Syllabus

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realization. They are often realized through a hero or heroine grappling with dark elements to overcome ... Or, there may be a “dark inversion” of elements so that.
Psychology  490.5     Psychology  of  Film   Spring  2014  /  Prof.  McCabe  

 

Wed  6-­‐9:40  pm,  Stev.  2065       Instructor:    Laurel  McCabe,  Ph.D.     Office  Hrs    Thurs  1-­‐4pm        

 

 

     

Office  Stevenson  3092A   Phone    664-­‐2130   Email    [email protected]  

                 

Film provides a means of exploring the central questions of life: Who am I? Where am I going? Where do I come from? How do I get there? Who are my people? This class explores the hypothesis that stories worldwide—and hence films—are based on psychological patterns that express a movement from innocence and dependency to maturity and selfrealization. They are often realized through a hero or heroine grappling with dark elements to overcome them or integrate them to achieve wholeness. Or, there may be a “dark inversion” of elements so that that wholeness is not achieved. In this class we will investigate these psychological structures to discover how they operate. In addition, by paying attention to what moves us in film, we will reflect on the stories that are “being told” in our own lives. In this way we will use the film experience as a method for our own selfknowledge and self-realization. Learning goals: To apply the psychological structures of story to the characters and character development in film; o Department  learning  goal:  Be  able  to  apply  psychological  theories,  concepts,  and   principles  to  individual  experience  as  well  as  to  broader  social  issues  and  social   systems. To self-reflect on the film experience as a doorway into self-knowledge and self-realization. o Department  learning  goal:  Be  able  to  reflect  on  personal  experience  in  light  of   psychological  knowledge. Evaluation Weekly 2 page reflection papers on prior week’s film. You must turn in 10 papers—there are 12 films being shown, so there are 2 films that you don’t have to respond to, your choice. You may turn in 12 reflective papers for extra credit. 10 points each for a total of 100 points. 45% These papers should include a description of some part of the film that moved you. This might be a character, a character’s development, a conflict or struggle within the film, an event or incident, an image or scene. Describe what you’ve chosen to focus on. Then describe what it evoked in you: what feelings arose? Memories? Insights? Observations? Take the time to explore on a personal level your response. Then, describe what aspect of Booker’s theory relates—or does not relate—to the topic you’ve chosen. Your 2 page paper has 3 sections: description of some part of the film; your response; discussion and integration with reading. Self-Reflection on your life’s story 20% Take the seven basic plots, with their dark inversions, and explore which of them might apply most directly to your own life. Describe your story, and relate it to Booker’s model. Where do you see yourself in this narrative now? What challenges are current? What are you moving toward? Bring in as much self-reflection and self-awareness as you can. 4 pages. Final Paper 20% & Presentation 5% Apply Booker’s model—or discuss how Booker’s model does not apply—to a film of your choice. Use Booker’s concepts and ideas. Make sure you define the concept you’re using and show it’s used—or not used—in the film you choose. 4 pages Presentation is a brief in-class presentation of paper in the last 2 weeks of classes.

Attendance & Engaged Thoughtful Participation 10% Text Booker, C. (2004). Seven basic plots: Why we tell stories. New York, NY: Continuum. Course Policies Your course grade is based on quality and timeliness of papers, presentations and assignments, attendance, and quality of class participation. Active engaged participation can raise your grade a step upward. Come prepared for discussion and projects in class, and always bring your book to class. Papers and assignments are due on the due date; extensions for papers must be discussed with the instructor and approved ahead of the due date. Late papers will be graded down one grade for every week they're late. Attendance in class meetings is required. While you can always read what was missed, you can’t reproduce the discussions and exercises experienced in class. Missing more than one class will bring down your grade. You’re responsible for all class material covered if you miss a class. Being more than 15 minutes late or leaving early more than twice constitute a missed class. Excused absences are possible only with a doctor’s note or a real emergency. If you’re absent, it’s your responsibility to provide the instructor with due notice and to inform the instructor of the reason for the absence. Papers Papers are double-spaced, paginated, with 1” margins all around, and a simple 12 point font like Times, Helvetica, Arial, etc. References should be in APA style. The Library has simple guideline sheets, and see their web site at http://libweb.sonoma.edu/research/guides/apastyle.pdf . Students with Special Needs If you’re a student with special learning needs and you think you may require accommodations, your first step is to register with the campus office of Disability Services for Students, Salazar 1049, phone 664-2677. DSS will provide you with written confirmation of your verified disability and authorize recommended accommodations. You then present this recommendation to the instructor, who will discuss the accommodations with you.

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CLASS / DATE

1 Jan 15 2 Jan 22

TOPICS COVERED

4 Feb 5

Introductions Review Syllabus Overcoming the Monster Bride of Frankenstein (1935) Rags to Riches The Social Network (2010) Quest Fisher King (1998)

5 Feb 12

Voyage & Return Coraline (2009)

6 Feb 19

Comedy Shakespeare in Love (1998)

7 Feb 26

Tragedy & The Divided Self In the Bedroom (2001) Tragedy: The Hero as Monster Melancholia (2011) Rebirth Of Gods and Men (2010)

3 Jan 29

8 March 5 9 March 12 March 19 10 March 26 11 April 2 12 April 9 13 April 16 14 April 23 15 April 30

NO CLASS Dark Father The Lives of Others (2007) Dark Mother Black Swan (2011) Orphan Pan’s Labyrinth 2007 Ego-Centered The Searchers (1956) Self The Thin Red Line (1998) Integration and Reflection

READINGS (due this week)

ASSIGNMENTS (due this week)

The Seven Basic Plots, Ch. 12, Ch. 2, Ch. 21, Ch 22 (pp. 377-383) The Seven Basic Plots, Ch. 3 Ch 22 (to p. 377) The Seven Basic Plots, Ch. 4, 18 Ch 22 (to p. 392) The Seven Basic Plots, Ch. 5 Ch. 23 (pp. 393-396) The Seven Basic Plots, Ch. 6, Ch 7 (pp. 150152); p. 224; Ch. 14 Ch. 23 (pp. 393-396) The Seven Basic Plots, Ch. 8, 9 pp. 224-226; 258-262

Reflective paper on Bride of Frankenstein

The Seven Basic Plots, Ch. 10

Reflective paper on In the Bedroom

The Seven Basic Plots, Ch. 11 pp. 226-227 Ch. 24 (pp. 410-412)

Reflective paper on Melancholia

The Seven Basic Plots, Ch. 13

Reflective paper on Of Gods and Men Paper on life story due Reflective paper on The Lives of Others Reflective paper on Black Swan Reflective paper on Pan’s Labyrinth Reflective paper on The Searchers

The Seven Basic Plots, Ch. 16, 17 The Seven Basic Plots, Ch. 18 The Seven Basic Plots, Ch. 27 The Seven Basic Plots, Ch. 31

Reflective paper on The Social Network Reflective paper on Fisher King Reflective paper on Coraline

Reflective paper on Shakespeare in Love

Reflective paper on The Thin Red Line Final Paper & Presentations 3