Spring 2003
Dr. Chris Aanstoos & Dr. Don Wagner
 

Course Description
This course provides a multicultural and interdisciplinary analysis of the theme of “human identity”, including its psychological, social, political and cultural forms, as these are illuminated through film.  Films are selected from various countries.  No previous experience with psychology or political science is required, and there are no pre-requisites.
 

Course Objectives/Learning Outcomes
1)  to understand in depth in structure and process of identity, on its various levels, and to be able to demonstrate this understanding in writing and discussion, especially as related to psychology and political science.  (POLS LO 1-4, for POLS 4985)
2) to develop an appreciation for the unique modality of film and a capacity to understand  its methodologies and contexts of presentation.
 

Class Format
This course will be conducted primarily in a seminar format in which discussion, lecture, and student presentations will predominate.  Students are expected to participate actively and regularly.
 

Texts
This course will use as its primary texts thirteen films recognized as being outstanding (see the Course Outline).  These films will provide the exemplar cases for our concrete analyses of identity.  In addition to the films, there will be two kinds of readings: relevant articles to be distributed during the semester by the instructors (see Reading List), and outside reading material students will include in their analysis for their research papers.
 

Course Requirements

1. SHORT PAPERS
After any seven of the films (not including those shown on the first class meeting) students will write a short (3-4 pages if double-spaced) paper, analyzing the film and how it illustrated the theme of identity.  No outside references are required, however, students may find these helpful (for example, the readings distributed by the instructors).  If used, all references must be cited and accurately documented.  These papers must be distributed by email to everyone else in the class prior to 8:00 p.m. on the Sunday following the film.

2. CLASS PRESENTATION
Once during the semester each student must select a film for which he or she serves as the discussion leader.  That student will present a brief contextualization of the film immediately prior to its classroom viewing, followed by a recapitulation of its main characters and plot lines immediately after its viewing.  During the next class meeting that student will lead the seminar’s discussion of the film.

3. RESEARCH PAPER
Each student will write a longer research paper due at the end of the course.  These papers should be between 8-10 pages (double-spaced) and should include at least two references (references must be cited and accurately documented).  Students will have a wide choice of topics for these papers, which may focus on a particular film shown in class, or on a theme that is relevant to several of the films.  (Note: Students will be required to provide instructors with a one page synopsis of this paper at the midterm.)

4. EXAMINATIONS
The class will include two examinations:  (1) a mid-term exam; and (2) a final exam.  Each exam will be comprised of “medium to longish” length essay questions requiring students to integrate their understanding of the lectures, readings, discussions, and the content of the films.

5.   IN-CLASS DISCUSSION
Each class will begin with a discussion of the film viewed in the previous week.  The student who is responsible for presenting that film will be responsible for leading the discussion; however, all students will be expected to participate in the discussion for every class and, therefore, to have read the e-mailed short papers from the other students and to refer to them in the discussion.

GRADING CRITERIA
The grade for this course will be determined on the following basis:
 35% for the seven short papers due weekly (5% each)
   5% for the oral presentation and discussion of one film
 20% for the research paper
 20% for the mid-term exam
 20% for the final exam
In addition, there will be up to 5% extra credit available for quality of participation in class discussion
 

Course Outline

January 7 Lecture: The significance of Identity
  Films: Incident at Owl Creek Bridge and High Noon

January 14 Lecture: Studying Film
  Film: Lord of the Flies-90 min.

January 21 Discussion: Lord of the Flies
  Film:  Malcolm X-201 min.

January 28 Discussion: Malcolm X
  Film: Shakespeare Wallah-120 min.

February 4 Discussion: Shakespeare Wallah
  Film: Elephant Man-123 min.

February 11 Discussion: Elephant Man
  Film: The Lover-115 min.

February 18 Discussion: The Lover
  Film: A.I.-145 min.

February 25 Discussion: A.I.
  Film: Sugar Cane Alley-107 min.
  Discussion: Sugar Cane Alley

March 4 MID-TERM EXAMINATION

March 11 Film: Lawrence of Arabia –230 minutes

March 18 Spring Break: No class

March 25 Discussion: Lawrence of Arabia
  Film: Blue-98 min.

