Mittell: Film Genres

Film Genres: Animated Film & Television (Jason Mittell)
(Georgia State University, 2001)

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Instructor: Jason Mittel
Email: jmittell@middlebury.edu

Film Genres: Animated Film & Television (FILM 4280 - Fall 2001, Professor Mittell)

Animation has an unusual relationship to the rest of film and television -- it's a crucial part of the history and success of these media, but is often ignored and culturally marginalized compared to other forms. This course turns a serious gaze onto animated film and television and looks to explore its role in media history, industry, audiences, aesthetics, and cross-cultural practice. We will explore such issues as: What exactly is animation? How might examine an animated film or television show? How has animation changed throughout its history? How have the film and television industries produced, distributed, exhibited, and marketed animation? Who is the "proper" audience for animation? What are its social effects? How does animation function regarding cultural representations, such as race, gender, sexuality, etc.? What are the differences between animation in America and Japan? What do new technologies hold for the future of animation?

The answers to many of these questions are not simple -- and will not just be provided by the professor. This class is more of a group exploration into these questions, looking to understand animation in more detail and to see how it fits into your lives as media consumers (and potentially producers). Just because we're talking about animation -- which tends to be regarded as a "simple" form of popular culture -- don't expect that the course will be simple. Rather be prepared to launch into a serious, complex, and sophisticated topic that will hopefully challenge your thoughts about this supposedly "childish" form of mass media.

As an advanced level course, we will integrate history, criticism, and theory, while working through a significant amount of reading-much of it quite complex-throughout the semester. The course also has a strong writing component, with frequent reading reaction papers, a midterm essay, and a lengthy original research project, focusing on an animated topic and set of specific issues of your choosing. A final essay exam will synthesize the readings throughout the semester. Students are also expected to be active participants in the course. Much of class time will be spent viewing animation and discussing it in relation to the readings. Additionally, outside screenings (both on video and in theaters) will be assigned will be considered as part of the course requirements.

This syllabus is the general plan for this course -- deviations may be necessary as the semester progresses.

Norman M. Klein, 7 Minutes: The Life & Death of the American Animated Cartoon, New York: Verso, 1993.

Susan J. Napier, Anime from Akira to Princess Mononoke, New York: Palgrave, 2001.

Note: If the GSU bookstores have run out of these titles, it is the student's responsibility to get access to a copy for assigned readings. All titles are on reserve at Pullen Library and easily available at both local and online bookstores.

Reading Pack (labeled RP on your schedule) available at The Printshop, 6 Decatur Street

All readings are required for this course -- you must have your own copy of the readings to keep up with the course. Numerous books will be on reserve at Pullen Library to assist you with your own research projects -- details on these texts will be available on the course WebCT page.

The WebCT page for this class will contain important information throughout the semester, as well as providing a place for student discussion and sharing information. It is an important facet of the course, and thus is not optional. Throughout the semester, all students are required to check WebCT for information and updates, as well as reading and contributing to online discussions. It is expected that each student will post at least two responses to class materials (readings, lectures, discussions, screenings, etc.) on WebCT discussion boards and at least two reactions to other student comments as well. Students who do not participate in WebCT discussions at this minimal level will be penalized in their participation grades, while active students will be rewarded.

While many of the screenings will be viewed during class time, some outside screenings will be required. Some are noted on this syllabus, while others will be added throughout the semester. All assigned screenings will either be on reserve at Pullen Library or at local movie theaters or on television -- many screenings are also available at video rental stores with good animation sections (I particularly recommend Movies Worth Seeing in Virginia-Highlands). Additionally, you are encouraged to view as much animation currently in circulation in theaters and television as possible. It is especially advised that you see the following theatrical releases: Shrek, Final Fantasy, Osmosis Jones, Monsters, Inc. and Waking Life (both coming this fall), as well as any animated films coming to Cinefest at GSU this fall.

All of the following requirements must be completed in order to pass this course. If you do not complete the midterm and paper assignments and final exam, you will automatically fail this course:

LATE POLICY: Late papers are highly discouraged, as they throw off schedules for both student and professor. If you know that you will need to hand in any assignment later than the deadline, please contact the professor in advance as soon as the situation becomes apparent -- together arrangements can be made, often without penalties. If a paper is not turned in on time without making arrangements with the professor prior to the due date, the paper will be penalized by .5 grade points (e.g. an A- becomes a B+) for each day of lateness. If papers are not handed directly to the professor, it is the student's responsibility to ensure the professor receives the paper. If a paper is left at the Communication departmental office or sent via email or fax, do not assume that it has been received -- Professor Mittell will notify you via email when a paper has been received. Unless you have received such a notification, you should phone him to ensure that the paper was in fact received. Please do NOT slip papers under the door to Professor Mittell's office -- deliver them to the Communication Office (1040 One Park Place). As stated below, late reading response papers will never be accepted.

