500 to 600 words.

Personal Assessment : Reflections of our classWhat did you think about the class? What essays were very interesting? What essays were not so interesting? What films/clips did you like? Dislike? Share any suggestions of future films/clips to show. In your own words, let me know what you learned from this semester and how the class affected your views/ideas on film and performances. The minimum is 500 to 600 words. You will be graded on how well articulated your ideas are. Feel very free to share your opinions here!i will upload some film i work on .
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Great Performances on Film
Assistant: Nick Orlando
“This course is part of the University of South Florida’s Foundations of Knowledge and Learning (FKL)
Core Curriculum. It is certified for the following dimensions: Fine Arts FKL and Human Historical
Context and Process FKL. Students enrolled in this course will be asked to participate in the USF
General Education assessment effort. This might involve submitting copies of writing assignments for
review, responding to surveys, or participating in other measurements designed to assess the FKL
Core Curriculum learning outcomes.”
***Important Warning***
Students taking this course may be exposed (via film and/or readings) to sex, nudity, adult
language, adult themes, drug use, horror, racism, sexism, ageism, and violence. If you are
opposed to exploring and discussing such issues, please consider dropping this course and
taking something else.
Important Notice: All unauthorized recordings of class are prohibited. Recordings that
accommodate individual student needs must be approved in advance and may be used for
personal use during the semester only; redistribution is prohibited.
Course Objective:
1. To explore the history of performance on film. This objective will be implemented through the
viewing of film, lectures, texts, and classroom discussion.
2. To examine the relationship between the evolution of acting styles and their reflection of, or
influence on, social, political, and cultural mores. Great performances not only mirror our
culture, they also influence and impact it. By examining film and its relationship to historical
changes, students will be able to witness the evolution of acting technique and its influence.
3. To identify various techniques and styles of acting. The student’s ability to identify and
discuss acting styles will be implemented using film, text and class discussion.
Student Outcome:
Students who complete this course will be able to differentiate acting methods, from Francois
Delsarte to Lee Strasberg, and appreciate the many elements that help shape a film performance.
Throughout the semester, students will be exposed to performances on film that have served as
lightning rods for social change (Sidney Poitier), influenced cultural style (Audrey Hepburn),
and those that mirror a country’s socio-political environment (Sean Penn).
Attendance & Punctuality: Although I may not take attendance on a daily basis, 4 short quizzes
will be given during the semester based on our readings, class discussion and films. Thus, it’s
important to attend class and participate and it is imperative that you work out any scheduling
conflicts you may have ahead of time. If you think you might not be able to regularly get to
this class on time, please drop this course and take something else instead. Finally, please
do not leave class after our discussion before we screen the film for the day. It’s rude and
distracting and the point of our course is to watch all the films together as an entire class!
Texts: We will use a selection of readings based on data covered in some of the following texts:
The Art of Watching Films by Dennis Petrie and Joseph Boggs, Toms, Coons, Mulattoes,
Mammies and Bucks by Donald Boogle, Complicated Women by Mick LaSalle, Film Acting by
Mary Ellen O’Brien, Cinema of Outsiders by Emmanuel Levy, New Hollywood Cinema by
Geoff King, The Return of the 1950s Nuclear Family in the Films of the 1980s by Chris
Maltezos, A History of Film by Virginia Wright Wexman, Film: A Critical Introduction by
Maria Pramaggiore and Tom Wallis, The Seventies: The Great Shift in American Culture,
Society and Politics by Bruce J. Schulman , The Big Picture: The New Logic of Money and
Power in Hollywood by Edward Jay Epstein
* *All readings for the course will be available on Canvas under course documents.
Grading: 45% 3 film responses (15 points each)*
20% 4 in-class quizzes (5 points each)*
25% Canvas Discussion*
10% Personal Assessment*
Grading Scale:
97-100 A+
90-96 A
80-89 B
70-79 C
60-69 D
*3 Film Responses: You will be required to write three critical responses (600-to 750 word
minimum, typed, double-spaced, stapled, black ink) on films/actors of your choosing which
are discussed but not shown in class. These three responses will focus on:
Film Response #1) the actor’s characterization and believability.
