English 368 -- History
of
Film, Part I:
From the 1890s to 1939
Fall 2008
English Department
Centenary College of Louisiana
304 Jackson Hall
Tu/Th 2:00-5:00
Instructor: Jefferson Hendricks
Office: 307D Jackson Hall
Office hours: Mon 1:30 - 4:00; 1:15 - 1:50 T/TH and by appt.
Office ph.: 869-5086 /5254
Email: jhendric@centenary.edu
Texts:
Course Objectives:
Film History I is
designed to enable you:
- to gain a working knowledge of early film
history,
from the silent cinema through the 1930s;
- to develop your cinematic literacy--in
other words,
to teach you to recognize and use the basic technical and critical
vocabulary
of motion pictures;
- to understand how the technology of the
cinema relates
to film art;
- to understand the place of "Hollywood" in
world film
culture;
- to grasp the role of genre in American film
history,
and to recognize how some of the most popular genres express American
social
and cultural tensions;
- to question your own role as a passive
spectator,
and to increase your ability to watch films actively and critically; and
- to improve your ability to write critically
and analytically about film as art and social practice.
Course Requirements:
- ten in-class quizzes (I drop the lowest grade of the eleven)
- a weekly blog of at least 250 words
- a take-home mid-term essay of 1000 words (about 4 pages)
- a final research essay of 2000 words (about 8 pages)
- a comprehensive in-class final exam
- being in class on time prepared to participate
Grading:
| Quizzes
10% |
Mid-term essay 10% |
| Weekly Blog 20% |
Final Research Essay 20% |
| Final
exam
20% |
Work
Ethic 10% |
Here are some models of essays that might help you write about
certain
topics. You are expected to write two out-of-class 1000-word
essays
(about 4-5 typed pages).
Your writing should engage with the
conversation of other knowledgeable critics/scholars wrestling with
your
subject. You should consult both printed and online
sources in writing your essays. Further information about these essays
will be given in class. You will be allowed to revise as many
times as you'd like before the essay is due. I will be glad to
meet with you during office hours to review any drafts that you'd like
to submit for comments.
- an essay focusing on a
particular
actor: Manohla
Dargis, "Ghost in the Machine," Sight and Sound, July
2000
[on Tom Cruise]
- an essay focusing on a specific
film: José
Arroyo, "How Do You Solve a Problem Like Von Trier?", Sight and
Sound,
Sept., 2000 [on Von Trier's Dancer in the Dark]
- an essay focusing on a genre and
several films : Danny
Leigh, "Get Smarter," Sight and Sound, June, 2000
[on the contemporary British gangster film]
- an essay focusing on a director and
several films: Philip
Kemp, "Ants in His Pants," Sight and Sound, May, 2000
[on Preston Sturges]
- an essay focusing on a theme in
several films: David Thomson, "The Last Frontier," Sight and Sound, February, 2004 [on racial tensions in the Western]
Attendance and class participation:
To be successful in this class
you need to be in
class (on time, naturally) and prepared to listen, observe, and talk intelligently and passionately.
More than two absences will lower your "work ethic" grade. You may make up for absences and tardiness,
and also obtain extra credit, by writing 250-350 word reviews of approved
out-of-class
films, normally films shown at either the Centenary Film Society or the Robinson Film Center in Shreveport.
General On-Line Resources for Film
History Before WWII:
Nota
bene: Not all web sites are created equally. Learn to
evaluate
them as you would more traditional print resources. The following
guide from Cornell University is a good initial step in that
direction:
"How
to Critically Analyze Information Sources."
English
368:
Course Schedule
Week One -- Aug 26 and 28:
"Introduction:
Reading Classical Hollywood Cinema"
Film:
- Tu Aug 25: Introduction to Policies and Procedure; The Lumière Brothers;
Georges
Méliès; Thomas Edison
Readings:
- Belton:
- "Introduction"; "The
Emergence of the Cinema as An Institution,"
pp. 3-21.
- WC:
- Geoffrey Nowell-Smith, "General Introduction," pp. XIX-XXII and "Introduction" [to "Silent Cinema"], pp. 3-5.
- Paolo Cherchiusai, "Origins and Survival," pp. 6-13.
