AMERICAN POPULAR FILM : HOLLYWOOD in the 1970s [J-Term, 2012] CTV 2332/ CTV 5310
DR. RICK WORLAND Daily, Jan 3-12. 9:00am-Noon; and 1:00-4:00pm.
Hours: No regular office hours for J-term; email or see me after class. Phone: 214/768-3708 (office) email: [email protected]
Required Text: Peter Lev, American Films of the 70s: Conflicting Visions . Worland, ed. Readings on 70s Hollywood. (emailed as pdf’s).
COURSE DESCRIPTION : This course examines Hollywood movies of the 1970s, one of the most dynamic periods of American filmmaking. In the early 1960s some Hollywood films made a break from the stylistic traditions and conventions of the past. While economic factors in the film industry itself partly account for this, pressures from American society at large also motivated change. It’s no coincidence that Hollywood entered its most socially reverberant period during the political tumult of the 1960s, against the backdrop of the Civil Rights movement and the Vietnam War in particular, which is to say, in a time of questioning of all social institutions and values. The complex social and cultural struggles of the Vietnam era as well as the gradual assimilation of those changes in American society are recorded in some of most popular movies of the 1970s. Set against startling social and cultural changes of a momentous time, filmmakers responded with bursts of creativity that yielded some of the most exciting, contradictory, and occasionally maddening movies in decades.
The objectives of this course are to, i) survey some of the most popular and significant films of the decade in order to grasp the range and variety of American filmmaking then; ii) point to influential links and exchanges between American movies and larger social and cultural events during this time; and iii) provide basic concepts and insights for critical and stylistic analysis of movies in order to generalize about such relationships in film and media today or in other periods. In relation to taking this course under the Perspectives (Arts) category of the General Education Curriculum: Students will be able to identify and explain fundamentals of the arts discipline through analysis, performance, or creation.
COURSE REQUIREMENTS : There will be a MID-TERM (100 pts.) and a FINAL EXAM (100 pts.). Each will consist of objective and essay questions based on the readings, lectures, and films screened in class. Before each exam I will a give you a study guide listing pertinent terms, concepts, etc. that will be covered. You will also write a short paper of about 5-6 pages on a film of your choice from the 1960s (50 pts.) Additionally there is a paper due the first day on Bonnie & Clyde and Easy Rider (30 pts.). [The assignments for the papers appears on the last page.] The papers will be marked down one letter grade for each day it is late. You will also receive a maximum of 20 pts. for class participation . Your grade will be calculated as a percentage of 300 total points. You are strongly urged to stay current with the reading and attend class regularly.
MAKE-UP EXAMS : Make-ups for the mid-term and final will be arranged for medical emergencies only. A verifiable letter from a doctor will be required for non-penalty make-ups. Under certain circumstances a make-up will be given for non-medical reasons. The results of such an exam will be marked down one letter grade. “Early” exams cannot be given for any reason .
**LEARNING DISABILITIES : Students with documented learning disabilities should notify the instructor on or by the second class meeting if special provisions are requested to accommodate the disability. It is the student’s responsibility to make an appointment with SMU’s Coordinator of Services for Students with Disabilities, Rebecca Marin at 768-4563 to arrange for accommodations.
**ACADEMIC DISHONESTY : This course is operated in accordance with the SMU HONOR CODE, violations of which may be punished with a failing grade or expulsion from the university. Academic dishonesty may be defined as a student’s misrepresentation of his or her academic work or of the circumstances under which the work is done. This includes plagiarism in all papers, projects, take-home exams, or any other assignment in which the student represents work as being his or her own. Academic dishonesty also includes cheating on examinations, CTV 2332 American Popular Film [J-term 2012] Worland, 2 unauthorized access to test materials, and aiding another student to cheat or participate in an act of academic dishonesty. Failure to prevent cheating by another may be considered as participation in the dishonest act. See the 2011-2012 Undergraduate Bulletin for further details.
***PLAGIARISM . If you quote directly from a book or article, paraphrase source material, or otherwise employ ideas, concepts, phrasings, or formulations from other writers, you must document your work with appropriate footnote form. Failure to document sources properly can constitute PLAGIARISM, a polite academic term for stealing. Plagiarism will result in a grade of ‘F’ for the course.
**COMPUTERS and cel phones must be put away during screenings. No exceptions.
READING ASSIGNMENTS AND SCREENING SCHEDULE. Please note that the list of films to be screened is tentative and subject to change due to any number of unforeseeable factors. Lectures are designed to both reinforce and supplement the reading assignments.
**Before the term begins, students should watch on their own: Bonnie and Clyde (1967), director, Arthur Penn; and Easy Rider (1969), director Dennis Hopper. Students should be prepared to discuss these films; and turn in the short paper (4-5 pages) on these films. (See last page of syllabus).
Week 1) Tues. Jan. 3 -- Introduction: Post-World War II Hollywood, 1945-1969. Read: Lev, “Intro.: Nobody Knows Anything”, p. xv-xxii; chapt. 1, “Hippie Generation” (pdf) Peter Biskind, “Who Made Us Right?”
AM: Discussion of Bonnie & Clyde and Easy Rider.
*Turn in your 4-5 pg. paper on these two films.
PM: Five Easy Pieces (1970) Bob Rafelson
Wed. Jan. 4-- Spokesman for the Silent Majority Read: Lev, chapt. 2, “Vigilantes and Cops”, p. 22-39.
AM: Dirty Harry (1971) Don Siegel
PM: The Rise of Blaxploitation. Read: (pdf) E. Guerrero, “Rise & Fall of Blaxploitation” Lev, chapt. 8, “From Blaxploitation…”, p. 127-141.
