Course Description:
Over the last two decades, a collection of talented filmmakers have revitalized the horror genre. As part of our critical engagement with these artists and their films, students will: 1) discuss contemporary horror cinema as a culture practice that assumes multiple forms; 2) demonstrate how filmmakers can use horror cinema as a mode of aesthetic and cultural intervention; 3) annoy the kind of people who would rather that these texts not be studied at the university level; and, 4) contextualize these challenging texts within larger historical, aesthetic, cultural, and philosophical frameworks.
Contact Info:
Prof Jay McRoy
Office: CA 228
Office Hours: W 4:00 pm – 5:30 pm
Email: mcroy@uwp.edu
Web: www.thejaymcroy.com
Grading:
Class Participation (10%)
3 Critical Micro-themes/Brief Essays (700 words - 30% each). A successful micro-theme presents an argument about an assigned topic or question as clearly, precisely, and concisely as possible. Do not worry about elaborate introductions or conclusions. Successful micro-themes resemble detailed abstracts or, perhaps even more accurately, outlines created in sentence and paragraph form with transition statements linking the main and supporting points of your argument. You are encouraged to seek at least one or two outside sources for this project (no wikipedia or fan sites, etc.). A successful Micro-theme does the following:
1. Includes a very brief, 1-2 sentence introduction that includes a thesis statement and sets up an organizational plan;
2. Includes clear supporting paragraphs that provide specific textual evidence to support your claims;
3. Is comprised of thoughtful, concise, clear, and direct prose;
4. Is double spaced;
5. Is free of grammar errors and other surface mistakes (i.e. spelling errors).
Given the rigid word limit, narrowing your micro-theme to 700 words will prove very challenging. If you are new to writing critically about cinema or simply want to further refine your skills, I can think of few better texts than Timothy Corrigan's A Short Guide to Writing about Film; this work is a fantastic resource and is readily available used on-line.
Microtheme #1: Select a film (either one of the films we watched in class or one of the recommended films on the syllabus) and discuss what you see as one of the work’s major themes. As you write, explain how the theme is developed in the film, citing specific scenes or sequences to further strengthen your argument.
Microtheme #2: Select a key scene or sequence from one of the films we have watched this semester and explain how image, sound, and editing contribute to its dramatic impact. As you explore the scene/sequence, carefully consider how composition (what we see and how we see it) and sound design (what we hear and how we hear it) work together to condition how we experience the film’s action.
Microtheme #3: Either:
A) Select a film (either one of the films we watched in class or one of the recommended films on the syllabus) and discuss what you see as one of the work’s major themes. As you write, explain how the theme is developed in the film, citing specific scenes or sequences to further strengthen your argument.
OR
B) Select a key scene or sequence from one of the films we have watched this semester and explain how image, sound, and editing contribute to its dramatic impact. As you explore the scene/sequence, carefully consider how composition (what we see and how we see it) and sound design (what we hear and how we hear it) work together to condition how we experience the film’s action.
Plagiarism Warning:
There is nothing wrong with using other people's words and thoughts as long as you acknowledge your debt. In fact, you can frequently strengthen your writing by doing citing other critics' arguments. However, if you represent other people's words or ideas as if they were your own, then you are plagiarizing. Plagiarism includes: 1) paraphrasing or copying (without the use of quotation marks) someone else's words without acknowledgment; 2) using someone else's facts or ideas without acknowledgment, and, 3) handing in work for one course that you handed in for credit in another course without the permission of both instructors.
When you use published words, data, or thoughts, you should note their use. We will use MLA Guidelines throughout this course. When you use the ideas of friends or classmates, you should thank them in an endnote (e.g. "I am grateful to my friend so and so for the argument in the third paragraph"). If friends give you reactions but not suggestions, you need not acknowledge that help in print (though it is gracious to do so). Collaboration and using the work of others is the backbone of academia. Plagiarism and academic dishonesty destroys the possibility of working together as colleagues. Therefore, all instances of plagiarism in this class will be addressed with the utmost severity. If you have any questions as to whether something you have written for this class constitutes plagiarism, please see me before handing it in for credit.
Semester Breakdown:
2/2: Introduction & May (Lucky McKee, 2002)
2/9: Inside (Alexandre Bustillo & Julien Maury, 2007)
Recommended Viewing: High Tension (Alexandre Aja, 2003)
2/16: Martyrs (Pascal Laugier, 2008)
Recommended Viewing: Saint Maud (Rose Glass, 2019)
2/23: Raw (Julia Ducournau, 2016)
Recommended Viewing: Titane (Julia Ducournau, 2021)
3/2: Jennifer’s Body (Karyn Kusama, 2009)
Recommended Viewing: Ginger Snaps (John Fawcett, 2001)
MICROTHEME #1 DUE
3/9: American Mary (Jen and Sylvia Soska, 2012)
Recommended Viewing: The Neon Demon (Nicolas Winding Refn, 2016)
3/16: It Follows (David Robert Mitchell, 2014)
Recommended Viewing: Possessor (Brandon Cronenberg, 2020)
3/23: NO CLASS – SPRING BREAK
3/30: The Babadook (Jennifer Kent, 2014)
Recommended Viewing: Mother! (Darren Aronofsky, 2017)
4/6: A Girl Walks Home Alone at Night (Ana Lily Amirpour, 2014)
Recommended Viewing: Let the Right One In (Tomas Alfredson, 2008)
4/13: Get Out (Jordan Peele, 2017)
Recommended Viewing: Candyman (Nia DaCosta, 2021)
MICROTHEME #2 DUE
4/20: The Lighthouse (Robert Eggers, 2019)
Recommended Viewing: The Witch (Robert Eggers, 2015)
4/27: Midsommar (Ari Aster, 2019)
Recommended Viewing: Hereditary (Ari Aster, 2018)
5/4: Censor (Prano Bailey-Bond, 2021)
Recommended Viewing: Relic (Natalie Erica James, 2020)
MICROTHEME #3 DUE IN MY OFFICE (CA 228) BY 5:00 pm on Wednesday, May 11th.
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