ENGB71H3, LEC 02

WRITING ABOUT MOVIES

Instructor: Michael Sooriyakumaran

E-mail: michael.sooriyakumaran@mail.utoronto.ca
Office Hours: by appointment

Meeting Times

Lectures: Mondays, 7:10-8:00 PM EST (via Zoom)

Screenings: asynchronous

Course Description

"A film," writes Roger Ebert, "is not what it is about, but how it is about it. A good film
or a bad film can be made about anything. Therefore, to dismiss (or praise) a film solely because
of its subject matter, it is not necessary to see it. That is why people who make statements
beginning with the words 'I don't like films about...' are idiots, or censors." In other words, a film
is not its story (or its fabula, to use the jargon of the Russian Formalists), assuming it relates one;
rather, story is an effect of a film's form and style. In order to say or write anything meaningful
about a film, it is imperative to understand how stylistic techniques shape the spectator's
experience. Yet, many of the people who write about film professionally—perhaps the
majority—seem content to summarize stories, tease out a few themes, make an evaluation, and
call it a day. As readers, we should demand better.
In this class, students will learn how to write about films as films. The first, and longest,
section of the course, "Film Style," will provide students with a vocabulary with which to
describe the stylistic elements of a film and analyze their functions in particular films. The next
two sections take as case studies two types of film that are especially challenging to write about
well: experimental or avant-garde films, which foreground abstract qualities of the image
(colour, movement, rhythm), the representation of space, and filmic duration, rather than
subordinating them to the narration of a story (if there is one), and classical Hollywood films,
which strive to efface their own artifice through thoroughgoing narrative motivation. Only after a
close consideration of film style will we be prepared, in the last section of the course, to discuss
how form (narrative or otherwise) and style interact in film to produce various kinds of meaning,
with a particular emphasis on implicit and symptomatic meanings. It is a fundamental axiom of
this course that, in order to write well about films, it is first necessary to learn how to watch
them.

Learning Objectives

By the end of this course, students will be able to...
• accurately describe stylistic techniques and analyze their functions in various kinds of
films;
• demonstrate how the interaction of form and style in particular films cues the spectator to
infer implicit and symptomatic meanings.
Required Text

David Bordwell, Kristin Thompson, and Jeff Smith, Film Art: An Introduction, 12th ed. (New
York: McGraw-Hill, 2019)

Evaluation

Percent
Assessment Title Date(s)
(%)

Two evaluative reviews of current 2023-02-05

30
release films 2023-02-26

Formal analysis of an
20 2023-03-19
experimental/avant-garde film

Interpretative essay on a classical film 30 2023-04-09

No Specific
Attendance 5
Due Date

No Specific
Participation 15
Due Date

Total Percentage 100

Evaluative reviews of current releases: 15% each x 2 (30% total)

• Due: Sun., Feb. 5 and Sun., Feb. 26 at 11:59 PM (EST).
• 600-1,000 words each.
• Submitted via Quercus (be sure to write your name and student number at the top of each
submission).
• Students are required to write about theatrical films released within the last two years
(ideally, one currently in theatres), not a television series, TikTok video, etc.
• The purpose of this assignment is for students to demonstrate their grasp of the concepts
covered in weeks 2-5 by applying them to the evaluation of contemporary films. Reviews
are evaluated on their clear organization, clarity, persuasiveness, originality, and
stylishness.
• Some collections of film reviews students may wish to consult include Manny Farber,
Negative Space: Manny Farber on the Movies (New York: Da Capo Press, 1998);
Pauline Kael, I Lost it at the Movies (Boston: Little Brown, 1965); Dave Kehr, When
Movies Mattered: Reviews from a Transformative Decade (Chicago: University of
 Chicago Press, 2011); and Jonathan Rosenbaum, Placing Movies: The Practice of Film
Criticism (Berkeley: University of California Press, 1995).

