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Title: CONTEMPORARY AMERICAN CINEMA: HISTORY, INDUSTRY, MOVIES
Language: English
Semester: Fall 2013
Duration/Frequency: 6 x 180 minute sessions comprising film screening and seminar
Coordinator: Dr. Richard Nowell
Contact: richard_nowell@hotmail.com
Course Description and Purpose
This module offers students insight into the ways in which the American film industry has
functioned as an economic and aesthetic institution in the contemporary period – accepted by
most film historians to have begun in 1967. Focusing on both the dominant major Hollywood
studios and diverse companies that have made up the American independent sector across the
last forty years, the module asks students to consider how the structure of the industry, along
with different forms of commercial logic and strategy, have shaped the conduct and output of
the most powerful film industry on the planet.
Accordingly, we will examine how US-based film companies have produced, promoted, and
disseminated their products in response to changing social and historical circumstances and in
response to changing market conditions. The module therefore encourages students to analyse
a wide variety of film texts – from exploitation and art cinema to blockbusters and teen films
– within the production, marketing and merchandising, publicity, distribution, and exhibition
contexts that they have operated. In the process, we will be assessing issues such as the
impact on the American movie business, its product, profile, and practices of conglomeration,
globalization, and the rise of powerful independent companies.
Course Goals and Student Learning Objectives
Contemporary American Cinema aims to facilitate students’ deeper understanding of: the
dynamic and complex relationships that have existed, and which continue to exist, between
Hollywood and the American independent sector; the intersecting social, cultural, political,
economic, and industrial contexts in which the Contemporary American film industry has
conducted business vis-a-vis economic strategy, production, film content, distribution,
marketing, merchandising, and exhibition/delivery. Contemporary American Cinema also
aims to familiarize students with the critical tools, research methods, and key filmic and
extra-filmic objects needed to conduct sound industrial analysis.
By the end of the course, students will be expected to posses: the critical abilities to produce
insightful analysis of film texts; the skills necessary to conduct sound film industrial analysis;
the demonstrable capacity to synthesize original ideas in a lucid and coherent manner, both
verbally and in writing; a solid understanding of the complex social, historical, political, and
industrial relationships that have existed between Hollywood and the American independent
sector; a solid understanding of key debates circulating the American film industry’s
domestic activities; a solid understanding of Hollywood’s status as a social, cultural,
economic, and aesthetic institution; and a solid understanding of the complex ways in which
American film companies have sought to generate revenue from their products and services.
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Texts and Resources:
Students are expected actively to contribute to seminar discussions, which will center on the
mandatory film screenings, the mandatory readings, and critical analyses thereof.
Accordingly, students are required to study all of the relevant set readings before each class.
Well before the first day of the semester, all of the readings will be available to download in
PDF form. Students are advised to bring to class hard copies of the relevant readings as use
of electronic devices will not be permitted during seminars.
Assignments:
Mid-term Paper
Value: 50% of Final Grade
Each student is to submit a 2,000 word essay in based on a topic introduced in sessions 1–3.
A choice of three questions will be revealed in good time.
Deadline: TBC
Final Essay
Value: 50% of Final Grade
Each student is to submit a 2,000 word essay in based on a topic introduced in sessions 4–6.
A choice of three questions will be revealed in good time.
Deadline: TBC
All Essays are to be submitted in PDF or word format to richard_nowell@hotmail.com
Penalties for Late Submission of Work
On the day following the due date – 5 marks out of 100 deducted
On the 2nd
day following the due to date – 10 marks out of 100 deducted
On the 3rd
day following the due date – 15 marks out of 100 deducted
On the 4th day following the due date – 20 marks out of 100 deducted
After the 4th
day following the due date – all marks deducted
Tutorials
All students are invited to arrange one-on-one tutorials to discuss assignments and/or any
issues arising from the course. Meetings can be arranged by email and can take place at a
location and time of mutual convenience.
Feedback
Each student will be emailed individually with detailed personal feedback on his or her midterm
paper and final paper. This feedback is designed to be constructive so will spotlight
strengths and any possible shortcomings.
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Grading/Evaluation: Grades from 1-4 will be awarded based on the following criteria:
Argumentation/Understand
ing
Sources/Evidence Communication
1
70<
Insightful, vigorous, and
demonstrating considerable
depth of understanding and a
significant amount of original
thought; addressing question
directly through a wholly
coherent synthesis of ideas;
demonstrating a degree of
mastery over subject;
demonstrating a deep and
thorough understanding of
key concepts.
A wide range of sources
consulted; sources
employed with
significant
discrimination and
sound judgment;
thorough assessment of
evidence; use of a broad
range of examples.
Near-Faultless
typography and
layout; near-flawless
turns of phrase and
expression;
sophisticated and
precise vocabulary;
clear structure;
exemplary citation
and bibliography.
2
55–69.9
Perceptive and insightful;
some evidence of original
thought; for the most part
addressing question directly;
mainly coherent synthesis of
ideas; thorough and
somewhat critical
understanding of key
concepts.
