Columbia College, Chicago Fall 2009

Short Forms

Course Information
Document Date/Semester September 2009/Fall 2009 Semester

Course Number and Title

24-6033-01 Short Forms

3 Credit Hours

Classroom Building and Room Number Course Meeting Time Additional facilities, if applicable Film Department Website College Name and Address Course Coordinator

Room 402 1104 S. Wabash 9:00-12:20

www.filmatcolumbia.com Columbia College Chicago 600 S. Michigan Ave. Chicago IL 60605

Wenhwa Tsao, Acting Director, Graduate Program

Instructor Information Name Paul Hettel

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Document Date/Semester

September 2009/Fall 2009 Semester

Department Phone Film Department Fax Number email Address My Web Site Office Hours Office Location Mailbox Location

312-369-6769 312-369-8044 phettel@colum.edu http://film242.com Hours: TUES 12:30-1:30 WED 12:30-1:30 or by appointment 601-L 3rd floor

Required Texts and Materials Text Supplies/Materials Bibliography, supplemental and suggested readings
INSTRUCTIONAL RESOURCES FEE
INSTRUCTIONAL RESOURCES FEE STATEMENT:

Handouts supplied and online readings Handouts supplied and online readings Additional readings and a bibliography will posted on-line $115.00 The $115 course Fee cover the direct costs of supplies and services related to courses and the facilities that support them. In addition to materials, this includes items such as speakers fees and licenses.

Content Intro: Welcome to the Short Forms course for Fall 2009. This syllabus describes what you can expect and what will be required of you. It is essential that you successfully complete each project, show a willingness to experiment, a willingness to collaborate, and apply appropriate aesthetic concepts to your work. Each project and each class meeting will present a number of creative problems. The originality with which you solve these problems and participate in this collective learning experience will benefit your work and the the learning experience of others. It is your responsibility to learn and improve each day. Additionally, it is your responsibility to help others in the class to learn and improve.

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Course Description: Short Forms offers an aesthetic and historical overview of alternative and experimental approaches to structuring the short film or video. Taught from a filmmaker's point of view, the class emphasizes experimental styles and techniques rooted in the expression of personal vision and introduces students to the careers of several independent/experimental filmmakers. Short Forms also addresses practical aspects of working as an independent filmmaker, such as film festivals, grants, low budget production methods and internet promotion and distribution. Besides conducting film research and analysis, students demonstrate and develop their own tastes by making an experimental film or video. Screenings and readings accompany each unit. Course Rationale: The goal of this course is to provide an aesthetic and historic overview of alternative approaches to structuring the short film. Through emphasizing techniques rooted in the expression of personal vision we compare the role of filmmaker as entertainer with that of filmmaker as artist, and draw upon elements of companion courses in developing an analytic approach to discussing short films. This class will utilize in-class and out-of-class written assignments, readings screenings, lectures, discussions and presentations. All students are expected to participate in class discussions; this requires that the students read the assigned readings before class and be present at all in-class screenings. Students are expected to take notes on each film screened in class as individual films may be referred to several times during the semester. Prerequisites Successful completion of the MFA semester 1 and 2 courses and approval of the Film and Video department Graduate Focus Review Committee. Learning Outcomes: At the successful completion of this course, you will understand and be able to create: dramatic imperatives of short moving image forms; the nature, importance and process of the production cycle for both narrative, documentary and experimental short film forms; image composition and design in the making of short films; critical analysis on the short film; the necessity to develop a personal creative process.

