FAVz020 Movie Controversies: Case Studies in Anglo-American Film History

Filozofická fakulta
jaro 2010
Rozsah
0/0/0. 5 kr. Doporučované ukončení: k. Jiná možná ukončení: zk.
Vyučující
dr. Peter Kramer (přednášející)
doc. Mgr. Petr Szczepanik, Ph.D. (náhr. zkoušející)
Garance
doc. Mgr. Petr Szczepanik, Ph.D.
Ústav filmu a audiovizuální kultury – Filozofická fakulta
Kontaktní osoba: doc. Mgr. Petr Szczepanik, Ph.D.
Omezení zápisu do předmětu
Předmět je nabízen i studentům mimo mateřské obory.
Předmět si smí zapsat nejvýše 120 stud.
Momentální stav registrace a zápisu: zapsáno: 0/120, pouze zareg.: 0/120, pouze zareg. s předností (mateřské obory): 0/120
Mateřské obory/plány
Cíle předmětu
At the end of the course students should be able to:
understand and explain: relationship between the American film industry and the societies, using examples of selected key controversies surrounding high-profile Hollywood releases both in the US and outside the US;
work with information on: public debates on controversial movies, supposed effects on young viewers.
Osnova
  • This lecture series focuses on the controversies surrounding a number of high-profile Hollywood releases both in the US and outside the US. Our starting point is the work done by Martin Barker and his colleagues on the heated debates in Britain about David Cronenberg’s Crash (1996). We will then move on to a series of case studies from earlier decades: Rebel Without a Cause (1955), Bonnie and Clyde (1967), A Clockwork Orange (1971) and The Exorcist (1973). These four films deal, in very different ways, with youthful characters (ranging from a 12 year-old girl to a twentysomething couple), and were widely perceived to be addressed mainly to youth audiences. The controversies arose, at least in parts, from concerns about the detrimental effect such films might have on their young viewers. They were also informed by changes in film culture, and in society more generally. Therefore, these case studies offer general insights into the relationship between the American film industry and the societies in which its films are made and seen (with particular reference to the US and the UK). The central case study is that of A Clockwork Orange, which means that this lectures series follows on from last year’s lectures on Stanley Kubrick. However, attendance at last year’s lectures is not a precondition for attending these lectures. At the same time, the work presented here on A Clockwork Orange does not repeat last year’s discussion.
  • Programme
  • Monday 12 April
  • Early afternoon
  • Screening 1: Crash (1996, 95 min, 13.20 – 15.15)
  • Afternoon
  • Lecture 1: “An Introduction to Movie Controversies – Self-Regulation, Censorship and Public Debate” (15.30 – 17.00)
  • Late afternoon
  • Screening 2: Rebel Without a Cause (1955, 110 min, 17.30 – 20.30) Followed by a plenary discussion
  • Tuesday 13 April
  • Early afternoon
  • Lecture 2: “The Rise of Teenpics - Hollywood, Juvenile Delinquency and Post-War America” (12.30 - 14.05)
  • Late afternoon
  • Screening 3: Bonnie and Clyde (1967, 110 min, 18.00 – 20.30) Followed by a plenary discussion
  • Wednesday 14 April
  • Morning
  • Lecture 3: “Taboo-Breakers - The Hollywood Renaissance and the End of the Production Code” (10.00 – 11.35)
  • Early afternoon
  • Screening 4: A Clockwork Orange (1971, 135 min, 12.30 – 14.45)
  • Afternoon
  • Lecture 4: “The Making of a Controversial Movie – A Clockwork Orange from Novel to Film, 1962-1971” (15.00 – 16.35)
  • Late afternoon
  • Screening 5: The Exorcist (1973, 120 min, 17.00 – 20.30) Followed by a brief plenary discussion
  • Thursday 15 April
  • Late morning
  • Lecture 5: “The Escalation of Controversy – A Clockwork Orange, the New Hollywood and the Backlash Against Permissiveness” (10.00 – 11.35) Afternoon
  • Seminar: “Researching Movie Controversies – Issues, Concepts, Sources” (13.20 – 16.35)
Výukové metody
lecture, discussion
Metody hodnocení
written test
Vyučovací jazyk
Angličtina
Informace učitele
Reading for each lecture-screening
1 Martin Barker, Jane Arthurs and Ramaswami Harindranath, The Crash Controversy: Censorship Campaigns and Film Reception (London: Wallflower Press, 2001), pp. 1-25
2 Daniel Biltereyst, “Youth, Moral Panics and the End of Cinema: On the Reception of Rebel Without a Cause in Europe”, Rebel Without a Cause: Approaches to a Maverick Masterwork, ed. J. David Slocum (Albany: State University of New York, 2005), pp. 171-89
3 J. Hoberman, “’A Test for the Individual Viewer’: Bonnie and Clyde’s Violent Reception”, Why We Watch: The Attractions of Violent Entertainment, ed. Jeffrey H. Goldstein (New York: Oxford University Press, 1998), pp. 116-43
4 Janet Staiger, “The Cultural Productions of A Clockwork Orange”, Stanley Kubrick’s A Clockwork Orange, ed. Stuart Y. McDougal (Cambridge: Cambridge University Press, 2003), pp. 37-40; reprinted from Janet Staiger, Perverse Spectators: The Practices of Film Reception (New York: New York University Press, 2000), Ch. 6
5 Various short pieces on the critical reception of, and audience reactions to, The Exorcist
Další komentáře
Studijní materiály
Poznámka k ukončení předmětu: Full time students: 100% presence at the lectures is required. Distance students: two absences are tolerated.
Předmět je vyučován jednorázově.
Výuka probíhá blokově.
  • Statistika zápisu (nejnovější)
  • Permalink: https://is.muni.cz/predmet/phil/jaro2010/FAVz020