- Roberta Pearson, "Early Cinema, pp. 13-23.
- David Gardner, "Judy Garland," pp. 226-227.
- FS:
- Richard Dyer, "Introduction to Film Studies," pp. 3-10.
- Tom Gunning, "Early American Film," pp. 255-271.
Background Readings:
Week Two -- Sept 2 and Sept 4:
"D.W. Griffith and the Rise of Classical Hollywood Cinema"
Film:
- Tu Sept 2: Classes cancelled -- Hurricane Gustav
*** Th Sept 4: Quiz # 1
Readings:
- Belton:
- "Classical Hollywood
Narration," pp.
22-44; "Silent Film Melodrama,"
pp. 131-149.
- WC:
- Roberta Pearson, "Transitional Cinema," pp. 23-42.
- Roberta Pearson, "D. W. Griffith," pp. 30-31.
- Philip Kemp, "Lilian Gish and Dorothy Gish," pp. 40-41.
- Douglas Gomery, "The Hollywood Studio System," pp. 43-53.
- Ruth Vasey, "The World-Wide Spread of Cinema," pp. 53-62.
- William Urrichio, "The First World War and the Crisis in Europe," pp. 62-70.
- FS:
- Paul McDonald, "Film Acting," pp. 30-35.
Background Readings:
Week Three -- Sept 9 and 11:
"Hollywood in the Twenties: The Genius of Silent Comedy -- Keaton and Chaplin"
Film:
*** Th Sept 11: Quiz # 2
Readings:
- Belton:
- "Classical Hollywood Cinema: Style," pp. 45-65.
- WC:
- David Robinson, "Comedy," pp. 78-86.
- Geoffrey Nowell-Smith, "Buster Keaton," pp. 80-81.
- David Robinson, "Charlie Chaplin," pp. 84-85.
- Geoffrey Nowell-Smith, "The Heyday of the Silents," pp. 192-204.
- FS:
- Robert Kolker, "The Film Text and Film Form," pp. 11-23.
- Douglas Kellner, "Hollywood Film and Society," pp. 354-362.
- Robert B. Ray, "Hollywood and Ideology," from A Certain Tendency of the Hollywood Cinema, 1930-1980, pp. 363-364.
Background Readings:
Week Four -- Sept 16 and 18:
"German Expressionist Film
of the Twenties: Fritz Lang"
Film:
*** Th Sept 18: Quiz # 3
Readings:
- WC:
- Thomas Elsaesser, "Germany: The Weimar Years," pp. 136-151.
- Hans-Michael Bock, "Erich Pommer," p. 145.
- Martin Marks, "Music and the Silent Film," pp. 183-192.
- Janet Bergstrom, "Fritz Lang," pp. 196-197.
- FS:
- Anthony Easthope, "Classic Film Theory and Semiotics," pp. 51-57.
Background Readings:
- The Cabinet of Dr. Caligari -- Ian Johnston, Not Coming to a Theater Near You
- The Cabinet of Dr. Caligari -- M. B. White, Film Reference.com
- "It's a Mad, Mad, Mad, Mad World" -- Justin Stoeckel, Film Journal.com
- review of Kino's version of Caligari -- Mark Zimmer, digitally obsessed.com
- "Expressing Paranoia: Dr. Caligari" -- Joe Leydon, MovingPictureBlog
- "Robert Wiene" -- Hans-Michael Bock, Encyclopedia of German Film
- "Robert Wiene" -- Liam O'Leary, Film Reference.com
- Metropolis -- Wikipedia
- Fritz
Lang's Metropolis -- Augusto Cesar B. Areal
- Metropolis -- Roger Ebert, Chicago
Sun-Times
- Metropolis -- B. Urgosíková, Film Reference.com
- "Radiant City" -- David Edelstein, Slate.com
- Metropolis Film Archive -- Michael Organ
- "Science Fiction Films" -- Tim Dirks, Greatest Films
- Fritz
Lang -- Daniel Shaw,
Senses of Cinema
- Fritz Lang -- Charles L. P. Silet, Film Reference.com
- Fritz
Lang:
Master of Darkness -- British Film Institute
- a Fritz
Lang page
- "Expressionism
and Caligarisme" -- Bouton Jones
- The
German-Hollywood Connection
- German
Cinema: A Selected Bibliography of Materials in the UC, Berkeley Library
Week Five -- Sept 23 and 25:
"Radical Politics,
Modernist
Style: Silent Film from the Soviet Union"
Film:
*** Th Sept 25: Quiz # 4
Readings:
- WC:
- Yuri Tsivian, "Pre-Revolutionary Russia," pp. 159-162.
