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Department of Humanities
HUM 268 Social Protest and the Films of the Global 1960s
Dr. Devan Bissonette devan.bissonette@nau.edu
dlbissonette@gmail.com
Fall 2012 3.0 Credit Hours
Office Phone: 585-209-0444 (Eastern Time Zone--Check Time) Virtual Office Hours (Phone or IM): M-F 10AM-3:30PM EST (and by appt.) YouTube: http://www.youtube.com/user/historyispopculture Twitter: http://www.twitter.com/courseupdates
Interactive Table of Contents: ___________________________

1. General Course Information
a. Course Prerequisites b. Course Description c. Liberal Studies Information d. Student Learning Expectations/Outcomes e. Course Twitter f. E-Library a. Discussions and Participation b. Papers, Projects and Presentations c. Exams and Quizzes
7. Course & University Policies

a. Absences, Late Adds to the Course and Missing (Required) Texts b. Late Work and Extension Policy c. Academic Honesty/Plagiarism Policy d. Paper Formatting and Return Policy e. Paper Rewrite and Regrade Policy f. Virtual Behavioral Policies g. Feedback Expectations h. Extra Credit i. Weekly Schedule j. Students With Disabilities k. Miscellaneous University Policies l. Grade Scale m. Administrative Drop Procedures (for inactivity and non-attendance) n. Course Website Outage Policy
2. Assessment of Student Learning __Outcomes
3. Methods of Assessment 4. Assessment Timeline (Weekly __Summaries) 5. Course Structure/Approach 6. Required Course Materials
1. General Course Information

a. Course Prerequisites: XXX b. Course Description: -University Catalog Description: This course examines global culture change during the long 1960s through film of that era. Issues related to the cold war, decolonization, independence movements and race will be studied in transnational contexts. -Course-Specific Description: The decade of the 1960s was one of the most turbulent in recent history. The end of the Second World War signaled the start of decolonization and ideological shifts in governments across the globe. Political, social and cultural tensions exploded on the world scene early in the decade, culminating in the worldwide protests movements during 1968. While these issues were voiced by global protest movements on the streets, many of their concerns also found their way into theaters. Countercultural films were produced in the United States, postcolonial critiques in Africa and Europe, films of the Cultural Revolution in China, anti-capitalist cinema in the Soviet Union, etc. Choosing from both popular and "indie" films made during the long 1960s (1956-1975), this course will consider the use of film to forward protest ideologies related to politics, race, colonialism and culture, paying particular attention to each film's critique of mass society, those who made them and the global socio-cultural environment in which each was made. -Note on Expectations for Online Classes: Unlike a traditional classroom, the online student has much more freedom, but with that comes additional responsibilities. Without a real-time lecture to rehash the readings, its much harder for me to tell how well you are absorbing course concepts (no blank stares or confused looks) and harder for those concepts to be reinforced in our limited communications. You must ask questions about the material when you have them! Our virtual discussions take on a similar function as traditional classroom conversation, but your preparedness is more important here than in the regular classroom. Everyone must participate, so make sure you keep up on the readings. Please think of our weekly discussions as a collective search for knowledge through digital conversations, not a simple rehashing of facts done simply to earn points. Your views, your interpretations, your willingness to push your ideas into uncertain territory and most of all your willingness share all these thoughts with us will make this course both intellectually rewarding and fun! To prepare for each week, I encourage you to underline key evidence as you read and take notes both on the readings and discussion so you can locate evidence easily during our quizzes and tests (if applicable), which will be based around discussion and the reading (and are openbook and note). Ive built the syllabus with one-page weekly reminders which should make it pretty easy to stay on top of what you must do (so dont be concerned by the syllabus' length) from week to week. Please use the Weekly Summaries as a sort of checklist to stay on top of expectations, and again, dont be shy about asking questions. If theres one consistent concern I get from students, its that they feel alone without the traditional classroom dynamic, so I've tried to build a syllabus that covers as much ground as explicitly as possible. Nonetheless, dont forget Im here! I can usually reply to emails quickly, so use it liberally. Above all else, you have a lot of freedom to craft paper topics and shift discussions into areas that reflect your interests (as long as it's still on topic). I believe this type of freedom is essential to the success of the virtual classroom, but I know some are uncomfortable with this type of latitude with this work. If so, please talk to me in well in advance of due dates, otherwise you may wish to consider a course with a more traditional classroom structure. 2
-Time Expectations: In a typical classroom, for every hour of time spent in class each week you spend two hours outside of class doing related work, per AZ standards. In a three-credit course like this then, expect to devote six to nine hours per week to the material. Introductory courses tend to fall on the low side of this scale, upper-level courses on the high side. Weeks with assignments due beyond discussions involve more time, so the schedule has its ups and downs but should balance out by the end of the term. Keep this basic time-block in mind each week to ensure you will be able to keep up on the material. c. Liberal Studies Information: The mission of the Liberal Studies Program (LSP) at Northern Arizona University is to prepare students to live responsible, productive, and creative lives as citizens of a dramatically changing world. To accomplish the mission of Liberal Studies, Northern Arizona University provides a program that challenges students to gain a deeper understanding of the natural environment and the worlds peoples, to explore the traditions and legacies that have created the dynamics and tensions that shape the world, to examine their potential contributions to society, and thus to better determine their own places in that world. Through the program students acquire a broad range of knowledge and develop essential skills for professional success and life beyond graduation. This class supports the mission of the LSP through a transnational study of social movements of the 1960s as they protested issues of race, gender, colonialism and other ideological concerns through film. Studying each of these concepts in their appropriate cultural context, the course considers the effectiveness of film as a medium of global social protest. This course fits within Cultural Understanding Distribution Block due to its study of western and non-western peoples and the contexts in which they communicated ideas through a common medium. Using an interdisciplinary framework, the course embraces the diversity of views on the Global 1960s to better understand how different cultural traditions shaped the protests of this tumultuous period in world history. This course also supports NAU's diversity requirement through its study of cinema across borders. Surveying films from five continents and a range of peoples from European, Asian, African and South American cultures, students will engage with a variety cultural modes of representation and styles of filmic engagement throughout the semester. The course studies the global spread of protest movements born from issues related to inequality through cinema of the 1960s using a nuanced understanding of each culture's unique socio-historical context. To do so students will engage with a mix of history and cultural studies as a foundation from which to consider the diversity of approaches used to address issues related to social injustice within each culture/region and its effect on the progression of the decade as seen through films of this era. d. Student Learning Expectations/Outcomes: With any humanities-centered curriculum, the first goal of the class is to hone your critical-thinking skills, especially as it relates to human activities and behavior that have shape, are shaping, and will shape the world in which we life. To this end, one hope of the course is that you will learn to look at familiar subjects in different ways to see them in a new light and take new meaning from them. To this end, by the conclusion of the term you will be able to: -Explain the impact of the global 1960s on world cultures. -Identify cross-cultural themes and concerns that shaped the global 1960s. -Through close readings, to identify ideological messages in film. -Discuss the role of film in producing and challenging cultural norms. -Recognize the influence of postcolonial ideas on the modern world. e. Course Twitter: On the left side of the BBLearn Menu is link to our course twitter account, @courseupdates. You may access the feed within the course, or by going to twitter.com (you can just use this link). I will post short updates on grading here as well as additional materials you may wish to discuss in class or that might help you with your coursework. I also encourage you to use this as a 3
forum to discuss issues related to the class ideas that don't fit the basic discussion prompts for the week or you'd prefer to discuss outside the traditional course setting (this of this as the pre- and postclass conversation space). Make sure you check up on the feed! f. E-Library: Within our BBLearn course menu is a link to our Electronic Library (E-Library). This secured collection of material is individual to our course. There you will find all the readings and films listed on the syllabus with the parenthetical notation (E-Library) after their listing. Aside from required materials, you will also find some suggested readings related to the course, writing tips, etc.
2. Assessment of Student Learning Outcomes (Assignment Descriptions)

