ARTS1062 Hollywood Film: Industry essay 代写 assignment 


ARTS1062                      Hollywood Film: Industry, Technology, Aesthetics
Essay questions
Due date:5pm Friday 22^nd September.
Length: 1500words
All essays must be submitted electronically via Turn-It-In and must include an essay cover sheet at the front.  Essays that don’t include a cover sheet may not be marked. Please also ensure that your NAME is on every page of the essay.
 
Late penalties will apply.
 
Don’t forget to include the question you are answering at the beginning of our essay and to consult the essay writing andstyle guide for information about formatting and referencing. Essays that do not comply with the style guide will be penalised.
 
*** In your essay be sure to construct your argument around the close analysis of films. See in particular the second point of the assessment criteria below.
 
The essay assignment is worth 40% of your total marks for the course. It provides you with the opportunity to demonstrate your understanding of the relevant historical and theoretical literature on Hollywood film, to develop your research skills and practice your critical analysis skills by engaging with scholarly literature related to the essay question you are answering. The task is intended to orient you toward understanding the broader themes of the course by focusing on specific events or occurrences. You will thus be expected to demonstrate understanding of the relevant historical, social and political contexts of the research topic on which you have chosen to focus. The essay enables you to develop the historical, analytical and critical skills necessary for independent research in the future. For further guidance on essay research and writing see the Learning Centre website: http://www.lc.unsw.edu.au/olib.html.
 

Assessment Criteria

• Capacity to develop a clear and original argument that is well supported by scholarly references and examples from films.
• Demonstration of close viewing of relevant films through a detailed analysis and interpretation of film sequences, paying close attention to film as a specific medium.
• Evidence of a creative, clear, and thoughtful engagement with the issues, ideas, and material offered by the course.
• Ability to identify and effectively apply relevant concepts and themes.
• Demonstration of knowledge of a substantial amount of critical scholarship related to the topic.
• Presentation of the assignment in a coherent and intelligible manner.
• Consistent and accurate use of scholarly referencing of sources.

 ARTS1062 Hollywood Film: Industry essay 代写 assignment 
Answer ONE of the following questions
 1. What impact did the introduction of sound have on the film industry at the levels of production, distribution and exhibition? In your essay include analysis of at least two films.
2. Why is the star system an important area academic study? In your answer refer to the significance and impact of one star by considering their star persona in relation to three of their films.
3. Discuss the impact and relaxation of the Production Code on film style by comparing and contrasting an example of film noir from the 1940s with a neo-noir from the 1970s or later.
4. ‘Despite Hollywood’s efforts to market itself as an international cinema it has always been American through and through.’ Do you agree? Make your case by discussingtwo films as examples of either film genre or classical Hollywood style or as exemplifying aspects of American social and political history.
5. What is meant by the collapse of the ‘studio’ system? Has it actually collapsed? What alternative system(s) does contemporary Hollywood use to minimise risk? Make your case by comparing and contrasting two films.
6. In what sense was television a threat to Hollywood? What strategies did Hollywood develop in response and how successful were these strategies? In your answer discuss three films.
7. Choose two to three Hollywood films and discuss their response to the HUAC enquiry. Which film do you think responds to it best and why?
8. What is the difference between the high concept film and smart cinema? Answer the question by discussing two to three films.
9. Choose a film that takes some aspect of the Hollywood system as a theme and evaluate its capacity to accurately reflect upon itself by referring to the scholarly study of Hollywood.
10. What are the significant features of the genre system and to what extent does it serve the economic imperatives of Hollywood? In your answer discuss no more than three films in a single genre.
11. What conditions facilitated the rise of ‘The New Hollywood’? Was it really a renaissance? In your answer focus on the films of no more than two directors.
 
