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Poslední úprava: Richard Andrew Nowell, Ph.D. (23.09.2020)
Distinctions between a supposedly American Hollywood and a supposedly separate "European cinema" represent something of a founding myth of Film Studies and myriad film cultures around the world. However, such a distinction masks the degree to which transatlantic flows of capital, people, ideas, and products have generated myriad interconnections between the two. Accordingly, this course offers insights into the relations between Hollywood and Europe, by seeking to complicate three discourses underpinning discussions of this topic. First, that Hollywood is an American institution, and as such is separate from Europe. Second, that Hollywood cinema and European cinema are fundamentally different - even binarily opposed - entities. Third, that the dissemination of Hollywood cinema in Europe represents an effort both to impose a "foreign" culture onto an overseas territory. Students will therefore consider the extent to which Europeans have been a part of the structures of Hollywood, the stylistic exchanges linking "Hollywood" and "European" films, and the ways Hollywood has geared images of Europe and Europeans to targeted audiences on both sides of the Atlantic. In so doing, students are invited to develop their critical understandings of issues pertaining to cultural imperialism, Americanization, globalization, and the national. |
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Poslední úprava: Richard Andrew Nowell, Ph.D. (23.09.2020)
Course Goals and Student Learning Objectives Hollywood/Europe: A Transnational Film Culture aims to facilitate students’ deeper understanding of the dynamic relationships that have existed between Hollywood and Europe. It aims to do so be shedding light on the various contexts in which the interaction of Hollywood and Europe has taken place - from strategy, production, and film content to distribution, exhibition/delivery, and reception. By the end of the course, students will be expected to posses: the critical abilities to produce insightful analysis of film texts, and to explain how these films are shaped by the complex social, historical, political, and industrial relationships that have existed between Hollywood and Europe at certain historical junctures. For the targeted learning outcomes of each session, please refer to the syllabus on SIS.
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Poslední úprava: Richard Andrew Nowell, Ph.D. (30.08.2021)
This course is graded on the submission of three short essays. Each paper is equally weighted, and the overall grade for this course is the average thereof.
Paper I Students are to submit a circa. 1,500 word essay in response to the following prompt derived from sessions 1 and 2:
Prompt Hollywood is typically assumed to be American. However, the work of Higson, Behlil, and Meers show us how transatlantic flows of people, capital, ideas, and products all complicate the notion that Hollywood is in fact an American institution, and thus distinct from Europe. With these points in mind, consider the extent to which production, content, and circulation of ONE Hollywood film not screened on this course. Due Date: 12:00 Noon CET Friday 5 November 2021
Paper II Students are to submit a circa. 1,500 word essay in response to the following prompt derived from sessions 3 and 4.
Prompt: Hollywood cinema and European cinema are often considered to be binarily opposed, based on oppositions related to escapist entertainment and cerebral art. However, this notion is complicated by European-based producers supplying Hollywood with examples of “Mid-Atlantic Cinema” and “Imperso-Nation”, and Hollywood’s handling of films using the art cinema model typically associated with Europe. With this point in mind, use an example of ONE of these approaches to illustrate this phenomenon.
Due Date: 12:00 Noon CET Friday 3 December 2021
Final Paper Students are to submit a circa. 1,500 word essay in response to a prompt derived from sessions 5 and 6.
Prompts: Central to the discussion of Americanization has been the notion that Hollywood promotes American values to international audiences such as those in Europe. However, some scholars have shown that Hollywood sometimes uses images of Europe and Europeans primarily to invite Americans to think critically about themselves and their nation. With these points in mind, show how one of Hollywood’s European-centered tourist films uses images of Europe to invite American audiences to weigh up the relative merits of life stateside versus that in Europe. OR Hollywood’s relationships to Europe as a market and as subject matter have usually been understood in terms of Americanization – as a powerful overseas US institution imposing an outside culture onto a sovereign territory. However, some scholars have suggested that the voluntary nature of movie-going and the reliance on international revenue has demanded Hollywood make concessions to the perceived tastes of audiences in Europe. With this point in mind, show how a Euro-tailored Hollywood film has been tailored to be marketable and appealing to European audiences.
Due Date: 12:00 CET Noon Friday 7 January 2022
All Essays are to be submitted in PDF or word format to richard_nowell@hotmail.com - students should include their name and the course title in the name of the files they send
Penalties for Late Submission of Work
Students should be aware that the following penalties may be imposed for late submission, unless their are grounds for medical or compassionate exceptions.
On the day following the due date - 5 marks out of 100 deducted On the 2nd day following the due to date - 10 marks out of 100 deducted On the 3rd day following the due date - 15 marks out of 100 deducted On the 4th day following the due date - 20 marks out of 100 deducted After the 4th day following the due date - all marks deducted
Tutorials All students are invited to arrange one-on-one meetings to discuss assignments and/or any issues arising from the course. Meetings can be arranged by email and will take place over zoom. Naturally, if students feel matters can be handled by email, they should be aware of the fact that a response is guaranteed within twenty-four hours of receipt.
