The Movies Come Back I & II
I: Revisionist Genres
II: The Blockbuster Strategy
February 24th Tutorial
Tuesday Tutorials: 05 (2:30pm) and 10 (3:30pm)
mtozer13@schulich.yorku.ca
Yorkfilm2401.wordpress.com
Agenda
• Chapter 17/18
• Strike Comments
• Returning Exams
Powerpoint question’s:
1.
Discuss the reasons behind the rebound of the movie
industry. What other changes were happening in US society
at the time?
2.
How did the following genres change: crime, film noir,
musical?
3.
Discuss the conspiracy genre and how it differs from the
traditional detective genre. What does the film Parallax View
(1974) say about capitalism?
4.
Discuss the old and revisionist (70s style) Western. How is
Little Big Man (1970) an example of the revisionist Western
Genre?
5.
Discuss all the changes that took place in the US film
industry in the 70s from a marketing and distribution
standpoint.
Discuss the significance of Star Wars
6.
Chapter 17 – The Movies Come Back
Discuss the reasons behind the rebound of the movie
industry in 1970’s. What other changes were happening in
US society at the time?
• Movie industry rebounds in 1970s, initially led by baby boom
• Coincided with the Civil Rights Movement which began in
the 1950s and was still going strong in the 60s which
inspired the women’s movement, Native rights, Gay and
Lesbian & green movement.
• Youth movement in response to The Vietnam War.
• This social upheaval led to crisis in genre system.
Chapter 17 – The Movies Come Back
Discuss the reasons behind the rebound of the movie
industry in 1970’s. What other changes were happening in
US society at the time?
• Movie industry rebounds in 1970s, initially led by baby boom
• Coincided with the Civil Rights Movement which began in
the 1950s and was still going strong in the 60s
• Inspired the women’s movement, Native rights, Gay and
Lesbian & green movement.
• Youth movement in response to The Vietnam War.
• This social upheaval led to crisis in genre system.
Chapter 17 – The Movies Come Back
How did the following genres change: crime, film noir,
musical?
“Generic Crisis”
• When society enters periods of upheaval flux and change,
generic conventions tend to fall apart.
• Crime films underwent transformations – Bonnie and Clyde
are counterculture hero's – reverses the usual crooks are bad,
cops are good, audience is led to sympathize with their
characters “bad” and not the law.
• Film Noir made a revival in 60s called the ‘neo noir’
• Society is hopelessly corrupt and unredeemable. Point Blank
(1967), Chinatown (1974)
Chapter 17 – The Movies Come Back
How did the following genres change: crime, film noir,
musical?
Musical – Cabaret (1972) set in dying days of Weimar
Republic, love affair that ends unsuccessfully. Musical scenes of
the growing Nazi menace in German society.
• Scorsese’s New York, New York – realist musical about love affair
between singer and musician, depicts a man’s inability to accept
woman’s independence.
Chapter 17 – The Movies Come Back
• Discuss the conspiracy genre and how it differs from the
traditional detective genre.
Generic Hybrid
• Detective film – Traditional American film detective was often
a loner and outsider who used intuition and smarts to get job
done. Often ex-cop who left the force because he couldn’t
stomach the corruption and incompetence.
• In the 70s detective was combined with thriller = conspiracy
film.
• It doesn’t reaffirm American Institutions and individual heroism
the way older detective and political films did.
Chapter 17 – The Movies Come Back
• What does the film Parallax View (1974) say about
capitalism?
Parallax View (1974)
• Parallax View (1974) – story of investigative reporter Joe
Frady who wants to uncover the people responsible for the
assassination of politician, he discovers Parallax Corporation
has been carrying out assassinations for hire. In order to
expose them he goes undercover as an employee of the
company. Film ends with murder of Joe Frady, then his
implication in the murder of a second politician.
Chapter 17 – The Movies Come Back
• What does the film Parallax View (1974) say about
capitalism?
Parallax View (1974)
• Film appeared at a time when there were many events that
led to mistrust of government and business.
• Political assassinations of the 60s, other important political
events Watergate, Vietnam.
• Capitalism has infiltrated every aspect of life, even murder
and assassination are bought and sold.
• Corporation triumphs over the hero and detective,
overpowers them.
Chapter 17 – The Movies Come Back
Discuss the old and revisionist (70s style) Western.
The Late Western Film and American Empire
• Usually involves traditional male heroes whose job it is tame
wilderness
• Pacifying and conquering the Native Americans and making
wilderness safe for civilization as they defined it.
• Attempts to explain and rationalize the colonization of North
America by largely English speaking settlers
• Manifestations of American individualism.
Chapter 17 – The Movies Come Back
Discuss the old and revisionist (70s style) Western.
Film Examples:
• The Wild Bunch (1969) & McCabe and Mrs. Miller (1971)–
revisionist westerns, anti-heros
• Heaven’s Gate (1980) – four hours long, re-creates the
struggle between immigrant homesteaders and native cattle
barons who want land all to themselves, struggle leads to all
out battle. Complex thought provoking film, film has unusual
form which violates the conventions of traditional westerns
which made it unforgivable to critics. Starts at Harvard
University, scene which shows growing class divide in post
Civil War America.
• Flopped at Box Office. Made way for new Westerns – Dances
With Wolves (1990) and Unforgiven (1992)
Chapter 17 – The Movies Come Back
How is Little Big Man (1970) an example of the revisionist
Western Genre?
Dustin Hoffman as Jack Crabbe
• 10 year old orphan who is adopted by Cheyenne Indians, he is
raised as one of them until he is rescued by whites at war with
the natives. Cheyenne look more civilized than whites, a
reversal of the dichotomy found in traditional westerns.
• Crabbe a witness to massacre at Washita River when Seventh
Cavalry killed Cheyenne Indians. This was included to draw
attention to My Lai massacre in Vietnam by the US army 100
years later – (this was one of the reasons Americans turned
their backs on the Vietnam war).
• The film was strongly influenced by the Vietnam war and
portrayed the invasion of America very critically.
Chapter 17 – The Movies Come Back
How is Little Big Man (1970) an example of the revisionist
Western Genre?
• Think about how filmmakers reject simplistic storylines about
historical events.
• Audiences at the time would have made a connection
between, the violence that Native Americans encountered to
the violence suffered by the Vietnamese during the Vietnam
War.
• It is also a “framed narrative”.
• Some conventions being challenged (race), some are still
upheld (sexism)
Chapter 17 – The Movies Come Back
In conclusion
• The generic crisis and revisionism during late 1960’s and into
1970’s helped revive stale formulae of many Hollywood films.
• Paved way for reemergence of the film industry as an
important entertainment industry for the US
Chapter 18: The Blockbuster Strategy
Discuss the changes that took place in the US film industry
in the 70s from a marketing and distribution standpoint.
Economic Turnaround in American Film Industry:
• Less films made, more money spent on each. Similar to today.
• Used to release to smaller, theatres and see how it would do,
now it would release them to more theatres on opening day,
saturation release
• Godfather (1972) and Jaws (1975) were early blockbusters –
had huge ad campaigns
• Joint financing – several companies would share the risk.
• Pre-sell television rights and generate money through
merchandising
Chapter 18: The Blockbuster Strategy
Discuss the changes that took place in the US film industry
in the 70s from a marketing and distribution standpoint.
• Talent Agencies as key players in the movie business
• Under new system agents representing the biggest movie stars
would commission scripts, put together packages and then have
a studio finance and distribute the film. Rise of mega-agencies
CAA (Creative Artists’s Agency), William Morris.
• 1977 – 57% of audience was 12-24 years old. Western went
into perma-decline, horror and sci fi films flourished. Revival
of musical, Saturday Night Fever (1977) and Grease (1978)
Chapter 18: The Blockbuster Strategy
Discuss the changes that took place in the US film industry
in the 70s from a marketing and distribution standpoint.
• Home Movie players and recorders became available to
consumers in the 1970s and by early 80s many Americans
had one.
• Revenue from video rentals become a huge revenue stream.
• B movies are big with straight to video market.
• Smaller low budget films began to fill the gap left in the market
as the major studios concentrated on blockbusters. These are
called “Indy’s” (Independent films).
Chapter 18: The Blockbuster Strategy
Joe’s Powerpoint Notes:
Risk Reduction Strategies
• Joint Financing
• Presale of television rights and video rights
• Non-refundable exhibitor guarantees
• Product tie-ins: books, records, toys and fast-food
The Rise of the Agent
• The package system of production replaces the studio system
of production
• Mega-Agencies
• CAA (Creative Artists Agency)
• The William Morris Agency
• ICM (International Creative Management)
Chapter 18: The Blockbuster Strategy
Joe’s Powerpoint Notes:
Significance of Star Wars
• Revival of B genres
• Sanitized the effects of war
• Revival of “male” heroism
• Good vs. Evil
• Technology vs. The Environment
• Allegory about Vietnam War?