- Natalia Nussinova, "The Soviet Union and the Russian Emigres," pp. 162-174.
- David Bordwell, "Sergei Eisenstein," pp. 168-169.
- Yuri Tsivian, "Dziga Vertov," pp. 92-93.
- Vance Kepley, "Alexander Dovzhenko," pp. 394-395.
- FS:
- Ian Christie, "Formalism and Neo-Formalism," pp. 58-64.
- Viktor Shklovsky, from "Poetry and Prose in Cinema," pp. 65-66.
Background Readings:
- Sergei
Eisenstein -- Dan Shaw, Senses of Cinema
- Sergei Eisenstein -- Richard Taylor, Film Reference.com
- Sergei Eisenstein -- All Movie Guide
- Eisenstein
page -- Gregg Severson, Carleton College
(with essay "Historical
Narrative in The Battleship Potemkin" )
- Battleship Potemkin -- Helen Grace, Senses of Cinema
- Battleship Potemkin -- Clyde Kelly Dunagan, Film Reference.com
- Edward Tisse -- Marie Saeli, Film Reference.com
- Dziga
Vertov -- Jonathan Dawson, Senses of Cinema
- Dziga Vertov -- Erik Barnouw, Film Reference.com
- Dziga Vertov -- Wikipedia
- Dziga
Vertov -- All
Movie Guide
- Man With a Movie Camera -- Wikipedia
- Man With a Movie Camera -- Grant Tracey, Images Journal
- Man With a Movie Camera -- Kara L. Andersen, Scope: An Online Journal of Film and TV Studies
- Man With The Movie Camera -- Sharon Lee, Film Reference.com
- notes on Man With a Movie Camera -- Glen Johnson, Catholic U.
- "Dziga Vertov and the Film of Money" -- Jonathan Beller, Boundary 2
- "Presenting
the Cyborg's Futurist Past: An Analysis of Dziga Vertov's Kino-Eye"
-- Joseph Christopher Schaub, U. of Maryland
- "The Machine Art of Dziga Vertov and Busby Berkeley" -- Nicole Armour, Images Journal
- Alexander
Dovzhenko -- All
Movie Guide
- "Cinematic
Poetry of Alexander Dovzhenko" -- Olga Bobrova
- "The Soviet Avant Garde" -- Craig Fisher, Images Journal
- Eastern European Cinema: A Bibliography of Materials in the UC Berkeley Library
Week Six -- Sept 30 and Oct 2:
"Modernism and Film: From the Avant Garde to Animation"
Film:
- Tu Sept 30: Return to Reason (France, 1923; Dir. Man Ray); Un Chien Andalou (France, 1929; Dir. Luis Bunuel)
- Ballet Méchanique (France, 1923/24; Dirs. Fernand Leger and Dudley Murphy);
- Blood of a Poet (France, 1930; Dir. Jean Cocteau);
- L'Age D'Or (France, 1930; Dir. Luis Bunuel);
- montages by Slavko Vorkapich ("The Furies" sequence from Crimes Without Passion (1934), Skyline Dance (1928), Money Machine (1929), Prohibition (1929), The Firefly— Vorkapich edit (1937), The Firefly—MGM release version (1937);
- Footlight Parade ["By a Waterfall" sequence] (USA, 1933; Dir. Lloyd Bacon and Choreography by Busby Berkeley)
Readings:
- WC:
- Donald Crafton, "Tricks and Animation," pp. 71-78.
- A. L. Rees, "Cinema and the Avant-Garde," pp. 95-105.
- William Moritz, "Bugs Bunny," p. 269.
- FS:
- Robert B. Ray, "Impressionism, Surrealism, and Film Theory," pp. 67-76.
