POS 305 (85317): Politics & Film
*******THIS
DOCUMENT IS IMPORTANT - REVISIT IT REGULARLY*******[1]
Spring 2005 Instructor:
Beatrice Buchegger
W:
“THE CINEMATIC EXPERIENCE has often been compared to a
dream. As we sit in the dark and allow uncontrollable images, sounds, and
sensations to waft over us, we submit ourselves to someone else’s dream,
someone else’s vision of reality. Working perhaps best on the emotional,
non-cognitive level, film can transport us … to a simpler world where we need
not, indeed cannot, participate physically in the events taking place before
our eyes. Bystanders yielding to a communal fantasy, the audience safely
manoeuvres the dangers and pleasure of cinema, assured of returning to the
light of day unscathed.” - Mary-Elizabeth O’Brian. Nazi Cinema as
Enchantment: The Politics of Entertainment in the Third Reich (2004: 1).
“And so we are all bystanders now: knowing that
something needs to be done, but also knowing that we have done less than what
was needed and not necessarily what needed doing most; and that we are not
especially eager to do more or better, and even less keen to abstain from doing
what should not be done at all” – Zygmunt Bauman. Society
Under Siege (2001: 210-211).
“For this world of ours you cannot legislate
perfection. You cannot force virtue on the world, but neither can you persuade
the world to behave virtuously. You cannot make this world kind and considerate
to the human beings who inhabit it, and as accommodating to their dreams of
dignity as you would ideally wish it to be. But you must try. You will
try.” – Zygmunt Bauman. Liquid Love: On the
Frailty of Human Bonds (2003: 83).
This course is designed to familiarize you with the relationship between politics and films as pertaining to themes of war. By watching a selection of films from different eras and areas[2], we will ponder the nature, causes, and consequences of war, including moral questions of responsibility and action. We will start with a brief discussion about what makes a film “political”, before proceeding somewhat chronologically (but very selectively!) from the World Wars to contemporary “civil” warfare and genocide, interrupted only by a brief detour to the Cold War. Whereas the focus is on the political event and its cinematographic depiction (e.g. film content) our discussions are supplemented by explorations into film history and theory.
Our weekly meetings will consist of
introductions to the films, corresponding readings, and their political context
by your instructor and fellow classmates, the viewing of the film, and a
post-discussion session (as time permits).
Note that some films may contain
“objectionable” language, violent and/or sexual, graphic, or otherwise
controversial/“sensitive” material (rated “R”). If you are uncomfortable with
such depictions and exposure, you may want to reconsider this course. There
will be no substitute readings or films available. Furthermore,
given the subject matter, (some of) these films are prone to produce strong and
varying reactions on the part of the viewer, making class-room courtesy
paramount. While encouraged to share your perspective, do so in a courteous
fashion and be aware that your fellow classmates might feel as strongly as you,
only about the opposite viewpoint! To facilitate our learning experience we
must respect each voice, even if we do not agree! Knowledge of politics,
history, and film might be useful, but not necessary, as this course is
designed for students from all disciplines!
When writing your assignments, note that plagiarizing
or “to steal or pass off as one’s own (the ideas or words of another)”
(Webster’s) will not be tolerated. Plagiarism will result in an
automatic failing grade for that assignment and most likely the entire course.
For more information on what constitutes academic dishonesty please refer to
ASU policy in the Catalogue or http://www.asu.edu/studentlife/judicial/integrity.htm.
January 17-23: Final Drop/Add Period
February 13: Unrestricted Withdrawal Deadline
March 13-20: Spring Break
March 31: May Graduation Application Deadline
April 1: Restricted Course Withdrawal Deadline
May 3: Instructions End
Required
All readings are to be found in the
Course-package (CP), except if otherwise indicated. The CP is available for purchase from The
Alternative Copy Shop located on
Grading (no curve;
plus and minus system)[3]
A = 90-100%; B = 80-89%; C = 70-79%, D =
60-69%; E = 59% or below
I = Incomplete: ASU rules state that the grade
of incomplete (“I”) will be awarded only in the case of dire emergencies that
prevent an otherwise satisfactorily progressing student from completing her or
his work
Course Requirements [4]
Four Questions Assignements ŕ 10% (40%)
In-class Group Film Presentation (25%)
Paper (25%)
Post-Film Discussion Participation (10%)
Each question assignment is based on the
class readings and films watched in class and consists of two to four
questions, whereas each question can be answered in one to two paragraphs.
