Dr. Craig Cravens, Dept. of Slavic and East European Languages and Cultures EMAIL: cracrave@indiana.edu OFFICE: GISB 4043 OFFICE HOURS: TTh 4–5

Modern Czech Cinema SLAV–

C366/C566, MSCH–F398

Tue/Thurs 5:30–6:45 FF 304C

COLL (CASE) A&H COLL (CASE)

Global Civilizations & Culture Credit

SLAV–C 366 / 566 MSCH–F 398

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DESCRIPTION The course will introduce and treat the most important trends and movements within the history of Czech cinematography as well as place the films in their historical, cultural, and political contexts. It is slightly different from standard courses on the history of film for not only will you learn to talk and write about film, you will also be introduced to the region of the Czech Republic/Czechoslovakia and Central Europe: its history, geography, ethnography and languages. We will also discuss how Czech films capture the life of Czech society during different periods.

NOTE This course is open to all students with an interest in film and/or Czech culture. No previous knowledge in the area is expected or required.

COURSE BOOKS (Available at the Memorial Union Bookstore)

Ø Timothy Corrigan, A Short Guide to Writing About Film Ø Bohumil Hrabal, Closely Watched Trains

All other readings will be posted on Canvas under “Files.”

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F

CourseEvaluationsYouwillhaveanopportunitytoevaluatethiscourseandthequalityoftheinstructionviaanonlineevaluationform.Wewilltake15minutesonthelastdayofclasstofilloutevaluations.Thisprocesswillrequirethatyoubringamobiledevice,suchasalaptoporcellphone,toaccesstheonlinecourseevaluationsystem.

Learning Outcomes

Upon successful completion of the course, students will be able to:

Ø Discuss and write about Czech film of the 20th and 21st centuries as a product of contemporary historical events;

Ø Analyze a Czech film in terms of both filmic content and social context;

Ø Explore the ways in which choices made in relation to film form and mise-en-scène create meaning and how this then affects interpretation;

Ø Describe, analyze, and formulate an argument on some aspect of a film (narration, character development, themes, et cetera) using critical and technical vocabulary acquired in the course;

Ø Examine the significance of literature as a basis for film; and

Ø Develop a better “eye” for film and improve the skills of analysis, critical interpretation, and informed argumentation.

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WRITTENASSIGNMENTS

Extended Scene Analysis (15%) Week 4 You will select a significant scene from any of the films we have seen (by week 4) that will provoke your reader to think about the central themes of the film. In addition to describing the action in the scene, you should analyze as many visual elements as you can from your scene: camera angles, lighting, setting, dialogue, clothing, facial expressions, music, and other sounds, representations of cultures, gender, race, ethnicity, or class. The scene analysis is typically 3–4 pages long. Comparative Paper (20%) Week 8 You will compare the novel Closely Watched Trains with the film adaptation by Jiří Menzel. Your paper will analyze the way the film adapted the plot, narrative, characters, and themes to fit this medium. The comparative paper is typically 5–6 pages long.

Final Exam (20%) Week 13 The final is a short-answer exam concerning film terminology, genres, and historical events in the Czech lands and Central Europe. It will be clear from the lectures and class discussion what will be on the exam. Final Paper (25%) TBA Undergraduate Students

Research either 1) the meaning of one film or 2) a film issue (thematic, theoretical, technical, or aesthetic) across two or three films (subject to professor approval if the films are outside of class), and then write an 8–10-page paper that applies 2–3 interpretive sources. Graduate Students TBA You will write a 12–15-page research paper that enters, engages, and advances the scholarly discourse of a film or film issue either discussed in class or selected by you and approved by the professor. First, you will compose a 250-word paper proposal. Your final essay should be worthy of being presented at a conference and integrate at least 4 interpretive sources. You will be given 15 minutes to read your essay in class; then you will participate in a question and answer session about your paper with the class. Note that you will have to amend your paper to fit the time limit.

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Attendance I will begin taking attendance on a written class roll on 1/17. It is your responsibility to make sure that you sign the roll each and every day. Your attendance grade will be calculated as follows:

A = 2 or fewer unexcused absences B = 3 unexcused absences C = 4 unexcused absences D = 5 unexcused absences F = 6 unexcused absences

More than six unexcused absences will result in an additional 1/3 reduction of your final course grade per class missed (e.g., from a B to a B- or from a C- to a D+). Excused absences include university sanctioned religious holidays; and medically documented health problems. Family functions, job interviews, etc. do not count as unexcused absences. For an absence to count as “excused” you must notify me in writing and prior to the class that you intend to miss (e-mail will work best for this).

