Sociology of Hollywood - Gerardo Marti - Davidson College - 2011

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“Film, after all, is more than mere celluloid. It is socially constructed within a threecornered association between film makers, film spectators, and the film texts themselves, and at every point in that nexus of relationships we encounter negotiation and interaction involving active social beings and institutionalized social practices. Sociology is the intellectual resource best suited to probing that particular complex of social activity.” Please note: The sociology of Hollywood is less concerned with the critical study of the products of the institution (movies) than with the analysis of the cultural/commercial institution that comprises “Hollywood.” Also note that this course is writing and speaking intensive. Critical reading of texts, cogent writings, articulate oral presentations, and full participation in dialogue are mandatory. Class assignments will measure your ability to grasp and apply sociological perspective from readings and from information emerging from class discussions. A critical book review and a thematic research paper provide opportunities to pursue interests in greater depth. Full attendance is not only encouraged but expected. Course goals for this course include: • Apply the aims and objectives of sociological analysis, • Know outstanding contemporary demographic characteristics of the Hollywood industry, • Analytically construct reciprocal connections between broad social changes in the twentieth century with changes in film industry, • Demonstrate understanding of the changing organizational dynamics of film production and distribution, • Demonstrate understanding of labor relations and significant occupational issues in the film industry over its history, • Describe the political and/or social philosophy of various economic, civic, political, religious leaders and movements shaping the development of the film industry in America, • Analyze and provide examples of the significance of race and ethnicity in film industry both historical and contemporary, • Analyze and provide examples of the significance of religion in film industry both historical and contemporary, • Analyze the significance of celebrity in contemporary culture, • Clearly discuss political economy theory and other current theoretical perspectives applied by scholars understanding the film industry, • Demonstrate understanding of the dynamics of globalization through the lens of Hollywood’s worldwide presence and the affinities between Hollywood and fundamental changes in contemporary society, and • Develop analytical and critical thinking abilities in both written and oral forms in exploring ideas, cultural artifacts, and current events as they relate to the motion picture industry. Required Books & Readings for All Students: • Richard Maltby. 2003. Hollywood Cinema. Second Edition. Blackwell. Dr. Marti, Soc 380 Seminar 2
• John Hill and Pamela Church Gibson (eds). 2000. American Cinema and Hollywood: Critical Approaches. Oxford. • Saverio Giovacchini. 2001. Hollywood Modernism: Film and Politics in the Age of the New Deal (Culture and the Moving Image). Temple University Press. • Gerald Horne. 2001. Class Struggle in Hollywood, 1930-1950: Moguls, Mobsters, Stars and Trade Unionists. University of Texas Press. • Shyon Baumann. 2007. Hollywood Highbrow: From Entertainment to Art. Princeton University Press. • Gerardo Marti. 2008. Hollywood Faith: Holiness, Prosperity, and Ambition in a Los Angeles Church. Rutgers University Press. • Reserved readings available through the Davidson College library online, indicated by (R). Books Required by Some, Recommended for All: • A Selected Book Report Text from Syllabus as Agreed Upon with Instructor. • Ruth Vasey. 1997. The World According to Hollywood, 1918-1939. University of Wisconsin Press. [Half of class reads this text.] • M. Pendakur. 1990. Canadian Dreams and American control: The Political Economy of the Canadian Film Industry. Wayne State University Press. [Half of class reads this text.] • F. Wasser. 2001. Veni, Vidi, Video: The Hollywood Empire and the VCR. University of Texas Press. [Only one person will require this text.] • Danae Clark. 1995. Negotiating Hollywood: The Cultural Politics of Actor’s Labor. University of Minnesota Press. [Only one person will require this text.] • Brenda R. Weber. 2009. Makeover TV: Selfhood, Citizenship, and Celebrity. Duke University Press. [Only one person will require this text.] • Lary May. 1983. Screening Out the Past: The Birth of Mass Culture and the Motion Picture Industry (with a new preface). University of Chicago Press. [Only one person will require this text.] Specific Requirements: Weekly Assignments Major Papers Note on Attendance Dr. Marti, Soc 380 Seminar · Participation in Class Discussion 10% · Analytic Pre-Discussion Papers 20% · Critical Book Review 20% · Thematic Research Paper Draft 20% · Thematic Research Paper Final 30% Total Grade = 100% I expect you to come to class, that is to say, show up on time, stay the entire class period, and participate fully in each class the whole time you are there. Students often ask me how many times they are allowed to cut my class. The answer is that every absence will have a negative effect on your grade. For one thing there are frequent analytical discussions and in-class writing. And if you are absent, you can’t make up those experiences. If you arrive late for a class period, you won’t make up for the experience either. Please note: While student athletes may miss one class meeting in this semester for pre-scheduled events, every student must find another student in class to obtain any material covered on days missed. Please have event schedules provided to me at the beginning of the semester. 3
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Sociology of Hollywood - Gerardo Marti - Davidson College - 2011

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