Sample Syllabi — Film 100 (Introduction to Film) & Film 103 (History of World Cinema)  

As a former faculty member at the University of the Philippines Film Institute, I designed courses that explore the formal, historical, and cultural dimensions of cinema. In this post, I’m sharing two sample syllabi: Film 100: Introduction to Film and Film 103: History of World Cinema.

Film 100 introduces students to the fundamental elements of film language, such as cinematography, editing, sound, and narrative structure, while encouraging critical engagement with a diverse range of films. Film 103, on the other hand, delves into the evolution of global cinema, focusing on key film movements and national cinemas.

Below, you’ll find the full syllabi for both courses. These reflect my approach to teaching film, blending theory and practical analysis to give students a comprehensive understanding of cinema as an art form and cultural product.


Film 100 – Introduction to Film 

Instructor: Joni Gutierrez, Ph.D. 
Email: jcgutierrez3@up.edu.ph 
Office: University of the Philippines Film Institute (UPFI) 
Office Hours: Tuesdays and Thursdays, 8:00 AM – 1:00 PM 
Class Schedule: Thursdays, 1:00 PM – 4:00 PM 
Location: Film Building, UPFI 
Credits: 3 credits 

Course Description: 

This course serves as an introduction to the study of film, focusing on the formal aspects of film art, including narrative structure, mise-en-scène, cinematography, editing, and sound. We will explore key concepts in film theory and analysis and examine a range of films from different genres, time periods, and cultural contexts. The course aims to develop students’ critical understanding of film as a cultural and artistic medium. 

Course Learning Outcomes: 

By the end of this course, students will: 

  1. Demonstrate knowledge of the fundamental elements of film form, such as cinematography, editing, mise-en-scène, and sound. 
  1. Critically analyze films in terms of their formal, narrative, and stylistic elements. 
  1. Understand the historical and cultural significance of film in various international contexts. 
  1. Apply key concepts in film theory to interpret and evaluate film texts. 

Instructional Methods: 

  • Lectures: Presentations on film theory, history, and analysis. 
  • Screenings: Weekly film viewings to highlight key topics. 
  • Discussions: Group discussions to engage with the readings and films critically. 
  • Assignments: Critical essays, presentations, and a final project designed to encourage deep engagement with the course material. 

Weekly Schedule: 

Week 1: Introduction to Film Language 

  • Overview of film as a medium, including elements of film language such as mise-en-scène, cinematography, sound, and editing. Introduction to the course objectives and expectations. 
  • Screening and discussion: Rear Window (1954) 
  • Key Concepts: Basics of film form, shot types, and how cinematic techniques convey meaning. 

Week 2: Mise-en-Scène 

  • In-depth study of mise-en-scène, focusing on visual composition, settings, lighting, costumes, and acting. Discussion of how mise-en-scène contributes to the overall mood, tone, and thematic elements of a film. 
  • Screening and discussion: The Scent of Green Papaya (1993) 
  • Key Concepts: Setting, costume, lighting, and figure movement. 

Week 3: Cinematography 

  • Examination of the art of cinematography, including camera techniques, framing, lighting, and lens choices. Discussion of how these elements create mood, tension, and meaning. 
  • Screening and discussion: Citizen Kane (1941) 
  • Key Concepts: Composition, camera movement, lighting design, and depth of field. 

Week 4: Editing 

  • Exploration of different editing techniques such as continuity editing, montage, and temporal manipulation. Discussion on how editing affects the film’s pace and the audience’s perception of time and space. 
  • Screening and discussion: Battleship Potemkin (1925) 
  • Key Concepts: Match cuts, transitions, rhythm, and cross-cutting. 

Week 5: Sound in Film 

  • Study of the role of sound in film, including diegetic vs. non-diegetic sound, sound effects, and sound design. Discussion on how sound influences the viewer’s emotional response and enhances the visual elements. 
  • Screening and discussion: Singin’ in the Rain (1952) 
  • Key Concepts: Sound design, voiceover, music, and sound bridges. 

Week 6: Narrative Structure 

  • Analysis of classical Hollywood narrative structure, including the concepts of story vs. plot, cause and effect, and genre conventions. Examination of how narrative choices guide the audience’s understanding of the story. 
  • Screening and discussion: Chinatown (1974) 
  • Key Concepts: Three-act structure, character development, and genre analysis. 

Week 7: Documentary Cinema 

  • Exploration of different forms of documentary cinema, focusing on how filmmakers use realism and fact-based storytelling to convey social, political, or historical messages. 
  • Screening and discussion: Nanook of the North (1922) 
  • Key Concepts: Observational cinema, expository documentary, and cinéma vérité. 

