Laugh Track– The SyllabusFall, 2016

North Seattle College

Quick Links: The Basics – Contact Information, Prerequisites, Instructional Software, Technical & Physical Requirements

Course Information – Course Description, Outcomes, Grading, Assignments, Required Text

Policies – Communication, Email, Weekly Discussions, Other Discussions,Late Work, Plagiarism, Disability Accommodations

Help – Technical Support, Writing Help

FAQ

Schedule

The Basics
Instructors: / JC Clapp & Dawson Nichols
Email: / Please email us from within Canvas when emailing about this course. (It makes email easier to organize and expedites replies to you.) If Canvas is temporarily unavailable, use SCD email:

. (Gregory is my first name, but I never use it.)
Telephone: / JC – 206/934-4531 : Dawson – 206/934-0196
Office: / JC – IB 2313A : Dawson – LB 1237A
Office Hours: / By appointment or visit Dawson on Mondays 8-10 AM or JC on Tuesdays
Class Meeting Times: / Tuesdays 6-10PM and online.
This is a hybrid class, meaning that instruction takes place both online and in a live classroom. Because we only meet live once every week, it is important that you not miss any live classes. The online and live portions of this class work together, but live instruction is live and if you miss it there is no way to make up for it online. The online portions of the class are asynchronous, meaning there are no specific times at which you must be online. You may do the work for this course at any time of the day you like, provided you meet the deadlines. Be aware, however, that THERE ARE DEADLINES. This is not a correspondence course and we will be sticking to the schedule. You are expected to visit the course website daily and keep up with the work.
Coordinated Studies Requirement: / This is a Coordinated Studies class, which means that it integrates materials from several different classes and treats them together. The class is 10 credits, and so all students are required to sign up for TWO of the following classes: DRMA& 101, ENG & 102, HUM 110.
Prerequisites: / English 101 or the equivalent. This class requires a significant amount of reading, listening (to films, plays and lectures), and writing, and we expect all writing to be at the college level. (This includes online discussions.)
Instructional Software: / The online portion of this course is accessed via Canvas. To access our online course students should go to Instructions for logging in are there at the login page. If you have trouble logging on, please contact the Distance Learning office help desk at (206)934-3738 or email them at . You should have access to the online class about 3-4 days before the quarter starts.
Technical & Physical Requirements: / A great deal of this course is delivered online, so you are required to have access to an internet-connected computer along with the skills to use it. Help is available through the Distance Learning office mentioned above.
Thiscourse also requires that you physically attend threeplays atlive theaters. Getting to these performances is your responsibility.
Course Information
Course Description: / The central theme of this course is humor. We will use various theories of humor to analyze recorded and live performances, asking whether humor is a universal phenomenon or a cultural phenomenon. We will examine how humor arises in different narrative contexts and how various artistic disciplines deploy different kinds of humor to diverse ends.
This is a course in which we will engage in collaborative learning. This means that you will prepare for class by reading, watching films, seeing plays, writing, thinking, and engaging in other activities so that you can actively participate in class, both live and online. Expect to spend 20 hours per week reading, writing, viewing, taking quizzes and preparing for class.
What?! 20 hours per week IN ADDITION to the in-class work? Really?
Yes. Remember, this is a 10-credit course. The workload reflects that.
Content Disclaimer!
We will be openly and frankly discussing some difficult subject matter. You will see graphic media images (i.e. sexual and violent) and discuss topics (and read/hear language or profanity) that may not be entirely comfortable for you. The intent of this course will never be to offend you, but comedy does sometimes incorporate material that some people find offensive. Films may have an R-rating, so if you are under 18 years of age, please check with your parent/guardian to determine if this course is appropriate for you. A great deal of learning can happen through examining the limits of different comfort zones and questioning why, when, and how people (including ourselves) are uncomfortable. However, if you don't feel this course material is appropriate for you, please consider withdrawing from the course, since alternatives will not be provided.
Course Outcomes: / This course has been designed to meet the following Essential Learning Outcomes:
  • Through our exploration of theater and film history, theory and practice, you will learn facts, theories, and perspectives associated with theater and filmmaking. Through discussion and analysis you will exercise critical and integrative thinking by applying your knowledge to different films and plays. What does all that mean in practice? You’re gonna:
  • Learn about the history of Western Theater and American film.
  • Explore how theater and film reflect the human experience, especially through comedy.
  • Examine how comedy communicates to the individual viewer as well as the larger culture.
  • Learn about the practices involved in creating theater and film (production, casting, designing, editing, etc.).

