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University of Warwick Department of Film and Television Studies

FI101: Discovering Cinema

Spring 2018

Module Leader: Dr. Julie Lobalzo Wright Contact:

Room A0.15 Millburn House Office hours: 15.00-16.00 Tuesdays; 15.00-16.00 Wednesdays

j.wright.4@warwick.ac.uk

Seminar Leader: Leanne Weston Contact: TBA

Timetable 9.00-12.00 Monday Screening 1 A0.28 12.00-13.00 Tuesday Lecture A0.28 13.00-15.00 Tuesday Screening 2 A0.28 13.00-14.00 Wednesday Seminar 1 A1.14/A1.28 14.00-15.00 Wednesday Seminar 2 *** Seminars- both the number of seminars running and the allocation of students to seminars- will be determined in week 1*** Films The Graduate (Mike Nichols, 1967) Goldfinger (Guy Hamilton, 1964) Monsoon Wedding (Mira Nair, 2001) Singin’ in the Rain (Stanley Donen, 1952) Spirited Away (Hayao Miyazaki, 2001) Men in Black (Barry Sonnenfeld, 1997) The Skin I Live In (Pedro Almodóvar, 2011) The Piano (Jane Campion, 1993) Lost in Translation (Sofia Coppola, 2003) Module Description

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This module is intended to introduce students to the techniques and skills of textual analysis and to develop their understanding and appreciation of cinema both past and present. It aims to introduce cinema through a range of critical lenses and frameworks, familiarising students with key formal strategies and critical concepts that are necessary for analysing films. This second term of the module will cover key theoretical concerns in film studies, focusing on film as an industry, genre, stardom, and authorship. The techniques gained in the first term will be applicable to this second term as we continue to closely examine the film text, but also think about how industry expectations through definable genres or star images impact on the production and exhibition of films. Furthermore, by studying non-Hollywood industries, we will gain a better understanding of how the film industry operates throughout the world. This term will introduce you to the concepts of industry, genre, stardom, and authorship, spending two weeks or more on each concept in order to investigate how these defining concepts have been studied in academia, but, also, utilised within the film industry. Students will explore these ideas through a wide and engaging array of films from different countries and different periods in the history of cinema. By focusing on a range of narrative films, this module will ultimately equip students with the necessary analytical skills to discover cinema’s richness, its complexity and its expressiveness. This course will be taught through a combination of lectures, seminars and weekly screenings. Attendance at lectures, seminars and screenings is compulsory. Aims and Objectives • This module aims to introduce and familiarise students with the principles

of film form, narrative and style as well as the basic methodologies of film criticism.

• It intends to equip students with a critical vocabulary for analysing films and will give the significant practice in discussing and writing about cinema.

• It will allow students to develop a scholarly understanding of some of the dominant concepts, methods and debates in film studies.

• It gives students the opportunity to study historical and contemporary cinemas from Europe, Asia and the Americas and enables them to explore a variety of critical and theoretical approaches to studying this exciting medium.

• The module will introduce questions regarding the political and social importance of cinema and the role of stardom, genre, and authorship as a way of reading films.