Bibliography
General
History of American Cinema, Charles Harpole (general editor)
Vol. 1: Charles Musser, The Emergence of Cinema: The American Screen to 1907 (Berkeley: University of California Press, 1994) Vol. 2: Eileen Bowser, The Transformation of Cinema, 1907-15 (Berkeley: University of California Press,
1994)
Vol. 3: Richard Man Koszarski, An Evening’s Entertainment: The Age of the Silent Feature Picture 1915-1928 (Berkeley: University of California Press, 1994)
Vol. 4: Donald Crafton, Talkies: American Cinema’s Transition to Sound, 1926-1931,(Berkeley: University of California Press, 1999)
Vol. 5: TinoBalio, Grand Design: Hollywood as a Modern Business Enterprise, 1930-1939 (Berkeley: University of California Press, 1995)
Vol. 6: Thomas Schatz, Boom and Bust: American Cinema in the 1940s (Berkeley: University of California Press, 1999)
Vol. 7: Peter Lev, Transforming the Screen, 1950-1959 (New York: Scribner, 2003)
Vol. 8: Paul Monaco, The Sixties, 1960-1969 (Berkeley: University of California Press, 2001)
Vol. 9: David A. Cook, Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-1979 (Berkeley: University of California Press, 2002)
Vol. 10: Stephen Prince (2002) A New Pot of Gold: Hollywood Under the Electronic Rainbow, 1980-1989 (Berkeley: University of California Press, 2002)
Robert Allen & Douglas Gomery, Film History: Theory and Practice, (New York: McGraw-Hill, 1985)
TinoBalio (ed.) Hollywood in the Age of Television (London: Unwin Hyman, 1990)
David Bordwell, Janet Staiger& Kristin Thompson, The Classic Hollywood Cinema (London: Routledge, 1985)
John Belton, American Cinema / American Culture (New York: McGraw-Hill, 1993)
Robert Burgoyne, Film Nation: Hollywood Looks at U.S. History (Minneapolis: University of Minnesota Press, 1997)
Laurie Ede,The Hollywood film industry. In: Directory of world cinema. Vol. 5, American Hollywood. (Bristol: Intellect, 2011 pp. 12-15)
Jim Hillier, The New Hollywood (London: Studio Vista, 1993)
Richard Maltby, Hollywood Cinema (2nd edition), (Oxford: Blackwell, 2003)
Toby Miller, Nitin Govil, John McMurria and Richard Maxwell, Global Hollywood (London: BFI, 2001)
Thomas Schatz, Hollywood: Critical Concepts in Media and Cultural Studies (4 volumes) (London: Routledge, 2003)
Allen J. Scott, On Hollywood: The Place, The Industry (Princeton: Princeton University Press, 2005)
Kristin Thompson & David Bordwell, Film History: An Introduction (New York: Addison Wesley,
1994)
Janet Wasko, How Hollywood Works (London: Sage, 2003)
 
 
The Studio System
TinoBalio (ed.) The American Film Industry (Madison: University of Wisconsin Press, 1976)
________ Grand Design: Hollywood as a Modern Business Enterprise, 1930-1939 (New York: Scribner,
1993)
David Bordwell, Janet Staiger& Kristin Thompson, The Classic Hollywood Cinema (London: Routledge, 1985)
Connie Bruck, When Hollywood Had a King: The Reign of Lew Wasserman, Who Leveraged Talent into Power and Influence (New York: Random House, 2003)
Steven Alan Carr, Hollywood and Anti-Semitism: A Cultural History up to World War II (Cambridge: Cambridge University Press, 2001)
Otto Friedrich, City of Nets: A Portrait of Hollywood in the 1940s (London: Headline, 1987)
Neal Gabler, An Empire of their Own: How the Jews Invented Hollywood (London: Virgin, 1991)
Douglas Gomery, The Hollywood Studio System (London: Macmillan, 1986)
Douglas Gomery, Shared Pleasures: A History of Movie Presentation in the United States (London: BFI, 1992)
Mae D Huettig, Economic Control of the Motion Picture Industry (Philadelphia: University of Pennsylvania Press, 1944)
John Izod, Hollywood and the Box Office (London: Macmillan, 1988)
Lea Jacobs, The Wages of Sin: Censorship and the Fallen Woman Film, 1928-1942 (Madison: University of Wisconsin Press, 1991)
Paul Kerr (ed.) The Hollywood Film Industry (London: Macmillan/BFI, 1986)
David Puttnam, Movies and Money (New York: Vintage, 2000)
Nick Roddick, A New Deal in Entertainment: Warner Brothers in the 1930s (London: BFI, 1983)
Murray G Ross, Stars and Strikes: The Unionisation of Hollywood (New York: Columbia University Press, 1941)
Thomas Schatz, The Genius of the System: Hollywood Filmmaking in the Studio Era (Henry Holt, 1996)
John Russell Taylor, Strangers in Paradise: The Hollywood Émigrés, 1913-1950 (London: Faber, 1983)
Ruth Vasey, The World According to Hollywood, 1918-1939 (Madison: University of Wisconsin Press, 1997)
 
