Lahore University of Management Sciences

CLCS 2214 Mechanics of Film

Fall 2021

Instructor Zebunnisa Hamid

Email zebunnisa.hamid@lums.edu.pk
Class Timings TBA
Office Hours TBA

COURSE DESCRIPTION

This course is a journey through the cinematic traditions, movements and developments that have defined Western cinemas in
particular, but whose influences has been felt globally, from early Soviet films, Italian Neorealism and Hollywood studio films to more
contemporary cinemas and the current digital age, including streaming platforms such as Netflix. We explore the historical, political,
cultural and social context in which these films have been made and released to understand how they inform the present. During
the term, we also examine film narratives and aesthetics through cinematic concepts and techniques such as mise-en-scène,
cinematography, sound and editing. At the same time Mechanics of Film serves as a practical introduction to the art of filmmaking.
Students learn the basic processes of filmmaking as they make their own short films using their mobile phones (including
storyboarding, scripting, filming and editing). These films reflect their own cinematic journey through the term and their
understanding of film form and style.

COURSE PREREQUISITE(S)
• There are no prerequisites for this course.
• This is a reading, writing, and practice intensive course.

COURSE OBJECTIVES & LEARNING OUTCOMES

• To introduce students to some of the most influential cinematic traditions
• To introduce students to basic film form, styles and techniques
• To introduce students to basic filmmaking skills
• To provide students with the foundation and tools required for a deeper analysis of film
• To encourage students to develop a vocabulary for film analysis and deepen their knowledge of film language
• To help students develop a keen interest in film studies and the creative arts in general

GRADING COMPONENTS
• Class Participation – 20%
Your class participation grades will compromise of the following components:
o Attendance – 5%:
§ Classes: While there is no separate grading component for attendance, regular classes will be held on
Zoom and attendance will be marked. The final grade will be added to your CP for the term. If you are
having any issues logging into class, please let your TA know in advance. Students coming to class more
than 10 minutes late without having cleared it with me or the TA in advance will lose ½ point on the day’s
attendance. Randomly selected students may be called on to speak during class.
o Perusall Reading – 5%: In place of quizzes, we will be using Perusall to ensure that everyone is keeping up with
assigned readings. Through Perusall you will be able to add your own annotations to each reading, ask and answer
each other’s questions, and have a discussion as you read. Perusall is able to calculate your notes and comments
on each reading, as well as allow us to keep track of everyone’s participation.
o Discussion Forums – 10%: Certain classes will be dedicated to film screenings where students will watch assigned
films and other visual texts on their own and then join the class for a discussion on the screening discussion forum.
There are no make ups for missed discussion forums.
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• In Class Assignments – 10%: We will be working on a number of exercises and activities in class (some of which may be
completed outside of class time), such as mood boards/charts, color palettes and sound work, to familiarize students with
different film aesthetics and techniques and help them prepare for the filmmaking process and their final projects.

• Short Essays – 30%: Two essays will be assigned during the term; prompts will be given closer to deadlines. All papers must
be double spaced, in Times New Roman font pt. 12 with 1-inch margins on all four sides, labelled properly, and following
MLA guidelines. One point will be deducted for each day an assignment is late. Assignments that are three days past their
due date will not be accepted. Following each submission, randomly selected papers will be checked for plagiarism. The
Academic Writing Lab (AWL) is an excellent resource for students who may need or want extra help with essay writing.
o Short Essay #1 – 4–5pages – 15%
o Short Essay #2 – 4–5pages – 15%

• The Short Film – Filmmaking Process – 20%

Throughout the term, we will be going through the filmmaking process, from coming up with an idea for a short film to
storyboarding the idea before writing a script and making a production plan. While students will be working on individual
projects, we will be workshopping these projects in smaller groups as we move through the different stages of filmmaking.
o Proposal & Storyboard – 10%
o Script & Film Production Plan – 10%

• Final Project – 20%

For their final project, students can opt to shoot, edit and submit the short film they have been working on throughout the
term OR they can make a presentation on one film or group of films by the same director. This presentation must include a
detailed analysis of the style and techniques utilized in the film, such as such as mise-en-scène, cinematography, sound and
editing.

GRADING SCALE

A+ 97.00 – 100% B+ 87.00 – 89.99% C+ 77.00 – 79.99% D+ 67.00 – 69.99%

A 93.00 – 96.99% B 83.00 – 86.99% C 73.00 – 76.99% D 63.00 – 66.99%
A- 90.00 – 92.99% B- 80.00 – 82.99% C- 70.00 – 72.99% D- 60.00 – 62.99%
F 0 – 59.99%

[This course employs absolute grading based on the standard US academic grading scale; this grading scale is final]

COURSE OVERVIEW

Topics Readings/Screenings Submissions

WK1 Course Introduction

S1 & 2

Cinematic Expansion – Mise-en-scène Readings: Cook, A History of Narrative

WK2
Film, p. 25–44 and Bordwell & Thompson,
S3 & 4 The Shot: Mise-en-scène, p. 112–133

