Revised Course Curriculum Office

Revised Course | Curriculum Office

Division/Department/Program requesting change

English/LLC Division

Course developer/course lead contact information

Kate Sullivan/Film Studies Instructor; ext. 3256;

Academic Year in which change will take effect: e.g., 2017-18

2017-2018

Part 1: Course Details

TYPE OF COURSE

X Lower Division Collegiate
Professional/Technical
Developmental, numbered below 100

CHANGES TO COURSE (check all that apply)

Change type / Current / Proposed
Course number / ENG 197 / ENG 197
X Course title / Film Studies / International Film Histories
Credit change / __4_ Lecture
___ Lecture/Lab
___ Lab
__4_ Total Credits / __4_ Lecture
___ Lecture/Lab
___ Lab
_4__ Total Credits
Contact hours per week
1 lecture = 1 contact hour
1 lecture/lab = 2 contact hours
1 lab = 3 contact hours / __4_ Lecture
___ Lecture/Lab
___ Lab
___ Total Contact Hours/Week / __4_ Lecture
___ Lecture/Lab
___ Lab
__4_ Total Contact Hours/Week
X Prerequisites / A passing score (C-/P or better) in WR 95 or its equilvalent,or placement into WR 115 (a score of 76RD and 76WR on the placement test). / None (suggested prerequisites in the course description, below)
Grade option (letter or P/NP) / Letter/pass/no pass / Letter/pass/no pass
Co-requisites
X Course description (300 characters). For examples, see Sample Course Descriptions. / Attach outline or syllabus that includes course description
Prerequisite: a passing score (C-/P or better) in WR 95 or its equivalent, or placement into WR 115 (a score of 76RD and 76WR on the placement test). ENG 197 is the third course of a year-long sequence focusing on the history, art, and social contexts of film as an art form. A primary objective of the course is to enhance students’ enjoyment and appreciation of film by developing their cinematic literacy. Students are introduced to the basic elements of film language, including cinematography, mise en scéne, editing, and sound. While American films are emphasized, the sequence also focuses at times on international cinema, looking at all films in the context of time, culture, and ideological effects. Weekly campus screenings are required, and clips of films are used in class for close analysis of aural and visual elements. A variety of assignments and activities develop and test students “ways of seeing.” ENG 197 centers on films chosen around a theme, topic or director. Recent themes include “Film and the American Dream” or “American Independent Cinema.” Providing an overview of film language, the course explores the style of the featured films and/or director and looks at their historical contexts and ideological effects relating to such contested areas of social experience as race, class, gender, sexuality, and nation / Enter revised description below
Suggested prerequisite: placement into WR 115 or above (college-level reading and writing skills). This is the third course in a three-part survey of film history (aesthetic, economic, technological, and cultural). ENG 197 focuses on contemporary world cinema beginning with various counter-cinemas of the 1960s, "new cinemas" of the 1970s, the rise of the entertainment economy in the 1980s, and concludes with a focus on present-day digital cinemas within a global and trans-media market.Students will be introduced to the basic visual and aural elements of film language and tasked with using this vocabulary to analyze cinematic texts. The primary goals of the survey are twofold:to help students recognize and identify particular historical approaches to understanding film; to enable students to apply a cinematic vocabulary to identify and analyze cinematic style in and across film texts and within and between film movements. Weekly campus screenings are required, and clips of films are used in class for close analysis and are an integral part of the course.
X Course learning outcomes, Core Learning Outcomes, and assessments / A. Use a historical and cultural framework and formal vocabulary for thinking, writing, and talking about films.
B. Develop and apply an understanding of film language and style to the analysis of films
C. Recognize the narrative and stylistic conventions of the film genres studied during the quarter.
D. Explain the larger social-historical contexts from which the chosen films emerge and that help to shape them.
E. Analyze and describe the ideological implications of films in terms of race, ethnicity, class, gender, sexuality, and nation.
F. Write meaningfully about the formal and ideological issues of the films studied during the quarter. / Enter new outcomes, assessments in chart below
A. Develop and use a cinematic vocabulary to analyze individual film texts;
B. Use a cinematic vocabulary to identify and analyze film style across texts and within and between film movements;
C. Recognize and explain key figures and events of/in international film history: e.g., the significance of national cinemas and modes of production;
D. Situate cinematic texts within their historic, cultural, economic, and technological contexts;
E. Describe key approaches to film history: aesthetic, cultural, technological, and economic analysis;
F. Use an inquiry process to develop questions pertinent to the study and analysis of film history
Other (please explain) / Assessments for the
Above Outcomes:
A-E: Class discussions, quizzes, midterm and final examinations, analytical essays, formal segmentations and/or shot lists, presentations, and group work.
F: Academic essay(s) and/or exams.