a. Discussions and Participation: -Discussion Prompt Replies (25%): Each week we will have one or two discussions about the weeks materials. They will be split up into a General and Specific Topic Board. Each board has a question for you answer. You are required to respond to both the General and Specific Topic Board questions posted this week. Your response to each topic question should be at least 200 words and cite the textbook/supplementary readings assigned for the week at least once. Be sure to either quote or paraphrase specific ideas from the source(s). Do not just mention a name! Above all, make sure you answer all parts of the question. I am looking to see 1) a reflection in the post that youve done and understand the readings and 2) that you can apply that knowledge to a specific issue related to the course (see the rubric here). The response to the General Topic Board should be posted no later than 11:59PM, MST of Day 3. The response to the Specific Topic Board (when assigned) should be posted no later than 11:59PM, MST of Day 5. Once the week is over, no credit will be given for late posts. Quote and cite any sources, as any evidence of plagiarism will result in a 0. -Participation (30%): You are required to make at least four participatory comments (in addition to the topic board question response) each week. At least two comments must be 150 words and two 50 words (if for example there are two discussion boards required for the week, you would need to make four total posts between the boards, one 150+, one 50+ to each). Your comments should also be spread out over at least two days during this week to earn full credit. Responses might entail you agreeing with a peer and adding more detail to that post, adding a question related to their comment, using the comment to move discussion in a new direction based on the ideas presented by your peer, and so on. These are merely guidelinesgrades will be based on quality of substantive comments and shorter reactions (see the rubric here). The more you offer, the easier it will be to earn full credit each week. While I do not expect full citations, make sure you note the source of any outside evidence (by referencing a page number or website). Any evidence of plagiarism will result in a 0 for the week. All posts must be made by 11:59PM, MST of Day 7. Posts not made to the current week's board will not count towards your grade. Once the week is over, no credit will be given for late posts. b. Papers, Projects and Presentations: -Source Explorations (15% each): These short assignments (600-900 words) will address questions related to your reading and discussion board posts. You also have the option, in consultation with me, of choosing your own topic. Each paper should investigate the question posed, using a mix of course materials and outside evidence to argue their point. In short, each source exploration is an thesis-based analysis focused on the specific question. Make sure the paper is focused on an argument related to the question, not a set of facts. The paper grade is based on how effectively you argue your thesis as well as your ability to follow APA or MLA formatting style (see section 7d of the syllabus for more detail) and the clarity of argument. Do not only summarize the source: this will earn you no higher than a "C." You are required to cite the course readings and a peer-reviewed journal article not among the class readings once each in the paper. You are also welcome to use and cite websites as you find necessary. Failure to do so may 4
result in a significant loss of points. Students are required to hand in three source explorations during the semester. The first is due Week 6, the second Week 9, the last Week 14 at 11:59PM, Day 7 of the week they are assigned. These papers will give me a chance to critique your writing and enhance your critical thinking skills, especially as they relate to the popular arts. Papers should be uploaded through the "Papers and Projects" link on the left side of the course website; topics can be found there as well. When you click on them a window will appear where you may upload the paper and review feedback. When saving your papers for upload please use the following format: "LastName_Firstname_Assignmenttitle.doc." Any instance of plagiarism will result in a 0 for the assignment. Keep within the word count for the paper, as each writing assignment is not only a way to measure critical thinking but your ability to edit an argument within the required length. Expect a deduction of you do not. Once a paper is uploaded it is considered the "final" copy, so be certain you upload the correct paper, as you cannot edit after the submission. See associated rubric here. c. Exams and Quizzes: None
3. Methods of Assessment Assignments

Discussion Prompt Replies Participation Source Explorations (3 total) Totals Grading rubric for participation
Points
100 points 120 points 60 points each, 180 total 400 points
Percent of Total Score

25% 30% 45% 100%
Categories Excellent work
Key Criteria
material in their presentation of facts and analysis, one of which directly addresses the weeks discussion question. Other, shorter posts move discussion forward and offer helpful thoughts or questions to classmates. A reasonable attempt has been made to satisfy the criteria of relevant, substantive posts as described in the syllabus, but either the length, total number of posts or relevancy of the posts met but did not exceed the requirements. Significant absence of relevant information, required number of posts not met, length of posts too short and/or not addressing the material. Posting requirements have not been met, the posts do not show adequate comprehension of course materials, there are missing posts or posts only repeat source information and offer no individualized remarks.
90-100% Minimum number of posts met (often more) that show comprehension of course
Good work
80-89%
Acceptable work 70-79% Substandard work 60-69%
Not passable
0-59%
There have been no posts made for the week, all posts are irrelevant to the weeks material, or there has been an incident of plagiarism.
Grading rubric for all written work (including discussion prompts)
Paper Grading Breakdown Content and Evidence
Total Points/ Percent