Week 8: Global Cinema 

  • Examination of non-Western cinematic traditions, focusing on how different cultural perspectives influence film form, storytelling, and production. 
  • Screening and discussion: Rashomon (1950) 
  • Key Concepts: Cultural specificity, narrative diversity, and global film movements. 

Week 9: Auteur Theory 

  • Introduction to auteur theory, analyzing the role of directors as primary authors of their films. Examination of how a director’s unique style and thematic concerns can shape a film’s meaning. 
  • Screening and discussion: (1963) 
  • Key Concepts: Directorial vision, personal style, and recurring themes. 

Week 10: Genre Studies 

  • Study of film genres and their conventions, with a focus on the development of genres such as Westerns, horror, and film noir. Discussion on how genre films adhere to and subvert expectations. 
  • Screening and discussion: The Searchers (1956) 
  • Key Concepts: Genre conventions, iconography, and thematic exploration. 

Week 11: Avant-Garde and Experimental Film 

  • Exploration of experimental and avant-garde filmmaking techniques, including non-narrative structures, abstract visuals, and unconventional storytelling. 
  • Screening and discussion: Meshes of the Afternoon (1943) 
  • Key Concepts: Formal experimentation, abstraction, and the avant-garde movement. 

Week 12: Contemporary Cinema and Digital Media 

  • Examination of the impact of digital technology on filmmaking and distribution. Discussion on how contemporary films reflect changes in technology, society, and film production practices. 
  • Screening and discussion: Roma (2018) 
  • Key Concepts: Digital filmmaking, globalization, and modern storytelling techniques. 

Week 13: Final Project Presentations 

  • Students will present their final group projects, showcasing their analysis of their selected films. Presentations should incorporate key film concepts such as mise-en-scène, cinematography, editing, and sound, demonstrating an understanding of the cultural and historical contexts of the films chosen for analysis. 
  • Key Concepts: Application of film theory, analysis of national cinemas, and peer feedback. 

Week 14: Review and Final Exam Preparation 

  • A comprehensive review of all the key concepts covered throughout the semester, including film language, editing techniques, sound, narrative structure, and film movements. The session will focus on preparing students for the final exam by revisiting significant films and concepts. 
  • Key Concepts: Recap of film form, theory, and historical movements, exam strategies, and answering questions related to course content. 

Week 15: Final Examination 

  • The final exam will consist of a 40-item multiple-choice test covering the topics discussed throughout the course. Questions will focus on the analysis of film techniques, the role of directors, and the historical development of world cinema. 
  • Key Concepts: Film language, analysis of narrative and style, historical context, and global cinema. 

Assessments: 

  • Quizzes and Exercises: 20% 
  • Midterm Essay: 20% 
  • Group Project: 20% 
  • Final Exam: 30% 
  • Class Participation: 10% 

Policies: 

Attendance: Regular attendance is required. More than two unexcused absences will affect your grade. 

Academic Integrity: Plagiarism and other forms of academic dishonesty are prohibited. Any violation will result in a failing grade for the assignment. 

Disability Accommodations: Students with disabilities should contact the Office of Counseling and Guidance to arrange accommodations. 

Diversity and Inclusion: This course encourages the inclusion of diverse perspectives and fosters a respectful, inclusive environment. 

Campus Resources: 

  • University Library: The main library at UP Diliman provides resources on film history, including multimedia and digital archives. Visit UP Diliman University Library for access to databases and journals. Contact: (+632) 8981-8500 loc. 2856, or email library.updiliman@up.edu.ph. 
  • University Health Service: Medical consultations and wellness programs are available. Contact the UP Health Service at (+632) 8981-8500 loc. 111. 
  • Counseling and Guidance Services: Students can access counseling services at UPD Counseling Services. For appointments, call (+632) 8981-8500 loc. 4501. 

Required Readings: 

  • Bordwell, D., Thompson, K., & Smith, J. Film Art: An Introduction, 13th Edition (2024). 
  • Additional readings and resources will be provided through the course website. 

Film 103 – History of World Cinema 

Instructor: Joni Gutierrez, Ph.D. 
Email: jcgutierrez3@up.edu.ph 
Office: University of the Philippines Film Institute (UPFI) 
Office Hours: Mondays and Fridays, 8:00 AM – 1:00 PM 
Class Schedule: Fridays, 1:00 PM – 4:00 PM 
Location: Film Building, UPFI 
Credits: 3 credits 

Course Description: 

This course explores the evolution of world cinema, focusing on key national cinemas, film movements, and their influence on global film culture. We will study films from various historical periods, examining the relationship between cinema, society, and culture. Through critical analysis, students will develop an understanding of the historical development of film styles and national identities. 

