ࡱ > X Z W X bjbj 4^ x x 0 Q Q Q Q Q e e e e < < e $ w J Q Q Q V Q Q . e b " 0 c c c Q 4 c : FIL 4672: Hollywood, Censorship, & Regulation, 4 cr. hr.
(Class location and time: TBA)
Dr. Chris Rob Office Hours:
T/TH: 2:00-4:20 T: 4:30-5:30
CU 110 CU 214
E-mail: crobe@fau.edu Phone: 561.297.1306
Required Texts:
Matthew Bernstein, ed. Controlling Hollywood: Censorship and Regulation in the Studio Era (CH)
Charles Lyons, The New Censors: Movies and the Culture Wars (NC)
Supplemental Readings on Course Blackboard
Course Description: All-too-often popular discussions of cinema are situated within a highly individualized framework of directors and stars (and, to a lesser extent, screenwriters). Although these creative personnel undoubtedly influence the final product, their centrality in understanding filmmaking effaces broader and more systemic socio-cultural processes that impact the contours of cinema as a whole. By focusing on issues of censorship and regulation in regards to cinema within the U.S., we address how various social groups, state and federal government agencies, and commercial practices delimit the socio-aesthetic and thematic possibilities of both domestic and foreign films that appear on mainstream U.S. screens. This requires us to define censorship and regulation not only by their negative capacities (e.g. what the excise from films), but also through their productive influence in reconfiguring narrative trajectories and prioritizing specific stylistic choices over others. Ultimately, this course embeds U.S. practices of film production, distribution, and exhibition within a wider socio-cultural framework of censorship and regulation to reveal the domestic and international pressures that effect not only what U.S. audiences will see, but also how they will see it.
Attendance: Prompt and regular attendance for the full class period is required. Arriving late to class and/or leaving early are not permissible. Coming in late (and leaving early) will be counted as an absence. After two absences, your grade will be negatively impacted by each additional absence. Six absences automatically results in failure of the course. Additionally, missing the screening of any film will limit your success in the course. NOT ALL OF THE FILMS SCREENED IN CLASS ARE AVAILABLE FOR RENTAL, but the tapes that are in our collection are available for screening at the Boca Raton Media Center. It is your responsibility to make up any missed screenings and to obtain lecture notes from another student. Additionally, no laptops are permitted during the screenings. Students who violate these g u i d e l i n e s w i l l b e a s k e d t o l e a v e . I f y o u m u s t l e a v e t h e t h e a t e r d u r i n g a f i l m , e x i t d i s c r e t e l y .
C e l l P h o n e s : I n t h i s c l a s s r o o m , t h e y d o n t e x i s t . T u r n t h e m o f f a n d k e e p t h e m p a c k e d . T h e r e i s n o t h i n g m o r e d i s t r a c t i n g d u r i n g a s c r e e n i n g t h a n s e e i n g t h e i r glow. Students who violate this policy will be asked to leave. 2
Grading Scale: 100-97= A+ 79-77= C+ 59-0= F
96-94= A 76-74= C
93-90= A- 73-70= C-
89-87= B+ 69-67= D+
86-84= B 66-64= D
83-80= B- 63-60= D-
Assignments: Midterm: 20% Quizzes and Attendance: 25% Final: 25% Research Paper: 25%
Conference: 5%
Quizzes & In-Class Essays: Short unannounced quizzes and in-class essays assist us in focusing on specific readings and their related questions that will guide classroom discussion. Quizzes are comprised of questions related to the assigned readings and require a short response; they are closed-book. In-Class Essays require students to write a short essay in response to a question related to one or more of the assigned readings; these are open-book. I will drop the lowest quiz/essay grade.
Midterm & Final: Both exams will be comprised of a series of essay questions that ask students to synthesize and elaborate upon class discussions, readings, and screenings. The exams will be open notebook, requiring students to take careful and precise notes on classroom discussions, films, and the readings. When referring to the readings within your notes, make sure to cite your sources and page numbers so that you can properly document them when answering exam questions.
Research Paper: This eight-to-ten page paper requires archival research into the Production Code Administration files. Students will document the material practices of censorship upon a specific film in order to explore their influence upon the aesthetic and ideological configurations of the final product. Late papers will not be accepted.
