FAV074 (Post)Classical Hollywood Cinema: analysis

Faculty of Arts
Spring 2009
Extent and Intensity
0/2/0. 3 credit(s). Type of Completion: z (credit).
Teacher(s)
doc. Mgr. Pavel Skopal, Ph.D. (seminar tutor)
Guaranteed by
prof. PhDr. Jiří Voráč, Ph.D.
Department of Film Studies and Audiovisual Culture – Faculty of Arts
Timetable
Tue 13:20–14:55 L10, Wed 8:20–10:45 C34
Course Enrolment Limitations
The course is only offered to the students of the study fields the course is directly associated with.

The capacity limit for the course is 15 student(s).
Current registration and enrolment status: enrolled: 0/15, only registered: 0/15
fields of study / plans the course is directly associated with
there are 14 fields of study the course is directly associated with, display
Course objectives
Seminar analysis of style and narration in Hollywood cinema in connection to lecture Contemporary Hollywood Cinema: Classical or Post-classical? They will be aimed at congretisation of the statement about a discontinuity between classical and post-classical Hollywood. Main objectives can be summarized as follows: to learn the actual discussion on choosen topics; to practice analytical thinking and critical reflection on choosen texts; to learn certain approaches to analysis
Syllabus
  • I. Classical Hollywood: reading: Raymond Bellour: The Obvious and the Code; André Bazin: Vývoj westernu, in: Co je to film, Praha 1979; Dudley Andrew: Film in the Aura of Art. Princeton, 1986 Movies: The Big Sleep; Stagecoach; Mr. Smith goes to Wahsington II. post-classicism: reading: Elsaesser – Buckland: Classical/post-classical narrative, in: Studying Contemporary American Film. London 2002; Warren Buckland: A close encounter with Raiders of the Lost Ark: notes on narrative aspects of the New Hollywood blockbuster. In: Steve Neale - Murray Smith: Contemporary Hollywood Cinema. London - New York, 1998; Gianluca Sergi: A cry in the Dark: the role of post-classical film sound. In: Steve Neale - Murray Smith: Contemporary Hollywood Cinema. London - New York, 1998. Movies: Smrtonosná past; indiana Jones a dobyvatelé ztracené archy; Uprchlík III. narration: reading: Kristin Thompson: Storytelling in the New Hollywood. Understanding Classical Narrative Technique. Harvard UP, 1999; Sean Cubitt: The Cinema Effect. Cambridge, 2004; David Bordwell: Film Futures. Substance, č. 1, 2002; Edward Branigan: Nearly True: Forking Plots, Forking Interpretations. Substance č. 1, 2002. Movies: Na Hromnice o den více; Šestý smysl; IV. style: reading: Barry Salt: Moving into pictures. More on film history, style, and analysis. London 2006; David Bordwell: Widescreen esthetics and mise-en-scene criticism. In: velvet light trap č. 21; Steve Neale: Widescreen composition in the age of television. In: Neale - Smith (eds.), Contemporary Hollywood Cinema. London - New York, 1998; Elsaesser-Buckland, Mise-en-scene criticism and statistical style analysis. in: Studying Contemporary American Film. London 2002. Movies: The English Patient V. genre, pastiche, nostalgia: reading: Fredric Jameson: Postmodernism, or, the cultural logic of late capitalism; Richard Dyer: Pastiche: Knowing Imitation; Ingeborg Hoesterey: Pastiche: cultural memory in art, film, literature; Paul Grainge, Colouring the past: Pleasantville and the textuality of media memory. In: Grainge (ed.), Memory and popular film; Julian Stringer: The China had never been used! On patina of perfect images in Titanic. In: Sandler - Studlar (eds.), Titanic. Anatomy of a blockbuster. Movies: Far from Heaven; Pleasantville; Titanic VI. distribution, exhibition, promotion, marketing: reading: Jeff Smith: Selling my heart. Music and cross-promotion. in: Sandler - Studlar (eds.), Titanic. Anatomy of a blockbuster; Kristin Thompson: Frodo Franchise. How The Lord of the Rings became a Hollywood Blockbuster and put New Zealand on the Map. Penguin Books, 2007 movies: Lord of the Rings, Titanic VII. "smart cinema", independent cinema: reading: Jeffrey Sconce, Irony, Nihilism, and the American smart film. Screen 43, č. 4. movies: Ghost World VIII. reception: reading: Martin Barker - Ernest Mathijs (eds.), Watching Lord of the Rings. Tolkien s World Audiences. Peter Lang, 2007; Ernest Mathijs: Lord of the Rings: Popular Culture in Global Context; Ernest Mathijs - Murray Pomerance (eds.), From Hobbits to Hollywood. Essays on Peter Jackson s Lord of the Rings. Rodopi, 2006 movies: Lord of the Rings, Titanic
Literature
  • Elsaesser – Buckland: Studying Contemporary American Film. London 2002
  • Steve Neale - Murray Smith: Contemporary Hollywood Cinema. London - New York, 1998
  • Kristin Thompson: Storytelling in the New Hollywood. Understanding Classical Narrative Technique. Harvard UP, 1999
  • Jeffrey Sconce, Irony, Nihilism, and the American smart film. Screen 43, č. 4
  • Martin Barker - Ernest Mathijs (eds.), Watching Lord of the Rings. Tolkien s~World Audiences. Peter Lang, 2007
Assessment methods
credit: presence in the seminar: at least 80%; each absence would be compensated by 5 pages long summary of the text for the seminar; participation in the discussion; abstract from a text for a seminar; essay - 5 pages, film analysis.
Language of instruction
Czech
Further Comments
Study Materials
The course can also be completed outside the examination period.
The course is also listed under the following terms Autumn 2003.
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