Difference between pages "Editing: Single Camera Mode (Discussion)" and "JCM412-512 Seminar in American Cinema"

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[[Image:DoubleIndemnity.jpg|thumb|Fred MacMurray and Barbara Stanwyck in the film noir, ''[[wikipedia:Double Indemnity|Double Indemnity]]''.]]
|title=Single-Camera Production
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'''TCF 440/540 Seminar in American Cinema''' is a discussion-oriented course taught by [[User:Jeremy Butler|Jeremy Butler]].
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|File:Addams Family Still.jpg|alt1=Circa 1960.|''The Addams Family'', circa 1965
 
|File:Andy Griffith Show street scene.jpg|alt2=Promotional photograph, The Andy Griffith Show. From the episode, "Barney's Replacement," broadcast October 9, 1961.|''The Andy Griffith Show'', 10/6/1961 episode
 
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'''Basic definitions'''
+
== Course objectives ==
  
Provide a definition of these terms and describe how/if it is used in this [http://www.tcf.ua.edu/EO/DV/NorthernExposureDinner.php ''Northern Exposure'' excerpt].
+
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.
  
''' Group 2 '''
+
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.
#Establishing shot
 
#*Re-establishing shot
 
  
'''Group 3'''
+
== Online study guides ==
#The shot-counter shot editing pattern (also known as "shot-reverse shot")
+
===Chronological order===
 +
#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
 +
#Classical Style II: [[TCF440540/Cinematography (Discussion)|Discussion]] of cinematography
 +
#Editing: [[TCF440540/Editing (Discussion)|Discussion]] of editing
 +
#Sound: [[TCF440540/Sound (Discussion)|Discussion]] of sound
 +
#Concept of Genre: [[Concept of Genre (Lecture)| Lecture]] / [[Concept of Genre (Discussion) | Discussion]] of Kitses (6-27), Buscombe (33-45), Collins (157-163).
 +
#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).
 +
#Concept of Authorship: [[Concept of Authorship (Lecture)| Lecture]] / [[Concept of Authorship (Discussion)|Discussion]] of Caughie (9-16, 22-67).
 +
#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).
 +
#Noir & Sexuality: [[Noir & Sexuality (Lecture)| Lecture]] / [[Noir & Sexuality (Discussion) | Discussion]] of Place (47-68), Dyer (52-72).
 +
#Concept of Star: [[Concept of Star (Lecture)| Lecture]] / [[Concept of Star (Discussion)|Discussion]] of Dyer (Stars, 106-50; recommended: 88-105).
 +
#Humphrey Bogart as Star: [[Humphrey Bogart as Star (Lecture)| Lecture]] / [[Humphrey Bogart as Star (Discussion)|Discussion]] of Sklar (104-120, 165-176, 227-251).
 +
#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.
 +
#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).
 +
#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).
 +
#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]).
 +
#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)].
  
'''Group 4'''
+
===List of lecture notes===
#Match cut
+
[[:Category:TCF440/540 Lecture]]
#*Match-on-action
 
#*Eyeline match
 
#Jump cut
 
  
'''Group 1'''
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===List of discussion notes===
#180° rule (see [http://tvcrit.com/find/180degreerule Peter John Ross example])
+
[[:Category:TCF440/540 Discussion]]
#*Screen direction
 
#*How/when might this rule be broken in a TV program?
 
  
'''Decoupage exercise'''
+
==Study groups==
 +
{| class="wikitable" border="1"
 +
|-
 +
| valign="top" |
 +
===Group 1===
 +
*Reginald Allison
 +
*Kristine Barclay
 +
*Hampton Bradshaw
 +
*Cody Clark
 +
*Colin Cavoto
 +
| valign="top" |
 +
===Group 2===
 +
*Richard Wallace
 +
*Kristina Cruz
 +
*Cody Dearman
 +
*Stormie Henderson
 +
*Matt Leddo
 +
| valign="top" |
 +
===Group 3===
 +
*Brian Levine
 +
*Chris Mangione
 +
*Tom Marchant
 +
*Matt McGrath
 +
*Ben Mitchell
 +
| valign="top" |
 +
===Group 4===
 +
*Alex Pounders
 +
*KendyllAn Reed
 +
*Tracey Roberts
 +
*Justin Sandlin
 +
*Marcus Tatum
 +
|}
  
*Do a sample ''decoupage''--as explained with a ''Grey's Anatomy'' scene (299-308)--of shots 33-44 from [http://tvcrit.com/find/chevroletvideo this Chevrolet commercial]. <!-- http://www.tcf.ua.edu/Classes/Jbutler/T311/ChevroletAd/CameraDiagram.html -->
+
== Texts & resources ==
**''Each student'' should start by drawing an overhead view similar to [http://www.routledge.com/cw/butler-9780415883283/s1/gallery-09/  Figure 9.24].
 
