1. Introduction to Film Studies 1: Hollywood Cinema Lecture Two: Classical Hollywood Cinema: Narrative, Institution and Ideology

2. The Rise of the Studio System Driven by economic forces: US attendance at 26 million per week by 1910 Driven by economic forces: US attendance at 26 million per week by 1910 Tripartite system: Production, distribution, exhibition Tripartite system: Production, distribution, exhibition Producers remain separate from distribution/exhibition – Mutual, Fox, Vitagraph Producers remain separate from distribution/exhibition – Mutual, Fox, Vitagraph Star system develops: Charlie Chaplin, Mary Pickford, Douglas Fairbanks Star system develops: Charlie Chaplin, Mary Pickford, Douglas Fairbanks Putting the money on the screen: The Birth of a Nation (USA 1915: D.W. Griffith) costs $110k; Intolerance (USA: 1916: D.W. Griffith) costs $1.9m. Putting the money on the screen: The Birth of a Nation (USA 1915: D.W. Griffith) costs $110k; Intolerance (USA: 1916: D.W. Griffith) costs $1.9m. Increasing length of films Increasing length of films

3. The Rise of the Studio System The creation of the picture palace The creation of the picture palace Aftermath of WWI enables USA to dominate European markets Aftermath of WWI enables USA to dominate European markets Vertical integration: Paramount Vertical integration: Paramount Block booking: Famous Players-Lasky Block booking: Famous Players-Lasky The big five: Paramount, MGM, Warner Bros., 20 th Century Fox and RKO The big five: Paramount, MGM, Warner Bros., 20 th Century Fox and RKO The little three: Universal, Columbia and United Artists The little three: Universal, Columbia and United Artists Independents: David O. Selznick Independents: David O. Selznick B-Movie companies: Republic B-Movie companies: Republic

4. The Rise of the Studio System Why California? Why California? Genres Genres The arrival of sound: The Jazz Singer (USA 1927: Alan Crosland) The arrival of sound: The Jazz Singer (USA 1927: Alan Crosland) Censorship: The Production Code (1930) and the Hays Office Censorship: The Production Code (1930) and the Hays Office A production line system A production line system

5. The Collapse of the Studio System Impact of TV Impact of TV Spiralling cost of production Spiralling cost of production Rise of independent producers Rise of independent producers Takeover by international conglomerates Takeover by international conglomerates

6. New Hollywood Buying in film packages Buying in film packages The rise of the agent The rise of the agent Is Hollywood more or less conservative now? Is Hollywood more or less conservative now?

7. Classical Narrative Noel Burch: the Institutional Mode of Representation Noel Burch: the Institutional Mode of Representation The transparency or invisibility of film language The transparency or invisibility of film language Roland Barthes and Tzevetan Todorov Roland Barthes and Tzevetan Todorov Order – Disorder – Order Restored Order – Disorder – Order Restored Resolution and closure Resolution and closure Enigma codes and action codes (Barthes) Enigma codes and action codes (Barthes) Verisimilitude Verisimilitude Linear continuity editing Linear continuity editing

8. Classical Narrative Claude Levi-Strauss and Vladimir Propp Claude Levi-Strauss and Vladimir Propp Repetition of key myths/stories across all cutures Repetition of key myths/stories across all cutures Character types Character types Binary opposites Binary opposites

9. Ideology in Film What is ideology? What is ideology? A system of values A system of values What is dominant ideology? What is dominant ideology? The major value systems at work in a society The major value systems at work in a society Capitalism and patriarchy (Marxist and feminist perspectives) Capitalism and patriarchy (Marxist and feminist perspectives) Herbert Marcuses critique of popular culture Herbert Marcuses critique of popular culture Is Marcuse right? Is Marcuse right?