Thursday, July 17, 2014

Musicals, Frankfurt School edition

An analysis from Leo Lowenthal, as quoted by Martin Jay (Dialectic of Enlightenment 214):
Mass culture is a total conspiracy against love as well as sex. I think you [Horkheimer] have hit the nail on the head by your observation that spectators are continuously betrayed and robbed of real pleasure by sadistic tricks. This sadism has the special function to prevent psychologically and physiologically "Vorlust." Take for example, the ballet scene in Holiday Inn, on of the newest pictures, where a couple starts dancing a minuet, but as soon as this minuet develops to a more amorous situation and one could very well imagine that the dancing partners will end by kissing each other, the sweet and melodious music is suddenly stopped and replaced by jazz which almost verbally castrates the dancers. 
This would be interesting to teach with Dyer's "Entertainment and Utopia" essay.

SCMS2015 calls for papers

Summer is the time for forming SCMS panels, as August 31 is the submission deadline for the 2015 conference in Montreal. Since not everyone in the field (especially abroad) is a current SCMS member or uses the website, I thought I would round up the current calls for papers there. There are too many to include the actual call, but if a topic interests you and you cannot access the website, leave me a comment within the next couple of days and I will post the full call. Deadlines for many are coming up very soon - late July and early August - and some may have even passed already.

PANELS

African American Film History and Literary Adaptations
Animation and Politics
Animation Theory and Cognition
Approaching the WWE Universe
Asian Comics and Graphic Novels
Authorship in Contemporary Documentary
Autobiography and Writing the Self in Cinema
Between the Lines: On Film Festivals and the Politics of Language
Cinema and Literary Modernism
Cities in the Sky: Public Housing in Global Cinema and Television
Color and Animation
Composite Media
Contemporary Rural Noir
Creatives vs. Suits: Battles for Control over Media Production
Data City: media visualizations of/as urban knowledge
Decolonial Feminism in Film and Media
Digital Film and Media Historiography: Techniques, Theories, Epistemology
Directors Take the Leap: Transitions from Big to Small Screen in the 1950s
Documenting the Different Body
Ecocriticism and Moving Image Archives
Enclaves of the 1%: The Transnational Capitalist Class in Cinema
Excavating Exhibition: Mining the Sites of Media History
 Fashion, Film and Media
Felines of Sight: Cats in Visual Culture
Femininity in Historical and Contemporary TV Dramas
Film-Philosophy: New Horizons for the Inter-discipline
From Historical to New Materialism?
Gender and Genre Through a Post-9/11 Lens
Gesture, Performance, Mediation
Historicizing Music and Transmedia
Hollywood I.T.: Critiquing Big Data in Film Industries
How French Cinema Thinks Through Social History
Imaging Asian/Americans: Screened Identities and Cinematic Exchanges
Imagining Contemporary Political Bodies and Personalities
Impersonating Sovereignty
Informal Media Networks in Global Context
Intermediality in Industry History: The Hollywood Studio Era
Investigating the Theme of Punishment in Crime Films
Jesus/Montreal: The Cinema, the City, and the Sacred
Looking for LGBT Audiences
Media Platforms and Cultural Identities
Media Studies Beyond the Screen
Memory and Medium
Neighboring Cinemas: Intersections between Japanese and Korean Cultures
New Approaches to Marriage, Romance, and Conjugality
New Romanian Cinema
On Subtitles
Podcasting: A Decade into the Life of a “New” Medium
Porn on the Move
Post-secular Adaptation in the Digital Era
Postfeminism Across Media Platforms
Postfeminist (Im)perfections: Aesthetics of Postefeminist Failure
Problematizing Postfeminism
‘Public’ Media Beyond Broadcasting: North American Public Service Media Institutions
Radio Studies
Reading Berlin School Films
Reincarnating the Western
Representations of Female Empowerment and Leadership in Film and Media
Rethinking French Film History From the 1940s
Screen Acting: Beyond Star Studies
Silent Film Realisms
Silent Serial Kings
Soccer, Cinema, Media, and Culture
Staging the Image: Film and Video in Theater
Television, Historicity, Theory
The Auteur in Your Living Room
The Comedy of Stephen Merchant and Ricky Gervais
The Metrics, revolutions: Audiences, Analytics, and Art
The Politics and Ethics of Remix Video
The Politics of Food in Film and Media
The Transforming Figure: New Histories of Metamorphosis in Animation
Translations, Transformations, & Mutations: The Malleable Superhero
Transnational Hybridity and the Horror Genre Panel
TV: Complexity, Form and Format
Variations on Suburbia: Uncovering Heterogeneous Imagery in Film and TV
What makes Montreal a film festival city?
Women in Film Sound
Women in the Archives
Women's Narratives in War, Conflict and Combat
“Your Bovine Design Was Not Divine. Where’s the Beef?”: The Politics, Perils, and Pleasures of Rupaul’s Drag Race
Youth Culture in Contemporary Media


