CINE 1388: Special Effects (Fall 2013, CRN: 15874)

Class: MW 10:30am-1:25pm, Snell Library 043 Instructor: Email: Phone: Website: Dr. Drew Ayers d.ayers@neu.edu (617) 373-6178 www.drewayers.com Office: 126 Holmes Office Hours: M 3:00pm-5:00pm R 11:30am-1:30pm By Appointment

N.B. 1) Blackboard will reflect updates to the course, changes in the syllabus, assignments, etc. Be sure to check it regularly. The course syllabus provides a general plan for the course; deviations may be necessary. 2) Your constructive assessment of this course plays an indispensable role in shaping education at Northeastern University. Upon completing the course, please take the time to fill out the TRACE evaluation. Course Description This course traces the history of special and visual effects from early film to the present, as well as provides an overview of the cultural, technological, and visual theories that inform the study of FX. While the primary emphasis of the course is on the use of FX in film, we will also discuss the role of FX in the media industries more broadly, including examples from TV and video games. This course places a particular emphasis on issues of realism, the role of technology (both analog and digital), viewer reception, and industrial issues surrounding FX production (specifically issues of labor). Note: This is not a production course wherein students make FX (though students will have a creative option for their final project). Rather, this course is about the history of FX and how we might theorize the role of FX in visual culture. Course Objectives By the end of the course, students will be able to: Define terms, concepts, and theories fundamental to the study of special and visual effects Employ these terms, concepts, and theories in academic writing, class discussion, and class presentations Write analytical/critical essays that show understanding of, engagement with, and thoughtful use of FX vocabulary and concepts Conduct research specific to the study of FX Demonstrate an understanding of the historical trajectory of FX production and deployment Demonstrate an understanding of the FX-related issues most relevant to media and screen studies The critical, argumentative, and written skills gained in this course are those required for upperlevel courses as well as for other critical engagements with the world. Required Texts 1) Dan North, Performing Illusions: Cinema, Special Effects and the Virtual Actor (New York: Wallflower Press, 2008).

2 2) Stephen Prince, Digital Visual Effects in Cinema: The Seduction of Reality (New Brunswick, NJ: Rutgers University Press, 2012). 3) Readings on Blackboard 4) Course screenings Recommended Texts 1) Richard Rickitt, Special Effects: The History and Technique (Billboard Books, 2007). Screenings Screenings will be held during class time as indicated in the daily schedule. Students are expected to attend all screenings, and absences from screenings will count against the attendance/participation grade. If a student cannot attend a screening, s/he must conduct the screening on his/her own time. Some materials are available through the library, and most materials are available through online rental and streaming services such as Netflix, Amazon, and iTunes. Attendance and Participation Attendance for this course is mandatory. My approach to this class will integrate lectures, class discussions, student presentations, and various exercises and activities in order to explore the principles discussed in the readings and lecturesyou cant participate if youre not there. Attendance will be taken during the first fifteen minutes of each class by using a sign-in sheet. If a student arrives to class after the first fifteen minutes, s/he will be counted as tardy. Each tardy counts as one-half of an absence. Each student will have three personal days during the semester to cover absences from class. These days may be used for any reason you choose and should include time out for illness, emergencies, religious holidays, travel, and family obligations. For each absence after the initial three, the overall attendance grade will be lowered by a full letter grade. If a student has an ongoing situation that requires special consideration, please discuss this with me at the beginning of the semester. Group discussion of course material will comprise a large portion of our in-class activity. It is essential that students have carefully read the assigned material prior to class in order to fulfill their responsibilities as a member of our learning community. Further, students are expected to participate actively in class discussion. Attendance/Participation comprises 10% of the final grade, and the participation grade will be based on both the frequency and quality of a students participation. The default participation grade for the class is a D, so even if you have perfect attendance, if you rarely contribute to class discussions, your grade will be negatively affected. Everyone is expected to participate in class discussions. A Note About Laptops and Technology As a media scholar, I acknowledge the ubiquity and utility of (new) media technologies. Laptops and other communication technologies can serve as useful educational and professional tools, provided they are used effectively and responsibly. However, it is often the case that technologies become distractions rather than learning aids. I leave it to you to decide how best to utilize your technology, but I have consistently found that students who are distracted during

