Film is an enormously powerful medium.  And when it comes to matters of history, movies are also an enormously controversial area for study.  How can a movie possibly capture the reality of history and convey it accurately to the audience?  This line of inquiry raises additional questions, such as:  What is “historical reality,” anyway, to say nothing of “historical accuracy”?

 We’ll explore these and related ideas in this class.  You’ll become acquainted with the “real” history pertaining to a particular realm of historical inquiry, and then venture into the universe of “reel” history.

 The films you’ll view in this course deal with such topics as murders which took place during Freedom Summer in Mississippi in 1964 (Mississippi Burning); the court martial of three Australian soldiers fighting in South Africa’s Boer War (Breaker Morant); a father and his daughter-in-law’s search for his son, her husband, caught up in a military coup in Chile (Missing); a dramatic period in the life of General George S. Patton (Patton); the fall of George Jacques Danton, a leader of the French Revolution (Danton); a nearly-500-year-old case of disputed identity in a French village (The Return of Martin Guerre); the beginning of the unraveling of the Nixon White House in the Watergate scandal (All the President’s Men); the experiences of an African American regiment in the Civil War (Glory); the trauma attending the Khmer Rouge’s coming to power in Cambodia (The Killing Fields); questions of politics and principles that faced Thomas More, advisor to England’s King Henry VIII (A Man for All Seasons); and the goings on within a wildly dysfunctional medieval royal family (The Lion in Winter).

Along the way, you will most likely encounter some films, actors and actresses, writers and directors whose work will stimulate your imagination.  Although most of the films are in English, two are not (The Return of Martin Guerre  and Danton—both starring French actor Gerard Depardieu).  And while Hollywood studios financed many of the films, a number of the directors and writers are not Americans (Missing and Breaker Morant, for example).  You may well find striking differences between some of the ground rules and assumptions foreign filmmakers bring to the table in comparison to many American practitioners of the cinematic art.  So much the better: it’s a big world out there.

In all instances, you’ll be provided with sufficient background material prior to viewing the film—through assigned readings and in-class discussion—to make each movie’s subject matter accessible and understandable.

In addition, you will also have to ponder questions about the very nature of history—and of its various realities—and ask yourself to what degree many films dealing with historical subjects are about the past or the present.

Two books are required reading for this course:  Natalie Zemon Davis, The Return of Martin Guerre; and Robert Brent Toplin, History by Hollywood: The Use and Abuse of the American Past.  Additional readings are available through the Internet and some will be put on reserve at White Library’s circulation desk.

 Make sure you check out the glossary of film-related terms at the following site—easily navigated via the alphabetically arranged letters on the left-hand side of the page— http://www.sun.ac.za/forlang/bergman/tech/glossary/a.htm

A good source for reviews and all sorts of links can be found at the Internet Movie Database (IMDb) www.imdb.com

Some of the readings in this class are available only through the Internet.  If you do not have your own computer, not to worry: numerous computers are available for your use, at no charge, at various locations on campus.
Outcomes

 This is an outcomes-based class in which students are expected to show that they:

• Understand the basic assumptions and issues that inform the “History v. Film” discussion and debate.
• Can tell the difference between films as both primary and secondary sources
• Recognize the key components of film, herein identified as: Introduction, “Meat,” Problem, Climax, Conclusion, and Ending.
• Are able to analyze and discuss the components of a film with respect to the key components.
• Understand the role of revision in the study of history and how it plays a role in film
• Understand the concept of “presentism,” and the role it plays in film
• Can explain why many observers believe films with historical themes are more about the present than the past

 In practical terms, “assessment” means “grades.”  These are arrived at by evaluating your performance on:

 Film Review Journal       50 points
 Participation       100 points
 Film Review         50 points
 Film Review of The Return of Martin Guerre     50 points
 Final Exam          50 points
 
 Total points possible               300 points

If you do not turn in an assignment when required to do so (at the beginning of a specified class period) you may submit it late.  However, the work loses one full grade for every day or portion of a day it is late (including weekends).  As for the Film Review Journal, keep it current and bring it to each class session.

The only exception to this rule is if you are involved as a participant in an ESU-sponsored activity (member of a team, instrumentalist in the band, etc., as opposed to a member of the crowd) and have a valid, officially endorsed excuse not to be in class.  Or if the (documented) situation in which you're involved is of such a catastrophic nature that a reasonable person could not possibly expect you to be in class.  Broken alarm clocks, late nights out, spats with significant others do not reach the “catastrophic” threshold.

Also, with respect to the Film Review assignments, if you receive a grade of “C” or less you may redo the assignment.  The redone assignment will need to be turned in (with the original attached) at the beginning of the class session after the one at which it was returned to the class.  (If you miss the class session at which the papers were returned you will not be able to redo the assignment.)  In order to qualify for redoing, the assignment must have been turned in at the time specified for its initial submission.  (The only exception would be the officially-sanctioned-or-catastrophic circumstances noted above.)

The grade scale in this class is based on what percentage of the total points possible you end up with.  The scale is as follows:

 In calculating grades I round the figures.  This means 58.5% comes in at 59% or “D,” while 58.4% remains an “F.”  Similarly, any total between 88.0% and 88.4% is am 88% “B,” while anything between 88.5% and 88.9% is an 89% “A.”

 In all Film Review assignments—the Film Review Journal, the Film Review, and the Film Review of The Return of Martin Guerre—you will be asked to discuss the movie’s Introduction, Meat, Problem, Climax, Conclusion, and Ending.  The following quoted passage is taken from a interesting website http://www.kenston.k12.oh/khs/computers/colmpapps/twoodson/my_webquest.htm
 

A. Intro – For this section you need to write about how the graphics, action, etc., drew you into the movie through the introduction, or first few scenes.  Write what you liked or disliked about it.

B. Meat – This section is the bulk of the movie, what takes up most of the time.  You should be describing some scenes, what they are about, what you liked or disliked about them, how the scene was shot, etc.  In this section is the problem, the climax, and the conclusion to the problem.
1. Problem – In most movies there is a problem or sudden event that provides action or dilemma or something catchy to the viewer(s).  Describe only what the problem is and how it came about in this section.
2. Climax – Everybody has their eyes open in this part of the movie.  It provides intense action, sometimes death, explosions, street races…and other mind-blowing scenes.  Tell what happens, and tell about some of the action.  There might be a few climaxes…so write about each one and what you liked/disliked about them.

C. Ending – Do what you did for the Intro but for the ending of the movie.  Write about how it left you hanging, surprised you, disappointed your or whatever else.

At the bottom of your notes page(s) [and at the end of the longer reviews] write your overall view of the movie.  Explain what your favorite parts were, and the parts you didn’t like so much.  Give a rating out of 5 stars….1 is a poor movie, 2 is mediocre, 3 is average, 4 is good/great, and 5 is amazing..

 Throughout the course, each student will maintain a Film Review Journal.  This must be typed, single-spaced in 12-point font, and kept in a folder or binder.  You’ll review each film we view in class in the Film Review Journal.  Length of review?  That depends on you (and the film), but one or two pages could well be sufficient for each film.  Keep this journal with you notes for the class.  I will assume that between the time you see a film and we next meet you will have completed the entry for that film.

Bring the Film Review Journal with you to each class session, because I will collect these journals from time to time, make notations as to whether the journal is up to date, and give it a grade at the end of the semester.

 You will write two film reviews for this course that are more extensive than the ones in the Film Review Journal (although the films you review at greater length will also be included among those included in briefer entries in the Film Review Journal).

 In this review you should address an additional component beyond those covered in the Film Review Journal: a discussion of historical accuracy.  “How long?” is a common question for assignments of this type.  I have no hard-and-fast rules on this, but I imagine 5-7 pages ought to be sufficient.

I realize that much of the territory covered by the films you’ll see may be new terrain; that’s fine.  Base your conclusions on what you’re able to discover by keeping up with the readings and discussion in this class and through your own research.  (The assigned readings are designed to present you with historical background, so as to enrich the context of a particular film.)

 All students will prepare a Film Review about The Return of Martin Guerre.  The other films from which you may make your second selection are Breaker Morant,  Danton, A Man for All Seasons, and Glory.