Grading: / This course is graded as follows:
17 Quizzes(10 film quizzes, 7 textbook quizzes, about 20 points each) 375
11Online Discussions(30 points each) 330
4 Online Peer Reviews 55
2Live Theater Reports(100 points each) 200
1 Summary/Critique Paper 100
1 Follow-the-Source Research Assignment 120
1 Rhetorical/Argument Analysis Paper 100
1 Monologue Performance 75
1 Final Capstone Paper or Project 200
Total 1,555
Extra credit opportunities will also be available. More information to come.
Final grades will be assigned as follows:
Percentage / Letter Grade / Decimal Grade / Indication of Performance
96% or more / A / 4.0 / Exceptional
94%-95% / 3.9
93% / A- / 3.8
92% / 3.7
91% / 3.6
90% / 3.5
89% / B+ / 3.4 / Above Average
88% / 3.3
87% / 3.2
86% / B / 3.1
85% / 3.0
84% / 2.9
83% / B- / 2.8
82% / 2.7
81% / 2.6
80% / 2.5
79% / C+ / 2.4 / Average
78% / 2.3
77% / 2.2
76% / C / 2.1
75% / 2.0
74% / 1.9
73% / C- / 1.8
72% / 1.7
71% / 1.6
70% / 1.5
69% / D+ / 1.4 / Acceptable
Only
68% / 1.3
67% / D / 1.2
66% / D- / 1.1
65% / 1.0
64% and below / F / 0.0 / Unsatisfactory
Assignments: / Readings are all from our textbook and from the PDFs provided in our online classroom. You will read one to two chapters each week through week 7. Quizzes on readings will be due by midnight each Friday. The PDF readings are sometimes required, and other times supplemental, so read the calendar to be sure. When you have a PDF reading, be prepared to discuss it in class.
Film Viewingswill be handled differently by each of you. How you acquire the movies (so long as you do it legally) is not of concern to us. But please be aware that it is YOUR responsibility to make sure you can obtain access to each of these films and view them at the assigned times. These films are widely available through a number of services – the NSC Library, Scarecrow video, Netflix, Amazon, King County Library, Seattle Public Library, DVD, BlueRay, etc. – so we will not accept the excuse that you couldn’t get access to a copy of a film. You can, you just need to plan ahead. Here’s a list of the films and the weeks they are due:
  1. The Great Dictator(1940by Charlie Chaplin)
  2. Shakespeare in Love(1998 by John Madden)ORBirdman (2014 by Inarritu)
  3. Wag the Dog(1997 byBarry Levinson)OR Dr. Strangelove (1964 by Stanley Kubrick)
  4. Bamboozled(2000 by Spike Lee) ORBlazing Saddles(1974 by Mel Brooks)
  5. This Film Is Not Yet Rated (2006 byKirby Dick)ORThat’s Not Funny (2014 by Mike Celestino)
  6. Tucker and Dale VS. Evil (2010 by Eli Craig) ORPulp Fiction (1994 by Quentin Tarantino)
  7. Harold and Maude(1971 byHal Ashby)OR When Harry Met Sally (1989)Rob Reiner
  8. Singin’ In The Rain(1952 by Gene Kelly) OR Tootsie(1982 by Sydney Pollack)
  9. Good Morning Vietnam(1987 by Barry Levinson)
TheaterViewingswill be done on the dates listed below:
October 8: 14/48 HS at Stage One Theater (at North) (free)
October 6,7 or 8: Urinetown: The Musical at Shoreline Community College ($5)
October 31: Steambath (viewed online)
November 18, 19, or 20: The Twilight Zone: Live! at Theater Schmeater (around $15)
Theater Reportsare analyses of the twoprofessional live theater productions listed above (Urinetown and The Twilight Zone). The forms for these are available in the appropriate weekly Modules or through the Resources Module.
Textbook Quizzes are multiple choice, open book,and can be taken twice with the higher of the two attempts going toward your grade. These quizzes are due every Friday.
Film Quizzes are essay and may only be taken once. These quizzes are due every Tuesday (except in Week 1) and cover the films seen the previous week as well as the ideas contained in textbook chapters previously read.
Online Discussions cover all materials previously assigned, including films, plays, textbook chapters, and online readings and videos. Other than the first discussion, all discussions are open until midnight on Wednesday of the week they are due. The minimum requirement for each discussion is to post on at least four days, so you can easily get it done during the week. You are by no means required to visit the discussions on the weekends, but having them available to you on the weekends gives you some wiggle room. (This flexibility is one great advantage of a hybrid class.) Discussions are directed by prompts given when you enter each discussion. See Policies below for more detailed information on how posts are graded.
The Summary/Critique Paper asks that you read an article, summarize it, and then provide a critique.
The Follow-the-Source Research Assignment requires you to find a scholarly article and then track down other sources that cite it.
The Rhetorical/Argument Analysis Essay is where you’ll read an article and then analyze the writer’s rhetorical moves and argument.
The Monologue Performance will be a short monologue performed in class. Signups and instructions for this will be available during our live class.
Extra Credit is available in two ways. First, by seeing a film in current release and writing a report on it. This is due in week 8 and is worth 25 points. Second, by seeing an additional live production and writing a report on this play. This is due in week 10 and is worth 25 points. There is one extra credit discussion, as well, worth 30 points. Other extra credit opportunities may arise.
File Formatsused in this class are limited. When turning in online assignments you must submit your work in .pdf, .doc, or .docx, formats.Other formats will not be accepted.
Late Assignments are not accepted unless they have been prearranged and approved. See Late Work below under Policies.
Required Text: / Film Art: An Introduction, David Bordwell and Kristin Thompson, McGraw Hill, 11th edition, 2016, ISBN: 978-1259534959. Please make sure to get the 11th edition, as the quizzes for this course are based on that edition. The online and print editions are identical, so you are welcome to use either.
This textbook is available for rental online throughVital Sourceat At the time of this writing the 90-day rental was $72.53. There are other online services such as Chegg ($67 rental) and Amazon ($67) that are cheaper, but these are rentals of the physical books and you’ll need to plan ahead. We cannot stress enough that it is your responsibility to have the text and be ready to get started with it right away. ‘I ordered it but it hasn’t arrived yet’ is not an acceptable excuse for late work.
A copy of our class textbook is on reserve in the NSC Library for you to use for free.
Other texts will be posted in the appropriate modules or distributed in class.
Policies
Communication: / Because a great deal of this class takes place online, it is extremely important that you check in with your account at least once a day. Even if you are ahead on your assignments, there may be announcements, so log on daily. We will check the course and email at least twice every weekday too, so we should stay in fairly constant contact.
Please write in standard English when you post to discussion groups or email us. Use full sentences with correct punctuation and avoid stream-of-consciousness writing. Compose your thoughts and write clearly. Texting acronyms are not allowed. If you think it’s important that everyone know how funny you thought something was, write it out, don’t just throw an ‘lol’ at the end of your sentence.
Finally, remember that we want to create an open and welcoming forum for everyone to share their ideas. Please avoid being hostile or overly critical toward anyone in class. This is a class about comedy, so we want to keep it light and fun. But do try to avoid sarcasm and potentially hurtful jokes. Netiquette rules are outlined at:

Please follow these rules except for number 7, which indicates that some flaming is acceptable. NO FLAMING is acceptable in this class. We like exuberance, but this is a classroom and we need to keep our emotions, positive or negative, under control.
Email Policy: / For assistance with this course you should email through Canvas. We will respond to these emails within 24 hours, Monday through Friday –usually much faster. (Note that if you email us Friday afternoon we may not get to that email until Monday morning. Sorry, but sanity depends on weekends free from emails.) If you haven’t received a reply from us in the specified amount of time, go ahead and use SCDemail directly, but please put ‘Laugh Track’ in the subject line so that we can track your email.
Weekly Discussions: / Discussions can be accessed through the appropriate weekly modules.
The aim of these discussions is to harness the intellectual power of everyone involved with the class in order to obtain a deeper understanding of the material. This is the part of the course that most closely approximates the kind of daily discussion we don’t have time for in a once-a-week class, and we expect each of you to engage in discussions seriously. Read the other posts in the discussions and respond to the ideas presented there. This is not simply a forum for you to express your own ideas. Share your ideas, but then read other people’s ideas and interact with them. Respond, question, discuss.
Generally you should plan to spend 2.5 hours cumulatively on each discussion. You should spend more time reading posts than writing them, but it is your writing that we will assess. To ensure that you get full credit for discussions, make sure you follow these rules:
You must participate in every discussion. Participation means engaging with the conversation on at least 4 days and producing at least one substantive original post (10 points) and three substantive responses to other students’ posts or responses (5 points each). Another 5 points will be awarded for your interaction beyond the above-mentioned posts. Responses should specifically refer back to what the other student has said. Participation in any discussion should begin with a substantive original post. (You can still read other people’s posts to get ideas first, if you like.)
You must post on at least 4 days each week. Constant contact with these discussions gives continuity to our course and keeps you involved with the material. Every discussion is open for at least 5 weekdays and 2 weekend days, so attending a discussion on at least 4 days shouldn’t be too hard.
You will only receive credit for 1 substantive post to any discussion on a single day. Again, this means that you must engage with each discussion on at least 4 days to receive full credit, so starting discussions early is essential. Don’t put it off.
Four of your posts must be substantive. In order to receive full credit for a substantive post, it must contribute to the discussion in some way. Random thoughts and off-topic comments will not count. One and two sentence posts, while appropriate for general discussion, will not get full credit for substantive posts. Discuss the ideas in the textbook and the films. Specific references and quotes are strongly encouraged, as these ensure that you are on topic. Proper use of terminology and key concepts is also beneficial. Finally, make sure you are engaging in dialogue, not just monologue. (See the end of this syllabus for examples of what I mean by substantive.)
Your posts must be coherent. Again, use proper English and compose your thoughts, don’t just spew. If English is not your native language you may have to work harder here, but be aware that you are expected to use correct grammar.
Don’t be flip or sarcastic. “’The Hangover’ is stupid” is not an appropriate post. You are welcome to have this opinion, but we want informed discussion, not knee-jerk reactions and inarticulate chatter. “‘The Hangover’ has a flawed dramatic structure” is better because it conveys more specific ideas in a respectful way.