Grading Detail

You can earn up to 100 points during the semester. Here is the break down:
Class Participation/Moodle In-class Article Critique/Presentation Short Film Journal Narrative Analysis Doc/Experimental Project Final Paper/Presentation

15 10 10 15 20 30

Total Points=Final Grade

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100-90 = A to A-, 89-80 = B to B-, 79-70 = C to C-, 69-60 = D, 59 & below = Grading Scale explained A (excellent): Mastery of the material ability to express and apply the material in a creative way (I.e. Not simply whats been covered in class or the main text.) B (good): Presentation of the material is in a clear, organized fashion. C (fair): Basic concept and facts correct and covered in adequate depth; inconsistency (Some areas covered well: others done poorly, indication of some confusion over the material); or inability to express your understanding clearly. D (poor) Perfunctory coverage of the material; much misunderstanding of the material; in-comprehensive use of skills; excessive absences or lateness. F (failure) Failure to do the assignments as stated; failure to hand in an assignment; Complete or near complete misunderstanding of the material; plagiarism, illiteracy, excessive lateness. Other Considerations for Grading: READINGS: I will be assigning reading every week for the following week. In order to actively participate in these discussions, you must read the material each week BEFORE class. If you miss a class, you are responsible for getting the reading materials from me for the following week. JOURNALS: You are required to get a wire bound notebook for your Short Forms Journal. You are to write responses to the films we see, both in relation to specific topics I ask you to address, as well as your own comments. In addition, throughout the semester I may ask you for other writings to include. REQUIRED TEXT: The weekly handouts. Class projects must be completed on time. To receive a grade of A, in addition to the other criteria, each assignment must be completed on time.

ADDITIONAL CONSIDERATIONS: I WILL BE LOOKING CLOSELY AT HOW YOU USE YOUR TIME, AT HOW YOU TEST YOURSELF AND YOUR IDEAS, AND HOW YOU SHAPE EACH PROJECT TO FIT YOUR PERSONAL AND AESTHETIC GOALS. TO THAT END, YOU MUST BEABLE TO GIVE AND RECEIVE CRITICAL FEEDBACK IN ORDER TO IMPROVE YOUR WORK AND THE WORK OF OTHERS. PLEASE NOTE: ABSOLUTELY NO GRADES OF I (Incomplete) WILL BE GIVEN. YOUR FINAL GRADE WILL BE BASED ON WORK COMPLETED DURING THE SEMESTER.
Classroom Policies: Academic Integrity: Students at Columbia College Chicago enjoy significant freedom of artistic expression and are encouraged to stretch their scholarly and artistic boundaries. However, the College prohibits all forms of academic dishonesty. Academic dishonesty is understood as the appropriation and representation of anothers work as ones own, whether such appropriation includes all or part of the others work or whether it comprises all or part of what is represented as ones own work (plagiarism). Appropriate citation avoids this form of dishonesty. In addition, academic dishonesty includes cheating in any form, the falsification of academic documents, or the falsification of works or references for use in class or other academic circumstances. When such dishonesty is discovered, the consequences to the student can be severe.

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In Cases of Academic Dishonesty When a faculty member of the College has evidence that a student has represented another students work as his or her own or has engaged in any other form of academic dishonesty, the faculty member, in consultation with the chairperson of the department or the chairpersons designated representative, may lower the students grade, fail the student, or apply such other sanctions as may be appropriate. The faculty member is required to notify the student promptly of the discovery. The student may meet with the faculty member to seek redress from the accusation or from any proposed sanction; but if no mutually satisfactory resolution can be reached, a written and dated appeal may be made within two weeks of the meeting to the chairperson of the department or a designated representative. A copy of any such appeal must also be sent to the faculty member. Attendance statement: You are expected and required to attend all class sessions, to be punctual and to be prepared for in-class work and discussions. Classes are structured so that time is used effectively; therefore, absence from class should mean that you miss information and experiences that are vital to the learning process. As a member of a team, you are not only responsible for your own learning but to the team, as well. Because of this, any absence from class may affect your grade. Late work and makeup assignments: Late work will be marked down 50%. You must complete all assignments.

