Silent Film

ENGL 101.01/FLMST 210.05

Tuesday/Thursday 10:30 PM – 11:45 PM

Professor: Russell McDermott

Office Location: East College Room 405

Office Hours: Monday 4:30-5:30 PM, Thursday 4:30-5:30 PM, or by

appointment

Email: mcdermor@dickinson.edu

Course Description:

This course explores the emergence of the art of film from the end of the
19th century to the introduction of talkies in the late 1920s. Students will
consider the foundational figures in cinema, counter-narratives in cinematic
history, the rise of the studio system, and the emergence of stars. They will
also examine how cinematic language developed and discuss early
alternatives to the classical model. Students will engage with
contemporaneous film discourse as well as contemporary reflections on the
art in its nascent state. Students will discuss "attractions," the development
of "national" cinemas, and the politics and aesthetics of a variety of works.
Films discussed will include Modern Times, Nosferatu, Fantomas vs Fantomas,
and A Cottage on Dartmoor among others. Film showings will be Mondays at
7 p.m. in East College 411.

English Department Learning Goals:

ENGL 101 Texts in Context

Close reading (formal analysis) of texts interpreted in the contexts (e.g.,

cultural, historical, biographical, economic, political) that shape and are
shaped by them. Topics may include the African novel, early American
literature, Caribbean literature, Shakespeare on film, the romance, the quest,
images of women, 19th century literature, contemporary American fiction,
and American Indian literature.

1) the ability to read texts closely in a sensitive way (based on the presence
of germane summary, accurate paraphrase, and/or careful attention to
patterns and details of language).
2) the understanding of the relationship(s) between text and context in the
generation of meaning (“context” to include at least one of the following:
portions of a text other than the one under prime examination, other texts,
literary genres, history, biography, literary theory).

3) the ability to formulate a powerful critical argument (characterized by an

arguable thesis, the convincing marshaling of evidence, and grammatically
and mechanically correct prose).

Required Course Readings and Resources:

Readings will be available on Moodle and are listed on the syllabus. You will
be asked to purchase a few media objects.

Short Cuts: Silent Cinema (Napper)

Screenings

We will have weekly screenings each Monday at 7pm. We will watch the film
for the week together before we discuss the film on Tuesday and Thursday. I
will take attendance for the screenings. The screenings will almost never
take the entire 2 ½ hours (we have two longerish films)

Assignments and Exams:

MOVIE JOURNAL: You will be asked to keep a screening journal for this course.

MIDTERM PROJECT: Around the midway point of the semester, you will be
asked to complete a midterm project. This will take the form of a 6-7 page
essay on a specific question related to silent film which will be given in
advance.

WORKSHOP FEEDBACK: We will workshop both your midterm and your final
paper/project together in groups. You will receive marks for the feedback you
provide to your peers. I will discuss workshop processes before the day of the
workshop.

FINAL PROJECT: At the end of the semester, you will turn in either a 8-10
page paper or a creative critical project (think video essay, storymap, twine
project, scalar, etc) which explores one of the films we watched together (or
an approved-by-me alternative) and clearly articulates an idea about the
film.

Assignments
Participation 10%

Film Journal 20%

(Midterm) Workshop Feedback 15%

Midterm 20%

(Final) Workshop Feedback 15%

Final Creative/Critical Project 20%

Late Work Policy

I accept late work without penalty.

Meetings, Emails, and Drafts:

Please meet with me during the semester. I am happy to look at and

comment on early versions or work during these meetings. I will be available
during office hours and by appointment.

Please consider meeting with me for a consultation before your final project
is due.

Paper Formatting:

Please format papers according to MLA style standards. If you have questions
about MLA style please ask.

Attendance and Participation:

Attendance and participation are key to your success in this class. Please be
prepared to discuss the texts, films, and other media objects on the day that
they appear on the syllabus. While there are not direct consequences to
absence (I do not deduct letter grades or percentages with missed time), I do
not believe it is possible to do excellent work without being in the class,
prepared, and participating.

Technology:

Laptops and tablets are welcome for note-taking purposes as long as they
are not used in a way which creates a distraction for the class.

Plagiarism:
Please do not plagiarize. There are rather severe consequences to
plagiarism. Please read the student handbook on plagiarism. If you have any
questions at all about an issue related to plagiarism, please let me know.

AI:

I consider AI use, in this class, to be plagiarism. Please do not use generative

AI for any part of your work for this course. I want to read your words (from
your brains) imperfect, perhaps, but interesting.

