Component 1A : Hollywood 1930-1990
EXAM QUESTION TOPIC
Learners must compare two Hollywood films:
one must be chosen from group 1 and one from group 2. These are studied in relation to the core study areas, film form , foregrounding contexts and also the idea of the auteur.
Group 1: Classical Hollywood (1930 - 1960)
Casablanca (Curtiz, 1942)
Group 2: New Hollywood (1961 - 1990)
Apocolypse Now (Coppola, 1979)
Discuss how the production contexts of your films affected their content
How do the main characters of your films reflect the period that they were created in ?
“The Hollywood machine has always crushed any individuality in filmmaking”. Compare the extent the films you have studied display auteur individuality.
The comparative study requires the exploration of one film from the Classical Hollywood period and one from what is generally referred to as New Hollywood. There will be clear points of comparison suggested by the institutional and production contexts of the films: films in the 1940s and 1950s were produced during the Hollywood studio era and its immediate aftermath and effectively established the 'Classical Hollywood style'.
The films produced between the later 1960s and later 1980s can all be seen in terms of 'New Hollywood', where a new generation of directors began to show new influences, especially from European cinema. All films are characterised by directors who may be considered auteurs –sometimes working with other key filmmaking figures.
This enables learners to apply a critical approach to the films based on the idea of the auteur.
Building on this contrast in institutional context, the study considers more generally how contexts are reflected in film, including the contrasting social contexts of the two groups of films, how knowledge of contexts increases understanding and how films generate meanings and responses. Learners will thus explore the relationship between contexts and films through considering key elements of film (cinematography, mise-en-scène, editing, sound and performance), the structural elements of film (narrative construction and, where relevant, genre), aesthetic and representation issues.
Whilst the emphasis of the comparative study will be on contexts, all core study areas will be relevant to this study so that learners can compare in detail the way contexts are reflected in the films studied. In addition, learners are required to explore the idea of the auteur to their chosen films.
LINKS
Learners must compare two Hollywood films:
one must be chosen from group 1 and one from group 2. These are studied in relation to the core study areas, film form , foregrounding contexts and also the idea of the auteur.
Group 1: Classical Hollywood (1930 - 1960)
Casablanca (Curtiz, 1942)
Group 2: New Hollywood (1961 - 1990)
Apocolypse Now (Coppola, 1979)
EXAMPLE EXAM QUESTIONS :
In what ways and to what extent do your chosen films demonstrate the creative signature of their auteurs?
In what ways and to what extent do your chosen films demonstrate the creative signature of their auteurs?
Discuss how the production contexts of your films affected their content
How do the main characters of your films reflect the period that they were created in ?
“The Hollywood machine has always crushed any individuality in filmmaking”. Compare the extent the films you have studied display auteur individuality.
The comparative study requires the exploration of one film from the Classical Hollywood period and one from what is generally referred to as New Hollywood. There will be clear points of comparison suggested by the institutional and production contexts of the films: films in the 1940s and 1950s were produced during the Hollywood studio era and its immediate aftermath and effectively established the 'Classical Hollywood style'.
The films produced between the later 1960s and later 1980s can all be seen in terms of 'New Hollywood', where a new generation of directors began to show new influences, especially from European cinema. All films are characterised by directors who may be considered auteurs –sometimes working with other key filmmaking figures.
This enables learners to apply a critical approach to the films based on the idea of the auteur.
Building on this contrast in institutional context, the study considers more generally how contexts are reflected in film, including the contrasting social contexts of the two groups of films, how knowledge of contexts increases understanding and how films generate meanings and responses. Learners will thus explore the relationship between contexts and films through considering key elements of film (cinematography, mise-en-scène, editing, sound and performance), the structural elements of film (narrative construction and, where relevant, genre), aesthetic and representation issues.
Whilst the emphasis of the comparative study will be on contexts, all core study areas will be relevant to this study so that learners can compare in detail the way contexts are reflected in the films studied. In addition, learners are required to explore the idea of the auteur to their chosen films.
LINKS
Crash course in Film History : Studio system
American cinema series on Learner .org : Hollywood studio style