A fairly wide range of
sources consulted; solid
assessment of evidence;
sophisticated use of a
fairly broad range of
examples.
Very Solid
typography and
layout; few errors in
grammar; mainly
sophisticated turns of
phrase and
expression; mostly
clear structure;
strong citation and
bibliography.
3
40–54.9
Solid understanding
addressed, for the most part,
to the question; good
synthesis of ideas; reasonably
solid understanding of key
concepts; evidence of gaps in
knowledge and some minor
misunderstandings of key
concepts.
Several sources
consulted; evidence of
some assessment of
evidence; use of mostly
workable examples.
Good typography
and layout;
comprehensible and
largely error-free
grammar, turns of
phrase, and
expression;
reasonable clearly
structured; some
attempt to provide
citation and
bibliography.
4 (Fail)
<40
Barely if it all addressed to
question; no real synthesis of
ideas; mainly descriptive
rather than analytical; weak
and patchy understanding of
key concepts; significant gaps
in knowledge and
misunderstanding of key
concepts.
Restricted range of
sources consulted;
superficial
understanding of
evidence; limited range
of examples, many of
which are
inappropriate.
Poor typography and
layout; numerous
errors of grammar;
limited vocabulary;
ambiguous or
inaccurate turns of
phrase; weak or
missing citations and
bibliography.
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Session One The Hollywood Renaissance
This session focuses on a transitional period in contemporary American cinema, the period
from 1967 to 1976, during which the major US film companies fought their way out of
financial difficulties by responding to a new younger audience. Focused upon will be the
films made by, and the status of the movie brats, a group a high profile young filmmakers
including Francis Ford Coppola and Martin Scorsese, that was said to have been given
unprecedented power and creative freedom by studio management. We will consider whether
the movie brats and their films truly reflected industry output and conduct at this time, or
whether they and the films served primarily public relations objectives.
Readings
Geoff King, Chapter One “New Hollywood Version 1: The Hollywood Renaissance”, New
Hollywood Cinema (London: I. B. Taurus, 2002), pp. 11–48.
Murray Smith, “Theses on the Philosophy of Hollywood History”, in Steve Neale and
Murray Smith (eds), Contemporary Hollywood Cinema (New York: Routledge, 1998), pp. 3–
20.
Mandatory Screenings
In-Class: Easy Rider (1969)
At-home: Bonnie & Clyde (1967)
Selected Additional Topic-Relevant Films
The Graduate (1967)
The Last Picture Show (1970)
The Conversation (1974)
Taxi Driver (1976)
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Session Two Post-Classical Exploitation
This session examines the conduct and output of smaller companies operating in the shadow
of the New Hollywood majors, the independent outfits that traded in such diverse fare as
black audience films, sex pictures, car crash films, hardcore pornography, and films aimed at
a rural Christian Americans. We will consider the different economic and aesthetic strategies
that non-Hollywood companies like New World Pictures and Crown International Pictures
employed in the 1970s and early 1980s to forge for themselves a profitable niche.
Readings
Ed Lowry, “Dimension Pictures: Portrait of a 1970s Independent”, in Chris Holmund, and
Justin Wyatt (eds.) Contemporary American Independent Film: From the Margins to the
Mainstream (eds.), (London: Routledge, 2005), pp. 41-53.
Frederik Wasser, “Four Walling Exhibition: Regional Resistance to the Hollywood Film
Industry”, Cinema Journal, vol. 34, no. 2 (1995), pp. 51–65.
Richard Nowell, “‘There’s More Than One Way to Lose Your Heart’: The American Film Industry,
Early Teen Slasher Films, and Female Youth”, Cinema Journal, vol. 51, no. 1 (2011), pp. 115–140.
Mandatory Screenings
In-Class: The Pom Pom Girls (1976)
At-home: Eat My Dust (1976)
Selected Additional Topic-Relevant Films
Foxy Brown (1975)
Halloween (1978)
Roller Boogie (1979)
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Session Three The Blockbuster Era and High Concept
This session concentrates on the years 1975 to 1989, the foundational period in the recent
history of the American film industry, which has also been called the blockbuster era. We
will examine the developments that unfolded therein and how they have shaped the structure
and output of the American film industry until the mid-1990s, and in some respects, to the
present day. We will also examine how conglomeratization influenced film production,
distribution, and promotion, paying particular attention to a marketing-friendly approach to
film that has been called High Concept.
Readings
Thomas Schatz, “The New Hollywood”, in Jim Collins, Hilary Radner, and Ava Collins,
(eds.), Film Theory Goes to the Movies (Routledge, New York, 1993), pp. 8–37.
Justin Wyatt, Chapter One, “A Critical Re-definition: The Concept of High Concept”, High
Concept: Movies and Marketing in Hollywood, (Austin: University of Texas Press, 1994), pp.
1-22.
