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Emne FILM1102 i våren 2022 var svært vellykkede. Jeg har derfor besluttet å videreføre de samme teoretiske perspektivene, forelesnings innhold og i stor grad beholde pensumet.

Forelesningene besto av to økter, hver på 45 minutter, og inkluderte også visning av filmer. I løpet av seminarene ble filmene knyttet til forelesningene diskutert og analysert i lys av pensumtekstene. Seminarene ble arrangert i forbindelse med forelesningene, med oppstart etter den første forelesningen og avslutning før den siste. Før studentene startet arbeidet med semesteroppgaven, ble de gitt en kort skriveoppgave som forberedelse. I løpet av semesteret ble det avholdt to referansegruppemøter, ett i begynnelsen av semesteret og ett i midten/slutten av semesteret. Referansegruppen bestod av tre studenter, hvorav to studerte filmvitenskap og en studerte film- og videoproduksjon. En tilbakemelding fra studentene var at de savnet diskusjoner om pensumfilmen i de første forelesningene, ettersom det ikke ble avholdt seminarer i begynnelsen av semesteret. For å adressere dette ble begynnelsen av den tredje forelesningen viet til diskusjon og analyse av filmen som hadde blitt vist i forrige forelesning. I tillegg ble det reservert rom i uke 13 og 16 der studentene hadde mulighet til å samles for å diskutere spørsmål knyttet til pensumfilmer og -tekster. Det er imidlertid usikkert om studentene benyttet seg av denne muligheten. Noen av studentene fant boken Film Theory: The Basics litt utfordrende sammenlignet med andre pensumbøken, Understanding Film Theory, mens noen andre syntes den ga en mer detaljert innsikt. Generelt var studentene fornøyde med både forelesningene og seminarene, og de hadde ingen spesifikke tilbakemeldinger å uttrykke under det andre referansegruppemøtet. Det ble også notert at å gi studentene skriveoppgaver som oppvarming til semesteroppgaven var en god øving, men det kunne være utfordrende å gi detaljerte tilbakemeldinger til alle studentene.

NTNU:TIA:REST

Institutt for kunst- og medievitenskap

Department of Art and Media Studies

Norsk

Mer om vurdering

Sluttvurderingen gjøres med en 6 dagers hjemmeeksamen.

Anbefalte forkunnskaper

FILM1100 og FILM1101. For å få et godt utbytte av emnet anbefaler vi studenter, som ikke har tatt FILM1100 og FILM1101, om å lese David Bordwell and Kristin Thompson's Film Art: An Introduction (2020, 12th edition, McGraw-Hill)

Faglig innhold

FILM1102 er et basisemne som behandler filmteoriens historie og utvikling. Emnet gir studenten et begrepsapparat for diskusjon og analyse av film i lys av ulike filmteoretiske posisjoner.

Kursmateriell

Emnets pensum er på ca. 1200 sider, samt filmer og serieepisoder som vises i sin helhet.

Læringsutbytte

KunnskaperEtter å ha fullført emnet har studenten kunnskap om:<ul><li>tidlige teorier og debatter om filmen som kunst og filmens evne til å fange virkeligheten.</li><li>filmteoretiske posisjoner i ulike epoker.</li><li>teorier knyttet til filmens sosiale, politiske og kulturelle rolle.</li><li>teorier knyttet til filmproduksjon, estetikk og resepsjon.</li><li>filmanalytiske tradisjoner.</li></ul>FerdigheterEtter å ha fullført emnet kan studenten:<ul><li>gjøre rede for utviklingen av ulike posisjoner i filmteoriens historie, og drøfte ulike teorier opp mot hverandre.</li><li>sette framveksten av bestemte filmteoretiske posisjoner i sosial, politisk og kulturell kontekst.</li><li>gjennomføre selvstendige filmanalyser forankret i filmteori.</li></ul>

Læringsformer og aktiviteter

Forelesninger, visninger og seminarer, herunder øving i filmanalyse under veiledning. Studentene må delta på 80 % av seminarene. Undervisningsspråket er engelsk eller norsk. Studentene plikter å holde seg orientert om beskjeder fra instituttet eller emneansvarlig via Blackboard.

Skriftlige innleveringer

80 % oppmøte på seminar

Filmens teori og estetikk

Filmvitenskap

Film- og videoproduksjon

Medievitenskap

Filmvitenskap - årsstudium

Filmvitenskap - bachelorstudium

Film- og videoproduksjon - bachelorstudium

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I have now taught the course 3 times, and it has reached a level of maturity that I am happy with. I have been consistently developing the course based on student feedback, conversations with colleagues and my own experience, and I believe it is safe to say that the course is now both functional and effective. I gauged student experience of the course with 2 surveys, one midterm, the other at the end, and based on these surveys the students too feel that the course delivers what it should. They have been particularly pleased with the clarity of lecture content, with how obligatory assignments are distributed across the whole semester, and how they are designed to support their learning. They also appreciate the opportunity to discuss complex theoretical issues at seminars.