Shaft (1971) Gordon Parks
Thurs. Jan. 5-- Blaxploitation, cont. The Disaster Cycle. Read: Lev, chapt. 3, “Disaster & Conspiracy”, p. 40-47.
AM: Guess Who’s Coming to Dinner? (1967) Stanley Kramer; starring Sidney Poitier [excerpt] The Poseidon Adventure (1972) Irwin Allen [excerpt]
PM: Post-Vietnam America. Read: Lev, chapt. 6, “Teen Films”, p. 90-98.
American Graffiti (1973) George Lucas
Fri. Jan. 6-- The Late Western, 1960-1976. Read: TBA Bad Company (1972) Robert Benton
**PM: MID-TERM EXAM . CTV 2332 American Popular Film [J-term 2012] Worland, 3
Week 2) Mon. Jan. 9-- Post-Vietnam America II. Read: Lev, chapt. 4, “The End of the Sixties”, p. 60-73.
AM: Shampoo (1975) Hal Ashby
PM: The Conspiracy Cycle. Read: Lev, chapt. 3, “Disaster & Conspiracy”, p. 49-59.
Night Moves (1975) Arthur Penn
Tues. Jan. 10-- Bringing It All Back Home. Read: R. Ray, (pdf) “ Taxi Driver ”
AM: Taxi Driver (1976) Martin Scorsese
PM: Populist Coalitions. Read: TBA
Smokey and the Bandit (1977) Hal Needham
**Wed. Jan. 11-- “Will It Change My Wife?” ANALYSIS PAPER DUE TODAY!! Read: (pdf) Tom Wolfe, “The ‘Me’ Decade and the Third Great Awakening” (1976).
AM: Annie Hall (1977) Woody Allen
PM: An Unmarried Woman (1978) Paul Mazursky Read: Lev, chapt. 9, “Feminisms”, p. 142-156
Thurs. Jan. 12-- Conclusion to the Course. Read: Lev, chapt. 10, p. 165-172; “Conclusion”, p. 181-185.
AM: Apocalypse Now (1979) Francis Ford Coppola [excerpts]
PM: FINAL EXAM . CTV 2332 American Popular Film [J-term 2012] Worland, 4
PAPER ASSIGNMENT: 1970s HOLLYWOOD. See above for Due Date.
**“The dog/computer/internet ate my homework” will never be an acceptable excuse.
Bonnie & Clyde and Easy Rider : [30 pts.] This paper is due on the first day of the term. In this paper, present an overview of your initial responses to each of these films. In it, list and discuss at least three aspects of each film that you consider the most memorable, important, effective, and relevant to American history in the 1960s. Discuss one scene in some detail from each movie and consider how the filmmakers use film style or technique to create the affect or narrative meaning of the selected scene. (about 4-5 pages).
Film Analysis Paper [50 pts.] It should be about 5-6 pages in length, typed double-spaced, 1 inch margins. Your writing will be evaluated on well you argue for your THESIS, or central point, supporting it with examples and evidence from the film; and employing historical background, critical concepts, and analytical methods we have discussed in the course. The clarity and organization of your argument is important, too, along with attention to the mechanics of good writing: spelling, punctuation, grammar, sentence structure, etc.
The object of this paper is to present a critical and formal analysis of a Hollywood movie of your choice released from 1970-1979 relating it to significant genre styles, themes, social or historical aspects, or other concerns that we have addressed in this course. What do you think this film means? HOW does it mean? (i.e., how does style become content?) Discuss and evaluate 2-3 important scenes of the film that illuminate its major aspects. Why do you think this film is effective? (Why does it “work”?)
SUGGESTED FORMAT: Introduction of film and statement of thesis. Main body: analysis of relevant visual issues [mise-en-scene, editing, composition, pov, etc.]; relation of style to theme in the film as a whole. Conclusion: How does this film relate to others in the genre we screened or discussed? DO NOT critique a film previously shown in class. However, feel free to refer to films we have discussed where appropriate.
Re the FORMAL ANALYSIS. Discuss 3-4 selected scenes or sequence from the film in some detail, and relate these formal aspects to larger THEMATIC concerns or meanings in the work as whole. This is to suggest a pars pro toto idea; that is, a small part can illuminate the film as a whole. Points to consider might include: 1) What is the genre of the film and what does the story define as the central problem? 2) HOW does the film convey thematic and narrative points using aspects of visual/cinematic style ? 3) How does the movie fit into the historical context of others we have discussed in the course?
Do Not present extended plot summary. Quickly describe the film and its basic plot. Further details should be elaborated in the course of your analysis and examples cited. Criticism (unlike a review) assumes that the reader is familiar with the work in question. However, be sure to cite specific examples from the film in your analysis. Discuss the movie with reference to specific scenes and relevant stylistic elements: shooting style, editing, dialog, cinematic self-consciousness, dramatic structure, etc.
Additional Stylistic points : Film and book titles should be italicized . Every time. You do not need to footnote dialog quotes from the movie. Do not use this phrasing: “in the movie ‘Bonnie and Clyde’…” We know it’s a movie. Avoid tedious “here I go” statements that waste space: e.g., “I have chosen to analyze for this assignment the film X”; or “I will now do this”, “I have just done that”, etc. Instead, just get to it.
THIS IS NOT A RESEARCH PAPER. I neither want nor expect you to do additional reading on the film or director and report what others have said. However, you may quote from the course reading or other sources if that helps you make a stylistic or interpretive point. But I’m really more interested in your remarks on the film. If you quote somebody keep it brief and cite the source with appropriate footnote form. Note again that I do not take kindly to plagiarism.