Formal analysis of an experimental/avant-garde film: 20%

• Due: Sun., Mar. 19 at 11:59 PM (EST).
• 1,500-2,000 words.
• Submitted via Quercus (be sure to write your name and student number at the top of the
paper).
• The purpose of this assignment is for students to demonstrate their ability to apply the
concepts covered in weeks 2-7. Students are expected to make an argument about the
functions and effects of stylistic techniques in a particular film and support it with
pertinent examples from the film.
• For examples of formal analyses of avant-garde/experimental films, see those in Film Art,
pp. 371-388, 396-400, and 434-438, and online at
http://www.davidbordwell.net/filmart/index.php.
• Students may write about any avant-garde/experimental film they wish. In addition to the
films screened in this class (see weeks 6-7), some films students may choose to analyze
include:
o A Colour Box (Len Lye, 1935) [https://ubu.com/film/lye_colour.html]
o For the Damaged Right Eye (Matsumoto Toshio, 1968)
[https://ubu.com/film/matsumoto_damaged.html]
o Scar Tissue (Su Friedrich, 1979) [https://ubu.com/film/friedrich_scar.html]
o Chimera (Phil Hoffman, 1996) [https://vimeo.com/67573038]
o Outer Space (Peter Tscherkassky, 1999)
[https://ubu.com/film/tscherkassky_outer.html]
o Black and White Trypps Number Four (Ben Russell, 2008)
[https://vimeo.com/7130018]
o These Hammers Don't Hurt Us (Michael Robinson, 2010)
[https://vimeo.com/21779327]
o Cruel Optimism (Paul Clipson, 2013) [https://vimeo.com/205177927]
o Love Is the Message, the Message Is Death (Arthur Jafa, 2016)
[https://ubu.com/film/jafa_message.html]
o Blue (Apichatpong Weerasethakul, 2018)
[https://ubu.com/film/weerasethakul_blue.html]

An interpretative essay on a classical film: 30%

• Due: Sun., April 9 at 11:59 PM (EST).
• 2,000-2,500 words (not including bibliography).
• Submitted via Quercus (seriously, write your name and student number at the top of the
paper).
• The purpose of this assignment is for students to demonstrate their ability to apply the
concepts covered in weeks 8-12, building on those covered in previous weeks. Students
are expected to make an argument about the implicit and/or symptomatic meanings of a
classical film and support it through an analysis of the film.
• Students may write about any classical film they wish. In addition to the films screened in
this class, excluding North by Northwest (see weeks 8-10 and 12), some films students
 may choose to interpret include: Blind Husbands (Erich von Stroheim, 1919); The
General (Clyde Bruckman/Buster Keaton, 1927); The Docks of New York (Josef von
Sternberg, 1928); Jezebel (William Wyler, 1938); Ninotchka (Ernst Lubitsch, 1939);
Laura (Otto Preminger, 1944); Les Enfants du Paradis (Marcel Carné, 1945); Pickup on
South Street (Samuel Fuller, 1953); Johnny Guitar (Nicholas Ray, 1954); and Seven
Samurai (Kurosawa Akira, 1954). All of these (and many more!) are available online
through Criterion on Demand at: https://media3-criterionpic-
com.myaccess.library.utoronto.ca/CoD/lcl_top_subjects.htx.
• Students are forbidden to write about any film by Alfred Hitchcock without express
written permission from the course instructor. Failure to comply will result in an
automatic grade of zero on the assignment without exception or appeal.

Course Policies

Attendance: Students are expected to be punctual and attentive for all online class meetings, and
to stay current with all asynchronous course materials, including screenings. Failure to do so will
affect your final grade. Missing more than 50% of class meetings is grounds for failure. Please
use the Absence Declaration tool on ACORN to declare an absence. You are responsible for
contacting me, your instructor, to request special academic considerations related to course
absences.

E-mail Policy: I will try to answer e-mails in a timely fashion within two business days of their
receipt. However, I cannot guarantee any response within a set time frame. If you have an in-
depth matter to discuss, please make an appointment to discuss it with me during office hours. I
do not accept assignments by e-mail. Please upload your work through the course Quercus page.

Office Hours: Students who wish to book an appointment must do so at least 48 hours in advance
(weekends excluded). The course instructor requests that students who wish to cancel an
appointment give at least 24 hours' notice. Students can make an appointment by e-mail.

