Communication and Culture | Hollywood II
C292 | 2982 | Katrina G. Boyd

CMCL-C 292: Hollywood II
(Topic: 1948 to the Present)
Class Number: 2982

Lecture/Discussion: MW, 11:15A-12:30P, Room TBA
Required Screening: T, 7:00P-10:30P at the Buskirk-Chumley Theatre
Located Downtown on Kirkwood

(Fulfills COAS S&H Distribution Requirement)

Professor: Katrina G. Boyd
Office: BH 420
Office Hours: Tu 1:30-3:00 and by appointment
Phone: 6-0405

We inhabit a culture in which movies, TV, music, literature, and
advertising form an increasingly integrated media environment.
Contemporary Hollywood movies are no longer really successful unless
they both launch a consumer product line—a soundtrack album,
computer games and websites, amusement park rides, clothing apparel,
spin-offs and sequels—and perform in international markets as well
as in the U.S. Over the last few decades movie studios have
diversified into related fields (such as theme parks and television
production) and the studios themselves have been absorbed into
transnational conglomerates that view film production as merely one
source in a worldwide stream of revenue.  New distribution
technologies—cable, satellites, home video, the Internet—have turned
the family home into Hollywood’s most lucrative exhibition market.
International markets now challenge the U.S. market as the primary
source of movie industry revenue.

Focusing on the history of the American film industry (production,
distribution, and exhibition), this course will explore the ways in
which Hollywood has adapted and survived in spite of dramatic
changes.  In the second half of the century, the term “Hollywood”
has come to stand for several things:  a particular location for
cultural production, a style of storytelling and filmmaking, a
highly marketable type of entertainment, and a landmark in the
global cultural landscape.  In all these senses, Hollywood has shown
remarkable resilience, and an ability to incorporate major changes
into the structures established first by a small band of
entrepreneurs nearly seventy years ago.

Because this course seeks to expose students to representative films
across a broad historical period, the required Tuesday evening
screenings will often involve double features. We will see films
that represent major industry staples (such as genre films,
including westerns and horror films) and some that represent
challenges to mainstream filmmaking practice (such as the counter-
culture films of the late 1960s and early 1970s). Students will be
expected to keep up with substantial weekly readings. The final
course grade will be based on three exams, two papers and
attendance. To help students monitor their understanding of the
material, quizzes will be administered. Feel free to e-mail me if
you have questions.