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Readings: Cook, A History of Narrative
Soviet Silent Cinema – Cinematography Film, p. 89–108 and Bordwell & Thompson,
WK3
The Shot: Cinematography, p. 159–182
S5 & 6 Screening: Battleship Potemkin (dir. Sergei
M. Eisenstein, 1925)

Readings: Cook, A History of Narrative Short Essay #1

WK4 Hollywood and the 1920s – Editing Film, p. 119–137 and Bordwell &
S7 & S8 Thompson, The Relation of Shot to Shot:
Editing, p. 216–240

Readings: Cook, A History of Narrative

The Studio System – Sound & Film, p. 179–222 and Bordwell &
WK5 Storyboarding Thompson, Sound in Cinema, p. 263–272
S9 & 10 Screening: His Girl Friday (dir. Howard
Hawks, 1940)

Readings: Cook, A History of Narrative

Film, p. 251–274 and Bordwell & Film Proposal & Storyboard for
WK6 Thompson, Style in Citizen Kane, p. 312– Workshopping
Orson Welles and Citizen Kane
S11 & 12 321
Screenings: Citizen Kane (dir. Orson Welles,
1941) vs. Mank (dir. David Fincher, 2020)

Readings: Cook, A History of Narrative Film Proposal & Storyboard

Film, p. 275 – 302 and Bordwell & Final Submission
Thompson, Summary: Style and Film Form,
WK7 Wartime and Postwar Cinema: Italy and
p. 303–309
S13 & 14 the United States – Style and Form
Screenings: Bicycle Thieves (dir. Vittorio De
Sica, 1948) and Good Night, and Good Luck
(dir. George Clooney, 2005)

Readings: Cook, A History of Narrative

Film, p. 339–364 and Mortiz, Scripting
WK8 Stories: Some First Principles, p. 1–28
The French New Wave – Scriptwriting
S15 & 16 Screenings: Hiroshima Mon Amour (dir.
Alain Resnais, 1959) and Breathless (dir.
Jean-Luc Godard, 1960)

Readings: Cook, A History of Narrative

Britain and the European Renaissance Film, p. 385–403 and 425–466
WK9 Screening: Wild Strawberries (dir. Ingmar
S17 & 18 Bergman, 1957)

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Readings: Cook, A History of Narrative Script & Film Production Plan
Film, p. 669–700 and Mackendrick, The for Workshopping
WK10 Director & The Actor, p. 179–194
Return to Hollywood – Direction
S19 & 20 Screenings: Rear Window (dir. Alfred
Hitchcock, 1954) and The Birds (dir. Alfred
Hitchcock, 1963

Reading: Cook, A History of Narrative Film, Script & Film Production Plan
WK11 Animation and Indie Films p. 701–732 Final Submission
S21 & 22 Screenings: Toy Story (dir. John Lasseter,
1995) and When We Were Kings (dir. Leon
Gast, 1996)

Screenings: Blade Runner (dir. Ridley Scott,

WK12 Hollywood’s Obsession with Remakes & 1982) vs Blade Runner 2049 (dir. Denis
S23 & 24 the Question of Diversity Villeneuve, 2017) and Ghost in the Shell
(dir. Mamoru Oshii, 1995 film) vs. Ghost in
the Shell (dir. Rupert Sanders, 2017)

WK13 Superheroes & the Franchise Film: Reading: Lewis, Introduction to Producing,
S25 & 26 Marvel vs. DC – Producing p. 1–14

WK14 The Digital Revolution Reading: McDonald, From Online Video Short Essay #2
Store to Global Internet TV Network:
S27 & 28
Netflix and the Future of Home
Entertainment, p 203–218

WK15 Final Project

This syllabus is subject to change at the discretion of the instructor.

A NOTE REGARDING COURSE MATERIAL

Films, readings and other course material are used for academic purposes in this class and serve as a guide to enhance film analysis
and an understanding of film and screen studies. While the material used in the course is available to the general public, some of the
films assigned to the class and the supporting material or other academic aids used during the course may contain language, visuals
and other material that some may find disturbing or sensitive in nature – students are advised to speak to me in advance if they have
any concerns.

THE HONOR CODE

Any form of plagiarism, altering work that is not yours or submitting work prepared by someone else; cheating and disrespect of any
kind will not be tolerated. All students who take this course will be asked to sign an honor code on academic honesty and classroom
decorum (attendance and CP will not be counted until a signed copy of the honor code has been submitted).

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STATEMENT ON HARASSMENT
MGSHSS, LUMS and particularly this class, is a harassment free zone. There is absolutely zero tolerance for any behaviour that is
intended, or has the expected result of making anyone uncomfortable and negatively impacts the class environment, or any
individual’s ability to work to the best of their potential.

If you think that you may be a victim of harassment, or if you have observed any harassment occurring in the purview of this class,
please reach out and speak to me. If you are a victim, I strongly encourage you to reach out to the Office of Accessibility and Inclusion
at oai@lums.edu.pk or the sexual harassment inquiry committee at harassment@lums.edu.pk for any queries, clarifications, or
advice. You may choose to file an informal or a formal complaint to put an end to offending behaviour.