Student Expectations

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Students are expected to attend every week, on time, and having completed the required reading for the week. Required reading is just that- you are required to have it read before you seminar. The readings are to help assist your understanding of the week’s film and/or topic, but they may not be directly discussed in seminars. This does not mean that you can skip readings. One of the most fundamental aspects of your Film Studies degree is reading about film and when you do not complete the required reading, it will be recognised in seminars. Students who have not attended the lecture and/or not completed the reading are always less knowledgeable about the topics for that week and this impacts on not only the individual student, but the rest of the seminar group. Your preparation is vital to the type of contribution you will make within the seminar and you are expected to fully participate in all group activities and group discussions. Lectures are also an important part of your study as the place where ideas are presented and explained and questions are suggested to guide your viewing and reading for the week. Your punctual attendance is expected, as is your attention. Please be mindful of your fellow students and do not distract from your or their learning with loud talking or electronic devices that may cause sound or image disturbances. Mobile phones should be put away and not used during lectures, screenings, and seminars. Furthermore, laptops and tablets should be used sparingly or not at all during screenings as the light disrupts the viewing experiences. If you do use an electronic device to take notes, please sit towards the back of the room so as not to disrupt the other students. You should be taking detailed notes in lectures and screenings with these notes helping to organise your thoughts on the week’s topic. Notes will be useful in seminars and, later, in your assessments. Office Hours I will have set office hours from 15.00-16.00 on Tuesdays and 15.00-16.00 on Wednesdays. You are welcome to drop in to see me, but it is best to contact me beforehand to make an appointment. Your pastoral care is an important aspect of your university education and I am available to speak to you about anything pertaining to your degree, but especially, any questions or issues you may have in this module. Although I am not able to comment on drafts of assigned work, I am always happy to discuss your plans for essays and any marked coursework. I will always be available to talk briefly after sessions, but you will get more out of meeting with me, face to face, at an assigned time so please do not hesitate to make an appointment. Email You are also welcome to email me with any questions or issues that may arise. I am generally prompt in responding to emails, but please be aware that I will be checking and sending emails in university hours, which means I may not be as quick to respond late at night/early in the morning and/or over the weekend.

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Reading and Viewing Each week has a list of required reading for the week’s topic and film. In addition, each week has listed suggested reading, which is there for expanding your study. You may find that certain topics or films are of interest to you and you want to study them in further detail or there may be weeks where certain concepts are challenging and reading beyond just the required reading will assist your understanding of the topic or film. Some readings may be more difficult than others. Always remember to look up terms if you are unsure of their meaning. Seminars will be a place to go over more complicated readings and concepts. This is by no means an exhaustive list, and you should begin as soon as possible to start exploring the library databases and holdings of books and journals in order to follow up your own lines of interest. It is not possible for lectures and seminars to explore every interesting aspect of a film’s context and critical history, and it is up to you to become accustomed to doing this for yourself. You are not expected to read everything, but the extent of your reading and viewing will be evident in your assessed and examined work, and your marks will certainly reflect this. The texts suggested here are not necessarily ‘endorsed’; it is up to you to read critically and to make your own judgements about the scholarship you encounter. The reading and screening lists is at: http://readinglists.warwick.ac.uk/lists/DF67C519-6426-3E84-B311-E4217703C02D.html All of the reading that you are required to do will be on this reading list. You may also be familiar with the electronic databases. Readings will also be available here, however, I suggest you use the reading list as it is comprehensive and only lists what we will be doing this term, whereas the database may include extracts from past years. https://clas.warwick.ac.uk/Extracts/Index/FI101 Please also be patient with the upload of digital extracts and links to these works on the reading list. Many items have been requested to be digitised this term and readings may be available only a week before lectures/seminars. There is also a list of suggested viewing under each week. I cannot stress how important it is to READ! READ! READ! and WATCH! WATCH! WATCH! when taking this module! There will be films that relate to the topic of the week or may be referred to in the lecture. All films will be available from the library and some will also be available to view through BOB (through BUFVC,

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recently aired programs from free-to-air channels). It is not a requirement to watch these films, but the more films you can watch, the better your skills of analysis will become. The university library is an excellent resource and we make sure to order books and DVDs that compliment your studies. Please use the library (it’s even open 24 hours!!!!)

Module Website I will make powerpoints and handouts from each week available at the module website- https://warwick.ac.uk/fac/arts/film/current/ugoutlines/fi101 These documents are password protected in the Weekly Materials file (you will need to enter your student username and password to access these materials). Please remember that the upload of these items is done only to help your studies for revision and not in lieu of attending lectures and seminars. Essay Deadlines Essays must be submitted in electronic form via the e-submission system by 9.00 on the deadline day at https://tabula.warwick.ac.uk. The 3,000 word Long Essay is due Monday 23rd April in Week 1 in the Summer Term. You will receive essay questions towards the end of the Spring module. PLEASE NOTE: Extensions can only be granted by the Senior Tutor (Prof. Catherine Constable) and will normally only be given on production of a medical certificate. According to university regulations, when an essay is submitted late without a formal extension having been granted, there will be a penalty of a 5% reduction of the mark per day. Full instructions on how to upload your essay are provided on the department’s e- submission web-page. Failure to submit by the specified deadline will mean that your essay is LATE and you will be subject to the appropriate penalties (see p.28 of the student handbook). All feedback (and marks where given) will be returned within 20 working days. Feedback will be returned electronically unless a module tutor indicates otherwise. Please ensure that you check your Warwick Email Account regularly Students diagnosed with dyslexia or other specific learning differences should register with Disability Services and notify the department.