Film Response #2) the film actor’s social, political, and/or cultural influences or reflection
Film Response #3) old school actor comparison/contrast with a contemporary actor
These responses will help students begin to think critically about different aspects of film
performance. Students will apply what they have learned in class and from our course readings
and then offer their opinion. These papers are analytical in nature and it’s important that your
reaction to the assigned actor/film you choose is apparent in the response. Remember the 600 to
750 word is the minimum; therefore, it is fine to expand upon that if you need to express yourself
further. Please hand in your papers as a hard copy in class on the due date. Papers may be
turned in early, but will not be accepted late. If you anticipate any health or transportation
issues, turn in your paper early. If you cannot make it to class when the paper is due, give it
to a friend. We do NOT accept email submissions.
Style Guide for all Full-Length Film Response Essays:
Response essays are expected to be thought-provoking, written with depth and substance. Cite all
quotations, whether from class articles, websites, or books. MLA or APA will be accepted. If
you are unfamiliar or uncertain with college formatting please consult our learning center:
*Personal Assessment: Students will write a short paper (500 to 600-word minimum, typed,
double-spaced) that discusses what they’ve learned during the semester, how the course has
enriched their film watching experience, and how this impacts their lives.
*4 Class Quizzes: These very short quizzes will consist of 5 to 10 questions based on discussion,
readings, and film viewings and will be given without prior announcement. If you pay attention,
take notes in class, show up on time, and stay until class is over, you should have no problem
passing these quizzes. I will give these short quizzes at any time during class (including after
we screen a film) and may not be made up without a doctor’s note (in case of illness) or
proof of some family or personal emergency. Meetings, work conflicts, advising
appointments etc. are not excusable absences. However, I will give one extra quiz at the end
of the term that can be used to make up any missed or lowest graded quiz.
*Canvas Responses: Students will respond to, among other things, class discussion, essays, film
clips and the films shown in class. This will be located on Canvas under Class Discussion. We
will put up various threads related to each assigned reading and each film shown in class. To
earn an A+ (full 25 total points), students need to post at least ten total threads, five in reaction
to the assigned readings and the other five in relation to the films shown. Any student who
does not meet the 10 total postings (5 on films and 5 on readings) will receive fewer than 25 total
points on this assignment. Also, please feel free to use Canvas as a place discuss ideas openly.
No censoring required. We encourage honesty and treasure sincerity.
Extra Credit: Because we have so much to cover throughout the semester, there will be no extra
papers/assignments accepted for this course. However, if you turn in your assignments on
time, participate in Canvas discussion and are attending regularly for each class (to watch
our films, discuss readings and take quizzes), there should be no problem with your overall
grade in the course.
Religious Observances: It is the policy of USF to accommodate the religious observances,
practices and beliefs of students in regard to admissions, class attendance, and the scheduling of
examinations and work assignments. Students who expect to miss any classes for reasons of
religious observance must inform me by the 2nd week of class.
Academic Dishonesty: Students attending USF are awarded degrees in recognition of successful
completion of coursework in their chosen fields of study. Each individual is expected to earn
his/her degree on the basis of personal effort. Consequently, any form of cheating or plagiarism
constitutes unacceptable deceit and dishonesty. This cannot be tolerated in the University
community and will be punishable in conformity with this rule. Please see the catalog for
complete description and policies concerning academic dishonesty. NOTE: Please cite all
sources, whether they are from books, magazines, or online. Use footnotes or Bibliography. At
the very minimum, any student caught plagiarizing will be given an FF for the semester.
Electronic Devices: Cell phones, pagers, or other electronic devises must be shut off during
class, unless prior arrangement has been made due to an emergency and that includes
texting. Anyone using a cell phone, camera, or other imaging or recording equipment during a
quiz or movie will automatically fail that quiz and be asked to leave. Any student using a cell
phone during class time will be asked to leave and receive an absence for that day. Laptops
are not to be used during film screenings!