3 class tend to earn lower grades than those who engage with the lectures and discussions. Also keep in mind that if youre emailing friends and chatting on Facebook, youre not participating, and your participation grade will suffer. Think of your time in the classroom as an opportunity to unplug and devote complete focus to a subject. If youre going to email and Tweet the entire class, consider staying home. I also expect laptops to be closed during class screenings. If you want to take notes, please do so in an analog fashion, with paper and pencil. Late Assignment Policy If an assignment is turned in late, one full letter grade will be deducted for each day the assignment is late. If a student is unable to submit the assignment on the day it is due, s/he must contact me prior to the class and make alternative arrangements. Assignments must be uploaded to Blackboard by class time on the day they are due (10:30am). Assignments uploaded after 10:30am will automatically be marked as late. When assignments are due, expect the unexpected. Assume that one (or perhaps all) of the following will happen on exam dates and assignment due dates: Your internet connection suddenly stops working Blackboard crashes or experiences some other kind of technical difficulty Your computer crashes and all your data is lost Your car will not run, your T line is undergoing maintenance, busses will skip your stop, and all of your friends will be out of town Please take whatever steps are necessary to prevent these events from affecting the timely submission of assignments and exams. Additional Sources of Academic Support The University offers a range of support services for students. Among the resources available are: The Writing Center (http://www.northeastern.edu/english/writing-center/)Provides advice and tutoring in composition Office of Academic & Student Support Services (http://www.cps.neu.edu/studentresources/oasss.php)Offers a variety of services, including tutoring, career counseling, and support groups MyNEU Academic Guide (http://www.advising.neu.edu/) Policy for Make-Up Exams Unless we have discussed rescheduling an exam before the exam date, exams may only be madeup in instances of extreme hardship. I will require documentation verifying the hardship, and the option to complete a make-up exam is at my discretion. Special Accommodations Students who wish to request accommodation for a disability may do so by registering with the Disability Resource Center (http://www.northeastern.edu/drc/). Students may only be accommodated upon issuance by the DRC of a signed accommodation plan and are responsible for providing a copy of that plan to instructors of all classes in which accommodations are sought.

4 Assignments There are three primary assignments for the semester. We will talk about each in more detail as the due dates approach. 1) Reading/Screening Responses: Each student is responsible for completing two reading/screening response essays of 3-5 pages. One must be completed during the first half of the class (on or before 10/16), and one must be completed during the second half of the class (on or before 11/25). Each response essay is worth 15% of your overall grade, and the essays together comprise 30% of your overall grade. See page 10 of this syllabus for more information. 2) Discussion Leader: In groups of two, students will be responsible for leading a portion of two different units of class discussion. As with the reading/screening responses, one unit must be during the first half of the class (on or before 10/16), and one unit must be during the second half of the class (on or before 11/25). Your responsibilities include: a) Choosing clips from the film(s) of the week to show to the class (in addition to clips from the weeks film, you may also select clips from other films to illustrate your points); b) Providing a summary of the main argument of the reading(s) assigned for the day; c) Providing an interpretation of and drawing connections between the readings and film clips; and d) Designing topics/questions for class discussion. Think of yourselves as teachersI want this assignment to provide you with the experience of leading a class discussion. Ill have my own thoughts about the films and readings (which Ill contribute), but Im more interested in hearing what you think. It would probably be helpful to write a response essay for the week in which you are leading discussion, as you can use your essay as a starting point for discussion. This aspect of the course is worth 20% of your overall grade (10% for each discussion unit). 3) Final Paper/Creative Project: Students will write an 8-10 page critical analysis of a film of their choosing. This project will include a proposal, a commentary on others proposals, a rough draft, an in-class presentation/workshop, and the final product. See pages 11-12 of this syllabus for more details. All materials must be submitted to Blackboard by the beginning of the class for which they are due (10:30am), and papers should be typed in 12-point Times New Roman, 1-inch margins on all sides, and double-spaced. Each page should also include your last name and the page number in the upper right-hand corner. The upper left-hand corner of the first page should include your name, my name, the course name, and the date of submission. Use Chicago or MLA format for your citations and works cited page. Grading Reading/Screening Responses (x2: 15% each) Discussion Leader (x2: 10% each) Final Paper/Creative Project: Attendance/Participation: Grading Breakdown B+ A 94-100% B A90-93% B87-89% 84-86% 80-83% C+ C C30% 20% 40% 10% 77-79% 74-76% 70-73% D+ D D67-69% 64-66% 60-63%