Course Learning Outcomes: 

By the end of this course, students will: 

  1. Demonstrate an understanding of the relationship between cinema and world culture. 
  1. Examine major issues in world cinema through various historical and cultural contexts. 
  1. Apply critical approaches to the study of different film movements. 
  1. Compare the development of film styles and national identities across different eras. 

Instructional Methods: 

  • Lectures: Presentations on major film movements and historical contexts. 
  • Screenings: Weekly film viewings to illustrate key concepts. 
  • Discussions: Group discussions to foster critical engagement. 
  • Assignments: Essays and projects analyzing representative films and movements. 

Weekly Schedule: 

Week 1-2: Classical Hollywood Cinema 

  • Topics: Introduction to Classical Hollywood Cinema, focusing on narrative structure, star system, studio dominance, and production code. Exploration of key directors, technological advancements, and the cultural impact of Hollywood films during the studio era. 
  • Screening and discussion: Casablanca (1942) 
  • Key Concepts: Classical narrative structure, continuity editing, and the rise of genre films. 

Week 3-4: German Expressionist Cinema 

  • Topics: Study of post-WWI German cinema, focusing on visual style, themes of distortion, and the reflection of social anxieties. Discussion of key films, directors, and the influence of German Expressionism on later horror and noir genres. 
  • Screening and discussion: The Cabinet of Dr. Caligari (1920) 
  • Key Concepts: Mise-en-scène, exaggerated set design, chiaroscuro lighting, and the depiction of madness. 

Week 5: Soviet Montage Cinema 

  • Topics: Exploration of Soviet cinema’s revolutionary approaches to editing, focusing on Eisenstein’s theory of montage. Discussion of how editing techniques were used to manipulate time, space, and emotion to convey political ideologies. 
  • Screening and discussion: Battleship Potemkin (1925) 
  • Key Concepts: Montage theory, dialectical editing, and propaganda cinema. 

Week 6-7: Italian Neorealism 

  • Topics: Study of post-WWII Italian Neorealism, focusing on its rejection of classical narrative and visual aesthetics in favor of on-location shooting, non-professional actors, and stories about the working class. 
  • Screening and discussion: Bicycle Thieves (1948) 
  • Key Concepts: Realism, social critique, non-professional actors, and location shooting. 

Week 8-9: French New Wave and Auteur Theory 

  • Topics: Examination of the French New Wave, focusing on its stylistic innovations and break from traditional narrative forms. Discussion of auteur theory, with an emphasis on directors such as Jean-Luc Godard and François Truffaut. 
  • Screening and discussion: Breathless (1960) 
  • Key Concepts: Auteur theory, jump cuts, handheld camera, and self-reflexivity. 

Week 10: New German Cinema 

  • Topics: Exploration of postwar German cinema, focusing on the political and social commentary of directors such as Werner Herzog, Rainer Werner Fassbinder, and Wim Wenders. Discussion of how these films confronted Germany’s Nazi past and the economic challenges of postwar reconstruction. 
  • Screening and discussion: Aguirre, the Wrath of God (1972) 
  • Key Concepts: Political modernism, allegory, and the deconstruction of history. 

Week 11: Political Modernism 

  • Topics: Study of political modernism in cinema, focusing on filmmakers who challenged traditional narrative forms to express political ideologies. Discussion of how filmmakers such as Jean-Luc Godard employed Brechtian techniques and other forms of counter-cinema. 
  • Screening and discussion: Pierrot le Fou (1965) 
  • Key Concepts: Political modernism, counter-cinema, Brechtian alienation, and reflexivity. 

Week 12: Cinema of Postmodernism 

  • Topics: Examination of postmodernist approaches to cinema, focusing on films that blend genres, break narrative conventions, and question the nature of reality. Discussion of how postmodern cinema reflects the cultural and technological changes of the late 20th century. 
  • Screening and discussion: Blade Runner (1982) 
  • Key Concepts: Postmodernism, hybrid genres, pastiche, and dystopian narratives. 

Week 13: Contemporary World Cinema 

  • Topics: Exploration of the rise of global cinema, focusing on films and filmmakers from non-Western regions. Discussion of how these films engage with cultural specificity while addressing global issues such as migration, identity, and the effects of globalization. 
  • Screening and discussion: Roma (2018) 
  • Key Concepts: Globalization, cultural hybridity, and personal narrative. 

