English
4950 003/Special Topics in Literature: Cool Old Movies
F. GRADY SPRING 2019
461 LUCAS [Sec. 001, #14218]
516-5510 MW 11:00-12:15
fgrady@umsl.edu JC
PENNEY 63
MW 1:00-3:00 and by appointment
In
1990 the U.S. Post Office issued commemorative stamps honoring four classic
American films: Gone with the Wind, The Wizard of Oz,
Stagecoach, and Beau Geste. It
was hardly a coincidence that all four films had originally been released in
1939, for that year has widely
been
regarded as “Hollywood’s greatest year,” during which the major film studios
finally shook off the effects of the Great Depression,
reaching
new heights in employment and drawing in 40 to 50 million patrons a week to see
what most students of American film consider
to be
some of the best movies ever made in Hollywood. Of course, Hollywood was the
first to break the good news about Hollywood’s
artistic
triumphs that year, and some of this is just standard entertainment industry
hoopla, at seven decades’ distance. And if that year
marked a
pinnacle of one sort, it was also the beginning of the end for the studio
system that had dominated the film industry for a generation:
the
European markets that provided Hollywood with a quarter of its income were
about to be lost to the war, and soon after the war the studios
finally
lost the fierce battle against antitrust legislation that they had waged for
two decades. Even the most successful film of 1939 (the most
successful
film ever, to that point), Gone with the
Wind, can be seen as the precursor of the blockbuster event-movie that
dominates the cinema
industry
of our day, one very different in organization from the system that governed
American filmmaking in the ‘30s and ‘40s.
In this course
we’ll try to see what the excitement was all about by studying several films
from that era. Along the way we’ll also learn something
about the
entertainment industry and the studio system, American cultural history, film
language and technology, film stars and genres, and film
theory and criticism.
We’ll be “taking Hollywood seriously,” as one of your textbooks puts it, as a
site of artistic, cultural, social, economic, and
imaginary importance,
then and now.
Required texts:
·
Richard Maltby, Hollywood Cinema. 2nd ed. Blackwell, 2003. (hence HC)
·
Salman Rushdie, The Wizard of Oz. British Film Institute, 1992 (maybe)
·
Additional essays available through
Canvas. Note: two volumes in the History
of the American Cinema series can be accessed through the library catalogue
page: Tino Balio’s Grand Design: Hollywood as a Modern Business
Enterprise, 1930-1939 (1993), and Thomas Schatz’s Boom and Bust: American Cinema in the 1940s (1997). I will be assigning portions of the former.
Additional
Resources:
·
Required films will be available for
streaming via the “Media Gallery” tab on Canvas and should be watched carefully
before the class date for which they are assigned. A high-speed connection is
recommended.
·
I will post most of the
supplementary films on Canvas; some are available via a rental service (e.g.
Netflix or Amazon) or the public library.
·
Though most relevant documents will
be supplied via Canvas, the main course page is http://www.umsl.edu/~gradyf/4950SP2019syll.htm,
which can also be reached through my home page (www.umsl.edu/~gradyf). Bookmark it and
expect frequent updates.
·
A reserve list of
relevant texts will be maintained in the TJ library.
Course
Requirements (see “Assignments” document on Canvas):
·
weekly
film quizzes, 10%
·
two
5-6 page essays, 20% each
·
mise en scène essay (2pp), 10%
·
short-answer
midterm, 10%
·
film genre group
work, 20%
·
take-home
final or research project, 10% [= 100%]
Tentative
Syllabus:
WEEK |
DATE |
READING
& VIEWING |
ASSIGNMENTS |
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1 |
W JAN 23 |
Introduction; coming attractions;
some film technique and vocabulary |
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2
Studio production; Hollywood style |
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M JAN 28 |
·
Viewing: Sullivan’s
Travels (1941; 90m) (links) ·
Reading: "Taking Hollywood Seriously," HC 5-22; “Entertainment I,” HC 33-53 (also available on Canvas) |
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W JAN 30 |
Annual Polar Vortex day -- no class |
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3
America (and Hollywood) during the
Depression |
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M FEB 4 |
·
Viewing: “American
Cinema: The Studio System” (Canvas) ·
Reading: o
"Industry 1:
to 1948," HC 113-58 o
"Introduction"
from Grand Design (Canvas or UMSL
online access) o
Bordwell and Thomson, "Technological Change and Classical
Film Style," ch. 5 in Grand Design (Canvas or
UMSL online access) o
“Sound” and
“Color,” HC 238-50 o
Levine, “American
Culture and the Great Depression” (Canvas) o
Rauchway, “Americans
in the Great Depression” (Canvas) ·
Also relevant: ·
"Feeding the
Maw of Exhibition," Grand Design 73-108 o
"Social
Problem Films," Grand Design 280-98 o
Leuchtenberg, “Smashup,” from The
Perils of Prosperity (Canvas) |
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W FEB 6 |
·
Viewing: My
Man Godfrey (1936; 94m); The Grapes of Wrath (1940; 129m) (links) ·
Reading: Corrigan, from A Short guide to Writing about Film (Canvas) ·
Also relevant: o
Leitch, “Twelve Fallacies in Contemporary Adaptation
Theory”(Canvas) |
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M FEB 11 |
·
Viewing: Casablanca (1942; 102m) ·
Reading: Eco, “Casablanca: Cult Movies and Intertextual Collage” |
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W FEB 13 |
·
Reading: ·
Maltby, "The
Production Code and the Hays Office," Grand Design 37-72 ·
