Let’s all respond to the two film adaptations of The Stepford Wives. Which film did you prefer in relation to the book? Why? How did the adaptations differ based upon historical context (the first released in 1975 and the second in 2004 ). Please answer in 100 words and be sure to address all three “texts” in this “Stepford Wives” constellation.
As we’ve discussed, genre cycles emerge based on historically-specific communal needs (and to make $$$). Lee Daniels’s The Butler (2013) is an Obama-era historical drama that seems out-of-date in 2021. Can you think of more recent historical dramas that seem closer to our era as it pertains to race and history? What makes those films products of today? Have the topics in The Butler instead gone toward other genres?
This is a place to post questions about the group project on The Stepford Wives. I will check this blog daily until the assignment is due during weeks #12 and #13.
Let’s consider the two 1990s films we’ve seen for this course. How do their views of the U.S. government differ and/or align? What do you think viewers are supposed to take away on this point in terms of a group response that is—like all genres—therapeutic?
On this blog, we reflect on Rob Reiner’s The American President (1995). It is a romantic comedy, DC-style. We might say that it is a political lovefest about Washington maneuvering (and the triumph of good government) more than it is a story of two people who fall in love, face difficulties, and reunite in the end. How does it compare to other rom-coms you’ve seen? In what ways is this “political rom-com” different?
You’ve now had a chance to consider the auteur theory alongside David Lynch. Let’s turn to another director. What director (perhaps a personal favorite) qualifies as an auteur in your view? What are some basic features (thematic and technical) about his/her art? What gives this cinema, in the words of Andrew Sarris, “interior meaning”?
When discussing The Exorcist (1973) last week, we noted how the anxieties of the 1970s (institutions we no longer trust, children who no longer obey parents, etc.) created the societal ingredients for a horror possession film. All the President’s Men (1976) seems worlds apart, yet both movies are about troubled times. In 100 words, comment on one aspect that connects these Washington, DC based films to each other. Try to also stress technical issues. For example you might take up the use of music or close-ups.
You will need to see a post-1999 romantic comedy to answer these questions. After doing so, post here on two fronts: how does this film show “static” characteristics of the rom-com genre? How does it show “dynamic” characteristics of rom-coms? This distinction should be clear by now based upon the reading and emails from this unit.
*Please limit your post to 100 words.
Let’s consider a sharp contrast in Strangers on a Train (1951). Miriam Haines as “femme fatale” in opposition to the Senator’s daughter, Anne Morton. What do you think the opposition says about gender and genre in the 1950s? Furthermore, what’s implied by the resolution of the story? Is Hitchcock participating in a type of normative construction of gender, challenging it, simply following genre conventions? Explain.
This is a place to post any questions about the English 245 midterm. It (along with a sample from a previous semester) is posted under “Assignments.”