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| − | [[Image:DoubleIndemnity.jpg|thumb|Fred MacMurray and Barbara Stanwyck in the film noir, ''[[wikipedia:Double Indemnity|Double Indemnity]]''.]]
| + | #'''Group 3:''' What is depth of field? |
| − | '''TCF 440/540 Seminar in American Cinema''' is a discussion-oriented course taught by [[User:Jeremy Butler|Jeremy Butler]]. | + | #*Define these terms and provides examples of when these techniques might be used: |
| | + | #**Shallow focus |
| | + | #**Deep focus |
| | + | #**Pulling focus (What's another name for it?) |
| | + | #'''Group 4:''' What is focal length? |
| | + | #*Define these focal-length terms and provides examples of when these techniques might be used: |
| | + | #**Wide angle |
| | + | #**Telephoto |
| | + | #**''Variable'' focal length lens (what's another, more common name for it?) |
| | + | #'''Group 1:''' What is aspect ratio? |
| | + | #*Define these terms |
| | + | #**Academy Ratio: 1.33 : 1 or 4 : 3 |
| | + | #**Widescreen |
| | + | #***Anamorphic 2.35 or 2.4 : 1 |
| | + | #***Masked 1.85 : 1 |
| | + | #***TV widescreen: 16 : 9 or 1.78 : 1 |
| | + | #*What are the aspect ratios of ''Ordinary People'', ''Shakespeare in Love'' and ''Monster's Ball''? |
| | + | #'''Group 2:''' What do B/T mean by the "mobile frame"? |
| | + | #*Explain the differences among these types of mobile frames and provides examples of when these techniques are used in [http://www.tcf.ua.edu/EO/DV/FilmArt/ShakespeareInLove.htm the ''Shakespeare in Love'' clip]: |
| | + | #**Pan |
| | + | #**Tilt |
| | + | #**Handheld |
| | + | #**Tracking or dolly shot |
| | + | #*Explain the difference between a tracking/dolly shot and a zoom. |
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| − | == Course objectives == | + | ==Cinematography and narrative== |
| | + | '''All groups:''' |
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| − | The student will learn the three major critical methods applied to the American cinema: genre study, the auteur "theory," and the star "system." We will begin with the film noir, director Howard Hawks and actor Humphrey Bogart, and then, during the second half of the semester, turn our attention to the melodrama, director Douglas Sirk, and actress Lana Turner.
| + | In the [http://www.tcf.ua.edu/EO/DV/FilmArt/MonstersBall.htm ''Monster's Ball'' scene we viewed], what narrative functions does the cinematography serve? List three of them. Be sure to consider deep/shallow focus, focus shifts and framing in the third shot. |
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| − | Our focus will shift back and forth from the primary texts (the films themselves) to the writings on them. The latter will eventually lead us into considerations of feminism, Marxism, structuralism and semiotics.
| + | [[Image:MonstersBall01.jpg|thumb|left|600px|Shot three from the ''Monster's Ball'' scene begins.]] |
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| | + | [[Image:MonstersBall02.jpg|thumb|left|600px|Shot three from the ''Monster's Ball'' scene continues.]] |
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| − | == Online study guides == | + | == Bibliography == |
| − | ===Chronological order===
| + | #David Bordwell and Kristin Thompson, ''Film Art: An Introduction'', 9th ed. (New York: McGraw-Hill, 2010). |
| − | #Film Analysis: [[BordwellThompson/Narrative Form (Discussion)|Discussion]] of film form chapters, ''Film Art'' | |
| − | #Classical Style I: [[TCF440540/Mise-en-scene (Discussion)|Discussion]] of mise-en-scene
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| − | #Classical Style II: [[TCF440540/Cinematography (Discussion)|Discussion]] of cinematography
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| − | #Editing: [[TCF440540/Editing (Discussion)|Discussion]] of editing
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| − | #Sound: [[TCF440540/Sound (Discussion)|Discussion]] of sound
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| − | #Concept of Genre: [[Concept of Genre (Lecture)| Lecture]] / [[Concept of Genre (Discussion) | Discussion]] of Kitses (6-27), Buscombe (33-45), Collins (157-163).
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| − | #Film Noir as Genre: [[Film Noir as Genre (Lecture)| Lecture]] / [[Film Noir as Genre (Discussion)|Discussion]] of Silver & Ursini (17-26, 37-52, 53-64, 65-76).
