TO BE OR NOT TO BE

As discussed in class, the film TO BE OR NOT TO BE was not received well at the time of its release because it treated serious subject matter in a humorous way. What are your thoughts about the negative response to the film? Can you make any connections to our current times, in terms of films that take on serious or sensitive concerns--and how they are received?

The 39 Steps

Hitchcock is credited with inventing the "MacGuffin" in film. He explains that the MacGuffin is "the device, the gimmick, if you will, or the papers the spies are after... The only thing that really matters is that in the picture the plans, documents, or secrets must seem to be of vital importance to the characters. To me, the narrator, they are of no importance whatsoever." In other words, the film is really about "something else" and the MacGuffin is just a sleight of hand to carry the audience along.

If in this film, the "39 steps" formula is merely a MacGuffin, then what is the film really about--in thematic or narrative terms.

Also, any requests for Hitchcock clips for Thursday's class?

CLARA BOW AND THE IT GIRL

Based on the Clara Bow documentary screened in class, it is clear that "it" does not merely mean sex appeal but also a certain inexplicable magnetism or spark. It is also important to acknowledge the way that Clara Bow helped channel certain significant trends particular to her historical moment. Looking back over the past five or ten years, who would you say is our "it girl" today and why? ....or Alternate Question: What point or idea from the documentary left the biggest impression on you? What stays with you, when you think about the topic?

Editing

Due Tuesday, October 18: As we discuss Soviet Montage this week, it is a good time to think about editing techniques in general. I'd like you to tell us about your favorite scene or sequence in a film, based on its editing. What is this scene/sequence and why its editing significant for you? Alternatively, you could discuss the overall editing style of a film that you admire.

The Kid, Charlie Chaplin

In your mind, what is the central message of the film THE KID?

The Great Train Robbery...or Alternate Question

In The Great Train Robbery, there is no singular character--a protagonist--with which to identify. Within a few years, there would be one or more protagonists in most narrative films. In your opinion, do audiences need a main character (or a series of main characters) to identify with? Or is it possible to make a successful film without a clear set of main characters? You may keep your answer brief and use examples if you like.

or, Alternate Question:
In Goodfellas, what is the impact of the final sequence and the inserted shots of Joe Pesci firing his gun toward the camera? What do you think it means?

WEEK TWO: WHAT IF?

IF YOU WERE STRANDED ON A DESERTED ISLAND AND COULD ONLY HAVE ONE FILM WITH YOU (AND YOU PRESUMABLY HAD THE TECHNOLOGY TO VIEW THE FILM), WHAT WOULD IT BE AND WHY?