Mandatory Screenings
In-Class: Top Gun (1986)
At-home: Flashdance (1983)
Selected Additional Topic-Relevant Films
Jaws (1975)
Star Wars (1977)
E.T: The Extraterrestrial (1982)
Back to the Future (1985)
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Session Four Major Independents
Those independent companies that have for a brief time managed to challenge Hollywood in
terms of profile or commercial performances are the subject of this session. Covering the
1980s, 1990s, and early 2000s, we will focus on the rise to prominence of major
independents, instant majors, and mini-majors including The Canon Group, Orion Pictures,
Miramax Films, and New Line Cinema. In particular, we will be examining how these
companies balanced the replication of Hollywood’s conduct and attempts to dominate niche
markets. We will also be continuing to question the clear distinctions that have been said to
have existed between Hollywood and the American independent sector.
Readings
Justin Wyatt, “The Formation of the ‘Major Independent’: Miramax, New Line and the New
Hollywood”, in Steve Neale and Murray Smith (eds.), Contemporary Hollywood Cinema
(London: Routledge, 1998), pp 74–87.
Alisa Perren, “Sex, Lies, and Marketing: Miramax and the Development of the Quality Indie
Blockbuster”, Film Quarterly, vol. 55, no. 2, pp. 30–39.
Mandatory Screenings
In-Class: Dirty Dancing (1987)
At-home: A Nightmare on Elm Street 4: The Dream Master (1988)
Selected Additional Topic-Relevant Films
Teenage Mutant Ninja Turtles (1990)
Pulp Fiction (1990)
The Mask (1994)
Scream (1996)
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Session Five Indiewood
This session will examine how major studios have responded to the commercial viability of
the off-beat idiosyncratic motion pictures that often are considered to be the quintessence of
“independent” cinema. Concentrating on the rise to prominence of major studio-owned
boutique labels like News Corp.’s Fox Searchlight Pictures and their distribution of
indiewood product such as Adaptation (2002) and Juno (2007), we will question further the
validity of the distinctions that have been drawn between Hollywood and Independent
American Cinema.
Readings
Geoff King, “Chapter One – Indiewood in Context”, Indiewood USA: Where Hollywood
Meets Independent Cinema, (London: I. B. Taurus, 2009), pp. 1–43.
Michael Z. Newman, “Indie Culture: In Pursuit of the Authentic Autonomous Alternative”,
Cinema Journal, vol. 48, no. 3 (2009), pp. 16-34.
Mandatory Screenings
In-Class: Rushmore (1998)
At-home: Adaptation (2004)
Selected Additional Topic-Relevant Films
Being John Malcovich (1999)
The Life Aquatic with Steve Zissou (2004)
Eternal Sunshine of the Spotless Mind (2004)
Juno (2007)
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Session Six Global Hollywood
In this session we will examine the ways in which Hollywood developed from the mid-1990s
to the present day, by focusing on the type of product that is both central to its practices and
which distinguishes the period from earlier periods: Global Blockbuster properties. Our focus
will be on the way intensified globalization and conglomerate restructuring have transformed
blockbusters from high-end films to components in networks of cross-media international
products. We will also think about how appealing to certain international markets has
influenced the big-budget American cinema has come to look for the last decade and a half.
Readings
Tino Balio, “‘A Major Force in all of the World’s Important Markets’: The Globalization of
Hollywood in the 1990s”, in Steve Neale and Murray Smith (eds.) Contemporary Hollywood
Cinema (London: Routledge, 1998), pp. 47–57.
Thomas Schatz, “New Hollywood, New Millennium”, in Warren Buckland (ed.), Film
Theory and Contemporary Hollywood Movies (London: Routledge, 2009), pp. 19–46.
Mandatory Screenings
In-Class: Madagascar 3: Europe’s Most Wanted (2012)
At-home: Cars 2 (2011)
Selected Additional Topic-Relevant Films
Titanic (1997)
Mission Impossible 2 (2000)
X2 (2003)
Mamma Mia! (2008)
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RESEARCH
Some excellent work on American cinema is published in the following English-language
peer-reviewed journals, which are, to the best of my knowledge, in the most part accessible
through on-line resources such as Ebsco, J-Store, and Project Muse:
Cinema Journal
Film Quarterly
Journal of Film and Video
Journal of Popular Film and Television
New Review of Film and Television Studies
Quarterly Review of Film and Video
Periodicals
See LexisNexis and newspapers.google for additional popular press articles.
Disclaimer about Securing Films
With the exception of the in-class screenings, it is the responsibility of each student to ensure
that s/he views each of the films assigned for mandatory at-home viewing. It is also strongly
encouraged that each student “views around” each of the set topics by watching topic-related
films including, but not limited to, those highlighted above. Both the instructor and the
department strongly discourage students from sourcing films from illegal downloading and
streaming websites. Instead, both the instructor and the department encourage the purchase or
rental of films from legal video-on-demand websites and/or from legitimate retailers.