- Murray Smith, "Modernism and the Avant Gardes," pp. 395-412.
- Michael O'Pray, "The Animated Film," pp. 434-439.
- Ian Christie, "The Avant-Gardes and European Cinema Before 1930," pp. 449-454.
Background Readings:
- Dada -- Wikipedia
- Surrrealism -- Wikipedia
- Experimental Film -- Craig Fischer, Film Reference.com
- Man Ray -- Dayna Oscherwitz, Film Reference.com
- Luis Bunuel -- Dominique Russell, Senses of Cinema
- Luis Bunuel -- E. Rubinstein, Film Reference.com
- Jean Cocteau -- Richard Misek, Senses of Cinema
- Jean Cocteau -- Roy Armes, Film Reference.com
- Slavko Vorkapich -- Philip Kemp, Film Reference.com
- Busby Berkeley -- Doug Tomlinson, Film Reference.com
- Un Chien Andalou -- Michael Koller, Senses of Cinema
- Un Chien Andalou -- M. B. White, Film Reference.com
- L'Age D'Or -- Sophy Williams, Senses of Cinema
- L'Age D'Or -- Douglas Gomery, Film Reference.com
- The Blood of a Poet -- Roy Armes, Film Reference.com
- Animated Films -- Tim Dirks, Greatest Films
- History of Animation -- Wikipedia
- Animation -- Paul Wells, Film Reference.com
- Cartoons -- Paul Wells, Film Reference.com
- Max Fleischer -- Wikipedia
- Fleischer Studios -- Wikipedia
- Walt Disney -- Rob Edelman, Film Reference.com
- Walt Disney Company -- Janet Wasko, Film Reference.com
- Steamboat Willie -- Linda J. Obalil, Film Reference.com
Week Seven -- Oct 7 and 9:
"Genre, Auteurism, and the
American Studio System, Part I:
The Gangster Film and The Musical"
Film
Readings:
- WC:
- Geoffrey Nowell-Smith, "Introduction [to Sound Cinema]," pp. 207-210.
- Karel Dibbits, "The Introduction to Sound," pp. 211-219.
- Rick Altman, "Cinema and Genre," 276-285.
- John Belton, "Howard Hawks," pp. 278-279.
- Rick Altman, "The Musical," pp. 294-303.
- Phil Hardy, "Crime Movies," pp. 304-311.
- FS:
- Claudia Gorbman, "Film Music," pp. 43-50.
- Tom Ryall, "Genre and Hollywood," pp. 327-338.
Background Readings:
- "Crime and Gangster
Films" -- Tim Dirks, Greatest Films
- Howard
Hawks -- David Boxwell, Senses of Cinema
- Howard Hawks -- Gerald Mast, Film Reference.com
- Howard
Hawks -- Petri Liukkonen and Ari Pesonen
- Chapter
One of Howard Hawks: The Grey Fox of Hollywood -- Todd
McCarthy
- Scarface:
The Shame of a Nation --
Tim Dirks, Greatest Films
- Scarface -- Michael Cohen, Senses of Cinema
- Scarface: The Shame of a Nation -- Gerald Mast, Film Reference.com
- "Musical/Dance Films" -- Tim Dirks, Greatest Films
- Lloyd Bacon -- Douglas Gomery, Film Reference.com
- Busby Berkeley -- Doug Tomlinson, Film Reference.com
- 42nd Street -- Greg S. Faller, Film Reference.com
- "Twists,
Slugs and Roscoes: A Glossary of Hardboiled Slang" --
William
Denton
Week Eight -- Oct 14 and 16:
Mid-term exam -- Fall Break
- Tu Oct 14: *** Turn in Take-home mid-term Essay to Ms. Palmer in Room 307 of Jackson Hall before 3:00 pm
- Th Oct 16 Fall Break: No Class
Week Nine -- Oct 21 and 23:
"Genre, Auteurism, and the
American Studio System, Part II:
Screwball Comedy -- Frank Capra and Preston Sturges"
Film:
Readings:
- Belton:
- "The Studio
System," pp.
66-90;
"American Comedy," pp. 170-199.
- WC:
- Thomas Schatz, "Hollywood: The Triumph of the Studio System," pp. 220-234.