Below 60%

5 Grading Criteria A indicates truly outstanding work that shows a command of concepts and theories, presenting them in a well-argued and logically structured manner. The work doesnt merely address the questions through a repetition of course material and lectures. It provides fresh, creative, and original perspectives with a unique voice, offering connections between the topic and broader issues and contexts. Superior research skills are demonstrated with relevant citations and quotations advancing the argument. The work is error-free in spelling and grammatical errors. A work significantly surpasses the expectations of the assignment. B indicates above-average work that clearly achieves the goals of the assignment. The work provides smart and solid analyses that I would expect any diligent student to be able to produce. These assignments take on the questions directly, citing specific materials from the texts and lectures to illustrate the points being made. These assignments often offer previously discussed examples illustrating points covered in class. There are usually few typos or spelling errors (if any), sentences are relatively clear, and thoughts are organized into a concise argument. C indicates satisfactorily meeting the course requirements in an adequate fashion. The work addresses the questions but doesnt explicitly cite specific texts and discussion. This work tends to recycle examples from discussion without discussing how they fit with the analysis and repeats information given in class. There are usually typos, spelling errors, and poorly structured sentences that make the argument vague or awkward. D indicates work that is off-topic, poorly written, disorganized, and instead of the course materials, relies on personal experience alone or materials from other classes. In other words, the assignment shows no evidence that the student was paying attention in class and does not incorporate materials used in the readings or in class discussion. Often these assignments seem more like summaries or reviews rather than analyses. These assignments may also fall short or far exceed the page limits or time constraints for the assignment. They do not use appropriate grammar and often are not proofread. F indicates work that dramatically fails to meet course goals and course expectations. It is incoherent, plagiarized, and/or never turned in. Regarding Scholastic Dishonesty: I take this matter very seriously and will report any suspected cases of academic dishonesty to the Office of Student Conduct & Conflict Resolution. For details on the Universitys policy on Academic Integrity, please consult the Offices website at http://www.northeastern.edu/osccr/academicintegrity/index.html. The policy prohibits cheating, fabrication, plagiarism, unauthorized collaboration, participation in academically dishonest activities, and facilitating academic dishonesty. The process by which the university handles academic misconduct cases is also very specifically spelled out in the policy. Violation of the policy may result in failing the class as well as disciplinary sanctions. The internet makes it easy to plagiarize, but also easy to track down plagiarismIf you can google it, I can google it. Bottom line: Dont plagiarizeits not worth it. Cite all your sources, put all direct quotations in quotation marks, and clearly note when you are paraphrasing other authors work.

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Northeasterns Academic Integrity Policy http://www.northeastern.edu/osccr/academicintegrity/index.html A commitment to the principles of academic integrity is essential to the mission of Northeatern University. The promotion of independent and original scholarship ensures that students derive the most from their educational experience and their pursuit of knowledge. Academic dishonesty violates the most fundamental values of an intellectual community and undermines the achievements of the entire University. The following is a broad overview, but not an all-encompassing definition, of what constitutes a violation of academic integrity. Cheating: The University defines cheating as intentionally using or attempting to use unauthorized materials, information, or study aids in any academic exercise. When completing any academic assignment, a student shall rely on his or her own mastery of the subject. Examples: Unauthorized use of notes, text, the Internet, or other aids during an examination. Copying from another students academic work. Unauthorized communication during an examination. Handing in the same paper for more than one course without the explicit permission of the instructor(s). Intentionally viewing a test before it is administered. Storing notes in a portable electronic device for use during an examination.

Fabrication: The University defines fabrication as intentional and unauthorized falsification, misrepresentation, or invention of any information, data, or citation in an academic exercise. Examples: Inventing data or facts for an academic assignment. Altering the results of a lab experiment or survey. Citing a source in a bibliography that was not used. Stating an opinion as a scientifically proven fact.

Plagiarism: The University defines plagiarism as intentionally representing the words, ideas, or data of another as ones own in any academic exercise without providing proper citation. The following sources require citation: Word-for-word quotation from a source, including another students work. Paraphrasing (using the ideas of others in your own words). Unusual or controversial facts not widely recognized. Audio, video, digital, or live exchanges of ideas, dialogue, or information. Students unclear as to whether or not a source requires citation should speak with their professor or consult the Writing Center in 412 Holmes Hall. Unauthorized Collaboration: The University defines unauthorized collaboration as instances when students submit individual academic works that are substantially similar to one another. While several students may have the same source material, the analysis, interpretation, and reporting of the data must be each individual's independent work. Examples: Sharing a take-home examination, case write-up, lab report, or any other assignment with a peer without express permission from the instructor. Completing an academic exercise with the aid of a peer, but unfairly crediting all work to oneself.

Participation in Academically Dishonest Activities: The University defines participation in academically dishonest activities as any action taken by a student with the intent of gaining an unfair advantage. Examples: Misrepresenting oneself or one's circumstances to an instructor. Stealing an examination. Purchasing a pre-written paper. Selling, loaning, or otherwise distributing materials for the purpose of cheating, plagiarism, or other academically dishonest acts. Destroying, altering, stealing, or forging another student's work, library materials, laboratory materials, academic records, course syllabi, or examination/course grades. Intentionally missing an examination or assignment deadline to gain an unfair advantage. Forging information or signatures on official University documents.

Facilitating Academic Dishonesty: The University defines facilitating academic dishonesty as intentionally or knowingly helping or attempting to violate any provision of this policy. Examples: Doing academic work for another student. Making available previously used academic work for another individual with the intention of resubmitting the work for credit.

Guidelines All members of the Northeastern University community share a role in upholding the Academic Integrity Policy. Any member of the community who witnesses a violation of this policy should report it to the appropriate faculty member or the Office of Student Conduct & Conflict Resolution. Cases referred to the Office of Student Conduct & Conflict Resolution will be investigated and, if sufficient evidence is presented, the case will be referred to the University's Student Conduct Board. If a student is found responsible for violating any of the preceding items, a minimum sanction of deferred suspension will follow. A second violation will meet with expulsion from the University. Students who violate Northeastern University's Academic Integrity Policy may also be subject to individual course penalties. This can result in, but is not restricted to, failing the course, in addition to any University penalty. All instructors must reference academic integrity in their syllabi. If a student feels that he or she has been wrongly accused of violating the Academic Integrity Policy, the student has the right to appeal the charge to the body that first issued the sanction.

7 Daily Schedule Special and Visual Effects, Reality and Illusion 9/4 Reading: Course Syllabus Screening: Hugo (Scorsese, 2011) Assignment: Sign up for discussion leader dates 9/9 Reading: North, Introduction Prince, Introduction: Beyond Spectacle Assignment: Blackboard survey due

Early Motion Pictures, Magic, and Trick Photography 9/11 Reading: North, Chapter 1: The Magic Theatre Gunning, The Cinema of Attraction Gunning, A Trip to the Moon Screening: Early film clips 9/16 Assignment: Vine/In-Camera editing project (in-class)

FX Overview and Stop Motion Animation 9/18 Reading: North, Chapter 2: Rituals of Incarnation Screening: King Kong (Cooper and Schoedsack, 1933) 9/23 Reading: Screening: Manovich, What is Digital Cinema? Franich, R.I.P. Ray Harryhausen (http://bit.ly/141Y22J) Jason and the Argonauts (Chaffey, 1963)

Environments: Matte Art, Miniatures, and Scale Models 9/25 Reading: Prince, Chapter 4: Digital Environment Creation Screening: Saboteur (Hitchcock, 1942) 9/30 Reading: Screening: Telotte, Digital Effects Animation and the New Hybrid Cinema Ayers, Bleeding Synthetic Blood Sky Captain and the World of Tomorrow (Conran, 2004)