50%
Points
Key Components of Grading Criteria Include (bold phrases indicate unmet expectations):
> Adherence of paper to assignment goals > Use of course concepts & other research to support argument > Effective mix of evidence (less than 33%) and original analysis > Evidence/explanations sufficient to address assignment goals > Quality and credibility of sources (varies by assignment) > Writers knowledge and understanding of course concepts > Capability of evidence to support thesis statement > Quality, originality and clarity of paper introduction and thesis > Ability of topic sentences and paragraphs to support thesis > Analytical quality of paper content/avoidance of excess summary > Author's success in linking together evidence with argument > Logical application of evidence to support key arguments > Persuasiveness of overall argument > Presence of introduction, body paragraphs, and conclusion > Logic of the assignment's organization and progression > Quality of editing and clarity of paper's language > Consistent tenses, proper punctuation and paragraph formatting > Quality of grammar, writing and word choice > Clarity (including definitions) of key concepts > Use and presence of accurate in-paper citations and quotations > Properly italicized or quoted titles (depending on source type) > Paper formatted according to relevant guidelines > Proper organization/formatting of the References/Works Cited > Adherence of paper to required length/word count > Presence of required number of (relevant) citations/sources Overall Comments:
Points Earned
Critical Thinking
20%
Points
Grammar, Organization, Clarity and Editing Formatting and Citing
20%
Points
10%
Points
Total
Editing Notations: AWK-Awkward WC-Word Choice SP-Spelling Error ?-Unclear Frag-Sentence Fragment Wdy-Too Wordy
100%
0
Points
4. Timeline For Assessments (Weekly Summary Sheets) Week 1, 8/27-9/2 Synopsis:

Schedule: Day 1=Monday Day 2=Tuesday Day3=Wednesday Day 4=Thursday Day 5=Friday Day 6=Saturday Day 7=Sunday
Introduction
This week we'll begin by introducing ourselves and then turn to the most fundamental question all face who study this tumultuous period in world history: the chasm between the history of the 1960s and the ability of film to represent (or mirror) these ideological conflicts. To what extent can we separate fact from fiction, or is the key not in facts but the stories told by this new style of filmmaking? There are a few of the questions we'll consider as we dive into our study of global 1960s film.
Week 1 Checklist Introduction

-Video Introduction: http://youtu.be/HGMXsASZ9qM -Secondary Source(s): Nowell-Smith, Ch.2; Fink, Gassert and Junker, Introduction (E-Library) -Discussion Prompt General Topic Board Replies: Specific Topic Board -Participation: Participation to General Topic Brd. Commentary of Specific Topic Brd.
Review of Weekly Tasks (details earlier in syllabus and Bb)
Due Date
First Day of This Week Day 3, 11:59PM MST Day 5, 11:59PM MST Have all criteria met by Day 7, 11:59PM MST Total Points This Week
Points
N/A 5 Points 5 Points 4 Points 4 Points 18 Points
-Readings: All of the weeks assigned reading should be done by the first day of the week. Readings displayed with underlined blue links indicate material that can be accessed online by clicking on the colored text. -Weekly Discussion Topic Prompt Replies: Respond to both the General Topic Board (GB) and Specific Topic Board (SB) questions. Responses should be at least 200 words and cite the textbook/supplementary readings at least once. The GB response should be posted by 11:59PM, MST of Day 3. The SB response should be posted no later than 11:59PM, MST of Day 5. Quote and cite any sources. Evidence of plagiarism will result in a 0. Full Requirements Here. -Participation: You should post at least one reply of 150 words and one of at least 50 words to each discussion board available this week. Replies to any peer or instructor count as participatory posts. Spread your comments out over at least two days during this week to earn full credit. All posts must be made by 11:59PM, MST of Day 7. Quote and cite any sources, as any evidence of plagiarism will result in a 0. Full Requirements Here. -Tips and Suggestions: Post early in case a problem arises later so you dont risk a deduction. Posts made after the week's end will not earn credit, though main discussion board replies made late but within the week the board is active will count for partial credit. Make sure all posts reflect your knowledge of the course materials. Exceed the minimum participatory (substantive) posts to best ensure full credit. If I feel your remarks exceed expectations in both quantity and quality I may award up to one point of extra credit to your discussion score, details here. If for some reason an issue arises that prevents you from getting all your work done on time, let me know before as early as possible, before the week ends if you wish an accommodation. Details here.
Week 2, 9/3-9/9 Synopsis:

Unit 1: Vietnam as the Wild, Wild West and the End of (An) Ideology
All good things must come to an end; thus it was with the 60s. Why start with a film at the end though? The Wild Bunch is an excellent example of how unsettled things were and just how unsettling many of the ideas of the era were to those living through them. There are no easy answers for this bunch, just as the 60s provided no easy answers to those politically engaged, which makes this a great place to start seeking to understand the "culture wars" of the 60s, especially just how high the stakes were in this very real melodrama.
Alternative films: Roger Corman, The Wild Angels; Robert Altman, M.A.S.H (E-Library); Arthur Penn, Bonnie and Clyde (E-Library)
Week 2 Checklist The United States

-Video Introduction: http://youtu.be/SUC0QAatvl0 -Secondary Source(s): Nowell-Smith, Ch.8; Suri, Ch. 1 -Film(s): Sam Pekinpah-The Wild Bunch (ELibrary)
Due Date
First Day of This Week First Day of This Week Day 3, 11:59PM MST Have all criteria met by Day 7, 11:59PM MST Total Points This Week
Points
N/A N/A 5 Points 8 Points 13 Points
-Discussion Prompt General Topic Board Reply: -Participation: Participation to Topic Board
-Readings: All of the weeks assigned reading should be done by the first day of the week. Readings displayed with underlined blue links indicate material that can be accessed online by clicking on the colored text. -Weekly Discussion Topic Prompt Reply: You are required to respond to the General Topic Board (GB) question posted this week. Your response should be at least 200 words and cite the textbook/supplementary readings at least once. Make sure to answer all parts of the question. The GB response should be posted by 11:59PM, MST of Day 3. Full Requirements Here. -Participation: You are required to make at least four replies to the posts of your classmates on the General Topic Board (GB) this week (your discussion response does not count). Two replies should be at least 150 words. Replies to any peer or instructor count as participatory posts. Spread your comments out over at least two days during this week to earn full credit. All posts must be made by 11:59PM, MST of Day 7. Quote and cite any sources, as any evidence of plagiarism will result in a 0. Full Requirements Here. -Tips and Suggestions: Post early in case a problem arises later so you dont risk a deduction. Posts made after the week's end will not earn credit, though main discussion board replies made late but within the week the board is active will count for partial credit. Make sure all posts reflect your knowledge of the course materials. Exceed the minimum participatory (substantive) posts to best ensure full credit. If I feel your remarks exceed expectations in both quantity and quality I may award up to one point of extra credit to your discussion score, details here. If for some reason an issue arises that prevents you from getting all your work done on time, let me know before as early as possible, before the week ends if you wish an accommodation. Details here.
Week 3, 9/10-9/16 Unit 1: American Dissent=Social Chaos Though American film had a rather conservative reputation in the 1960s, there Synopsis:
were directors who did challenge something about the status quo. Ivan Dixon, adapting the book The Spook Who Sat By the Door for the silver screen, does just that. Unlike most of his American contemporaries, he doesn't hide the consequences of this challenge for the sake of creating a film with mass appeal. We'll consider the consequences of the film's racial critique and the status of racial difference in the 1960s this week as we conclude our look at American film.
Alternative films: Gordon Parks, The Learning Tree; Stanley Kramer, Guess Who's Coming to Dinner (E-Library); Rick Carrier, Strangers in the City (E-Library)
Week 3 Checklist The United States

-Video Introduction: http://youtu.be/GYsxfceL5Us -Secondary Source(s): Nowell-Smith, Ch.3 -Film(s): Ivan Dixon, The Spook Who Sat By The
Door (E-Library)
Due Date
Points
Week 4, 9/17-9/23 Unit 2: Western Europe and the Banal Thrill of the Everyday While American filmmakers dragged their feet in reconsidering the form--not to Synopsis:
mention the content--of cinema, their French contemporaries had no such misgivings. It's no coincidence that France was also one of the central flashpoints for the protests of the 1960s. As students and the government clashed, they had not just ideas to draw on, but new perspectives on life that could be traced back to directors like Godard, adapting philosophical ideas prominent since WWII to a new style of cinema. We'll consider both the form and content of this new cinema, as well as its consequences for a nation still rediscovering itself, as we turn our attention to France.
Alternative films: Barbet Schroeder, More; Rene Vienet, Can Dialectics Break Bricks? (Online); Francois Truffaut, The 400 Blows (E-Library)
Week 4 Checklist Western Europe

-Video Introduction: http://youtu.be/8haVoXs6acI -Secondary Source(s): Nowell-Smith, Chs.11, 15. -Film(s): Jean-Luc Godard, Breathless (A bout de
souffle) (E-Library)
Due Date
Points
10
Week 5, 9/24-9/30 Unit 2: Western Europe and the Specter of Colonization From the banal to the brutal, this week we turn to the very real experience of the Synopsis:
Algerian and French peoples during the Algerian struggle for independence, as dramatized in The Battle of Algiers. Capturing the essential dilemmas of colonialism from the inside out, director Gillo Pontecorvo presents a complex message about identity and self-determination, issues that had engulfed the globe in large part by the time the film debuted. This week we'll consider the message behind the film and the consequences of its social critque both then and now.
Alternative films: Gillo Pontecorvo, Burn! (E-Library); Costa Garvas, Z (E-Library); Federico Fellini, 8 1/2 (E-Library); Michelangelo Antonioni, L'avventura (E-Library)
Due Date
Points
N/A N/A 5 Points 5 Points 4 Points 4 Points 18 Points
-Video Introduction: http://youtu.be/onGwIT_J-Qo -Secondary Source(s): Suri, Ch. 2 First Day of This Week -Film(s): Gillo Pontecorvo, The Battle of Algiers (E- First Day of This Week
Library)
-Discussion Prompt General Topic Board Replies: Specific Topic Board -Participation: Participation to General Topic Brd. Commentary of Specific Topic Brd.
Day 3, 11:59PM MST Day 5, 11:59PM MST Have all criteria met by Day 7, 11:59PM MST Total Points This Week
11
Week 6, 10/1-10/7 Unit 2: Western Europe and the Duality of Modern Humanity This week we wrap up our study of North and Western European film with one Synopsis:
of the most iconic directors in that continent's history, Ingmar Berman. Persona, which Bergman credited with reinvigorating his passion for film, eliminates much of the "chatter" of civilization we've seen in past films to study the human condition in the postwar world. This week we'll consider its status, as well as humanity's future prognosis in light of of the criticisms of the 1960s.
Alternative films: Viljot Sjoman, I Am Curious (Yellow); Ingmar Berman, Through A Glass Darkly (E-Library)

