HH285 — INTRODUCTION TO DAKHENBARIZHEISE CINEMA
COURSE SYLLABUS
University of Pencharn, Tong Vey

Instructor: Mm. B’Etor Qentak, Sch. 2nd class Term: Winter 3619
Office location: Poqmey-e 2210 Meeting room: Hotlhwel-e 3107
Office hours: W/F 17:30-19:20 Course hours: T 14:30-19:20

 

I.         Course Description

This course provides an introductory survey of cinema in the Dakhenbarizheise Commonwealth, beginning with the earliest moving pictures from the reign of Edrehasivar Zhas VII Maia’var and concluding with a look at the current state of the film industry. Through screenings and readings, students will evaluate films as historical texts and cultural products, examining social and political influences on Dakhenbarizheise aesthetics, film technologies, and kinemeisei, those individuals involved in the film industry. We will explore narrative, documentary, and experimental forms, acquire the critical, technical, and aesthetic vocabulary related to cinematic practices and structures, and foster an appreciation for the artistic and cultural traditions which gave rise to Dakhenbarizheise cinema.

This course counts towards the WI (Writing Intensive) and IA (International Awareness) credit requirements for graduation. It is worth 4 credit hours.

 

II.         Course Objectives

Upon the completion of this course, students should be able to:

1.) Correctly recognise and engage with the visual signifiers that distinguish the time, place, and social class in which a given film was created;
2.) Demonstrate an understanding of the technological progressions that have driven the maturation of film as vehicle within the region;
3.) Recognise the defining features of various Dakhenbarizheise filmmaking movements, including (but not restricted to) early Amaleise experimentation, Post-secession realism, Zhaöneise Amateurism, Lohaisoneise Metakino, New Internationalism, the Csetavekh’ Outsiders, and others;
4.) Formulate independent questions about, and interpretations or critiques of, the course-relevant works as archetypal narrative forms within and without the social context of its production.

 

III.         Required Texts

Caizaran, Iäro, trans. G. Okrand. From Pel-Thenhior to Leivanin: A Brief History of Cinema. K’liirev: Press of the Crooked Stair, 3587 (First published 10 E’csen 1)
Virenadin, Arleno. Dachenverazhan On Film. Tong Vey: Kahrev & Sons, 3615 (First published 12 E’csen 2)
Tevyris, Lucenara. Film, Faith, Filth: The Photographic Taboo in the Elflands. Myr: Estelveriär University Press, 3599
Heratnered, Mina, trans. V. Denys. Kino Barizheise. Urvekh’: Avar’s College Press, 3604 (First published 5 E’csen 2)
Ahess, Laelin, ed. Words on Screen: Collected Texts for the Study of Film. Tong Vey: University of Pencharn Press, 3610

You may procure the textbooks however you choose (university library or bookstore, electrocopy, textbook rental, locally owned bookstores, sharing with a friend, etc.). However, it is your responsibility to have completed the required reading by the due date.

Other readings may be distributed via photocopy or electropneumatic.

 

IV.         Required Films

Assorted shorts (46 V’nech 4–11 E’has 7), dir. R. Nathomar
The Hotel Hanaveise (17 E’has 7), dir. P. Delara
Cselu the Witch (23 E’has 7), dir. M. Veltana
The Dream of the Empress Corivero (25 E’has 7), dir. S. Delara
“Osmin Micheän and Her Friends” (11 E’has 8), dir. E. Azhrada
“A Noble Approach” (19 E'has 8), dir. Cs. Shariphar
Teamaking (7 E’has 9), dir. M. Zerekharan
Salt Upon Stone (8 E’has 9), dir. I. Pel-Thenhior
Corpsemaking (12 E’has 9), dir. ‘Iönkinemeisin’
Effigy (32 E’has 9), dir. L. Chevenad
The Bridge Builder (41 E’has 9), dir. M. Leivanin
Empress Csesipho (52 E’has 9), dir. A. Khel-Graia
Forty-Seven West Summer Street (26 E'csen 1), dir. K. Zherinadin

The above required films will be screened in class. If you miss a screening day, you are responsible for making up the obligation.  In addition, each week students will be expected to, on their own time, view an additional film of their choice from a short list and write an informal response. All assigned films are available to rent from the university library, albeit in limited quantities. Being placed on the waiting list is not an acceptable excuse for not completing your assignments; you should be prepared to purchase or find some other way to access course materials if necessary.

