THE HORROR FILM

HU 365-01: Topics in Film Studies: HORROR Dr. Michael Arnzen

Spring 2018 -- Seton Hill University Office: 302 St. Joseph Hall
Meets in: Reeves 108 Office Hours: TuTh 2:30-4p; W 4-6pm
Meetings: W 6-8:30pm (may run later for some films) & others by appointment only
3 Credits Office Phone: 724-838-2467 (campus ext. 2467)
"Canvas" web site: https://shu.instructure.com// Instructor's E-mail: arnzen@setonhill.edu
(login with your e-mail password via MySHU)

Catalog Description:
"This course covers diverse issues and topics related to the cinema while emphasizing advanced research writing in the humanities. Topical
focus could include: film genres (e.g., The Western, The Documentary), cinematic history (e.g., Films of the Silent Era”), international
movements (e.g., The French New Wave), directors (e.g., Hitchcock), or particular thematic or theoretical studies relevant to the humanities
(e.g., Literary Adaptations, War in Film). Spring semester, even-numbered years. Prerequisite: SEL106 or SEL107. Repeatable for credit. 3
credits. Fee." -- SHU Catalog

A Promise and a Disclaimer:

Our class will be entertaining. But you should trust that I have chosen the films you will study this semester
based on their educational value about a cinematic genre, rather than merely for cheap thrills. I expect us to
laugh and scream together often, but I also expect us to act approach the class in a scholarly way, respectful of
the merit of the material (even bad movies can teach us lessons, after all). Let's approach the horror cinema as
not only fans, but intelligent students and emotionally mature adults, interested in the lessons to be gleaned from
these movies and eager to discuss the issues they raise for us.

Our class might also be disturbing. Taking a course in "horror " inherently involves a modicum of risk. Most of
the films we are viewing in this class are Rated R films, intentionally designed to upset you. There will be times
when you will be unexpectedly confronted by images of sexuality, depictions of gory violence, and all sorts of
politically incorrect or belief-challenging ideas. Horror strives to explore the "dark side" of our culture -- our social
and psychological taboos -- and you'll have to be prepared to explore the shadows of ourselves and society
when moviemakers shine light on them. You should enter our class expecting to encounter topics, language,
images and texts (including articles, stories, conversation and student writing) which you might otherwise find
morally offensive, emotionally disturbing, or otherwise grotesque and reprehensible. You may witness
uncomfortable displays of sexual abuse, child abuse, drug abuse, and even more crimes and sins than those
iterated in the Ten Commandments. Horror cinema playfully and sometimes nihilistically challenges us to think
differently by pushing us out of our comfort zone. If you are not willing to be offended, disturbed, or "grossed-
out," then you should probably drop this class immediately. Expect all the films to be potential "triggers" for
emotional disturbance. This is the only "trigger warning" you will receive.

If you ever feel you need help coping with the horror in this class, please visit the professor during office hours.
But know that if you stay in this course you have made a choice of your own free will, entering into the land of
nightmares voluntarily. You have been warned.

Course Design and Objectives:

Horror movies have a long history of playing "peek-a-boo" with their audiences. In this course, we will screen and
study horror films which foreground the motifs of "peeking" and "booing" in order to study how cinema attempts
to generate fear, terror, dread, and even nervous laughter through structures of seeing (and not-seeing), showing
(and hiding), and masking (and unmasking). Aside from analyzing cinematic technique, however, our primary
goal will be to learn to look at these films from different perspectives: to understand their hidden assumptions
about social relationships; to recognize the historical tradition of genre storytelling and movie-making which they
stem from; to learn what they can tell us about our culture and our psychology. In the end, I hope you will leave
this class with a strong sense of how the horror film became what it is today, how critics have understood and
"read" the genre in film studies, and how horror films reflect serious issues beyond what we see on the screen. I
also hope that you will develop the skills you already have in writing, thinking, and talking about films and film
genres, in general.

I approach film courses like literature course: we will "read" the movies, often for homework outside of class, and
then you will write about your thoughts and come with them prepared to share in class. Live class analysis of film
will highlight most class meetings, designed in a way that separates form from content in order to get at how
meaning is constructed or shaped by several different components working in concert. Our class has the added
 HU 365 Syllabus -- 2

context of horror genre history, which will dominate our focus for understanding meanings that are on and under
the surface (subtext) of these texts. Lectures and assigned readings will also provide a context for understanding
the various messages and methods of the movies. Since this course is at the 300 level, you should be prepared
to encounter some difficulty in your assigned reading and independent research, but we will discuss to unravel
their meanings in class (or during office hour visits). Open class discussions and routine writing about film will
sharpen our analytical and critical faculties, while teaching us about the diverse perspectives we bring to the
cinema ourselves. There are myriad ways in which film impacts its audience and the best films are always open
to multiple interpretations. Therefore, we'll share and evaluate our responses, as we build our knowledge about
cinema history together.