Week 14: Final Project Presentations 

  • Students will present their final group projects, showcasing their analysis of a selected film movement, national cinema, or key film director. Presentations should demonstrate a critical understanding of the historical, cultural, and stylistic significance of the chosen films. Students are expected to integrate key concepts such as genre, narrative, and visual style while contextualizing the films within broader cinematic trends. 
  • Key Concepts: Application of film theory, historical context, and critical analysis of national cinemas or film movements. 

Week 15: Final Examination 

  • The final exam will consist of a 40-item multiple-choice test covering the topics discussed throughout the course. Questions will focus on the analysis of film techniques, the role of directors, and the historical development of world cinema. 
  • Key Concepts: Film language, analysis of narrative and style, historical context, and global cinema. 

Assessments: 

  • Quizzes and Exercises: 20% 
  • Midterm Essay: 20% 
  • Group Project: 20% 
  • Final Exam: 30% 
  • Class Participation: 10% 

Policies: 

Attendance: Regular attendance is required. More than two unexcused absences will affect your grade. 

Academic Integrity: Plagiarism and other forms of academic dishonesty are prohibited. Any violation will result in a failing grade for the assignment. 

Disability Accommodations: Students with disabilities should contact the Office of Counseling and Guidance to arrange accommodations. 

Diversity and Inclusion: This course encourages the inclusion of diverse perspectives and fosters a respectful, inclusive environment. 

Campus Resources: 

  • University Library: The main library at UP Diliman provides resources on film history, including multimedia and digital archives. Visit UP Diliman University Library for access to databases and journals. Contact: (+632) 8981-8500 loc. 2856, or email library.updiliman@up.edu.ph. 
  • University Health Service: Medical consultations and wellness programs are available. Contact the UP Health Service at (+632) 8981-8500 loc. 111. 
  • Counseling and Guidance Services: Students can access counseling services at UPD Counseling Services. For appointments, call (+632) 8981-8500 loc. 4501. 

Reading List: 

Classical Hollywood Cinema 

  • Bordwell, David and Thompson, Kristin, Film History: An Introduction (McGraw Hill, 1994), pp. 233-254 
  • Bordwell, David, Narration in the Fiction Film (Routledge, 1985), pp. 156-204 
  • Cook, Pam (ed.), The Cinema Book (BFI, 1988), pp. 1-31 
  • Gomery, Douglas, The Hollywood Studio System (BFI, 1986), pp. 1-25 

German Expressionist Cinema 

  • Aitken, Ian, European Film Theory and Cinema (Edinburgh: EUP, 2001), pp. 14-26, 47-56 
  • Kracauer, Siegfried, From Caligari to Hitler (Princeton: Princeton University Press, 1974), pp. 3-11, 61-76 
  • Nowell-Smith, Geoffrey, The Oxford History of World Cinema (Oxford: OUP, 1997), pp. 136-151 

Soviet Montage Cinema 

  • Barna, Yon, Eisenstein (London: Secker and Warburg, 1973), pp. 90-113 
  • Taylor, Richard, and Christie, Ian (eds.), The Film Factory (Routledge, 1989), pp. 140-156 

Italian Neorealism 

  • Aitken, Ian, European Film Theory and Cinema (EUP, 2001), pp. 162-202 
  • Aitken, Ian, Realist Film Theory and Cinema (MUP, 2006), pp. 137-188 
  • Liehm, Mira, Passion and Defiance: Film in Italy from 1942 to the Present (University of California Press, 1984), pp. 60-89 

French New Wave and Auteur Theory 

  • Bordwell, David, and Thompson, Kristin, Film History: An Introduction (McGraw Hill, 1994), pp. 492-516 
  • Abrams, MH, ‘Literature as a Revelation of Personality’, in Caughie, John (ed.), Theories of Authorship (BFI, 1981), pp. 17-21 

New German Cinema 

  • Kaes, Anton, From Hitler to Heimat (Harvard University Press, 1989), pp. 73-103 
  • Elsaesser, Thomas, New German Cinema: A History (BFI, 1989), pp. 207-238 

Political Modernism 

  • Forbes, Jill, The Cinema in France: After the New Wave (BFI, 1992), pp. 18-32 
  • Walsh, Martin, ‘Godard and Me, Jean-Pierre Gorin Talks’, The Brechtian Aspect of Radical Cinema (BFI, 1981), pp. 116-129 

Cinema of Postmodernism 

  • Hill, John, and Church Gibson, Pamela, The Oxford Guide to Film Studies (OUP, 1998), pp. 96-105 
  • Connor, Steven, Postmodernist Culture (Blackwell, 1988), pp. 3-64 

Contemporary World Cinema 

  • Austin, Guy, Contemporary French Cinema (MUP, 1996), pp. 119-141