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| − | #Concept of Authorship: [[Concept of Authorship (Lecture)| Lecture]] / [[Concept of Authorship (Discussion)|Discussion]] of Caughie (9-16, 22-67).
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| − | #Howard Hawks as Auteur: [[Howard Hawks as Auteur (Lecture)| Lecture]] / [[Howard Hawks as Auteur (Discussion)|Discussion]] of Sarris (on Hawks, 52-56), Caughie (138-151), Hillier & Wollen (26-31, 32-34, 68-71, 83-86, 111-119).
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| − | #Noir & Sexuality: [[Noir & Sexuality (Lecture)| Lecture]] / [[Noir & Sexuality (Discussion) | Discussion]] of Place (47-68), Dyer (52-72).
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| − | #Concept of Star: [[Concept of Star (Lecture)| Lecture]] / [[Concept of Star (Discussion)|Discussion]] of Dyer (Stars, 106-50; recommended: 88-105).
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| − | #Humphrey Bogart as Star: [[Humphrey Bogart as Star (Lecture)| Lecture]] / [[Humphrey Bogart as Star (Discussion)|Discussion]] of Sklar (104-120, 165-176, 227-251).
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| − | #Domestic Melodrama as Genre: [[Domestic Melodrama as Genre (Lecture)| Lecture]] / [[Domestic Melodrama as Genre (Discussion)|Discussion]] of Haskell (153-188) -- in-class discussion preempted by midterm exam.
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| − | #Domestic Melodrama Since World War II: [[Domestic Melodrama Since World War II (Lecture)| Lecture]] / [[Domestic Melodrama Since World War II (Discussion)|Discussion]] of Gledhill (5-39), Elsaesser (43-69).
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| − | #Melodrama Variations: TV Soap Opera: [[Melodrama Variations: TV Soap Opera (Lecture)| Lecture]] / [[Melodrama Variations: TV Soap Opera (Discussion)|Discussion]] of Butler ("Apparatus," 53-70), Butler ("Actors," 75-91).
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| − | #Douglas Sirk as Auteur: [[Douglas Sirk as Auteur (Lecture)| Lecture]] / [[Douglas Sirk as Auteur (Discussion)| Discussion]] of Sarris (on Sirk, 109-110), Fischer (3-28, 268-272); recommended: Doherty ([http://www.tcf.ua.edu/EO/SirkEssay.htm online]).
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| − | #Lana Turner as Star: [[Lana Turner as Star (Lecture)| Lecture]] / [[Lana Turner as Star (Discussion)| Discussion]] of Dyer (30-52) [Also in Fischer (186-206)].
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| − | ===List of lecture notes=== | + | ==External links== |
| − | [[:Category:TCF440/540 Lecture]] | + | #[http://www.tcf.ua.edu/Classes/Jbutler/T440/VisualStyleIllustrations02.htm Cinematography illustrations] |
| | + | #[http://www.tcf.ua.edu/Classes/Jbutler/T440/MonstersBall/index.htm ''Monster's Ball'' frame grabs] |
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| − | ===List of discussion notes===
| + | [[Category:TCF440/540 Discussion]] |
| − | [[:Category:TCF440/540 Discussion]] | |
| − | | |
| − | ==Study groups==
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| − | <table border="1" cellpadding="5">
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| − | <tr>
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| − | <td valign="top">'''Group 1'''
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| − | <ul>
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| − | <li> Kenny Haggerty </li>
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| − | <li> Morgan Bruffy </li>
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| − | <li> Mallory Clark </li>
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| − | <li> Caitlyn Cofer </li>
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| − | <li> Abigail Connally </li>
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| − | <li> Brian DeLuca </li>
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| − | </ul>
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| − | <p>'''Group 3'''</p>
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| − | <ul>
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| − | <li> Mark Lent </li>
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| − | <li> Katherine Jackson </li>
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| − | <li> Clifton Lewis </li>
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| − | <li> Colter Longshore </li>
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| − | <li> Donald Miller </li>
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| − | </ul></td>
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| − | <td valign="top">'''Group 2'''
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| − | <ul>
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| − | <li> Bill Hartwig </li>
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| − | <li> Alex Jones </li>
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| − | <li> Lorrie Flowers </li>
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| − | <li> Stephanie Lichtenstein </li>
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| − | <li> Sophie Hall</li>
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| − | <li> Jake Hinson </li>
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| − | </ul>
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| − | <p>'''Group 4'''</p>
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| − | <ul>
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| − | <li> Alex Seiver </li>
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| − | <li> Nick Penfold </li>
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| − | <li> James Piazza </li>
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| − | <li> Alex Pointer </li>
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| − | <li> Shelby Utsey </li>
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| − | <li> James Ed West </li>
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| − | </ul></td>
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| − | </tr>
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| − | </table>
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| − | | |
| − | == Texts & resources ==
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| − | | |
| − | ===Books===
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| − | | |
| − | #David Bordwell and Kristin Thompson, ''Film Art: An Introduction''.