**Each student should be prepared to answer the following decoupage questions from the textbook (p. 311), although you may talk about them in your group:
 
*#How is the scene’s space, the area in which the action takes place (i.e., the car), introduced to the viewer? Does an establishing shot occur at the start of the scene (or later in it)?
 
*#Skip.
 
*#Do these angles adhere to the 180° rule? Is screen direction maintained? If not, why is the viewer not disoriented? Or if the space is ambiguous, what narrative purpose does that serve?
 
*#Skip.
 
*#Is an alternating editing pattern used? Is shot-reverse shot used?
 
*#How does the camera relate to the character’s perspective? Are there point-of-view or subjective shots? If so, how are those shots cued or marked? That is, what tells us that they are subjective or point-of-view shots?
 
*#Is match-on-action used? Are there jump cuts?
 
*#How does the last shot of the scene bring it to a conclusion?
 
*#Skip.
 
  
== Bibliography ==
+
===Books===
#Butler, Jeremy G. ''Television: Critical Methods and Applications''. New York: Routledge, 2012.
 
  
==External links==
+
#David Bordwell and Kristin Thompson, ''Film Art: An Introduction''.
#[http://www.routledge.com/cw/butler-9780415883283/s1/gallery-09/ ''Television'', chapter 9 illustrations]
+
#John Caughie, ed., ''Theories of Authorship'' (Boston: Routledge & Kegan Paul, 1981).
#[http://www.tvstylebook.com/video/ ''Television Style'' video examples]
+
#Richard Dyer, ''Stars'', Second Edition, Supplementary Chapter by Paul McDonald (London: British Film Institute, 1998).
#[http://www.tcf.ua.edu/Classes/Jbutler/T112/classicism/index.php#editing Classical Editing Examples]
+
#Recommended, not required: Lucy Fischer,ed., ''Imitation of Life: Douglas Sirk, Director'' (New Brunswick, NJ: Rutgers University Press, 1991).  
  
[[Category:TCF311]]
+
===Articles and book chapters===
[[Category:TCF311 Discussion]]
+
#Jim Kitses, ''Horizons West'' (Bloomington: Indiana University Press, 1969) 6-27.
 +
#Edward Buscombe, "The Idea of Genre in the American Cinema," ''Screen'', 11.2 (1970): 33-45.
 +
#Richard Collins, "Genre: A Reply to Ed Buscombe," ''Movies and Methods'', ed. Bill Nichols (Berkeley: University of California Press, 1976) 157-163.
 +
#Alain Silver and James Ursini, eds., ''Film Noir Reader'' (New York: Limelight, 1996).
 +
#Andrew Sarris, ''The American Cinema: Directors and Directions 1929-1968'' (New York: Simon & Schuster, 1973) 52-56, 109-110.
 +
#Jim Hillier and Peter Wollen, eds., ''Howard Hawks American Artist'' (London: British Film Institute, 1996).
 +
#Janey Place, "Women in Film Noir," ''Women in Film Noir'', ed. E. Ann Kaplan (London: British Film Institute, 1998) 47-68.
 +
#Richard Dyer, "Homosexuality and Film Noir," ''The Matter of Images: Essays on Representations'' (London and New York: Routledge, 1993) 52-72.
 +
#Robert Sklar, ''City Boys: Cagney, Bogart, Garfield'' (Princeton, NJ: Princeton University Press, 1992).
 +
#Molly Haskell, "The Woman's Film," in ''From Reverence to Rape: The Treatment of Women in the Movies'' (New York: Penguin, 1974) 153-188.
 +
#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.
 +
#Thomas Elsaesser, "Tales of Sound and Fury: Observations on the Family Melodrama," ''Home is Where the Heart Is'', 43-69.
 +
#Jeremy G. Butler, "Notes on the Soap Opera Apparatus: Televisual Style and ''As the World Turns''," ''Cinema Journal'', 25.3 (1986): 53-70.
 +
#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.
 +
#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.
 +
#Paul Willemen, "Distanciation and Douglas Sirk," ''Imitation of Life: Douglas Sirk, Director'', 268-272.
 +
#Recommended, not required: Thomas Doherty, "Douglas Sirk: Magnificent Obsession," ''The Chronicle Review'', 49, no. 12 (November 15, 2002), p. B16. Available online.
 +
#Richard Dyer, "Four Films of Lana Turner," ''Movie'' 25: 30-52.
 +
 
 +
[[Category:TCF440-540]]
 +
[[Category:TCF Classes]]

Revision as of 16:01, 4 February 2013

Fred MacMurray and Barbara Stanwyck in the film noir, Double Indemnity.

TCF 440/540 Seminar in American Cinema is a discussion-oriented course taught by Jeremy Butler.

Course objectives

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.

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.

