Singing in the rain (1952)

: Singing in the rain (1952)
 How does Singing in the rain self-reflexively illustrate the key conventions of the Hollywood paradigm?
 Why is the musical considered to be the quintessential Hollywood genre?
 What is Tom Gunning’s concept of the ‘Cinema of Attractions’? Does it apply to Singing in the rain?
 With close reference to a specific example, consider the ways Tom Gunnings’ model problematizes the notion of the passive spectator and classical narration.
 What was the role of the Hayes code in determining classical Hollywood’s concept of entertainment?
 What is the role of nostalgia in Singing in the Rain?

Post-Classical Holly wood Transition
Screening: The Graduate (1967)
 How Does The Graduate challenge Classical Hollywood’s mythologies?
 How does the soundtrack in The Graduate revise classical Hollywood conventions?
 Through close analysis of one scene from The Graduate (or another left cycle film from the further viewing), discuss how the ‘heroes’ of the film are emblematic of the Left Cycle film and its revision of the Classical Hollywood musical.
 What are the significant traits of the left cycle in The Graduate?
 How does the final shot of The Graduate challenge the conventions of the classical musical?
 How can Geoff King’s observation be extended beyond this specific context of films from the 1960s and 70s?

The Right Cycle and the Rise of Cult Films
Screening: Shaft (1971)
 How is the character of Shaft (or any of the ‘heroes’ in the further viewing films) an example of the right cycle hero?
 Why was the detective film especially significant for the revised western? To what effect does Shaft reconfigure the western?
 Mainstream Hollywood films have historically struggled to adequately represent racial, gender and sexual minorities. How do Blaxploitations films challenge these representations? How is this system challenged today?
 Many contemporary Hollywood films of the post-1960s era place the spectator in a problematic relationship with filmic ‘heroes’ by employing various strategies that disrupt classical Hollywood convention. What are the strategies used in two Hollywood films?
 What id the role of the urban landscape, particularly the street in Shaft?
 How does Issac Hayes’ music define a Black masculinity within this time and genre?
 What was the significance of Blaxploitation cinema in terms of postclassical Hollywood? How are its effects traceable throughout the past 50 years?

The Film School Generation
Screening: The Godfather (1972)
 Did the adoption of modernist techniques from European art cinema in the 1960s contest Hollywood genre traditions? If so, how?
 What cultural, economic and creative factors differentiated New Hollywood directors from their predecessors? Do these differences mark a radical break from “Old Hollywood,” or do they represent a conservative continuation of the same institutions?
 Auteurism often accentuates the role of directors at the expense of other creative roles such as writers, actors and editors. What are the limitations of this director – oriented approach? What are its advantages?
 How is Carroll’s two-tiered system of communication displayed in The Godfather (or one of the other East Coast films), and do you agree with Carroll’s conclusions regarding its ‘value’ (especially when compared to the French New Wave)?
 How might we see The Godfather as a Right Cycle narrative, in comparison with Shaft?
 How does The Godfather address the left-leaning audience (Ray’s “corrected” film), the film literate audience (Carroll), the ironic audience (Ray)?

The Rise of the Blockbuster
Screening: Jaws (1975)
 What is the ‘corrected genre’ film and how is it different to the left and right cycle films? In your response, you may also consider how it relates to the vision of the ‘auteur’.
 How significant is John Williams’ soundtrack to the rise of the blockbuster andthe success of Jaws? You may like to consider other scores composed by John Williams or even Danny Elfman.
 How applicable is Gunning’s argument about the cinema of attractions to contemporary special cinema?
 Despite its tremendous influence and popularity, Jaws still feels very different to blockbuster films made today. How does Jaws stylistically differ from modern blockbusters? If it was made today, what would you expect ti be changed?
 Can the success of Jaws be attributed solely to innovations in cinematic technologies? What are the new paratexts that arise with the 1970s blockbuster?
 How does Spielberg make the threat feel unrelenting and personal?
 Why is it important to consider the role of children in Speilberg’s films?