 The Film Review will be double-spaced in 12-point font and attached (either with a folder, paperclip or staple) to a cover page which follows this format:
 

If the pages are not attached to one another, the assignment will not be accepted.  (Likewise, the assignment must be a physical object handed in at the beginning of the class session on which it is due—assignments sent by email do not qualify.)

If you are going to be out of class on the day the assignment is due, you may turn it in early.  Late assignments lose one full grade for each day or portion of a day they are late (including weekends). 

 Although I am more interested in the content you generate than the punctuation, etc., a quarter-point will be deducted for every misspelled word, sentence fragment, and improper use of punctuation or incorrect word usage.  (In other words, “there” for “their”—and vice versa—or “alot” for “a lot,” or “exercise” for “exorcise,” or “affect” for “effect,” etc.)  If you are uncertain about spelling and usage, use another word.  If you’re unsure about punctuation, use shorter sentences.  Factors taken into account for purposes of grading include, but are not limited to: neatness, clarity of expression, relevance.

 The Film Review is due at the class session following the one at which the film was viewed.
 

The Return of Martin Guerre (Le Retour de Martin Guerre) has attracted quite a bit of attention.  One of your texts is devoted to the material present in this film: Natalie Zemon Davis’s The Return of Martin Guerre.  (You may be familiar with what amounts to a remake of this film: Somersby.)  I will provide you with access to additional material about the Martin Guerre story, Davis’s interpretation of historical sources, and the film itself.  What you will do is write a review of The Return of Martin Guerre, taking special care to evaluate what the film says, what Davis says, and what others have said with respect to its more significant points.  This review will be produced in accordance with the same spacing, attachment, and title page requirements as the other Film Review noted immediately above.
 
 Your review of The Return of Martin Guerre is due on March 27.

 The final exam consists of a take-home essay in which you examine the question of “historical accuracy” and movies.  You will be asked to comment upon the following passage in Robert A. Rosenstone’s Visions of the Past: The Challenge of Film to Our Idea of History (Cambridge: Harvard University Press, 1995) (copy on reserve in White Library) (page 4):

 What follows in this section of the syllabus is a setting forth of the intended schedule for the course.

It may happen that we will move more slowly through some areas, but this is the basic blueprint.  I’ve listed a few of the early readings assignments (a more complete list will be distributed in class).

The readings need to be completed by the date with which they are listed.  There is a brief title/description of the subject/nature of the reading assignment, with the Internet address at which it is located listed below that title/description.

I will assume that you are familiar with the assigned material when class starts.  If you are not familiar with that material by that time, you may find the presentation a bit confusing.

Before viewing each film, explore the IMDb site for the movie, and read some of the online reader reviews, as well as those found under the “external reviews” link.  “Toplin” refers to Toplin’s book (one of the texts).

January 16
Introduction: Film & History, History & Film—Historical background material for several films

January 23
Mississippi Burning (1988)
Toplin to page 78
Read “Historians and Historical Film,” for an introduction to some themes that will be with us throughout the run of this course
http://www.earlymodernweb.org.uk/film/historyfilm.htm
Also, look around the “Mississippi Burning Trial: U.S. vs. Cecil Price et al (1967)—one of the “Famous Trials” sites maintained by University of Missouri at Kansas City law professor Douglas O. Linder at
http://www.law.umkc.edu/faculty/projects/ftrials/price&bowers/price&bowers.htm

January 30
Breaker Morant (1980)
Background on the Bushveldt Carabineers, the outfit with which Morant served
www.lighthorse.org.au/milkitary/bushveldt.com
“Law in Popular Culture Collection-Etexts—Breaker Morant”
www.law.utexas.edu/lpop/etext/okla/kershen22.htm
also at www.usc.edu/dept/polsci/gillman/kershen.html
“Harry the Breaker Morant and Peter Handcock,” very pro-Morant site
www.ozbird.com/thebreaker.htm
“A New War for a New Century,” an overview of the film
www.loargesock.com/writing/wbreaker.html
Morant’s last poem can be found at
www.webspan.net/~amunno/morant.html
“Breaker Morant: Hero, Scapegoat or Rogue?”
www.picknowl.com/au/homepages/rkfadol/breakermorant.htm
The Film and Reality
www.arts.adelaide.edu.au/personal/Dhart/Films/BreakerMorant.html

February 6
Missing (1982)
Toplin 81-124
Explore the Internet and see what you can find out about Charles Horman, his case—the basis for this film—and General Pinochet’s coup against Chilean president Salvador Allende.