WORKSHOPS

Animated Media Archives
Film & Media Studies: Careers outside the Academy
Film Festival Pedagogy: Study Away Courses & Campus Film Fests
Foucault and Media Studies
New Approaches to Teaching Genres
Pedagogy Workshop

Monday, July 14, 2014

The Film History Textbook, 2014 update

Unlike the intro textbooks, the film history textbooks have not changed editions since I last reviewed them. However, their prices have gone up, and I have discovered a couple of new books, meriting an update.  Most of all, though, I want to revisit my reviews because of my dissatisfaction using my previous textbook. While I admire the Thompson/Bordwell textbook in many ways, it's just been ungainly from a pedagogical perspective - too much completist coverage and way too little emphasis on which ideas are most important for a student to know and learn. In the fall, I'll be switching to the Oxford History of World Cinema.


A History of Narrative Film, by David Cook. 4th edition. Norton. $113.75.

This book for years was standard and even today is possibly the most commonly used textbook for the history survey. From my understanding, previous editions slanted more to the masterwork approach – this fourth edition has a better balance between masterwork and industrial/contextual historiography. Still, its main difference from the Thompson/Bordwell history is an emphasis on movements and key makers. Citizen Kane gets its own chapter. There are also pleasant surprises – a discussion of women German directors, an overview of Italian exploitation film, or a real engagement with commercial cinema.

PROS: This book may well be the best balance between coverage, disciplinary knowledge, and readability – it does a good job at maintaining a clear narrative for readers amid the detail. Analysis of individual films integrated into the whole; seamless introduction of formal terminology within its historical narrative, at least for readers/classes starting from the beginning of the book. Brief but useful introductions of historical and political context into discussion of the films.
CONS: Long filmographies are included in the body of the text and bog down the reading – they would be better pulled for a list at the chapters' end. Restricted to narrative film - the book acknowledges this, but still its justification that there are other histories devoted to documentary or experimental does not help the instructor wanting to integrate either into a history survey. The organization of non-US cinemas according to national cinema seems to make sense at first blush but in fact highly disrupts chronology and basically begs for ghettoization and exclusion of international cinemas from a survey course.
WHAT THIS BOOK HAS THAT OTHERS LACK: this book has by far the best discussion of digital aesthetics (the discussion of three “Pearl Harbor” films is terrific)
WHO SHOULD USE IT: The lower or mid-level film history survey class; general reader looking for a film history introduction; area studies instructors looking for a textbook chapter on a national cinema to excerpt as background for their courses.
PUBLISHING CONCERNS: Not the most visually stunning book layout. Flimsy paper and cover, but this seems to be the trade off for a voluminous textbook.

Film History: An Introduction, Kristin Thompson and David Bordwell. 3rd edition. McGraw-Hill. $175.

I wrote a review of the 2nd edition before. In short: this book is very thorough and wide-ranging. Of the available textbooks, it best embodies how film historians see the history of cinema: take for instance their discussion of Griffith, which sees him as only one part of the American transitional cinema. Refreshing. This and the Cousins book below do the best job of seeing cinema's past as something to revisit and get excited about.

PROS: The scope is impressive. The book stretches beyond the canon and challenges and inspires the reader to curiosity about the entire history of the medium. Terrific and unmatched balance between aesthetic, industrial, and technological understanding of cinema. Non-trivial inclusion of experimental and documentary.
CONS: A dense read, both in terms of the writing style and layout; students (and teachers!) might find detail and coverage excessive – there is the danger of losing a clear picture of film history when inundated. Some instructors may want an approach that highlights canonical works more. Very few survey textbooks deal extensively with ideology and historical context, but the purview here is fairly contained to the medium of film and the film industry, except when ithe topics, like state-run industry or countercinema, gesture explicitly outward.
WHAT THIS BOOK HAS THAT OTHERS LACK: Coverage of national cinemas beyond the films commonly known in the field. The discussion of 30s Soviet or 50s French or 70s Third World cinemas is really rich.
WHO SHOULD USE IT: Those teaching a comprehensive, two-or-more-term survey course. Those teaching an advanced film history course. Those looking for a good historical background to a national cinema or period.
PUBLISHING CONCERNS: As with the authors' intro textbook, the frame enlargements are plenty and well-chosen. Mega-expensive.

