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The Politics of Contemporary Hollywood, Summer 2004

The Politics of Hollywood

COMM 6910/COMM 8980/WST 8920, Summer 2004
Mondays and Wednesdays, 4:45-7:30, Room TBA
Class Home Page: http://www.tedfriedman.com/theory.htm

Dr. Ted Friedman
Office: 738 One Park Place South
Email: tedf@gsu.edu
Phone: (404) 463-9522
Home Page: http://www.tedfriedman.com

Course Description
Scholars of political economy have noted with alarm the continuing consolidation of media outlets in the hands of a few multinational mutimedia conglomerates. But as theorists of cultural studies point out, the owners of cultural products cannot simply dictate the complex and contradictory ways in which those products are created, consumed and interpreted. In order to successfully reach and appeal to a wide audience, pop culture texts must inherently address millions of viewers' hopes and anxieties - must, to use Fredric Jameson's language, offer at least a glimpse of utopia before succumbing to the reification of consumer culture. In the process, these texts inevitably contain both conventional wisdom and moments of resistance, as they struggle to mediate through fantasy the conflicts of late capitalism. Looking more closely at individual film texts, then, can offer insight into this conflicted terrain - into the "political unconscious" of contemporary popular culture.

This ideological analysis is particularly critical because popular films not only reflect but also influence the politics of their times. Hollywood films respond to viewers' hopes and fears, then repackage these largely unconscious desires and anxieties in visions which in some ways reinscribe, and in other ways resist dominant social relations. Activist filmmakers may attempt to challenge politics as usual, while even the most cynical hacks may unwittingly tap into reservoirs or discontent. Close analysis of these texts can help us understand the possibilities and limitations of political change through cultural production.

The Politics of Hollywood will be structured on two tracks. On Mondays, we'll read works on film and ideology. On Wednesdays, we'll examine specific popular films in close detail.

Readings
Class readings will include books, readings distributed in class, and news items distributed via the class email list.

The course books are available at the GSU bookstores.

• Camera Politica: The Politics and Ideology of Contemporary Hollywood Film by Ryan and Kellner
• Working Girls: Gender and Sexuality in Popular Cinema by Yvonne Tasker
• Flaming Classics by Alexander Doty
• Blackface, White Noise by Michael Rogin
• The Dream Life: Movies, Media and the Mythology of the Sixties by J. Hoberman
• Screen Traffic: Movies, Multiplexes, and Global Culture by Charles R. Acland

Screenings
All the films on the syllabus should be screened before class. The films will be available in the Library Media Center. In addition, most can be found at local video stores. Recommended alternatives to Blockbuster are Movies Worth Seeing (1409 N Highland; 404-892-1802) and Videodrome (617 N Highland; 404-885-1117).

Email Group
All students will be signed up to the class email list. I will regularly forward media news and cultural criticism to the list. You’re encouraged to forward other interesting information, post your reactions to recent movies, respond to other postings, or continue any other ongoing discussions from class.

Schedule

Week 1: Introduction

6/14 In-class screening: Behind the Screens: Hollywood Goes Hypercommercial

6/16 Read Friedman online at http://castaway.tedfriedman.com
Additional readings to be handed out in class
See The Lord of the Rings

Week 2: Ideology

6/21 Read Camera Politica

6/23 See Erin Brokovich

Week 3: Women

6/28 Read Working Girls

6/30 See Kill Bill, Volume 1

Week 4: Queer Theory

7/5 Independence Day Holiday – No Class

7/7 Read Flaming Classics
See Gentlemen Prefer Blondes

Week 5: Race and Ethnicity

7/12 Read Blackface, White Noise

7/14 See Bring It On

Week 6: The Legacy of the 60s

7/19 Read The Dream Life

7/21 See Dirty Harry

Week 7: International Audiences

7/26 Read Screen Traffic

7/28 See film to be chosen by class

Week 8: Research Presentations/Party

8/2 No reading. Meet at Ted’s house – directions will be sent by email.

The final paper is due Thursday, August 5.

Assignments

I. Lead discussion of reading – 20% of final grade
You will sign up to lead, with a group, discussions for two classes: one on a reading, the other on a film.

To prepare for the discussion of the reading, in addition to reading the week’s assignment, research these questions to put the reading in a broader context:

1. What is the author’s background? What discipline is the author trained in? What else has s/he written? In which journals has s/he published?

2. What was the reception of the book? How was book reviewed? What criticisms have been made of the author’s work? How has the author responded? Whom has the author influenced?