Conference: Students should have a rough draft prepared of their research paper to present and discuss during the conference. Conferences provide each student with individualized attention to questions they might have regarding their research and writing. Students need to set the agenda for these fifteen minute conferences by having a set of questions ready to ask by the time of their appointment.
Plagiari s m : A n y f o r m o f p l a g i a r i s m w i l l r e s u l t i n i m m e d i a t e f a i l u r e f o r t h e c o u r s e .
P l a g i a r i s m i s d e f i n e d a s t h e u n a c k n o w l e d g e d u s e o f a n o t h e r p e r s o n s w o r k , i n t h e f o r m o f o r i g i n a l i d e a s , s t r a t e g i e s a n d r e s e a r c h , o r a n o t h e r p e r s o n s w r i t i n g , i n t h e f o r m o f s e n tences, phrases, and innovative terminology (Brenda Spatt, Writing from Sources, 383). If in doubt about your citation, consult the University Catalog 2007-2008 or meet with me to clarify the issue.
Academic Misconduct
Academic misconduct includes cheating, plagiarizing, and deliberately interfering with the work of others. If you use the ideas or words of someone else, you must cite the original information in your paper. Invented or plagiarized work can result in failing the the course and may result in possible disciplinary actions at the department, college, and University level.
Students at Դɼ are expected to maintain the highest ethical standards. Academic dishonesty, including cheating and plagiarism, is considered a serious breach of these ethical standards, because it interferes with the University mission to provide a high quality education in which no student enjoys an unfair advantage over any other. Academic dishonesty is also destructive of the University community, which is grounded in a system of mutual trust and places high value on personal integrity and individual responsibility. Harsh penalties are associated with academic dishonesty. For more information, see HYPERLINK "https://exchange.fau.edu/owa/redir.aspx?C=T4LwelO9z0qxOkHobAEM09bwObWjc88Ir9eTQ5Yb1v9d5b5AY2X3U5jsHMv7WjMvQ9VYU6mLoOI.&URL=http%3a%2f%2fwww.fau.edu%2fregulations%2fchapter4%2f4.001_Code_of_Academic_Integrity.pdf" \t "_blank" http://www.fau.edu/regulations/chapter4/4.001_Code_of_Academic_Integrity.pdf
Students with Disabilities: In compliance with the Americans with Disabilities Act (ADA), students who require special accommodations due to a disability to properly execute coursework must register with the Office for Students with Disabilities (OSD) 3 located in Boca Raton - SU 133 (561-297-3880), in Davie - MOD I (954-236-1222), in Jupiter - SR 117 (561-799-8585), or at the Treasure Coast - CO 128 (772-873-3305), and follow all OSD procedures.
TENTATIVE WEEKLY SCHEDULE (SUBJECT TO CHANGE)
(Warning: Because this is a censorship course, it addresses controversial material regarding sexuality, race, violence, politics, and religion. Students unable to view, read, and discuss such material need to immediately withdrawal.)
T 8/23 Introduction: Defining Censorship and Regulation
Th 8/25 Early Cinema, Reform, and the Mutual Decision
Screenings: The May Irwin-John C. Rice Kiss (1896)
Trapeze Disrobing Act (1901)
What Happened on Twenty-Third Street (1902)
The Great Train Robbery (1903)
Ga y S h o e C l e r k ( 1 9 0 3 )
T h e K l e p t o m a n i a c ( 1 9 0 5 ) ( P N 1 9 9 3 . 5 . A 1 E 3 3 2 0 0 5 )
R o b e t t a a n d D o r e t t o ( 1 8 9 4 )
T h e M u s k e t e e r s o f P i g A l l e y ( G r i f f i t h , 1 9 1 2 )
R e a d i n g s : G a r t h S . J o w e t t , A C a p a c i t y f o r E v i l : T h e 1 9 1 5 S u p r e m e
C o u r t M u t u a l D e c i s i o n ( C H )
T 8 / 3 0 J a c k Johnson, Fight Films, and the Racial Politics of Boxing
Screenings: Unforgivable Blackness: The Rise and Fall of Jack Johnson
(Burns, 2004)excerpt (GV 1132.J64 U54 2005)
Readings: Lee Grieveson, Film Fights, 1910-1912 (Blackboard) 4
Th 9/1 White Slave Trade Pictures and Female Flaneurs
Screenings: Traffic in Souls (Tucker, 1913, 88 min.)