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Please refer to page 20 of the student handbook for further details regarding the conventions and procedures relating to assessment. Please see the handbook for more details about essay submission and extension policies. Essay tips:

• Be organised. Break your essay down to various parts to make sure you give equal (or enough) time to argue your various points.

• Be descriptive. Remember to be detailed with your descriptions and to include specific examples.

• Include sources to strengthen your argument. Utilise the library. Begin with the set readings for this term, but expand beyond them.

• Don’t wait to the last minute to write your essay. Edit and draft your essay. Begin with an outline.

• Be clear with your argument and the points you are trying to make. Fully develop your arguments- it is better to make a few very strong arguments with cited work as your foundation than to make a great deal of points that aren’t descriptive, well argued or cited.

A good essay will:

• Have a logical structure, including a proper introduction and conclusion • Feature detailed textual analysis of your chosen film/s • Be clearly argued with strong evidence from relevant critical literature

(literature beyond what was required reading for the module) • Display an in-depth understanding of the concepts and theories you

are utilising • A clear sense of how your examples relate to the critical literature you

are engaging with • Careful attention to proofreading and referencing, including a complete

bibliography and filmography Examination There will be on examination of 2 hours on both parts of the module (Autumn term and Spring term). The mark achieved by your two answers (one on each unit) will count for 40%. There will be a revision session for the Spring term in the summer term. Week-by-Week Schedule I. Industry

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Week 1 9/10 January Topic: New Hollywood Film: The Graduate (Mike Nichols, 1967) Essential Reading: King, Geoff (2005) ‘New Hollywood, Version I: The Hollywood Renaissance’ in New Hollywood Cinema: An Introduction. London and New York: IB Taurus, pp. 10-48. King, Noel (2004) ‘“The Last Good Time We Ever Had”: Remembering the New Hollywood Cinema’ in Thomas Elsaessar, Alexander Horwath and Noel King (eds.) The Last Great American Picture Show: New Hollywood Cinema in the 1970s. Amsterdam: Amsterdam University Press, pp. 19-36. Suggested Reading: Bapis, Elaine M. (2008) ‘As Hollywood Turned: Expansion, Exhibition, Codes, and Directors at Mid-Decade’ in Cinema and Action: American Film as Agent of Social Change, 1965-1975. Jefferson, N.C and London: McFarland & Company, pp. 15-26. Harris, Mark (2008) Pictures at a Revolution: Five Movies and the Birth of New Hollywood. New York: Penguin Books. Ray, Robert B. (1985) ‘The Left and Right Cycles’ in A Certain Tendency of the Hollywood Cinema, 1930-1980. Princeton, N.J: Princeton University Press, pp. 296-325. Wood, Robin (2003) ‘The Incoherent Text: Narrative in the 70s’ in Hollywood From Vietnam to Regan…And Beyond. Expanded and Revised Edition. New York: Columbia University Press, pp. 41-62. Suggested Viewing: Bonnie and Clyde (Arthur Penn, 1967), Easy Rider (Dennis Hopper, 1969), The Last Picture Show (Peter Bogdanovich, 1971), Jaws (Steven Spielberg, 1975)