Hollywood as a global industry
AsuAksoy& Kevin Robins, ‘Hollywood for the 21st Century: Global Competition for Critical Mass in Image Markets’, Cambridge Journal of Economics, vol. 16, no. 1, 1992
Nicholas Garnham, Chapter 11, ‘The Economics of the US Motion Picture Industry’, in Capitalism and Communication (London: Sage, 1990)
Andrew Higson, Waving the Flag (Oxford: Oxford University Press, 1995)
Andrew Higson & Richard Maltby (eds.) ‘Film Europe’ and ‘Film America’: Cinema, Commerce and Cultural Exchange, 1920-1939 (Exeter: Exeter University Press, 1999)
Ian Jarvie, Hollywood’s Overseas Campaign: The North Atlantic Movie Trade (Cambridge: Cambridge University Press, 1992)
Barry Langford, Post-classical Hollywood : film industry, style and ideology since 1945 (Edinburgh: Edinburgh U P, 2010)
Peter Lev, The Euro-American Cinema (Austin: University of Texas Press, 1993)
Geoffrey Nowell-Smith & Stephen Ricci (eds.) Hollywood and Europe: Economics, Culture, National Identity 1945-95 (London: BFI, 1998)
Toby Miller, Nitin Govil, John McMurria, Richard Maxwell and Ting Wang, Global Hollywood 2 (London: BFI, 2005)
Paul, McDonald and Janet Wasko, (Eds.), The Contemporary Hollywood Film Industry (London: Wiley-Blackwell, 2008)
Dana Polan, ‘Globalism’s localisms’, in Rob Wilson &WimalDissanayake (eds.) Global/Local: Cultural production and the Transnational Imaginary (Durham: Duke University Press, 1996)
Paul Swann, The Hollywood Feature Film in Post-War Britain (London: Croom Helm, 1987)
Kristin Thompson, Exporting Entertainment (London: BFI, 1985)
 
Hollywood technologies
Rick Altman, Sound Theory/Sound Practice (London: Routledge, 1992)
John Belton, ‘Glorious Technicolor’, in Balio, Hollywood in the Age of Television
Bordwell, Staiger, and Thompson, The Classic Hollywood Cinema, pp. 358-364
Donald Crafton, The Talkies: American Cinema’s Transition to Sound, 1926-1931 (New York: Scribner’s, 1997)
Teresa de Lauretis& Stephen Heath (eds.) The Cinematic Apparatus (London: Macmillan, 1980),
Scott Eyman, The Speed of Sound: Hollywood and the Talkie Revolution, 1926-1930 (Baltimore and London, The John Hopkins University Press, 1997)
Douglas Gomery, ‘The Coming of the Talkies: Invention, Innovation and Diffusion’, in The American Film Industry, edited by TinoBalio (Madison: University of Wisconsin Press, 1976)
Steve Neale, Cinema and Technology (London: Macmillan/BFI, 1985)
Nancy Wood, ‘Towards a Semiotics of the Transition to Sound’, Screen, vol. 25, no. 3, 1984
 
Hollywood audiences
Mark Jancovich& Lucy Faire with Sarah Stubbings, The Place of the Audience: Cultural Geographies of Film Consumption (London: BFI, 2003)
Jackie Stacey, Star Gazing: Hollywood Cinema and Female Spectatorship (London: Routledge, 1993)
Janet Staiger, Perverse Spectators: The Practices of Film Reception (New York: New York University Press, 2000)
Melvyn Stokes & Richard Maltby, Hollywood Spectatorship: Changing Perceptions of Cinema Audiences (Berkeley: University of California Press, 2001)
Melvyn Stokes & Richard Maltby (eds.) American Movie Audiences: From the Turn of the Century to the Early Sound Era (Berkeley: University of California Press, 1999)
Melvyn Stokes & Richard Maltby (eds.) Identifying Hollywood’s Audiences: Cultural Identity and the Movies (Berkeley: University of California Press, 1999)
 
The Hollywood star system
Thomas Austin and Martin Barker (eds), Contemporary Hollywood Stardom (London: Arnold, 3003).
Richard De Cordova, Picture Personalities: The Emergence of the Star System in America (Urbana: University of Illinois Press, 2001)
Richard Dyer, Heavenly Bodies: Film Stars and Society, London: Macmillan (London: BFI, 1987)
Richard Dyer, Stars (2nd ed.) (London: BFI, 1988)
Christine Gledhill (ed.) Stardom: Industry of Desire (London and New York: Routledge, 1991)
Paul McDonald, The Star System (London: Wallflower Press, 2000)
Jackie Stacey, Star Gazing: Hollywood Cinema and Female Spectatorship (London: Routledge, 1993)
GaylynStudlar, This Mad Masquerade: Stardom and Masculinity in the Jazz Age (New York: Columbia University Press, 1996)
 
