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Home , Arthur Wimperis, Carlo Ponti, Cedric Gibbons, Claudine West, Diana Ossana, George Froeschel

CTCS 464 THE LOVE STORY: From Classic to Postmodern

What is this thing called love?

Summer 2016

Mondays, Wednesdays, and Fridays 10:00 AM to 2:00 PM SCA 108

Instructor: Dr. Drew Casper The Alma and Professor of American Film

Course Description & Course Methodology: A historical look at the representation of romantic love, in its many varied forms, on the American/UK/French screen. Specific emphasis will be paid to cultural/societal issues, business practices of the industry, censorship issues, and the star system and its popular emblems of male and female personas.

Office Hours for Dr. Casper: Mondays and Wednesdays, 2:00-2:30pm SCA 320 – (213) 740-3334 (please call ahead to sign up for an appointment)

Lead Teaching Assistant:

Teaching Assistants:

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Course Requirements

Required Readings: Copies of each of these books will be on reserve at the circulation desk on the ground level of Leavey Library. All books are also available for purchase at the USC bookstore.

- Casper, Drew. Postwar Hollywood: 1946-1962. Blackwell. 2007.

- Casper, Drew. Hollywood Film: 1963-1976. Wiley-Blackwell. 2011.

- Greene, Graham. The End of the Affair. NY: Penguin, 1991.

- Lewis, C.S. The Four Loves. Orlando, FL: Harcourt Brace & Co., 1988.

Attendance and Participation: Prompt and regular attendance for the full class period is of extreme importance. Missing the screenings of any film will limit your success in the course. NOT ALL OF THE FILMS SCREENED IN CLASS ARE AVAILABLE ON VIDEO OR DVD. It is your responsibility to make up any missed screenings and to obtain detailed notes from another student. Attendance will be recorded at the beginning of each lecture, so please be on time.

Assignments:

Notebook Assignments | 100% of the final grade - Part ONE due Friday, June 17th - Part TWO due Wednesday, June 29th

After each session, a topic will be assigned for you to address in a short essay. Depending on the topic, you will write 300-600 words in response. These short papers will be turned in via the class’ Blackboard site on the assignment handout. All assignments must be uploaded to Blackboard by July 5th to pass the course. Each assignment is worth up to 20 points. Final grades will be determined by these assignments and by active participation and attendance in class.

Penalty for Late Assignments: The assignments are to be turned in by their indicative due dates via Blackboard only. Do not turn in assignments as physical copies and do not email your assignments—only digital copies, uploaded to blackboard, will be accepted. Late assignments will be deducted by 1 point (out of a possible 20) for every day late. Late assignments will be excused only in those cases of documented illness or family emergency. FAILURE TO TURN IN ALL ASSIGNMENTS BY THE LAST DAY OF CLASS WILL RESULT IN IN AN AUTOMATIC “F” IN THE COURSE.

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Note on Outside Research: Any outside research or knowledge incorporated into paper assignments must be cited using a standard academic format (MLA, Chicago, etc.) and must be accompanied by a works cited page. Failure to provide proper citations for any outside materials may result in an “F” for the assignment and possibly be investigated for plagiarism. Any research completed to fulfill an “outside research” requirement must come from legitimate academic sources. If you are unclear about what constitutes an appropriate academic source, consult your TA. WIKIPEDIA AND OTHER USER- GENERATED WEB SOURCES ARE NOT ACCEPTABLE ACADEMIC SOURCES.

Academic Integrity: USC seeks to maintain an optimal learning environment. General principles of academic honesty include respect for the intellectual property of others, the expectation that individual work will be submitted unless an instructor allows otherwise, and the obligations both to protect one’s own academic work from misuse by others as well as to avoid using another’s work as one’s own. All students are expected to understand and abide by these principles. SCampus contains a Student Conduct Code in Section 11.00, while the recommended sanctions for violating this code are located in Appendix A, both can be found at http://webapp.usc.edu/scampus/1100-behavior-violating- university-standards-and-appropriate-sanctions. Should there be any suspicion of academic dishonesty, students will be referred to the Office of Student Judicial Affairs and Community Standards for review. The review process can be found at: http://www.usc.edu/student- affairs/SJACS/.

