Evolution of Film Comedy Syllabus - KING

DC 370/470 – EVOLUTION OF FILM COMEDY — WINTER 2015
DC 370/470 (801): Wednesdays, 5:45-9:00pm in 14 E. Jackson Room 801

LECTURE-DISCUSSION
Course Management system: D2L
Instructor — Jessica King

Office Hours: Wednesday 4:15-5:45pm in 14 E. Jackson Room 801
email: [email protected]
Course Description
This class will provide an in-depth examination of a the evolution of film comedy with a focus
on developments within the film industry as well as cultural trends that have shaped the way
humor is expressed through film. Through lectures, screenings, readings, discussions, and critical
writing assignments, students will analyze the distinctive traits of film comedy within the
broader context of cinema history and culture. PREREQUISITE(S): NONE
Learning Objectives | Students will be able to…

• explain how required screenings represent specific comedic genres/styles
• describe and analyze the features, character types, and narrative structure of various comedic
films
• describe and analyze how certain cultural/historical moments affected comedic genres
• describe and analyze the ways film comedy comments on American culture
Required Texts
In this class, films are the essential texts. All additional readings will be posted by the instructor
on D2L.
Grading Practices
In your analytical work, I grade for clarity, precision, accuracy, and whether or not you apply
relevant ideas/concepts from class to the material you are analyzing.
In your creative work, I look for the standard requirements for effective screenplay writing
(clear characters, precise and revealing visuals, original dialogue, effective structure, etc) as well
as that you demonstrate an understanding of the medium you are writing for (especially in
terms of concept, audience, and budget). SEE GRADE PROFILE FOR MORE INFORMATION
Grading Scale: A = 90%-100% plus/ minus = top/ bottom 3% of grade range; B = 80%-89%,
C = 70%-79%, D = 60%-69%, F = 59% and below
Final grade breakdown (approximate and subject to change):

30% Attendance & Participation; 30% Analysis Essays; 10% Weekly Responses; 30% Final Project
An incomplete grade may only be assigned to a student if: (1) the student has experienced an
extenuating circumstance near the end of the term, (2) the student is in good standing in the
class, (3) the request is made in advance. It is solely up to the discretion of the instructor to
grant an incomplete.
The Way Things Work: Assignments, Due Dates & Late Assignments
Details for all assignments and readings will be discussed in class and posted on D2L. This class
will focus on practice not on lecture. It will emphasize both individual and collaborative work in
understanding visual media through analysis of successful examples. On a typical class day, you
will be working either as a class, in small groups, or by yourself practicing disciplined analytical
or creative thinking. You will be regularly responsible for assessing your own work and that of
your peers using criteria and standards modeled and discussed in class.
Unless otherwise noted, the due date is the start of class on the day an assignment is due and
anything after the start of class is late. This is true even if you are absent, in which case the
assignment is to be emailed to me by the due date and time. Graded assignments will lose one
full letter grade for each week (or partial week) they are late.
Reading assignments:
Students are expected to fully complete assigned readings on time so they are prepared for
class discussions and writing assignments. Reading matters. When done well, it is the most
effective and efficient way to access another’s intelligence, experience, and wisdom. Students
who manage their time to allow for careful reading will more successfully learn and participate
in this course.
Writing assignments:
This course requires students to write both analytically (analysis essays) and, potentially,
creatively. All formal compositions are expected to be typed, properly formatted, and carefully
proofread. Creative assignments will undergo multiple drafts.
Final Project Options:
1. Screenplay (MFA SCREENWRITING STUDENTS)

Write an original five- to ten-page screenplay (in standard screenplay format) that fits into a
particular comedic genre during a particular period. For example, “1940s Screwball Comedy.”
While the screenplay may be homage, it must not be camp. The screenplay may also be
produced by two other students in the class. All screenplays must be submitted to turnitin.com.
2. Research Paper
Write a five-page research paper that explores the evolution of a particular comedic trope,
character type, motif, or genre. Possible topics: Take a major comedic character type and
explore its evolution over the course of at least three films spanning three different eras. The
thesis of the paper must make an argument for how the comedic element has evolved in
relation to film industry trends, as well as shifts in American culture and values. The research
paper must incorporate articles of academic criticism, and should respond to those articles. Film
reviews without their own bibliographies and notes are not considered academic criticism.
Footnotes/endnotes and a bibliography are mandatory for your own papers (use MLA
conventions).
Attendance
Students are expected to attend each class, arrive on time, and remain for the duration. Coming
15 minutes late or leaving 15 minutes early constitutes an absence for the student. The overall
grade for participation drops one-third after any absence. Three absences for any reason,
whether excused of not, may constitute failure for the course.
Class Discussion, Participation, and Community

Over many years of teaching I’ve found that in addition to careful reading, the best way for
students to learn is to process information collaboratively, to ask questions, and to be actively
engaged in their own learning. In order for this to happen in the richest way possible, we must
remember to behave in a professional and academic manner at all times. We must be
considerate and cooperative, even when we don’t agree with one another. Professional academic
behavior is expected at all times. Measurable examples of problematic behavior include but are
not limited to: talking to others when the instructor is speaking, mocking another’s opinion, cell
phones ringing, emailing, texting or using the internet whether on a phone or a computer. If any
issues arise a student may be asked to leave the classroom.
Changes to Syllabus
This syllabus is subject to change as necessary during the quarter. If a change occurs, it will be
thoroughly addressed during class, posted under ‘News’ in D2L, and emailed to you.
Online Course Evaluations