- Richard Maltby, "Censorship and Self-Regulation," pp. 235-247.
- Richard Maltby, "Will Hays," p. 238.
- "Don'ts and Be Carefuls" (Hollywood's First Self-Regulating Code), p. 239.
- FS:
- John Belton, "American Cinema and Film History," pp. 227-237.
- Duncan Petrie, "History and Cinema Technology," pp. 238-244.
- Douglas Gomery, "Hollywood as Industry," pp. 245-254.
Background Readings:
- Screwball
Comedy page -- Michael Mills
- Mr. Deeds Goes to Town -- Wikipedia
- Mr. Deeds Goes to Town -- Dan Schneider, Alternative Film Guide
- Mr. Deeds Goes to Town -- Erik Weems, Frank Capra: The Classic Film Director from Hollywood's Golden Age
- Mr. Deeds Goes to Town -- Time Dirks, Greatest Films
- Frank Capra -- Charles Affron, Film Reference.com
- Gary Cooper -- Stuart M. Kaminsky, Film Reference.com
- "It's
Fun...But It Takes Courage: Remembering Frank Capra's America"
-- Annalee
Newitz, Bad Subjects
- "The
Charm of Morality: Frank Capra and his Cinema," --
Lorraine Mortimer, Continuum:
The Australian Journal of Media & Culture
- "A
Capra Moment" -- Stanley Cavell, Humanities
- Elizabeth's
Frank Capra page -- good poster site
- Frank
Capra -- Erik Weems
- Clark Gable -- Joanne L. Yeck and John McCarty, Film Reference.com
- The
Lady Eve and Sullivan's Travels -- Gary
Johnson --
review of Critierion DVDs
- The
Lady Eve and Sullivan's Travels --
Matthew
Kennedy -- review of Criterion DVDs
- Preston Sturges
-- Jonas Varsted
Kirkegaard, Senses
of Cinema
- Preston Sturges -- Eric Smoodin, Film Reference.com
- "Ants
in His Pants" (essay
on Preston Sturges) -- Jerry Kemp, Sight and Sound
- Preston
Sturges -- American Masters, PBS
- Sturges
Emerges -- Stu Kobak
- Preston
Stuges's Stock Company -- James Harvey and others (be sure to click on the links at the bottom of the page for the other essays)
- Preston
Sturges: A Selected Bibliography of Materials in the UC Berkeley
Library
-
"More Sinned Against
than Sinning: The Fabrications of 'Pre-Code Cinema'" -- Richard Maltby, Senses of Cinema
Week Ten -- Oct 28 and 30:
"Documenting the Depression: The Rise of the Documentary Film"
Film:
Readings:
- WC:
- Charles Musser, "Documentary," pp. 322-332.
- Michael Eaton, "Humphrey Jennings," pp. 328-329.
- Rosalind Delmar, "Joris Ivens," p. 331.
- FS:
- John Izod and Richard Kilborn, "The Documentary, " pp. 428-433.
Background Readings:
- Triumph of the Will -- Wikipedia
- Leni Riefenstahl -- Wikipedia
- Leni Riefenstahl -- The German-Hollywood Connection
- "Leni Riefenstahl: Filmmaker Extraordinaire or Nazi Stooge?" -- Judith Keene, National Centre for History Education (Australia)
- "Leni Riefenstahl: Propagandist for the Third Reich" -- Stefan Steinberg, World Socialist Web Site
- Triumph of the Will -- Roger Ebert, Chicago Sun Times
- "To What Extent Are the Labels of 'Propaganda' and 'Art' Appropriate in the Description of Leni Riefenstahl's Triumph of the Will?" -- Edmund Butcher, U. of Manchester (U. K.)
