Masterworks of American Cinema I (up to the 1960s) 4219-SD017
The selection of ‘masterworks’ is based on the films’ artistic brilliance, critical reputation and cultural influence. Our list includes iconic movies from a variety of genres. We will examine various (and often conflicting) interpretations of particular films, learn the basic concepts of film studies as well as ask more general theoretical questions: What are the politics of classical Hollywood? What are genres? How did the studio system work and how did censorship affect the movies? How does narrative work in film and what other pleasures do movies afford?
Films examined (note: this list may change slightly):
The Gold Rush (dir. Charlie Chaplin, 1925)
It Happened One Night (dir. Frank Capra 1934)
The Wizard of Oz (dir. Victor Fleming, 1939)
The Stagecoach (dir. John Ford, 1939)
Citizen Kane (dir. Orson Welles, 1941)
Sullivan's Travels (dir. Preston Sturges, 1942)
Casablanca (dir. Michael Curtiz, 1943)
Sunset Boulevard (dr. Billy Wider, 1950)
Written on the Wind (dir. Douglas Sirk, 1956)
Dr. Strangelove (dir. Stanley Kubrick, 1964)
Psycho (dir. Alfred Hitchcock, 1960)
Type of course
Learning outcomes
Upon completing this course a student:
KNOWLEDGE
- knows a broad spectrum of classic American films and their various interpretations;
- has a basic understanding of the language of film during the classical era (classical Holllywood Style);
- has an understanding of the functioning of the movie industry during the classical era (the studio system, censorship, genres);
SKILLS
- can employ basic concepts of film studies related to film technique, style and genres;
- can discuss competently key issues in film studies;
- can engage in a critical examination of particular film in speech and writing;
COMPETENCES:
- is able to cooperate in a group;
- is open to conflicting readings of specific texts and differing visions of culture and society;
- is able to formulate and defend his/her opinion coherently and with respect of other views.
Assessment criteria
1. Class attendance and participation - 20 %
Regular attendance is of key importance. Students come to class prepared. Missing more than 2 class meetings means failing the course.
2. Groupwork: 2 presentations - 20%
Each student will work as part of a team of 4-5 persons. Each team is reponsible for 2 presentations: (1) you will introduce one class discussion and (2) you will give a 20 minute final presentation on a topic developed by your group (focused on a film and readings of your choice).
3. Final paper - 20%
4-6 pages on one of the films discussed. First draft, followed by consultations, revision and final draft.
4. Final Test - 40%
The test (1/2 hour) will be administered in class during the final class of the semester. Its purpose is mostly to check if students have done the required reading and seen the films. A list of key terms and issues to think about will be distributed beforehand.
Bibliography
The textbook used in this course is:
John Belton, American Cinema/American Culture (third Edition), Boston: McGraw Hill, 2009.
Other readings for the class include the following articles and excerpts from books:
Lynette Carpenter, "There's No Place Like Home": The Wizard of Oz And American Isolationism'
Stanley Cavell, "Pursuit of Happiness"
Jean Douchet, “Hitch and His Audience”
Umberto Eco, “Casablanca: Cult Movies and Intertextual Collage”
Sylvia Harvey, “Woman's Place: The Absent Family of Film Noir”
Charles Maland, “Dr. Strangelove (1964): Nightmare Comedy and the Ideology of Liberal Consensus”
Richard Maltby, "Hollywood Cinema"
James Naremore, “Style and Meaning in Citizen Kane”
Robert B. Ray, "A Certain Tendency of the Hollywood Cinema"
Salman Rushdie, "The Wizard of Oz" (BFI Film Classics)
Robert Warshow, “The Westerner”
Robin Wood, “Psycho”
Additional information
Additional information (registration calendar, class conductors, localization and schedules of classes), might be available in the USOSweb system: