Cinema in Contemporary Ireland DBLN FILM 3313

Cinema in Contemporary Ireland DBLN FILM 3313 Course Description This course provides a perspective on the history of Irish cinema, the contemporary experience, and focuses on films produced since the 1980s. The course examines the evolution of Ireland on film and the development of cinematic forms, styles and genres in light of the supposed emergence of an affluent, multicultural and liberal minded society. It will explore the works of well known filmmakers such as Neil Jordan and Jim Sheridan, as well as introducing students to the works of emerging directors. The course will explore the representation of the Irish and Ireland in Irish and American film, situating these within a cultural framework, past and present. Course Objectives Upon completion of the course, the student will have a solid understanding of Irish Film culture. Students will gain experience in writing reviews and critically examine film as text through academic course work and class discussion. Requirements and Prerequisites This course is taught as an introductory level in Film Studies concentrating on Irish Film culture specifically. Previous knowledge of film as text is welcomed but not required. Learning/Developmental Outcomes At the end of the course the students should be able to: Have a comprehensive understanding of film studies Show the ability to analyze film as text Understand the workings and approach of the Irish Film Industry specifically Ability to write film reviews Class Methodology Lectures will address the film history of Ireland discussing key issues such as national and ethnic identity, political art, globalization, culture as economic commodity, as well as the dilution of cultural difference. Guest speakers will be invited to address students where appropriate/available. Screenings, for the most part, will take place prior to the lecture. Much of the formal lecture component will be illustrated with film extracts. Class discussion is very much encouraged and Students will also be challenged to explore connections with their own heritage. Please note that the lecture schedule can change due to the availability of guest lecturers and film directors. You will be notified of any change to the schedule well in advance of the lecture. My Education: out-of-class activities The Irish Cinema will be visiting the Ardmore Studios and the Irish Film Institute s archives. 1

Furthermore students will be advised on and requested to view new Irish film releases taking place during the term. Class participation and attendance Participation is a vital part of your grade: CAPA has a mandatory attendance policy. Students are also expected to participate actively and critically in class discussions, and the participation portion of the class will be graded accordingly. Students must read assignments BEFORE the class, and come in on time. If you need to miss class for medical reasons or for a family emergency, please let the Resident Director know in advance of meetings on sbach@capa.org, so plans can be made accordingly you will need to provide evidence of the reason for your absence. If you miss any meetings without an excused absence from the CAO, your final grade will be dropped accordingly. Students are responsible for making up any missed assignments. Assessment/Grading Policy Group discussion/class participation 10% My Education 10% Assignment/Essay 1 20% Assignment/Essay 2 20% Mid-term test 10% Presentation 10% 1 Research Paper 20% Students must complete all required components for each course by the established deadlines. Failure to do so will result in a reduction of the course grade and may result in a grade of F for the course in question. Details of the Assessment Class Participation You are expected to participate actively and critically in class discussions, and the participation portion of the class will be graded accordingly. CAPA has a mandatory attendance policy. My Education 500 word report Assignment/Essays 1000-1200 words, double spaced (20% each- due in Wk 5 &11) You will be issued with essay prompts and are encouraged to approach your chosen subject and relevant films analytically. Remember in all cases to refer to both reading and films. Avoid lengthy plot descriptions and remember to attach a bibliography and filmography. Mid-term test Film Review Presentation 500 800 words (due dates to be confirmed) End of Term Essay 1000-1200 words, double spaced (20% - due in Wk 13) Textbook(s) and Recommended Readings Required Reading Barton, Ruth Irish National Cinema Routledge, 2004 McLoone, Martin Irish Film: The Emergence of a Contemporary Cinema London: BFI 2000 Pettitt, Lance Screening Ireland Manchester: Manchester University Press, 2000 Recommended Reading Barton, Ruth Acting Irish in Hollywood-From Fitzgerald to Farrell Irish Academic Press 2006 Barton, Ruth Jim Sheridan: Framing the Nation Dublin Liffey Press 2002 Byrne, Terry Power in the Eyes: An Introduction to Contemporary Irish Film, Lanham, Maryland/London: Scarecrow Press 1997. Crowdus, Gary (ed) Cineaste Contemporary Irish Cinema Supplement, Cineaste Vol XXIV, Nos. 2-3, 1999. Xerox Packet Flynn, Arthur Irish Film 100 Years Bray Kestrel Books, 1996 Giles, Jane The Crying Game London, BFI, Modern Film Classics 1997 2