- Documentary Films -- Wikipedia
- Documentary Films -- Tim Dirks, Greatest Films
- Documentary -- Ian Aitken, ScreenOnline
- New Frontiers in American Documentary Film -- Nicole Huffman, American Studies Program, U. of Virginia
- Robert Flaherty -- Annette Kuhn, ScreenOnline
- Robert Flaherty -- Deane Williams, Senses of Cinema
- Robert Flaherty -- William T. Murphy, Film Reference.com
- Pare Lorentz -- Jack C. Ellis, Film Reference.com
- John Grierson -- Leo Enticknap, ScreenOnline
- John Grierson -- Jack C. Ellis, Film Refeence.com
- Humphrey Jennings -- Julian Petley, ScreenOnline
- Humphrey Jennings -- Jack C. Ellis, Film Reference.com
- Joris Ivens -- Ian Mundell, Senses of Cinema
- Joris Ivens -- Dorothee Verdaasdonk, Film Reference.com
- Leni Riefenstahl -- Louise Heck-Rabi and Rob Edelman, Film Reference.com
- "In Praise of Immoral Art" -- Dan Jacobson, College of Charleston [Philosophical Topics, 1997] -- pdf file
- Documentary and Ethnographic Film: A Bibliography of Books and Articles in the UC Berkeley Libraries
Week Eleven -- Nov 4 and Nov 6:
"The Personal as Political in 1930s Cinema"
Film:
Readings:
- WC:
- Gaylyn Studlar, "Josef von Sternberg," pp. 216-217.
- Gaylyn Studlar, "Marlene Dietrich," pp. 240-241.
- Geoffrey Nowell-Smith, "Socialism, Fascism, and Democracy," pp. 333-343.
- Janet Bergstrom, "Jean Renoir," pp. 338-339.
- Edward R. O'Neill, "Paul Robeson," p. 341.
- Ginette Vincendeau, "The Popular Art of French Cinema," pp. 344-353.
- FS:
- Barbara Creed, "Film and Psychoanalysis, " pp. 77-90.
- Chuck Kleinhans, "Marxism and Film," pp. 106-113.
- Patricia White, "Feminism and Film," pp. 117-131.
- E. Ann Kaplan, "Classical Hollywood Film and Melodrama," pp. 272-282.
- Keith Reader, "Jean Renoir," pp. 486-488.
Background Readings:
- Jean
Renoir -- James Leahy, Senses of Cinema
- Jean Renoir -- Tom Conley, Film Reference.com
- The Rules of the Game -- Roger Ebert, Chicago Sun-Times
- The Rules of the Game -- Robin Wood, Film Reference.com
- The
Rules of the Game -- Stacey Richter, Tucson
Weekly
- "The
Disturbing Relevance of Renoir’s La Régle du Jeu"
-- Travis Else
- "S/Z
and Rules of the Game" -- Julia Lesage
- questions to consider when viewing Blonde Venus -- U. of Pennsylvania
- "Dietrich and Sternberg: The Fallen Angels" -- Adrian Martin, Senses of Cinema
- "Have Irony, Will Travel" [on Dietrich] -- Peter Kemp, Senses of Cinema
- Marlene Dietrich -- James Naremore, Senses of Cinema
- Marlene Dietrich -- Robert Pardi, Film Reference.com
- review of Thinking in Images :Film Theory, Feminist Philosophy and Marlene Dietrich by Catherine Constable -- Felicity Colman, Senses of Cinema
- Josef von Sternberg -- Tag Gallagher, Senses of Cinema
- Josef von Sternberg -- John Baxter, Film Reference.com
- Melodrama
Films -- Tim Dirks, Greatest Films
Week Twelve -- Nov 11 and 13:
"From Genre, Auteurism, and the
American Studio System, Part III:
Screwball Comedy: Howard Hawks"
Film:
- Th Nov 13: Filmmaker Chris Metzler visits class to show his short films and talk about the life of an independent filmmaker
Readings:
- Belton:
- "The
Star System," pp. 83-114.
- WC:
- Pamela Church Gibson, "Film Costume," pp. 36-42.
- FS:
- Linda Williams, "Body Genres," from "Film Bodies: Gender, Genre and Excess," pp. 339-341.
- Jeremy Butler, "The Star System and Hollywood," pp. 342-353.