REVISED COURSE DESCRIPTION (300 characters):

Suggested prerequisite: placement into WR 115 or above (college-level reading and writing skills).

This is the third course in a three-part survey of film history (aesthetic, economic, technological, and cultural). ENG 197 focuses on contemporary world cinema beginning with various counter-cinemas of the 1960s, "new cinemas" of the 1970s, the rise of the entertainment economy in the 1980s, and concludes with a focus on present-day digital cinemas within a global and trans-media market.Students will be introduced to the basic visual and aural elements of film language and tasked with using this vocabulary to analyze cinematic texts. The primary goals of the survey are twofold:to help students recognize and identify particular historical approaches to understanding film; to enable students to apply a cinematic vocabulary to identify and analyze cinematic style in and across film texts and within and between film movements. Weekly campus screenings are required, and clips of films are used in class for close analysis and are an integral part of the course.

Part 2: Rationale, Course Overlap, Library Resources

In order to more closely align our courses with UO's cinema studies program and OSU's film minor—both of which require film history courses for their core curriculum—I am revising our film sequence to better match their international film history series. Additionally, given the media arts programs' (and video production concentration, specifically) increasing emphasis on global media literacies, shifting our film sequence to international film histories will allow us the possibility of more closely aligning with the production aspect of film/video/cinema studies and, hopefully allow us to work towards transfer pathways to both OSU and UO (and, eventually, PSU) AND create a film studies certificate or degree. I've been in contact with film production faculty (Jeff Goolsby) and the Dean of the Arts Division to explore this possibility. The revision of the film sequence is a first step towards such collaboration

LIBRARY CONSULTATION

Please contact your liaison librarian to schedule a 30+ minute individualized instructional consultation and collaboration session. In addition to your specific course-related questions, your librarian will be prepared to share:

· Library resources and services that support your teaching and student learning needs

· OER (Open Educational Resources) options that align with your program and course curriculum

· Strategies for integrating the development of information literacy skills into course content and/or assignments

Please allow one week for the librarian to prepare for your consultation. If you are not sure who your liaison librarian is, you can either look it up on the Library’s website or call the Library Reference Desk at 463-5355.

X I have contacted my Library liaison.

Don MacNaughton/David Doctor 12/30/17

Liaison Librarian Date

COURSE OVERLAP Indicate any topic/content overlap with other courses. How will this course's topics and content be differentiated? If there is overlap, faculty of overlapping courses must agree on the extent of overlap and include a rationale explaining its necessity. The dean of the division in which overlap occurs must sign their approval.

Division / Course Number / Title / Rationale / Dean signature

PROFESSIONAL/TECHNICAL COURSES COMPLETE THIS SECTION

Professional/Technical courses are tracked within programs for purposes of Carl Perkins funding and budgetary planning. Indicate all degree or certificate programs for which this course will be required.

Programs / Division

Part 3: Outcomes, Competencies, and Topics

List NEW course outcomes, Core Learning Outcomes (CLOs), and Assessments Are Lane’s Core Learning Outcomes emphasized (taught explicitly and reviewed) in this course, and measured or demonstrated through course assessments (primary CLO focus)? Or, is a CLO either emphasized in this course OR measured/evaluated or demonstrated through a course assignment (secondary CLO focus)? If yes to either question, indicate which Core Learning Outcomes and Dimensions are linked to your course outcomes. Aim for no more than 10 outcomes.

Need help? Contact the Faculty Coordinator of Student Learning Assessment and Curriculum Development.