Gray, Michael Stills, Reels and Rushes: Ireland and the Irish in the 20 th Century Cinema, Ashfield Press 1999 Hill, John, McLoone, Martin and Hainsworth Paul (Eds) Border Crossing: Film in Ireland, Britain and Europe Belfast: Institute of Irish Studies/BFI 1994 McIlroy, Brian Shooting to Kill Steveston Press, 2001 O Connell, Diog New Irish Storytellers Intellect, 2010 Pramaggiore, Maria Neil Jordan University of Illinois Press, 2008 Rockett, Kevin; Hill, John and Gibbons, Luke Cinema and Ireland London: Routledge, 1988 Rockett, Kevin & Emer Neil Jordan: Exploring Boundaries Dublin Liffey Press, 2003 Rockett, Kevin & Hill, John National Cinema and Beyond Four Courts Press, 2004 McIlroy, Brian Shooting to Kill: Filmmaking and the Troubles in Northern Ireland Wiltshire: Flicks, 1998 McKillop, James (ed) Contemporary Irish Cinema From The Quiet Man to Dancing at Lughnasa, Syracuse University Press, 1999. McLoone Martin Ireland and Cinema The Oxford Guide to Film Studies John Hill and Pamela Church Gibson (Eds) Oxford University Press, 1998. Thornton, Niamh & Hayes Richard (Eds) Film & Film Culture, Waterford Institute of Technology, 2004 Zucker, Carole The Cinema of Neil Jordan Wallflower Press, 2008 Selected Web Resources www.estudiosirlandeses.org A wide range of original work - research essays, interviews, creative writing, think pieces, reviews - by scholars based in Brazil, Canada, England, France, Ireland, Spain, and the United States. filmstudiesforfree.wordpress.com Film Studies For Free actively espouses the ethos of Open Access to digital scholarly material. It aims to promote good quality, online, film and moving-image studies resources by commenting on them, and by linking to them. www.irishfilmboard.ie Bord Scannán na héireann/the Irish Film Board (IFB) is the national development agency for the Irish film industry investing in talent, creativity and enterprise. The agency supports and promotes the Irish film industry and the use of Ireland as a location for international production. www.filmbase.ie/ Filmbase in Temple Bar offers support to independent film and video makers with training and development, facilities hire and information services. Staff in Filmbase are on hand to advise and inform on all aspects of filmmaking and the film industry. It also publishes the bi-monthly cultural magazine Film Ireland which will keep you on the pulse of what is going on in the industry. Course Materials and Lab Fee Students are expected to attend 3 film releases at their own cost. SYLLABUS AND CLASS SCHEDULE Week 1: Course Introduction - A Short History of Irish Cinema Screening: Irish Cinema, Ourselves Alone (Donald Taylor Black, 1996) Reading: Rockett, Gibbins, Hill Cinema and Ireland (1988), Page 95-114, 194-241 Week 2: Approaching Irish Cinema International Recognition through the Art of Storytelling Screening: My Left Foot (Jim Sheridan, 1989) Reading: Barton, Ruth Jim Sheridan, Framing the Nation, pages 15-39 3

