Pensum/l?ringskrav HIS2423/4423 h?sten 2019
Books:
Mary Lynn Rampolla, A Pocket Guide to Writing in History (9th edition Boston et al.: Bedford BKS St Martin's, 2015).
Compendium (available at Akademika - please bring your student ID with you):
Geoffrey Nowell-Smith, The History of Cinema: A Very Short Introduction (Oxford: Oxford University Press, 2017), pp. 1-7.
James Chapman, Film and History (Basingstoke: Palgrave Macmillan, 2013), pp. 73-89 and 90-107. Has to be ordered first
Sian Barber, Using Film as a Source (Edinburgh: Edinburgh University Press, 2017), pp. 1-27.
Rick Altman, Silent Film Sound (New York: Columbia University Press 2004), pp. 278-285, 308-319, and 368-379.
James Buhler and Hannah Lewis, ‘Evolving Practices for Film Music and Sound, 1925-1935,’ in Mervyn Cooke and Fiona Ford (eds.), The Cambridge Companion to Film Music (Cambridge: Cambridge University Press, 2016), pp. 7-28
Allison McCracken, Real Men Don’t Sing: Crooning in American Culture (Durham, NC: Duke University Press 2015), pp. 264-310.
Susan Ohmer, George Gallup in Hollywood (New York: Columbia University Press, 2006), pp. 121-161.
Lee Grieveson, Policing Cinema: Movies and Censorship in Early Twentieth Century America (Berkeley et al.: University of California Press, 2004), pp. 11-37.
Sarah Smith, Children, Cinema and Censorship: From Dracula to Dead End (London and New York: I.B. Tauris, 2005), pp. 1-17.
Thomas Schatz, ‘Hollywood: The Triumph of the Studio System,’ in Steve Neale (ed.), The Classical Hollywood Reader (London and New York: Routledge, 2012), pp. 167-178.
Christopher Beach, A Hidden History of Film Style: Cinematographers, Directors, and the Collaborative Process (Oakland: University of California Press, 2015), pp. 1-18.
Jane Feuer, Seeing Through the Eighties: Television and Reaganism (Durham and London: Duke University Press, 1995), pp. 1-18.
Gary Edgerton, ‘The Sky’s the Limit: Satellites, the Cable, and the Reinvention of Television, 1976-1991,’ in Gary Edgerton (ed.), The Columbia History of American Television (New York: Columbia University Press, 2007), pp. 323-346.
Moriel Ram, ‘Fictionalizing the Failure of Science – Zombies, Ambivalence and Modernity,’ in Shawn Edrei and Danielle Gurevitch (eds.), Science Fiction: Beyond Borders (Cambridge: Cambridge Scholars Publishing, 2016), pp. 45-63.
Derek Nystrom, ‘The New Hollywood,’ in Cynthia Lucia, Roy Grundmann and Art Simon (eds.), American Film History: Selected Readings, 1960 to the Present, vol. 2 (West Sussex: Wiley Blackwell, 2015), pp. 87-104.
Yosefa Loshitzky, ‘Introduction,’ in Yosefa Loshitzky (ed.), Spielberg's Holocaust: Critical Perspectives on Schindler’s List (Bloomington et al.: Indiana University Press, 1997), pp. 1-17.
Kate E. Temoney, ‘The “D” is Silent, but Human Rights are Not: Django Unchained as Human Rights Discourse,’ in Oliver C. Speck (ed.), Quentin Tarantino's Django Unchained: The Continuation of Metacinema (New York et al: Bloomsbury, 2014), pp. 123-140.
Anandam P. Kavoori and Aswin Punathambekar, ‘Introduction,’ in Anandam P. Kavoori and Aswin Punathambekar (ed.), Global Bollywood (New York and London: New York University Press, 2008), pp. 1-14.
Sian Barber, How to Formulate a Research Question, in Sian Barber, Using Film as a Source (Manchester: Manchester University Press, 2015), pp. 71-87.
Articles - accessible through the UiO network:
Gaylyn Studlar, ‘Discourses of Gender and Ethnicity: The Construction and De(con)struction of Rudolph Valentino as Other,’ Film Criticism 13,2 (1989), pp. 18-35.
Corey Ross, ‘Mass Culture and Divided Audiences: Cinema and Social Change in Inter-War Germany,’ Past and Present 193,1 (2006), pp. 157-195.
Colin Nettelbeck, ‘Narrative Mutations: French Cinema and its Relations with Literature from Vichy towards the New Wave,’ Journal of European Studies 37,2 (2007), pp. 159-186.
Patrick Merziger, ‘Americanised, Europeanised or Nationalised? The film industry in Europe under the influence of Hollywood, 1927–1968,’ European Review of History/Revue européenne d'histoire 20,5 (2013), pp. 793-813.
Elizabeth McAlister, ‘Slaves, Cannibals, and Infected Hyper-Whites: The Race and Religion of Zombies,’ Anthropological Quarterly 85,2 (2012), pp. 457-486.
Lynn Rapaport, ‘Hollywood’s Holocaust: Schindler’s List and the Construction of Memory,’ Film & History 32,1 (2002), pp. 55-65.
Diana Crane, ‘Cultural Globalization and the Dominance of the American Film Industry: Cultural Policies, National Film Industries, and Transnational Film,’ International Journal of Cultural Policy 20,4 (2014), pp. 365-382.