Online study guides

Chronological order

  1. Film Analysis: Discussion of film form chapters, Film Art
  2. Classical Style I: Discussion of mise-en-scene
  3. Classical Style II: Discussion of cinematography
  4. Editing: Discussion of editing
  5. Sound: Discussion of sound
  6. Concept of Genre: Lecture / Discussion of Kitses (6-27), Buscombe (33-45), Collins (157-163).
  7. Film Noir as Genre: Lecture / Discussion of Silver & Ursini (17-26, 37-52, 53-64, 65-76).
  8. Concept of Authorship: Lecture / Discussion of Caughie (9-16, 22-67).
  9. Howard Hawks as Auteur: Lecture / Discussion of Sarris (on Hawks, 52-56), Caughie (138-151), Hillier & Wollen (26-31, 32-34, 68-71, 83-86, 111-119).
  10. Noir & Sexuality: Lecture / Discussion of Place (47-68), Dyer (52-72).
  11. Concept of Star: Lecture / Discussion of Dyer (Stars, 106-50; recommended: 88-105).
  12. Humphrey Bogart as Star: Lecture / Discussion of Sklar (104-120, 165-176, 227-251).
  13. Domestic Melodrama as Genre: Lecture / Discussion of Haskell (153-188) -- in-class discussion preempted by midterm exam.
  14. Domestic Melodrama Since World War II: Lecture / Discussion of Gledhill (5-39), Elsaesser (43-69).
  15. Melodrama Variations: TV Soap Opera: Lecture / Discussion of Butler ("Apparatus," 53-70), Butler ("Actors," 75-91).
  16. Douglas Sirk as Auteur: Lecture / Discussion of Sarris (on Sirk, 109-110), Fischer (3-28, 268-272); recommended: Doherty (online).
  17. Lana Turner as Star: Lecture / Discussion of Dyer (30-52) [Also in Fischer (186-206)].

List of lecture notes

Category:TCF440/540 Lecture

List of discussion notes

Category:TCF440/540 Discussion

Study groups

Group 1

  • Reginald Allison
  • Kristine Barclay
  • Hampton Bradshaw
  • Cody Clark
  • Colin Cavoto

Group 2

  • Richard Wallace
  • Kristina Cruz
  • Cody Dearman
  • Stormie Henderson
  • Matt Leddo

Group 3

  • Brian Levine
  • Chris Mangione
  • Tom Marchant
  • Matt McGrath
  • Ben Mitchell

Group 4

  • Alex Pounders
  • KendyllAn Reed
  • Tracey Roberts
  • Justin Sandlin
  • Marcus Tatum

Texts & resources

Books

  1. David Bordwell and Kristin Thompson, Film Art: An Introduction.
  2. John Caughie, ed., Theories of Authorship (Boston: Routledge & Kegan Paul, 1981).
  3. Richard Dyer, Stars, Second Edition, Supplementary Chapter by Paul McDonald (London: British Film Institute, 1998).
  4. Recommended, not required: Lucy Fischer,ed., Imitation of Life: Douglas Sirk, Director (New Brunswick, NJ: Rutgers University Press, 1991).

Articles and book chapters

  1. Jim Kitses, Horizons West (Bloomington: Indiana University Press, 1969) 6-27.
  2. Edward Buscombe, "The Idea of Genre in the American Cinema," Screen, 11.2 (1970): 33-45.
  3. Richard Collins, "Genre: A Reply to Ed Buscombe," Movies and Methods, ed. Bill Nichols (Berkeley: University of California Press, 1976) 157-163.
  4. Alain Silver and James Ursini, eds., Film Noir Reader (New York: Limelight, 1996).
  5. Andrew Sarris, The American Cinema: Directors and Directions 1929-1968 (New York: Simon & Schuster, 1973) 52-56, 109-110.
  6. Jim Hillier and Peter Wollen, eds., Howard Hawks American Artist (London: British Film Institute, 1996).
  7. Janey Place, "Women in Film Noir," Women in Film Noir, ed. E. Ann Kaplan (London: British Film Institute, 1998) 47-68.
  8. Richard Dyer, "Homosexuality and Film Noir," The Matter of Images: Essays on Representations (London and New York: Routledge, 1993) 52-72.
  9. Robert Sklar, City Boys: Cagney, Bogart, Garfield (Princeton, NJ: Princeton University Press, 1992).
  10. Molly Haskell, "The Woman's Film," in From Reverence to Rape: The Treatment of Women in the Movies (New York: Penguin, 1974) 153-188.
  11. 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.
  12. Thomas Elsaesser, "Tales of Sound and Fury: Observations on the Family Melodrama," Home is Where the Heart Is, 43-69.
  13. Jeremy G. Butler, "Notes on the Soap Opera Apparatus: Televisual Style and As the World Turns," Cinema Journal, 25.3 (1986): 53-70.
  14. 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.
  15. 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.
  16. Paul Willemen, "Distanciation and Douglas Sirk," Imitation of Life: Douglas Sirk, Director, 268-272.
  17. Recommended, not required: Thomas Doherty, "Douglas Sirk: Magnificent Obsession," The Chronicle Review, 49, no. 12 (November 15, 2002), p. B16. Available online.
  18. Richard Dyer, "Four Films of Lana Turner," Movie 25: 30-52.