’s composition, pay attention to the formal features of the image. In what ways do they influence how we “read” the image? Aside from lectures in class, I will supply you with a handout and a Blog posting that outlines these features.
Be prepared to discuss your image in class. Please bring a copy for showing (digital is best).

Film review of Blow Up - Due: Wednesday, Oct. 13th
On Wed., Sept. 22nd, Michelangelo Antonioni’s film Blow Up will be shown in class.
This assignment asks you to write a critical review of the film, attending to any aspect of the film you deem important and/or noteworthy. You need to draw from and cite other reviews of the film, but the central point/observation you make about the film should be your own. There are a number of decent reviews of the film, which you should be able to easily find on-line. I’ll also post some reviews to the blog this week as well.
Make sure the paper has a thesis and/or a very specific point/observation about the movie. The best papers will be ones that have an overreaching argument – each paragraph will advance your analysis and point(s).

Image and Reality - Due: Wednesday, Oct. 27th
Address these questions: Are there any limits to visual or photographic knowledge? Are some subjects better communicated through photographs opposed to written or spoken words? What examples would you cite?
Responses that engage Susan Sontag’s On Photography in relation to the questions above are encouraged.


The relationship between movies and society - Due: Wednesday, Nov. 10th
The “classic” period of film noir is generally located from the 1940s to late 1950s. Associated with a group of movies made primarily in America, these films are commonly characterized by a distinct visual style that has roots in German Expressionism. They are also recognized as arising from and speaking to the aftermath of WWII, the budding Cold War, and alienation in a bureaucratic, military, and increasingly commercialized society. With this in mind, in what ways do more recent films reflect contemporary society? Is there a “type” or genre of film that is emblematic of American society right now? Are there themes or subjects or even visual aesthetics that speak to modern-day life?
A single, fleshed-out point or observation with specific examples will work best here. The paper needs to cite scholars, regarded texts, and/or respected reviews of films. If you’re not familiar with it, MetaCritic is an excellent place to find reviews: http://www.metacritic.com/
Start with a specific film that you think is popular. If you think the public like it simply because it’s entertaining, then ask yourself why entertainment of this kind is socially popular? Why this film over others? Once you have a specific movie or two in mind, think about how that movie (or its type) “speaks to” modern society. For example, “zombie” films might seem like superficial entertainment to many, but there are underlying themes in many of them that deserve attention. “Night of the Living Dead” had impact because it reflected the splintering of classes and generations during the Vietnam War. “Dawn of the Dead” is about the destructive aspects of American consumerism. The “28 Days Later” films are concerned with the deconstruction of modern society, a fear that is currently shared by many.

Analysis of “Blue Velvet” - Due: Wednesday, Nov. 24th
On Wednesday, Nov. 10th, we will watch David Lynch’s “Blue Velvet”. While watching the film, pay close attention to the construction of every frame and scene, as this assignment asks you to write a close analysis of the film’s visual elements. This film is also streamable on Netflix for further study.
For your paper, do a critical analysis of some aspect of the overall story and the film’s way of visually treating the story. The paper may choose to address the relationship between film, the subconscious, and reality, or the paper might deal with a particular point about Surrealism as an art form in relation to the film. Be sure your analysis addresses at least one specific shot or scene and be sure you attend to the overall surrealistic elements of the film. More than anything, I am looking for your own considered analysis. You should also cite readings related to Surrealism as an art form. Google “surrealist film” and you’ll find more than you want. I’ll also post some links on the Blog.

Extra Credit Paper – Due: anytime before end of semester
This topic is about the adaptation of written works (novels, short stories, etc.) to the motion picture medium (TV included). You will read an original work in its entirety and watch its filmed version. This should be something you have not read or seen. I can give you suggestions if you wish.
Here are some of the possible areas you might choose to cover:
What are the similarities and differences between the two? Was the original easy or difficult to adapt? Why? What is the attraction of the original and was that realized in the film version? Was the whole of the written version used or just part of it? Was anything added or subtracted in the process that helped or hindered the film version? Does the film version stand on its own as an artistic accomplishment? Is it greater or less than the original? Is that last question a generally valid one to ask?
Here are the topics you must cover:
How have the filmmakers chosen to visually represent the original work and why? Were they successful and why?
The same standards apply to this paper as the other six.





GENERAL SUBJECTS & REQUIRED VIEWINGS BY WEEK

• Basic Visual Theory – The Beginnings of Film (Lumiere Bros., Georges Melies, Edwin S. Porter, D.W. Griffith ) – “Man With A Movie Camera” (in class)

• Montage vs. Mise En Scene – The Silent Era – Assigned: “Battleship Potemkin”, “Metropolis”

• Art & Experiment – Avant-Garde Cinema 1920s & ‘30s (in class) – Assigned: “The Passion of Joan of Arc”

• Art & Experiment – “Blow Up” (in class)

• Classical Technique & The Hollywood Style – Assigned: “Mr. Smith Goes to Washington”

• The Addition of Sound – Assigned: “M”

• Artistic Movements in Media: Expressionism – Assigned: “The Cabinet of Dr. Calagari”

• Artistic Movements in Media: Surrealism – “Un Chien Andalou” (in class) – Assigned: “Eraserhead”

• Genre Studies – The Horror Film – Assigned: “Susperia”

• Genre vs. Style – Film Noir – Assigned: “Night and the City” (Jules Dassin)

• The Auteur Theory – Akira Kurosawa – Assigned: “The Seven Samurai”

• Gender Studies – Sex, Violence & Censorship – Assigned: “This Film is Not Yet Rated”

• Documentary Theory – Non-Fiction Films – Propaganda – Assigned: “The Thin Blue Line”

• The Advent of Television – Social Impact of Electronic Media – Assigned: “Network”

• Artist & Society – Federico Fellini & Italian Neo-Realism – Assigned: “8½ “

• Projects