Participation(15%)Classattendanceandparticipationareextremelyimportanttotheunderstandingofcoursematerialandtogeneratemeaningfuldialoguefromwhichweallcanlearn.Therefore,studentsareexpectedtoattendclassona regularbasisANDclassparticipationwillaccount for15%of the totalgradeearnedinthecourse.Class participation is an essential part of this course and, therefore, valued and rewarded.Unfortunately,gradingclassparticipationisnecessarilysubjective.Thekeycriterionforevaluatingeffectiveclassparticipationforthiscourseinclude:

• Doestheparticipantattendclassregularly?Istheparticipantprepared?Docommentsshowevidenceofanalysisofthematerial?Docommentsaddtoourunderstandingofthesituation?

• Istheparticipantagoodlistener?Arethepointsmaderelevanttothediscussion?Arethey

linked to the comments of others? Is the participant willing to interact with other classmembers?

Participationenablesyoutolearnfromyourcolleaguesandtohelpthemlearnfromyou.Goodclassparticipation is not simply repeating the facts, monopolizing class time, second guessing theinstructor,orignoringthecontributionsoffellowparticipants.

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E-mail as Official Means of Class and University Communication

Grade Breakdown 15% Extended Scene Analysis 20% Comparative Paper 20% Final Exam 25% Final Paper 15% Participation 5% Attendance

Grading Scale:

100-94(A) 93.9-90(A-) 89.9-88(B+) 87.9-84(B)

83.9-80(B-) 79.9-78(C+) 77.9-74 (C)

73.9-70(C-) 69.9-68(D+) 67.9-60.1(D)

60-0(F)

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Attendance at each class is required. The only acceptable excuse for an absence is medical and requires a signed note by a licensed physician. For each two unexcused absences, I lower your grade by one whole letter – A to B, C to D, et cetera. All cell phones must be switched off or on the vibrate mode. And no texting! Laptops can be used in class to take notes, but you will have to sit in the front row. Absolutely no laptops may be used during film screenings. All assignments are to be typewritten or printed. Everything must be double-spaced, with one-inch margins all around. And please number pages! Everything you hand in must be proofread for spelling as well as obvious errors in usage and mechanics. Failure to do this will result in a lowered grade on the assignment. Do not rely solely on the computer’s Spell-Check function to proof your spelling since what is a misspelling of the word you want to use often ends up being the correct spelling of some other word, and Spell-Check, being completely dumb, will not catch it. Handwritten corrections on typed work (stuff crossed out, added, words respelled are not only accepted but encouraged, since they’re usually signs of sedulous proofreading. Better right than neat (as long as it’s readable).

All written assignments must be submitted (typed) both electronically on Canvas and in hard copy in class.

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Lateness Policy for Written Work

Extensions can only be granted in exceptional circumstances and only with prior permission. Essays submitted late without an extension will be subject to a penalty of one grade step per day (i.e., a B paper would become a B- if submitted one day late, a C+ if submitted two days late, and a C if submitted three days late).

Disability Statement

Any student who feels he/she may need an accommodation based on the impact of a disability must register with Disability Services for Students first. According to DSS guidelines, only students who have registered their disabilities with DSS are officially eligible for accommodations. When the disability has been registered, the student will receive a letter describing any accommodations necessary which must be presented to the instructor in the first week of classes. Please contact Disability Services for Students at 812-855-7578 in Franklin Hall 006 to coordinate reasonable accommodations for students with documented disabilities. More information is available on the DSS web site (http://studentaffairs.iub.edu/dss/).

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Films to Be Screened Ecstasy (1933, Gustav Machatý) The Shop on Main Street (1965, Klos & Kadar) The Ear (1970, Karel Kachyňa) Loves of a Blonde (1965, Miloš Forman) Daisies (1966, Věra Chytilová) Valerie and Her Week of Wonders (1970, Jaromil Jireš) Closely Watched Trains (1966, Jiří Menzel) Walking Too Fast (2006, Radim Špaček) Pupendo (2003, Jan Hřebejk) The Identity Card (2010, Ondřej Trojan) Lunacy, (2005, Jan Švankmajer) Kolya (1996, Jan Svěrák) Those Wonderful Years That Sucked (1997, Petr Nikolaev) I’m all Good (2008, Jan Hřebejk)

DISCLAIMER All information in this syllabus, including course requirements and daily lesson plans, is subject to change and should not be considered a substitute for attending class or for any information that is provided to you by your instructor.

Screening Time & Location Films will be screened at 7pm on Thursdays in FF 304C, and all will be available on IUBox for review.

SCHEDULEClass time will be devoted to mini-lectures, discussion, and in-class

assignments Most readings will be assigned for Thursdays. Viewing and re-viewing that

week’s film is you assignment for Tuesdays.

Week Date Topic Readings and Written Assignments (to be completed by designated class meeting)

1 Tue 10 Jan

Introduction to the Czechs, Central Europe, and Czech film

Thur 12 Jan

Film Terminololgy 7pm screening of Ecstasy (Gustav Machatý, 1933)

Submit information cards by email. Hames, “Introduction” (13 pp.) (Canvas), Kundera, “The Tragedy of Central Europe” (14 pp.) (Canvas)

2 Tue 17 Jan

Discussion of Ecstasy Henry Miller, “Reflections on ‘Extasy’” (11 pp.) (Canvas)

Thur 19 Jan

Writing About Film 7pm screening of The Shop on Main Street

Corrigan, Chapters 1 & 2 (35 pp.) (Canvas)

3 Tue 24 Jan

Discussion of The Shop on Main Street

Thur 26 Jan

Stalinism & the Fifties Extended Scene Analysis 7pm screening of The Ear (1970, Karel Kachyňa)

Corrigan, Chapter 3 (48 pp.) (Canvas)

4 Tue 31 Jan

Discussion of The Ear Extended scene analysis due in class

Thur 2 Feb

Italian Neorealism, French and Czech New Waves, and Miloš Forman 7pm screening of Loves of a Blonde (1965, Miloš Forman)

Bordwell & Thompson, “Italian NeoRealism and French New Wave” (5 pp.) (Canvas), History reading?

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SCHEDULE5 Tue

7 Feb Discussion of Loves of a Blonde

Thur 9 Feb

Oratorio for Prague 7pm screening of Daisies (1966, Věra Chytilová)

Klíma, “1967 Congress of Writers” (11 pp.) (Canvas) Wikipedia Entry on the Prague Spring (7 pp.)

6 Tue 14 Feb

Discussion of Daisies and the Prague Spring

Thur 16 Feb

Vampires 7pm screening of Valerie and Her Week of Wonders (1970, Jaromil Jireš)

Corrigan, Chapter 4 (26 pp.) (Canvas)

7 Tue 21 Feb

Discussion of Valerie and Her Week of Wonders An introduction to Czech literature and Bohumil Hrabal

Bohumil Hrabal, Closely Watched Trains, (pp. 1–22, including introduction))

Thur 23 Feb

Discussion of Closely Watched Trains, the novel, Adaptation 7pm screening of Closely Watched Trains (1966, Jiří Menzel)

Finish Closely Watched Trains and read “Film Adaptation” (7 pp.) (Canvas)

8 Tue 28 Feb

Discussion of Closely Watched Trains

Thur 2 Mar

“Real” Socialism 7pm screening of Walking Too Fast (2006, Radim Špaček)

Comparative paper due in class.

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SCHEDULE9 Tue

7 Mar Discussion of Walking Too Fast

Thur 9 Mar

The Artist Under “Real” Socialism 7pm screening of Pupendo (2003, Jan Hřebejk)

Corrigan, Chapter 5 Last Day to Drop a Course with an Automatic W (Sun, 12 Mar)

10 Tue 21 Mar

Discussion of Pupendo

Thur 23 Mar

Rock and Roll in the East Bloc 7pm screening of The Identity Card (2010, Ondřej Trojan)

Ivan Martin Jirous, “Report on the Third Czech Musical Revival” (25 pp) (Canvas) or Paul Wilson

11 Tue 28 Mar

Discussion of The Identity Card Animation & Jan Švankmajer

Thur 30 Mar

Sound in Cinema 7pm Screening of Lunacy (2005, Jan Švankmajer)

Bordwell & Thompson, “Sound” (13 pp.) (Canvas)

12 Tue 4 Apr

Discussion of Lunacy Velvet Revolution and the Race for the Oscar

Thur 5 Apr

Race for the Oscar 7pm screening Kolya (1996, Jan Svěrák)

Hames, “A Business Like Any Other: Czech Cinema Since the Velvet Revolution” (Canvas)

SPRINGBREAK12–19MARCH

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SCHEDULE13 Tue

11 Apr Discussion of Kolya

Thur 13 Apr

Final Exam 7pm screening of Those Wonderful Years That Sucked (1997, Petr Nikolaev)

14 Tue 18 Apr

Discussion of Those Wonderful Years

Thur 20 Apr

Life Under “Real” Capitalism 7pm screening of I’m All Good (2008, Jan Hřebejk)

Corrigan, Chapters 6 & 7 (Canvas)

15 Tue 25 Apr

Discussion of I’m All Good

Thur 27 Apr

Discussion of Final Papers Evaluations