Film Power and American History.docx

1、Film Power and American HistoryFilm, Power and American History: History 225gFall 2010Prof. Vanessa R. Schwartz10:00-11:50, MWTHH 202TAs: Steve Collicelli, Karin Higa , Sarah HollenbergSchwartz Office Hours: M: 12-1pm and W: 8-9:30 am and by appt. (SOS 170)vschwartusc.eduDescription: Few contemporar

2、y institutions and forms of representation have had a greater impact on the world than film and television. Yet, while we learn to be spectators early on in our lives, we often lack the critical tools needed to contextualize, analyze, and critique the images and ideologies of screen culture. Just as

3、 reading and literacy is a fundamental stage in human development in the Western world, so is ones identity as a consumer of the moving image. We cannot understand the world around us nor understand how to improve it unless we consider the meaning of the role of spectatorship and the power and influ

4、ence of moving images both on the screen and in the world outside the image. There is also a specificity of the cinematic image (photographed images that appear to move because of an optical illusion) that gives film a particular recourse to the “real world.” Film has offered an amazing alchemy of d

5、reams and realities that have made the movies a powerful vehicle for story-telling (whether fictional or non-fictional) and is a mode that continues to be very influential despite changes in technologies of production and consumption formats.This is not a class on American history through the movies

6、. Instead, the goal of this class is to consider the history of the twentieth century as created “by” the existence of the movies and its institutions. We will ask about the special role played by America in shaping that history. Hollywood has played a disproportionately large role in the history of

7、 the movies and their influence but that influence has been global in scale. This course is the story of how America came to dominate the world in part by capturing hearts and minds through a powerful form at once art and document. We follow the emergence of Hollywood itself as a cosmopolitan and in

8、ternational center of film production. Hollywood is not nor has it ever been “America. “ Its global success hinged not on selling Americana to swanky Parisians but rather on the fact that it already represented the values of swanky Parisians and Germans and Europeans to American farmers. We begin fr

9、om the premise that the openness of Hollywood and the mobility (often forced) of filmmakers in coming to Hollywood, first as a place, then as a method of production, has made Hollywood, Hollyworld. The class examines the history of the movies and its institutions and practices at the same time that

10、it considers the enormous influence and impact of the movies on the history of the twentieth century that produced a condition in which little appears to have happened “off screen.” This course is about the 20th century, “as a movie.” Class Format: We will meet twice weekly in a lecture format and t

11、hen once a week for discussion of the reading materials, screenings and lectures. All readings and screenings are to be completed by Fridays discussion. Readings come from books made available for purchase or in the form of articles that are posted on the class blackboard. All screening materials wi

12、ll be available in Leavey Library. We will also offer a public screening with snacks on Wednesdays of the weeks film(s) from 6:30-8:30 pm (or thereafter) in our classroom where you can watch the weeks required films. This is optional, of course. Requirements: The course includes a midterm (25% of th

13、e grade), a final (30% of the grade), 2 papers (15 each%), and class participation (15%). We expect students to attend all scheduled classes and discussions; unexcused absences will affect your grade and more than 3 will result in an automatic failure in the class. All work submitted must by entirel

14、y written by the student. Plagiarism will result in an F in the course and the initiation of expulsion proceedings.Required Readings and Screenings:Books for Purchase:Leo Charney and Vanessa Schwartz, Cinema and the Invention of Modern Life (Berkeley and Los Angeles: University of California Press)R

15、obert Sklar, Movie-Made America: A Cultural History of American Movies (New York: Vintage Books and Toronto: Random House, 1994)Vanessa Schwartz, Its So French!: Hollywood, Paris, and the Making of Cosmopolitan Film Culture (Chicago: University of Chicago Press, 2007) Articles on Blackboard:Boston B

16、ranch of the National Association for the Advancement of Colored People. “Fighting a Vicious Film: Protest against The Birth of a Nation (1915).” In Steven Mintz and Randy Roberts, eds. Hollywoods America: United States Through Its Films. St. James, New York: Brandywine Press, 1993, 79-80.Collier, J

17、ohn. “Cheap Amusements.” Charities and Commons (11 April 1908). In Richard Abel, The Red Rooster Scare: Making Cinema American, 1900-1910. Berkeley, Los Angeles, and London: University of California Press, 1999, 73-77.Currie, Barton W. “The Nickel Madness,” Harpers Weekly (August 24, 1907). In Steve

18、n Mintz and Randy Roberts, eds. Hollywoods America: United States Through Its Films. St. James, New York: Brandywine Press, 1993, 76-78.Fein, Seth. “Culture Across Borders in the Americas.” History CompassFranklin, John Hope. “Silent Cinema as Historical Mythmaker.” In Steven Mintz and Randy Roberts

19、, eds. Hollywoods America: United States Through Its Films. St. James, New York: Brandywine Press, 1993, 42-52.Fraser, Alastair H., Andrew Robertshaw and Steve Roberts. Ghosts on the Somme: Filming the Battle, June-July 1916. Barnsley, South Yorkshire: Pen & Sword Military, 2009, 1-14 and 163-174.Fr