Reading Response Papers:
All students are required to complete 10 Reading Response papers throughout the semester. They may be on any assigned articles or book sections throughout the semester, but they must be handed in on or before the day that article is scheduled to be read. You will not receive credit for handing in reading response papers after day on which the article was assigned unless you have been absent from class for an excused reason and have made specific arrangements with Professor Mittell. You may choose which days and articles you will write about. You may not write more than one response for the readings assigned for one day, even if there are multiple chapters. If a day's reading consists of more than one article or chapter, you may respond to all or any portion of the assigned readings - you do not need to summarize the entire slate of readings for that day. All 10 responses together comprise 20% of your final grade; students who hand in fewer than 7 response papers throughout the semester will automatically receive a failing grade for the reading response assignment (20% of your final grade). Please pace these responses throughout the semester and discuss the situation with the instructor if you should fall behind. Each paper will receive a grade of 0-4 points, corresponding to the course's grading scale (see below).

Reading response papers should accomplish two basic goals: they should briefly summarize the argument(s) of the chosen reading and give you a chance to respond intellectually to this argument. Papers that simply summarize a reading without exploring any of your own thoughts will be graded down. Papers that discuss interesting issues that emerge from the reading are encouraged, but you must tie these thoughts to the readings and your summary of the argument. Relating a reading to topics raised in previous readings, class discussions, and screenings is particularly encouraged. These papers are not "thought journals" but they should provide you an opportunity to present your own reaction to these issues in written form. Writing style and form is important, so be sure to take time to edit and proofread any responses before handing them in. Reading responses must be at least one full typed page, single-spaced.

Midterm Analysis Assignment:
This assignment will be detailed more later in the semester, but here is a brief overview. On October 11th, you will hand in an analytical essay. You will watch one of a selected list of screenings and write a 5-6 page essay analyzing and relating the film to specific issues raised concerning animation theory, drawing upon the theoretical ideas developed by class readings and discussions. It is worth 20% of your final grade.

Research Paper and Paper Proposal:
This will be the most challenging (and hopefully interesting) assignment during this class. A more detailed description of this assignment will be presented in class later in the semester, but this is a brief overview. The paper will be a 9-10 page research paper dealing with a facet of animated film or television of your choice, investigating a question or problem that you find interesting and making a clear argument to be supported by your own research. The specific topic is up to each student (subject to professorial approval).

This research paper will consist of a number of steps to be detailed further in-class. An ungraded paper topic list will be due September 20th. An in-depth paper proposal will be due October 18th, which will be graded and count as 5% of your final grade. An optional first draft of your research paper can be turned in anytime up to November 13th -- these drafts will not be graded, but the professor will provide detailed feedback and meet with students to discuss ways to improve the final draft. A rough draft may be turned in after November 13th, but there are no guarantees that they will be returned in time for you to make significant revisions for your final paper. The final draft of your research papers will be due in class, November 29th. All assignments must be typed and double-spaced. The research paper assignment is worth 25% of your final grade.

Final Exam:
There will be one lengthy take-home essay examination, which will test your ability to understand and synthesize the readings and in-class materials, not your ability to memorize facts. Students who do the readings, attend class meetings, and think about the material should do well on this exam. The final exam will be due on December 11th at 2:45 p.m. The final will be worth 20% of your grade. Make-up exams will only be offered in the most extenuating circumstances -- students who need to make alternative testing arrangements must arrange this with the professor as early in the semester as possible.

Class Participation & Attendance:
You are expected to attend all class meetings on time, having done the readings, thought about the material, and prepared the necessary written assignments. Attendance will not be regularly taken in this course - it is the individual student's responsibility to attend class in order to gain the most from their education. If a student misses a class, it is up to them to find out what they missed from their classmates and make-up the necessary material.

This component of your grade (10%) will be reserved to reward students who do actively participate in class, meet with the professor during office hours, participate in online discussions on the WebCT site, and otherwise demonstrate their engagement with the material. Likewise, this grade will be used to downgrade students who are clearly disengaged with the class or fail to uphold their end of the course policies. Students who are repeatedly tardy or disruptive in class may be asked to leave.

You will be graded based on the following scale, using a 4.0 scale on all assignments:

Grades of Incomplete will only be given under the circumstances detailed in the Undergraduate Catalog. The last day to withdraw from this course to receive a W is October 12th. If you are contemplating withdrawing, contact the professor immediately.

Weekly Schedule

Week of August 20 - What is Animation?
READ (8/23): Wells - Intro (1-9) No reading response possible

Week of August 27 - Animation & Realism
WATCH (by 8/28): Pinocchio (Disney, 1940) [Reserve DVD PN1997 .P566 1999]
READ (8/28): Wells - Chapter 1 (10-34)
READ (8/30): RP - Thompson, "Implications of the Cel Animation Technique"

Week of September 3 - Modes of Animation & Narration
READ (9/4): Wells - Chapter 2 (35-67)
READ (9/6): Wells - Chapter 3 (68-126)

Week of September 10 - Animation & Comedy
WATCH (by 9/11): Who Framed Roger Rabbit (Zemeckis, 1988) [Reserve DVD PN1995.9.C55 W46 1999]
READ (9/11): Wells - Chapter 4 (127-186)
READ (9/13): RP - Lindvall & Melton, "Toward Postmodern Animated Discourse"

Week of September 17 - Animation & Cultural Representation
READ (9/18): Wells - Chapter 5 (187-221).
READ (9/20): Handout - Bernstein, "Nostalgia, Ambivalence, Irony"
ASSIGNMENT: Turn in Research Paper Topic Sheet, September 20th.

