Difference between pages "Concept of Authorship (Discussion)" and "JCM412-512 Seminar in American Cinema"

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==Readings==
+
[[Image:DoubleIndemnity.jpg|thumb|Fred MacMurray and Barbara Stanwyck in the film noir, ''[[Double Indemnity]]''.]]
===Introduction, by John Caughie===
+
'''TCF 440/540 Seminar in American Cinema''' is a discussion-oriented course taught by [[User:Jeremy Butler|Jeremy Butler]].
'''Group 2'''
 
#What are the basic assumptions of auteurist critics?
 
#How did auteurism differ from previous film criticism?
 
  
=== Edward Buscombe ===
+
== Course objectives ==
'''Group 3'''
 
#What elements of romanticism underpin auteurism?
 
#What is the difference between Hawks and "Hawks"?
 
  
=== ''Cahiers du Cinéma'' ===
+
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.
'''All Groups'''
 
#What is "formalism" and how did it relate to ''Cahiers''-style auteurism?
 
#What is "personalism"?
 
  
=== ''Movie'' ===
+
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.
'''Group 4'''
 
#What was ''Movie''?
 
#How did ''Movie'''s approach to auteurism differ from that of ''Cahiers du Cinéma''?
 
  
=== Andrew Sarris ===
+
The online syllabus is over here:
'''Group 1'''
 
#What, according to Sarris, are the three premises of the auteur theory?
 
#*Explain, if you can, what Sarris means by "élan of the soul".
 
  
'''All Groups'''
+
[http://uaops.ua.edu/syllabus/201110/10308 http://uaops.ua.edu/syllabus/201110/10308]
#What does Sarris mean when he uses the term "mise-en-scene"? ('''Hint''': it's ''not'' how Bordwell and Thompson use it in ''Film Art''.)
 
#*And how does this image (below) illustrate it?
 
[[Image:Rules Moment07.jpg|thumb|left|Jean Renoir in ''Rules of the Game'' (French title: ''La Règle du jeu'').]]
 
<br style="clear: both;">
 
  
Pauline Kael, ''I Lost It at the Movies'', response to Sarris:
+
===Wiki extra credit===
 +
Do some ''major'' editing work on [http://en.wikipedia.org/ Wikipedia].
 +
*"Major" means adding significant new material to a Wikipedia article or creating a new article. Generally, this should involve two-to-three paragraphs of new material, as a minimum.
 +
*The student may earn up to 3 extra credit points editing Wikipedia. The point value will be determined by Dr. Butler. You must send him the URL of the article you've edited and you must edit it under your own name (no nicknames).
 +
*'''The editing must be done by midnight the Friday of the last week of classes.'''
 +
*Suggested Wikipedia articles to edit.
 +
**As I notice Wikipedia articles that need help, I'll list them here; but you're encouraged to find your own to edit. For a sample of how an individual article about a specific film should look, see http://en.wikipedia.org/wiki/Bringing_up_Baby .
 +
**There is a general [http://en.wikipedia.org/wiki/Wikipedia:WikiProject_Films Wikiproject] that focuses on film and specifies film topics that need work. Also, Wikipedia maintains a list of articles which need expansion, which it calls "stubs." The list of film-related stubs is here: http://en.wikipedia.org/wiki/Category:Film_stubs .
 +
**Jump cut
 +
**Long shot
 +
**Low-key lighting
 +
**Low-angle shot
 +
**Gangster film
 +
**Red River (film)
 +
**Only Angels Have Wings
 +
**Alexandre Astruc
 +
**Star system (film) -- needs historical overview (perhaps using [http://en.wikipedia.org/wiki/Image:IMPstarpromotion.jpg image of Florence Lawrence promotion])
 +
**Molly Haskell
 +
**Andrew Sarris
 +
**Man's Favorite Sport?
 +
**Terms of Endearment
 +
**The Bad and the Beautiful
  
== Bibliography ==
+
== Online study guides ==
All from ''Theories of Authorship'', John Caughie, ed. (Boston: Routledge & Kegan Paul, 1981):
+
===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: [[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)].
  
#Introduction, John Caughie, 9-16.
+
===List of lecture notes===
#Edward Buscombe, "Ideas of Authorship," 22-34.
+
[[:Category:TCF440/540 Lecture]]
#''Cahiers du Cinéma'', 35-47.
 
#''Movie'', 48-60.
 
#Andrew Sarris, 61-67.
 
  
==External links==
+
===List of discussion notes===
#[http://www.tcf.ua.edu/Classes/Jbutler/T440/AuteurTheory.htm Auteur Theory Illustrations]
+
[[:Category:TCF440/540 Discussion]]
#[http://www.tcf.ua.edu/Classes/Jbutler/T340/Bazin03.htm Auteurism's defining moment], according to Sarris.
 
  
[[Category:TCF440/540 Discussion]]
+
==Study groups==
 +
<table border="1" cellpadding="5">
 +
  <tr>
 +
    <td valign="top">'''Group 1'''
 +
      <ul>
 +
<li> Kenny Haggerty </li>
 +
<li> Morgan Bruffy </li>
 +
<li> Mallory Clark </li>
 +
<li> Caitlyn Cofer </li>
 +
<li> Abigail Connally </li>
 +
<li> Brian DeLuca </li>
 +
      </ul>
 +
    <p>'''Group 3'''</p>
 +
    <ul>
 +
<li> Mark Lent </li>
 +
<li> Katherine Jackson </li>
 +
<li> Clifton Lewis </li>
 +
<li> Colter Longshore </li>
 +
<li> Donald Miller </li>
 +
    </ul></td>
 +
    <td valign="top">'''Group 2'''
 +
      <ul>
 +
<li> Bill Hartwig </li>
 +
<li> Alex Jones </li>
 +
<li> Lorrie Flowers </li>
 +
<li> Stephanie Lichtenstein </li>
 +
<li> Sophie Hall</li>
 +
<li> Jake Hinson </li>
 +
    </ul>
 +
    <p>'''Group 4'''</p>
 +
    <ul>
 +
<li> Alex Seiver </li>
 +
<li> Nick Penfold </li>
 +
<li> James Piazza </li>
 +
<li> Alex Pointer </li>
 +
<li> Shelby Utsey </li>
 +
<li> James Ed West </li>
 +
    </ul></td>
 +
  </tr>
 +
</table>
 +
 
 +
== Texts & resources ==
 +
 
 +
===Books===
 +
 
 +
#David Bordwell and Kristin Thompson, ''Film Art: An Introduction''.
 +
#John Caughie, ed., ''Theories of Authorship'' (Boston: Routledge & Kegan Paul, 1981).
 +
#Richard Dyer, ''Stars'', Second Edition, Supplementary Chapter by Paul McDonald (London: British Film Institute, 1998).
 +
#Recommended, not required: Lucy Fischer,ed., ''Imitation of Life: Douglas Sirk, Director'' (New Brunswick, NJ: Rutgers University Press, 1991).
 +
 
 +
===Articles and book chapters===
 +
#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 17:10, 2 February 2011

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.

The online syllabus is over here:

http://uaops.ua.edu/syllabus/201110/10308

Wiki extra credit

Do some major editing work on Wikipedia.

  • "Major" means adding significant new material to a Wikipedia article or creating a new article. Generally, this should involve two-to-three paragraphs of new material, as a minimum.
  • The student may earn up to 3 extra credit points editing Wikipedia. The point value will be determined by Dr. Butler. You must send him the URL of the article you've edited and you must edit it under your own name (no nicknames).
  • The editing must be done by midnight the Friday of the last week of classes.
  • Suggested Wikipedia articles to edit.
    • As I notice Wikipedia articles that need help, I'll list them here; but you're encouraged to find your own to edit. For a sample of how an individual article about a specific film should look, see http://en.wikipedia.org/wiki/Bringing_up_Baby .
    • There is a general Wikiproject that focuses on film and specifies film topics that need work. Also, Wikipedia maintains a list of articles which need expansion, which it calls "stubs." The list of film-related stubs is here: http://en.wikipedia.org/wiki/Category:Film_stubs .
    • Jump cut
    • Long shot
    • Low-key lighting
    • Low-angle shot
    • Gangster film
    • Red River (film)
    • Only Angels Have Wings
    • Alexandre Astruc
    • Star system (film) -- needs historical overview (perhaps using image of Florence Lawrence promotion)
    • Molly Haskell
    • Andrew Sarris
    • Man's Favorite Sport?
    • Terms of Endearment
    • The Bad and the Beautiful

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
  • Kenny Haggerty
  • Morgan Bruffy
  • Mallory Clark
  • Caitlyn Cofer
  • Abigail Connally
  • Brian DeLuca

Group 3

  • Mark Lent
  • Katherine Jackson
  • Clifton Lewis
  • Colter Longshore
  • Donald Miller
Group 2
  • Bill Hartwig
  • Alex Jones
  • Lorrie Flowers
  • Stephanie Lichtenstein
  • Sophie Hall
  • Jake Hinson

Group 4

  • Alex Seiver
  • Nick Penfold
  • James Piazza
  • Alex Pointer
  • Shelby Utsey
  • James Ed West

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.