Accommodations for Disabilities:

Dickinson values diverse types of learners and is committed to ensuring that

each student is afforded an equal opportunity to participate in all learning
experiences. If you have (or think you may have) a learning difference or a
disability—including a mental health, medical, or physical impairment– that
would impact your educational experience in this class, please contact the
Office of Disability Services (ODS) to schedule a meeting with Director Marni
Jones. She will confidentially discuss your needs, review your documentation,
and determine your eligibility for reasonable accommodations. To learn more
about available supports, go to www.dickinson.edu/ODS, email
DisabilityServices@dickinson.edu, call (717) 245-1734, or go to ODS in 106
Dana Hall.

If you’ve already been granted accommodations at Dickinson, please let me

know as soon as possible so that we can meet to review your
Accommodation Letter and complete your Access Plan. If you will need test
proctoring from ODS, remember that you will need to provide them with at
least one week's notice.

Physical Access to our Classroom

This class meets on the 3rd floor of Denny which has an elevator, located in
the back of the building. If you require the use of an elevator to access the
3rd floor, please let me know, and be sure that ADS (access@dickinson.edu)
knows as well. If there is ever a malfunction with the elevator, we will be
notified by email, and I will consult with ADS to identify our options for that
day.

Physical Access to My Office

My office is located on the 4th floor of East College, which has an elevator,
located as mentioned above. Again, if you require the use of an elevator to
access the 4th floor, please let me know, and be sure that ADS
(access@dickinson.edu) knows as well. If there is ever a malfunction with the
elevator, I will gladly arrange to meet you at an alternative location, either in
the building, nearby, or by video conference.

SCHEDULE

WEEK 1 Beginnings (Shorts)

Tue. 1/21 Introductions to Course, Material, and Each Other

Thur. 1/23 Shorts

WEEK 2 Modern Times

Tue. 1/28 Discussion of Modern Times

Thu. 1/30 SC Introduction

Usai “The Color of Nitrate”

King “The Sound of Silents”

WEEK 3 Beginnings (Proto Cinema and More Shorts)

Tue. 2/4 Discussion of Proto Cinema Objects

Thur. 2/6 SC America

Gunning “Cinema of Attractions”

WEEK 4 Battleship Potemkin

Tue. 2/11 Discuss Film

Thur. 2/13 SC Russia

Bordwell “Monumental Heroics”

WEEK 5 The Goddess and Little Annie Rooney (or another Pickford)
***SCREENING WILL BE EMAILED TO YOU SCREENING FOR WEEK 5 IS
CANCELLED

Tue. Class Cancelled

Thurs. 2/20

Gledhill “Mary Pickford: Icon of Stardom”

WEEK 6 Menilmontant

Tue. 2/25 Discuss Film

Thur. 2/27 SC Germany

Epstein on Magnification (not required)

Lantern media history archive

WEEK 7 Metropolis

Tue. 3/4 Discuss Film

Thur. 3/6 Women Film Pioneers (these are all very short and provide
excellent intro and context)

https://wfpp.columbia.edu/pioneer/ccp-alice-guy-blache/
https://wfpp.columbia.edu/pioneer/ccp-mabel-normand/
https://wfpp.columbia.edu/pioneer/ccp-lois-weber/

WORKSHOP MIDTERM

SPRING BREAK
WEEK 8 Fantomas v Fantomas

Tue. 3/18 Discuss Film

Thur. 3/20 Midterm Due

Callahan, “Zones of Anxiety, Movement, Musidora, and the
Crime Serials of Louis Feuillade”

WEEK 9 La Roue

Tue. 3/25 Discuss Film

Thur. 3/27 Abel “Essay on Gance”

WEEK 10 Nosferatu (and Nosferatu (2024))

Tue. 4/1 Discuss Film

Discuss Final

Thur. 4/3

Elsaesser, “Carl Mayer, Murnau, and The Last Laugh”

Week 12 The Passion of Joan of Ark

Tue. 4/15 Discuss Film

Workshop Final

Thur. 4/17

Dulac, “The Expressive Techniques of the Cinema”

Epstein, “On Certain Characteristics of Photogénie”

WEEK 11The General

Tue. 4/8 Discuss Film

Thur. 4/10 Perez “On Chaplin and Keaton”

Week 13 Within Our Gates

Tue. 4/22 Discuss Film

Thurs. 4/24
Charlene Regester, “The African American Press and Race Movies.”

Gibson, “Cinematic Foremothers: Zora Neale Hurston and Eloyce

King Patrick Gist”

WEEK 14 A Cottage on Dartmoor

Tue. 4/29 Discuss Film

Thur. 5/1 SC BRITAIN

FINAL PAPAER

Sat. May 13 FINAL PROJECT and FILM JOURNAL DUE ON MOODLE BY

12:00 PM