Week of September 24 - Animation Audiences
READ (9/25): Wells - Chapter 6 (222-243)
READ (9/27): RP - Glynn, "Bartmania"
SPECIAL MEETING (9/27): Library Instruction, Pullen North 2nd floor seminar room

Week of October 1 - Early Animation: 1900-1930s
READ (10/2): Klein - Preface, Chapters 1-4 (1-58)
READ (10/4): Klein - Chapters 5-9 (59-105)

Week of October 8 - The Golden Age of Animation
READ (10/9): Klein - Intermission, Chapters 10-13 (106-155)
READ (10/11): Klein - Chapters 14-18 (156-199)
ASSIGNMENT: Turn in Midterm Analysis Assignment, October 11th.

Week of October 15 - World War II & Decline of Theatrical Animation
READ (10/16): RP - Smoodin, "The Disappearance of Dissent"
READ (10/18): Klein - Chapters 19 - Conclusion (200-254)
ASSIGNMENT: Turn in Research Paper Proposal, October 18th.

Week of October 22 - Animation in the Age of Television
WATCH (by 10/23): Yellow Submarine (Dunning, 1968)
[Reserve DVD PN1997.5 .Y45 1999]
READ (10/23): RP - Mittell - "The Great Saturday Morning Exile"
READ (10/25): RP - Hendershot, "Hey, Hey, Hey, It's 'Good' TV"

Week of October 29 - Contemporary TV Animation
READ (10/29): RP - Mittell, "Cartoon Realism"
READ (11/1): RP - Langer, "Animatophilia, Cultural Production"

Week of November 5 - Understanding Anime
WATCH (by 11/6): Akira (Katsurio, 1988) [Reserve DVD, Call #TBA]
READ (11/6): RP - Lent, "Animation in Asia"
READ (11/8): Napier, Chapters 1-2 (3-38)

Week of November 12 - Anime and the Body
READ (11/13): Napier, Chapters 3-4 (39-84)
READ (11/15): Napier, Chapters 5-7 (85-138)
ASSIGNMENT: Deadline to turn in optional research paper draft, November 13th.

Week of November 19 - Anime, Fantasy & History
WATCH (by 11/20): Princess Mononoke (Hayao, 1997)
[Reserve DVD PN1997 .P745 2000]
READ (11/20): Napier, Chapters 8-10 (139-192)
11/22: NO CLASS (Thanksgiving)

Week of November 26 - The Future of Animation
READ (11/27): Napier, Chapters 11 - Appendix (193-256)
ASSIGNMENT: Final draft of research paper due, November 29th.

Week of December 3
12/4: NO CLASS (Reading Day)
12/6: Wrap-up; distribute take-home exam

READING PACKET:
Kristin Thompson. "Implications of the Cel Animation Technique." In The Cinematic Apparatus, edited by Teresa and Stephen Heath de Lauretis, New York: St. Martins Press, 1980, 106-119.

Terrance R. Lindvall and J. Matthew Melton. "Toward a Postmodern Animated Discourse: Bakhtin, Intertextuality and the Cartoon Carnival." In A Reader in Animation Studies, edited by Jayne Pilling. Sydney: John Libbey. 1997, 203-220.

Kevin Glynn. "Bartmania: The Social Reception of an Unruly Image." Camera Obscura 38 (1996): 60-91.

Eric Smoodin. "The Disappearance of Dissent: Government Propaganda and the Military Film Bill." In Animating Culture: Hollywood Cartoons from the Sound Era. New Brunswick, NJ: Rutgers University Press, 1993, 71-95.

Jason Mittell. "The Great Saturday Morning Exile: Scheduling Cartoons on Television's Periphery in the 1960s." In Return to Springfield: Prime Time Animation and Cultural Contexts, edited by Carol Stabile and Mark Harrison. New York: Routledge, forthcoming.

Heather Hendershot. "Hey, Hey, Hey, It's 'Good' TV: Fat Albert, CBS, and Dr. William H. Cosby." In Saturday Morning Censors. Durham: Duke University Press, 1998, 193-216.

Jason Mittell. "Cartoon Realism: Genre Mixing and the Cultural Life of The Simpsons." The Velvet Light Trap #47, Spring 2001, 15-28.

Mark Langer. "Animatophilia, Cultural Production and Corporate Interests: The Case of Ren & Stimpy." In A Reader in Animation Studies, edited by Jayne Pilling. Sydney: John Libbey. 1997, 143-162.

10 Reading Response Papers	20%
Midterm Analysis Essay	20%
Research Paper Proposal	5%
Research Paper	25%
Final Exam	20%
Class Participation/Attendance	10%