Readings: Shelley Stamp, Moral Coercion, or the National Board of
Censorship Ponders the Vice Films (CH)
T 9/6 Birth of a Nation, Oscar Micheaux, and the Racial Gaze
Screenings: Birth of a Nation (Griffith, 1915)excerpt
(PN 1997.B55 1995)
Within Our Gates (Micheaux, 1920, 80 min.)
(PN 1993.5.U6 O7522 2001)
Th 9/8 Readings: Charlene Regester, Black Films, White Censors
(Blackboard)
Jane Gaines, Race/Riot/Cinema (Blackboard)
T 9/13 The Production Code, Gender, and Sexuality
Screenings: Baby Face (Alfred E. Green, 1933, 76 min)
Excerpts from: Possessed (Clarence Brown, 1931)
Red Headed Woman (Jack Conway, 1932)
Readings: The Production Code (Blackboard)
Lea Jacobs, Industry Self-Regulation and the Problem of
Textual Determination (CH)
Lea Jacobs, Baby Face (Blackboard)
Th 9/15 The OWI, Anti-Fascism, and Racial Relations
Screenings: Lifeboat (Hitchcock, 1944, 96 min.)
T 9/20 Screenings: Excerpts from: Cabin in the Sky (Minnelli, 1943)
The Negro Soldier (1944)
Casablanca (Curtiz, 1942)
Readings: Clayton R. Koppes & Gregory D. Black, Blacks, Loyalty,
and Motion Picture Propaganda in World War II
(CH)
Koppes and Black, Nazis, Goo d G e r m a n s , a n d G . I . s
( B l a c k b o a r d )
T h 9 / 2 2 M I D T E R M
T 9 / 2 7 C a s e s o f L o c a l C e n s o r s h i p
S c r e e n i n g s : S c a r l e t S t r e e t ( L a n g , 1 9 4 5 , 1 0 3 m i n . ) ( P N 1 9 9 7 . S 2 3 2 0 0 5 )
R e s e a r c h P a p e r A s s i g n e d 5
T h 9 / 2 9 R e a d i n g s : M a t t h e w B e r n s t e i n , A T a l e o f T h r e e C i t i e s : T h e B a n n i n g
o f S c a r l e t S t r e e t ( C H )
T 1 0 / 4 T h e M i r a c l e D e c i s i o n a n d t h e R e d e f i n i t i o n o f C i n e m a
S c r e e n i n g s : T h e M i r a c l e e x c e r p t o f L A m o r e ( R o s s e l l i n i , 1 9 4 8 )
R e a d i n g s : E l l e n D r a p e r , C o n t r o v e r s y H a s P r o b a b l y D e s t r o y e d
F o r e v e r t h e C o n t e x t : T h e M i r a c l e a n d Movie
Censorship in America in the 1950s (CH)
Th 10/6 Pedophilia and Auteurism
Screenings: Lolita (Stanley Kubrick, 1962)
T 10/11 Readings: Leonard Leff and Jerold Simmons, Lolita (Blackboard)
Th 10/13 CLASS CANCELLED
T 10/18 The X Rating: The Promise of Porn
Screenings: Pink Flamingos (John Waters, 1972, 93 min)
Excerpts from: I Am Curious Yellow (Sjman, 1967)
Deep Throat (Damiano, 1972)
Sweet, Sweetbacks Badasssss Song (Van Peebles, 1971)
Th 10/20 Readings: Justin Wyatt, The Stigma of X: Adult Cinema and the
Institution of the MPAA Ratings System (CH)
Jon Lewis, Hollywood vs. Softcore (Blackboard)
T 10/25 The New Censors: The Culture Wars
Screenings: The Last Temptation of Christ (Scorsese, 1988, 164 min.)
(PN 1997.L34432 2000)
Th 10/27 Readings: Charles Lyons, Introduction: Don t W a t c h T h a t M o v i e !
( p . 1 - 1 6 , N C )
C h a r l e s L y o n s , T h i s F i l m i s B l a s p h e m y ( N C )
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