Talking During the Movies and in class: Please be considerate and do not talk during the
film screenings or class discussions as it can be distracting. Anyone who talks consistently
during movies and or in class during lectures or class discussion will be asked to leave.
“HEY PROFESSOR MALTEZOS, WHERE DO I FIND THESE FILMS?”
You can find most of the films on the syllabus at the USF library. Another suggestion is for you
to join Netflix or a similar service to stream films. Also, Sound Exchange at 14246 N. Nebraska
Ave just north of Fletcher has great used DVDs in their “classics” section. Finding the movies on
the syllabus shouldn’t be difficult if you are resourceful.
Useful Websites:
American Film Institute: www.afi.com
All Movie Guide: www.allmovie.com
Bright Lights Film Journal: www.brightlightsfilm.com
Camera Obscura: http://muse.jhu.edu/search
Cinema Sites: www.cinema-sites.com
Cineaste: http://www.cineaste.com
Cinema Journal: http://muse.jhu.edu/journals/cj/
Cinemas Scope: www.cinema-scope.com
Every Frame a Painting: https://www.youtube.com/user/everyframeapainting
Film Content: www.filmlinc.com/fcm/fcm.htm
Film Quarterly: www.filmquarterly.org
Framework: www.frameworkonline.com/index2.htm
Images: Journal of Film and Popular Culture: www.imagesjournal.com
Internet Movie Database: www.imdb.com
Journal of Popular Film and Television: www.heldref.org/jpft.php
Jump Cut: www.ejumpcut.org
Kinoeye: www.kinoeye.org
Midnight Eye: www.midnighteye.com
Millennium Film Journal: http://mfi-online.org
New York State Archives (Scripts): http://archives.nysed.gov/holding/mpd/default.html
Rotten Tomatoes: www.rottentomatoes.com
Screen: www.screen.arts.gla.ac.uk
Screen Site: http://www.tcf.ua.edu/screensite/contents.htm
Senses of Cinema: www.sensesofcinema.com
Sight and Sound: www.bfi.org.uk/sightandsound/
Society for Cinema and Media Studies: www.cmstudies.org/
Velvet Light Trap: www.utexas.edu/utpress/journals
Yale University Library: www.library.yale.edu/humanities/film/
This is a suggested schedule, subject to change:
Week 1: January 9th
Tuesday: Introduction
Discuss syllabus, name favorite films (why?), favorite celebrities (why?), influential performers
(why?). What actors/films have had an influence or impact on you? Share what you know about
acting and our first reading: Discuss “Acting” essay from The Art of Watching Film and share
various film clips highlighting a wide range of actors in both leading and supporting
performances!
Homework: Read: “Origins and Heritage: The Silent Film,” from Film Acting by Mary Ellen
O’Brien.
Week 2: January 16th
Tuesday: Francois Delsarte, and the Early Silent Films
Discuss: “Origins and Heritage: The Silent Film,” from Film Acting by Mary Ellen O’Brien
Actors discussed: Lillian Gish, Buster Keaton, Charlie Chaplin, Mary Pickford
Film clips shown: AFI 100 Years: Gish, Keaton, Chaplin: YouTube clip from Every Frame a
Painting: Buster Keaton: The Art of the Gag.
Film Shown: City Lights (1931) 87 min
Homework: Read “The Censors Strike Back,” from Complicated Women by Mick LaSalle.
Week 3: January 23rd
Tuesday: Before the Clampdown: Women in Pre-Code Hollywood
Discuss the reading “The Censors Strike Back,” by Mick LaSalle
Actors highlighted with clips: Mae West, Greta Garbo, Claudette Colbert and Shirley Temple;
Pre-Code comparison clip of Barbara Stanwyck in Baby Face (1933).
Film Shown: A Star is Born (1937) 111 min
Homework: Read “Hollywood in Transition 1945-1962” from A History of Film by Virginia
Wexman and write Film Response 1 Paper.
Week 4: January 30th
Tuesday: Film Response # 1 Due
******Tuesday, January 30th *******
#1 Film Response Due: The Actor’s Characterization and Believability.
