Syllabus

English 610, Film Genres: Science Fiction Gerald Duchovnay Summer I, 2011 TR 1-4:50, HL 203 Office: Hall of Languages 326 Office Hours: TH,12-1; 5:00-5:30. Other times by appointment. Telephone: (903) 886-5265 Fax 903 886 5980 e-mail: Gerald_Duchovnay@tamu-commerce.edu

1) the definition and semantics/traits of what we call science fiction film and how it may relate to fantasy or horror; 2) how they reflect the culture and history of the time they were made; 3) the place of particular films in the history of film (genres, special effects, filmmakers, aspects of costumes, screenwriting, scenic design, influence of anime, etc.); 4) how these films have influenced and been influenced by texts and other filmmakers; 5) different approaches to the films under consideration (technology, gender, psychoanalysis, etc. There are many titles we might see and discuss that are historically or culturally important, including many produced outside the United States, but as of the writing of this syllabus, the ones you have chosen to focus on are: // Metropolis // (1927), //The Day the Earth// //Stood Still// (1951), //War of the Worlds// (1953), //20,000 Leagues Under the Sea// (1954), //Forbidden Planet// (1956), //Invasion of the Body Snatchers// (1956), //Village of the Damned// (1960), //Planet of the Apes// (1968), //A// //Clockwork Orange// (1971), //Solaris// (1972), //A Boy and his Dog// (1975), //Close Encounters of the Third Kind// (1977), //Alien// (1979), //Jurassic Park// (1993), //Dark City// (1998), //Terminator II: Judgment Day// (1991), and //Inception// (2010). You are welcome and encouraged to see as many of these films as you can on your own. In addition to our discussions, you will have an opportunity to explore aspects of your film in one paper and one substantive bibliography of sources on your film. The actual focus of the paper may relate to how the film is representative of the period, aspects of film history (genre, director, etc.), the aesthetics of film, or other aspects that we will talk about in class. As we move through the course and your presentations and papers, we will consider some of these films (and possibly others not on the list) as we discuss how they are reflections of the genre, their significance to/in film history and to culture and spectatorship.
 * Course Description ** : English 610.001, Film Genres, will focus on the history of the science fiction genre from its primitive stage (//Voyage to the Moon//, 1902) to most recent iterations (//Inception//, 2010). During the term we will consider:

Moine, Raphaëlle. //Cinema Genre//. Malden, MA: Blackwell, 2008. Roberts, Adam. //Science Fiction//. 2nd Ed. London & New York: Routledge, 2006. Telotte, J. P. //Science Fiction Film//. New York: Cambridge UP, 2001.
 * Textbooks: ** There are three required textbooks for the course:

Other books and essays are on reserve and will complement your readings. See the Reserve List at the Gee Library for English 610 and English 432 for other useful sources.


 * Also Recommended ** : Access to films via Netflix, Blockbuster, the Media Center, etc.

Learning outcomes are what you are able to do as a result of the activities, readings, instruction, etc. that have occurred in this course -- these are my expectations of you, the learner in this course. 1. You will demonstrate an understanding of the history of science fiction genre in the U.S, with a glance at other countries; 2. You will demonstrate skills in visual literacy—being able to read science fiction film in a more concrete and enhanced way than you could prior to this class; 3. Through your written materials and oral comments, you will demonstrate a familiarity with ways of discussing and evaluating science fiction films as reflections of culture, genre, and periods of history; 4. You will participate in a “community” interested in discussing/analyzing films beyond the surface level of narrative or character. 5. You will demonstrate research and bibliographic skills by completing a researched final project
 * Student Learning Outcomes: **