By the end of this class, you should ultimately feel more confident in your ability to:
 utilize and understand the discourse of cinematic production, film theory, and the film industry (key
critical terms, technical vocabulary, business jargon, etc.).
 analyze film texts in a way that reaches beyond the basic story (narrative) and addresses all levels of film
craft (sound, photography, camerawork, editing, etc.) as an integrated process
 critically "read" film as a social, cultural, and collaborative text as much as the work of a famous director
("auteur") or celebrity cast ("movie stars")
 know film history, detect allusions to other films and/or art movements, and draw historical and aesthetic
connections between cinematic texts, historical events, and other art forms, whether intended or not
 understand and learn the conventions and inventions of the horror genre, broadly conceived at it appears
not only in film history, but across all media
 develop film research skills and write critically about cinema
 develop creative skills by generating new fictional ideas informed by genre studies and cinema culture

Course Requirements
Screenings: Our screening dates are: SUNDAYS, 4:30pm in R 108
The films themselves are considered the primary texts for this course; you are required to view them in
preparation for our class just as you would be required to read a book for homework in any other course.
It is important that you follow the class calendar to see whether films will be screened in class versus
which films you must either a) watch on your own as homework, or, b) watch during an appointed
"screening date" (the preferred method). Such "screening dates" will allow you to watch high quality
editions of the films on the projection screen the way they were meant to be shown: in the dark,
surrounded by sound, along with an audience. A schedule of these screenings will be posted to canvas.
Otherwise, most (but not all) of the films we'll screen in class will be available from the reserve desk at
Reeves Library. Others may be available for rental, purchase or online streaming. With the exception of
films scheduled to be shown in class, you are always expected to watch an assigned movie BEFORE
class meets and quizzes will make sure you do this. It is your responsibility to see the film if you decide
not to attend screening dates. I recommend you actually purchase the films you intend to study closely.

Required Texts:
There is no standard textbook for our course. Downloadable readings and weblinks will be made
available on Canvas. Always bring them with you to class, having read assigned passages in advance.
It is wise to jot down some notes or responses or questions to bring to class with you for discussion.
Extra material to help you with writing and study will also usually be available on our course home page.
Check it often, as I will update it frequently.

Attendance Policy:
Since we only meet once per week, attendance to every night class meeting is mandatory. You will be
accountable for knowing information from lecture (and identifying all screened material) for the quizzes
and exams, so participation is crucial, and you'll need to make up missed films outside of class. You are
allowed two absences over the term -- the equivalent of two weeks. Whether "excused" or not, these will
be waived, no questions asked. Regardless of reason, however, your third will reduce your final grade by
a full letter and four absences is grounds for immediate failure of the course, regardless of reason or
work performed. You are expected to arrive on time and to attend the entire scheduled class session.
Excessive lateness or early departure will also generate absences at the instructor's discretion.
Attendance to "Screening Dates" is recommended, but not required; you might choose to acquire and
watch the assigned film on your own time before the date it is due.
 HU 365 Syllabus -- 3

Make-up work/late paper policy: You can only make up 4/5 credit (or 80% = a "B-") at most for any
late paper, missed presentation, quiz or exam and it is due NO LATER than the following class meeting.
Work more than a week late will not be accepted for any credit whatsoever. Work submitted early will
receive no penalty (though if you miss class, you do earn an absence). You must come to my office
hours for make-up arrangements for quizzes; all response prompts and class notes will be posted on
our class webpage, so you should check there if you miss a class.