 

IV.         Course Schedule

  1. 33 Doq. REVIEW. Syllabus and Academic Standards Review
  2. 40 Doq. LECTURE. Early Technological Developments
    1. Read Before Class: Dachenverazhan on Film, Chapter 1
    2. In-Class Screening: Various R. Nathomar shorts
    3. Due: Response #1 — M-rn-s (2 E’csen 1), dir. L. Cambeshin, Pray Thee Ulis Keeps Her (62 E’has 9), dir. M. Inevezh, Summernight (15 E’csen 2), dir. Cs. Halomekhed
  3. 47 Doq. VIEW AND DISCUSS. The “Cal’operaneisei”
    1. Read Before Class: From Pel-Thenhior to Leivanin, Chapter 1
    2. In-Class Screening: Selections from The Hotel Hanaveise
    3. In-Class Screening: Selections from The Dream of the Empress Corivero
  4. 6 Xan. LECTURE. The “Crimes of the Artist” and Censor Laws
    1. Read Before Class: Film, Faith, Filth, Chapter 3
    2. Read Before Class: Kino Barizheise, Chapter 2
    3. Due: Response #2 — Civulano (19 E’has 7), dir. S. Marilar, Zhelsu (23 E’has 7), dir. I. Pel-Thenhior, Pel-Temered’s ‘The Makh’avarsin’ (2 E’has 8), dir. N. Lohanevezh
  5. 13 Xan. VIEW AND DISCUSS. Playing in Reality: Animation, Stylisation, and Documentation
    1. In-Class Screening: “Osmin Micheän and Her Friends”
    2. In-Class Screening: “A Noble Approach”
    3. In-Class Screening: Cselu the Witch
  6. 20 Xan. LECTURE. History, Lies, and Foreign Eyes
    1. Read Before Class: From Pel-Thenhior to Leivanin, Chapter 3
    2. Read Before Class: Dachenverazhan on Film, Chapter 5
    3. Due: Response #3 — Cairado Nights (12 E’has 8), dir. P. Lethora, Bokh! (17 E’has 8), dir. B. Athmaza, Sholavee (20 E’has 8), dir. V. Daibrohar
  7. 27 Xan. VIEW AND DISCUSS. “On With the Masks and Up With the Lights!”
    1. Read Before Class: Film, Faith, Filth, Chapter 4
    2. In-Class Screening: Teamaking
    3. Assigned: Essay #1
  8. 36 Xan. LECTURE / VIEW AND DISCUSS. Unmarked Territory
    1. Read Before Class: Film, Faith, Filth, Chapter 1
    2. In-Class Screening: The Bridge Builder, Acts 1-2
    3. Due: Response #4 — Witness for the Beekeepers (6 E’has 9), dir. D. Rezharan, One Pot of Eladriät (13 E’has 9), dir B. Erimel, Up in the Attic (17 E’has 9), dir. T. Coralezh
  9. 43 Xan. VIEW AND DISCUSS. The Bridge Builder
    1. Read Before Class: “In Pursuit of Metakino” from Words on Screen
    2. In-Class Screening: The Bridge Builder, Act 3
  10. 2 Nay. VIEW AND DISCUSS. Too Far, Too Soon, Too Late
    1. In-Class Screening: The Bridge Builder, Acts 4-5
    2. Assigned, For Extra Credit: The Bridge Builder Worksheet
  11. 9 Nay. MIDTERM EXAM.
    1. Due: Essay #1
    2. Due, For Extra Credit: The Bridge Builder Worksheet
  12. 16 Nay. LECTURE. Competing Silences on Set: Race and Religion in Industry
    1. Read Before Class: From Pel-Thenhior to Leivanin, Chapter 7
    2. Due: Response #5 — The Bridge Builder (17 E’csen 1), dir. P. Csetarezh, Tethimar (25 E’csen 1), dir. D. Ulzhavar, Starchild S01E01: “Pilot” (4 E’csen 3), dir. V. Halomekhed
  13. 23 Nay. VIEW AND DISCUSS. The Children Are Our Future
    1. In-Class Screening: Effigy
  14. 30 Nay. LECTURE. The Csetavekh’ Outsiders
    1. Read Before Class: Kino Barazheise, Chapter 6
    2. Due: Response #6 — Awaiting Godonaren (28 E’has 9), dir. S. Bar-Kelhei, Silk, or the Discovery of Cinema Among the Moths (31 E’has 9), dir. B. Laira, Three Bewildered Elves At Night (36 E’has 9), dir. C. Arakared
  15. 37 Nay. VIEW AND DISCUSS. Grief as Lens
    1. In-Class Screening: Salt Upon Stone
    2. Assigned, For Extra Credit: Personal Response to Salt Upon Stone
  16. 45 Nay. LECTURE. Facing the Public
    1. Read Before Class: Dachenverazhan on Film, Chapter 8
    2. Due: Response #7 — Oskarezh (57 E’has 9), dir. L. Arakared, Pressed Linen (61 E’has 9), dir. N. Bazhavar, Of No Small Importance (68 E’has 9), dir. R. Rovenar
    3. Due, For Extra Credit: Personal Response to Salt Upon Stone
  17. 4 A’ka. VIEW AND DISCUSS. Marnei on Film
    1. Read Before Class: Film, Faith, Filth, Chapter 7
    2. In-Class Screening: Empress Csesipho
  18. 11 A’ka. LECTURE. Gentle Sensibilities
    1. Read Before Class: “Misrecognition” from Words on Screen
    2. Due: Response #8 — Sharadansho Girls (6 E’csen 1), dir. L. Cambeshin, People of the Night Sky (17 E’csen 1), dir. K. Velena, Waltzers (20 E’csen 1), dir. E. Vakrezharad
    3. Assigned: Essay #2
  19. 18 A’ka. VIEW AND DISCUSS. Documentation or Exploitation?
    1. In-Class Screening: Forty-Seven West Summer Street
    2. In-Class Screening: Corpsemaking
  20. 25 A’ka. LECTURE. Potential Futures in Dakhenbarizheise Cinema
    1. Read Before Class: Dachenverazhan on Film, Chapter 10
    2. Due: Response #9 — OVERSEERS (12 E’csen 2), dir. Cs. Rohethar, Marigold Street (17 E’csen 2), dir. H. Dorezho, We Are No Longer Inclined to Take Your Message (2 E’csen 3), dir. I. Carcethlened
  21. 32 A’ka. OPTIONAL SCREENING AND STUDY SESSION.
    1. In-Class Screening: Dragon, King of Death!! (6 E’csen 2), dir. O. Pevramezhen
  22. 39 A’ka. FINAL EXAM.
    1. Due: Essay #2