April 1  Discussion: Blue
  Film: Sandakan-8-121 min.

April 8  Discussion: Sandakan-8
  Film: Mulholland Drive-147 min.

April 15 Discussion: Mulholland Drive
  Film: Kagamusha-160 min.

April 22 Discussion: Kagamusha
  Film: Manon of the Spring-113 min.
  Discussion: Manon of the Spring

April 29 Reading Day: No Class (Bonus Film: The Secret of Roan Inish-102 min.

May 6   FINAL EXAMINATION
Supplementary Films
 

For those who would like a list of other outstanding films that portray the theme of identity, we especially appreciated the following.  There are, of coarse, many more great ones, but we are limiting this list to only thirty (in no particular order).
Last Exit to Brooklyn (Germany)
The Last Emperor (Italy)
Wild Strawberries (Sweden)
Ikiru (Japan)
Turtle Diary (England)
Shall We Dance? (Japan)
Heaven and Earth (Vietnam/United States)
Walkabout (Australia)
The Grand Highway (France)
Stand by Me (United States)
Gregory’s Girl (Sweden)
Scenes from a Marriage (Sweden)
The Emerald Forest (England/Brazil)
Antonia’s Line (Netherlands)
My Father’s Glory (France)
Trip to Boutiful (United States)
My Life as a Dog (Sweden)
Koyla (Russia)
Kiss of the Spider Woman (United States)
Harold and Maude (United States)
Three Brothers (Italy)
The Unbearable Lightness of Being (United States/Czechoslovakia)
Amelie (France)
Rhapsody in August (Japan)
Magnolia (United States)
Nell (United States)
Ancient Futures (United States)
Persona (Sweden)
Double Life of Veronique (France)
The Return of Martin Guerre (France)
 

Reading List

During the semester, the instructors will distribute copies of readings as relevant.  These will include readings on the nature of film and on the nature of identity.  Sample readings that may be used include the following:

Readings on Identity
    Arnett, Jeffrey J.  (2002).  The psychology of globalization.  American Psychologists, 57, 774-783.
    Erikson, Erik.  (1963a).  “Youth and the evolution of identity.”  In E. Erikson, Childhood and society (pp. 275-284) (2nd ed.).  New York: Norton.
    Erikson, Erik.  (1963b).  “Reflections on the American identity.”  In E. Erikson, Childhood and society (pp. 285-325) (2nd ed.).  New York: Norton.
    Erikson, Erik.  (1980a).  “Identity vs. identity diffusion.”  In E. Erikson, Identity and the life cycle (pp. 94-100).  New York: Norton.
    Erikson, Erik.  (1980b).  “The problem of ego identity.”  In E. Erikson, Identity and the life cycle (pp. 118-131).  New York: Norton.
    Norbert-Hodge, Elena.  (1998).  The pressure to modernize and globalize.  In J. Mander & Goldsmith (Eds.), The case against the global economy (pp. 33-46).  San Francisco: Sierra Club Books.

Readings on Film
    Agee, James.  (2000).  Agee on film: Criticism and comment on the movies.  New York: Modern Library.
    Corrigan, Timothy.  (1998).  A short guide to writing about film.  New York: Longman.
    Kael, Pauline.  (1991).  5001 nights at the movies.  New York: Henry Holt and Company.
    Kauffmann, Stanley.  (2001).  Regarding film.  Baltimore: Johns Hopkins University Press.
    Klee, James.  (1982).  The cinema as a symbolic form.  In J. Klee,  Points of departure.  (pp. 131-137).  South Bend, IN: And Books.
    Lindsay, Vachel.  (2000).  The art of the moving picture.  New York: Modern Library.
    Merleau-Ponty, Maurice.  (1964).  The film and the new psychology.  In M. Merleau-Ponty, Senses and nonsense (pp. 48-59).  Evanston: Northwestern University   Press.  [Original work published 1945].
    Monaco, James.  (1977).  How to read a film.  New York: Oxford University Press.
    O’Brien, Geoffrey.  (1993).  The phantom empire: Movies in the mind of the 20th century. New York: W.W. Norton & Company.
    Stromgren, Richard & Norden, Martin.  (1984).  Movies: A language in light.  Englewood Cliffs, NJ: Prentice-Hall.