MCCCD Program Description

Film Comedy

Course: HUM215

First Term: 2011 Spring

Lecture 3 Credit(s) 3 Period(s) 3 Load
Subject Type: Academic
Load Formula: S

Description: Explores the basics of humor in film by tracing its roots through a historical examination of a variety of arts, artists, and theorists. Focuses on films` unique contributions to the world of laughter. Investigates how comedy, and film comedy in particular, provides an essential and unifying force for culture and society.

MCCCD Official Course Competencies
1. Define comedy in its various forms. (I, II, V, VI, VII, VIII) 2. Analyze the ways in which comedy works. (II, III, IV, VI, IX) 3. Evaluate how film comedy has been influenced by other media. (V) 4. Examine and synthesize theories that explain why people laugh. (II, III, IV, IX) 5. Describe how film has developed its own unique conventions. (VI, VII, VIII, IX) 6. Trace the evolution of film comedy. (VII, VIII, IX) 7. Explain the importance of comedy for the harmonious functioning of a society. (III, IV, V, VII, X)
MCCCD Official Course Competencies must be coordinated with the content outline so that each major point in the outline serves one or more competencies. MCCCD faculty retains authority in determining the pedagogical approach, methodology, content sequencing, and assessment metrics for student work. Please see individual course syllabi for additional information, including specific course requirements.

MCCCD Official Course Outline
I. Definitions of Comedy A. Slapstick B. Screwball C. Pun D. Irony E. Wit F. Sarcasm G. Exaggeration H. Satire II. Basic Tenets of Comedy A. Benign B. Incongruous C. Sudden III. Theories of Comedy A. Ludicrous perception B. Superiority C. Relief D. Taboo E. Absurdity F. Intellectual IV. Theorists of Comedy A. Superiority theorists: Plato, Aristotle, Thomas Hobbes B. Relief theorists: Sigmund Freud, Herbert Spencer C. Incongruity theorists: Immanuel Kant, Soren Kierkegaard V. Historical Evolution of Comedy A. Greek B. Roman C. Renaissance D. Shakespearean E. Commedia dell`arte F. Comedy of manners G. Dadaist/Surrealist H. Vaudeville/Burlesque I. Radio J. Television VI. Determination of a Film Comedy A. Worthlessness taken seriously B. Familiar hero C. One dimensional supporting players D. Subject matter E. Dialogue F. Artistic self-consciousness G. Use of cinematic tools VII. Film Comedy History A. Silent era 1. Slapstick 2. Pratfalls B. Early sound era 1. Screwball 2. Battle of the sexes C. Developing sound era 1. Conformist 2. Problem pictures D. Modern Era 1. Challenging societal mores 2. End of the screen code 3. Black comedy VIII. Comic Film Structure A. Boy meets girl B. Parody of conventions C. Reduction ad absurdum D. Investigation of a society or group E. Central figure`s journey F. Riffing G. Accomplishing the task H. Discovering the error IX. Film Comedy Technique and Terminology A. Shot Selection 1. Close -up 2. Medium shot 3. Long shot B. Camera Movement 1. Pan 2. Tracking 3. Crane 4. Steadicam C. Camera angles 1. High angle 2. Low angle 3. Dutch angle 4. Eye level D. Editing 1. Invisible 2. Montage 3. Jump cut 4. Parallel E. Photography 1. Lighting 2. Mise-en-scene 3. Lenses 4. Film stock X. Film Comedy`s Importance to a Humanistic Society A. Harmony B. Unification C. Common discourse D. Creativity E. Exposure of hypocrisy F. Defense and preservation of freedom G. Physical and mental health H. Critical examination of moral values I. Male female relationships J. Individual vs. society K. Fantasy vs. reality L. Identity clarification

MCCCD Governing Board Approval Date: 11/23/2010

All information published is subject to change without notice. Every effort has been made to ensure the accuracy of information presented, but based on the dynamic nature of the curricular process, course and program information is subject to change in order to reflect the most current information available.