Difference between pages "Animation (Discussion)" and "JCM412-512 Seminar in American Cinema"

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(→‎External videos: added Bob's)
 
(→‎Study groups: spring 2012 groups)
 
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'''Groups 5 & 1'''
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[[Image:DoubleIndemnity.jpg|thumb|Fred MacMurray and Barbara Stanwyck in the film noir, ''[[wikipedia:Double Indemnity|Double Indemnity]]''.]]
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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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#What does this term mean in the context of cartooning: naturalism?
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== Course objectives ==
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#Which filmmaker's cartoons were associated with naturalism? What technological and aesthetic techniques did he use to achieve this naturalism? What technological device did he use that is also used in Ah-Ha's music video ([http://tcf.ua.edu/EO/DV/AHa-TakeOnMe.php view video])? (A digital version of the same device is used in ''Son of Zorn'' [2016].)
 
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#How has cartooning balanced naturalism with abstraction?
 
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{{Gallery|title=|width=300|height=200|lines=2
 
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|File:Fig11-09 ah ha roto 01.jpg|alt1=Screen shot from Ah-Ha's ''Take on Me''.|Screen shot from Ah-Ha's ''Take on Me''.
 
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|File:Son of Zorn.jpg|alt6=Screen shot from ''Son of Zorn''.|Screen shot from ''Son of Zorn''.
 
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}}
 
  
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'''Groups 6 & 2'''
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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.
  
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#What does this term mean in the context of cartooning: abstraction?
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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.
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#What studio was associated with (somewhat) abstract cartooning? What aesthetic techniques did it use to achieve this abstraction?
 
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#How has cartooning balanced abstraction with naturalism?
 
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{{Gallery|title=|width=300|height=200|lines=2
 
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|File:Fig11-11 Gerald copy.jpg|alt2=Screen shot from ''Gerald McBoing Boing''.|Screen shot from ''Gerald McBoing Boing''. [http://www.tcf.ua.edu/EO/DV/GeraldMcBoing-Boing_480x360.php View video.]
 
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|File:Bob's Burgers 20131110qq00 00 38qq.jpg|alt7=Screen shot from ''Bob's Burgers''.|Screen shot from ''Bob's Burgers''.  
 
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}}
 
  
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'''Groups 7 & 3'''
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== Online study guides ==
 +
===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)].
  
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#How do made-for-TV cartoons differ from made-for-movie-theater cartoons?
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===List of lecture notes===
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#*What was the first made-for-TV animated cartoon? When?
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[[:Category:TCF440/540 Lecture]]
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#*What aspects of made-for-TV cartoons does ''The Flintstones'' exemplify? ([http://www.tcf.ua.edu/EO/DV/Flintstones.php View video.])
 
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{{Gallery|title=|width=300|height=200|lines=2|File:Fig11-16 CrusaderRabbit06.jpg|alt3=Screen shot from ''Crusader Rabbit''.|Screen shot from ''Crusader Rabbit''. [http://www.tcf.ua.edu/EO/DV/CrusaderRabbit.php View video.]}}
 
  
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===List of discussion notes===
 +
[[:Category:TCF440/540 Discussion]]
  
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'''Groups 4 & 8'''
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==Study groups==
 +
{| class="wikitable" border="1"
 +
|-
 +
| valign="top" |
 +
===Group 1===
 +
*Mark Lent
 +
*Tyler Allison
 +
*John Mark Alston
 +
*Jason Atchley
 +
*Kevyn Bowling
 +
*Lindsey Sway
 +
| valign="top" |
 +
===Group 2===
 +
*Samuel Bubis
 +
*Nalisa Capers
 +
*Geoff Carroll
 +
*Matthew Cocozza
 +
*Katherine Tuebner
 +
| valign="top" |
 +
===Group 3===
 +
*Sean Fleming
 +
*Jaime Kaufman
 +
*Joshua Key
 +
*Melissa Lockhart
 +
*Devon Young
 +
| valign="top" |
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===Group 4===
 +
*Christopher McCarter
 +
*Brandon Lowe
 +
*Alison O'Neil
 +
*Ashley Polyne
 +
*Shelby Ross
 +
*Connor Simpson
 +
|}
  
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#How does digital (CGI) animation differ from conventional cell animation? In particular:
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== Texts & resources ==
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#*How is that difference part of the production process?
 
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#*How is that difference evident in how the animation looks?
 
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#*[http://www.tcf.ua.edu/EO/DV/SimpsonsHomer3.php View ''Simpsons'' 3D animation.]
 
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{{Gallery|title=|width=300|height=200|lines=2
 
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|File:Fig11-26 Simpsons 000013.jpg|alt4=Screen shot from ''The Simpsons''.|Screen shot from ''The Simpsons''.
 
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|File:Fig11-27 Simpsons 000003.jpg|alt5=Screen shot from ''The Simpsons''.|Screen shot from ''The Simpsons''. Homer enters a new, strange dimension.
 
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}}
 
  
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'''All Groups'''
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===Books===
  
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#Describe the efficient mode of production that developed for cartoon production in the 1930s. What were its basic (1) technological and (2) economic characteristics?  That is, how was cartoon production organized so that it could be profitable?
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#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).
  
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== Bibliography ==
+
===Articles and book chapters===
−
#Butler, Jeremy G. ''Television: Critical Methods and Applications''. '''Third edition'''. NY: Routledge, 2011.
+
#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.  
  
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==External links==
+
[[Category:TCF440-540]]
−
*[http://www.tcf.ua.edu/EO/DV/Animation.php Animation illustrations]
+
[[Category:TCF Classes]]
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*[http://tvcrit.com/files/DeletedChapters/11_images/index.html ''Television'', '''third edition''', Chapter 11 illustrations]
 
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*[[wikipedia:Treehouse of Horror VI#Homer.C2.B3|Wikipedia article on "Homer<sup>3</sup>"]].
 
−
 
 
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==External videos==
 
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*[https://www.youtube.com/watch?v=Zpl0KRFdj1E ''Gerald McBoing Boing'']
 
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*[https://tcf.ua.edu/EO/DV/Bob's%20Burgers%2020131110.php ''Bob's Burgers'']
 
−
 
 
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[[Category:TCF311]]
 
−
[[Category:TCF311 Discussion]]
 

Revision as of 15:58, 18 January 2012

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

  • Mark Lent
  • Tyler Allison
  • John Mark Alston
  • Jason Atchley
  • Kevyn Bowling
  • Lindsey Sway

Group 2

  • Samuel Bubis
  • Nalisa Capers
  • Geoff Carroll
  • Matthew Cocozza
  • Katherine Tuebner

Group 3

  • Sean Fleming
  • Jaime Kaufman
  • Joshua Key
  • Melissa Lockhart
  • Devon Young

Group 4

  • Christopher McCarter
  • Brandon Lowe
  • Alison O'Neil
  • Ashley Polyne
  • Shelby Ross
  • Connor Simpson

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.
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