Then, meet with your group to prepare for a class discussion. Don’t bother summarizing the work. Rather, concentrate on how the work relates to the key questions we’ll be asking all semester. In addition to the research topics, other subjects for discussion should include:

3. Methodology: What research methods does the author use? (Possibilities include textual analysis, ethnography, historical research, quantitative social science, etc.) How does the author approach and justify this methodology? What are the advantages and limitations of this methodology?

4. Theoretical debates: In which of the current debates in film/cultural studies does the work intervene? Where does the author stand? Who does the author criticize? How does this work move the debate forward?

5. Example of Analysis: Pick one film addressed by the author. (This should not be the film we’re screening on Wednesday.) Show a representative scene from the film (the clip should be no more than 5 minutes). Discuss the author’s interpretation of the scene and the film. What are the strengths and limitations of this interpretation? What alternate intepretations are possible?

Outline the key topics of discussion in a short (1-2 page) handout for the class. There’s no need to include more detail, or to prepare a PowerPoint presentation – the focus should be on presenting material orally and facilitating a good class discussion.

II. Lead Discussion of Film – 20% of final grade
To prepare for a discussion of a film, in addition to screening the week’s assignment, research these questions to put the film in a broader context:

1. What is the background of the film? What were the conditions of the film’s production? What is the background of the film’s director, writers, producers and stars? How does it compare to other films made by the principals?

2. What was the reception of the film? How was the film reviewed when it opened? How was its box office? Has the perception of the film changed since the time of its original release?

Then, plan to lead discussions on the following topics. In each case, consider both the film’s surface, and any possible tensions or subtexts underneath. Feel free to add additional topics of relevance to your film, such as environmentalism, violence, technology, etc. Pick a short clip (2-3 minutes) to anchor discussion of each topic.

3. Style. How does the film’s form relate to its content?

4. Individualism. How does the film connect individual characters to broader social questions?

5. Class and economic inequality. How does the film present labor? What is the role of money in the film?

6. Race and ethnicity. How does the film construct racial others? How does it construct whiteness?

7. Gender. How does the film construct masculinity? Femininity? Heteronormativity?

8. Nation. How does the film construct America? How does it envision the rest of the world?

III. Research Presentation – 10% of final grade
Present a 5-10 minute summary of your research project and answer questions from the class. Summarize your project on a one-page handout for the class.

IV. Final Project – 50%.of the final grade
Option 1: Write a 15-20 page paper on a subject relating to the politics of Hollywood film. You should write this paper with an eye towards eventually presenting it at a conference, expanding it and publishing it. In addition, if you already have a thesis or dissertation topic in mind, consider how this paper might form the basis for a chapter of the larger work.

Option 2: Produce a creative work which engages some of the ideas of the class. The project can be a short film, a screenplay, or a new media work. Along with the project, include a 5-page paper relating your work to ideas from the class.

For either option, the deadlines are the same. A one-page prospectus is due July 7. I will schedule individual meetings with you to discuss the prospectus. I will look at drafts of the final project submitted on or before July 28. You’re welcome to submit multiple drafts for feedback.The final project is due August 5.

V. Attendance Adjustment
As Woody Allen put it, “80 percent of success is showing up.” It’s less than that in this formula, but the bottom line is that you can’t contribute to the class if you’re not there. You’re allowed one unexcused absence for the semester. After that, each unexcused absence subtracts one point from your grade total. Excused absences include medical and family emergencies. You will be expected to schedule any employment responsibilities around this class, or accept the consequences of missed classes for your grade. If you do need to miss a class, please contact me ahead of time, and make arrangements to catch up on missed material.

Policies

Academic Honesty
The university’s policy on academic honesty is published in On Campus: The Undergraduate Co-Curricular Affairs Handbook, available online at http://www.gsu.edu/~wwwcam. The policy prohibits plagiarism, cheating on examinations, unauthorized collaboration, falsification, and multiple submissions. Violation of the policy will result in failing the class, in addition to possible disciplinary sanctions.

Withdrawals
Students withdrawing on or before the midsemester point will receive a W provided they are passing the course. Students who withdraw after the midsemester point will not be eligible for a W except in cases of hardship. If you withdraw after the midsemester point, you will be assigned a WF, except in those cases in which (1) hardship status is determined by the office of the dean of students because of emergency, employment, or health reasons, and (2) you are passing the course.

Incompletes
Incompletes may be given only in special hardship cases. Incompletes will not be used merely for extending the time for completion of course requirements.

Changes to the Syllabus
This syllabus provides a general plan for the course. Deviations may be necessary.

Posted by tedf at June 27, 2004 05:26 AM