Hollywood genres
Rick Altman, Film/Genre (Berkeley: University of California Press, 1999)
Nick Browne (ed.) (1998) Refiguring American Film Genres: History and Theory (Berkeley: University of California Press, 1998)
Barry Keith Grant, The Hollywood Film Musical (New York: John Wiley & Sons, 2012)
Peter Hutchings, ‘Genre Theory and Criticism’, in Joanne Hollows & Mark Jancovich (eds.) Approaches to Popular Film (Manchester: Manchester University Press, 1995)
Steve Neale, Genre (London: BFI, 1980)
Steve Neale, ‘Questions of Genre’, Screen, vol. 31, no. 1, 1990
Steve Neale, Genre and Hollywood (London and New York: Routledge, 2000)
Steve Neale (ed.), Genre and Contemporary Hollywood (London; BFI Publishing, 2002)
Tom Ryall, ‘Genre and Hollywood’, in John Hill and Pamela Church Gibson (eds.) The Oxford Guide to Film Studies (Oxford: Oxford University Press, 1998)
Linda Williams, ‘Film Bodies: Gender, Genre and Excess’, Film Quarterly, vol. 44, no. 4, 1991
 
Hollywood and representation
Daniel Bernardi (Ed.), Classic Hollywood, Classic Whiteness (Minneapolis: University of Minnesota Press, 2002)
Daniel Bernardi (Ed.), The Persistence of Whiteness: Race and Contemporary Hollywood Cinema (London and New York: Routledge, 2008)
Harry M. Benshoff and Sean Griffin, America on Film: Representing Race, Class, Gender, and Sexuality at the Movies (London: Wiley-Blackwell, 2003)
Norman K. Denzin, Reading Race: Hollywood and the Cinema of Racial Violence (London: Sage, 2002)
Gina Marchetti, Romance and the ‘Yellow Peril’: Race, Sex, and Discursive Strategies in Hollywood Fiction (Berkeley: University of California Press, 1994)
James Snead, White Screens/Black Images: Hollywood From the Dark Side (London and New York: Routledge, 1994)
Robert Stam and Ella Shohat, Unthinking Eurocentrism: Multiculturalism and the Media (London and New York: Routledge, 1994)
Sharon Willis, High Contrast: Race and Gender in Contemporary Hollywood Films, (Durham: Duke University Press, 1997)
 
Hollywood now
Christopher Anderson, ‘Hollywood in the Home’, in James Naremore& Patrick Brantlinger (eds.) Modernity and Mass Culture (Bloomington: University of Indiana Press, 1991)
TinoBalio (ed.) Hollywood in the Age of Television (London: Unwin, 1990)
David Bordwell, The Way Hollywood Tells It: Story and Style in Modern Movies (Berkeley: University of California Press, 2006)
M. Keith Booker, Postmodern Hollywood: What's New in Film and Why It Makes Us Feel So Strange (Westport, CT: Greenwood Publishing Group, 2007)
Susan Christopherson& Michael Storper, ‘The City as Studio, the World as Back Lot: The Impact of Vertical Disintegration on the location of the Motion Picture Industry’, Environment and Planning D: Society and Space, vol. 4, no. 3, 1986
Ben Dickenson, Hollywood’s New Radicalism: War, Globalisation and the Movies from Reagan to George W. Bush (London: I.B. Tauris, 2006).
Susan Christopherson& Michael Storper, ‘The Effects of Flexible Specialisation on Industrial Politics and the Labour Market: The Motion Picture Industry’, Industrial and Labour Relations Review, vol. 43, no. 2, 1989
Nicholas Garnham, Capitalism and Communication (London: Sage, 1990) esp. ‘The Economics of the US Motion Picture Industry’
Jim Hillier, The New Hollywood (London: Studio Vista, 1993)
Geoff King, New Hollywood Cinema: An Introduction (London: I.B. Tauris, 2002)
Alec Klein, Stealing Time: Steve Case, Jerry Levin, and the Collapse of AOL Time Warner, (New York: Simon & Schuster, 2003)
Susanne Kord Elisabeth Krimmer, Contemporary Hollywood Masculinities: Gender, Genre and Politics (New York: Palgrave Macmillan, 2011)
Steve Neale and Murray Smith (eds.), Contemporary Hollywood Cinema (London and New York: Routledge, 1998)
Michael Ryan & Douglas Kellner, Camera Politica: The Politics and Ideology of Contemporary Hollywood Film (Bloomington: University of Indiana Press, 1988)
Thomas Schatz, ‘The New Hollywood’, in Jim Collins, Hilary Radner & Ava Preacher Collins (eds.) Film Theory Goes to the Movies (London: Routledge, 1993)
Ellen Seiter, Television and New Media Audiences (Oxford: Clarendon Press, 1999)
Kristin Thompson, Storytelling in the New Hollywood: Understanding Classical Narrative Technique (Harvard: Harvard University Press, 1999)
Janet Wasko, Hollywood in the New Information Age (Cambridge: Polity, 1994)
Robin Wood, Hollywood from Vietnam to Reagan (New York: UCP, 1986)
Justin Wyatt, High Concept (Austin: University of Texas Press, 1994)
 
 ARTS1062 Hollywood Film: Industry essay 代写 assignment