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Week 2 16/17 January Topic: British Film Industry Film: Goldfinger (Guy Hamilton, 1964) Essential Reading: Chapman, James (2000) ‘Introduction: Taking James Bond Seriously’ in License to Thrill: A Cultural History of The James Bond Films (New York and Chichester, UK: Columbia University Press), pp. 1-18. Street, Sarah (2009) ‘The Fiscal Politics of Film’ in British National Cinema. 2nd Edition. London and New York: Routledge, pp. 6-34. BFI (2011) ‘Opening Our Eyes: How Film Contributes to the Culture of the UK’. Available at: http://www.bfi.org.uk/sites/bfi.org.uk/files/downloads/bfi-opening-our-eyes-2011-07.pdf (Accessed 17 August 2017). [Please have a look over this. You do not need to read it all, but spend 10 minutes looking through it] Suggested Reading: Eyles, Allen (2009) ‘Exhibition and the Cinemagoing Experience’ in Robert Murphy (ed.) The British Cinema Book. Third Edition. London: BFI, pp. 78-84. Hill, John (2002) ‘British Cinema as National Cinema: Production, Audience and Representation’ in Turner, Graeme (ed.) The Film Cultures Reader. London and New York: Routledge, pp. 165-173. Miller, Toby (2000) ‘The Film Industry and the Government: “Endless Mr. Beans and Mr. Bonds?”’ in Robert Murphy (ed.) British Cinema of the 90s. London: BFI, pp. 37-47. Suggested Viewing: Dr. No (Terence Young, 1962), From Russia With Love (Terence Young, 1963), On Her Majesty’s Secret Service (Peter R. Hunt, 1969)

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Week 3 23/24 January Topic: Popular Hindi Cinema Film: Monsoon Wedding (Mira Nair, 2001) Essential Reading: Rajadhyaksha, A. (2008) ‘Hindi Cinema’ in Pam Cook (ed). The Cinema Book, 2nd Edition. London: BFI, pp. 217-223. Sharpe, Jenny (2005) ‘Gender, Nation, and Globalization in Monsoon Wedding and Dilwale Dulhania Le Jayenge Meridians 6:1, 58-81. Suggested Reading: Iyer, Pico (2009) ‘Monsoon Wedding: A Marigold Tapestry’ Available at: https://www.criterion.com/current/posts/1266-monsoon-wedding-a-marigold-tapestry. Moodley, Subeshini (2003) ‘Postcolonial Feminisms Speaking through an “Accented” Cinema: The Construction of Indian Women in the Films of Mira Nair and Deepa Mehta Agenda: Empowering Women for Gender Equity 58, pp. 66-75 Thompson, Kristin and Bordwell, David (2010) ‘India: Mass Output and Art Cinema’ (2010) in Film History: An Introduction. New York: McGraw-Hill, pp. 621-626. Varia, Kush (2012) ‘Narrative and Genre’ in Bollywood: Gods, Glamour, and Gossip. London and New York: Wallflower, pp. 31-56. Varia, Kush (2012) ‘Settings and Style’ in Bollywood: Gods, Glamour, and Gossip. London and New York: Wallflower, pp. 74-94. Suggested Viewing: Mother India (Mehboob Khan, 1957), Sholay (Ramesh Sippy, 1975), Lagaan (Ashutosh Gowariker, 2001), Bride and Prejudice (Gurinder Chadha, 2004) II. Genre

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Week 4 30/31 January Topic: The Musical Film: Singin’ in the Rain (Stanley Donen, 1952) Essential Reading: Christine Gledhill (2007) ‘History of Genre Criticism’, in Pam Cook (ed.) The Cinema Book, Third Edition. London: BFI, pp. 250-259. Neale, Steve (2007) ‘The Musical’, in Pam Cook (ed.) The Cinema Book, Third Edition. London: BFI, pp. 333-343. Suggested Reading: Corrigan, Timothy and White, Patricia (2004) ‘Rituals, Conventions, Archetypes, and Formulas: Movie Genres’ in The Film Experience: An Introduction (Boston: Bedford/St Martins), pp. 288-323. Dyer, Richard (1992) ‘Entertainment and Utopia’ in Only Entertainment (New York and London: Routledge), pp. 17-34. Steven Cohan (2000) ‘Case Study: Interpreting Singin’ in the Rain’ in Reinventing Film Studies, Christine Gledhill and Linda Williams (eds.) (London and New York: Arnold), pp. 53-75. Peter Wollen (1992) Singin’ in the Rain (London: BFI). Richard Maltby (2003) ‘Singin’ in the Rain: How to Take Gene Kelly Seriously’ in Hollywood Cinema, Second Edition (Malden, MA and Oxford, UK: Blackwell Publishing), pp. 66-71. Suggested Viewing: Top Hat (Mark Sandrich, 1935), Saturday Night Fever (John Badham, 1977), Crazy-Ex Girlfriend (The CW, 2015-present)

