Henry Jenkins
14N-437
253-3068
henry3@mit.edu
Office Hours: 5-6 pm T, 1-2 pm TH, and by appointment.
In this class, we will be exploring the intersection between genre and
authorship, trying to develop a richer appreciation and fuller understanding
of the works of four major comedy directors -- Frank Capra, Preston Sturges,
Ernest Lubitsch, and Billy Wilder. Among the recurring concerns of the
course are:
1. The role these directors played in shaping our conceptions of America
and Europe during a pivotal period in U.S. cultural history.
2. The relationship of these filmmakers to larger tendencies within
the romantic comedy tradition and its literary and theatrical antecedents.
3. The competing bids for authorship within the Hollywood system between
directors, script writers, and studios.
4. The ways that these directors exploited the meanings associated
to particular star performers.
5. The impact of these filmmakers and their works on contemporary
American and International cinema.
** I am going to do my best to get us out by 5 everyday, but on some
occasions, where the film being screened is especially long, we may run
over by a few minutes. In all
cases, the films screened will be available on video from the MIT Film
Office (14N-420).
REQUIRED READING:
(Order books yourself from on-line book dealer.)
James Harvey, Romantic Comedy in Hollywood From Lubitsch to Sturges
(New York: Da Capo, 1987) [RC]
Robert Sklar (ed.) Frank Capra: Authorship and the Studio System (Philadelphia:
Temple University Press, 1998) [FCASS]
Oscar Wilde, Lady Windermere's Fan (Any edition but Dover has cheapest
one at 1.00)
Course Readings -- Reserved book room.
RECOMMENDED READING:
Kristine Brunovska Karnick and Henry Jenkins (Eds.), Classical Hollywood
Comedy (New York: AFI/Routledge, 1995)[CHC]
ASSIGNMENTS:
1. Four short 5 page essays -- one focused on
each of the four directors. You're encouraged to take a range of different
approaches here, including consideration of how films draw on broader
genre traditions, how they fit into the thematic and stylistic trajectory
of the director's larger body of work, how they have influenced subsequent
filmmakers or works, how they exploit the potential meanings of the central
performers, how they shaped our perceptions of America and/or Europe,
etc. Students are also encouraged to incorporate references to additional
films by the directors not screened in the class and will be given a list
of those titles available from the Film Office. Each paper is worth 15
percent of your final grade.
2. Class Journal (due every Tuesday) -- the
journal should consist of 1-2 page reactions to the films and other materials
discussed in class the previous week. You should use the journal to sketch
out ideas that might lead to your longer essays. The journal can be informal
and personal, but it should make some larger claims and support them with
concrete examples from the films. The journal is worth 30 percent of your
final grade.
3. Class Participation -- Although I will be
providing some basic background each period through lecture, this is primarily
a discussion-centered course. You will be expected to be up to speed on
the films and the readings, to attend class regularly, and to participate
actively in class discussions. Class participation is worth 10 percent
of your final grade.
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