Essay Instructions: ‘Living in the twentieth century means learning to be American’. Is Hollywood dominance truly global, or can individual international cinemas exist outside of its influence? Discuss in relation to one national cinema. (2000-2500 words)
EXPECTED LEARNING OUTCOMES:
- A critical awareness of debates concerning cinema as commodity.
- An evaluative engagement with, and understanding of, relevant academic literature
- Critical and analytical skills
- Research and writing skills: the ability to construct an argument, apply theoretical models as analytical tools, and to research and write an essay in an appropriate academic form.
READING LIST: Many of these books have helpful BIBLIOGRAPHIES
KEY TEXTS
Bordwell, D., Staiger J. and Thompson, K. (1985) THE CLASSICAL HOLLYWOOD CINEMA FILM STYLE AND MODE OF PRODUCTION TO 1960. London: Routledge and Kegan
Bordwell, D. and Thompson, K. (2008) FILM ART: AN INTRODUCTION. (Eighth Edition) Boston, Mass.; London: McGraw-Hill
Bradley, L., Barton Palmer, R. and Schneider, S.J. (eds.) (2006) TRADITIONS IN WORLD CINEMA. Edinburgh: Edinburgh University Press
Caughie J. (ed.) (1981) THEORIES OF AUTHORSHIP: A READER. London: Routledge
Cook, P. (2007) THE CINEMA BOOK. (Third Edition) London: BFI
Creeber, G. (2004) SERIAL TELEVISION: BIG DRAMA ON THE SMALL SCREEN. London: BFI
Dyer, R. (1998) STARS. London: BFI Publishing
Grant, B.K. (2007) FILM GENRE: FROM ICONOGRAPHY TO IDEOLOGY. London: Wallflower Press
Grant, B.K. (ed.) (2003) FILM GENRE READER III. Austin: University of Texas Press
Higson, A. (2003) ENGLISH HERITAGE, ENGLISH CINEMA: COSTUME DRAMA SINCE 1980. Oxford: Oxford University Press
Hill, J. and Church Gibson, P. (eds.) (1998) THE OXFORD GUIDE TO FILM STUDIES. Oxford: OUP
Neale, S. (ed.) (2002) GENRE AND CONTEMPORARY HOLLYWOOD. London: BFI
Nelmes, J. (2007) AN INTRODUCTION TO FILM STUDIES. (Fourth Edition) Abingdon: Routledge
Pramaggiore, M. and Wallis, T. (2008) FILM: A CRITICAL INTRODUCTION. (Second Edition) London: Lawrence King
Vitali, V. and Willemen, P. (eds.) (2006) THEORISING NATIONAL CINEMA. London: BFI
FURTHER READING
Week by Week Reading
The following lists of texts are readings that support the weekly class activities. You are not expected to read everything on the list but you should follow up on the subject areas that interest you and which will support your assignment.
WEEK ONE – CLASSICAL HOLLYWOOD
Balio, T. (ed.) (1985) THE AMERICAN FILM INDUSTRY. (revised Edition) Madison, Wis.: University of Wisconsin Press
Buscombe, E. (2003) CINEMA TODAY. London: Phaidon
Franklin, D.P. (2006) POLITICS AND FILM: THE POLITICAL CULTURE OF FILM IN THE UNITED STATES. Rowman and Littlefield
Gledhill, C. (ed.) (1991) STARDOM: INDUSTRY OF DESIRE. London: Routledge
Gomery, D. (1992) SHARED PLEASURES: A HISTORY OF MOVIE PRESENTATION IN THE UNITED STATES. Madison, Wiss.: University of Wisconsin Press
Harbord, J. (2007) THE EVOLUTION OF FILM: RETHINKING FILM STUDIES. Cambridge: Polity
Macdonald, P. (2000) THE STAR SYSTEM: HOLLYWOOD’S PRODUCTION OF POPULAR IDENTITIES. London: Wallflower Press
