The Movies Come Back I & II I: Revisionist Genres II: The Blockbuster Strategy February 24 th Tutorial Tuesday Tutorials: 05 (2:30pm) and 10 (3:30pm) [email protected]

The Movies Come Back I & II I: Revisionist Genres II: The Blockbuster Strategy

February 24th TutorialTuesday Tutorials: 05 (2:30pm) and 10 (3:30pm)[email protected]

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.

6. Discuss the significance of Star Wars

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.


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 BackHow 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 BackHow 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 BackDiscuss 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 BackDiscuss 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 BackHow 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 BackHow 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)


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 StrategyDiscuss 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


• 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)


• 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 StrategyJoe’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 StrategyThe 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 StrategyThe 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 StrategyThe 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 StrategyThe 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

high-tech 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 StrategyCan 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 StrategyCan 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

Documents

The Movies Come Back I & II I: Revisionist Genres II: The Blockbuster Strategy February 24 th Tutorial Tuesday Tutorials: 05 (2:30pm) and 10 (3:30pm) [email protected]