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| − | [[Image:DoubleIndemnity.jpg|thumb|Fred MacMurray and Barbara Stanwyck in the film noir, ''[[wikipedia:Double Indemnity|Double Indemnity]]''.]]
| + | <P>'''Group 3'''</P> |
| − | '''TCF 440/540 Seminar in American Cinema''' is a discussion-oriented course taught by [[User:Jeremy Butler|Jeremy Butler]]. | + | <UL> |
| | + | <LI>Explain what <strong>focal length</strong> is -- using the textbook illustrations.</LI> |
| | + | <LI>How does a zoom in/out look different from a track in/out?</LI> |
| | + | </UL> |
| | + | <P>'''Group 4'''</P> |
| | + | <UL> |
| | + | <LI>Explain what <strong>depth of field</strong> is -- using the textbook illustrations.</LI> |
| | + | <LI>What is the difference between deep focus and deep space (as in mise-en-scene)?</LI> |
| | + | </UL> |
| | + | <P>'''Group 1'''</P> |
| | + | <UL> |
| | + | <LI>Explain what <strong>aspect ratio</strong> is -- using the textbook illustrations.</LI> |
| | + | <LI>Also explain letterbox and pan-and-scan. </LI> |
| | + | </UL> |
| | + | <P>'''Group 2'''</P> |
| | + | <UL> |
| | + | <LI>Explain the significance of camera <strong>framing, height, and movement</strong> -- using the textbook illustrations.</LI> |
| | + | <LI>When might movement be used that does <I>not</I> follow a character? How is a Steadicam shot different from a handheld shot? </LI> |
| | + | </UL> |
| | + | <P>If you were a cinematographer reshooting the <em>Northern Exposure</em> shot (below), from the scene we saw Tuesday, how might you change these cinematographic aspects? How would that change affect the scene's impact or the viewer's understanding of it? Each group should apply this exercise to its specific cinematographic aspect (above).</P> |
| | | | |
| − | == Course objectives ==
| + | http://www.tcf.ua.edu/Classes/Jbutler/T311/NorthExp04.JPG |
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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.
| + | == Bibliography == |
| | + | #Butler, Jeremy G. ''Television: Critical Methods and Applications''. Mahweh, NJ: Lawrence Erlbaum Associates, 2007. |
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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.
| + | ==External links== |
| | + | *[http://www.tcf.ua.edu/tvcritgallery/index.php/chapter06 Illustrations from ''Television'' chapter 6.] |
| | + | *[http://camerasim.com/camera-simulator.html CameraSim Camera Simulator] |
| | | | |
| − | == Online study guides ==
| + | [[Category:TCF311]] |
| − | ===Chronological order===
| + | [[Category:TCF311 Discussion]] |
| − | #Film Analysis: [[BordwellThompson/Narrative Form (Discussion)|Discussion]] of film form chapters, ''Film Art''
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| − | #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===
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| − | [[:Category:TCF440/540 Lecture]]
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| − | | |
| − | ===List of discussion notes===
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| − | [[:Category:TCF440/540 Discussion]] | |
| − | | |
| − | ==Study groups==
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| − | {| class="wikitable" border="1"
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| − | |-
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| − | | valign="top" |
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| − | ===Group 1===
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| − | *Reginald Allison
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| − | *Kristine Barclay
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| − | *Hampton Bradshaw
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| − | *Cody Clark
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| − | *Colin Cavoto
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| − | | valign="top" |
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| − | ===Group 2===
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| − | *Richard Wallace
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| − | *Kristina Cruz
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| − | *Cody Dearman
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| − | *Stormie Henderson
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| − | *Matt Leddo
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| − | | valign="top" |
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| − | ===Group 3===
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| − | *Brian Levine
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| − | *Chris Mangione
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| − | *Tom Marchant
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| − | *Matt McGrath
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| − | *Ben Mitchell
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| − | | valign="top" |
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| − | ===Group 4===
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| − | *Alex Pounders
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| − | *KendyllAn Reed
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| − | *Tracey Roberts
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| − | *Justin Sandlin
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| − | *Marcus Tatum
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| − | |}
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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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