Mathijs, E. and Mendick, X. (eds.) (2008) THE CULT FILM READER. Maidenhead: Open University Press
Turner, G. (2006) FILM AS SOCIAL PRACTICE IV. (Fourth Edition) New York: Routledge
Turner, G. (ed.) (2002) THE FILM CULTURES READER. London: Routledge
Tzioumakis, Y. (2006) AMERICAN INDEPENDENT CINEMA: AN INTRODUCTION. Edinburgh: Edinburgh University Press
WEEK TWO – GENRE
Altman, R. (1987) THE AMERICAN FILM MUSICAL. Bloomington: Indiana University Press
Clover, C. (1992) MEN, WOMEN AND CHAINSAWS: GENDER IN THE MODERN HORROR FILM. Princeton, NJ: Princeton University Press
Creeber, G. (ed.) (2001) THE TELEVISION GENRE BOOK. London: BFI
Feuer, J. (1993) THE HOLLYWOOD MUSICAL. (Second Edition) Bloomington: Indiana University Press
Gledhill, C. (ed.) (1987) HOME IS WHERE THE HEART IS: STUDIES IN MELODRAMA AND THE WOMAN’S FILM. London: BFI Publishing
King, G. and Kryzwinska, T. (2000) SCIENCE FICTION CINEMA: FROM OUTER SPACE TO CYBERSPACE. London: Wallflower Press
Kuhn, A. (ed.) (1999) ALIEN ZONE II: THE SPACES OF SCIENCE-FICTION CINEMA. London: Verso
Lacey, N. (2000) NARRATIVE AND GENRE: KEY CONCEPTS IN MEDIA STUDIES. Basingstoke: Palgrave
Langford, B. (2005) FILM GENRE: HOLLYWOOD AND BEYOND. Edinburgh: Edinburgh University Press
Neale, S. (2000) GENRE AND HOLLYWOOD. London: Routledge
Saunders, J. (2001) THE WESTERN GENRE: FROM LORDSBURG TO BIG WHISKEY. London: Wallflower Press
Smith, S. (2005) THE MUSICAL: RACE, GENDER AND PERFORMANCE. London: Wallflower Press
Wells, P. (2000) THE HORROR GENRE: FROM BEELZEBUB TO BLAIR WITCH. London: Wallflower
Worland, R. (2007) THE HORROR FILM: AN INTRODUCTION. Malden, MA; Oxford: Blackwell Pub.
WEEK THREE – THE AUTEUR THEORY
Bazin, A. (1962) WHAT IS CINEMA? Vol. I & II. Berkeley: University of California Press
Dixon, W.W. (1993) THE EARLY FILM CRITICISM OF FRANCOIS TRUFFAUT. Bloomington: Indiana University Press
Elsaesser, T.; Horwath, A. and King, N. (eds.) (2004) THE LAST GREAT AMERICAN PICTURE SHOW: NEW HOLLYWOOD CINEMA IN THE 1970s. Amsterdam: Amsterdam University Press
Flowers, J. (trans.) (2006) THE HOLLYWOOD INTERVIEWS. Oxford: Berg
Gerstner, D.A. and Staiger, J. (eds.) (2003) AUTHORSHIP AND FILM. New York; London: Routledge
Hayward, S. (2006) CINEMA STUDIES: THE KEY CONCEPTS. (Third edition) London: Routledge
Hayward, S. (1998) LUC BESSON. Manchester: Manchester University Press
Lapsley, R. and Westlake, M. (2006) FILM THEORY: AN INTRODUCTION. (Second edition) Manchester: Manchester University Press
Miller, T. and Stam, R. (eds.) (2004) A COMPANION TO FILM THEORY. Oxford: Blackwell
Monaco, J. (1976) THE NEW WAVE: TRUFFAULT, GODARD, CHABROL, ROHMER, RIVETTE. New York: Oxford University Press
Narboni, J. and Milne, T. (eds.) (1986) GODARD ON GODARD: CRITICAL WRITINGS BY JEAN LUC GODARD. New York: Da Capo
Sarris, A. (1996) THE AMERICAN CINEMA: DIRECTORS AND DIRECTIONS 1929-1968. New York: Da Capo
Teo, S. (2005) WONG KAR-WAI: AUTEUR OF TIME. London: BFI
Wexman, V.W. (2003) FILM AND AUTHORSHIP. New Jersey: Rutgers University Press