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Week 5 6/7 February Topic: Animation Film: Spirited Away (Hayao Miyazaki, 2001) Essential Reading: Denison, Rayna (2015) ‘Introduction’ in Anime: A Critical Introduction. New York and London: Bloomsbury, pp. 1-14. Wells, Paul (1998) ‘Notes Towards a Theory of Animation’ in Understanding Animation. London: Routledge, pp. 35-76. Suggested Reading: Cavallaro, Dani (2006)The animé art of Hayao Miyazaki. Jefferson, N.C.: McFarland & Co. Clements, Jonathan (2013) Anime: A History. London: Palgrave Macmillan. Napier, Susan J. (2005) ‘The Enchantment of Estrangement: the Shōjo in the World of Miyazaki Hayao’ in Anime From Akira to Howl’s Moving Castle: Experiencing Contemporary Japanese Animation. Basingstoke and Palgrave: Palgrave Macmillan, pp. 151-168. Napier, Susan J. (2005) ‘Anime and Local/Global Identity’ in Anime From Akira to Howl’s Moving Castle: Experiencing Contemporary Japanese Animation. Basingstoke and Palgrave: Palgrave Macmillan, pp. 15-34. Suggested Viewing: Akira (Katsuhiro Otomo, 1991), Ghost in the Shell (Mamoru Oshii, 1995), Princess Mononoke (Hayao Miyazaki, 1997) Week 6 READING WEEK 12-18 February III. Stardom

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Week 7 20/21 February Topic: Stars and Stardom- Will Smith Film: Men in Black (Barry Sonnenfeld, 1997) Essential Reading: Lobalzo Wright, Julie (2017) ‘The Rap Film Star: Will Smith’ in Crossover Stardom: Popular Male Music Stars in American Cinema (New York and London: Bloomsbury), pp. 117-147. Shingler, Martin (2012) ‘Star Studies: Mapping Out the Field of Star Scholarship Within Film Studies’ in Star Studies: A Critical Guide. London: BFI, pp. 8-36. Suggested Reading: Guerrero, Ed (1993) Framing Blackness: The African American Image in Film. Philadelphia: Temple University Press. King, Geoff (2003) ‘Stardom in the Willennium’, in Contemporary Hollywood Stardom, edited by Thomas Austin and Martin Barker (London and New York: Arnold), pp. 62-73. McDonald, Paul (2013) ‘The Will Smith Business’, in Hollywood Stardom (Oxford: Wiley-Blackwell), pp. 155-177. Shingler, Martin (2012) ‘Star Systems: The Mechanics of Star Production’ and ‘Unstable Symbols: On the Representativeness of Film Stars’ in Star Studies: A Critical Guide. London: BFI, pp. 92-120, 149-180. Thrasher, Steven W. (2016) ‘Who’s The Man? Black Masculinity and Stardom’ in Bell, James (ed.) Black Star: A BFI Compendium. London: BFI. Suggested Viewing: The Fresh Prince of Bel-Air TV series (NBC 1990-1995), Wild Wild West (Barry Sonnenfeld, 1999), Ali (Michael Mann, 2001), Bright (Netflix, David Ayer, 2015)