20、iedan, Betty. The Feminine Mystique. New York: Dell Books, 1963, pp.11-27 and 33-68Gurley Brown, Helen. Sex and the Single Girl. New York: Pocket Books, 1962, Chapters 4 and 7, pp. 65-88 and 119-137Hulfish, David. “A Store-Front Theater Building,” Cyclopedia of Motion-Picture Work (1911). In Richard

21、 Abel, The Red Rooster Scare: Making Cinema American, 1900-1910. Berkeley, Los Angeles, and London: University of California Press, 1999, 77-79.Kael, Pauline. “Bonnie and Clyde.” The New Yorker (October 21, 1967), 147-171.Litwack, Leon F. “The Birth of a Nation.” In Mark C. Carnes, ed. Past Imperfec

22、t: History According to the Movies. New York: An Owl Book, Henry Holt and Company, 1996, 136-141.Maland, Charles J. “The Popular Front , The Great Dictator, and the Second Front, 1936-1942.” In Charles J. Maland. Chaplin and American Culture: The Evolution of a Star Image. Princeton, New Jersey: Pri

23、nceton University Press, 1989, 159-186.Matuszewski, Boleslas, Laura U. Marks, and Diane Koszarski. “A New Source of History.” Film History 7:3 (Autumn, 1995), 322-324.Selections from Paul McDonald, The Star System: Hollywoods Production of Popular Identities (London: Wallflower, 2000)Menand, Louis.

24、“Finding It at the Movies.” The New York Review of Books (March 23, 1995).Menand, Louis. “Gross Points: Is the Blockbuster the End of Cinema?” The New Yorker (February 7, 2005).Menand, Louis. “Masters of the Matrix: Kennedy, Nixon, and the Culture of the Image.” The New Yorker (January 5, 2004).Mena

25、nd, Louis. “Paris, Texas: How Hollywood Brought the Cinema back from France.” The New Yorker (February 17, 2003), 169-177.National Archives. Description of Photographic Unit from National Archives Experiences in European Theater of OperationsRoss, Steven J., ed. Movies and American Society. Oxford,

26、UK: Blackwell Publishers, 2002, 14-37.Scott, A. O. “Two Outlaws, Blasting Holes in the Screen.” New York Times (August 12, 2007). Smither, Roger. “Introduction.” In Imperial War Museum. The Battle of the Somme (DVD Booklet).Sontag, Susan. “The Decay of Cinema.” The New York Times (February 25, 1996)

27、.Sorlin, Pierre. “How to Look at an Historical Film.” In Marcia Landy, ed. The Historical Film: History and Memory in Media. New Brunswick, New Jersey: Rutgers University Press, 2000, 25-49.Wasson, Haidee. “Studying Movies at the Museum: The Museum of Modern Art and Cinemas Changing Object.” In Lee

28、Grieveson and Haidee Wasson, eds. Inventing Film Studies. Durham and London: Duke University Press, 2008, 121-148.Wolfe, Charles. “The Poetics and Politics of Nonfiction Film: Documentary Film.” In Tino Balio, Grand Design: Hollywood as a Modern Business Enterprise, 1930-1939. Berkeley, Los Angeles

29、and London: University of California Press, 1993, pp. 351-386.Out of Class Film Screenings: When call number is not there, it is because the library is currently purchasing the DVD.George Loane Tucker, “Traffic in Souls” (1913) from Giorgio Bertellini, Perils of the new land: films of the immigrant

30、experience (1910-1915) - LVYDVD 2524 disc 1; LVYDVD 2524 disc 2Geoffrey Malins and John McDowell, “The Battle of the Somme” - documentary (1916)Jacques Richard, “Henri Langlois: The Phantom of the Cinmathque” (2004)Charlie Chaplin, “The Great Dictator” (1940) - LVYDVD 786 disc 1; LVYDVD 786 disc 2Me

31、rvyn LeRoy, “Gold diggers of 1933” (1933)Alfred Hitchcock, “Foreign Correspondent” (1940); also available on Netflix instant watching.Christian Delage, “Nuremberg: The Nazis Facing their Crimes” (2006) - LVYDVD 3728 disc 1; LVYDVD 3728 disc 2US Department of Defense, “The Nazi Concentration Camps” (

32、1945) on the Delage DVDWalt Disneys “Fantasia” (1940) - LVYDVD 294Stanley Donen & Gene Kelly, “Its Always Fair Weather” (1955)Michael Anderson, “Around the World in 80 Days” (1956)Richard Lester, “A Hard Days Night” (1964) - LVYDVD 1026 disc 1; LVYDVD 1026 disc 2Arthur Penn, “Bonnie and Clyde” (1967) - LVYDVD 196Hal Ashby, “Coming Home” (1978)Paul Mazursky, “An Unmarried Woman” (1978)Stephen Chow, “Kung Fu Hustle” (2004) - LVYDVD 1282IMPORTANT DUE DATESWednesday, September 15: First short paper (3-5 pages) ; due at the start of class