Participation policy: Participation will be graded at the end of the term, based on my evaluation of your
active engagement in our class. Our class meetings will predominantly be driven by open conversation
and small group work and you should always be prepared to be called on to share your thinking openly,
or to perform brief research prior to our class meeting. I also consider our classroom a sanctuary from
life's distractions and a place where we can collectively focus on an idea, listen to a sound, or examine
an image. Thus, our class meeting will be a Facebook-free zone and you will be expected to keep class
in the foreground of your attention. I have a zero-tolerance policy for gaming/texting and other distractive
uses of iPads, laptops, or cellphones. You may use technology to take notes, record lectures or conduct
class-related work, but if I ever detect that you are "backgrounding" our class, or if your use of
technology distracts your classmates from their study, you may be asked to leave and will likely receive
some sanction like an absence or a zero on coursework. You should not accept phone calls or respond
to text messages during class time; please turn off all audio messaging alerts, especially prior to film
screenings, as a matter of basic courtesy. We will use electronic devices, but please also always bring a
pen and paper to class for handwritten quizzes and notes. FILM SCREENINGS ARE SACRED. Keep
them as respectful as possible by not talking, phoning, joking with friends, unwrapping/eating
loudly, or playing games/texting/etc. on your phone/laptop. Be conscientious about the light that
your devices pour into the darkness, and considerate of the people sitting/studying nearby.

Graded Work:
Specific guidelines for the following tasks will be posted to Canvas and should be followed closely; when
in doubt about an assignment, please visit the instructor during office hours:
 A Genre Study Assignment, which will ask you to situate a film in the horror genre and discuss how it
contributes to our understanding of it. 4-6 pages. [20% of grade/100 points]
 An Intertextual Essay discussing how a film from class relates to another version or adaptation of the
same story (i.e. a paper analyzing the changes made between a film and its remake; a book-to-film
comparison; an analysis of how a game relates to a movie; etc.). 4-6 pages. [20% of grade/100 points]
 A creative Media Press Kit for an imaginary horror film of your own design [20% of grade/100 points]
 Two short Response Papers during the first half of the term, responding to an assigned film and
related reading. 3 pages each. [20% of grade/100 points total]
 Three in-class Quizzes related to screenings, readings and lectures [15% of grade/75 points total]
 Participation in class discussion and group work [5% of grade/25 points]

Evaluation of Grades:
Regular quizzes over the screenings, lectures, and textbook readings will ensure that you are graded as
fairly and objectively as possible. The paper assignments will ask you to apply analytical and critical
thinking to film, as modeled in class lectures and readings. I have made room for creative expression
and free choice in some of the tasks, but these will be evaluated just as closely as any analytical work
you do. As you work on material, consciously try to apply the lessons from class, revealing how
sharpened your eye has become for visual detail and applied film technique. When I grade papers and
creative work, as the teacher I always ask myself: could this have been written without the influence of
our class? If the answer is yes, then you're not doing it right: I want to see how you intellectually grapple
with new ideas that you discover in our readings, your research and our dialogue.

Over the term, you will earn a number of points which will be converted into a percentage (your total
points earned divided by 500 possible points) and placed on the scale below. Points notwithstanding,
any student who fails to turn in graded work or who accrues excessive absences as listed above will
automatically fail the course. Try to turn work in early rather than late, if you anticipate an absence.
Graduating seniors must turn in final work sooner than final's week. See the course calendar.
 HU 365 Syllabus -- 4

100 point scale

A 93-100 C+ 78-79 D- 60-62
A- 90-92 C 73-77 F 59 and below
C- 70-72
B+ 88-89
B 83-87 D+ 68-69
B- 80-82 D 63-67
Archive Policy
Do not throw anything away, and I urge you to download/back up everything you create and receive on a
personal drive. You may need these materials later in your college career, for your portfolio in Senior Integrative
Seminar. Creative Writing majors should also save work from this class for possible use in their senior
portfolio, which is presented during an "exit exam" their final term, before they can graduate with an English
degree. Other majors may have similar capstone requirements, so I recommend saving and backing up both
your work and all feedback. Note that I sometimes distribute handouts on paper -- and almost always with
quizzes -- so please bring pen and paper to class and consider keeping a paper folder for handouts and
handwritten/printed work; you may want to scan these documents into your archive/backup, as well (apps like
JotNot can do this for you). If you do it right, you'll capture your growth and development and not just the final
products of your learning.

Academic Integrity Policy

Seton Hill University expects that all its students will practice academic honesty and ethical conduct. The
University regards plagiarism, cheating on examinations, falsification of papers, non-sanctioned collaboration,
and misuse of library material, computer material, or any other material, published or unpublished, as violations
of academic honesty. Violators of the code may expect disciplinary sanctions, which are discussed in the Seton
Hill University Catalog (under "Code of Academic Conduct"). Any unreferenced use of the written or spoken
material of another, or of previously submitted work of the student’s own, constitutes plagiarism. Paraphrasing
the thoughts or written work of another without reference is also plagiarism. Helpful information is available at
the following web site: "Plagiarism: What It Is and How to Recognize and Avoid It"
(https://wts.indiana.edu/writing-guides/plagiarism.html).