- Online:
Background Readings:
- Howard Hawks -- Wikipedia
- Howard
Hawks -- David Boxwell, Senses of Cinema
- Howard Hawks -- Gerald Mast, Film Reference.com
- Howard
Hawks -- Petri Liukkonen and Ari Pesonen
- Ball of Fire -- Turner Classic Movies
- Ball of Fire -- Billy Stevenson, A Film Canon
- Ball of Fire -- Michael Mills, Modern Times
- Ball of Fire -- Andy Woods, UCLA
- Ball of Fire -- Markus Osterrieder, Celtoslavica.com
- Ball of Fire -- Mike Grost
- Ball of Fire -- Wikipedia
- Chapter
One of Howard Hawks: The Grey Fox of Hollywood -- Todd
McCarthy
- Golden Years: The Late Period Works of Auteurist Hero Howard Hawks -- Dan Sallitt, Moving Image Source
- Howard Hawks: A Bibliography of Materials in the UC Berkeley Library
- Barbara Stanwyck -- Arthur Nolletti Jr. and Maria DiBattista, Film Reference.com
- Home of
the Screwball -- Lisa Jensen, Katie Hamlin, and Dave
Henning, U. of Virginia
- Plagues and Pleasures on the Salton Sea home page
- The Doc Doctor's Anatomy of a Film: "Plagues & Pleasures on the Salton Sea" -- Fernanda Rossi, Independent
Week Thirteen -- Nov 18 and 20:
"Genre, Auteurism, and the
American Studio System, Part IV:
John Ford and the American West"
Film:
Readings:
- Belton:
- "The Making of the West,"
pp. 248-278.
- WC:
- Edward Buscombe, "The Western," pp. 286-294.
- Edward Buscombe, "John Ford," pp. 288-289.
- Edward Buscombe, "John Wayne," p. 290.
- FS:
- Robyn Wiegman, "Race, Ethnicity, and Film," pp. 158-168.
- Rey Chow, "Film and Cultural Identity," pp. 169-175.
- Stephen Crofts, "Authorship and Hollywood," pp. 310-324.
- Peter Wollen, from Signs and Meaning in the Cinema, pp. 325-326.
- John
Ford -- Richard Franklin, Senses of Cinema
Background Readings:
- John Ford -- John Baxter, Film Reference.com
- "Ford Til '47" -- Tag Gallagher, Senses of Cinema
- Stagecoach
-- Tim Dirks, Greatest Films
- Stagecoach -- TV Guide
- "Cookie-Cutter
Or Connoisseur? -- Genre Theory and John Ford's Stagecoach
-- Katherine Lawrie, Queen's College,
Canada
- John Wayne -- Robin Wood and John McCarty, Film Reference.com
- "Western Films" -- Tim Dirks, Greatest Films
- The
Grapes of Wrath -- Roger Ebert, Chicago Sun-Times
- The
Grapes
of Wrath -- Tim Dirks, Greatest Films
- The Grapes of Wrath -- John Baxter, Film Reference.com
- The
Grapes of Wrath -- Catherine Lavender, The College of Staten Island of The City University of New York
- The Grapes of Wrath -- English and American Studies Dept., U of Vienna, Austria
- The Grapes of Wrath -- Wikipedia
- Henry Fonda -- Philip Kemp and Rob Edelman, Film Reference.com
- John
Ford: A Bibliography of Materials in the UC Berkeley Library
Week Fourteen -- Nov 25 and 27:
No Class: Thanksgiving Break
Week Fifteen -- Dec 2 and 4:
"Challenging the
Hollywood System:
Welles's Kane"
Film:
- Th Dec 4: Citizen Kane discussion; final exam review; evaluations
Readings:
- WC:
- Thomas Schatz, "Gregg Toland," pp. 262-263.
- Edward R. O'Neill, "Orson Welles," pp. 454-455.
- FS:
- Peter Wollen, from "Introduction to Citizen Kane," pp. 26-29.
- Online:
Background Readings:
Week Sixteen -- Dec 9 and 11:
Tutorials for Final Essay
Film:
- Tu Dec 9: Tutorials (email me to sign up to review your essay)
- Th Dec 11: Tutorials (email me to sign up to review your essay)
- Friday
Dec 12: Turn in Essay # 2 to Ms. Palmer in Room 307 of Jackson Hall
before 2:00 pm if you would like your essay back by the final exam;
otherwise you may turn in your final essay AT the final exam
Final Exam -- Tuesday, December 16 @ 4 to 7 pm in Jackson Hall 304