For the answer, you are to respond in your own words (e.g. do not cite,
except for specific phrases!) and reference your answers.[5]
The total of your question assignment must not exceed two pages. Each
assignment must be typed, double-spaced, 12inch font in Times New Roman,
spell-checked, and proof-read. Put your name, POS 305, date, and the number
of the assignment (e.g. Questions #1) on the top left hand corner. The
discussion questions will be handed out in-class and are due the
following week in-class. If you cannot make it to class to pick up/hand in
your questions/answers go to the Political Science Department (COOR HALL, 6th
floor). Copies of the discussion questions are available either through the
departmental secretaries and/or the instructor’s mailbox. In order to get full
credit you must drop off your answers the same day they are due before
At our second meeting (January 26) you will be assigned to a group of about six people. As a group it is your responsibility to present the film of the week you have been assigned to. You presentation should consist of a mini-synapses of the film, its historical context, political relevance, reference to the week’s (and/or other class) readings, one question for the audience (for discussion or to be kept in mind when watching the film), as well as additional information as based on your research. The latter might include how the film was received, its importance in film history or to film theory (e.g. why do we still watch it?), and noteworthy technical aspects, such as photography, editing, sound, acting, as well as “facts” about the actors and filmmaker(s). This presentation should be between 20 (minimum) to 30 (maximum) minutes long (it is advisable to practice and time it at least once). The in-class film presentation will require you to do some additional research beyond the course readings, short of watching the film itself - you are NOT expected to watch the film ahead! Good starting points are: http://www.filmsite.org. or http://uk.imdb.com. How you prepare for and organize this presentation is up to you as a group (e.g. division of labor, use of hand-outs, member communication) – although it is recommended you meet at least once before your actual presentation. Also, feel free to contact your instructor for further guidance. Your grade will be based on your in-class presentation, as well as your fellow group member evaluations[6]. You will get a better idea about what this presentation might look like (creativity welcomed!) on January 26, when we watch Renoir’s “The Grand Illusion”. If you already know that you cannot make it to class on your assigned day it is your responsibility find someone “to switch” groups and inform the instructor of this change. Switching groups for any other reason than anticipated absence is not permitted!
For your paper you will either write a critical
essay (see also Timothey Corrigan in the CP)
addressing a broad question dealing with the depiction of war and politics in
motion pictures, or a comparison paper
(film/text). The specific topic and requirements will be handed out it class.
You must provide detailed reference to at least three films watched in class.
No additional research beyond the class readings is necessary, but may be
incorporated. The paper should be about 8 to 10 pages in length, typed,
double-spaced, 12inch font in Times New Roman, spell-checked, proofread, etc.
and is due the last day of class (4/ 27).
Participation: You are expected to participate in
our post-film discussions.
Film: Battleship Potemkin (Sergei Eisenstein. 1925. U.S.S.R. 67’)
Ernest Giglio. 2000.
Defining the Political Film. Chapter 2: 19-33.
Recommended: Sergei Eisenstein. 1945-6: How I Became a Film Director … : 5-31.
Week 2: January 26: “The Great
War”. Groups are
assigned by instructor!
Film: The Grand Illusion (Jean
Renoir. 1937.
Ernest Giglio.
2000.
John Merriman. 1996. The Origins of The Great War: 1003-1038.
Sachleben
and Yenerall. 2003. War. Chapter 7: The Grand Illusion. 207-212.
Week 3: February 2: “Deutschland über alles”. Group # 1 presents
Film: Triumph of the Will (Leni Riefenstahl. 1934.
Rolf Giesen. Triumph
of the Will: The Odd Case of Leni Riefenstahl.
Chapter 2: 18-34.
David Welch. 2001. The History and Organization
of Nazi Cinema. Chapter 1: 5-32.