Please choose one of the following actors, and one of their films listed. Use only actors and
films listed. After viewing the film, share your reaction to the physical and vocal choices the
actor made in the film, their level of commitment to creating a character, and how successfully
believable was their performance. Did you believe their performance? If so cite examples to
help support your thoughts. The main objective of this response paper is to see the actor in the
film through your eyes. This response is your reaction and no outside research is needed,
however if you do include any research or outside quotes, you must cite properly. The minimum
word length is 600 to 750 words but its fine to expand if you’d like.
Lillian Gish: Broken Blossoms (1919), Way Down East (1920)
Max Schreck: Nosferatu (1922)
Harold Lloyd: Safety Last (1923)
Charlie Chaplin: The Kid (1921), The Gold Rush (1925), Modern Times (1936), The Great
Dictator (1940)
Buster Keaton: Sherlock Jr (1924) The General (1927), Steamboat Bill Jr. (1928)
Janet Gaynor: Sunrise: A Song of Two Humans (1927)
Louise Brooks: Diary of a Lost Girl (1929), Pandora’s Box (1929)
Bela Lugosi: Dracula (1931)
Boris Karloff: Frankenstein (1931)
Joan Crawford: Grand Hotel (1932)
Paul Muni: I Am A Fugitive from a Chain Gang (1932), Scarface (1932)
James Cagney: Public Enemy (1931), Angels with Dirty Faces (1938), Yankee Doodle Dandy
(1942), White Heat (1949)
Greta Garbo: Grand Hotel (1932), Ninotchka (1939)
Mae West: I’m No Angel (1933), She Done Him Wrong (1933)
Clark Gable: It Happened One Night (1934), Gone With the Wind (1939)
Claudette Colbert: It Happened One Night (1934), Imitation of Life (1934), Since You Went
Away (1944)
Louise Beavers: Imitation of Life (1934)
The Marx Brothers: Duck Soup (1933), A Night at the Opera (1935)
Robert Donat: The 39th Steps (1935), Goodbye Mr. Chips (1939)
Fred Astaire: Top Hat (1935), Swing Time (1936)
Ginger Rogers: Top Hat (1935), Swing Time (1936), Stage Door (1937), I’ll Be Seeing You
(1944)
Robert Donat: The 39th Steps (1935), Goodbye Mr. Chips (1939)
Gary Cooper: Mr. Deeds Goes to Town (1936), The Pride of the Yankees (1942)
Katharine Hepburn: Bringing Up Baby (1938), The Philadelphia Story (1940), Adam’s Rib
(1949)
Errol Flynn: The Adventures of Robin Hood (1938), Gentleman Jim (1942)
Cary Grant: Bringing Up Baby (1938), The Philadelphia Story (1940), Notorious (1946)
James Stewart: Mr. Smith Goes to Washington (1939), The Philadelphia Story (1940), The Shop
Around the Corner (1940), Destry Rides Again (1939)
Charles Laughton: The Hunchback of Norte Dame (1939)
John Wayne: Stagecoach (1939), Red River (1948)
Merle Oberon: Wuthering Heights (1939)
Lawrence Olivier: Wuthering Heights (1939), Rebecca (1940)
Vivien Leigh: Gone With the Wind (1939)
Hattie McDaniel: Gone With the Wind (1939) Since You Went Away (1944)
Marlene Dietrich: Destry Rides Again (1939)
Burgess Meredith, Lon Chaney Jr: Of Mice and Men (1939)
Bette Davis: Dark Victory (1939), The Little Foxes (1941), Now Voyager (1942)
Joan Fontaine: Rebecca (1940), Suspicion (1941)
Judith Anderson: Rebecca (1940)
Margaret Sullavan: The Shop Around the Corner (1940)
Irene Dunne: My Favorite Wife (1940), I Remember Mama (1948)
Humphrey Bogart: The Maltese Falcon (1941), Casablanca (1942), To Have and Have Not
(1944), Treasure of the Sierra Madre (1948)
Ingrid Bergman: Casablanca (1942), Spellbound (1945), Notorious (1946)
