FF:FAVz051 Hollywood/Europe - Informace o předmětu
FAVz051 Hollywood/Europe: A Transnational Film CultureFilozofická fakulta
- 2/0/0. 5 kr. Ukončení: zk.
- Richard Nowell (přednášející), doc. Mgr. Petr Szczepanik, Ph.D. (zástupce)
Mgr. Luděk Havel, Ph.D. (pomocník)
- prof. PhDr. Jiří Voráč, Ph.D.
Ústav filmu a audiovizuální kultury - Filozofická fakulta
Dodavatelské pracoviště: Ústav filmu a audiovizuální kultury - Filozofická fakulta
- Čt 19. 2. 12:30–15:45 C34, Čt 26. 2. 12:30–15:45 C34, Čt 5. 3. 12:30–15:45 C34, Čt 12. 3. 12:30–15:45 C34, Čt 19. 3. 12:30–15:45 C34, Čt 26. 3. 12:30–15:45 C34
- Omezení zápisu do předmětu
- Předmět je nabízen i studentům mimo mateřské obory.
- Mateřské obory/plány
- předmět má 12 mateřských oborů, zobrazit
- Cíle předmětu
- Course Description and Purpose:
Distinctions between a nominally American Hollywood and a supposedly separate “European cinema” represent something of a founding myth of Film Studies and of myriad film cultures around the world. However, such a distinction masks the degree to which transatlantic flows of capital, people, ideas, and products have generated myriad interconnections between the two. Accordingly, this course offers insights into the relations between Hollywood and Europe, by seeking to complicate three discourses underpinning discussions of this topic. First, that Hollywood is an American institution, and as such is separate from Europe. Second, that Hollywood cinema and European cinema are fundamentally different – even binarily opposed – entities. Third, that the dissemination of Hollywood cinema in Europe represents an effort both to impose a “foreign” culture onto an overseas territory. Students will therefore consider the extent to which Europeans have been a part of the structures of Hollywood, the stylistic exchanges linking “Hollywood” and “European” films, and the ways Hollywood has geared images of Europe and Europeans to targeted audiences on both sides of the Atlantic. In so doing, students are invited to develop their critical understandings of issues pertaining to cultural imperialism, Americanization, globalization, and the national.
Course Goals and Student Learning Objectives
Hollywood & Europe aims to facilitate students’ deeper understanding of the dynamic relationships that have existed between Hollywood and Europe. It aims to do so be shedding light on the various contexts in which the interaction of Hollywood and Europe has taken place - from strategy, production, and film content to distribution, exhibition/delivery, and reception. By the end of the course, students will be expected to posses: the critical abilities to produce insightful analysis of film texts, and to explain how these films are shaped by the complex social, historical, political, and industrial relationships that have existed between Hollywood and Europe at certain historical junctures.
- See the COURSE OUTLINE in the pdf overview of the course in the study materials.
- Výukové metody
- 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. All of the readings will, well before the first day of the semester, be available in PDF form to download from the SIS course website. Students are advised to bring to class hard copies of the relevant readings as use of electronic devices will not be permitted during seminars.
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.
- Metody hodnocení
This course is graded on the submission of three short essays. Each paper is equally weighted, and the overall grade for this course is the average thereof.
Each student is to submit a 1,300 word essay in response to a prompt derived from sessions 1 and 2.
Prompt: The work of both Andrew Higson and Mette Hjort can be used to show how in a general sense transatlantic flows of people, capital, ideas, and products complicate one of the founding myths of Western audiovisual culture: that Hollywood is an American institution, and is thus distinct from Europe. With this point in mind, show how specific transatlantic flows related to production, content, and circulation complicate the American status of ONE Hollywood film not screened on this course.
Each student is to submit a 1,300 word essay in response to a prompt derived from sessions 3 and 4.
Prompt: The presence of European-based companies within the structures of Hollywood, along with Hollywood’s long-standing involvement in “arty” output, are two key ways in which the realities of global cinema undermine the deeply entrenched distinction between Hollywood as a producer of American Entertainment and Europe as a source of “Art Cinema”. With this point in mind, show how ONE Hollywood film not screened on this course complicates the oppositions that frame Hollywood as a purveyor of entertainment and European cinema as a benefactor of enlightening art.
Each student is to submit a 1,300 word essay in response to a prompt derived from sessions 5 and 6.
Prompt: Discussion of Americanization has continually suggested that Hollywood imposes “quintessentially American” culture on Europe, and does so in a manner that uncritically promotes "American values". However, oftentimes commercial necessities dictate that Hollywood films tread a fine line between appealing to their principal US market and making concessions to major European markets. With this point in mind, explain how and why the makers of ONE Hollywood film not screened on this course uses images of Europe and Europeans and/or America and Americans to be specifically marketable and appealing to these two key profit centers.
All Essays are to be submitted in PDF or word format to email@example.com - students should include their name and the course title in the name of the files they send
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
Students will be emailed individually with detailed personal feedback on their papers. Feedback is designed to be constructive. It will therefore spotlight the paper’s strengths and shortcomings, and offer transferable advice on how the paper might have been improved.
- Vyučovací jazyk
- Informace učitele
- Bi-weekly schedule of the course: 19. 2., 26. 2., 5. 3., 12. 3., 19. 3., 26. 3.
- Další komentáře
- Studijní materiály
- Statistika zápisu (nejnovější)
- Permalink: https://is.muni.cz/predmet/phil/jaro2015/FAVz051