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Week 8 27/28 February Topic: European Stardom- Antonio Banderas Film: The Skin I Live In (Pedro Almodóvar, 2011) Essential Reading: Perriam, Chris, ‘Two Transnational Spanish Stars: Antonio Banderas and Penelope Cruz’, Studies in Hispanic Cinemas, 2.1 (2005), 29–45. Soila, Tytti (2009) ‘Introduction’ in Tytti Soila (ed.) Stellar Encounters: Stardom in Popular European Cinema. New Barnet, UK: John Libbey & Co. pp. 1-18. Suggested Reading: Gabilondo, Joseba (2006) ‘Antonio Banderas: Hispanic Gay Masculinity and the Global Mirror Stage (1991-2001)’ in Studies in 20th and 21st Century Literature 30:1, pp. 1-25. Pataki, Jelena (2016) ‘Gothic Fiction Elements in Pedro Almodóvar’s The Skin I Live In (2011)’ Anafora 3:2, pp. 225-242. Perriam, Chris (2003) ‘Antonio Banderas (b. 1960)’ in Stars and Masculinities in Spanish Cinema (Oxford and New York: Oxford University Press), pp. 45-69. Sánchez-Biosca, Vicente (2008) ‘The Latin Masquerade: The Spanish in Disguise in Hollywood’ in Alastair Phillips and Ginette Vincendeau (eds.) Journeys of Desire. London: BFI, pp. 133-139. Smith, Paul Julian (2014) Desire Unlimited: The Cinema of Pedro Almodóvar. London and New York: Verso. Suggested Viewing: Tie Me Up! Tie Me Down! (Pedro Almodóvar, 1990), Law of Desire (Pedro Almodóvar, 1993), The Mambo Kings (Arne Glimcher, 1995), The Mask of Zorro (Martin Campbell, 1998) IV. Authorship

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Week 9 6/7 March Topic: Jane Campion Film: The Piano (1993) Essential Reading: Fox, Alistair (2011) ‘Introduction: Authorship, Creativity, and Personal Cinema’ in Jane Campion: Authorship and Personal Cinema. Bloomington and Indianapolis: Indiana University Press, pp. 1-24. ‘Do Films Have Authors’ in Wartenber, T. and Curran, A. (eds.) (2005) The Philosophy of Film: Introductory Text and Readings. Oxford and Malden, MA: Blackwell, pp. 91-117. Suggested Reading: Cook, P. (2007) ‘Auteurism and Women Directors’, in Pam Cook (ed.) The Cinema Book, 3rd Edition. London: BFI, pp. 468-472. Margolis, Harriet (ed.) (2000) Jane Campion’s The Piano. Cambridge: Cambridge University Press. Polan, Dana (2001) Jane Campion. London: BFI. Radner, Hilary, Alistair Fox and Irène Bessière (eds.) (2009) Jane Campion: Cinema, Nation, Identity. Detroit: Wayne University Press. ‘Becoming Jane Campion: Modes of Auteurism and the Media’ (2008) in Verhoeven, D. (2008) Jane Campion (Routledge Film Guides). London and New York: Routledge, 33-84. Suggested Viewing: An Angel at My Table (1990), Bright Star (2010), Top of the Lake (2013-present) Industry/Genre/Stardom/Authorship To be made up in the summer term

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Week 10: DATE TBD Topic: Sofia Coppola Film: Lost in Translation (2003) Required Reading: Bolton, Lucy (2011) ‘Lost in Translation: The Potential of Becoming’ in Film and Female Consciousness: Irigaray, Cinema and Thinking Women. London: Palgrave, pp. 95-127. Kennedy, T. (2010) ‘Off with Hollywood’s Head: Sofia Coppola as Feminine Auteur’, Film Criticism, Fall 2010 35:1 37-59. Suggested Reading: Backman, Rogers, Anna (2015) ‘Chapter One’ in American Independent Cinema: Rites of Passage and the Crisis Image. Edinburgh: Edinburgh University Press, pp. 24-61. [although about The Virgin Suicides, an interesting analysis of the film and discussion of Coppola’s style] Handyside, Fiona (2017) Sofia Coppola: A Cinema of Girlhood. London: I.B. Tauris. King, Geoff (2010) Lost in Translation. Edinburgh: Edinburgh University Press. Smith, P.J. (2004) ‘Tokyo Drifters’, Sight and Sound. 14:1, pp. 12-16. Yunuen Lewis, Caitlin (2011) ‘Cool Postfeminism: The Stardom of Sofia Coppola’ in Su Holmes and Diane Negra (eds.) In the Limelight and Under the Microscope: Forms and Functions of Female Celebrity. London: Continuum, pp.174-198. Suggested Viewing: The Virgin Suicides (1999), Marie Antoinette (2006), The Bling Ring (2013), The Beguiled (2017) Useful Texts Cinema David Bordwell and Kristin Thompson (2012) Film Art: An Introduction, 9th edition. New York: McGraw-Hill.

