C335+Spring+2011+Syllabus - CMCL C335 Production as...

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CMCL C335: Production as Criticism Spring 2011 Lecture: Tuesday 1p-3:30p, C2 Room 203 (#6868) Instructor: Lorrie Palmer Office: C2 281 E-mail: [email protected] Office Hours: C2 281, by appointment only Lab: Wednesday 1p-4p, C2 102 (#6869) Thursday 1p-4p, C2 102 (#6870) Instructor: Justin Rawlins Office: C2 281 E-mail: [email protected] Office Hours: C2 281, by appointment only Phone: 812-272-8261 Course Description Neither exclusive to the United States nor to the feature length fiction film, music has nonetheless long accompanied the moving image in our culture. From its live performance alongside the projected movie to its eventual integration into the celluloid, it has increased the avenues for expression and given artists a broader performative pallet with which to paint meaning for audiences. The introduction of the musical genre in the late 1920s, arguably the formative generation of the Classical Hollywood System, enabled U.S. filmmakers to make use of sound technologies and thereby incorporate song and dance numbers into the narrative, providing added spectacle while still pertaining (to various degrees) to the film’s overarching story. In the approximate eight decades since, the musical has broadened even further as it changes to reflect historical eras, industrial agendas, ideological conflicts, shifts in exhibition sites and practices, and many other variables in flux within 20 th and 21 st century U.S. culture. It has played host to cultural fantasies and documented social ills. It is a collective of work loosely connected by a relationship between narrative and spectacle that has transgressed both cultural and industrial frameworks, and is now broadly circulated across filmic, televisual, and online networks. In other words, its rich meaning, unique combination of story and performance, and ubiquity render it a critical cultural artifact that demands our attention. Our visual media culture is suffused with the aural and how we make sense of those images often depends on the effect created when narrative and music mesh into a coherent whole. In contrast to the music video, the integrated Hollywood musical has traditionally worked to use musical passages (combining voice, dance, stylized sets, costuming, etc.) as a parallel story-telling device to advance the spectator’s understanding of the film’s larger message. This brings up numerous questions, including (but not limited to): How do narrative and music work together to create characters, animate a setting, and propel the plot forward? Can the narrative/music relationship expose hidden truths that neither alone could articulate? What impact has the long tradition of the Hollywood musical genre had on our current media landscape? Through lectures, regular screenings, and hands-on lab experience, students will mine the theoretical and historical
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This note was uploaded on 10/15/2011 for the course CMCL-C 335 taught by Professor Ryan during the Spring '11 term at Indiana.

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C335+Spring+2011+Syllabus - CMCL C335 Production as...

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