-Video Introduction: http://youtu.be/MgS1xvVeUxA -Secondary Source(s): Nowell-Smith, Ch.4; Evans, "Sons, Daughters, and Patriarchy" -Film(s): Ingmar Berman, Persona (E-Library) -Discussion Prompt General Topic Board Reply: -Participation: Participation to Topic Board -Written Assignment: Source Exploration
Due Date
First Day of This Week First Day of This Week Day 3, 11:59PM MST Have all criteria met by Day 7, 11:59PM MST Day 7, 11:59PM MST Total Points This Week
Points
N/A N/A 5 Points 8 Points 60 Points 73 Points
-Readings: All of the weeks assigned reading should be done by the first day of the week. Readings displayed with underlined blue links indicate material that can be accessed online by clicking on the colored text. -Weekly Discussion Topic Prompt Reply: You are required to respond to the General Topic Board (GB) question posted this week. Your response should be at least 200 words and cite the textbook/supplementary readings at least once. Make sure to answer all parts of the question. The GB response should be posted by 11:59PM, MST of Day 3. Full Requirements Here. -Participation: You are required to make at least four replies to the posts of your classmates on the General Topic Board (GB) this week (your discussion response does not count). Two replies should be at least 150 words. Replies to any peer or instructor count as participatory posts. Spread your comments out over at least two days during this week to earn full credit. All posts must be made by 11:59PM, MST of Day 7. Quote and cite any sources, as any evidence of plagiarism will result in a 0. Full Requirements Here. -Source Exploration: The paper is 650-900 words. Cite the course readings and a peer-reviewed journal article at least once. Questions are available under "Papers and Projects." Full details available here. -Tips and Paper Suggestions: Post early in case a problem arises later so you dont risk a deduction. Posts made after the week's end will not earn credit, though main discussion board replies made late but within the week the board is active will count for partial credit. Make sure all posts reflect your knowledge of the course materials. Exceed the minimum participatory (substantive) posts to best ensure full credit. If I feel your remarks exceed expectations in both quantity and quality I may award up to one point of extra credit to your discussion score, details here. For the paper, pick an argument feasible for the paper's length (do not use a factual statement!). Start early to identify adequate sources. If you have trouble locating appropriate material, just let me know. If for some reason an issue arises that prevents you from getting all your work done on time, let me know before as early as possible, before the week ends if you wish an accommodation. Details here.
12
Week 7, 10/810/14 Synopsis:

Unit 3: Behind the Iron Curtain: Eastern Europe and the Limits of Dissent
We share connections with Western culture that make some of the struggles and experiences we've studied to date resonate with us, even decades later. This connection fades as we peer behind the Iron Curtain (the metaphorical boundary between the non-communist and communist world). Eastern Europe had become a spoil of war for the Soviet Union, and with that began decades of tension over the influence of Soviet dogma over more nationalist sentiments. Generally unable to criticize the powers that be publicly, film became a prime means for individuals in the satellite nations of Eastern Europe to question Soviet power through plots that became parables of reality. We'll turn to one of the most powerful such narratives this week.
Alternative films: Roman Polanski, Knife in the Water (E-Library); Alekander Petrovic, It Rains in my Village (Netflix Instant); Miklos Janco, The Red and the White (E-Library)
Week 7 Checklist Behind the Iron Curtain

-Video Introduction: -Secondary Source(s): -Film(s): -Discussion Prompt Reply: -Participation: http://youtu.be/FgFWn7N9gXM Nowell-Smith, Ch. 13; Suri, Ch. 3
Milos Forman, Fireman's Ball (E-Library)
Due Date
Points
General Topic Board Participation to Topic Board
13

Unit 3: Behind the Iron Curtain: Gender Politics and the Revolution
Escape from the problems bubbling to the surface in the 1960s was on the mind of many across the globe, but few had the means to literally do so, as we learn in Wings. The film is hardly about a flight of fancy however, but another exploration of the cultural consequences of World War II on the 1960s. This time, however, the experience is shaped through a female director and star, something unheard of in Western films. This week we'll consider the potential consequences of this choice as well as the film's message about communism and gender in the 1960s.
Alternative films: Mikhail Kalatozov, The Cranes are Flying (E-Library); Sergei Parajanov, The Shadows of Pomegranates (Netflix Instant, archive.org)
Week 8 Checklist Behind the Iron Curtain

-Video Introduction: -Secondary Source(s): -Film(s): -Discussion Prompt Reply: -Participation: http://youtu.be/mQfMzvxOBGc Nowell-Smith, Ch.9 Larisa Shepitko-Wings (E-Library) General Topic Board Participation to Topic Board
Due Date
Points
14

Unit 3: Behind the Iron Curtain: The Postwar Crisis of Confidence in Humanity
It may be hard to appreciate how strongly the specter of World War II hung over the Soviet Union and its satellite states in the 60s (it might be comparable to 9/11 today). Much like in the West, WWII raised a number of troubling questions about humanity, but also, as we see in Ivan's Childhood, the intermingling of war and youth. In a country in the midst of a cold war that constantly threatened to become hot, this week we'll consider the film's metaphorical message about war and the human condition amidst the growing liberalization inside the Soviet Union during Khrushchev's years of power.
Alternative films: Andrei Tarkovsky, Solaris (E-Library), Mikhal Romm, Nine Days of One Year
Week 9 Checklist
Behind the Iron Curtain
Due Date
First Day of This Week First Day of This Week Day 3, 11:59PM MST Have all criteria met by Day 7, 11:59PM MST Day 7, 11:59PM MST Total Points This Week
Points
-Video Introduction: http://youtu.be/iSynXFbG33A -Secondary Source(s): Suri, Ch. 4 -Film(s): Andrei Tarkovsky, Ivan's Childhood (ELibrary)
-Discussion Prompt General Topic Board Reply: -Participation: Participation to Topic Board -Written Assignment: Source Exploration
15

Unit 4: China: Revolutionary Ideas on Gender Norms in Practice

While the Eastern Bloc had somewhat softened its uncritical public embrace of all things communist for much of the 1960s, things were far different in China. While Mao "planned" the cultural revolution to shake up Chinese society, that did not extend to any questioning of state ideology or Chinese leadership. Films retained a strongly Marxist, nationalist and pre-revolution centric fervor for the promise of communism to solve the problems faced by the Chinese peasantry. We'll consider the consequences of this style (and ideology) as well as China's place in the global 1960s this week as we watch The Red Detachment of Women.
Alternative films: Zhaodi Wu, Heroic Sons and Daughters (E-Library); Wang Ping; Sentinels Under Neon Lights (E-Library: Mandarin Only)
Week 10 Checklist
East Asia
Due Date
First Day of This Week First Day of This Week Day 3, 11:59PM MST Day 5, 11:59PM MST Have all criteria met by Day 7, 11:59PM MST Total Points This Week
Points
-Video Introduction: http://youtu.be/Sfo7GPB6Xlk -Secondary Source(s): Fink, Gassert and Junker, China Under Siege (E-Library) -Film(s): Xie Jin, The Red Detachment of Women
(E-Library)
-Discussion Prompt General Topic Board Replies: Specific Topic Board -Participation: Participation to General Topic Brd Commentary of Specific Topic Brd
16

Unit 4: Japan's Fragmented National Consciousness and the Problem of Fate

With about a century of (forced) Westernization under its belt, Japan faced many of the same domestic conflicts we've seen in Europe and America. The unique cultural context of Japan, both in terms of spirituality and ethics, led to some far different consequences, though many of the same familiar pro-establishment reactions. This week we'll consider the extent to which film problematized centuries-worth of Japanese culture as it came up against the demands of capitalism in the 1960s.
Alternative films: Mikio Naurse, When A Woman Ascends the Stairs; Hiroshi Teshigahara, Woman in the Dunes (E-Library); Nagisa Oshima, Pleasures of the Flesh; Nobuo Nakagara, Jigoku; Akira Kurasowa, Yojimbo (E-Library)
Week 11 Checklist
East Asia
Due Date
Points
N/A
-Video Introduction: http://youtu.be/DYu0dKbkTWE -Secondary Source(s): Nowell-Smith, Ch.5; Marotti, First Day of This Week "Japan 1968: The Performance of Violence and the Theater of Protest," (E-Library) -Film(s): Hiroshi Teshigahara, Pitfall (EFirst Day of This Week
Library)
N/A 5 Points 8 Points 13 Points
Day 3, 11:59PM MST Have all criteria met by Day 7, 11:59PM MST Total Points This Week
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Unit 5: African Film Turns the Tables on Colonialism

Many of the films we've seen this term and certainly much of the reading indicates the relevance of colonialism to the growing global unrest of the 60s. All we've seen so far, even in those films sympathetic to the colonized, were created by citizens of colonized nations. This week we turn the tables and look at colonization and its consequences from the inside out. To begin, we'll find ourselves placed into the middle of a setting torn between the values and desires of colonizer and colonized, destabilizing the viewer's position in much the same way the protesters of the 60s sought to shake up societies they felt had gone stagnant.
Alternative films: Jean-Luc Godard, Le Petit Soldat, Ousmane Sembene, Black Girl (ELibrary)
Week 12 Checklist
Africa
Due Date
Points
-Video Introduction: http://youtu.be/4zjVdQcdeV0 -Secondary Source(s): Franz Fanon, "Reciprocal Bases of National Culture and the Fight for Freedom" -Film(s): Ousmane Sembene, Mandabi (ELibrary)
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Unit 5: Looking at the Place of the "Other" in An Age of European (Supposed) Enlightenment
For our second week of African film, we examine the experience of a colonized people in the land of the colonizer, something almost completely absent in film then and now. Given the critiques within Western Europe towards colonization that was wreaking havoc in the streets, pay close attention to this meeting of cultures and consider to what extent these meetings help explain some of the consequences of the long-standing arguments in favor of Western imperialism.
Alternative films: Shadi Abdel, The Night of Counting the Years (archive.org--turn on CC in "en"); Djibril Diop Mambety, Touki Bouki (E-Library)
Week 13 Checklist
Africa
Due Date
Points
-Video Introduction: http://youtu.be/GXrMG5ZYIYQ -Secondary Source(s): Suri, Ch. 5, Talton, "1960s Africa First Day of This Week in Historical Perspective." -Film(s): Med Hondo, Soleil O (E-Library) First Day of This Week -Discussion Prompt General Topic Board Day 3, 11:59PM MST Replies: Specific Topic Board Day 5, 11:59PM MST -Participation: Participation to both Topic Boards Have all criteria met by Day 7, 11:59PM MST Total Points This Week Review of Weekly Tasks (details earlier in syllabus and Bb)
19

Unit 6: Colonialism's Legacy and the Working Class of Latin America

While the working class and student protesters in the global 60s rarely found long-term common ground, they did, as we've read, have very much in common. In Araya we see the critique of Western imperialism brought to life in true documentary form. In the drudgery of life built around the collection of salt, the consequences of a life shaped under the shadow of the colonizer is explored, and in that, we'll see this week the extent to which film could muster up any sense of where humanity was going next.
Alternative films: Jorge Sanjines, Courage of the People (The Night of San Juan) (E-Library; Tomas Alea, Memories of Underdevelopment (E-Library); Nelson Pereira de los Santos, Vidas Secas (Barren Lives) (E-Library)
Week 14 Checklist
Latin America
Due Date
First Day of This Week
Points
N/A
-Video Introduction: http://youtu.be/XfVi-MoiHuo -Secondary Source(s): Nowell-Smith, Ch.14; Gould, "Solidarity under Siege: The Latin American Left, 1968" (ELibrary) -Film(s): Margot Benacerraf, Araya (ELibrary)
First Day of This Week Day 3, 11:59PM MST Have all criteria met by Day 7, 11:59PM MST Day 7, 11:59PM MST Total Points This Week
N/A 5 Points 8 Points 60 Points 73 Points
-Discussion Prompt General Topic Board Reply: -Participation: Participation to Topic Board -Written Assignment: Source Exploration
20

Unit 6: Religion, Humanity, and the Barrel of a Gun Versus the Colonial Spirit
We began our exploration of 60s film in the wild west, and we'll end it in another, perhaps wilder--or at least more surreal--west. Perhaps the most ideologically challenging film of the term, Black God, White Devil takes this idea of the dualconsciousness created in the intermixing of colonizer and colonized and pushed it to some vicious extremes. We'll consider its meaning for the future of the Third World, as well as the 1960s as a whole, as we wrap up the course this week.
Alternative films: Glauber Rocha-Antonio das Mortes; Arturo Ripstein, El Castillo de la Puerza, Luis Bunuel, The Exterminating Angel, Alejandro Jodorowsky, The Holy Mountain (ELibrary)
Week 15 Checklist
Latin America
Due Date
First Day of This Week First Day of This Week Day 3, 11:59PM MST Day 5, 11:59PM MST Have all criteria met by Day 7, 11:59PM MST Total Points This Week
Points
-Video Introduction: http://youtu.be/dFQEg8Ah4NA -Secondary Source(s): Nowell-Smith, Conclusion; Suri, Ch. 6, Conclusion. -Film(s): Glauber Rocha-Black God, White Devil
(E-Library)
-Discussion Prompt General Topic Board Replies: Specific Topic Board -Participation: Participation to General Topic Brd Commentary of Specific Topic Brd
21
5. Required Course Materials