Feedback Each student will be emailed individually with detailed personal feedback on each of their paper. This feedback is designed to be constructive so will spotlight strengths, shortcomings, and potential alternative approaches.
Plagiarism Information
It is the duty of every student to ensure that s/he has familiarized him- or herself with the following details pertaining to plagiarism. They are included in English and Czech.
(A) Any use of quoted texts in seminar papers and theses must be acknowledged. Such use must meet the following conditions: (1) the beginning and end of the quoted passage must be shown with quotation marks; (2) when quoting from periodicals or books, the name(s) of author(s), book or article titles, the year of publication, and page from which the passage is quoted must all be stated in footnotes or endnotes; (3) internet sourcing must include a full web address where the text can be found as well as the date the web page was visited by the author.
(B) In case the use of any texts other than those written by the author is established without proper acknowledgement as defined in (A), the paper or thesis will be deemed plagiarized and handed over to the Disciplinary Commission of the Faculty of Social Sciences.
(A) Použití veškerých citovaných textů v seminárních a kvalifikačních pracích musí splňovat tyto podmínky: (1) začátek a konec citované pasáže musí být opatřeny uvozovkami; (2) citujeme-li z periodik či knih, je nutno uvést - zpravidla v poznámce pod čarou nebo vysvětlivce - autora, název díla, rok vydání a stránku, z níž je citováno; (3) v případě citací z internetových zdrojů je nutno uvést full internetovou adresu, na níž lze citovaný text dohledat, a datum návštěvy internetové stránky.
(B) Pokud budou v uvedených pracích zjištěny přejaté texty bez výše uvedených náležitostí, bude práce považována za plagiát a předána Disciplinární komisi FSV UK.
Grading/Evaluation: Grades from A-4 F will be awarded based on the following criteria.
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Poslední úprava: Richard Andrew Nowell, Ph.D. (23.09.2020)
Readings: Behlil, Meliz. Hollywood is Everywhere: Global Directors in the Blockbuster Era. Amsterdam: Amsterdam University Press, 2016. Print. Bordwell, David. “The Art Cinema as a Mode of Film Practice.” The European Cinema Reader. Ed. Catherine Fowler. London: Routledge, 2002: 94–102. Print. Higson, Andrew. “The Concept of National Cinema.” Screen 30. 1 (1989): 36–46. Print. Hochsherf, Tobias, and James Ligott. “Working Title Films: From Mid-Atlantic to the Heart of Europe.” Film International 8. 6 (2010): 8–20. Print. Kramer, Peter. “Hollywood and its Global Audiences: A Comparative Study of the Biggest Box Office Hits in the United States and Outside the Unites States since the 1970s.” Explorations in New Cinema History: Approaches and Case Studies. Eds. Richard Maltby, Daniel Biltereyst, and Philippe Meers. Oxford: Whiley-Blackwell, 2011: 171–184. Print. Maltby, Richard. Hollywood Cinema: Second edition. London: Blackwell, 2003. Print. Meers, Philippe. “‘It’s the Language of Film!’ Young Film Audiences on Hollywood and Europe.” Hollywood Abroad: Audiences and Cultural Exchange. Eds. Melvyn Stokes and Richard Maltby. London: BFI, 2004: 158–174. Print. Negra, Diane, “Romance and/As Tourism: Heritage Whiteness and the (Inter)National Imaginary in the New Woman’s Film.” Keyframes: Popular Cinema and Cultural Studies. Eds. Matthew Tinckom and Amy Villarejo. London: Routledge, 2002: 82–97. Print. Vanderschelden, Isabelle. “Luc Besson’s Ambition: EuropaCorp as a European Major for the 21st Century.” Studies in European Cinema 5.2 (2008): 91–104. Print. Films: Artist, The (2011) Grand Budapest Hotel (2014) Inglorious Basterds (2009) Madagascar 3: Europe’s Most Wanted (2012) Paul (2010) Taken (2008) Under the Tuscan Sun (2003) |
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Poslední úprava: Mgr. Barbora Navrátilová (10.10.2020)
This course is based around a series of fortnightly lecture/seminars run over Zoom. During these sessions micro-lectures will be delivered on, and students will be invited to engage actively in discussions about, the topics, the films, and the set readings. Preparatory questions are included in the syllabus on all of the readings and screenings, to which students are expected to formulate their answers - which we will in turn dicuss during the seminar. These activities are geared to a) facilitating students understandings of the targeted learning outcomes (highlighted in the syllabus) and preparing students for the corresponding assessments. The course will be supported by a moodle site, containing all important materials and information relating to the course.
Zoom meeting room: https://cesnet.zoom.us/j/91536123002?pwd=ajd5eW41UG1xa1NGM0wwZjJVNnlXUT09
Meeting ID: 915 3612 3002
Passcode: 163563
Course Moodle Site Enrollement: https://dlcv.cuni.cz/course/index.php?categoryid=148 |