A History of Film, by Virginia Wright Wexman. 7th edition (6th edition reviewed here). Pearson. $145.80

This used to be authored by Jack Ellis, and Ellis's original structure still has its fingerprints on the table of contents (i.e. heavy emphasis on periodization/ national cinema combinations). This book markets itself as a concise yet comprehensive history, suitable for the one-semester survey, and indeed it seems to find a sweet spot between coverage and concision.

PROS: Clear writing style. While restricted to a film canon, the selections are fairly wide ranging for such a short history and at the very least correspond to the film-scholarship canon. The fuller discussion of individual films gives some texture to the overall narrative.
CONS: Compact size means that coverage and depth get lost. The coverage of Hollywood ends up being surprisingly synoptic. A heavy emphasis on aesthetic history, conceived strictly in terms of film movements, key genres, and national cinemas; industrial history is presented mostly as background, and social history is pretty much lacking.
WHAT THIS BOOK HAS THAT OTHERS LACK: A smooth introduction of basic film-form vocabulary in the opening chapters.
WHO SHOULD USE IT: Those teaching an abbreviated, one-term survey course. Those wanting a concise history as background for another film course.
PUBLISHING CONCERNS: Thankfully photographic stills from earlier editions have been replaced with screen captures. The price tag seems exorbitant for a book this slim.

Flashback: a Brief Film History, by Louis Giannetti and Scott Eyman. Pearson. 6th edition $125.60

This is the most film appreciation-oriented of the history textbooks. It seeks to examine cinema's past in order to evaluate it as a model for film style and practice for future periods. It has an "AFI" kind of feel, and instructors may judge what their own feelings about that are: mine clearly are not positive.

PROS: Very readable style. Chronological contents may aid in syllabus design that looks at international developments concurrently. I have the same problems with the illustrations (film stills, not frame captures) that I did with Gianetti's intro textbook, but they do have the benefit of adding a layer to the historical narrative and piquing the reader's curiosity about individual films.
CONS: The preface promises a "brief" and "bare-bones" film history, and unfortunately coverage does seem sacrificed here. Documentary and experimental lacking. Canonical scope with pat historical narratives. Aesthetic dismissal closes down curiosity about film's past. Language can be too breezy: I try to teach my students not to use colloquial (and empty) phrases like "musical magic" so I don't want a textbook that does. Does not take into account academic scholarship - for example their discussion of sound and Warner Brothers partakes of the mythologies historians have debunked.
WHAT THIS BOOK HAS THAT OTHERS LACK: A perspective of how film history aids contemporary film critics. Useful timelines at the start of each chapter (I even wish these had more).
WHO SHOULD USE IT: A history course, say in a production program, with a strong film-appreciation bent.
PUBLISHING CONCERNS: Decent quality cover and paper, but dated layout. Simply way too expensive for the quality. Why pay 126 dollars for a "bare bones" history when you can get a thorough history for the same price?

Movie History: A Survey, by Douglas Gomery. Routledge $54.95 (usually available $28)

I was excited to find that Gomery had a textbook, given his strengths in studio and exhibition history. And unlike his previous textbooks, this one expands the scope beyond industrial history to cover major film movements.

PROS: Manageable scope. Gives the big-picture of film history in a chapter organization that one could reasonably cover in a semester or two. Strong coverage of studio history and exhibition. Some nice touches like the discussion of "forgotten histories" and 20s British cinema.
CONS: Stronger on US than Europe or the rest of the world. No coverage of experimental or documentary. The aesthetic history seems cut and pasted from Bordwell and Thompson at times and heavily auteurist at other times. I know concision is a selling point here, but the chapters feel too skimpy.
WHAT THIS BOOK HAS THAT OTHERS LACK: Integrates social history of cinema into the broader tapestry of studio and aesthetic history.
WHO SHOULD USE IT: General reader looking for a film history introduction or reference.
PUBLISHING CONCERNS: Nice, glossy paper, with good layout and plenty of color illustrations. Surprisingly, given that it's Routledge we're talking about, it has a reasonable price tag. Available in Kindle format.


The Story of Film, by Mark Cousins. Pavilion. $35 (usually available $20-25)

A companion of sorts to the critics' BBC series on the history of cinema, this volume covers an impressive range of filmmakers without losing sight of broad organizing narratives helpful for a class.

PROS: One of the main projects of the book is to take cinema outside of US and Europe seriously, and it's the only survey book I know not to marginalize these cinemas. Engaging writing style; some of his framing devices are useful for an introductory readership. Strong on world cinema film culture since World War II.
CONS: The chapter organization is not helpful for a class - for instance, the period up to 1945 has only 4 chapters. Some of Cousins' takes are more judgmental and idiosyncratic rather than scholarly. For instance, I can see the point of his resistance to the concept of Hollywood classicism, but his substitute, "closed romantic realism," is a clunky term that appears nowhere else in film scholarship or cinephile writing.
WHAT THIS BOOK HAS THAT OTHERS LACK: Considerable and well-integrated coverage of Asian, Latin American, and African cinema.
WHO SHOULD USE IT: The cinephile general reader. Useful for scholars and instructors to gain knowledge and inspiration.
PUBLISHING CONCERNS: Well illustrated, but reliant on production stills rather than screen grabs. Not a textbook layout (no highlighting of key terms or concepts, no bibliographic section. etc). Reasonably priced. The TV series could be a useful companion. Available in Kindle format.


Oxford History of World Cinema, ed. by Geoffrey Nowell-Smith. Oxford University Press. $35 (usually available $20-25).

"The definitive history of cinema worldwide"? No, but it is pretty good. This is a cross between textbook and coffee-table book. It is not a single-author text but an encyclopedia-style collection of entries on periods and national cinemas, written by key scholars in each area.

PROS: Better coverage of international and European cinemas without unduly short-changing Hollywood; individual entries go a little more further in exploring ideas; nice balance between general-interest readability and scholarly rigor.
CONS: Heavy emphasis on the aesthetic over other historical aspects. Anthology form and contents organization makes it difficult to adapt to a survey syllabus. Book published in 1998, not updated.
WHAT THIS BOOK HAS THAT OTHERS LACK: Pulled one-page biographies of key cinematic figures – not only directors but stars, crew, producers, etc.
WHO SHOULD USE IT: General reader looking for a film history introduction or reference.
PUBLISHING CONCERNS: Even though it is not an overly illustrated book, the layout is well-designed for readability. Thick, glossy paper. The advantage of lack of updates is that book has become competitively priced compared to the major textbooks. Available in Kindle format.

Specialized textbooks:

American Film: a History, by Jon Lewis. W. W. Norton. $87.50.

This volume is dedicated to American cinema alone, and Hollywood (or major feature-film alternatives) at that. It is as long as some international surveys, meaning it has the space to go into depth discussing individual films and directors.

PROS: Balance between aesthetic, industrial and ideological history of Hollywood. Highly engaging writing style – I cannot imagine any other book doing as good a job to sell early and silent cinema to students leery of older films. Not surprisingly, given Lewis's scholarship, the book is a little stronger on post-1960 Hollywood, a period often given short shrift in the survey textbook.
CONS: Complete absence of documentary and experimental film, begging the question of whether “American film” means simply Hollywood. Highly canonical narrative, with few surprises. I am also not sure of the tendency to discuss classical makers like Busby Berkeley or Max Ophuls as important because modern directors were influenced by them.
WHAT THIS BOOK HAS THAT OTHERS LACK: An integrated discussion of politics and ideology of American film. Full consideration of censorship, exploitation movies, and screen sexuality.
WHO SHOULD USE IT: Those teaching an American film history class.
PUBLISHING CONCERNS: Well indexed. Good glossary. Nice cover and layout helps for readability. Unfortunately, promotional stills are not supplemented by frame captures, with the result the illustrations slant to star promotion and iconic moments in films rather than a closer look at style or narrative.

Movie-Made America: A Cultural History of American Movies, by Robert Sklar. Revised Edition, 1994. Vintage Books. $22.

This is not a textbook proper, but its historical scope and its accessible writing style leads many courses to adopt it as either a primary or supplemental coursebook.

PROS: A wider look at the role of film in American life, not just a masterworks survey or industrial history (though the book touches on both).
CONS: It lacks the synthesis of a body of scholarship that textbooks do. Material is selected to make the author's arguments rather than as coverage. Readerly approach does not model for students how they can enter the discipline. Only intermittent consideration of film's aesthetic dimension.
WHAT THIS BOOK HAS THAT OTHERS LACK: An extended consideration of film's social history.
WHO SHOULD USE IT: Those teaching an American film history class. Those wishing to supplement other books with material on the role of film in American culture.
PUBLISHING CONCERNS: Not a textbook, it lacks the more visual presentation useful for classroom use.