Conaway Center Statement Students with disabilities are requested to present their Columbia accommodation letters to their instructor at the beginning of the semester so that accommodations can be arranged in a timely manner by the College, the department or the faculty member, as appropriate. Students with disabilities who do not have accommodation letters should visit the Office of Services for Students with Disabilities (312-369-8134/V or 312-369-0767/TTY). It is incumbent upon the student to know his/her responsibilities in this regard.

PROJECT DETAILS
IN-CLASS ARTICLE CRITIQUE/PRESENTATION CRITERIA SEE EXAMPLES ON OUR MOODLE SITE Due: Your week will be assigned. Your critique of the assigned class reading should include the following: An outline of at least 3-5 main points of the article Summary of overall approach by the author (i.e. biographical, analytical, theoretical, descriptive) with examples that support your assertions Your response to the argument/opinion(s) offered in the article. Do you agree or disagree with it? Why or why not? What issues do you have with the author? How would you have approached the subject differently if given the opportunity? Preparation for any questions that might be asked by the class

Your presentations must be at least 5 minutes but should not exceed 15 minutes. Your written critique on which your presentation is based is required to be two pages.

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JOURNAL CRITERIA SEE EXAMPLES ON OUR MOODLE SITE Due: Checked weeks 6, 10, and 15 The journal is a way for you to make scholarly contact with your aesthetic, critical and theoretical views. What are your attitudes about film in relationship to the various historical, critical, aesthetic attitudes presented in this course? Keep this journal on a daily basis. Respond to the ideas that are affecting your creative life. Use this course to find several aesthetic and critical attitudes that relate directly to the films that you create and your creative attitude about making art. Artistic selfcriticism and the ability to communicate about art in a philosophical manner are two essential elements of artistic training. Currently, they are the standard professional skills needed by all artists. The procedures for proper journal maintenance are the following: 1. Use a 3 ring lightweight binder that you can easily add pages to. Use lined-paper (8 x 11) for all hand-written pages. Word-processed or typed pages can be done on white unlined paper. It is important that you use the journal as a way to write frequently about film, film theories, criticism of film and aesthetic philosophies. Keep clippings about film criticism, aesthetics and other scholarly clips in the inside cover of your journal. Only your writing should be used to fill the journal. Write all entries in your won prose style to avoid plagiarism. Divide the journal into four (4) sections with a tab that will easily identify each section: Your opinions, theoretical agreements and disagreements with ideas presented by the various theorists studied. Each week, select one or two who engaged you and react to their ideas. Your reactions and opinions concerning in class presentations by you fellow students. How would you appraise their performances? Did you learn something about the critic or aesthetician that the student discussed during their presentation? If so, what? Your daily diary of all film related events that occur in your life during this semester. React to some of the philosophies, ideas and theories of film h=that are presented in class. Also mention what you are creatively attempting within your film work. Try to begin to incorporate theoretical ideas into your visual art. What is your art about? Many great artists kept diaries (Michelangelo, Paul Klee, Dali). This journal will provide essential knowledge about alternative film as well as intrinsic information about you. Note taking is essential, it forces you to listen and it is the best way to learn, maintain a lecture notes section, containing transcribed annotations of in-class notes. Review these notes after every class on a weekly basis.

2.

3. a. b.

c.

d.

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NARRATIVE ANALYSIS-PAPER SEE EXAMPLES ON OUR MOODLE SITE DUE WEEK 6 Choose two short narrative films-either two from the library or one from the library and the other from a rental outlet such as Facets Multimedia, Netflix, Google. At least one of the chosen films must not have been screened in class. You need to provide me with a link to the film not screened. PART I 1-2 PAGES TYPED, DOUBLE SPACE View the films, and list the following information: 1. 2. 3. Title, director, year it was made, length. A segmentation of each film-see attached example An analysis of the narrative structure of each filma. Which story events are directly presented to us in the plot, and which must we infer? b. What is the earliest story event of which we learn? c. Has temporal order, duration or frequency been manipulated in the plot to affect our understanding of events? d. Does the closing reflect a clear-cut pattern of development that relates to the beginning? Do all narrative lines achieve closure? e. Are the characters mental states explored? Do you relate specifically to one character (see the events from their point of view, or are encouraged to side with one characters take of the events) f. How closely does the film follow the conventions of Hollywood cinema? If it departs, how does it depart and why?