Henry Fonda: The Grapes of Wrath (1940), My Darling Clementine (1946)
Orson Welles: Citizen Kane (1941), The Third Man (1949)
Agnes Moorehead: Citizen Kane (1941), Since You Went Away (1944), Johnny Belinda (1948)
Greer Garson, Teresa Wright: Mrs Miniver (1942)
Ethel Waters: Cabin in the Sky (1943)
Judy Garland: Meet Me in St. Louis (1944), Easter Parade (1948)
Gene Tierney: Laura (1944), Leave Her to Heaven (1945)
Lena Horne: Stormy Weather (1944)
Gregory Peck: Spellbound (1945), Gentleman’s Agreement (1947)
Edward G. Robinson: Double Indemnity (1944), Key Largo (1948)
Lauren Bacall: To Have and Have Not (1944)
Barbara Stanwyck: Double Indemnity (1944), Christmas in Connecticut (1945)
Robert Mitchum: Out of the Past (1947)
Edmund Gwenn: Miracle on 34th Street (1947)
Barbara Bel Geddes: I Remember Mama (1948)
John Wayne: Stagecoach (1939), Red River (1948)
Montgomery Clift: Red River (1948), The Heiress (1949)
Jane Wyman: Johnny Belinda (1948)
Spencer Tracy: Adam’s Rib (1949)
Olivia de Havilland: The Heiress (1949)
Body Snatchers, Epics, Musicals: Hollywood vs. TV and McCarthyism.
Discuss “Hollywood in Transition 1945 – 1962” from A History of Film by Virginia Wexman.
Film clips include: A Streetcar Named Desire (1951), High Noon (1952), Singin in the Rain
(1952), From Here to Eternity (1953), AFI Clip James Dean, 12 Angry Men (1957) Pillow Talk
(1959), Psycho (1960), The Apartment (1960), West Side Story (1961)
Film shown: Rear Window (1954) 115 min
Homework Read: “Black films stars of the 1950’s,” from Toms, Coons, Mulattoes, Mammies,
& Bucks, by Donald Bogle
Week 5: February 6th
Tuesday: They Call Me Mister Tibbs!!!
Discuss the essay “Black film stars of the 1950’s,” from Toms, Coons, Mulattoes, Mammies, &
Bucks, by Donald Bogle
Actors discussed: Ethel Waters, Dorothy Dandridge and Sidney Poitier
Clips shown: Ethel Waters A Member of the Wedding (1952), Dorothy Dandridge Carmen Jones
(1954), Sidney Poitier AFI clip.
Film Shown: A Patch of Blue (1965) 105 min
Homework: Read “The Hollywood Renaissance” by Geoff King
Week 6: February 13th
Tuesday: The 1960s and The New Hollywood
Discuss “The Hollywood Renaissance” by Geoff King
Film Clips: Who’s Afraid of Virginia Woolf (1966), Bonnie and Clyde (1967), The Graduate
(1967), Five Easy Pieces (1970), Love Story (1970), A Clockwork Orange (1971), Blazing
Saddles (1974), Alice Doesn’t Live Here Anymore (1974)
Film Shown: The Exorcist (1973) 124 min
Homework: Read “This Ain’t No Fooling Around: Rebellion and Authority in Seventies
Popular Culture.” From The Seventies: The Great Shift in American Culture, Society and
Politics by Bruce J. Schulman.
Week 7: February 20th
Tuesday: Discuss “This Ain’t No Fooling Around” from The Seventies: The Great Shift in
American Culture, Society and Politics by Bruce J. Schulman. Film Clips Jaws (1975), Dog Day
Afternoon (1975), Taxi Driver (1976), Carrie (1976), Saturday Night Fever (1977), Norma Rae
(1979).
Film Shown: Coma (1978) 113 min
Homework: Write Film Response # 2 and Read “Portrayal of Family in Films of the 1980s” by
Chris Maltezos
Week 8: February 27th
Tuesday: Film Response # 2 Due
**********Tuesday, February 27th **********
#2 Film Response Due: This paper will focus on the cultural/social/political significance of an
actor in a film. Students will choose one of the following actors and their films listed, watch the
film, do some brief …
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