Week 4: February 9: “The Good War”. Group # 2
presents
Film: The Great Dictator (Charlie
Chaplin. 1940.
Ernest Giglio.
2000.
Sachleben
and Yenerall. 2003. War. Chapter 7: The Great Dictator: 212-218.
John Merriman. 1996. World War II: 1239-1287.
Week 5: February 16: “Do the right thing”. Group
# 3 presents
Film: The Shop on
James Chapman. 2003. New Wave Cinemas in
Recommended: Friedman. 1984. Exorcising the Past: Jewish Figures in …: 511-527.
Week 6: February 23: “M.A.D.” No Group
presentation – discussion only!
Films: Dr Strangelove or How I learned …
(Stanley Kubrick. 1964.
Sachleben and Yenerall.
2003. War. Chapter 7: Nuclear War: 219-231.
Week 7: March 2: “
Films: The Abandoned Field (Hong Sen Nguyen. 1979.
A Brief Introduction to Vietnamese Cinema. http://www.bvom.com/resource/vn_Literature.asp?pContent=Cinema.
Recommended: J. Charlot.
1989. Vietnamese Cinema: The Power of the Past: 442-452.
Week 8: March 9: The Cold War. Group # 5
presents
Film: Fog
of War: Eleven Lessons … (Erol Morris. 2003.
Harry Kreisler
interviews McNamara as part of the Conversations
with History series by the
http://globetrotter.berkeley.edu/McNamara/
(you can also watch the video online!)
Week 9: March 16: Spring Break – No class!
Week 10: March 23: Yugoslavian Genocide. Group
# 6[8]
presents
Film: Underground (Emir Kusturica. 1995.
Recommended: S. Touval.
2002.
Week 11: March 30: Defining Genocide. Group # 7
presents
Film: Before the rain (Milcho
Manchevski. 1994.
Sachleben & Yenerall.
War. Chapter 7: Civil and Ethnic Conflicts: 231-236.
Josias Semujanga.
2003. Defining Genocide and Social Discourse: 49-59.
Week 12: April 6: The Causes of Mass Killings
and Genocide. Group # 8 presents
Film: No Man’s Land (Danis Tanovic. 2001.
Week 13: April 13: Genocide in
Films: Forsaken Cries: The Story of
Valentina’s Nightmare (Frontline-Documentary. 1997.
Josias Semujanga.
2003. Origins of Rwandan Genocide: 31-47 and 241-247.
Recommended: Samantha Power. 2002 “Mostly in A
Listening Mode”: 329-389.
Week 14: April 20: Seeking Justice? Group # 10
presents
Film: Hotel Rwanda[9]
(Terry George. 2004.
Elizabeth Neuffer.
The Key To My Neighbor’s House: Seeking Justice in
Week 15: April 27: War Today & PAPER DUE!
Film: September 11 (Youssef Chahine. Amos Gitai. 2002.
Robert Jervis. Theories of War in an Era of
Leading-Power Peace. 2001: 1-14.
[1] Pay attention to the footnotes J
[2] Many of the films we are going to
watch are sub-titled, as they are in a language other than English!
[3] If you DO NOT want to be graded on a plus/minus
scale you must inform the instructor in writing by the third week of the
semester (e.g.
[4] Attendance will not be taken
-except if deemed absolutely necessary by the instructor. Regular attendance is
expected. Keep in mind that a substantial bulk of our meetings will consist of
student presentations, and that not all films are available elsewhere.
[5] A typical
question might look something like this: “According to Ernest Giglio there are various ways how one can identify the
“Political Film”. What are some of these and which one makes the most sense to
you?” Part of the answer might look like this: “Despite Giglio’s
critique, I still find Genovese’s three-fold
definition (Giglio, 2000: 23) the most useful, as it
realizes a film’s capacity for change, which I view inherent to the political
process”.
[6] See attachment on page 7
of this syllabus!
[7] If this film is not located in time
it will be replace by another film featuring a Vietnamese perspective on the
Vietnam War.
[8] Attention Group # 6: Keep your presentation
short (20’ max.) due to the film’s length (2 h + 40’)!
[9] This film is currently
showing. Depending on its VHS/DVD availability, supplementation is possible!