I unconditionally trust all my students, because the writing we produce is the result of discussions and readings in
class. You will want to express your own thoughts and get credit for your original thinking if you genuinely
participate. But if you are discovered being intentionally dishonest -- for example, cheating, plagiarizing, or
assisting others with dishonesty -- the faculty member is obligated to file an Academic Dishonesty Report Form
(aka "Academic Alert") with the Office of Academic Affairs. This is the case with ALL of your classes. For this
course, your research is expected to be documented in current MLA Style (8th ed). This is the standard
method in the field of film criticism. When in doubt, always document your sources! If you ever need help, please
visit tutors in the campus Writing Center or consult with Dr. Arnzen during office hours.

NOTE: we may be using google docs, thinglink and other electronic storehouses for paper submission
as part of this course. By taking this course, you assent to having your writing retained within the "cloud" (an
online database). While privacy will be protected whenever prudent, especially regarding grades, some writing
and other artifacts you create may be accessed by the public when posted online. Also expect that any creative
or argumentative work you produce may be read by a classmate, quoted by the professor, or recited to the whole
class. I am a firm believer in "collaborative learning": learning from one other, not just the teacher.

Information Fluency
Seton Hill University defines information fluent students as those who upon graduation will possess the ability to
combine all forms of literacy in order to master a chosen topic. Students who develop information fluency skills
will successfully:
• Critically analyze appropriate topics
• Conceptualize the parameters of the topic
• Locate and access relevant information in all forms
• Competently evaluate information
• Understand practical, legal, and social issues related to the information
• Interact with faculty and staff in a manner evident of the development of superior research skills
• Synthesize diverse types of information into a comprehensive and coherent work
 HU 365 Syllabus -- 5

Disability Assistance
If you have a disability that may require consideration by the instructor, you should contact Terri Bassi-Cook, the
Director of Disability Services at 724-838-4295 or tbassicook@setonhill.edu and/or
disabilityservices@setonhill.edu as soon as possible to develop a plan of accommodation. You should provide
the instructor with a copy of your accommodation plan and schedule a meeting so that you can be supported in
an informed manner. It is not necessary to disclose to your instructor the nature of your disability. If you need
accommodations for successful participation in class activities prior to your appointment at the Disability Services
Office, you should offer information in writing to your instructor which includes suggestions for assistance in
participating in and completing class assignments.

Our class will solicit a voluntary notetaker and notes will be shared publicly on Canvas.

Please always feel comfortable coming to visit with me during office hours; my policy is open door, to answer
questions or talk about class or cinema. The Writing Center (Admin 502) can assist you with papers.

Deep Thoughts on the Horror Genre…

"The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind
of fear is fear of the unknown." -- H.P. Lovecraft

"Writing about the unholy is one way to write about what's sacred." -- Clive Barker

"Horror is not a genre, like the mystery or science fiction or the western. It is not a kind
of fiction, meant to be confined to the ghetto of a special shelf in libraries or bookstore...
Horror is an emotion. [Horror is] that which cannot be made safe -- evolving, ever-
changing -- because it is about our relentless need to confront the unknown, the
unknowable, and the emotion we experience when in its thrall." -- Douglas Winter

"I try to terrorize the reader. But if...I cannot terrify...I will try to horrify, and if I find I
cannot horrify, I'll go for the gross-out." -- Stephen King (author of The Shining)

"Horror is the removal of masks." -- Robert Bloch (author of Psycho)

"Horror is a lens, a worldview. And so is a movie camera!" -- Michael Arnzen (author of

this syllabus)
 HU 365 Syllabus -- 6

HU 365: Course Calendar

These due dates are tentative; films may be dropped or added; any oral directions will supersede this schedule.