“Narrative 2,” HC 471-90 ·
Forman, from Our Movie Made Children (Canvas) ·
“The Production
Code of 1930” (Canvas) ·
Also relevant: ·
Inglis, “Self-Regulation in Operation” (Canvas) ·
Zizek, “Ego and Superego: Lacan as a
Viewer of Casblanca”
(Canvas) ·
Ray, “The Culmination
of Classic Hollywood: Casablanca”
(Canvas) ·
Wollen,
“The Auteur Theory: Michael Curtiz, and Casablanca” (Canvas) |
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5
Genre in film; what
we can know about the Western |
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M FEB 18 |
·
Viewing: Stagecoach (1939; 96m); Dodge City (1939; 105m) |
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W FEB 20 |
·
Reading: ·
"Genre," HC 74-110 ·
Altman, “A
Semantic/Syntactic Approach to Film Genre” (Canvas) ·
Altman, “Where do
genres come from?” (Canvas) ·
Also relevant: ·
Buscombe, Stagecoach (on
reserve) ·
Browne, “The
Spectator-in-the Text: The Rhetoric of Stagecoach”
(Canvas) Bazin,
“The Western: or The American Film Par Excellence” (Canvas) |
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6
Movie
stars |
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M FEB 25 |
·
Viewing: Ninotchka (1939; 110m) (links) ·
Reading: Mulvey,
“Visual Pleasure and Narrative Cinema” (Canvas) |
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W FEB 27 |
·
Reading: o
“Performance I,” HC 377-89 (from “Acting as
Impersonation”) o
Dyer, “Heavenly
Bodies: Film Stars and Society” (Canvas) o
Holmes, “The
Hollywood Star System and . . . 1916-1934” (Canvas) ·
Also relevant: o
“Selling Stars,” Grand Design 143-78 |
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7
Melodrama
and the “women’s film” |
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M MAR 4 |
·
Viewing: Dark
Victory (1939; 106m) ·
Reading: Klaprat, “The Star as
Market Strategy: Bette Davis in Another Light” (Canvas) |
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W MAR 6 |
·
Reading: o
Williams, “Melodrama Revised”
(Canvas) o
Mulvey, “Afterthoughts…” (Canvas) ·
Also relevant: Gledhill,
“Rethinking Genre” (Canvas) |
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8
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M MAR 11 |
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W MAR 13 |
·
“Space I,” HC 312-40 |
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9
Film noir |
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M MAR 18 |
·
Viewing: The
Maltese Falcon (1941; 100m); Double
Indemnity (1944; 107m) (links) |
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W MAR 20 |
·
Viewing: “American Cinema: Film Noir” (video link on Canvas) ·
Reading: o
Schrader, “Notes on Film Noir” (Canvas) o
“Space II,” HC
343-65 ·
Also relevant: Schickel, Double Indemnity (on reserve) |
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MAR 25 & 27
SPRING BREAK |
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10
The prestige picture; Hollywood and
the Civil War |
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M APR 1 |
·
Viewing: Gone
With the Wind (1939; 232m) (links) |
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W
APR 3 |
·
Viewing: Gone with the Wind: The Making of a Legend
(1988) ·
Reading: o
“Narrative
1," HC 452-70 o
“Time,” HC
436-48 (from “History as a Production
Value”) ·
Also relevant:
"Prestige Pictures," Grand
Design 179-211 |
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11
A Short Week! |
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M APR 8 |
NO CLASS |
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W APR 10 |
·
Viewing: Judge Priest (1934; 71m) ·
Reading: ·
“Entertainment 2,” HC
54-73 ·
Burks, “Gone with
the Wind: Black and White in Technicolor” (Canvas) ·
Also relevant: ·
Leff, “Gone with
the Wind and Hollywood’s Racial Politics” (Canvas) ·
Higgins, “A Fully Integrated Design: Light and Color in GWTW” (Canvas) |
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12
Hollywood
and War |
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M APR 15 |
·
Viewing: Sahara
(1943; 99m); Air Force (1943; 125m) |
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W APR 17 |
·
Reading: Schatz, “World War II and the Hollywood ‘War Film’ ·
Research
Project workshop |
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M APR 22 |
·
Viewing: Mr. Smith Goes to Washington (1939; 130m) ·
Reading: Levine,
“Hollywood’s Washington” (Canvas) |
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W APR 24 |
· Reading: o "Politics," HC 268-303 o
Capra,
from The Name Above the Title
(Canvas) o
Rogin
and Moran, “Mr. Capra Goes to Washington” (Canvas) |
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14
Spectacle and estrangement |
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M APR 29 |
·
Viewing: The Wizard of Oz
(1939; 155m) (links) · Reading: "Time," HC 413-36 |
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W MAY 1 |
·
Reading: o
Rushdie, The Wizard of Oz o
Friedman,
“Relinquishing Oz: Every Girl’s Anti-Adventure Story” (Canvas) o
Doty, “My Beautiful Wickedness: The
Wizard of Oz as Lesbian Fantasy” (Canvas) |
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15
TBA |
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M MAY 6 |
Filmmaker visit |
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W MAY 9 |
Conclusions; Academy
Awards presentation |
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Students with disabilities who
believe that they may need accommodations in this class are encouraged to
contact the Disability
Access Services Office in 131 Millennium Student Center at 516-6554 as soon as possible to ensure that such accommodations are
arranged in a timely fashion.