February 13
Discuss ground covered thus far, including these concepts highlighted by Toplin: Exercising Artistic Licence—Communicating through a Mix of Fact and Fiction, and Drawing Lessons—Making the Past Relevant to the Present.  Historical background for the next films.

February 20
Patton (1970)
Toplin 127-175

February 27
Danton (1982)

March 6
The Return of Martin Guerre (1982)
Davis, The Return of Martin Guerre
Robert Finlay, “The Refashioning of Martin Guerre,” American Historical Review, Vol. 93, No. 3 (June 1988): 553-571

March 13
Martin Guerre reflection and research

March 27
Martin Guerre assignment due—discussion.  Historical background for remaining films.

April 3
All the President’s Men (1976)
Toplin 179-227

April 10
The Lion in Winter (1968)

April 17
A Man for All Seasons (1966)

April 24
Glory (1989)

May 1
The Killing Fields (1984)  (2000)

May 8
Reflections

The final exam (essay) must be turned in on the day and at the time specified by ESU for the final exam in this class.  It will not be accepted either earlier or later than the scheduled day/time.

“Academic dishonesty, a basis for disciplinary action, includes but is not limited to activities such as cheating and plagiarism (presenting as one’s own the intellectual or creative accomplishments of another without giving credit to the source or sources).” (ESU’s policy on academic dishonesty, which can be found at www.emporia.edu/biosci/dishbiol.htm)
Plagiarism and cheating runs so dramatically against academic norms and expectations that, according to ESU’s policy on this, “The faculty member in whose course or under whose tutelage an act of academic dishonesty occurs has the option of failing the student for the academic hours in question.”

Be assured: Any student who is found to have engaged in cheating or plagiarism in this course will receive a grade of “F” for the entire course.  A report of this action will be forwarded to the chair of the Social Sciences Department, and I will feel free to pursue any and all other avenues ESU provides for dealing with academic dishonesty. It is not sufficient, for the purpose of avoiding plagiarism, to provide a source for a passage lifted (without quotation marks) from another’s work.  Nor is it sufficient to change a few words and present paraphrasing of another’s work as one’s own (whether or not the original work is cited).

Please study the information on the following website “(Avoiding Plagiarism): http://sja.ucdavis.edu/avoid.htm

In addition, I have provided information below on this subject.  It is taken from a site maintained by Professor Dwight Moore (ESU-Biology) at http://www.emporia.edu/biosci/genetics/papegene.htm#plagiarism
 

You should pay very close attention to the following excerpt from the "Random House Handbook" (Crews, Frederick, 1984, Random House Publ., pp. 405-406).

Consider the following source and three ways that a student might be tempted to make use of it:

Source: The joker in the European pack was Italy. For a time hopes were entertained of her as a force against Germany, but these disappeared under Mussolini. In 1935 Italy made a belated attempt to participate in the scramble for Africa by invading Ethiopia. It was clearly a breach of the covenant of the League of Nations for one of its members to attack another. France and Great Britain, as great powers, were bound to take the lead against Italy at the League. But they did so feebly and half-heartedly, because they did not want to alienate a possible ally against Germany. The result was the worst possible: the League failed to check aggression, Ethiopia lost her independence, and Italy was alienated after all.1

1 J.M. Roberts, History of the World (New York: Knopf,1976), p. 845.

Version A: Italy, one might say, was the joker in the European deck. When she invaded Ethiopia, it was clearly a breach of the covenant of the League of Nations; yet the efforts of England and France to take the lead against her were feeble and half-hearted. It appears that those great powers had no wish to alienate a possible ally against Hitler's rearmed Germany.

