| Back |
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!
Next
| Back |
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) |
|