FI249-15 Hollywood Cinema

Department: SCAPVC – Film and Television Studies
Level: Undergraduate Level 2
Module leader: Jose Arroyo
Credit value: 15
Module duration: 9 weeks
Assessment: 100% coursework
Study location: University of Warwick main campus, Coventry

Introductory description

This core module will build on what students have learned about Hollywood in first year modules (such as Film History and Screen Technologies) by expanding their knowledge about Hollywood as an industry, its history (depending on when it is taught this may extend from the classical period into the post-classical and contemporary period), and theoretical concepts that engage with Hollywood cinema. The module will illustrate important aspects about the Hollywood industrial filmmaking system, including style, genre, and stars. By first focusing on Hollywood as an industry, examining the practices and cultures of film production, the module will then consider its ideological influence by promoting specific American values and traditions through political issues, such as race and ethnicity.

The exact content of the module in any given year will depend on the expertise and research interests of the module convenor. The following is an example.

The module will be divided into four parts:
Part I. Style and System
Part II. Politics
Part III. Ideology
Part IV. New Trends

Module web page

Module aims

To provide an appreciation of Hollywood cinema
The understand the industrial Hollywood system
To access some of the social and cultural contexts that helped shaped Hollywood cinema
To examine the ideological influence of Hollywood cinema
To explore theoretical concepts that employ Hollywood cinema as an example
To reflect critically on the importance of screening context to their appreciation and analysis of films.

Outline syllabus

This is an indicative module outline only to give an indication of the sort of topics that may be covered. Actual sessions held may differ.

Style and System

Week 1: Classical Hollywood Style
Film: Stagecoach (John Ford, 1939)

Week 2: Genre and Hollywood Studios: Musical
Film: Singin’ in the Rain (Gene Kelly and Stanley Donen, 1952)

Week 3: Classical Hollywood Stardom
Film: Mildred Pierce (Michael Curtiz, 1945)

Politics

Week 4: Hollywood and Politics I: The New Deal and World War II
Film: Casablanca (Michael Curtiz, 1942)

Week 5: Hollywood and Politics II: The Blacklist and Cold War
Film: Invasion of the Body Snatchers (Don Siegel, 1956)

Week 6: Reading Week

Ideology

Week 7: Hollywood and Ideology: Race and Ethnicity
Film: The Defiant Ones (Stanley Kramer, 1958)

Week 8: Hollywood and Ideology II: Antebellum South
Film: Dixie (A. Edward Sutherland, 1943)

IV. New Trends

Week 9: Independent and Exploitation Cinema (B films)
Film: Jailhouse Rock (Richard Thorpe, 1957)

Week 10: Auteurs and a ‘New’ Hollywood
Film: Psycho (Alfred Hitchcock, 1960)

Learning outcomes

By the end of the module, students should be able to:

Demonstrate knowledge of the Hollywood filmmaking style
Identify key industrial contexts of Hollywood
Consider ideology in relation to Hollywood as an American Industry
Understand certain political contexts that have informed Hollywood Cinema
understand the value of screenings to film analysis in relation to format and form and highlight how audience reaction might affect interpretation.

Indicative reading list

Allen, Robert C. (1999) ‘The Role of the Star in Film History: Joan Crawford’ in Film Theory and Criticism: Introductory Readings, Leo Braudy and M. Cohen (eds.) (New York and Oxford: Oxford University Press), pp. 547-561.

Bordwell, David, Janet Staiger and Kristin Thompson (1985) The Classical
Hollywood Cinema: Film Style and Mode of Production to 1960 (London: Routledge)

Campbell, Jr., Edward D.C. (1981) The Celluloid South: Hollywood and the Southern Myth (Knoxville: University of Tennessee Press)

Cook, Pam (ed.) (2007) The Cinema Book, Third edition (London: British Film Institute)

Cripps, Thomas (1993) Making Movies Black: The Hollywood Message Movie from World War II to the Civil Rights Era (Oxford and New York: Oxford University Press)

Doherty, Thomas (2002) Teenager and Teenpics: Juvenilization of American Movies (Philadelphia: Temple University)

Doherty, Thomas (2018) Show Trial: Hollywood, HUAC, and the Birth of the Blacklist (Chichester and New York: Columbia University Press)

Dunne, Michael (2010) ‘Bing Crosby’s Cinematic: “Song of the South”’, Journal of Popular Film and Television 32:1, pp. 31-38.

Dyer, Richard (1992) ‘Entertainment and Utopia’ in Only Entertainment (New York and London: Routledge), pp. 17-34.

Gledhill, Christine (2007) ‘History of Genre Criticism’, in Pam Cook (ed.) The Cinema Book, Third Edition. London: BFI, pp. 250-259.

James, David (2016) Rock ‘N’ Film: Cinema’s Dance With Popular Music (Oxford and New York: Oxford University Press)

Knight, Arthur (2002) Disintegrating the Musical: Black Performance and American Musical Film (Durham and London: Duke University Press)

Lindholm, Charles and John A. Hall (2000) ‘Frank Capra Meets John Doe: Anti-politics in American National Identity’ in Mett Hjort and Scott MacKenzie (eds.) Cinema and Nation (London and New York: Routledge), pp. 32-44.