Comment: Clearly plagiarism. Though the facts cited are public knowledge, the stolen phrases aren't. Note that the interweaving of the writer's own words with the source's do not render the writer innocent of plagiarism.

Version B: Italy was the joker in the European deck. Under Mussolini in 1935, she made a belated attempt to participate in the scramble for Africa by invading Ethiopia. As J.M. Roberts points out, this violated the covenant of the League of Nations.1 But France and Britain, not wanting to alienate a possible ally against Germany, put up only feeble and half-hearted opposition to the Ethiopian adventure. The outcome, as Roberts observes, was "the worst possible: the League failed to check aggression, Ethiopia lost her independence, and Italy was alienated after all."2

1 J.M. Roberts, History of the World (New York: Knopf, 1976), p. 845.
2 Roberts, p. 845.

Comments: Still plagiarism. The two correct citations of Roberts serve as a kind of alibi for the appropriating of other, unacknowledged phrases. But the alibi has no force: some of Roberts' words are again being presented as the writer's.

Version C: Much has been written about German rearmament and militarism in the period 1933-39. But Germany's dominance in Europe was by no means a foregone conclusion. The fact is that the balance of power might have been tipped against Hitler if one or two things had turned out differently. Take Italy's gravitation towards an alliance with Germany, for example. That alliance seemed so very far from inevitable that Britain and France actually muted their criticism of the Ethiopian invasion in the hope of remaining friends with Italy. They opposed the Italians in the League of Nations, as J.M. Roberts observes, "feebly and half-heartedly because they did not want to alienate a possible ally against Germany."1 Suppose Italy, France, and Britain had retained a certain common interest. Would Hitler have been able to get away with his remarkable bluffing and bullying in the later thirties?

1 J.M. Roberts, History of the World (New York: Knopf, 1976), p. 845.

Comment: No plagiarism. The writer has been influenced by the public facts mentioned by Roberts, but he hasn't tried to pass off Roberts' conclusions as his own. The one clear borrowing is properly acknowledged.

Absences cut you off from information and may result in missing deadlines for assignments (which can be costly in terms of your final grade).

I try to avoid History Lite—so sanitized into comfortable acceptability that it lacks either spirit or real meaning.  Occasionally, you may encounter images and/or language some folks find offensive or disturbing.  If you remain in class after receiving this syllabus, I will take that as an expression of your willingness to be exposed to topics and/or forms of expression that might be viewed by some as politically or culturally sensitive.

If you want or need to tape lectures, please feel free to do so.

Posted policies specify no eating or drinking in Plumb Hall classrooms

Please turn off beepers, pagers, cell phones, and alarm clocks during class time.  If there’s an emergency that requires you to be electronically connected to the outside world, let me know about it.

If I’m up a the front of the room, talking, when you come in—meaning, you’re late—please do not come up to the front to retrieve a terms guide.  Wait in your seat until class is over, and then get it.

Any student who disrupts the flow of the classroom experience (for example: repeatedly arriving late) may be asked to withdraw from the course.  A student who does not withdraw from the course at that point may be subject to an instructor-initiated withdrawal.

ESU’s policies on academic dishonesty will be enforced.  You can find the foundation of that policy at   http://www.emporia.edu/biosci/dishbiol.htm

Any incident involving cheating or plagiarism will result in a student receiving a grade of “F” for the entire course.  Additional avenues for disciplinary action will also be taken.
 

“Emporia State University will make reasonable accommodations for persons with documented disabilities.  Students need to contact the Director of Disability Services and the professor as early in the semester as possible to ensure that classroom and academic accommodations are implemented in a timely fashion.  All communication between students, the Office of Disability Services, and the professor will be strictly confidential.”
(Excerpt from a policy passed by ESU’s Faculty Senate in April 2002)

If you have a documented disability that will interfere in any way with your work in this class, or impede your speedy exit from the room in the event of an emergency, please let me know about it as soon as possible so appropriate measures may be taken.

The office of the Director of Disability Services is located in 242 SE Morse Hall (directly north of Plumb Hall).  The phone number of the Office of Disability Services is 341-6637.