AMERICAN POPULAR FILM: HOLLYWOOD in the 1960s.
[J-Term, 2014]
FILM 2332
DR. RICK WORLAND
Daily, Jan 6-15. 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: Barry Keith Grant, ed. American Cinema of the 1960s: Themes & Variations (Rutgers, 2008)
Worland, ed. Readings on 1960s Hollywood. (emailed as pdf’s).
COURSE DESCRIPTION: This course examines Hollywood movies of the 1960s, 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 a period of political tumult, 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 time are recorded in some of the decade’s most popular movies.
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 the University Curriculum Pillars (Creativity & Aesthetics, I):
--Students will be able to identify methods, techniques, or languages of a particular art form, creative endeavor or
craft(s) and explain how those inform the creation, performance or analysis of creative work.
--Students will be able to demonstrate an understanding of concepts fundamental to the creative impulse through
analysis, performance, or creation.
COURSE REQUIREMENTS: *Students should watch Alfred Hitchcock’s Psycho (1960) by the first day of class.
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 2-3-page paper summarizing
one of the assigned articles of your choice (25 pts.); a short paper of about 5-6 pages on a film of your choice from
the 1960s (50 pts.) [The assignments for the papers appears on the last page.] Class participation/attendance will
be worth 25 pts. The papers will be marked down one letter grade for each day it is late. 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
FILM 2332 American Popular Film
[J-Term 2014]
Worland,
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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,
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
2013-2014 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. *See PSYCHO (1960) director, Alfred Hitchcock by the first day of class.
Week 1) Mon. Jan. 6 -- Introduction: Postwar Hollywood, 1945-1960.
Read: Grant, “Introduction”, p. 1-21.
AM: El Cid (1961); The Tingler (1959); Psycho (1960) [excerpts]
PM: Ride the High Country (1962) Sam Peckinpah
Tues. Jan. 7-- Genre Revision.
Read: Grant, p. 85-94; p. 110-116; 127-29.
AM: Dr. Strangelove (1964) Stanley Kubrick
PM: Breathless (France, 1960) Jean-Luc Godard [excerpt]
*Wed. Jan. 8-- The Art Cinema Influence. ARTICLE ANALYSIS Paper DUE.
Read: (pdf) Charles Maland, “Dr. Strangelove: Nightmare Comedy…”
(pdf) Jim Curtis, “On Beatlemania”.
AM: A Hard Day’s Night (1964) Richard Lester
PM: Bonnie and Clyde (1967) Arthur Penn
Thurs. Jan. 9-- Counter-Culture.
Read: (pdf) Allen J. Matusow, “Rise and Fall of a Counterculture”.
(pdf) Stephen Prince, “The Hemorrhaging of American Cinema”
AM: Bonnie and Clyde, cont.
PM: The Graduate (1967) Mike Nichols
Fri. Jan. 10-- Love and Marriage I.
AM: The Graduate, cont. Come Blow Your Horn (1962) Bud Yorkin [excerpt]
**PM: MIDTERM EXAM.
FILM 2332 American Popular Film
[J-Term 2014]
Worland,
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Week 2) Mon. Jan. 13-- Love & Marriage II; Civil Right and Wrongs.
Read: Grant, p. 172-81; 189-92.
AM: Two For the Road (1967) Stanley Donen
PM: In the Heat of the Night (1967) Norman Jewison
**Tues. Jan. 14-- Exploitation Movies and “The New Hollywood”. FILM ANALYSIS Paper Due.
Read: Grant, p. 44-57; 181-92; (pdf), Peter Biskind, “‘Who Made Us Right?’, 1969”
.
AM: The Wild Angels (AIP, 1966) Roger Corman
PM: Easy Rider (Columbia, 1969) Dennis Hopper
Wed. Jan. 15-- Coming Apart. Conclusion to the Course.
Read: p. 193-203; 206-210; 217-34.
AM: Easy Rider, cont.
PM: FINAL EXAM.
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PAPER ASSIGNMENTS: See above for due dates.
**“The dog/computer/internet ate my homework” will never be an acceptable excuse.
Article summary: [25 pts.] For one of the following assigned readings, present a 3-4 page overview and summary of
the writer’s main points about aspects of film analysis and/or historical arguments about 1960s Hollywood cinema:
Charles Maland, “Nightmare Comedy…Dr. Strangelove”; Jim Curtis, “On Beatlemania”; or Stephen Prince, “The
Hemorrhaging of American Cinema”. You should also include your own response to the writer’s arguments.
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 movie of your choice released from 19601969 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 at least three (3) 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?
FILM 2332 American Popular Film
[J-Term 2014]
Worland,
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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.
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.