Core Learning Outcomes and Dimensions covered or assessed in the course. You do not need a CLO for each course outcome; select CLOs sparingly and intentionally. / COURSE-LEVEL LEARNING OUTCOMES (course outcomes)
What will the student know or be able to do at the end of the course? Write outcomes that are measurable or observable. See this list of measurable verbs or this web page and verb wheel (based on Bloom’s taxonomy) for guidance. / ASSESSMENTS Include specific assignments you will use to measure/observe student attainment of outcomes. Some assignments may be used for multiple outcomes. For assessment ideas see Authentic Tasks
CLO 1: Think critically
1.2 Determine information need, find and cite relevant information / EXAMPLE Describe and explain general plant structure and function in relation to plant growth and development / 10-12 page research paper and oral presentation
CLO 1.1, 1.6
CLO 5.1, 5.2 / A. Develop and use a cinematic vocabulary to analyze individual film texts; / Shot lists and/or film segmentations AND any of the following: class discussions, quizzes, midterm and final examinations, analytical essays, presentations;
CLO 1.1, 1.2, 1.3, 1.5,1.6
CLO 2.1, 2.2, 2.3
Possibly (depending on assessment/assignment used): CLO 4.1, 4.2, 4.4,
CLO 5.1, 5.2 / B. Use a cinematic vocabulary to identify and analyze film style across texts and within and between film movements; / Any of the following: class discussions, quizzes, midterm and final examinations, analytical essays of 4-6 pages*, presentations
Students will write one academic essay during the term, in addition to other assignments/activities
CLO 1.1, 1.2, 1.3, 1.5,1.6
CLO 2.1, 2.2, 2.3
Possibly (depending on assessment/assignment used): CLO 4.1, 4.2, 4.4,
CLO 5.1, 5.2 / C. Recognize and explain key figures and events of/in international film history: e.g., the significance of national cinemas and modes of production; / Same as B, above
CLO 1.1, 1.2, 1.3, 1.5,1.6
CLO 2.1, 2.2, 2.3
Possibly (depending on assessment/assignment used): CLO 4.1, 4.2, 4.4,
CLO 5.1, 5.2 / D. Situate cinematic texts within their historic, cultural, economic, and technological contexts; / Same as B, above
CLO 1.1, 1.2, 1.3, 1.5,1.6
CLO 2.1, 2.2, 2.3
Possibly (depending on assessment/assignment used): CLO 4.1, 4.2, 4.4,
CLO 5.1, 5.2 / E. Describe key approaches to film history: historic, aesthetic, technological, and economic analysis; / Same as B, above
CLO 1.1, 1.2, 1.3, 1.5,1.6
CLO 2.1, 2.2, 2.3
CLO 4.1, 4.2, 4.4,
CLO 5.1, 5.2 / F. Use an inquiry process to develop questions pertinent to the study and analysis of film history / Research proposal and class presentations

COMPETENCIES AND TOPICS COVERED (course outline)

Example 1: WR 121 Outline, outcomes, and assessments

Example 2: Course Outline Sample (from COPPS)

A. Understanding film history: historiography, methodology

B. Reviewing cinematic vocabulary

C. Challenges to the studio system—TV and declining revenue

D. New Hollywood and rise of independents

E. New Cinema in USSR and Western Europe

F. Third Cinema and new audiences—Africa, the Middle East

G. Asian Cinema post 1970: Fifth Generation & China

H. Hollywood and New Media (3Cs: convergence, consolidation, cable)

I. New Media to Transmedia

DEGREE REQUIREMENTS APPLICATIONS

If applying for any of the following, check the appropriate boxes and include your completed degree requirements forms with this course form. Go to the Curriculum Office website to download these forms.

X AAOT

X Arts & Letters

Cultural Literacy

Information Literacy

Mathematics

Science /Computer Science

Social Sciences

Speech/Oral Communication

Health/Wellness/Fitness (all degrees)

Human Relations designation (for AAS and certificates)

Sustainability course status (optional)

CURRICULUM EQUITY STATEMENT Please do not copy/paste the COPPS equity statement. Reflect how your course supports equity. To promote an environment where all learners are encouraged to develop their full potential, this course will support Lane’s Curriculum Equity policy in the following way(s):

[Enter text here – 300 word limit]

The sequence’s focus on international film history provides an avenue for discussion and analysis of various cultural, historical, and national perspectives. In particular, all films are analyzed through various lenses, including discussion of intersectionality. Additionally, the courses examine the effects of classical Hollywood style, a narrative and stylistic approach to cinematic storytelling that often remains invisible to viewers but which reflects a narrow, first-world, white and patriarchal point of view. Students will develop a cinematic literacy that facilitates an analysis of “invisible” film style and such style’s ideological effects.

Part 4: Divisional Review and Approval

Revised 1/5/2017 1

Revised Course | Curriculum Office

Human, Physical, and Financial Resources:

Additional instructional costs (staff, materials, services or facilities) will be incurred to offer this course. Source of funding:

X No additional instructional resources (staff, materials, services or facilities) are needed to offer this course.
Explain: Since the shift is primarily one of content/focus, there are no additional required materials