Keep in mind that PLAGIARISM (WHETHER DONE INTENTIONALLY OR NOT) WILL BE REPORTED, WILL MOST LIKELY RESULT IN FAILURE OF THE COURSE, AND COULD LEAD TO DISMISSAL FROM THE UNIVERSITY. If you have any questions about academic integrity, plagiarism, or if you have any questions or doubts about how to properly cite a source, see your Teaching Assistant, drop by the Writing Center (Taper Hall 310) or consult the Office of Student Judicial Affairs and Community Standards Guide http://www.usc.edu/student-affairs/SJACS/forms/tig.pdf.

Turnitn: All paper assignments for CTCS 394 must be electronically uploaded to Blackboard’s Turnitin system before a hard copy is submitted to class. Turnitin will scan your paper against the web and other student papers to ensure there is no plagiarism. Papers will be considered late until both an online and hard copy version of your paper is submitted to your TA.

Disability Services: Any student requesting academic accommodations based on a disability is required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP. Please be sure the letter is delivered to the lead TA as early in the semester as possible. DSP is located in STU 302 and is open from 8:30am-5:00pm, Monday to Friday, (213) 740-0776.

Course Exam, Project and Paper Retention Policy: It is the responsibility of all students in Critical Studies courses to retrieve all papers, projects, assignments and/or exams within one academic year of completion of a course. These records may be essential in resolving grade disputes and incompletes as well as assist in verifying that course requirements have been met. The Critical Studies Division will dispose of all records from the previous academic year in May of the current academic year. No exceptions. Please be in contact with your TAs about collecting these documents while you are taking the course.

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TECHNOLOGY IN CLASS Students are allowed to use laptops to take notes during lecture. However, it is expected that students are not to use laptops for other purposes that do not pertain to the material of the class (i.e. email, Facebook, Twitter, etc.). During screenings, the use of laptops or cell phones is not permitted. You will be asked to leave the class if you violate this policy.

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CTCS 464 SYLLABUS (SUMMER 2016)

Session 1 – Monday, June 6 Hollywood’s Classical Period Genus: Melodrama and its subtype: Romance The Great Depression/New Deal Culture (1929-1939) Business Practices with Special Emphasis on the Studio System and the Star System

Dodsworth (United Artists, 1936)

§ Director: § Producer: , Merritt Hulburd § Screenwriter: , based on the 1929 novel by Sinclair Lewis § Cinematographer: Rudolph Maté § Editor: Daniel Mandell § Art Director: Richard Day § Music: § With: Walter Huston, Ruth Chatterton

Read: Casper, Postwar Hollywood, 349-352

Session 2 – Wednesday, June 8 Hollywood’s Classical Period (continued) Censorship

Random Harvest (MGM, 1942)

§ Director: Mervyn LeRoy § Producer: Sidney Franklin § Screenwriters: , , , based on 1941 novel by § Cinematographer: § Editor: Harold F. Kress § Art Director: § Music: Herbert Stothart § With: Ronald Colman,

Read: Casper, Postwar Hollywood, 1-36, 259-269, 354-358

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Session 3 – Friday, June 10 Hollywood’s Postclassical Period

Postwar Culture (1946-1962) Business Practices with an emphasis on independent productions, foreign films and the star system

Brief Encounter (Universal, 1945, 86 minutes)

§ Director: § Producers: Noël Coward, Anthony, Havelock-Allan, Roland Neame § Screenwriters: Noël Coward, Anthony, Havelock-Allan, Roland Neame, based on the 1936 play by Noël Coward § Cinematographer: § Editor: Jack Harris § Art Director: Lawrence P. Williams § Music: Sergei Rachmaninoff § With: Celia Johnson, Trevor Howard

Letter from an Unknown Woman (Universal, 1948, 86 minutes)

§ Director: Max Ophüls § Producer: John Houseman § Screenwriters: Howard Koch, Stefan Zweig, based on the 1922 novella by Stefan Zweig § Cinematographers: Henry Sharp § Editor: LeRoy Stone § Art Director: Lawrence P. Williams § Music: Bert Kalmer, Harry Ruby § With: Joan Fontaine, Louis Jourdan

Read: Lewis, The Four Loves

Session 4 – Monday, June 13 Hollywood’s Postclassical Period (continued) Other Leisure Activities: The Phonograph Postwar Technology

Love is a Many-Splendored Thing (20th Century Fox, 1955, 102 minutes)

§ Director: Henry King § Producer: Buddy Alder § Screenwriter: John Patrick, based on the 1952 novel by Han Suyin § Cinematographer: Leon Shamroy § Editor: William Reynolds § Art Directors: George W. Davis, Lyle R. Wheeler § Music: Alfred Newman § With: , Jennifer Jones

Read: Casper, Postwar Hollywood, 37-89 Screening: Casper, DVD Audio Commentary for Lady Killer

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Session 5 – Wednesday, June 15 Hollywood’s Postclassical Period (continued) Censorship

Breakfast at Tiffany’s (Paramount, 1961, 115 minutes)

§ Director: § Producers: Martin Jurow, Richard Shepherd § Screenwriter: George Axelrod, based on the 1958 novella by Truman Capote § Cinematographer: Franz Planer § Editor: Howard A. Smith § Art Directors: Roland Anderson, § Music: Henry Mancini § With: Audrey Hepburn, George Peppard

Read: Casper, Postwar Hollywood, 157-159, 213-259, 184-204, 358-398

Session 6 – Friday, June 17 Revolutionary/Reactionary Culture (1963-1976) The French New Wave

Jules et Jim (Janus, 1962, 105 minutes)

§ Director: François Truffaut § Producers: Marcel Berbert, François Truffaut § Screenwriter: François Truffaut, Jean Gruault based on the 1953 novel by Henri-Pierre Roché § Cinematographer: Raul Coutard § Editor: Claudine Bouché § Production Designer: Fred Capel § Music: Georges Delerue § With: Jeanne Moreau, Oskar Werner, Henri Serre

Read: Casper, Postwar Hollywood, 157-159, 213-259, 184-204, 358-398

Session 7 – Monday, June 20 Revolutionary/Reactionary Culture (continued) Business Practices

Doctor Zhivago (MGM, 1964, 197 minutes)

§ Director: David Lean § Producer: Arvid Griffen, Carlo Ponti § Screenwriter: , based on the 1957 novel by Boris Pasternak § Cinematographer: § Editors: Norman Savage § Production Designer: § Music: Maurice Jarre § With: Omar Sharif, Julie Christie

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Session 8 – Wednesday, June 22 Revolutionary/Reactionary Culture (continued) Censorship

Midnight Cowboy (United Artist, 1969, minutes)

§ Director: John Schlesinger § Producers: Jerome Hellman, Kenneth § Screenwriter: , based on the 1965 novel by James Leo Herlihy § Cinematographer: Adam Holender § Editors: Hugh A. Robertson § Production Designer: John Robert Lloyd § Music: John Berry § With: John Voight,

Read: Casper, Hollywood Film: 1963-1976, 247-252, 29-61, 83-105

Session 9 – Friday, June 24 Postmodern Period (1977-present) Postmodern Culture

The End of the Affair (Columbia, 1999, 102 minutes)

§ Director: § Producers: Neil Jordan, Stephen Woolley § Screenwriter: Neil Jordan, based on the 1951 novel by § Cinematographer: Roger Pratt § Editor: Tony Lawson § Production Designer: Anthony Pratt § Music: Michael Nyman § With: Julianne Moore, Ralph Fiennes

Brokeback Mountain (Focus Features, 2005, 102 minutes)

§ Director: § Producers: , James Schamus § Screenwriter: Larry McMurtry, Diana Ossana, based on the short story by § Cinematographer: Rodrigo Prieto § Editors: Geraldine Peroni, Dylan Tichenor § Production Designer: Judy Becker § Music: Gustavo Santaolalla § With: Heath Ledger, Jake Gyllenhaal

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Session 10 – Monday, June 27 Postmodern Period (continued) Censorship

Brokeback Mountain (Focus Features, 2005, 102 minutes)

§ Director: Ang Lee § Producers: Diana Ossana, James Schamus § Screenwriters: Larry McMurtry, Diana Ossana, based on the 1997 short story by Annie Proulx § Cinematographer: Rodrigo Prieto § Editors: Geraldine Peroni, Dylan Tichenor § Production Designer: Judy Becker § Music: Gustavo Santaolalla § With: Heath Ledger, Jake Gyllenhaal

Session 11 – Wednesday, June 29 Postmodern Period (continued) Myths, Conventions, and Iconography of Romance Melodrama

The New Girlfriend (Mandarin Cinéma, 2015, 107 minutes)

§ Director: François Ozon § Producers: Éric Altmayer, Nicolas Altmayer § Screenwriter: François Ozon, based on the novel by Ruth Rendell § Cinematographer: Pascal Marti § Editors: Laurie Gardette § Production Designer: Michael Barthélémy § Music: Phiippe Rombi § With: Romain Duris, Anaïs Demoustier

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