Film History: Theory and Practice, by Robert C. Allen and Douglas Gomery. McGraw-Hill, 1985. $89/71.

This is not a survey, but a textbook in how to do film history. In that it stands alone in the field, though since it is now long out of print, I imagine the demand for this kind of book ended up being not very high. It is a shame that there has not been an updated edition for the book though to take into account changes and new perspectives in the field. (Thompson and Bordwell's history-of-style approach, for instance, could help this book from treating aesthetic history as a bĂȘte noir.)

PROS: Accessible but not dumbed down. Ends each chapter with substantial and useful case studies. Fills niche not met by any other textbook.
CONS: Lacks any survey coverage and downplays the aesthetic. Narrowly American in focus, Case studies could use updating with more contemporary examples. Methodological focus (starting off in Ch. 1 with a philosophy-of-science debate, for instance) may be advanced for some students.
WHAT THIS BOOK HAS THAT OTHERS LACK: A sustained discussion of the methodology of film history.
WHO SHOULD USE IT: Those teaching advanced film history courses or ones requiring empirical research. Beyond its role in classes, Film History: Theory and Practice is useful for readers beginning to advanced, and scholars might want to visit or revisit the book to approach their intellectual craft anew.
PUBLISHING CONCERNS: Lack of updated edition. Expensive. Layout is print-heavy and uninspired visually.

Sunday, July 13, 2014

Textbook Inflation 2014 edition

I am overdue updating my reviews of intro-to-film textbooks. But I thought I’d take a look at textbook prices. I knew textbook prices have gone up, but seeing the extend of the rise is surprising. Below I’ve listed the traditional textbooks in ascending order of 2014 costs. I’ve listed the nominal inflation since 2006. That figure can’t be taken at face value, since prices have risen almost 20% since then. Some are close to general price-level inflation, but most are considerably higher.

Anatomy of a Film (Bernard F. Dick)
5th edition $41
6th edition $56
37% inflation

Looking at Movies: an Introduction to Film (Richard Barsam)
2nd edition $50
4th edition $92.50
85% inflation

The Film Experience (Tim Corrigan and Patricia White)
1st edition $72
3rd edition $99
25% inflation

Film: An Introduction (William H. Phillips)
3rd edition $72
4th $99
25% inflation

Movies and Meaning: An Introduction to Film (Stephen Prince)
4th edition $80
6th edition $127.80
60% inflation

Understanding Movies (Louis Giannetti)
10th edition $82.20
14th edition $136.87
65% inflation

Film Art: An Introduction (David Bordwell and Kristin Thompson)
8th edition $66
10th edition $143.33
117% inflation

Film: A Critical Introduction (Maria Pramaggiore and Tom Wallis)
1st edition $80
3rd edition $153.80
92% inflation

I will add that there's absolutely no good reason for the Giannetti book to have undergone four edition updates in eight years.

Thursday, July 03, 2014

CFP: Book on Classical Hollywood and Transnational Representations

CALL FOR PAPERS

Edited Volume:
Projecting the World: Classical Hollywood, the ‘Foreign’, and Transnational Representations

The book brings together scholarship that examines classical Hollywood’s representations of foreign spaces and peoples from roughly 1930 to 1965, a period when America was not only at the zenith of its world power but when its vision of power helped secure the uneven transformation of Western colonialism into modern, neoliberal globalization.  Analyzing primarily the film text rather than extra-textual issues such as distribution or production conditions, this book helps expand our understanding of “global Hollywood” by asking how the films themselves represented U.S. global power and America’s role in the world.

We will explore how, just as Said shows of the 19th century British novel, the mid-20th-century Hollywood film must be read as a privileged site for understanding the American metropole’s cultural imaginary of itself and of its neocolonial others. Far from being a secondary concern, the imaginative work of Hollywood cinema should be at the very center of our understanding of America’s complicated international relationships in the mid-century period.  So how did Hollywood envision foreign spaces and the role of the U.S. within these spaces?

We are looking for essays that explore Hollywood’s representations of the ‘foreign’ in a variety of international contexts across this time period.  If you would like to contribute, please let us know by sending along a brief (250 word) proposal for an essay to annareynoldscooper-AT-gmail.com and rmeeuf-AT-uidaho.edu by September 30th, 2014.