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Pam Cook (ed.) (2008) The Cinema Book, 3rd Edition. London: BFI Timothy Corrigan (2014) A Short Guide to Writing About Film. New York: Longman. Timothy Corrigan and Patricia White (2004) The Film Experience: An Introduction. Boston: Bedford/St Martins. John Hill and Pamela Church Gibson (eds.) (1998) The Oxford Guide to Film Studies. Oxford: Oxford University Press Annette Kuhn and Guy Westwell (2012) Oxford Dictionary of Film Studies, Oxford: Oxford University Press. Film Industry Dickinson, Margaret and Sarah Street (1985) Cinema and State: The Film Industry and the Government 1927-1984. London: BFI. Ganti, Tejaswini (2012) Producing Bollywood: Inside the Contemporary Hindi Film Industry. Durham, N.C: Duke University Press. Stafford, Roy (2007) Understanding Audiences and the Film Industry. London: BFI. Wasko, Janet (2003) How Hollywood Works. London and Thousand Oaks, C.A: Sage. Genre Altman, Rick (1999) Film/Genre. London: BFI. Dixon, Wheeler Winston (ed.) (2000) Film Genre 2000: New Critical Essays. Albany, NY: State University of New York Press. Grant, Barry Keith (2007) Film Genre: From Iconography to Ideology. London and New York: Wallflower. Langford, Barry (2005) Film Genre: Hollywood and Beyond. Edinburgh: Edinburgh University Press. Neale, Steve (2000) Genre and Hollywood. London and New York: Routledge. Animation Dobson, Nichola (2009) Historical Dictionary of Animation and Cartoons. Lanham, M.D: Scarecrow Press.

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Furniss, Maureen (2007) Animation: Art and Industry. Bloomington: Indiana University Press. Musical Genre Altman, Rick (1987) The American Film Musical. Bloomington and Indianapolis: Indiana University Press. Cohan, Steve (ed.) (2002) The Hollywood Musicals: The Film Reader. London: Routledge. ___. (2010) The Sound of Musicals. London: BFI. Feuer, Jane The Hollywood Musical. Second Edition. Bloomington and Indianapolis: Indiana University Press. Shearer, Martha (2016) New York City and the Hollywood Musical: Dancing in the Streets. London: Palgrave Macmillan. Stardom Bolton, Lucy and Julie Lobalzo Wright (eds.) (2016) Lasting Screen Stars: Images that Fade and Personas that Endure. London: Palgrave Macmillan. Dyer, Richard (1998) Stars. London: BFI. Dyer, Richard (2004) Heavenly Bodies: Film Stars and Society. Second Edition. London and New York: Routledge. Lobalzo Wright, Julie (2017) Crossover Stardom: Popular Male Music Stars in American Cinema. New York and London: Bloomsbury. Meeuf, Russell and Raphael Raphael (eds.) (2013) Transnational Stardom: International Celebrity in Film and Popular Culture. London: Palgrave Macmillan. Soila, Tytti (2009) Stellar Encounters: Stardom in Popular European Cinema. Bloomsbury and Indianapolis: Indiana University Press. Authorship Grant, Barry Keith (2008) Auteurs and Authorship: A Film Reader. Oxford and Malden, MA: Blackwell. Jeong, Seung-hoon and Jeremi Szaniawski (eds.) (2016) The Global Auteur: the Politics of Authorship in 21st Century Cinema New York and London: Bloomsbury.

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Sellors, Paul (2010) Film Authorship: Auteurs and Other Myths. London and New York: Wallflower. Wright Wexman, Virginia (eds.) (2003) Film and Authorship. New Brunswick, N.J: Rutgers University Press.