 

V.         Course Requirements

Participation. Students are expected to engage with the course material through both asking and answering questions during lectures, providing relevant commentary during class discussions, and related activities.

Short Responses. This course requires students to complete nine short-form essays of no less than four hundred (400) and no more than twenty-four hundred (2400) words. Each response must include at least three direct citations from that week’s assigned readings/viewings. Students are expected to demonstrate their understanding of the text and the student’s film of choice through the orchestration of these three quotes into a cogent argument regarding the film’s narrative structure, technological innovations (such as use of special effects, colour processes, etc), and/or historical context.

Midterm and Final Exams. Midterm and final exams will consist of a variety of questions covering all terms and concepts discussed in the course, ranging across film viewings, lecture material, in-class discussion, and assigned readings. Typical question types may include: true / false, short answer, multiple choice, term identification, and short-form essay (400-2400 words). Students will be permitted to bring one lined notecard with them to the exam room.

Midterm and Final Essays. This course requires students to complete two long-form essays of no less than thirty-five hundred (3500) words in response to essay prompts selected by the instructor. There is no upper limit on essay length, but longer is not always better. Students are expected to draw from their understanding of the assigned films and readings in their essays, as well as conduct further research outside of assigned readings. Essays will be due at the time of the midterm and final exams, respectively, and are assigned four (4) class sessions in advance.

A Note on Form. All written responses must adhere to the K’liirev Manual of Style, 4th Edition. In the interest of clarity, repeated failure to follow the presented guidelines may result in a reduction of grade. Assistive manuals and reference sheets are provided by the library free of charge. For further assistance, please contact the library’s Centre for Writing and Thinking to make an appointment with a certified tutor.

 

VI.        Grading

Attendance and Participation: 10%
Short Responses: 10%
Midterm Exam: 25%
Essays: 30%
Final Exam: 25%

A cumulative 55% is the minimum grade required to pass the course. Students of the Faculty of Film must receive a cumulative 70% or higher in order for the course to count towards departmental requirements for graduation with a degree in Film Studies.

 

VII.         Course Policies

  1. Students are expected to complete reading and assignments by the date they are scheduled on the syllabus.
  2. Late assignments will not be accepted without prior communication.
  3. Students who violate the University’s policy on academic dishonesty (see below) will fail the course automatically.
  4. Students requiring additional accommodation may contact Mm. Qentak directly to discuss the individual student’s specific needs. Accommodations made for one student do not reflect the accommodations that can or will be made for another. Accommodations made by Mm. Qentak are dependent entirely on Mm. Qentak’s own judgment as to what is useful, necessary, and fair. Accommodations made by Mm. Qentak do not reflect accommodations that can or will be made by the University. Documentation of the student's needs are required; please reach out to Mm. Qentak for more information. Abuse of this course policy will not be treated lightly.
  5. Mm. Qentak reserves the right to alter this syllabus. Revised syllabi will be delivered to students via autopneumatic (see below).

 

VIII.         University Policies

Academic Dishonesty. The University does not tolerate academic dishonesty in any form. This includes, but is not limited to: plagiarism, cheating on examinations, unauthorised collaboration, use of unauthorised materials, falsification of information (including research data), theft of an examination, theft of course supplies, assisting another student in any of the aforementioned acts. Students who violate this policy may face a reduction in grade, suspension or expulsion from the University, other disciplinary actions to be determined by the relevant department heads, or any combination of these.  The University reserves the right to determine what does or does not constitute academic dishonesty. For more information, see University catalog.

Electropneumatic Address. Upon confirmation of enrollment in the University, students will be assigned an electropneumatic address. Students are responsible for the information sent and received via this address and are expected to check their inboxes on a frequent and consistent basis. The University expects students and faculty to direct all communications regarding coursework through the electropneumatic system, and communications made verbally will not be honoured as legitimate.

Dropping This Class. Beginning with the first class day of the semester, faculty should report any student who is not attending their class to the Office of the Registrar, heretofore referred to as “The Office”. This report must be made by a date established by the Office.

If an enrolled student has not been in attendance by the established date, faculty members are mandated to initiate an administrative drop for that student. The Office will notify students of this process by electropneumatic.

After the established date, the Office will only accept student-initiated drop requests.

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