Intro europe meets hollywood

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outline and aims of intermediate module on Europe meets Hollywood

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Intro europe meets hollywood

  1. 1. LECTURE ONE: INTRODUCTION
  2. 2.  What kind of film narrative is associated with Europe and which with Hollywood? Drawing on your knowledge, list features for each, e.g. EUROPE HOLLYWOOD subtitles English language documentary forms fiction/animation
  3. 3.  EUROPE  HOLLYWOOD Art cinema  Popular/genre cinema Diverse  Monolithic Auteurs  Stars Independent producers  Studio system Intellectual  Popular Ambiguous narrative  Clear narrative Open  Closed Local (or national)  Global Alternative  The ‘norm’ Difficult  Straightforward Art  Commerce Niche  Mainstream Margins  Centre
  4. 4.  Aim of this module Transnational approach Crossing boundaries Undermining traditional binary concepts Looking at geographical movement between Europe and Hollywood Points of intersection and cross-cultural collaboration
  5. 5.  Europe and Hollywood are large concepts Therefore need to break down Our focus is therefore Weimar cinema (Germany) 1920s Émigré directors/stars in Hollywood Art cinema in Hollywood
  6. 6.  See Reading Week 8 for this reference Highlights the focus of this module: ‘A cinema of in-between’ ‘A form of cinematic expression which highlights the dialectics of outsider and insider, of the liminal, fluid and temporary, of upward and downward mobility, of high brow and low brow.’ Wilder represents the problematic of the Europe/Hollywood axis Hollywood is not extrinsic to Europe Europe is not extrinsic to Hollywood
  7. 7.  ‘liminal’, meaning on the threshold between two states Definition: ‘situations and conditions that are characterized by the dislocation of established structures, the reversal of hierarchies, and uncertainty regarding the continuity of tradition and future outcomes’ Something that happens when Europe meets Hollywood!
  8. 8.  To explore the history of the relationship between filmmaking in Hollywood and Europe from the early 20th Century through to the present day To critically analyse received notions of Hollywood hegemony and examine the hidden histories of international collaboration and engagement by professionals as well as audiences across the two continents To investigate specific case studies of film professionals who practised their art in both Europe and Hollywood.and critically interpret different theoretical and critical academic perspectives on Weimar cinema in particular, and on the writing of a film history in general To study the textual features of films from a transnational perspective as well as the historical and institutional contexts which shaped them
  9. 9.  Traditional dichotomy has been undermined in recent scholarship which centres on the ‘transnational’ E.g. Tim Bergfelder: ‘Transnationalism always needs to encompass a dialogue between transitoriness and location, and between émigrés and hosts, and involves a process that blurs and ultimately dissolves the boundaries between these oppositions.’
  10. 10.  Module booklet on WebLearn Approaches on the module Screenings on the module Additional Screenings Assessments Seminars
  11. 11. NosferatuAvailable in full on You Tubehttp://www.youtube.com/watch?v=rcyzubFvBsA

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