Chapter 18: The Blockbuster Strategy
The Empire Strikes Back - Star Wars (1977) and Rebirth of
Militarism
• Blockbuster film by George Lucas – Example of studio
franchise (video games, merchandise, TV series) “Brand”
• George Lucas took a lower salary – negotiated a deal to
retain the films merchandising and sequel rights.
• Star Wars represented the return of the hero figure to film
narrative after period of time when heroes had been called
into question in the pessimistic climate of the 70s.
• Luke Skywalker was a good looking military hero in a period
when military had taken PR beating in wake of Vietnam.
• Image of military- Pentagon did a number of things to rehab
image – get rid of the draft, army is all volunteer had to work
hard to recruit people – expensive ad campaign ‘Be All You
Can Be’
Chapter 18: The Blockbuster Strategy
The Empire Strikes Back - Star Wars (1977) and Rebirth of
Militarism
• 1980s – recruitment films Officer and Gentleman and Top Gun
• Gave filmmakers access to equipment to ships planes and
tanks
• Films that didn’t want to support military did not get these
items – Full Metal Jacket (1987) – Stanley Kubrick
• Star Wars reflection of American culture and defeat in
Vietnam
• Liberal and Conservative views embedded in it.
• Blend of Genres – bears similarity to WW2 Combat films that
involved multi-ethnic bomber crews working together to
accomplish a mission – Star wars has a crew of multi-alien
beings and robots but structure is the same.
Chapter 18: The Blockbuster Strategy
The Empire Strikes Back - Star Wars (1977) and Elements
of the Western
• Luke’s character as the official hero of traditional western
while unofficial is Han Solo who the self centered smuggler
who comes over to the side of the good.
• Homestead is Luke’s aunt and uncle’s place which is
destroyed, a reference to a similar scene in the Searchers
which is the basis for the captivity narrative that informs part
of Star Wars, the search and rescue of Princess Leia.
• B Science fiction of 1930s and 40s with simplistic plot which is
comforting and reassuring.
• Constructs adult audiences as children reminding us of a
simpler time.
• Reintroduces a simple view of the world – Good and Evil are
easily recognizable – most obvious cultural legacy. Traditional
male hero’s.
Chapter 18: The Blockbuster Strategy
The Empire Strikes Back - Star Wars (1977) and Elements of the
Western
• Celebrates use of technology, cutting-edge special effects.
• Star Wars films helped to popularize the notion of a sanitized hightech war, which has become one of the most insidious aspects of
US military and entertainment culture in recent years.
• Persistence of this mindset was again visible in more recent wars in
Iraq in which the television news showed images of smart bombs
exploding.
• Star Wars we don’t see results of the combat – celebrates warfare
for it’s own sake.
• The film ends with a rally reminiscent of the one shown in Leni
Riefenstahl’s Triumph of the Will.
• The Empire is Nazi Germany –shock troops are stormtroopers and
the generals of the Empire wear uniforms similar to those of the
Soviet Union during WW2.
Chapter 18: The Blockbuster Strategy
Can also be countercultural
• Allegory about Vietnam war and imperialism in general, he
sees parallels between the film and Viet. War that the
Emperor was modeled on Richard Nixon which makes the
empire equivalent to the US. Darth Vader to Henry Kissinger
and the rebels to Vietcong.
• Yoda is the monk or the sage, recalls the principled opposition
to the war shown by many of Vietnam by Buddhist Monks.
• Series as a whole – anti-imperial
• War between the old republic and it’s representative Senate.
Reference to ancient Rome.
Chapter 18: The Blockbuster Strategy
Can also be countercultural
• Rome started as a Republic but after a series of military
successes created an Empire that covered much of the world.
Rome lost democratic character and was ruled for it’s last 500
years by a series of emperors until it collapsed in the west.
• Critics of post WW2 global American military empire argue
that the US has now followed in Rome’s footsteps. Congress
has become nothing more than a rubberstamp body that
authorizes anything that the new imperial presidency calls for.
• Government taken over by powerful corporate interests and
the Pentagon. The military, the weapons industry and the oil
industry form a powerful triumvirate that controls much of the
American political process.
Possible Strike Next Week
• Would possibly mean no tutorials.
• If it happens, Ill post something on our blog regarding
tutorials.
• Blog site: yorkfilm2401.wordpress.com
Next Week
March 3 – Film and Television in the Age of Media
Conglomerates (1980–2013)
• Case Study: Nicaragua, Afghanistan and Iraq and The War
on Terror
• Readings: Textbook Chapter 19 and Chapter 20, Schatz in
Film Reader
• Screening: The Myth of the Liberal Media (1997), No End in
Sight (2007)
• Home Screening: The Green Zone (2010)
Return Exams