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AMST 3443: The Hollywood Science Fiction Film

OSU Tulsa Fall 2005

Professor Stacy Takacs

Public SF Film Screenings

Course Description

What makes a science fiction film a science fiction film? What images, sounds, and thematic concerns are revisited over and over again in science fiction films? How have science fiction films evolved over time in response to political and social conditions while still maintaining coherent formulae? These questions and more will be addressed in this course. We will begin with an introduction to some basic concepts of film theory and analysis, including the concept of “genre study.” We will then proceed to an analysis of the generic conventions of the American science fiction film. Since science fiction has traditionally been viewed as marginal, it has provided a relatively “safe” space for individuals to imagine alternative realities. Thus, we will be especially interested in reading science fiction films in their social contexts from the Cold War paranoia of 1950s sci-fi to the ecological obsessions of the 1970s to the gender remodeling of the 80s to the postmodern entropy of the 1990s and beyond.

The course will be reading and writing intensive. It will also require you to spend time outside of class viewing selected films; these viewings are mandatory. I have established 5 screening dates in addition to regular class time; the screenings will be free and open to the public, so feel free to invite friends and family and to spread the word. If you cannot make the assigned screenings, you may watch the films in the library or rent them on video from a local merchant.

Evaluation will be based on 10 on-line discussion postings, 5 response papers, and two exams.

Texts | Course Requirements | Schedule


Texts

Geoff King & Tanya Krzywinska, Science Fiction Cinema

Sean Redmond, Liquid Metal: The SF Film Reader

A selection of readings on American history and sci-fi film in the "Course Materials" Folder of the Blackboard site for this course (http://blackboard.okstate.edu)

Timothy Corrigan, A Short Guide to Writing About Film. (Optional)

This book covers both film theory and terminology and writing strategy and structure, including lessons on paragraph construction, MLA citation style, grammar, syntax, and diction. Highly Recommended!

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Course Requirements

Attendance & Participation: Students are expected to attend every class and participate actively in class discussions, both real and virtual.

Discussion Postings: You will be asked to post 10 brief responses to the reading materials on the virtual discussion board, always before you come to class. The assignments are posted in the "DISCUSSION BOARD" section of the Blackboard (http://blackboard.okstate.edu). Each assignment will be worth ten points, and together they will comprise 10% of your course grade. There will be no late postings accepted. These are easy points so don't forget about them.

Response Papers: For each film in the screening series, you will be asked to write a 2-3 page response paper on a topic that relates the film to its historical, political, and cultural context. Topics will be provided for each film in the "ASSIGNMENTS" folder of Blackboard. Each assignment will be worth 100 points, and together they will comprise 50% of your course grade.

I recommend that you purchase A Short Guide to Writing About Film by Timothy Corrigan if you would like a resource to turn to as you write these essays. The book covers both film theory and terminology and writing strategy and structure, including lessons on paragraph construction, MLA citation style, grammar, syntax, and diction. I will also post grammar and style sheets in the "Course Materials" Folder of Blackboard.

Exams: There will be one mid-term and one final exam in this class. The exams will consist of identifications, short-answer responses, and/or essay questions and will cover the course readings, lectures, and discussions in equal measure. Check the course schedule to determine the exam dates. There will be a study guide offered for each exam; it behooves you to use it. Make-up exams will be given only in cases of documented emergency and only if I am notified of said emergency well before the scheduled date and time of the exam. If you contact me after you miss an exam, I will be unable to help you, and you will receive a grade of zero.

Academic Honesty: All work you turn in for this class must be your own work. Unintentional, or accidental, plagiarism due to faulty citations or improper use of sources will result in (a) a course of remediation designed to correct problems with your use of source materials and a letter grade reduction (only for the first episode, though) and/or (b) a failing grade for that assignment (if the problems persist or remediation is refused). Intentional plagiarism will result in a failing grade for the course and possible referral to the Dean's office for disciplinary action. Consult OSU’s Code of Student Conduct for more information on Academic Misconduct.

Special Needs and Disabilities: Please feel free to contact me with any special needs that you may have related to a physical or mental disability; I’ll be happy to work with you to accommodate your needs. NOTE: If you have a disability, physical or otherwise, you must register with the appropriate liaison in the Student Services Center, North Hall.


