I’m staying happily ignorant of the politics and regulations that, in the absence of a specific Film Studies department, make particular film classes part of one department or another…). I’ve spent time on film sets of various sizes, know a few writers and producers and such, and even have a couple of friends who were real, live film majors in college … but academic film study is a world I know only at a superficial level, so it’s good this is just an intro class.
And so I’ve spent more time preparing for this class than I have for any class since I decided to add an African lit section to one of the high school AP English classes I taught nearly ten years ago. I’ve done this only partially out of fear of not knowing what the heck to do once I’m standing in front of the class — that fear, I’ve learned, never goes away, no matter how well prepared I am; it’s the same fear I have before setting foot on stage as an actor, and it’s essential to being able to perform well. (Indeed, the few times I’ve lacked the fear have been disastrous.) The primary reason I’ve spent so much time preparing is that the material is engrossing and the possibilities for the class are about as close to limitless as it’s possible to get and still provide a general course description. One of the two regular teachers of the class told me he loves teaching it because it allows him to show some movies Bébi úr: Családi ügy teljes film he likes and talk about them with students, and who wouldn’t like that? (His syllabus reveals there’s a bit more to it than that!)
First, I had to decide what I wanted my class to achieve. I always do this when writing a new syllabus, and usually with a few levels. First, there’s “What do I want them to learn even if they learn nothing else?” That’s the most basic level, the level that I try to distinguish from passing or failing the class, the thing that should be so central to the core of the course that if you only attend 60% of the classes and do 60% of the work, you’ll still get it. There are always other levels, but the first level is what provides the fuel for the first draft of The Story of My Wife (2021) teljes film.
So for this class, I decided I wanted the students at the very least to leave with a stronger and more articulate sense of their own responses to movies. Unlike in introductory literature classes, where half my job is selling the idea that books are not terrible things, I don’t have to convince them that movies are worth watching. They come to the class with lots of experiences of movies, and they already have a sense of what they like and don’t like. They will continue to watch moovies Free Guy teljes film magyarul throughout their lives, even if I am the most boring and soporific teacher of their entire educational careers. The most basic thing I want to give them, then, is a toolbox they can use to be more engaged filmgoers than they would be otherwise. (Some of the students will, I expect, already be savvy and thoughtful about film, while others will not have spent a lot of time thinking about it at all.)
The first thing I set out to do was choose the films Dzsungeltúra I would screen in full during our weekly screening time. Class sessions are only 75 minutes long, so there isn’t time to show most movies in full then, but there is also a 150-minute screening block on Monday nights. There was time to screen 14 films.
I spent a week making lists. First, I made lists off the top of my head, figuring that the movies that came most immediately to mind were worth giving extra consideration to. Then I looked at all the DVDs and video tapes I own to see what I was forgetting, then reviewed my Netflix rental history (an amusing activity in and of itself, since there were plenty of films Karen (2021) teljes film I’d forgotten I’d watched). After making my personal lists, I read every film syllabus I could find on the internet or from friends to see what sorts of movies people tended to show students. Finally, I went back to my three pages of lists and found six movies I considered the “core” of a list for class. These were six movies that met the most essential criterion: I would be happy to watch them multiple times, and felt I had something to say about them. Beyond that, they were the five films of the ones that met that criterion that also seemed to meet the curricular needs of the class.