Practical Effects: Animatronics, Makeup, and Perspective 10/2 Reading: Pierson, Crafting a Future for CGI Screening: Creature from the Black Lagoon (Arnold, 1954) 10/7 Assignment: Forced perspective photo project (in-class) Prince, Chapter 1: Through the Looking Glass Star Wars Episode IV: A New Hope (Lucas, 1977)

Enter the Computer 10/9 Reading: Screening: 10/14

NO CLASS (COLUMBUS DAY)

10/16

Reading: North, Chapter 4: The Computer Assignment: Last day to submit reading/screening response #1

Computer Generated Imagery and Composite Imagery 10/21 Reading: Prince, Chapter 5: Immersive Aesthetics Epstein, Will Digital Effects Ruin Hollywood? Screening: Tron (Lisberger, 1982) Assignment: Final project proposal due 10/23 Reading: Screening: Manovich, Image Future Jurassic Park (Spielberg, 1993)

Digital Post-Production and Digital FX 10/28 Reading: Prince, Chapter 2: Painting with Digital Light Screening: Side by Side (Kenneally, 2012) 10/30 Reading: Cram, Digital Cinema Belton, Digital 3D Cinema Assignment: Commentary on classmates proposals due

Performance Capture and Digital Agents 11/4 Reading: North, Chapter 5: The Synthespian Whissel, The Digital Multitude Screening: Rise of the Planet of the Apes (Wyatt, 2011) 11/6 11/11 Reading: Prince, Chapter 3: Actors and Algorithms Ayers, The Multilocal Self

NO CLASS (VETERANS DAY)

FX, Perception, Reception, and the Sublime 11/13 Reading: Bukatman, The Artificial Infinite Kolker, 2001 Screening: 2001: A Space Odyssey (Kubrick, 1968) Assignment: Rough draft of final project due 11/18 Reading: Pierson, The Wonder Years and Beyond Cubitt, Critique of Cyborg Vision Cubitt, From Orient to Outer Space

9 The State of the Art: Current Debates and FX Labor 11/20 Reading: Turnock, The ILM Version Fish and Srinivasan, Digital Labor is the New Killer App http://www.occupyvfx.org/ McWeeny, The Visual Effects Community (http://bit.ly/13jnYtf) http://www.youtube.com/watch?v=90Py70XjjY0 Screening: The Life of Pi (Lee, 2012) 11/25 Reading: Peuter and Dyer-Witheford, A Playful Multitude? (http://bit.ly/gmHgMh) Andrejevic, Watching Television without Pity Huntemann, Irreconcilable Differences (http://bit.ly/9VIpGe) Assignment: Last day to submit reading/screening response #2 NO CLASS (THANKSGIVING) Presentations Writing Workshop Final projects due at 5:00pm

11/27 12/2 12/4 12/8

10 Reading/Screening Response Essays 1) Each student is responsible for completing two reading/screening response essays of 3-5 pages. One must be completed during the first half of the class (on or before 10/16), and one must be completed during the second half of the class (on or before 11/25). You may submit each response essay on a week of your choosing, but the essay must deal with the film and readings assigned for that week. I am doing this both to give you the freedom to write about a film and reading(s) of your choosing as well as to facilitate class discussion. My hope is that at least a couple people will choose to write an essay during any given week. 2) I will not allow you to write a make-up essay. If you fail to turn in during the designated time frame, you have lost the opportunity to write that essay. 3) All essays must be 3-5 pages in length, and essays must be submitted to Blackboard before the beginning of class (10:30am). I will not accept any essays written about a film or article due any week prior or any week in the future. 4) Each essay should focus on the chapters/articles assigned for that week, and it should relate the readings to the film(s) screened for that week. I am looking for you to formulate a critical analysis of the relationship between the readings and the film(s). 5) More specifically, your response essay should incorporate these three things: a. A summary of the main argument of the article youre analyzing. b. One thought problem regarding that article. i. Remember: This thought problem should point to something that you find puzzling, troubling, or fascinating. A thought problem is something that you are working through or attempting to overcome, and you should explain this thought problem fully. ii. Then, based on this something that you describe, you should raise an important question, or make a thoughtful connection to one of our previous readings or a concept weve pursued. The question you should raise or thoughtful connection you can make should not be a simple question or statement. You should follow through and explain why this question is important or why it is necessary to think about the connection that you make. c. A connection, which you should explain fully, between the film(s) assigned for the week and the thought problem that youve raised. How does the film illustrate, complicate, or extend the thought problem youve discussed?