Schedule of Readings

All materials marked with an asterisk (*) are contained in the "Course Materials" Folder on the Blackboard web site

1/11 Introduction: Basic Film Terminology and Analysis
Read:

*Corrigan, “Mis-en-Scene and Realism”

Optional: Corrigan, Chapter 2 + pp. 98-101

In-Class Screening: 2001: A Space Odyssey (1968)
1/18

Defining Features of the Sci Fi Genre: Narrative, Sight, and Sound

Read:

 


“Defining Science Fiction: Narrative Themes” in King & Krzywinska (9-57)
“The Design of SF” in King & Krzywinska (72-90)
Vivian Sobchak, “Images of Wonder: The Look of Science Fiction” in Redmond

Optional: Corrigan, pp. 41-83

1/25

Read:
“Sounds Weird: Music and Sound in SF Cinema” in King & Krzywinska (68-72)
*Vivan Sobchak, “The Leaden Echo and the Golden Echo: Sounds of Science Fiction”
Optional: Corrigan, pp. 83-92
Screening:
Forbidden Planet (1956) (OSUT Auditorium 7:30)
2/1 An Uncanny Home: Atomic Culture and PostWar America

Read:

Susan Sontag, “The Imagination of Disaster” in Redmond
Peter Biskind, “The Russians are Coming, Aren't They?” in Redmond
*Primary source materials contained in the "Course Materials" folder of Blackboard

Due: Response Paper #1: Forbidden Planet
2/8

The Other 1950s

Read:
Marc Jacovich, “Re-Examining the 1950s Invasion Narratives” in Redmond
Eric Avila, “Dark City: White Flight and the Urban SF Film in Postwar America” in Redmond

2/15

Technology, Crisis, and Post-Vietnam America

Read:

Michael Ryan and Douglas Kellner, "Technophobia/Dystopia" in Redmond
*H. Bruce Franklin, "Visions of the Future in Science Fiction Films"
*Primary source materials contained in the "Course Materials" folder of Blackboard

Screening:
Logan’s Run (1976) (OSUT Auditorium 7:30)
2/22 Exam I
3/1 The Monstrous Feminine: Sexuality in SF
Read:

*Vivian Sobchak, "The Virginity of Astronauts"
*Judith Newton, "Feminism and Anxiety in Aliens"

Due: Response Paper #2: Logan's Run
3/8 The Race of Aliens and the Whiteness of Space
Read:
*Eric Greene, “Urban Riots and Ape Revolution”
*TBA
Screening:
Brother From Another Planet (1984) (OSUT Auditorium 7:30)

3/15

SPRING BREAK -- NO CLASS
3/22
Revisiting and Revising History: Utopian SF in the Reagan Era
Read:

*Hugh Ruppersberg, "The Alien Messiah"
*Robin Wood, Papering the Cracks: Fantasy and Ideology in the Reagan Era"
*Susan Jeffords, “Fathers and Sons: Continuity and Revolution in the Reagan Years”

Due: Response Paper #3: Brother From Another Planet
3/29 The Capitalist Machine

Read:

Vivian Sobchak, “Postfuturism: Altered States” in Redmond
*Thomas Byers, "Commodity Futures"
Screening:
Aliens (1986) (NCB 150 7:30)
4/5 The Cultural Logics of Late Capitalism: Postmodern Style in SF
Read:

“Industrial Light and Magic” in King & Krzywinska (58-68, 90-94)
Steve Neale, “’You’ve Got to Be Fucking Kidding!’: Knowledge, Belief and Judgment in SF” in Redmond
Barry Keith Grant, “Sensuous Elaboration: Reason and the Visible in the SF Film” in Redmond

Due: Response Paper #4: Aliens

In Class Screening: Blade Runner
4/12

Cyborgs in the Hyperreal

Read:
Donna Haraway, “Manifesto for Cyborgs” in Redmond
Warren Buckland, “Between Science Fact and Science Fiction: Spielberg’s Digital Dinosaurs” in Redmond
Alison Landsberg, “Prosthetic Memory: Total Recall and Blade Runner”
Screening:
A.I.: Artificial Intelligence (2001) (NCB 150 7:30)
4/19 Postmodern Movie-Making: The Phantom Menace Case Study

Read:

 

Case Study: Star Wars: Episode 1-The Phantom Menace” in King & Krzywinska (95-113)
Will Brooker, “New Hope: The Postmodern Project of Star Wars” in Redmond

4/26

Preparation for Final Exam

Due: Response Paper #5: AI

In-Class Screening: TBA
5/3 Exam (6-7:50 p.m.--Note this is not our regularly scheduled time)