During the 3 years I have taught the course, students achievement (in terms of exam results, number of students completing the course) has gone up. Particularly the quality of exam results has been significantly improved. My estimate is that this is due to the structural developments we have done in obligatory assignments and the pensum, as well as the fact that seminars are obligatory. This combination – including carefully planned lectures – has ensured a rise in the achievement of learning outcomes.

What is particularly noteworthy in this course is the way in which obligatory assignments are set up: Students do 7 short weekly assignments, 1 midterm essay and a final exam. Obligatory attendance at seminars is designed to help them complete the short weekly assignments. This structure is extremely time-consuming for the teaching staff, as the course has around 80-90 students, but it clearly produces better learning outcomes. I am not teaching the course in 2023, but I am hoping that there will be a way to sustain the positive developments we are now witnessing.

Engelsk

KunnskaperEtter å ha fullført emnet har studenten kunnskap om:<ul><li>tidlige teorier og debatter om filmen som kunst og filmens evne til å fange virkeligheten.</li><li>filmteoretiske posisjoner i ulike epoker.</li><li>teorier knyttet til filmens sosiale, politiske og kulturelle rolle.</li><li>teorier knyttet til filmforståelse, kognitiv psykologi og fenomenologi.</li><li>filmanalytiske tradisjoner.</li></ul> FerdigheterEtter å ha fullført emnet kan studenten:<ul><li>gjøre rede for utviklingen av ulike posisjoner i filmteoriens historie, og drøfte ulike teorier opp mot hverandre.</li><li>sette framveksten av bestemte filmteoretiske posisjoner i sosial, politisk og kulturell kontekst.</li><li>gjennomføre selvstendige filmanalyser forankret i filmteori.</li></ul>

Forelesninger, visninger og seminarer. Herunder øving i filmanalyse under veiledning. Undervisningsspråket er vanligvis norsk, men engelsk kan også forekomme. Studentene plikter å holde seg orientert om beskjeder fra instituttet eller emneansvarlig via Blackboard.

Oppmøte på seminar

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The course was run online through live lectures on blackboard as well as pre-recorded lectures and screenings. This was the second time for the same team to run the course (Hongisto/Østgaard), so we took the experiences and feedback from the first year as the basis for this year's course design. It is fair to say that this year's iteration was an improvement, which shows in student engagement and feedback. We had an active 'referansegruppe' in place and I met with them three times over the semester. In the end, they were too busy with their studies to write a final report, but our communication during the semester was productive, In addition to the referansegruppe, I did two online surveys with the whole class to see how everyone was doing. These were extremely useful in determining the direction of the course and responding to student wishes.

The learning outcomes are up to date and communicated to the students throughout the course during the lectures and the seminars.

There are two teaching and learning activities in this class that are particularly noteworthy. In addition to a mid-term paper and the final exam, students also do short written weekly assignments. Survey and exam results show that these are extremely useful in keeping students engaged and invested in the course material. Furthermore, seminar participation is compulsory in this class which further adds to student progression and to achieving the learning outcomes.

These are very much in line with enough variation in assessment forms to respond to the different learning outcomes.

Forelesninger, visninger og seminarer. Herunder øving i filmanalyse under veiledning. Undervisningsspråket er vanligvis norsk, men engelsk kan også forekomme.

Studentene plikter å holde seg orientert om beskjeder fra instituttet eller emneansvarlig via Blackboard.

Kunnskaper
Etter å ha fullført emnet skal studenten ha:
- kunnskap om tidlige teorier og debatter om filmen som kunst og filmens evne til å fange virkeligheten.
- kunnskap om filmteoretiske posisjoner i ulike epoker.
- kunnskap om teorier knyttet til filmens sosiale, politiske og kulturelle rolle.
- kunnskap om teorier knyttet til filmforståelse, kognitiv psykologi og fenomenologi.
- kunnskap om filmanalytiske tradisjoner.

Ferdigheter
Etter å ha fullført emnet skal studenten kunne:
- gjøre rede for utviklingen av ulike posisjoner i filmteoriens historie, og drøfte ulike teorier opp mot hverandre.
- sette framveksten av bestemte filmteoretiske posisjoner i sosial, politisk og kulturell kontekst.
- gjennomføre selvstendige filmanalyser forankret i filmteori.

