5. What kind of film narrative is associated with Europe
and which with Hollywood?
Drawing on your knowledge, list features for each, e.g.
EUROPE HOLLYWOOD
subtitles English language
documentary forms fiction/animation
6. EUROPE HOLLYWOOD
Art cinema Popular/genre cinema
Diverse Monolithic
Auteurs Stars
Independent producers Studio system
Intellectual Popular
Ambiguous narrative Clear narrative
Open Closed
Local (or national) Global
Alternative The ‘norm’
Difficult Straightforward
Art Commerce
Niche Mainstream
Margins Centre
7. Aim of this module
Transnational approach
Crossing boundaries
Undermining traditional binary concepts
Looking at geographical movement between Europe
and Hollywood
Points of intersection and cross-cultural collaboration
8.
9. Europe and Hollywood are large concepts
Therefore need to break down
Our focus is therefore
Weimar cinema (Germany) 1920s
Émigré directors/stars in Hollywood
Art cinema in Hollywood
10. See Reading Week 8 for this reference
Highlights the focus of this module:
‘A cinema of in-between’
‘A form of cinematic expression which highlights the
dialectics of outsider and insider, of the liminal, fluid
and temporary, of upward and downward mobility, of
high brow and low brow.’
Wilder represents the problematic of the
Europe/Hollywood axis
Hollywood is not extrinsic to Europe
Europe is not extrinsic to Hollywood
11. ‘liminal’, meaning on the threshold between two states
Definition:
‘situations and conditions that are characterized by the
dislocation of established structures, the reversal of
hierarchies, and uncertainty regarding the continuity
of tradition and future outcomes’
Something that happens when Europe meets
Hollywood!
12. To explore the history of the relationship between filmmaking in
Hollywood and Europe from the early 20th Century through to
the present day
To critically analyse received notions of Hollywood hegemony
and examine the hidden histories of international collaboration
and engagement by professionals as well as audiences across the
two continents
To investigate specific case studies of film professionals who
practised their art in both Europe and Hollywood.and critically
interpret different theoretical and critical academic perspectives
on Weimar cinema in particular, and on the writing of a film
history in general
To study the textual features of films from a transnational
perspective as well as the historical and institutional contexts
which shaped them
13. Traditional dichotomy has been undermined in recent
scholarship which centres on the ‘transnational’
E.g. Tim Bergfelder:
‘Transnationalism always needs to encompass a
dialogue between transitoriness and location, and
between émigrés and hosts, and involves a process that
blurs and ultimately dissolves the boundaries between
these oppositions.’
14. Module booklet on WebLearn
Approaches on the module
Screenings on the module
Additional Screenings
Assessments
Seminars
