Literature and Culture 116: German Postwar Cinema (AR, G)

Syllabus - Fall 2006

Why study film? Why study the films of other countries?

Our perceptions and identities are determined to a great extent by the variety of visual sources that surround us. The study of film teaches critical engagement with the visual so that the viewer is aware of its constructed nature. The study of film from other countries provides access to new ways of thinking about film both culturally and technically. It grants the student of film a greater awareness of the self and the location of that self within multiple, interacting filmic and cultural traditions.

Here, we'll be focusing on the German tradition after World War II. Key concepts that will emerge include: the rebuilding of German cinema, the treatment of the war and the Holocaust, the Cold War, generational conflict, new notions of German national and individual identity, immigration, and challenges after reunification. While we will discuss historical and cultural issues that shaped the development of German cinema, we will focus primarily on the creation of that cinema. This will include developments in film composition, style, and lighting and camera techniques. We'll look at artistic statements by directors and secondary materials written by critics and academics. We'll view numerous films that represent innovations in genre cinema, the avante garde, auteur cinema, feminist cinema, as well as voices from exile. Students will be exposed to major names in the German filmic tradition, both East, West, and united Germany. Students will transform themselves from passive to active viewer and finally, to director while trying out several film techniques themselves. All lectures, materials, and discussions are in English.

Required Reading + Reserve Materials + Participation/Attendance + Presentations + Written Work + Film Projects +
Plagiarism Policy + Grades + Students with Disabilities + A final note

Required Reading and Viewing

German National Cinema Sabine Hake
Film Art David Bordwell and Kristin Thompson 7th Ed.
LC 116 Course Reader

Films:
The Murderers Are Among Us (German: Die Mörder Sind Unter Uns) Dir. Wolfgang Staudte (Occupied Berlin, 1946)
Sissi Dir. Ernst Marischka (Austria, 1955)
Destinies of Women (German: Frauen Schicksale) Dir. Slatan Dudow (East Germany, 1952)
The Bridge (German: Die Brücke) Dir. Bernhard Wicki (West Germany, 1959)
Berlin, Schönhauser Corner (German: Berlin, Ecke Schönhauser) Dir. Gerhard Klein (East Germany, 1957)
Born in 45 (German: Jahrgang 45) Dir. Jürgen Böttcher (East Germany, 1966/1990)
One, Two, Three Dir. Billy Wilder (USA, 1961)
Apache (German: Apachen) Dir. Gottfried Kollditz (East Germany, 1973)
Apache Gold (German Winnetou I) Dir. Harald Reinl (West Germany, 1963)
The Legend of Paul and Paula (German Die Legende von Paul und Paula)
Jacob the Liar (German Jakob der Lügner)
The Marriage of Maria Braun (German Die Ehe der Maria Braun) Dir. Rainer Fassbinder (West Germany, 1979)
Goodbye to Winter (German Winter Adé) Dir. Helke Misselwitz (East Germany, 1988)
Germany, Pale Mother (German Deutschland Bleiche Mutter) Dir. Helma Sanders-Brahms (West Germany, 1979)
Run, Lola, Run (German Lola rennt) Dir. Tom Tykwer (Germany, 1999)
Head-On (German Gegen die Wand) Dir. Fatih Akim (Germany, 2005)

Reserve Materials

Ames Library

All films are on reserve in the library.

Participation/Attendance

I expect each of you to attend class (attendance includes active participation and demonstration of effective preparation for class discussion), and complete all of the assigned homework, discussion or reading by the date due. There will be no whispering or other rude or distracting behavior in class. There will be laughter. Tardiness and excessive absences will lower your grade rapidly. I do not accept late work. All deadlines are clearly outlined on the schedule. Any excused absences must be pre-arranged with me. Valid reasons are limited to required university-related functions cleared with me and severe illness with a doctors note. If you are deathly ill, your credibility goes down rapidly if you do not notify me ahead of classtime via some germ-free method of communication (e-mail, phone call).

I run a very student-centered classroom. Consequently, you must take responsibility for your own learning. My philosophy is that the best learning takes place through action. This means that I will not lecture at you most of the time, but rather guide class discussions to a meaningful place.

Listen, respect, and learn from me and the contributions of your fellow students. You are required to question each other and the professor in a constructive manner and think critically. If you have spoken a lot on a particular day, hold back and give others a chance to share their views.

Presentations

In the course, you are expected to do a combination of a partner and a group presentation.

Partner presentation: You and a partner will be responsible for introducing the new film viewed, pointing out and screening two key scenes, and leading the discussion for that day. You are expected to bring in information from at least one other outside academic source each.

Group presentation: You and your group are responsible for viewing a film not seen in class, introducing it to the course, pointing out two-three key scenes, and fitting it into the context of the course. The analysis should focus on the film's contribution to German film history and its technical/stylistic innovations. More information will be provided. The group must do outside academic research to effectively present the film.

All presentations are formal and should be taken very seriously. Presentations should demonstrate that you have an in-depth understanding of the material at hand. You have sifted through the various arguments in the subject matter to pull out what you think are the author's/subjects main theses, points or events. You can effectively explain these points to your colleagues so that they clearly understand your presentation of the material. This entails doing some library research on the subject and reading secondary material. The presentation should not just be a summary, but more your analysis of the subject at hand. Do you agree with the author? Why? How might you say it differently? What do you like about what the author has to say? Why? In addition, you should draw some comparison points with other things that we have read or covered to put some perspective on the article or subject that you are presenting. This demonstrates your thinking beyond the article or subject itself and your ability to tie it into the greater context of the course.

Written Work

Film analysis worksheet: Students are required to submit a film analysis for each film viewed.They must be handed in no later than the Monday following the film viewing to receive credit.

Short papers: At three times during the semester, each student will hand in a 3-4 page paper analyzing one aspect of one film of their choice from the course. Papers must address at least two of the following: cinemetography, mis-en-scene, editing, or sound. Students will use at least two secondary texts from refereed academic sources. Papers must be written in a 12-point standard font with 1" margins and page numbers. They should follow the MLA or Chicago documentation style and should cite all sources. Papers will be evaluated for clarity, length, grammar, and organization, in addition to the content, quality of the analysis and originality. Please try to print on both sides of the paper to save resources. Report covers and cover pages are not necessary. Late assignments will be reduced 5% per day.

Film Projects

This course carries an "Arts" General Education flag, which requires a creative element to the course. Accordingly, each student will complete one small 2 minute film project and a longer final 5 minute film project. Students will work alone or collaboratively. Films will be evaluated on fulfillment of assignment criteria, application of film analysis categories discussed in class, and originality. Students are required to submit a written rationale along with each project explaining their challenges and successes in their creative process.

Plagiarism Policy
Be aware that your work for this course should conform to University policies concerning scholastic honesty. Scholastic dishonesty will result in an "F" for the assignment and/or an "F" for the course. Scholastic dishonesty includes, but is not limited to, cheating on assignments or examinations, plagiarizing (misrepresenting as one's own anything done by another), submitting the same or substantially similar papers (or creative work) for more than one course without prior consent of all instructors concerned, sabotaging another's work, and unauthorized collaboration (such as substantial rewriting of an essay by another) on assignments or exam.

Grades

Students with Disabilities

All students both able-bodied and disabled are welcome in this course. If you have a disability that is recognized by the Illinois Wesleyan University Office of Disability Services, please feel free to contact me with their letter of introduction as early as possible. We can then agree on reasonable accommodations in accordance with those requirements outlined with your advisor and Disability Services to enable your success in this course.

A final note

If you do not understand something related to the course content, purpose or organization, now or anytime during the semester, it is up to you to take the initiative to talk to me after class, come to my office hours or make an appointment with me. It is far better to clarify a point beforehand. I am here as a resource for you and can help you brainstorm or direct you to helpful resources in the library. You can also get help from the tutors in the writing center. See the schedule.