DATE TOPICS FILMS HOMEWORK TO DO BEFORE CLASS

MEETS
WK 1 Introductions IN CLASS SCREENING (if time): n/a
1/24 Policies & Nosferatu (F.W. Murnau, GERMANY,
Expectations 1922, 1hr 21 min)

Expressionism

WK 2 Fear and Film The Tingler (William Castle, 1959, 1hr Watch The Tingler
1/31 22 min) [screening Sunday 1/28 at 4:30 in Reeves
Catharsis 108 – or on your own]

Read: Gunning, “The Cinema of Attraction”

WK 3 Scary Children The Brood (David Cronenberg, 1979, Watch The Brood
2/7 1hr, 32 min) [screening Sunday 2/4 at 4:30 in Reeves 108
Psychological – or on your own]
Allegory
Read: Creed, “Woman as Monstrous
Motherhood Womb”

RESPONSE PAPER 1 DUE on wks 1-3

WK 4 Vampires Let the Right One In (Tomas Watch Let the Right One In
2/14 (for Valentine's Day) Alfredson, 2008, SWEDEN,1hr 55 [screening Sunday 2/11 at 4:30 in Reeves
mins) 108 – or on your own]
Genre Hybrids
Revenge Fantasy Read: Brookes, "Let the Right One In" or

QUIZ 1 IN CLASS 2/14

WK 5 GHOSTS The Shining (Stanley Kubrick, 1980, Watch The Shining

2/21 Haunted Houses 2h 26min) [screening Sunday 2/18 at 4:30 in Reeves
& Scary Parents 108 – or on your own]

Visual Geography Read: Jameson, "Kubrick's Shining"

& Direction

WK 6 Demonic The Exorcist: The Version You've Watch The Exorcist

2/28 Possession Never Seen (William Friedkin, 1973, 2h [screening Sunday 2/25 at 4:30 in Reeves
12min) 108 – or on your own]
Occult Horror
Read: Paul, "Possession, Regression,
Freud and Horror Rebellion"

RESPONSE PAPER 2 DUE on wks 4-6

WK 7 SPRING BREAK No class held

3/7
WK 8 No class meeting Psycho (Alfred Hitchcock, 1960, 1hr No class held on 3/7 & 3/14, but you must
3/14 49min) watch Psycho before 3/21

MEDIA PRESS KIT DUE ON CANVAS 3/18

 HU 365 Syllabus -- 7

WK 9 Psycho Killers Psycho (discussion) Read: Mulvey, “Visual Pleasure and

3/21 Narrative Cinema” and other TBA
The Male Gaze IN CLASS SCREENING (if time):
Peeping Tom (Michael Powell, 1960,
1hr 41min)

WK 10 Domestic Terror The Stepfather (Joseph Ruben, 1987, Watch The Stepfather
3/28 1hr 29min) [screening Sunday 3/25 at 4:30 in Reeves
"The Final Girl" 108 – or on your own]

Read: Pinedo, “And Then She Killed Him…:

Women and Violence in the Slasher Film”

QUIZ 2 IN CLASS 3/28

WK 11 Existential Dread IN CLASS SCREENING Reading TBA

4/4 (VOTE): Kafka (Steven Soderbergh,
Literary Horror 1991, 1hr 38min) or DRAFT INTERTEXTUAL ESSAY DUE 4/4
WE VOTED FOR:
The Double (Richard Ayoade, 2013,
1hr 33min)
[NOTE: May be replaced by guest
presentation]

WK 12 Aliens Among Us The Thing (John Carpenter, 1982, 1hr Watch The Thing
4/11 49min) [screening Sunday 4/8 at 4:30 in Reeves 108
The Remake – or on your own]

Reading TBA

REVISED INTERTEXTUAL ESSAY DUE 4/11

WK 13 Witches Suspiria (Dario Argento, 1977, ITALY, Watch Suspiria

4/18 1hr 32min) [screening Sunday 4/15 at 4:30 in Reeves
Splatterfilm & 108 – or on your own]
The Italian Giallo
Read: Mcdonagh, Intro to Broken
Mirrors/Broken Minds

WK 14 Horror Comedy Young Frankenstein (Mel Brooks, Watch An American Werewolf in London
4/25 1974, 1hr 46 min) [screening Sunday 4/22 at 4:30 in Reeves
Postmodern or 108 – or on your own]
Pleasure WE VOTED FOR:
An American Werewolf in London Read: Schatz, "Film Genres and the Genre
(John Landis, 1981, 1hr 37 min) Film" or other TBA

WK 15 The Social Thriller Get Out (Jordan Peele, 2017, 1hr Watch Get Out
5/2 44min) [screening Sunday 4/29 at 4:30 in Reeves
108 – or on your own]

Reading: TBA

QUIZ 3 IN CLASS 5/2

DRAFT GENRE STUDY DUE 5/2

FINALS No final exam planned

WEEK GENRE STUDY REVISED ESSAY DUE 5/7
5/8 (due 5/4 for graduating seniors only)