PART II WRITE A 3-PAGE PAPER COMPARING THE TWO NARRATIVES. Drawing from your analysis in Part I of the paper, develop a clear comparison of the two films-how are they similar? How do they differ? Is one more successful in its narrative than the other? How and why?

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EXPERIMENTAL/DOC/DIARY PAPER PERSONAL STORY RETOLD THROUGH STILLS IN TWO PARTS SEE EXAMPLES ON OUR MOODLE SITE DUE WEEKS 10 PART I Consider a significant event that has happened to you. This can be a childhood event, or something contemporary. I would prefer this to be a project that you are filming in your Documentary or Production III class. Write a 2 page story detailing what happened. This should be typed and double-spaced. PART II Retell this story through the use of 10 still images. You are permitted to use one line of descriptive action or one line of dialogue per image. Part II will be the only part of the project that is graded. Part I will be used as a reference for me in my comments and feedback. I will be looking for your ability to create a strong story from personal experience as well as you attention to detail. FINAL PROJECT Due: Weeks 14 and 15 SEE EXAMPLES ON OUR MOODLE SITE Choose 2 or 3 films screened either in or outside of class that you feel have influenced you or made you think about short film in a different way. Then develop an essay/presentation of around 5 pages describing the impact of these films on your thinking and possibly your future work as a filmmaker. Where possible, research the filmmakers and/or the aspect of the film that influenced you. One example might be if it is a found footage film, you could do research on found footage films in the library. Or if it was a diary film, you could find writings on diary and documentary films and incorporate this into the paper. You are encouraged to use the relevant articles handed out in class as research material. You are required to cite from at least 3 sources in your presentation of 20 minutes. (Clips should be no longer than 5-7 minutes total.) You will also be required to use proper citation format in the written essay. Please bring in the titles of the films that you propose to discuss, a one-paragraph description of your approach and any source material that youve found. I will collect these on NOVEMBER 11th. Your presentations will be scheduled during the last two class meetings. You must be present in order to receive credit for your essay.

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Date
Week One 9. 9. 09

Agenda/Readings

New Assignments

Introduction to class. READING DUE TOPIC: NEXT WEEK: The Potential of the Short Form: Expanding Poetics, Aristotle Boundaries and Breaking Conventions Intro to the Life and Times of Guy Debord FILMS: City of Men- Fernando Meirelles, Powder Keg-Alejandro Gonzlez Irritu, La Jetee-Chris Marker, Lumiere & Company-Short films from 40 directors.

Week Two 9. 16. 09

Traditional Narrative: The Potential of the Short Form FILMS: Cleave-Hollie Lavenstein, The Girl at the Monceau Bakery-Eric Rohmer, The Birth of the Goalie of the 2001 F.A.Cup Final, Old Chums, Probation, Afternoon, A Light Snack (1975) each 5 minutes-Mike Leigh, The Mourner-Helena Dabrowski READING DUE THIS WEEK: Poetics, Aristotle

READING DUE NEXT WEEK: 1. Reframing the Active/Passive Character, Cooper & Dancyger, Writing the Short Film
And 2. Narrative Structure Short Form

Week Three 9. 23. 09

Experimental Narrative: Distorting the Form FILMS: Ambition-Hal Hartley, Theory of Achievement-Hal Hartley, Statuary-Laura Collins, Two Men and a Wardrobe-Roman Polanski READING DUE THIS WEEK: Reframing the Active/Passive Character, Cooper & Dancyger, Writing the Short Film AND
Narrative Structure Short Form

READING DUE NEXT WEEK:

1.Impossible Stories, Wim Wenders 2. The Creative Self: Ourselves as Coauthors of the World, Danah Zohar

ASSIGNMENT: PAPER #1 NARRATIVE ANALYSIS DUE WEEK #6

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Date
Week Four 9. 30. 09

Agenda/Readings

New Assignments

TRADITIONAL DOCUMENTARY READING DUE FILMS: Listen to Britain- Humphrey Jennings, NEXT WEEK: Powers of Ten-Charles and Ray Eames, SX70Reading for Charles and Ray Eames
Week 5

READINGS DUE THIS WEEK: 1.Jonas Mekas: The 1. Impossible Stories, Wim Wenders Diary Film, P. Adams 2. The Creative Self: Ourselves as Coauthors of the World, Danah Zohar Sitney 2.Toy Stories: Sadie Benning Interviewed by Gavin Smith, Week Five 10. 07. 09 Documentary: Diary Films READING DUE FILMS: Two Portraits, Universal Hotel, NEXT WEEK: Universal Citizen-Peter Thompson, The films of Sadie Benning, The films of Jonas Mekas. READINGS DUE THIS WEEK: 1. Jonas Mekas: The Diary Film, P. Adams Sitney 2. Toy Stories: Sadie Benning Interviewed by Gavin Smith,
1. Notes for a Theory of the Road MovieWalter Salles 2.Cinematic/Transgressi on: An Interview with Todd Haynes, Justin Wyatt

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Date
Week Six 10. 14. 09

Agenda/Readings
Experimental Documentaries FILMS: Human Remains-Jay Rosenblatt, A Movie-Bruce Conner, Marilyn Times FiveBruce Conner

New Assignments
READING DUE NEXT WEEK:
The Avant-Garde Cinema Germaine Dulac

READINGS DUE THIS WEEK: 1. Notes for a Theory of the Road Un Chien Andalou-Script Movie-Walter Salles 2. Cinematic/Transgression: An Interview with Todd Haynes, Justin DUE: NARRATIVE Wyatt ANALYSIS DUE: JOURNALS CHECKED TODAY
ASSIGN: DOC/EXPERIMENT AL PROJECT

Week Seven 10.21. 09

Historical Perspective on the Short film: Early European Experimentation FILMS: Un Chien Andalou- Dali/Bunuel, Ballet Mechanique- Fernand Leger, Uberfall Erno Metzner, The Smiling Madame Deudet Germaine Dulac READINGS DUE THIS WEEK: 1. The Avant-Garde Cinema Germaine Dulac 2. Un Chien Andalou-Script

READING DUE NEXT WEEK:

1. Creative Use Of Reality-Deren 2. American Avant Garde-Sitney

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Date
Week Eight 10. 28. 09

Agenda/Readings

New Assignments

Historical Perspective: Intro to The READING DUE American Avant-Garde NEXT WEEK: FILMS: Meshes of the Afternoon-Maya Deren, Window Water Baby Moving-Stan Brakhage, 1. Avant-Garde Film: Motion Studies-Scott Invocation of My Demon Brother-Kenneth MacDonald Anger
2. Avant-Garde Film Viewing as Problem READINGS DUE THIS WEEK: Solving from 1. Visionary Film: the American AvantDreams of Chaos, Garde-P. Adams Sitney Visions of Order2. Cinematography: The Creative James Peterson Use of Reality- Maya Deren 3. 'My Winnipeg - Guy 3. My Winnipeg - Guy Maddins Old Maddins Old Stomping Grounds, Stomping Grounds, Hallucinated Hallucinated

Week Nine 11.04. 09

Contemporary Experimental Films and Videos FILMS: The Films of Guy Maddin, Gently Down the Stream-Su Fredrich, Alone, Life Wastes Andy Hardy or Passage a lacteMartin Arnold, King of the Jews-Jay Rosenblatt READINGS DUE THIS WEEK: 1. Avant-Garde Film: Motion Studies-Scott MacDonald 2. Avant-Garde Film Viewing as Problem Solving from Dreams of Chaos, Visions of Order- James Peterson