Examination=30%; Final Paper=30%; Class Participation=15%; abstract=5%; Responses=20%. (If we do not have an examination, that percentage will be divided amongst the other criteria. with the paper counting 40%, responses 40%, class participation 15%,and the abstract =5%) [See below for comment on oral presentations and how they may impact these percentages.] If for some reason you must submit material late, and I choose to accept it, you should be aware that the submission of such material will, unless for extraordinary circumstances, result in a lower grade for that submission.
 * Evaluations: ** Grades will be determined by one examination, one paper, one abstract for your paper, class participation, written responses to the readings and the films. There will be oral presentations, but the size of the class may preclude having everyone do an oral presentation.
 * Incompletes: ** The university, the college, the department, and your instructor discourage incompletes. While I want to work with you if an emergency arises, please know that incompletes are to be awarded when a student experiences some kind of true emergency in the last week or two of a semester. **//Incompletes will be awarded only for true emergencies//.** Incompletes will not to be awarded for students who fail to submit material throughout a term, or who find themselves bogged down in other classes, grading, or the like and are unable to submit material on time. As much as I would like to see you complete the course, if you anticipate you will not be able to do the work in a timely fashion during the semester, for whatever reason, you should drop the course.


 * Examination Policy ** : There will be one //examination// near the end of the term that will ask you to synthesize the readings with the films we have been seeing. Whether this examination takes place in class or as a take-home will be determined.

The focus of this courses is on science fiction as a genre and the history of science fiction film. Each presentation/paper will need to include an overview of the film, how or what genre traits the film embodies, the various critical approaches that others have taken to discuss the film, and then a specific, and hopefully original, approach to your film. The paper is to be 8-12 pages in length and must use **7 (seven)** different **substantive** sources (**in the paper**). Those seven sources do not include the film, Wikipedia, general references (dictionary, bible, etc.). If you are using more than seven sources, then you may include other sources, such as the movie or Wikipedia (not recommended in most cases). Your sources should support your thesis, draw on theoretical and practical approaches to your film that support your thesis. **These papers are to be sent to everyone in the class**.
 * Papers and Presentations ** :


 * Discussion Questions ** : Each class member is to submit to all of us, via email, as far in advance as possible, but definitely by the day prior to our discussion of your film, 5-7 substantive discussion questions related to your film or to its connection to genre studies.
 * Oral Presentations ** : Because of the size of the class, we may not be able to have everyone present. We will determine the exact format as a group, but most likely the orals will be a brief introduction to the film (10 minutes), possibly with a focus on one or two key aspects, watch the film, and then discuss it. If everyone has seen the film, then we may shift the way we do the presentations and discussions, allowing everyone to present, but freeing up time to have substantive discussions rather than viewing a film in its entirety. If everyone does a presentation, then the percentages for the evaluation will change between 5-10%. If only a few do presentations, then those who do will have the option of substituting the oral (10%) for the abstract (5%) grade and part of the class participation grade.


 * Responses ** : There will be five responses during the term. Each response need be no more than two pages of prose. After the prose response, there should be 3-5 substantive questions/points you believe are worth discussing in class. The prose response should succinctly summarize the key pts of the reading (think of it as abstracting the reading in one or two paragraphs), and then develop “self-consciously interactive” commentary that makes “connections between the text, reader, and other larger contexts” (//Reading Texts// 59, 61). (For an extended discussion of responses and how they work, especially in undergraduate literature classes, see //Reading Texts// by Kathleen McCormick, Gary Waller, and Linda Flower, 55-91.) The first response was assigned via an email to those enrolled in the course prior to the start date. The remaining four will be due based on the reading schedule, with the intent that the remaining responses will be completed by the end of the fourth week of the term.


 * Abstract ** : Each paper must include an abstract that would be suitable to send off for a conference presentation. Abstracts are one or two paragraphs that touch on the key points of your essay, but do not contain extensive plot summary or lots of examples. They focus on what your **key points** are in the essay. **These abstracts are to be sent to everyone in the class.**