11 Final Paper Project 1) You have two options for the final paper: a. Choose a media object that features FX, and develop an argument on a topic of your choosing. I will leave the exact topic up to you, but you should engage with and demonstrate a clear understanding of the issues and concepts that weve discussed in class. b. Alternately, you may choose to complete a creative project of your design. If you choose to go this route, your proposal will function as your pitch to me, and we will work together to come up with a system of requirements and evaluation equivalent to that of the written project. 2) Some questions you should consider when writing your paper include: a. How does your media object fit within (or deviate from) the various models of understanding FX that we have covered in class? b. How does your media object fit within (or deviate from) the theories of realism and indexicality weve covered in class? c. How does an understanding of the history, practice, and theory of FX help inform your understanding and analysis of your media object? d. How does your media objects use of FX inform its narrative and stylistic form? e. What does your media object tell us about the state of the contemporary media industries? 3) At least five peer-reviewed, scholarly sources are required, and these sources must be cited within the text and in a works cited pageremember, any time you use another authors work (either paraphrased or directly quoted), you must cite that author. Plagiarism will result in an automatic zero for the assignment and possible academic sanctions. 4) The sources must be academic in nature, either from scholarly journals or books (Wikipedia or film reviews will not count toward your source total, but you may use them in your paper, provided the information is properly cited). You may use two sources from the class, but the other three must be the product of your own research. Use the librarys research page to help begin your research: http://subjectguides.lib.neu.edu/content.php?pid=30708. 5) This project will consist of five parts: a. An initial proposal b. Commentary on others proposals c. A first draft d. An in-class presentation/writing workshop e. The final version of the project 6) The proposal is due on October 21 and is worth 5% of the overall course grade. a. The proposal should be 350-400 words in length, and it should state the title of your paper, a thesis statement and/or research question, and a summary/outline of the main points of your argument. Since this proposal is an early stage of the writing process, you should feel free to be speculative here. However, you should try to articulate your thoughts as clearly as possible. b. Submit the proposals on the classs Blackboard blog. This will allow feedback from your classmates.

12 7) Commentary on classmates proposals is due on October 30 and is worth 5% of the overall course grade. a. Using the comment feature of the blog, students must provide commentary on five of their classmates proposals. This commentary should provide constructive criticism, feedback, and advice as to how the project might be made stronger, what aspects of the project seem most interesting, and suggestions for things to consider. 8) A full rough draft of the project is due on November 13 and is worth 5% of the overall course grade. Although this is a draft, it should be polished and readable. 9) Each student will present his/her final paper project to the class in a 5-7 minute presentation. These presentations will take place on December 2, and the presentation is worth 5% of the overall grade. 10) On December 4, the last day of class, we will have an in-class writing workshop. During this time, youll read one or two of your classmates papers and provide feedback. 11) The final draft of the paper is due on Sunday, December 8, and it must be uploaded to Blackboard by 5:00pm. Late papers will be deducted one letter grade for each day they are late. The final draft is worth 20% of the overall grade. a. The final draft must be 8-10 pages in length, and it must include a title page and bibliography (in Chicago or MLA format). The title page should include your name, my name, the course name, the date of submission, and a title for your paper. b. The final draft should expand on the work you did in your proposal and rough draft, and you should expect to do significant rethinking/revising of your initial argument, incorporating any suggestions your classmates and I may have provided you. Failure to take revision suggestions into account will negatively affect your grade on this paper. c. The essay should be typed in 12-point Times New Roman, 1-inch margins on all sides, and double-spaced. Each page should also include your last name and the page number in the upper right-hand corner.