Syllabus: Spring, 2005
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WEEK 1: January 18, 20
TU Introduction to the Course:
- logistics, texts, films, requirements
- Hollywood Immigrants and the Problem of Cultural Transfer: Why Austria?
- RECOMMENDED BACKGROUND: An Empire of Their Own, Chapters 1- 5 (on studio heads)
TH Forced into Exile: Hollywood and the Second World War
PART 1: Politics and Stereotyping: World War II and Hollywood
WEEK 2: January 25, 27
TU How Immigration Lead to Politics: The WW II Backlash
- READ: City of Nets, Chapter 2-6 (on the politics of refugees, their political
situations, and the culture they generated)
Schnauber, Hollywood Haven (passim; recommended)
- CLASS DISCUSSION: How a culture of immigration generated the most American
of stereotypes
TH Austrian Film Stereotypes: Before and After WW II
WEEK 3: February 1, 3
TU Austria and the Politics of the Second World War: Victims
- READ: An Empire of Their Own, Chapters 8 and 9 (two generations of
immigrants)
City of Nets, Chapters 8, 9, 10, 11 (political backlash)
- CLASS DISCUSSION: Generations, the field of cultural production, and domestic
politics: how Europe became unwelcome in the US
TH
- The Third Man
- READ: excerpts from Drazin, In Search of The Third Man
Kemp, "Retrospective: The Third Man"
McFarland, "The Third Man: Context, Text and Intertextuality"
- CLASS DISCUSSION: The Third Man is one of the great thriller movies. What
images of Europe and Vienna does it provide to the US? Who are "good
guys" and "bad guys," and why?
PART II: Exporting Actors and Celebrity: Casting, Marketing, & Career
WEEK 4: February 8, 10
TU The Case of Hedy Lamarr: Shady Ladies and Vamps with Accents
The Image:
- Ecstasy
Algiers
Comrade X
- READ:
http://www.germanhollywood.com/lamarr.html
On the Problem: City of Nets, 11-13
Pratt, "'O, Lubitsch, Where Wert Thou?'"
On the Solution: "Female Inventors: Hedy Lamarr"
Edison, "Interview with Hedy Lamarr"
Kenneth Chang, "Hollywood Star's Wartime Secret"
Weissberg "Calling Hedy Lamarr"
Vogt, "Mystery in Palm Springs"
- CLASS DISCUSSION: How are these films designed to capitalize on Lamarr's
established screen persona and real situation? What weaknesses are the
films designed to cover up, from the point of view of the US audience?
TH Klaus Maria Brandauer: Leading Man Becomes the Character Actor
- Mephisto
Never Say Never Again
Out of Africa
- READ: Thomas, "Brandauer's Career Accelerates"
Jaehne. "Talking Heads: Out of Austria" (Interview w/ KMB)
- CLASS DISCUSSION: Brandauer is Austria's equivalent of a great Shakespearean actor.
Mephisto was an Academy-Award-winning film that established him as an
international star of sorts. What kind of international star is that?
If you were his agent, what would you point to? Brandauer then gets a
key small role in a Meryl Streep-Robert Redford extravaganza, and a seriously
silly role as one of the great Bond villains. What kind of career moves does
this represent?
WEEK 5: February 15, 17
TU The Case of the "Gubernator": How to Use Celebrity
- Pumping Iron
Conan the Barbarian
- READ: Christy, "The Great Life" (Schwarzenegger on Conan)
Busch. "Mass Appeal"
Woodman, "Meet Mr. Iron Will"
Hibbert, "Take Me to Your Lederhosen"
- CLASS DISCUSSION: Why would a grown man do this? Find examples of
or speculate on Arnold's calculations.
Précis 1 Due: Comparing stereotypes, Third Man to Sound of Music
TH From Terminator to Gubernator
- True Lies
- READ:
http://www.schwarzenegger.com/en/index.asp
http://www.germanhollywood.com/arnoldS.html
Bruck, "Letter from California: Supermoderate!"
"Historians Dispute Schwarzenegger's Convention Comments"
"Briefmarke: Arnie zum 'Aufpicken'" (Arnie has a stamp!- picture)
"Zum Ablecken: Arnie jetzt als Briefmarke"
Seeßlen. "Arnold Schwarzenegger"
CLASS DISCUSSION: What's different from his earlier personae? What does
celebrity bring to politics?