Our word plagiarism is derived from a word that means "to kidnap." Plagiarism is a form of kidnapping someone else's ideas, opinions, arguments, or research, and presenting them (it) as your own. Plagiarism "includes (but is not limited to) failure to indicate the source with quotation marks or footnotes where appropriate if any of the following are reproduced in the work submitted: 1. A phrase, written or musical; 2.A graphic element; 3. A proof; 4. Specific language; 5. An idea derived from the work, published or unpublished, of another person" or group. Much of the confusion and unintentional dishonesty in undergraduate papers results from ignorance or carelessness with regard to attribution of sources. When you borrow from what others have said, you are obligated to acknowledge your sources. We all solicit opinions about our writing from family, friends, or colleagues. Your indebtedness to others for sharing ideas with you about your paper or for reading and commenting on it can be indicated in an acknowledgements page accompanying each formal assignment. If you go beyond conversations with friends or colleagues to other outside sources, you need to acknowledge these sources in your paper and in a Works Cited page. If you are uncertain about your documentation, please see your instructor before you submit your paper. Intentional plagiarism will result in a zero for the work and appropriate disciplinary action.
 * Plagiarism/Academic Honesty ** : Instructors in the Department of Literature and Languages do not tolerate plagiarism and other forms of academic dishonesty. Instructors uphold and support the highest academic standards, and students are expected to do likewise. Penalties for students guilty of academic dishonesty include disciplinary probation, suspension, and expulsion. (Texas A&M University-Commerce Code of Student Conduct 5.b[1,2,3]).


 * The Writing Center. ** The Writing Center is dedicated to helping writers take advantage of all opportunities for learning related to the writing process; to that end, the Center can assist writers at any stage of the writing process. In addition to your instructor, this is the place to go for additional assistance with your reading and writing projects at TAMU-Commerce. The Center can help you with your papers and digital texts for your classes. The Center has two locations: (1) on the ground floor of the Hall of Languages (room 103), and (2) by the circulation desk in Gee Library. To schedule an appointment, come to HL 103 or call (903) 886-5280, or check out the hours at the Gee Library.


 * Attendance ** : Please try to attend all classes. We meet only twice a week, for a total o ten times. Without being in class you lose the benefit of participating or listening to responses to the films. Class absences will have a negative effect on the evaluation of classroom participation. I will note your absences; absences in excess of three will contribute to the lowering of your grade. If you have five absences, you will be dropped from the class. If there are truly extraordinary circumstances, it is incumbent upon you to notify me about your situation. //It is my understanding that those who are dropped from class without having attended// //regularly and who are on financial aid may be required to repay their financial aid.// In some quarters there is the notion that some absences are excused and others are not. I consider any absence an absence. Sleeping late, car trouble, work, a doctor's appointment, a family emergency, or a university athletic event are absences.

I encourage you to view a film more than once. If you read film history, you will discover how filmmakers such as Tarantino, Scorsese, Truffaut, Godard and countless others came to film by carefully watching films, some as many as twenty times or more. (See, for example, what Tarantino says about some of his influences on //Kill Bill//, //Parts 1// //& 2//.) Occasionally, it is possible that classes may run a bit longer than scheduled--until the completion of a film or the end of a discussion. Since some of you have other commitments, I will try not to let that happen, and if I know in advance it will occur, I will notify you. If you have a problem with attendance policy or a long day, please let me know. I do not intentionally try to keep you over.
 * Access to Material ** : Most of the films we will be seeing are on videotape or DVD and are available from the Media Center on campus, Netflix, Hastings, Blockbusters, or other sources (including your classmates). Some, by coincidence, may be shown on such stations as AMC, TBS, Showtime, Cinemax, The Movie Channel, Independent Film Channel, Starz, Encore, etc. Some are presented with commercials, and some may be edited for tv, and/or for content.


 * Common Decency: ** All students enrolled at the University shall follow the tenets of common decency and acceptable behavior conducive to a positive learning environment. In addition, you are requested to turn off your cell phone or put it in vibration mode before entering the classroom. Laptops, iPads, iPhones--for class-related activities are fine. Please, no social text messaging while in the classroom.


 * Students with Disabilities ** : The Americans with Disabilities Act (ADA) is a federal anti-discrimination statute that provides comprehensive civil rights protection for persons with disabilities. Among other things, this legislation requires that all students with disabilities be guaranteed a learning environment that provides for reasonable accommodation of their disabilities. If you have a disability requiring an accommodation, please contact: Office of Student Disability Resources and Services / Texas A&M University-Commerce /Gee Library, Room 132 Phone (903) 886-5150 or (903) 886-5835 Fax (903) 468-8148


 * Class Schedule: ** The key words here are “tentative” and “flexible.” I anticipate we will view two films or documentaries per week, as well as film clips. Because of logistics, availability, time constraints, the failure of technology, possible guests, and your preferences, we may make changes as we progress during the semester. Part of what we do will depend upon if EVERYONE sees the films in advance of our class meeting.