Required Texts: -Geoffery Nowell-Smith, Making Waves: New Cinema of the 1960s (New York: Continuum: 2007) -Jeremi Suri, Power and Protest, Global Revolution and the Rise of Detente (Cambridge, MA: Harvard University Press, 2005) Required Articles and Book Chapters (Available via E-Library): -Jeffrey L. Gould, "Solidarity Under Siege: The Latin American Left, 1968," American Historical Review 114.2 (April 2009): 348-375. -William Marotti, "Japan 1968: The Performance of Violence and the Theater of Protest," American Historical Review 114:1 (February 2009): 97-135. -Carole Fink, Phillip Gassert, and Detlef Junker, Eds. 1968: The World Transformed (Washington, DC: Cambridge University Press, 1998). -Benjamin Talton, "1960s Africa in Historical Perspective: An Introduction," Journal of Black Studies 43.3 (October 2011): 3-10. -Sara Evans, "Sons, Daughters, and Patriarchy: Gender and the 1968 Generation," American Historical Review 114.2 (April 2009): 331-347.
6. Course Structure/Approach
As an online-only curriculum, our weekly discussions are the lynch-pin of the course. All our interactions will occur through Blackboard, save for email. You are expected to follow the schedule outlined earlier in the syllabus and stay on top of assignments, including viewing our weekly introductions, examining the postings of your peers and keeping up with our weekly readings. Grades will be assessed on a weekly basis with these basic expectations in mind. Other written work operates both as a reading check, but more importantly as a means of evaluating your ability to apply course concepts to thematic, curriculum-specific, questions.
7. Course & University Policies

a. Absences, Late Adds to the Course and Missing (Required) Texts: We all could face in the course of the semester some unavoidable circumstance that prevents us from participating in the course for one week or more or prevent the timely completion of an assignment. Some of these events might be predicable, some not. If you sense something might prevent you from regular participation in the coursework for some time, please contact me in advance. If some circumstance suddenly occurs that takes you away from the course, please contact me as soon as possible. To give an example, emergency surgery is an excused absence. A vacation to Cabo (while perhaps important for one's mental health!) is not. Proof may be required to ensure an absence qualifies as excused. I 22
will do my best to make accommodations as warranted. If you add the class after the first day, please contact me immediately to discuss possible alternative makeup work to ensure you are caught up with the material ASAP. If you are missing a text because of a late add or some other reason, talk to me well in advance of the due date for related materials so we can consider potential options. b. Late Work and Extension Policy: Late papers, unless stated elsewhere, will lose one letter grade per day they are late. If a holiday proceeds a due that, these days still count for lateness. There are no extensions possible for the main discussion board posts or participation (though you can hand in posts late for partial credit within the week the board is active). If you miss a weeks worth of discussion board work, you may, with my approval for an excused absence, write a 600+ word essay discussing that weeks readings (both the textbook and online material) and our virtual discussion, due Day 5 of the following week. The paper should include remarks about specific discussion posts and replies. You also have the option of taking advantage of the weekly extra credit opportunities to makeup missed points due to an absence. Please contact me in advance if you have a problem getting an assignment done on time or will experience a long-term absence. I fully understand work (and life) can pile up sometimes, so if you talk to me about it in advance, I'm willing to be as flexible as possible within the rules of the syllabus. Emergency situations will, of course, be taken into consideration if an assignment is missed. In this case, forward me all the work completed on the missed assignment (this applies only to papers and presentations) with your explanation for the absence and we will formulate a solution from there. If you do hand in a paper late, please notify me via email after submission so I know to look for it to grade. c. Academic Honesty/Plagiarism Policy: [A]cademic integrity," according to NAU, "means that students and faculty jointly agree to adhere to a code of conduct appropriate to the mutually trusting relationship that must exist between student and teacher. Those values will not allow either to take credit for work not their own, or to be deceitful in any way, or to take unfair advantage of other students or of each other, or to be other than totally truthful and straightforward in all that they do. (NAU Student Handbook, Appendix G). Full policies can be found in your Student Handbook found here. Academic dishonesty includes any form of cheating, but typically takes the form of plagiarism and may lead to failure of the course. Understanding proper citation techniques and the reasons for doing so are of critical importance for later academic success. Please review proper citation techniques. Neither plagiarism (copying the work of another without proper attribution) nor any form of academic dishonesty (misrepresenting the ideas or research of another as your own) in your work will be tolerated. Evidence of either will result in a zero for an assignment. A second case may result in failure for the course. Please ask me if you are unfamiliar with proper use of sources. There are sample papers in the E-Library folder if you want to make sure your written work is compliant. For additional information, check out https://owl.english.purdue.edu/owl/section/2/ from Purdue University. d. Paper Formatting and Return Policy: For our assignments, I require students to prepare their work using the stylebook of the American Psychological Association (APA) or the Modern Language Association (MLA). Purdue Universitys writing center has an excellent website on preparing an APA-formatted paper here. They also offer a sample APA-formatted paper and a convenient slideshow you can follow as you put your papers together. For MLA, check out Purdue's basic rulebook as well as another slideshow. I will upload some helpful documents I've made to "ELibrary" as well. Please follow one of these formats in your papers. Some key points remember as you write (no matter the style) include the need to include an introduction (explaining the goals of the paper), body (the evidence and analysis) and conclusion (reiterating the paper's evidence and overall point). Follow basic writing rules closely or it will negatively affect your grade. Additionally, make sure you quote all material you take from a source and, with this or paraphrased material, include a citation both in the paper and at its end. You do not 23
want to receive a 0 for an assignment because it appears plagiarized due to a lack of proper citations. Aside from issues with formatting, grammar, organization, coherency and editing are significant portions of your overall paper grade. Their weight represents the importance of these factors in presenting a clear, effective and well-reasoned argument. If a reader cannot understand what you are saying due to issues with the paper's form or content, they will not comprehend your argument, which lowers your performance in the other rubric categories. If your paper earns less than 50% in the coherency or formatting rubric categories, it will be returned with suggestions for further editing. You will have four days after the paper is returned to revise and resubmit the paper. There will be a 10% penalty to the overall paper grade for any returned paper. However, any such paper would have already lost more than this percentage, so this is a chance for you to improve your performance on the paper and enhance your overall effectiveness as a writer. e. Paper Rewrite and Regrade Policy: Anyone who earns below 85% on a paper may choose to rewrite their paper based on the feedback received on the assignment. The result will not be a regrading of the original assignment, but the chance to earn up to 10% of the total points for the writing assignment based on the quality of the rewritten paper, added to the original score. If one chooses to rewrite a paper, it is due no later than seven days after its return (the gradebook indicates the date feedback was posted). If you feel a mistake was made grading any given assignment, which given the number of papers graded within any given week is always possible, write up two paragraphs laying your justification for regrading based on the assignment criteria, the content of your paper and the feedback. Be as specific as possible in your arguments. Saying that you put in tremendous effort on a particular assignment is not an argument. After receiving the request, I will go over the assignment and my written comments. Be sure to point out in the write up where you thought I had missed key points. If, in going over the assignment, it becomes clear that some items should have been given more credit, I will raise the grade. If, conversely, I feel too much credit was given, the grade may be lowered. You must submit your request within one week of the assignments return or your request for a regrading will be invalidated. f. Virtual Behavioral Policies: The Faculty and Staff at Northern Arizona University are committed to serving all enrolled students. The intention is to create an intellectually stimulating, safe, and respectful class atmosphere. In return it is expected that each of you will honor and respect the opinions and feelings of others when making comments on the discussion boards and all other communications with each other. Failure to do so, including offensive or disrespectful comments, personal attacks and evidence of cyberbullying will result in the deletion of the offending post as well as potential administrative action, including removal from the course. g. Feedback Expectations: I will make comments related both to grammar and content in your papers, which I will upload and return to you after grading the assignment. I will make closing comments at the end of each paper, which you can read in the comments section of the returned assignment. Download the returned paper to get the complete paper comments. It can be found by clicking on the "Papers and Projects" link on the BBLearn left menu. Click on the assignment you wish to see feedback and download the returned paper (at the bottom of the page). If you would like additional feedback after looking over the paper, just let me know. Also, if theres a specific aspect of the paper you want some really detailed feedback on, make a note of it in the paper and I will address it when grading. Comments related to discussion and participation in the gradebook will be more cursory and can be found by clicking on the numerical grades within the gradebook. Responses posted by me to your remarks on the General and Specific Topic boards during the discussion week complement this feedback.
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h. Extra Credit: You have the potential to earn up to one extra credit point per discussion board if you post more than the minimum number of substantive posts (and meet all other requirements). Credit is based on the quality of material in the total posts for each board. i: Weekly Schedule: It can be a bit confusing, so here is a simple reminder: Day 1 = Monday, Day 2 = Tuesday, Day 3 = Wednesday, Day 4 = Thursday, Day 5 = Friday, Day 6 = Saturday and Day 7 = Sunday. j. Students With Disabilities: Any student with a documented disability may contact NAU's Disability Resources (DR) department here to have their information put on file so the university can provide the best accommodations possible. DR prefers that requests for accommodations are received with eight weeks notice. Certainly talk to me as well if you feel any aspect of our virtual course interface might affect your ability to succeed. k. Miscellaneous University Policies: Aside from the policies related to Students with Disabilities and Academic Integrity, the course also follows the Safe Working and Learning Environment and Institutional Review Board policies, per university guidelines. l. Grade Scale: A=90%+ (360-400), B=80-89% (320-359), C=70-79% (280-319), D=60-69% (240279), F=59% and less (0-239) m. Administrative Drop Procedures (for inactivity and non-attendance): Per NAU policy, "If you have not completed the pre-requisites for a course as stated in the academic catalogue or if you are absent one or more times from class [meaning non-participation in discussion] during the first week without contacting the instructor, you may be administratively dropped from the course by the sixth day of the term but no later than the twenty-first day of the term. Do not rely on your instructor to drop you from courses that you want to drop. You are responsible for changing your own course schedule. n. Course Website Outage Policy: If on the due date of an assignment (a discussion post, participation, written assignment, etc) you go to log into our course and cannot gain access due to a technical error on the part of the school's servers, either copy and paste the error message from your web browser to take a screenshot of it and email that to me along with the material you intended to post. As soon as the course is back up and running, post your materials there as well.
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Department of Humanities

