GEAR 306 | Course Introduction and Application Information

Course Name
Hollywood Cinema
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
GEAR 306
Fall/Spring
3
0
3
4

Prerequisites
None
Course Language
English
Course Type
Service Course
Course Level
First Cycle
Course Coordinator -
Course Lecturer(s)
Assistant(s) -
Course Objectives Develop a general knowledge of Hollywood's production/distribution/exhibition networks. Identify main themes and styles throughout Hollywood's history and recognize its patterns of authorship, star system, technology and genres. Contextualize it as a global system not only as a business but also as a system of meanings.
Learning Outcomes The students who succeeded in this course;
  • Define key concepts in film studies and their reflections on Hollywood cinema.
  • Evaluate Hollywood as a system of meanings, film industry and entertainment business.
  • Elaborate upon the history of Hollywood cinema as well as the methods and ideological issues related to the historical and cultural research in film and media studies in general.
  • Analyze the heterogeneity of Hollywood cinema with its various genres and approaches.
  • Define Hollywood’s star system, key studios, directors and its relation to other media.
  • Elaborate upon Hollywood’s complex relationship to key social and economic crises, cultural shifts and technological developments.
  • Critically analyze the tensions between art cinema and Hollywood cinema as well as various influences of Hollywood cinema on other cinemas.
  • Critically analyze individual Hollywood films from different periods and genres, while also compare different films from a diversity of genres and periods.
Course Content This course examines Hollywood in its economic, cultural and historical context. It studies its industrial dynamics (studio system, star system, etc.) in parallel with its narrative tendencies and stylistic devices. Students are expected to prepare papers analyzing Hollywood's systems in relation to its products and production processes. The three 500-800 word critical essays (worth 15% each) require the students to research and analyze a chosen film within its historical, social and cultural contexts. These assignments require the students to select a film from one of the periods and themes we have covered in the class and conduct a detailed analysis of how that film reflects the context in which it was produced/distributed/exhibited. The final paper (worths 40%) will be a deeper analysis of a selected period or theme with reference to the readings and in-class discussions. The details of the final paper will be provided on the 3rd week.

 



Course Category

Core Courses
Major Area Courses
Supportive Courses
Media and Management Skills Courses
Transferable Skill Courses

 

WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES

Week Subjects Related Preparation
1 Introduction to the Course
2 The Silent Period and the Sound Era - Screening: Modern Times (Charlie Chaplin, 1936) Gomery, D, The Coming of Sound: A History. New York & London: Routledge, 1980. 87-115
3 Genres I: Melodrama - Screening: All About Eve (Joseph L. Mankiewicz, 1950) Neale, S, Genre and Hollywood. London & New York: Routledge, 2000. 179-205.
4 Genres II: Film Noir - Screening: Mildred Pierce (Michael Curtiz, 1945) Naremore, J. (2008). More than night: Film noir in its contexts. University of California Press. 167-220.
5 Genres III: Psycho-Biddy - Screening: What Ever Happened To Baby Jane? (Robert Aldrich, 1962) R. M. Hodgens, What Ever Happened to Baby Jane? Film Quarterly, Vol. 16, No. 3 (Spring, 1963), pp. 60-61
6 The Production Code and Studios - Screening: Feud (Ryan Murphy, 2017) Bordwell, D., Staiger, J., & Thompson, K, The classical Hollywood cinema: Film style and mode of production to1960. Columbia University Press, 1985. 1-70.
7 Genres IV: Western - Screening: Django Unchained (Quentin Taratino, 2012) Hollywood's Indian: The portrayal of the Native American in film. University Press of Kentucky. Bönke, M. (2001). Myth and law in the films of John Ford. Journal of law and society, 28(1), 47-63.
8 New Hollywood - Screening: Who’s Afraid of Virginia Woolf (Mike Nichols, 1966) - First response paper due date Tzioumakis, Y. (2006). The New Hollywood and the Independent Hollywood in American Independent Cinema: An Introduction (Rutgers, pp. 169-191.
9 Authorship - Screening: Taxi Driver (Martin Scorsese, 1976) Spadoni, R. (1995). Geniuses of the systems: Authorship and evidence in classical Hollywood cinema. Film History, 7(4), 362-385.
10 Contemporary Hollywood - Screening: Scream (Wes Craven, 1996) - Second response paper due date Neale, S., & Smith, M. (Eds.). (2013). Contemporary Hollywood Cinema. London and New York: Routledge. 280-294
11 Hollywood, Internet and Found Footage - Screening: Phoenix Forgotten (Justin Barber, 2017) - Third Response Paper Due date Bordwell, D. (2002). Intensified Continuity: Visual Style in Contemporary American Film, Film Quarterly. 55 (3), pp. 16-28.
12 Stardom - Screening: Neon Demon (Nicholas Winding Refn, 2016) Mulvey, L. (1989). Visual pleasure and narrative cinema. In Visual and other pleasures. Palgrave Macmillan UK, pp. 14-26.
13 Pixar, Disney and the Digital Era - Screening: Frozen (Chris Buck and Jennifer Lee, 2013) - Fourth response paper due date. Watts, S. (1995). Walt Disney: Art and politics in the American century. The Journal of American History. 82 (1), pp. 84-110.
14 New Cinema of Attractions? Re-make and Reboot - Screening: Ghostbuster (Paul Feig, 2016) - Fifth response paper due date Behlil, M. (2016). Hollywood is Everywhere: Global Directors in the Blockbuster Era. Amsterdam University Press. 97-111.
15 Review of the semester
16 Review of the semester