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This was the first time I was the emneansvarlig for this course and in my evaluation, there are elements that worked very well and elements that did not work well. The less successful components are linked to addressing the diverse student body and their different levels of interest in and engagement with the topic. In short, the course worked for those who were interested in film theory and aesthetics to begin with, but it did not succeed in reeling in those who were more distant to the theme to begin with. This is largely due to the level being perceived as too difficult by those who were less familiar with film or not that invested in film studies. In hindsight, this was a course that produced notable learning outcomes if the student chose to attend regularly, read, ask questions as well as research and navigate topics that felt difficult at first. Without such investment, there was a gap in communicating the content and the students’ intake of the course aims.

KnowledgeUpon successful completion of the course the student will have:- knowledge of early theories and debates about film as art and film’s ability to capture reality.- knowledge of positions in film theory in different eras.- knowledge of theories relating to the social, political and cultural role of film.- knowledge of theories relating to film comprehension, cognitive psychology and phenomenology.- knowledge of traditions in film analysis. SkillsUpon successful completion of the course the student will know how to:- account for the development of different positions throughout the history of film theory, and compare them through discussion.- place the emergence of particular positions in film theory in social, political and cultural contexts.- conduct independent film analyses based on film theory. --&gt; these continue to be relevant and in line with the other courses taught in the program. The learning outcomes were communicated to the students during the first lecture, where each point was discussed and related to the ensuing lecture topics and study themes. The learning activities and examination forms were explained and motivated through the learning outcomes. Judging by the final grades, the learning outcomes were successfully achieved with students producing independent analytic work using and evaluating theoretical perspectives.

In discussions with the reference group, it was noted that there was a correlation between students who chose NOT TO attend class (especially the seminars and eventually also the lectures) and those who felt that the course was too difficult. Here, the challenge is to find a way to speak to those who find the content challenging or are less engaged (and keep them coming to class) without losing the interest of the highly engaged students. The difficulty in doing this is perhaps best summarized in the feedback where one student complained that they were never told what “cinematic aesthetic strategies” were, whereas another student complained that they were already familiar with the course content relating to “cinematic aesthetic strategies” from their other courses. Some students also noted that it was difficult to understand scholarly English and to read the pensum texts. This was anticipated in planning the course, and therefore a full seminar week was dedicated to addressing difficult terms and their equivalents in Norwegian. Surprisingly, not a single student showed up in the seminar sessions dedicated to difficult vocabulary and its translations. In any case, it is important to keep being mindful about the language question and make sure to keep noting key concepts and names on powerpoint slides as well as to describe key themes and concepts repeatedly and in different ways. Generally speaking the learning environment was good and functional, but it might help some students if there was a way to ask questions anonymously. The aim is to facilitate this next year.    If the level of difficulty is an element that needs to be addressed and adjusted, the elements that worked very well have to do with the carefully designed connections between the lectures and the seminars, the progressive development from the ‘skriftlig innlevering’ to the final ‘oppgave’, the clarity of evaluation criteria and its contribution to student learning and the assistance and support students received after the campus was shut down due to COVID-19.<ul><li>The lectures conveyed the bulk of the content, linking the weekly topics to the readings and bringing out key elements of the pensum texts. They were designed to prepare the students for the pensum; to give them tools for reading theory. Feedback demonstrates that students indeed found it useful to read the pensum texts after having first attended the lectures.</li><li>The lectures and seminars addressed the same theoretical texts and topics with different levels of detail and practical application, and the students who attended both lectures and seminars and did the readings reported successful learning outcomes (also demonstrated in the final grades where about 25% of the class did extremely well). The seminars were successful in building confidence in the students to apply the theoretical terms they had learned.</li><li>The seminars were also where the students learned appropriate scholarly referencing: this is a skill many of them did not have and that they definitely need to complete a BA. The course was successful in teaching the students how to refer to other people’s ideas and perspectives in building one’s own argument.</li><li>After the campus shut down, the ‘emneansvarlig’ held 3 webinar sessions (in addition to the scheduled lectures) to give instructions about the final oppgave and to answer questions about it. The students who chose to attend these sessions reported that they were very helpful. Attendance varied from 22 students in the first general webinar to 2-10 students at a time in the last 2 drop-in webinars.</li></ul>

The learning outcomes align with the modes of evaluation. In particular, the progressive development from the ‘skriftlig innlevering’ to the final ‘oppgave’ worked well, and it enabled the students to pace their learning into steps. The scope of the midterm written assignment was highly efficient (analysis of one scene, using one theoretical text, in 1000 words), and it prepared the students for the final oppgave where the scope was extended to a full film and four theoretical texts. Detailed marking rubrics were in use for both assignments and the students found these helpful. In particular, they noted that it was easier for them to determine where they have to do better with the help of the grading rubric.

Sluttvurderingen gjøres med en semesteroppgave på 5000-6000 ord.

skriftlig innlevering eller tilsvarende øvingsaktivitet

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Filmens teori og estetikk - FILM1102