WEEK 6: February 22, 24
TU Celebrity's Afterlife: The Case of Alma (Mahler Gropius Werfel)
- Bride of the Wind
- READ: Tom Lehrer, "Alma" (song- listen, too!!) (download mp3)
text
Biography: Alma Mahler Gropius Werfel at
http://www.aeiou.at/aeiou.encyclop.m/m038216.htm
- CLASS DISCUSSION: What is gendered about celebrity? Is it easier or harder for
women to translate their celebrity across national lines? How do
stereotypes function across lines?
TH Exam 1
FIRST ONLINE QUIZ CLOSES AT NOON, FRIDAY (pick one basic film)
PART III: Billy Wilder, Meta-Director: Adaptations and Cultural Boundaries
WEEK 7: March 1, 4
TU Sex, Lies, and Politics: Sending Up the US and Its Industries
- One, Two, Three (Note: from a play by Ferenc Molnár)
- READ: Dassanowsky-Harris, "Billy Wilder's Germany" (both parts)
http://www.germanhollywood.com/bwilder.html
- CLASS DISCUSSION: How does this picture bridge the gap between Europe and
America? What stereotypes are at play? How are the Cold War and the
"Coca-Colonization" of Marshall Plan Europe dealt with?
TH Making Marilyn
- Some Like It Hot
- READ: Excerpts from Sikov, On Sunset Boulevard
- CLASS DISCUSSION: This film was made after the Production Code went in,
censoring the contents of movies with respect to sex and violence.
How far did Wilder actually go? That is, what images did he craft for Monroe
and Lemmon particularly, and how "American" are they?
WEEK 8: March 8, 10
TU The Meta-Picture: Transacting Hollywood History
- Sunset Boulevard
- READ: Finish excerpts from Sikov, On Sunset Boulevard
- CLASS DISCUSSION: Wilder knew his Hollywood history, and so peopled this
film with luminaries from older generations of filmmaking, especially in
figures like Gloria Swanson, Erich von Stroheim, Cecil B. de Mille,
and the card-playing comedians. Even more interesting, however, is the way
in which the visual styles surrounding the characters alters. Up for discussion:
what looks and sounds modern or old-fashioned in the film? Consider this film with
respect to City of Nets, and as a "film noir."
TH Everything Old is New Again: Scripts with Legs
- Ace in the Hole
Mad City
- CLASS DISCUSSION: Costa-Gavras remade this classic Wilder script about the
effects of publicity, even though "Ace in the Hole" has not been re-
released, arguably because it is the nastiest movie Wilder ever made.
Compare the careerist newsmen.
SPRING BREAK: March 12-March 20
SECOND ONLINE QUIZ CLOSES AT NOON, FRIDAY, OF SPRING BREAK
(pick one Wilder film)
PART IV: "Translation," "Adaptation," and "Remakes": Boundary-Crossings
WEEK 9: March 22, 24
TU Adapting Europe for the Rubes: "The Lubitsch Touch" as Satire
- Ninotchka
To Be or Not to Be
- READ:
http://www.germanhollywood.com/gotmail.html
Melehy, "Lubitsch's To Be or Not to Be"
Gemünden, "Space out of Joint: Ernst Lubitsch's To Be or Not to Be"
- CLASS DISCUSSION: Lubitsch is famous for the elegance and wit of his cinema technique --
how telling gestures and a light touch can be used to make extreme points.
These two films use comedy in the midst of political tragedies (the Nazi
era and Soviet-era political repression). What does the audience "learn" about politics
from these comedies?
TH The Politics of Adaptation
- READ: Lefevere, Translation, Rewriting, and the Manipulation of Literary Fame
Chapter 1, "Prewrite"; Chapter 2: "The System: Patronage"
- CLASS DISCUSSION: "Translation" or adaptation (especially with remakes) requires
awareness of a source and a target -- two frames of reference, each including a culture's
sense of stereotype, genre, etc., and an audience with a specific set of viewing habits.
The challenge for an adaptor is to make the source material fit the target. What kinds
of issues must be dealt with in moving materials across national, audience, language,
or time boundaries?