Fall 2012 3.0 Credit Hours

Interactive Table of Contents: ___________________________

7. Course & University Policies

2. Assessment of Student Learning __Outcomes

1. General Course Information

2. Assessment of Student Learning Outcomes (Assignment Descriptions)

3. Methods of Assessment Assignments

Percent of Total Score

Categories Excellent work

Acceptable work 70-79% Substandard work 60-69%

Grading rubric for all written work (including discussion prompts)

Paper Grading Breakdown Content and Evidence

Total Points/ Percent

Grammar, Organization, Clarity and Editing Formatting and Citing

4. Timeline For Assessments (Weekly Summary Sheets) Week 1, 8/27-9/2 Synopsis:

Week 1 Checklist Introduction

Week 2, 9/3-9/9 Synopsis:

Week 2 Checklist The United States

Week 3 Checklist The United States

Week 4 Checklist Western Europe

Week 5 Checklist Western Europe

Week 6 Checklist Western Europe

Week 7, 10/810/14 Synopsis:

Week 7 Checklist Behind the Iron Curtain

General Topic Board Participation to Topic Board

Review of Weekly Tasks (details earlier in syllabus and Bb)

Week 8, 10/1510/21 Synopsis:

Week 8 Checklist Behind the Iron Curtain

Review of Weekly Tasks (details earlier in syllabus and Bb)

Week 9, 10/2210/28 Synopsis:

Behind the Iron Curtain

Week 10, 10/2911/4 Synopsis:

Unit 4: China: Revolutionary Ideas on Gender Norms in Practice

Week 11, 11/511/11 Synopsis:

Unit 4: Japan's Fragmented National Consciousness and the Problem of Fate

N/A 5 Points 8 Points 13 Points

Week 12, 11/1211/18 Synopsis:

Unit 5: African Film Turns the Tables on Colonialism

Week 13, 11/1911/25 Synopsis:

Week 14, 11/2612/2 Synopsis:

Unit 6: Colonialism's Legacy and the Working Class of Latin America

N/A 5 Points 8 Points 60 Points 73 Points

Week 15, 12/312/9 Synopsis:

5. Required Course Materials

7. Course & University Policies

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