READING DUE NEXT WEEK:

1. The End of AvantGarde Film- Fred Camper 2. The Avant-Garde Cinema in the Age of Post-Modernism from Dreams of Chaos, Visions of Order- James Peterson

ASSIGNMENT: Final Paper/Presentation

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Date
Week Ten 11.11. 09

Agenda/Readings

New Assignments

Contemporary Shorts, International READING DUE FILMS: Thesis Films for the National Film NEXT WEEK: School of Poland, Franz Kafkas Its a Wonderful Life- Peter Capaldi, Black Rider- 1.Debord Film Pepe Danquart, Aprikoser Lotta and Uzi Geffenblad, Baraka Ron Fricke, City of Men- 2.Debord Manipulation Of Space Fernando Meirelles redux READINGS DUE THIS WEEK: consumimur igni 1. The End of Avant-Garde Film- Fred Camper 2. The Avant-Garde Cinema in the Age DUE: of Post-Modernism from Dreams of JOURNALS Chaos, Visions of Order- James CHECKED TODAY Peterson DUE: DOC/EXPERIMENT AL PROJECT INDIVIDUAL CONFERENCES READING DUE IN READINGS DUE THIS WEEK: TWO WEEKS: READINGS DUE THIS WEEK: Debord Readings, Pick One: 1.Debord Film 2.Debord Manipulation Of Space 3.In girum imus nocte et consumimur igni 1.One Culture and the New Sensibility- Susan Sontag DUE: Draft of all materials for Final Presentations READING DUE NEXT WEEK: 1.One Culture and the New Sensibility- Susan Sontag
3.In girum imus nocte et

Week Eleven 11.18. 09

Week Twelve 11.25. 09

Work on Final Presentations I Am Available for Feedback

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Date
Week Thirteen 12.02. 09

Agenda/Readings
Alternative Styles and Forms: PSAs/Animation/Music Videos FILMS: PSA's and Music Videos Selected by YOU, Also, Intro to the Brothers Quay

New Assignments
NEXT WEEK: MUST HAVE ALL FINAL PROJECT MATERIALS

READINGS DUE THIS WEEK: 1.One Culture and the New Sensibility- Susan Sontag

Week Fourteen 12.09. 09

FINAL PRESENTATIONS

THIS WEEK: MUST HAVE ALL FINAL PROJECT MATERIALS

Week Fifteen 12.16. 09

FINAL PRESENTATIONS

THIS WEEK: MUST HAVE ALL FINAL PROJECT MATERIALS

JOURNALS CHECKED TODAY

Disclaimer Statement Please be aware that this syllabus is subject to change. Students will be notified of any changes. Return of student work: Make copies of all work and all feedback received from the instructor and your peers. This will become part of your continuing portfolio. Some items may change at the instructor discretion as the semester progresses, but the overall workload will not. Make sure you pace yourself accordingly. If we are able to move faster than the schedule has outlined, we will devote additional time to lighting, editing and the screening of outside films. Additional suggestions guidelines and/or notices

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Mandatory Attendance for individual conferences. All assignments must be typed except when noted such as journal entries. Assignments not typed, will not be accepted. No active pagers or cell phones allowed. It is the your responsibility to get all classroom notes, hand outs, class schedule revision, or any other information from a missed class time whether absent or tardy. Please schedule an office visit if you are having a problem with any course material. Do not wait until it is too late.

Students Understanding

I have carefully read through the Syllabus and Attendance & Grading Policy for this class, and understand what will be expected of me in this course. This page is to be signed, dated, removed from the syllabus, and returned to your instructor at the end of the first class session.

Class: Short Forms, Fall 09, Paul Hettel Your name printed: _____________________________________________________________ Your signature _______________________________________________ Date:

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