Wollen, P. (2002) PARIS HOLLYWOOD: WRITINGS ON FILM. London: Verso
Wollen, P. (1998) SIGNS AND MEANINGS IN THE CINEMA. (Fourth edition) London: Secker and Warburg / BFI
WEEKS FOUR & FIVE – WORLD & NATIONAL CINEMA
Beumers, B. (2006) THE CINEMA OF RUSSIA AND THE FORMER SOVIET UNION. London: Wallflower
Bordwell, D. and Thompson, K. (2003) FILM HISTORY: AN INTRODUCTION. (Second Edition) Boston: McGraw-Hill
Bondanella, P.(2001) ITALIAN CINEMA: FROM NEOREALISM TO THE PRESENT. (Third edition) London: Continuum
Chaudhuri, S. (2005) CONTEMPORARY WORLD CINEMA: EUROPE, THE MIDDLE EAST, EAST ASIA AND SOUTH ASIA. Edinburgh: Edinburgh University Press
Codell, J.F. (2007) GENRE, GENDER, RACE AND WORLD CINEMA. Malden, MA: Blackwell
Cowie, P. (2006) REVOLUTION!: THE EXPLOSION OF WORLD CINEMA IN THE 60s. London: Faber
Crofts, S. (1993) ‘Reconceptualizing National Cinema/s’, in QUARTERLY REVIEW OF FILM AND VIDEO. vol. 14, no. 3, pp. 49-67
Dennison, S. and Lim, S.H. (eds.) (2006) REMAPPING WORLD CINEMA: IDENTITY, CULTURE AND POLITICS IN FILM. London: Wallflower Press
Elsaesser, T. and Wedel, M. (eds.) (1999) THE BFI COMPANION TO GERMAN CINEMA. London: BFI
Gillespie, D. (2000) EARLY SOVIET CINEMA: INNOVATION, IDEOLOGY AND PROPAGANDA. London: Wallflower Press
Grainge, P., Jancovich, M. and Moneith, S. (2007) FILM HISTORIES: AN INTRODUCTION AND READER. Edinburgh: Edinburgh University Press
Grant, C. and Kuhn, A. (eds.) (2006) SCREENING WORLD CINEMA: A SCREEN READER. London: Routledge
Greene, N. (2007) THE FRENCH NEW WAVE: A NEW LOOK. London: Wallflower Press
Hames, P. (2005) THE CZECHOSLOVAK NEW WAVE. London: Wallflower Press
Hames, P. (ed.) (2004) THE CINEMA OF CENTRAL EUROPE. London: Wallflower Press
Higson, A. (1995) WAVING THE FLAG: CONSTRUCTING A NATIONAL CINEMA IN BRITAIN. Oxford: Clarendon Press
Higson, A. (1989) ‘The Concept of National Cinema’, in SCREEN. Vol. 30, no. 4, pp. 36-46
Hill, J. and Church Gibson, P. (eds.) (2000) WORLD CINEMA: CRITICAL APPROACHES. Oxford: Oxford University Press
Kracauer, S. (2004) FROM CALIGARI TO HITLER: A PSYCHOLOGICAL HISTORY OF THE GERMAN FILM. Princeton, NJ: Princeton University Press
McRoy, J. (ed.) (2005) JAPANESE HORROR CINEMA. Edinburgh: Edinburgh University Press
Murphy, R. (ed.) (2000) BRITISH CINEMA OF THE 90s LONDON: BFI
Nagib, L. (2007) BRAZIL ON SCREEN: CINEMA NOVO, NEW CINEMA, UTOPIA. London: I.B.Tauris
O’Regan, T. (1996) AUSTRALIAN NATIONAL CINEMA. London: Routledge
Petric, V. (1987) CONSTRUCTIVISM IN FILM: ‘THE MAN WITH THE MOVIE CAMERA’; A CINEMATIC ANALYSIS. Cambridge: Cambridge University Press
Shaw, D. (ed.) (2006) CONTEMPORARY LATIN AMERICAN CINEMA: BREAKING INTRO THE GLOBAL MARKET. Rowman and Littlefield
Temple, M. and Witt, M. (eds.) (2004) THE FRENCH CINEMA BOOK. London: BFI
Turovskaya, M. (1989) TARKOVSKY: CINEMA AS POETRY. London: Faber
Zhang, Y. (2004) CHINESE NATIONAL CINEMA. London: Routledge
WEEK SIX – THE HERITAGE FILM
Chapman, J. (2005) PAST AND PRESENT: NATIONAL IDENTITY AND THE BRITISH HISTORICAL FILM. London: I.B.Tauris.