Week 3: Field Trip to Ardmore Studios, Bray, Co. Wicklow Ireland opened its first Wicklow based film studios in May 1958, after years of struggling and campaigning. The Studios have since played host to over 100 films; attracting international directors, actors and producers who have created films that reached audiences far beyond their Irish birthplace. Week 4: Jim Sheridan Politics and Cinema Screening: In the Name of the Father (Jim Sheridan, 1994) Reading: Barton, Ruth Jim Sheridan, pages 63-99 Reference: Gerry Conlon Proved Innocent Week 5: Presentation Of A Different Perspective Auteur Cinema, Neil Jordan Screening: The Crying Game (Neil Jordan, 1992) Reading: Rockett, Kevin & Emer Neil Jordan Exploring Boundaries, pages 127-143 Zucker, Carole The Cinema of Neil Jordan Week 6: contd. Auteur Cinema Neil Jordan Screening: The Butcher Boy (Neil Jordan, 1997) Reading: Rockett Neil Jordan Exploring Boundaries, pages 179-205 McLoone, Martin Irish Film: The Emergence of a Contemporary Cinema, pages 213-224 Zucker, Carole The Cinema of Neil Jordan, pages 79-101 Week 7: Representation of Political Violence in Northern Ireland Screening: Bloody Sunday (Paul Greengrass, 2001) Reading: Hill, John Filming in the North in Crowdus, 5 pages Rockett, Kevin and Hill, John, editors, Pages 97-104 Week 8: Mid-semester break no class Week 9: Examination of the Art of Film within an Irish Context/ Representation of Political Violence in Northern Ireland Screening: Hunger (Steve McQueen, 2008) Reading: Various Week 10: Adapting Joyce Screening: The Dead (John Houston, 1986) Reading: Thornton, Niamh & Hayes, Richard (Eds.) Film & Film Culture, James Joyce and Cinema Week 11: Auteur Cinema Pat Murphy Screening: Nora (Pat Murphy, 2000) Reading: Barton, Ruth Irish National Cinema Thornton, Niamh & Hayes, Richard (Eds.) Film & Film Culture, James Joyce and Cinema Week 12: Irish Animation Industry & The Effects on Irish Cinema of the Celtic Tiger Economy Screening: The Secret of Kells (Tomm Moore, 2008) Reading: Barton, Ruth Irish National Cinema, Handout: Film Ireland, Animation Special, 20 pages Week 13: A New Direction The Second Wave of Independent Cinema Screening: What Richard Did (Lenny Abrahamson, 2012) Reading TBC Week 14: Low Budget Success Course Review Visions for the Future Screening: Once (John Carney, 2007) Reading: O Connell, Diog New Irish Storytellers pages 165-166, 172-177 4

To the Student Please note that the regulations below are very strict for a specific reason, namely to respond to the expectations of your own colleges and universities. Therefore, please observe these rules; they are not complicated and simply require your attention to detail. Class attendance and participation CAPA has a mandatory attendance policy. Students are also expected to participate actively and critically in class discussions, and the participation portion of the class will be graded accordingly. Students must read assignments BEFORE the class, and come in on time. If you need to miss class for medical reasons or for a family emergency, you must send an e-mail to let the Resident Director know at least one hour in advance of your class or meeting at the following e-mail: sbach@capa.org. Note that calling the CAPA Center (Tel.TBC) is accepted only if you do not have access to internet. An e-mail is still required as quickly as you can get access to internet again. You will need to provide evidence of the reason for your absence. If you miss any meetings without an excused absence by e-mail, your final grade will be dropped accordingly. And when you must miss a class or field trip, you are responsible to talk to your instructor and make up any missed assignments. Participation is a vital part of your grade: students are expected to participate orally in seminars, and in online forums and discussions, in a critical and evaluative manner; to approach professor and fellow students with respect and tolerance; and to actively engage in debate, while avoiding derogatory or inflammatory comments on the cultures or attitudes of others in the class. CAPA Program and Instructor Policies The faculty expects from your, the student, a high level of responsibility and academic honesty. Because the value of an academic course depends upon the absolute integrity of the work done by the student, it is imperative that a student demonstrate a high standard of individual honor in his or her scholastic work and class behaviour. A high standard of individual honor means that you, the student, must attend all classes and never be late (unless with a valid reason). You must be respectful of the professor and of other students by not talking/whispering in class when others are talking or presenting. Persistent lateness or lack of attention in class, ie reading materials other than the work set, may result in a low or zero grade for participation, and possible referral to the Chief Academic Officer (CAO). No electronic equipment will be used in class, including laptops, phones, ipods, pads, cell phones, etc, unless you have express permission from the professor or you have been instructed to do so. If for any reason a student is obliged to work with electronic equipment, then permission must be obtained from CAPA's Academic Director prior to the class. Certain behaviours disrupt class, such as a student arriving late, a phone ringing, a student leaving in the middle of class. Lecturers have the authority to decide policies for their classroom regarding these and similar behaviours that may disrupt the learning environment. All members of the class are expected to respect the learning environment and the lecturer s efforts to maintain it. Academic Integrity Plagiarism and Cheating 5

Plagiarism and cheating will be dealt with very seriously, and will be referred to the Chief Academic Officer. Any work submitted by a student in this course for academic credit must be the student's own original work. If you present, as your own ideas, any material copied or extensively drawn from the work of others, then you are plagiarizing unless you give full citations for your sources. Plagiarism is unacceptable. If it is found, then this will immediately lead to an "F" (Fail) grade for that particular assignment. Of course, you may make full use of ideas, arguments and information obtained from books, journals, websites, etc. but you must make clear in a footnote whose work you are drawing from. This includes cases of "paraphrasing" where the idea or the thought of another writer is "borrowed". (Please note that a citation for paraphrasing is academically acceptable. It could say, for example: "This idea is borrowed from: Author's name, Title, Publisher/Website, (date you accessed the website), year of publication, page number.") In addition, copying our own assignment entirely or partially to submit to a second or third professor in another class is considered cheating by duplication. This is unacceptable. The same is when you copy your own work, that was written for another assignment or in another context (news-journal, website, blog, etc.), without citation. This is akin to plagiarism. While this does not implicate the writing of others as you are copying your own work, it is misrepresentation in academic terms because the work handed in to the instructor in this class was not originally written for this specific class, but for another publication or platform. Students risk receiving an "F" (Fail) grade for all the assignments done in classes for which they have duplicated their own work. An exception can be given if the student has obtained the professor's agreement in advance and has correctly provided a reference (citation in text or as footnote or endnote) to his/her other assignment or earlier work. Students, like any author, are allowed to cite their own earlier work. In cases of blatant and intentional misrepresentation, a student will receive a failing grade for the course and may face disciplinary action before the Chief Academic Officer, which, in extreme cases may result in dismissal from the Program. Helpful Resources and Tips on how to avoid Plagiarism You quote it, you note it! An interactive tutorial guide on how to avoid plagiarism and how to cite sources: http://library.acadiau.ca/tutorials/plagiarism/ http://www.plagiarism.org/learning_center/citation.html - if you scroll down, you ll find links to all major styles and formats for citing and referencing. How to cite and write a bibliography: Ask your instructor to tell you which citation format to use (the most common are APA, MLA and Chicago). The most important thing is to use one citation and referencing format consistently and accurately throughout your paper. Behaviour during Examinations During examinations, you must do your own work. Unless specifically instructed by the lecturer or instructor, talking during an exam is not permitted, nor may you compare papers, copy from others, or collaborate in any way. Any failure to abide by examination rules will result in failure of the exam, and may lead to failure of the course and disciplinary action. Assignments Policy 6

All assignments should be submitted directly to the instructor at the beginning of class according to the due dates listed. Electronic copies of written work will not be accepted, except where otherwise stated. Please keep a hard copy of all written work. Late Assignments You must complete all required components by the established deadlines. Late submission will incur a 5% per day penalty without the instructor s prior approval of extension and may result in a Fail grade for the course. If all work is not submitted by the end of the program, you will receive an F for the course. 7