 * Key Dates ** :
 * June 7--First class day /Response 1 Due **
 * June 16--Response 2 Due **
 * June 23--Response 3 Due **
 * June 30-Response 4 Due **
 * July 7--Last class day--Final Paper & Abstract Due **


 * // Note //**// : in this schedule, the reading assignments listed under, say June 7, 2011, are the readings due for the next class (June 9). Abbreviations: Roberts=Science Fiction; Telotte=Science Fiction Film; Moine=Cinema Genre. Additional readings, plus handouts, may be added. //

Prior to First Class Meeting: Read, Roberts, //Science Fiction//, Chapter 2, “The History of Science Fiction,” 37-70 Telotte, //Science Fiction Film//, Chapter 3, “A Trajectory of Science Fiction Film,” 63-120 Moine, //Cinema Genre//, “Foreward” (viii-xi), “Introduction,” xii-xix View: //Voyage to the Moon// (Méliès, on YouTube)


 * Films to be discussed **// : Metropolis // (1927), //The Day the Earth// //Stood Still// (1951), //War of the Worlds// (1953), //20,000 Leagues Under the Sea// (1954), //Forbidden Planet// (1956), //Invasion of the Body Snatchers// (1956), //Village of the Damned// (1960), //Planet of the Apes// (1968), //A// //Clockwork Orange// (1971), //Solaris// (1972), //A Boy and his Dog// (1975), //Close Encounters of the Third Kind// (1977), //Alien// (1979), //Jurassic Park// (1993), //Dark City// (1998), //Terminator II: Judgment Day// (1991), and //Inception// (2010).

Week 1 **June 7** Course Introduction Documentary on Science Fiction Films, Discussion of Voyage to the Moon, Readings Read for next class: Moine, 1-26, In the Genre Jungle Telotte, 3-32, World of Science Fiction Roberts, 1-36, Defining Science Fiction

**June 9** //Metropolis--//Art, influences, genre elements, key genre & cultural aspects Read for next class: Moine, 27-62, Looking for the Rules of Genre Telotte, 33-60, //Science Fiction: The Critical Context// Roberts, 71-93, SF and Gender

_ Week 2 **June 14**, Presentations: //Day the Earth Stood Still// & //War of the Worlds// Read for next class: Moine, 63-95, What is the Purpose of Genres? Telotte, 123-141, Science Fiction Film as Fantastic Text Roberts, 94-109, SF and Race **June 16**: Response 2 Due Today Presentations: //Forbidden Planet// & //Invasion of the Body Snatchers// Read for next class: Moine, 96-130, The Generic Identities of Film Telotte, 142-161, Science Fiction Film as Marvelous Texts Roberts, 110-133 (SF and Technology) _______________________ Week 3 **June 21** Presentations: //Village of the Damned// & //Planet of the Apes// Read for next class: Moine, 131-168, How to Conceptualize the History of a Genre Telotte, 161-179, Science Fiction Film as Uncanny Text **June 23** Response 3 Due Today Presentations: //A Clockwork Orange// & //Solaris// Read for next class: Moine, 169-205, Genres in Context Telotte, 179-195, Crossing Genre Boundaries ________________________ Week 4 **June 28** Presentations: //A Boy and His Dog// & //Close Encounters// Read for next class: Moine, 205-208, Conclusion) Telotte, 197-203, Conclusion) Roberts, 134-148, Conclusion)  **June 30** Response 4 Due Today  Presentations: //Terminator II: Judgment Day// & //Inception//  ________________________  Week 5  **July 5** Examination--TBA whether in -class or submitted out of class.

**July 7** Final Paper and Abstract Due Summing Up/End of Course Assessment/Celebration