Gibson, P. C. (2002) ‘From Dancing Queen to Plaster Virgin: Elizabeth and the End of English Heritage’, in JOURNAL OF POPULAR BRITISH CINEMA. No. 5, pp.133-141
Corner, J. and Harvey, S. (eds.) (1991) ENTERPRISE AND HERITAGE: CROSSCURRENTS OF NATIONAL CULTURE. London: Routledge
Craig, C. (1991) ‘Rooms without a View’, in SIGHT AND SOUND. Vol. 1, no. 2, June,
pp. 10-13
Harper, S. (1992) PICTURING THE PAST: THE RISE AND FALL OF THE BRITISH COSTUME FILM. London: BFI Publishing
Hewison, R. (1987) THE HERITAGE INDUSTRY: BRITAIN IN A CLIMATE OF DECLINE. London: Methuen
Higson, A. (ed.) (1996) DISSOLVING VIEWS: KEY WRITINGS ON BRITISH CINEMA. London: Cassel
Hill, J. (1999) BRITISH CINEMA IN THE 1980s: ISSUES AND THEMES. Oxford: Clarendon
Monk, C. (1999) ‘Heritage Films and the British Cinema Audience in the 1990s’, in JOURNAL OF POPULAR BRITISH CINEMA. No. 2, pp. 22-38.
Monk, C. and Sargent, A. (eds.) (2002) BRITISH HISTORICAL CINEMA: THE HISTORY, HERITAGE AND COSTUME FILM. London: Routledge
Pidduck, J. (2004) CONTEMPORARY COSTUME FILM: SPACE, PLACE AND THE PAST. London: BFI
WEEK SEVEN – CINEMATIC TELEVISION
Akass, K. and McCabe, J. (2005) READING SIX FEET UNDER: TV TO DIE FOR. London: IB Tauris
Coates, P. (1999) LUCID DREAMS: THE FILMS OF KRZYSZTOF KIESLOWSKI. London: Flicks
Dixon, W.W. (ed.) (2004) FILM AND TELEVISION AFTER 9/11. Southern Illinois University Press
Ellis, J. (1992) VISIBLE FICTIONS:CINEMA, TELEVISION, VIDEO. London: Routledge
Hammond, M. and Mazdon, L. (eds.) (2005) THE CONTEMPORARY TELEVISION SERIES. Edinburgh: Edinburgh University Press
Lavery, D. (2006) READING THE SOPRANOS: HIT TV FROM HBO. London: I.B.Tauris
Lury, K. (2005) INTERPRETING TELEVISION. London: Arnold
Sheen, E. and Davidson, A. (eds.) (2004) THE CINEMA OF DAVID LYNCH: AMERICAN DREAMS, NIGHTMARE VISIONS. London: Wallflower Press
Stevenson, J. (2002) LARS VON TRIER. London: BFI
Thornam, S. and Purvis, T. (2005) TELEVISION DRAMA: THEORIES AND IDENTITIES. Basingstoke: Palgrave MacMillan
WEEK EIGHT – NEW MEDIA
Caldwell, J.T. and Everett, A. (eds.) (2003) NEW MEDIA: THEORIES AND PRACTICES OF DIGITEXTUALITY. London: Routledge
Figgis, M. (2007) DIGITAL FILM-MAKING. London: Faber & Faber
Hanson, M. (2004) THE END OF CELLULOID: FILM FUTURES IN THE DIGITAL AGE. Hove: Rotovision
Hatfield, J. (ed.) (2006) EXPERIMENTAL FILM AND VIDEO: AN ANTHOLOGY. Eastleigh: John Libbey Pub.
Inglis, I. (ed.) (2003) POPULAR MUSIC AND FILM. London: Wallflower Press
Reiser, M. and Zapp, A. (eds.) (2002) NEW SCREEN MEDIA: CINEMA / ART / NARRATIVE. London: BFI
Wardrip-Fruin, N. and Monfort, N. (eds.) (2003) THE NEW MEDIA READER. Cambridge, Mass.: MIT Press
Willis, H. (2005) NEW DIGITAL CINEMA: REINVENTING THE MOVING IMAGE. London: Wallflower Press