MacDowell, James (2013) Happy Endings in Hollywood Cinema: Cliché, Convention and the Final Couple (Edinburgh: Edinburgh University Press)

Maltby, Richard (2003) Hollywood Cinema, Second Edition (Malden and Oxford: Blackwell Publishing)

Mann, Katrina (2004) ‘“You’re Next!”: Postwar Hegemony Besieged in “Invasion of the Body Snatchers”, Cinema Journal 44:1, pp. 49-68.

McDonald, Paul (2000) ‘Controlling the System’ in The Star System: Hollywood’s Production of Popular Identities (London: Wallflower Press), pp. 39-66.

Morgan, Iwan and Philip John Davies (eds.) (2016) Hollywood and the Great Depression: American Film, Politics and Society in the 1930s (Edinburgh: Edinburgh University Press)

Ray, Robert B. (1985) A Certain Tendency of the Hollywood Cinema, 1930-1980 (Princeton: Princeton University Press)

Russell, James (2006) ‘Debts, Disasters and Mega-Musicals: The Decline of the Studio System’ in Linda Ruth Williams and Michael Hammond (eds.) Contemporary American Cinema (Maidenhead: McGraw-Hill), pp. 41-61.

Sarris, Andrew (1996) The American Cinema: Directors and Directions: 1929-1968 (Da Capo Press)

Schatz, Thomas (1988) Genius of the System: Hollywood Filmmaking in the Studio Era (New York: Metropolitan Books)

Smith, Jeff (2014) Film Criticism, The Cold War, and the Blacklist (Berkeley and London: University of California Press)

Wollen, Peter (1992) Singin’ in the Rain (London: BFI)

Wood, Robin (2002) Hitchcock’s Film’s Revisited, Revised Edition (New York: Columbia University Press)

View reading list on Talis Aspire

Subject specific skills

This module develops skills of audio-visual literacy, through historical, textual, and ideological analysis of the moving image. It develops the student's understanding of frameworks that have been relevant to the study of Hollywood cinema.

Transferable skills

critical and analytical thinking
independent research skills
teamwork
clarity and effectiveness of communication- written and oral
accurate and persuasive writing
audio-visual literacy

Study time

Type	Required
Lectures	9 sessions of 1 hour (6%)
Seminars	9 sessions of 1 hour (6%)
Other activity	18 hours (12%)
Private study	114 hours (76%)
Total	150 hours

Private study description

Reading, seminar preparation and assignment writing.

Other activity description

Screenings each week

Costs

No further costs have been identified for this module.

You do not need to pass all assessment components to pass the module.

Assessment group A4

	Weighting	Eligible for self-certification
Assessment component
Screening Diary and Essay	100%	Yes (extension)
The portfolio comprises two components submitted together at the end of the module, but produced in the following order: Screening Diary (500-1,000 words for 10% of the module mark - it is expected that this will take the student 30 minutes to complete, rather than being determined by a fixed wordcount): A weekly screening Diary to take up no more than half hour per week. Students will required to consider a selection of the points below in relation to the weekly module film screening: `Describe the film. This should cover the basic plot and performances but also its tone, main themes and what the film felt like to watch.` `Describe a scene or moment that made a particular impression on you and discuss what aspects of mise-en-scène helped make that impression.` `Describe how audience reaction affected your experience and understanding of the film.` `Note the form projected (35mm, DCP, blu-ray, DVD etc) and discuss whether and how it was noticeable and how it might have affected your pleasure or understanding.` Work will be submitted on a weekly basis to Moodle and then an example of each student's work will be formally submitted and marked as the basis of the mark. This will be chosen at random from the submitted selection. The 10% component mark will be composed as follows: 50% on the number of submissions made across the term (out of 9) and 50% on the quality of the work submitted. Essay (3,000 words for 90% of the module mark): An extended piece of work that will require detailed discussion of one, or a combination, of the theoretical, analytical and historical aspects of, and approaches to, Hollywood Cinema covered during the module. Detailed information will be provided early in the term including the essay questions.
Reassessment component is the same

Feedback on assessment

Written feedback sheets and annotated essays for the essay
weekly general feedback on screening notes
Written feedback sheet on one sample screening note

Pre-requisites

To take this module, you must have passed:

Any of

Post-requisite modules

If you pass this module, you can take:

FI325-15 Horror and the Gothic in Film and Television
FI364-15 Film Seriality and Franchising
FI328-15 The Practice of Film Criticism
FI336-15 Science Fiction: Theory as Film
FI354-15 Film Aesthetics 2
FI355-15 Film Aesthetics 1

Courses

This module is Core for:

Year 2 of UFIA-W620 Undergraduate Film Studies
Year 2 of UFIA-QW25 Undergraduate Film and Literature
Year 2 of UFRA-R1WA Undergraduate French with Film Studies
Year 2 of UFRA-R1WC Undergraduate French with Film Studies (3 year)
Year 2 of UGEA-RP33 Undergraduate German with Film Studies
Year 2 of UITA-R3W5 Undergraduate Italian with Film Studies

This module is Optional for:

Year 2 of UGEA-RP33 Undergraduate German with Film Studies