WEEK 10: March 29, 31
TU Entertainers (Hookers?) with Heart: One Theme, Three Generations
- Irma La Douce
Sweet Charity
Moulin Rouge
(and never forget Gigi, the musical off a French short story)
- CLASS DISCUSSION: What kind of stereotype do these women play, and why do
hookers need to play in musicals? Compare Shirley McLaine and Nicole Kidman.
What other elements of the filmmaking are borrowed from Wilder's Irma?
(Look particularly at the visual and dance styles.)
  Précis 2 due: Lubitsch's Politics
TH Film Showing: Wilder, The Matchmaker (dir. Anthony)
  THIRD ONLINE QUIZ CLOSES AT NOON, FRIDAY (pick one Lubitsch film)
WEEK 11: April 5, 7
TU Case Study: Urban Decadence, Vienna 1900 and Manhattan 1990
- READ: Arthur Schnitzler, "Dream Story"
- CLASS DISCUSSION: What's relevant to today in this novella?
What seems dated? What does the novella say about the relations between men and women?
TH The Remake: Changing Audiences and Nations
- Kubrick, Eyes Wide Shut (note: parts very r-rated; fast forward is good)
- CLASS DISCUSSION: Argue for or against EWS as successful adaptation. Consider Kubrick's
preservation of the original's themes; what had to be changed to make the topic work
for today's audience.
(Note that Schnitzler has been adapted repeatedly. The most familiar case is his play Reigen
(Hands Around, La Ronde, or Rondeley), which turned into
Max Ophüls' classic film, La Ronde (1950), Tom Stoppardšs Dalliance
(1986), and David Harešs The Blue Room (1998), which starred Kidman on Broadway.)
WEEK 12: April 12, 14
TU The Plot Thickens: Adaptations
- READ: Oxenford, A Day Well Spent
READ: Thornton Wilder, Merchant of Yonkers and Matchmaker
- CLASS DISCUSSION: Wilder did not get his material directly from Oxenford,
he got it off of Johann Nestroy's Einen Jux will er sich machen
(A Night Out, or He Wants to Have a Lark, Vienna, premiered 1842 and
published 1844). The matchmaker figure emerges in Nestroy as somewhat more important
than in Oxenford. What changes are necessary to update a play over a century?
Check particularly what stands in the way of the marriages, as keys to social values.
TH Merchant of Yonkers to The Matchmaker to Hello, Dolly
- The Matchmaker (with Shirley Booth)
Hello, Dolly
- READ:
http://www.imagi-nation.com/moonstruck/albm69.html
Dunne, "Dolly's Dilemma"
Hirschorn, "In the Picture"
Kelly, "Directing Dolly"
- CLASS DISCUSSION: These are two theater pieces transformed into films (one play,
one musical). Compare the characterizations especially of the matchmakers,
Streisand and Booth, especially in light of casting decisions and the need for
"bankable" stars."
GROUP PROJECT DUE: Wilder's Subversions
WEEK 13: April 19, 21
TU The Dark Side of Adaptation: From Play to Musicals
TH Film showing: Lubitsch, Merry Widow
WEEK 14: April 26, 28
T What Directors Do: Adapting Visual Grammars
- Lubitsch, Merry Widow
Wilder, Emperor Waltz
- READ: Isaacs, "Lubitsch and the Filmed-Play Syndrome"
On Lehar and The Merry Widow:
On Emperor Franz Joseph (the Emperor of the film):
- CLASS DISCUSSION: What elements do or do not look like US movies to you?
How literal are these cameras?
TH Adapting Action Heroes: Michael Kertez/Curtiz
PART V: "Mit Schlag": Adapting Creampuffs from the Austrian Theater
WEEK 15: May 3, 5
T From Vienna to Early Broadway to the Big Screen: Adapting Genre
TH Some Conclusions: The Persistence of Europe in Hollywood
- CLASS DISCUSSION: Final exam preparation: what still remains of the Austrian and
European heritage in Hollywood? Consider styles, genres, influential directors,
and a cultural locus. Who from Europe is "immigrating" today?
FINAL EXAM: Tuesday, 18 May, 9 to 12 noon
FOURTH ONLINE QUIZ CLOSES AT MIDNIGHT BEFORE THE EXAM
(on an adapted film)
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