Assignment Due Dates: Late assignments can still be uploaded to Quercus, which registers date
and time of submission. Late assignments lose 3% per calendar day of lateness, weekends
included.

Students do not have the option to rewrite and re-submit assignments, nor do they have the
option of doing a "make-up assignment" (i.e., pointless busywork) to compensate for grades lost
due to absences or a disinclination to participate in class.

Extensions: Extensions will be given only in the following cases. 1) When a student has spoken
with me well in advance of a due date with a reasonable request. 2) When there is a properly
documented family or medical emergency. In these cases, you must contact me within two
business days (48 hours) of missing an assignment deadline. For medical emergencies, you must
have filled in the Absence Declaration tool on ACORN and try to provide a Verification of
Student Illness or Injury form, which can be found at http://www.illnessverification.utoronto.ca.
This form must confirm your inability to complete your assignment as well as the dates of your
illness, and it must show that a physician or appropriate expert was consulted at the time of the
illness. 3) When a student is registered with Accessibility Services and extra time on assignments
is one of the recommended accommodations.

Academic Integrity

The University treats cases of cheating and plagiarism very seriously. The University of
Toronto's Code of Behaviour on Academic Matters
(http://www.governingcouncil.utoronto.ca/policies/behaveac.htm) outlines the behaviours that
constitute academic dishonesty and the processes for addressing academic offences. Potential
offences in papers and assignments include using someone else's ideas or words without
appropriate acknowledgement, submitting your own work in more than one course without the
permission of the instructor, making up sources or facts, obtaining or providing unauthorized
assistance on any assignment.

Harassment/Discrimination

The University of Toronto is a richly diverse community and as such is committed to providing
an environment free of any form of harassment, misconduct, or discrimination. In this course, I
seek to foster a civil, respectful, and open-minded climate in which we can all work together to
develop a better understanding of key questions and debates through meaningful dialogue. As
such, I expect all involved with this course to refrain from actions or behaviours that intimidate,
humiliate, or demean persons or groups or that undermine their security or self-esteem based on
traits related to race, religion, ancestry, place of origin, colour, ethnic origin, citizenship, creed,
sex, sexual orientation, gender identity, gender expression, age, marital status, family status,
disability, receipt of public assistance, or record of offences.

Equity, Diversity, and Inclusion

The University of Toronto is committed to equity, human rights, and respect for diversity. All
members of the learning environment in this course should strive to create an atmosphere of
mutual respect where all members of our community can express themselves, engage with each
other, and respect one another’s differences. U of T does not condone discrimination or
harassment against any persons or communities.

Recording Policy

Students are not permitted to record audio or video of lectures for any purpose.

Course Schedule

UNIT 1: FILM STYLE

Jan. 9: Introductions

Screenings:
Room 237 (Rodney Ascher, 2012, 102 min.) [https://media3-criterionpic-
com.myaccess.library.utoronto.ca/htbin/wwform/006?T=MON1935]
Readings:
Optional: David Bordwell, "All Play and No Work? ROOM 237." Observations on Film Art,
April 7, 2013. http://www.davidbordwell.net/blog/2013/04/07/all-play-and-no-work-room-237.

Jan. 16: Mise en scène

Screenings:
Divine Intervention / Yadon ilaheyya (Elia Suleiman, 2002, 92 min.)
[https://www.kanopy.com/en/utoronto/video/5921062]

Readings:
Bordwell, Thompson, and Smith, "The Shot: Mise-en-Scene [sic]," in Film Art, pp. 112-158.

Optional: Adrian Martin, "Aesthetic Economies: The Expressive and the Excessive," in Mise en
scène and Film Style: From Classical Hollywood to New Media Art (New York: Palgrave
Macmillan: 2014), pp. 21-42.

Jan. 23: Cinematography

Screenings:
Son of Saul / Saul fia (László Nemes, 2015, 107 min.) [https://media3-criterionpic-
com.myaccess.library.utoronto.ca/htbin/wwform/006?t=MON2065]

Readings:
Bordwell, Thompson, and Smith, "The Shot: Cinematography," in Film Art, pp. 159-215.

Optional: Patrick Keating, "American Cinema, German Angles," in The Dynamic Frame:
Camera Movement in Classical Hollywood (New York: Columbia University Press, 2019), pp.
15-54.

Jan. 30: Editing

Screenings:
Amer (Hélène Cattet/Bruno Forzani, 2009, 90 min.)

Readings:
Bordwell, Thompson, and Smith, "The Relation of Shot to Shot: Editing," in Film Art, pp. 216-
262.

Optional: Sergei Eisenstein (trans. Jay Leyda), "Word and Image," in The Film Sense (New
York: Meridian Books, 1957), pp. 1-36.

First evaluative review due Feb. 5 at 11:59 PM

Feb. 6: Sound
Screenings:
Spring Breakers (Harmony Korine, 2012, 94 min.)

Readings:
Bordwell, Thompson, and Smith, "Sound in the Cinema," in Film Art, pp. 263-302.

Optional: Michel Chion (trans. Claudia Gorbman), "The Audio-Visual Scene," in Audio-Vision:
Sound on Screen (New York: Columbia University Press, 1994), pp. 66-94.

UNIT 2: EXPERIMENTAL/AVANT-GARDE MOVIES

Feb. 13: The Lyrical Film

Screenings:
Anticipation of the Night (Stan Brakhage, 1958, 42 min.)
Cat's Cradle (Stan Brakhage, 1959, 6 min.)
Window Water Baby Moving (Jane and Stan Brakhage, 1959, 13 min.)
Castro Street (Bruce Baillie, 1966, 10 min.) [https://video-alexanderstreet-
com.myaccess.library.utoronto.ca/watch/castro-street-the-coming-of-consciousness]
Fuses (Carolee Schneemann, 1967, 22 min.)

Readings:
P. Adams Sitney, "The Lyrical Film," in Visionary Film: The American Avant-Garde, 1943-
2000, 3rd ed. (New York: Oxford University Press, 2002), pp. 155-187.

Ara Osterweil, "Carolee Schneemann: Meat Joys," in Flesh Cinema: The Corporeal Turn in
American Avant-Garde Film (New York: Palgrave Macmillan, 2014), pp. 136-176.

Optional: P. Adams Sitney, "Interview with Stan Brakhage," in Film Culture Reader, ed. Sitney
(New York: Cooper Square Press, 2000), pp. 201-229.

Feb. 20: Reading Week

No class.

Second evaluative review due Feb. 26 at 11:59 PM (EST)

Feb. 27: Structural Film

Screenings:
Wavelength (Michael Snow, 1967, 45 min.) [https://archive.org/details/wavelength-
1967_202205]
T,O,U,C,H,I,N,G (Paul Sharits, 1969, 12 min.)
Zorns Lemma (Hollis Frampton, 1970, 60 min.)
Readings:
Sitney, "Structural Film," in Visionary Film, pp. 347-370.

Annette Michelson, "Toward Snow," in Michael Snow, eds. Michelson and Kenneth White
(Boston: MIT Press, 2019), pp. 1-17.

Stephen Heath, "Repetition Time: Notes Around Structural/Materialist Film," in Questions of

Cinema (Bloomington: Indiana University Press, 1981), pp. 165-175.

Optional: Manny Farber, "Canadian Underground" and "Michael Snow," in Negative Space:
Manny Farber on the Movies (New York: Praeger, 1971), pp. 250-258.

UNIT 3: CLASSICAL CINEMA

Mar. 6: Classical Narration in Hollywood Cinema, 1917-1960

Screenings:
The Killers (Robert Siodmak, 1946, 103 min.) [https://streaming-acf-film-
com.myaccess.library.utoronto.ca/audiocine/play/cffb1fd2084c92b0?referrer=marc]

Readings:
David Bordwell, "Classical Narration: The Hollywood Example," in Narration and the Fiction
Film (Madison: University of Wisconsin Press, 1985), pp. 156-204.

Optional: Laura Mulvey, "Visual Pleasure and Narrative Cinema," Screen 16, no. 3 (1975), pp.
6-18.

Mar. 13: Hollywood Cinema Since 1960: A Postclassical Cinema?

Screenings:
Close Encounters of the Third Kind (Steven Spielberg, 1977, 137 min.) [https://streaming-acf-
film-com.myaccess.library.utoronto.ca/audiocine/play/5bc96ad2da538a5a?referrer=marc]

Readings:
Julie A. Turnock, "The Expanded Blockbuster: The Auteurist Aesthetics of 1970s Special
Effects-Driven Filmmaking," in Plastic Reality: Special Effects, Technology, and the Emergence
of 1970s Blockbuster Aesthetics (New York: Columbia University Press, 2015), pp. 105-128.

David Bordwell, "A Stylish Style" and "Intensified Continuity: Four Dimensions," in The Way
Hollywood Tells It: Story and Style in Modern Movies (Berkeley: University of California Press,
2005), pp. 115-139.

Adrian Martin, "The Crises (2): The Style it Takes," in Mise en scène and Film Style, pp. 95-107.

Optional: Pauline Kael, "The Greening of the Solar System," in When the Lights Go Down (New
York: Holt, Rinehart and Winston: 1980), pp. 348-354.
Formal analysis due Mar. 19 at 11:59 PM

Mar. 20: How Classical Is, or Was, Classical Cinema, Really?

Screenings:
The Girl Can't Help It (Frank Tashlin, 1956, 98 min.)

Readings:
Parker Tyler, "The Play Is Not the Thing," in The Hollywood Hallucination (New York:
Garland, 1985), pp. 3-21.

Richard Maltby, "Taking Hollywood Seriously," in Hollywood Cinema, 2nd ed. (Malden:
Blackwell Publishing, 2003), pp. 3-32.

Patrick Keating, "Prologue: Emotional Curves and Linear Narratives," in The Classical
Hollywood Reader, ed. Stephen Neale (New York: Routledge, 2012), pp. 6-20.

Optional: Miriam Bratu Hansen, "The Mass Production of the Senses: Classical Cinema as
Vernacular Modernism," in Reinventing Film Studies, eds. Christine Gledhill and Linda
Williams (New York: Oxford University Press, 2000), pp. 332-350.

UNIT 4: FILM AND MEANING

Mar. 27: Implicit Meanings

Screenings:
North by Northwest (Alfred Hitchcock, 1959, 136 min.) [https://media3-criterionpic-
com.myaccess.library.utoronto.ca/htbin/wwform/006?t=M66190]

Readings:
David Bordwell, "Interpretation as Explication," in Making Meaning: Inference and Rhetoric in
the Interpretation of Cinema (Cambridge: Harvard University Press, 1991), pp. 43-70.

Robin Wood, "North by Northwest," in Hitchcock's Films Revisited—Revised Edition (New

York: Columbia University Press, 2002), pp. 131-141.

George M. Wilson, "Alfred Hitchcock's North by Northwest," in Narration in Light: Studies in

Cinematic Point of View (Baltimore: John Hopkins University Press, 1988), pp. 62-81.

Optional: Susan Sontag, "Against Interpretation," in Against Interpretation and Other Essays
(New York: Dell, 1966), pp. 13-23.

Apr. 3: Symptomatic Meanings

Screenings:
Young Mr. Lincoln (John Ford, 1939, 100 min.) [https://media3-criterionpic-
com.myaccess.library.utoronto.ca/display/006?t=F06045]

Readings:
Bordwell, "Symptomatic Interpretation," in Making Meaning, pp. 71-104.

The editors of Cahiers du cinéma (trans. Helen Lackner and Diana Matias), "John Ford's Young
Mr. Lincoln," Screen 13, no. 3 (1972), pp. 5-44.

Optional: Robin Wood, "The Incoherent Text: Narrative in the 70s," in Hollywood from Vietnam
to Reagan... and Beyond (New York: Columbia University Press, 2003), pp. 41-62.

Interpretative essay due Apr. 9 at 11:59 PM (EST)