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| − | #John Caughie, ed., ''Theories of Authorship'' (Boston: Routledge & Kegan Paul, 1981).
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| − | #Richard Dyer, ''Stars'', Second Edition, Supplementary Chapter by Paul McDonald (London: British Film Institute, 1998).
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| − | #Recommended, not required: Lucy Fischer,ed., ''Imitation of Life: Douglas Sirk, Director'' (New Brunswick, NJ: Rutgers University Press, 1991).
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| − | | |
| − | ===Articles and book chapters===
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| − | #Jim Kitses, ''Horizons West'' (Bloomington: Indiana University Press, 1969) 6-27.
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| − | #Edward Buscombe, "The Idea of Genre in the American Cinema," ''Screen'', 11.2 (1970): 33-45.
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| − | #Richard Collins, "Genre: A Reply to Ed Buscombe," ''Movies and Methods'', ed. Bill Nichols (Berkeley: University of California Press, 1976) 157-163.
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| − | #Alain Silver and James Ursini, eds., ''Film Noir Reader'' (New York: Limelight, 1996).
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| − | #Andrew Sarris, ''The American Cinema: Directors and Directions 1929-1968'' (New York: Simon & Schuster, 1973) 52-56, 109-110.
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| − | #Jim Hillier and Peter Wollen, eds., ''Howard Hawks American Artist'' (London: British Film Institute, 1996).
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| − | #Janey Place, "Women in Film Noir," ''Women in Film Noir'', ed. E. Ann Kaplan (London: British Film Institute, 1998) 47-68.
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| − | #Richard Dyer, "Homosexuality and Film Noir," ''The Matter of Images: Essays on Representations'' (London and New York: Routledge, 1993) 52-72.
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| − | #Robert Sklar, ''City Boys: Cagney, Bogart, Garfield'' (Princeton, NJ: Princeton University Press, 1992).
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| − | #Molly Haskell, "The Woman's Film," in ''From Reverence to Rape: The Treatment of Women in the Movies'' (New York: Penguin, 1974) 153-188.
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| − | #Christine Gledhill, "The Melodrama Field: An Investigation," ''Home is Where the Heart Is: Studies in Melodrama and Woman's Film'', ed. Christine Gledhill (London: British Film Institute, 1987) 5-39.
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| − | #Thomas Elsaesser, "Tales of Sound and Fury: Observations on the Family Melodrama," ''Home is Where the Heart Is'', 43-69.
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| − | #Jeremy G. Butler, "Notes on the Soap Opera Apparatus: Televisual Style and ''As the World Turns''," ''Cinema Journal'', 25.3 (1986): 53-70.
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| − | #Jeremy G. Butler, "'I'm Not a Doctor, But I Play One on TV': Characters, Actors, and Acting in Television Soap Opera," ''Cinema Journal'' 30.4 (1991): 75-91.
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| − | #Lucy Fischer, "Three-Way Mirror: Imitation of Life," ''Imitation of Life: Douglas Sirk'', Director ed. Lucy Fischer (New Brunswick, NJ: Rutgers University Press) 3-28.
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| − | #Paul Willemen, "Distanciation and Douglas Sirk," ''Imitation of Life: Douglas Sirk, Director'', 268-272.
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| − | #Recommended, not required: Thomas Doherty, "Douglas Sirk: Magnificent Obsession," ''The Chronicle Review'', 49, no. 12 (November 15, 2002), p. B16. Available online.
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| − | #Richard Dyer, "Four Films of Lana Turner," ''Movie'' 25: 30-52.
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| − | [[Category:TCF440-540]]
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| − | [[Category:TCF Classes]]
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