Evaluations are a way for students to provide valuable feedback regarding their instructor and
the course. Detailed feedback will enable the instructor to continuously tailor teaching methods
and course content to meet the learning goals of the course and the academic needs of the
students. They are a requirement of the course and are key to continue to provide you with the
highest quality of teaching. The evaluations are anonymous; the instructor and administration do
not track who entered what responses. A program is used to check if the student completed
the evaluations, but the evaluation is completely separate from the student’s identity. Since 100%
participation is our goal, students are sent periodic reminders over three weeks. Students do
not receive reminders once they complete the evaluation. Students complete the evaluation
online in CampusConnect.
Academic Integrity and Plagiarism

This course will be subject to the university's academic integrity policy. More information can be
found at http://academicintegrity.depaul.edu. If you have any questions be sure to consult me.
Academic Policies
All students are required to manage their class schedules each term in accordance with the
deadlines for enrolling and withdrawing as indicated in the University Academic Calendar.
Information on enrollment, withdrawal, grading and incompletes can be found at:
cdm.depaul.edu/enrollment. Students who withdraw from the course do so by using the
Campus Connection system (http://campusconnect.depaul.edu) and must do so by 9/23/14
with no penalty.
Students with Disabilities
Students who feel they may need an accommodation based on the impact of a disability should
contact the instructor privately to discuss their specific needs. All discussions will remain
confidential.
To ensure that you receive the most appropriate accommodation based on your
needs, contact the instructor as early as possible in the quarter (preferably within the first week
of class), and make sure that you have contacted the Center for Students with Disabilities
(CSD) at:
[email protected]
Lewis Center 1420, 25 East Jackson Blvd;
Phone number: (312)362-8002, TTY: (773)325.7296
Course Schedule
WEEK 1 – COURSE INTRODUCTION & SILENT FILM COMEDY

Class/student introductions. What is your current relationship to/understanding of film comedy?
Comedic tastes?
Lecture/Discussion: What is comedy and what role does humor play in society? Limitations and
developments in early film comedy.
Screening 1: “The Sprinkler Sprinkled” and other Lumiere Shorts.
Screening II: Shorts: Chaplin (The Idle Class), Keaton, Lloyd
ASSIGNMENT: Film follow up questions
READ: “Definitions, Genres, and Forms” Popular Film and Television Comedy
WEEK 2 – THE SILENT FILM ERA (1900-1920s)

Lecture/Discussion: Limitations and developments in early film comedy.
Screening 1: City Lights
ASSIGNMENT: Film follow-up questions
READ: “Comedy’s Greatest Era” by James Agee
WEEK 3 – THE TALKING PICTURE (1930s-1940s)

Lecture/Discussion: Limitations and developments in early film comedy: the talkie.
Screening 1: The Lady Eve
READ: Excerpt from: Pursuits of Happiness : the Hollywood Comedy of Remarriage
WEEK 4 – CHALLENGING NORMS ABOUT SEX & GENDER (1950s)

Lecture/Discussion: Limitations and developments in early film comedy: the Code.
Screening 1: Some Like It Hot (1959)
READ: TBD
WEEK 5 – EMERGENCE OF DARK SATIRE (1960s)
Lecture/Discussion: Downfall of The Code/Rise of social consciousness/sexual revolution
Screening 1: How I Stopped Worrying…
READ: TBD
WEEK 6 – MID-TERM CHECK-IN

Peer Review: Rough Drafts of Research Paper/Short Comedies due
WEEK 7 – ADULT THEMES EXPLORED (1970s)

Lecture/Discussion: Downfall of The Code/Rise of social consciousness/sexual revolution
Screening: Annie Hall
Read: TBD
WEEK 8 - CAMP (1970s)

Lecture/Discussion: The Sultan of Sleaze: John Waters
Screening: Pink Flamingos
Read: “Notes on Camp” Susan Sontag
WEEK 9 – THE RISE OF RAUNCH PART ONE (1980s)

Lecture/Discussion: teen raunch.
Screening: Fast Times at Ridgemont High
Read: TBD
WEEK 10 – THE RISE OF RAUNCH PART TWO (present)

Lecture/Discussion: Adding women to the mix
Screening: Bridesmaids
Read: TBD
WEEK 11 – FINAL EXAM

Final Assignment due.
--NOTE: COURSE CALENDAR IS SUBJECT TO CHANGE WITH NOTIFICATION

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DC 370/470 – EVOLUTION OF FILM COMEDY — WINTER 2015

DC 370/470 (801): Wednesdays, 5:45-9:00pm in 14 E. Jackson Room 801

Instructor — Jessica King

Learning Objectives | Students will be able to…

Final grade breakdown (approximate and subject to change):

Final Project Options:

1. Screenplay (MFA SCREENWRITING STUDENTS)

Class Discussion, Participation, and Community

Online Course Evaluations

Academic Integrity and Plagiarism

WEEK 1 – COURSE INTRODUCTION & SILENT FILM COMEDY

WEEK 2 – THE SILENT FILM ERA (1900-1920s)

WEEK 3 – THE TALKING PICTURE (1930s-1940s)

WEEK 4 – CHALLENGING NORMS ABOUT SEX & GENDER (1950s)

WEEK 6 – MID-TERM CHECK-IN

WEEK 7 – ADULT THEMES EXPLORED (1970s)

WEEK 8 - CAMP (1970s)

WEEK 9 – THE RISE OF RAUNCH PART ONE (1980s)

WEEK 10 – THE RISE OF RAUNCH PART TWO (present)

WEEK 11 – FINAL EXAM

--NOTE: COURSE CALENDAR IS SUBJECT TO CHANGE WITH NOTIFICATION

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