 

Course Textbooks
References

The course uses the sources that are listed above in the Weekly Subjects and Related Preparations.

 

EVALUATION SYSTEM

Semester Requirements Number Percentage
Participation
1
10
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Homework / Assignments
5
90
Presentation / Jury
Project
Seminar / Workshop
Portfolios
Midterms / Oral Exams
Final / Oral Exam
Total

Contribution of Semester Work to Final Grade
6
100
Contribution of Final Work to Final Grade
Total

ECTS / WORKLOAD TABLE

Activities Number Duration (Hours) Workload
Course Hours
Including exam week: 16 x total hours
16
3
48
Laboratory / Application Hours
Including exam week: 16 x total hours
16
Study Hours Out of Class
Field Work
Quizzes / Studio Critiques
Homework / Assignments
5
14
Presentation / Jury
Project
Seminar / Workshop
Portfolios
Midterms / Oral Exams
Final / Oral Exam
    Total
118

 

COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP

#
Program Qualifications / Outcomes
* Level of Contribution
1
2
3
4
5
1 Successfully applies theoretical and practical knowledge and skills in Culinary Arst and Management
2 Professionally applies artistic knowledge and skills that are required in the field of Culinary Arts
3 Carries best practices in terms of work and food security, safety and hygiene in food production
4 Appreciates, evaluates and makes decisions regarding to visual, textual and nutritional data with respect to food production and presentation
5 Recognizes and evaluates the impact of gastronomy on culture and society
6 Possesses visual thinking skils and effectively conveys visual concepts
7 Assumes responsibility for solving complex problems that may occur in the field of Culinary Arts and management, both individually and as a team member
8 Initiates culinary projects and can assume leadership for success
9 Critically evaluates the knowledge and skills possessed in Culinary Arts and Management, defines learning requirements and directs own learning
10 Informs individuals and organizations on topics related to Culinary Arts and Management and effectively conveys opinions in verbal or written ways
11 Shares opinions with experts or nonexperts by supporting them with quantitative and qualitative data
12 Possesses necessary knowledge and skills in relevant fields such as gastronomy, design and management and effectively applies them to the practice of Culinary Arts
13 Follows the developments in field and communicates with colleguages by fleuntly using a foreign language
14 Speaks a second foreign language in intermediate level
15 Effectively uses technological equipment related to the field
16 Possesses ethical values in the field of Culinary Arts and Management

*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest