New York University

Department of Media, Culture, and Communication
MCC-UE 1141
Hollywood Films and American Life

Course Description

This  course  examines  the  vast  and  rich  myth-­‐making  power  of  Hollywood  film  narratives  that  influence  
dominant  cultural  views  of  American  identity.  Students  view  films  that  explore  problems  and  promises  of  
American  culture  and  society  such  as  equality,  democracy,  justice,  class,  gender,  sexual  orientation,  and  
race/ethnicity.    Students  analyze  films  while  considering  the  work  of  historians,  sociologists,  film  critics,  
media  studies  scholars,  anthropologists  and  journalists.  Students  will  screen  films  outside  of  class.  
Assignments  include  creating  a  short  film  that  explores  the  city  where  myths  are  both  lived  out  and  refuted  
on  a  daily  basis.  

Learning Outcomes
After completing this course, students will be able to effectively:
• Contextualize the impact of the American film industry on American society and culture.
• Evaluate different theories and approaches to the study of cultural production.
• Produce specific visual media for various platforms, such as film.

Required Texts & Materials

Readings will be uploaded via NYU Classes when chapters fall within fair use requirements. Most other
selections are available through NYU Bobst Library as electronic books. Students are expected to see
films before class. DVD copes of the featured films will be available on reserve at Bobst or UGFTV’s
Digital Media Library, and when possible we will have the films broadcast on NYU TV.

Assignments

Participation
You are expected to arrive on time, having read the assigned materials, prepared to participate
meaningfully in class discussions. This course is conceived as upper level seminar, with considerable
discussion, and its success will depend on your participation.

Presentation & Short Paper

You will choose a scene from one of the featured films from our class list and offer an in-class
presentation (10 minutes) of that film’s historical context, its relationship to its genre, and especially its
framing of issues and the central tensions under consideration. At the time of your presentation you
should submit a 5-7 page paper developing the ideas from your presentation and provide a 5-10 item
bibliography about the film for the entire class.

Short Film – Visual Essay

Within a four-week period, you will shoot and edit a 3-5 minute film focusing on the historical
development/variations and advancing a thesis about the possibilities and problems of “American
Splendor.” The film will be shot on location in New York City with the collaboration of two of your
classmates. Upon completion of the film, you will screen it in class and engage your peers with a 15
minute conversation (includes the screening) about your work.

Final Exam
Near the end of the semester we will provide you with a half dozen or so final exam questions.
These questions will ask you to think about the main themes developed during the course, to re-examine
the readings, and to develop your own framework for thinking about the course materials and the course.
Our in-class final exam will draw from those questions.

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Evaluation

Participation – 15%
Presentation & Short Paper – 25%
Short Film / Visual Essay – 30%
Final Exam – 30%

Evaluation Rubric

A= Excellent
This project is comprehensive and detailed, integrating themes and concepts from discussions, lectures
and readings, and reflecting critical and technical topics covered in class. Students who earn this grade
are prepared for class, synthesize course materials and contribute insightfully in every class meeting.

B=Good
This project meets the general requirements, offering contributions at a general level of understanding.
Classroom participation is consistent and thoughtful in nearly all class meetings.

C=Average
This project is adequate but nothing more, meeting the minimum requirements but without significant
original thought, reflection, or inventiveness, whether theoretically or practically. Classroom participation
is inarticulate or infrequent.

D= Unsatisfactory
This project is incomplete, and evidences little understanding of the projects and discussions. Critique
and implementation demonstrate inattention to detail, misunderstand course material and overlook
significant themes. Classroom participation is spotty, unprepared and off topic, or rare.

F=Failed
This grade indicates a failure to participate and/or incomplete assignments

B+ = 87-89 C+ = 77-79 D+ = 65-69 F = 0-59

A = 94-100 B = 84-86 C = 74-76 D = 60-64
A- = 90-93 B- = 80-83 C- = 70-73

COURSE POLICIES
Absences and Lateness
Attendance is mandatory. More than two unexcused absences will automatically result in a lower grade.
Chronic lateness will also be reflected in your evaluation of participation. Regardless of the reason for
your absence you will be responsible for any missed work.

Format
We will provide specific format requirements for the different project assignments. As for written work,
please type and double-space submissions. Please also number and staple multiple pages. You are free
to use your preferred citation style. Please use it consistently throughout your writing. If sending a
document electronically, please name the file in the following format Yourlastname Coursenumber
Assignment1.doc

Grade Appeals
Please allow two days to pass before you submit a grade appeal. This gives you time to reflect on our
assessment. If you still want to appeal your grade, please submit a short but considered paragraph
detailing your concerns. Based on this paragraph, we will review the question and either augment your
grade or refine our explanation for the lost points.

General Decorum

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Slipping in late or leaving early, sleeping, text messaging, surfing the Internet, doing homework, eating,
etc. are distracting and disrespectful to all participants in the course.

Academic Dishonesty and Plagiarism (http://steinhardt.nyu.edu/policies/academic_integrity)

The relationship between students and faculty is the keystone of the educational experience at New York
University in the Steinhardt School of Culture, Education, and Human Development. This relationship
takes an honor code for granted and mutual trust, respect, and responsibility as foundational
requirements. Thus, how you learn is as important as what you learn. A university education aims not
only to produce high-quality scholars, but to also cultivate honorable citizens.

Academic integrity is the guiding principle for all that you do, from taking exams to making oral
presentations to writing term papers. It requires that you recognize and acknowledge information derived
from others and take credit only for ideas and work that are yours.

You violate the principle of academic integrity when you

• cheat on an exam,
• submit the same work for two different courses without prior permission from your professors,
• receive help on a take home examination that calls for independent work, or
• plagiarize.

Plagiarism, one of the gravest forms of academic dishonesty in university life, whether intended or not, is
academic fraud. In a community of scholars, whose members are teaching, learning, and discovering
knowledge, plagiarism cannot be tolerated. Plagiarism is failure to properly assign authorship to a paper,
a document, an oral presentation, a musical score, and/or other materials that are not your original work.
You plagiarize when, without proper attribution, you do any of the following:
• copy verbatim from a book, an article, or other media;
• download documents from the Internet;
• purchase documents;
• report from other’s oral work;
• paraphrase or restate someone else’s facts, analysis, and/or conclusions; or
• copy directly from a classmate or allow a classmate to copy from you.

Your professors are responsible for helping you to understand other people’s ideas, to use resources and
conscientiously acknowledge them, and to develop and clarify your own thinking. You should know what
constitutes good and honest scholarship, style guide preferences, and formats for assignments for each
of your courses. Consult your professors for help with problems related to fulfilling course assignments,
including questions related to attribution of sources. Through reading, writing, and discussion, you will
undoubtedly acquire ideas from others, and exchange ideas and opinions with others, including your
classmates and professors. You will be expected, and often required, to build your own work on that of
other people. In so doing, you are expected to credit those sources that have contributed to the
development of your ideas.

Avoiding Academic Dishonesty

• Organize your time appropriately to avoid undue pressure, and acquire good study habits,
including note taking.
• Learn proper forms of citation. Always check with your professors of record for their preferred
style guides. Directly copied material must always be in quotes; paraphrased material must be
acknowledged; even ideas and organization derived from your own previous work or another's
work need to be acknowledged.
• Always proofread your finished work to be sure that quotation marks, footnotes and other
references were not inadvertently omitted. Know the source of each citation.
• Do not submit the same work for more than one class without first obtaining the permission of
both professors even if you believe that work you have already completed satisfies the
requirements of another assignment.
• Save your notes and drafts of your papers as evidence of your original work.

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Disciplinary Sanctions
If a professor suspects cheating, plagiarism, or other forms of academic dishonesty, appropriate
disciplinary action may be taken following the department procedure or through referral to the Committee
on Student Discipline. The Steinhardt School Statement on Academic Integrity is consistent with the NYU
Policy on Student Conduct, published in the NYU Student Guide.

STUDENT RESOURCES
• Students with physical or learning disabilities are required to register with the Moses Center for
Students with Disabilities, 726 Broadway, 2nd Floor, (212-998-4980) and are required to present
a letter from the Center to the instructor at the start of the semester in order to be considered for
appropriate accommodation.
• Writing Center: 411 Lafayette, 4th Floor. Schedule appts at rich15.com/nyu/ or walk-in.

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Course Schedule:

Weeks 1 & 2: American Exceptionalism: Common Sense, Republicanism and Empire of Liberty

During the first two weeks the course sets up the basic and ideal ideological formula that
undergirds so many films, especially in Hollywood’s classical period, an era dominated by the Production
Code with its strict guidelines of do’s and don’ts for the film industry, undergirded by the expectation that
good would triumph, evil would be punished, with everything working out in the end. Several conceits
shaped the idea of American exceptionalism, particularly the idea that the United States was a new
experiment dedicated to democracy, equality, and justice, with bigotry a problem that could be contained
by people of good will.

To Screen and Analyze:

Sergeant York, 1941, directed by Howard Hawks; screenplay by Harry Chandlee, Abem Finkel, John
Huston, Howard Koch, Tom Skeyhill and Sam Cowan
Adam’s Rib, 1949, directed by George Cukor; screenplay by Ruth Gordon and Garson Kanin

Readings:
Lary May, selections from The Big Tomorrow: Hollywood and the Politics of American the American Way
Roy Rosensweig, et al., selections from Who Built America?: Working People and the Nation’s History
Steven J. Ross, selections from Working Class Hollywood

Weeks 3 & 4: National Mythologies: Immigrants, Class Struggles, and the Promise of the “Melting
Pot”
The “melting pot” has functioned for much of the last century as a reassuring concept of American
racial and ethnic tolerance, and promises the idea of assimilation and acceptance for succeeding waves
of immigrants. The political discourses about immigrants and immigration continue to reveal tensions and
fissures around this ideal of the US as a “nation of immigrants,” and the reality of the tensions and
conflicts successive wave of immigrants produces is evidenced in a range of films.

To Screen and Analyze:

West Side Story, 1961, directed by Robert Wise & Jerome Robbins; screenplay by Ernest Lehman
House of Sand and Fog, 2003, directed by Vadim Perelman; screenplay by Shawn Lawrence Otto and
Vadim Perelman

Readings:
David Roediger, Wages of Whiteness: Race and the Making of the American Working Class
Readings in Daniel Bernardi, ed., selections from The Birth of Whiteness: Race and the Emergence of
U.S. Cinema
Roy Rosensweig, et al., selections from Who Built America?: Working People and the Nation’s History
Steven J. Ross, selections from Working Class Hollywood

Weeks 5 & 6: The American Economic System: Making the World Safe for Capitalism

That inexorable engine of global migration, American capitalism, is inextricably bound with
immigrants’ narratives, whether stories of self-made men or stories of exploitation and struggle. The
promise of American capitalism is also challenged by narratives of excess, exploitation, waste, and
violence. The narratives offered by filmmakers reveal an ongoing set of tensions about capitalism as a
Darwinian enterprise, one with huge rewards and equally devastating loss.

To Screen and Analyze:

The Fountainhead, 1949, directed by King Vidor; screenplay by Ayn Rand
Man Push Cart, 2005, written and directed by Ramin Bahrani

Readings:

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John Cawelti, Apostles of the Self-Made Man

Roland Marchand, selections from Advertising the American Dream
Lary May, selections from The Big Tomorrow: Hollywood and the Politics of American the American Way

Weeks 7 & 8: The American Political System and the Promise of Democratic Processes

Hollywood films have historically averred that the American political system – including its
legislative bodies, journalistic practices, and independent court system – can or ought to resolve many of
the problems of inequality, intolerance, violence, exploitation, corruption, and thuggery. Films about the
American political system articulate a long history of tensions between expectations and perceived
realities, and draw on familiar tropes of purity versus corruption, idealism versus cynicism, and “the
system” as transformative versus the system as fixed.

To Screen and Analyze:

Seven Days in May, 1964, directed by John Frankenheimer; screenplay by Rod Sterling
Who Killed Vincent Chin? 1987, directed by Christine Choy and Renee Tajima-Peña

Readings:
Lary May, The Big Tomorrow: Hollywood and the Politics of American the American Way
Lawrence Levine, “Hollywood’s Washington: Film Images of National Politics During the Great
Depression,” in Unpredictable Past: Explorations in American Cultural History
Lauren Berlant, selections from The Queen of America Goes to Washington City: Essays on Sex and
Citizenship

Weeks 9 & 10: Reason in an Unreasonable World: The Courtroom and Liberal Jurisprudence

If the political system has historically been understood as susceptible to corruption and the
protection of entrenched interests, American filmmakers have held out strong hopes for the courtroom,
and the legal system, as site and process in which justice is more likely than not to be carried out, where
rational discourse and an ethos of patient discovery triumphs over haste, prejudice, and violence.
Courtroom and legal system films revolve around a cluster of tensions, including: Rule of law versus
arbitrary justice; the courtroom deliberation versus vigilantism; and protection of the individual against
majoritarianism and hysteria.

To Screen and Analyze:

The Ox-Bow Incident, 1943, directed by William A. Wellman; screenplay by Lamar Trotti
Erin Brockovich, 2000, directed by Steven Soderbergh; screenplay Susannah Grant

Readings:
Alan Brinkley, Liberalism and Its Discontents
Nora Sayre, Running Time: Films of the Cold War
Lauren Berlant, selections from The Queen of America Goes to Washington City: Essays on Sex and
Citizenship

Weeks 11 & 12: National Mythologies: Narratives of Whiteness and Narratives of Racial Equality

These first weeks will consider issues of racial inequality, racial violence, and color-based
hierarchies versus the promises of equality and color-blindness that are central to the American credo
and to the idea of American Splendor. While Hollywood films have historically tended to address these
issues indirectly and not very forcefully (by naturalizing “whiteness” and its privileges), American films
have nonetheless articulated core tensions at the center of American discourses about race, including:
whiteness as a norm; conquest and subjugation; equality and inequality; violence and domination;
integration and segregation; resistance and accommodation. Numerous films articulate these tensions,
for Native Americans, African-Americans, Asian-Americans, Latinos & Latinas, and others.

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To Screen and Analyze:

Shaft, 1971, directed by Gordon Parks; screenplay by Ernest Tidyman & John D. F. Black
Falling Down, 1993, directed by Joel Schumacher; screenplay by Ebbe Roe Smith

Readings:
Matthew Frye Jacobsen, selections from Whiteness of a Different Color: European Immigrants and the
Alchemy of Race
Michele Alexander, The New Jim Crow: Mass Incarceration in the Age of Colorblindness

Weeks 13 & 14: Gender Slippage: Manhood and Womanhood on Trial

Historically Hollywood films privileged and manufactured the manliest of men and the womanliest
of women for audience delectation and emulation. Gender roles were carefully patrolled and reinforced,
leaving little space for the negotiation of alternative sexualities and gender performance. But this
repression masked deeper anxieties about manhood & masculinity and its definitions, and womanliness
and femininity as well, and those anxieties have long manifested themselves in Hollywood films replete
with fears about castration, impotence, small guns, homophobic epithets, queerness, same sex desire,
and breakdown of ‘natural’ roles. In addition to tensions about inadequately masculine men and feminine
women, in Hollywood’s frameworks madness and violent pathologies lurk within and around unresolved
sexual identities.

To Screen and Analyze:

Who’s Afraid of Virginia Woolf? 1966, directed by Mike Nichols; screenplay by Ernest Lehman,
based on Edward Albee’s play of the same title.
Boys Don’t Cry, 1999, directed by Kimberly Peirce; screenplay by Kimberly Peirce and Eva
Kolodner.

Readings:
Michael Kimmel, selections from Manhood in America
Robert Burgoyne, Film Nation, “National Identity, Gender Identity”
Susan Jeffords, selections from The Remasculinization of America
Lauren Berlant, selections from The Queen of America Goes to Washington City: Essays on Sex and
Citizenship

Week 15: Wrap Up and Final Exam

Full List of Course Readings:

Daniel Bernardi, ed., The Birth of Whiteness: Race and the Emergence of U.S. Cinema
George Lipsitz, The Possessive Investment in Whiteness
David Roediger, Wages of Whiteness: Race and the Making of the American Working Class
Roy Rosensweig, et al., Who Built America?: Working People and the Nation’s History
Matthew Frye Jacobsen, Whiteness of a Different Color: European Immigrants and the Alchemy of Race
John Cawelti, Apostles of the Self-Made Man
Naomi Klein, The Shock Doctrine
John Belton, American Cinema/American Culture
Robert Westbrook, “Fighting for the American Family: Private Interests and Political Obligations in World
War II” in Fox and Lears, The Power of Culture
Howard Kester, Revolt Among the Sharecroppers
Derek Nystrom, Hard Hats, Rednecks, and Macho Men
Steven J. Ross, Working Class Hollywood
Rosenzweig et al, Who Built America?: Working People and the Nation’s History
Lary May, “Confronting the Great Depression: Renewing Democracy in Hard Times,” in Ross, Movies and
American Society

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Lawrence Levine, “Hollywood’s Washington: Film Images of National Politics During the Great
Depression,” in Unpredictable Past: Explorations in American Cultural History
Lauren Berlant, selections from The Queen of America Goes to Washington City: Essays on Sex and
Citizenship
Janet Staiger, “Cinematic Shots: The Narration of Violence,” in Sobchack, The Persistence of History:
Cinema, Television, and the Modern Event
Alan Brinkley, Liberalism and Its Discontents
Nora Sayre, Running Time: Films of the Cold War
Gregory Black, Hollywood Censored: Morality Codes, Catholics, and the Movies
Marybeth Hamilton, “Goodness Had Nothing to Do With It: Censoring Mae West,” in Movie Censorship
and American Culture, ed., Francis Couvares
Janet Jakobsen and Ann Pelligrini, Love the Sin: Sexual Regulation and the Limits of Religious Tolerance
Robert Burgoyne, Film Nation, “National Identity, Gender Identity”
Susan Jeffords, The Remasculinization of America
James William Gibson, Warrior Dreams: Violence and Manhood in Post-Vietnam America

Production Supervision:
Production Supervision is the process by which NYU Film/Television works with filmmakers to manage
the intersection of their films with the 'real world' beyond the set. Production Supervision is focused on
working out solutions to production challenges and fostering safe, professional production practices on
NYU sets.

Students enrolled in this class will need to work within the production guidelines of Tisch. The guidelines
can be found on the NYU Production wiki (see below); students are expected to be familiar with and to
follow these guidelines for their projects. The class will be assigned a Production Supervisor who can
help clarify the guidelines and answer any questions students have regarding production questions.

Production Supervision is also a team of faculty who apply their production expertise to help guide and
support filmmakers as they prepare to shoot their films. This course gives filmmakers a chance to work
directly with Production Supervisors (in addition to class instructor) to identify whether elements of their
film create higher levels of risk on the set - “Special Scenes and Activities” - and how to address those
risks while preserving their creative vision.

Production Guidelines:
Work produced in “American Splendor – The Possibilities and Problems of American Life in US Films”
must use class allotted/school issued production equipment (no outside equipment rentals under any
circumstances will be allowed). Additionally, student productions must not exceed a 100-mile shooting
radius from 721 Broadway. Students must become familiar with University and Departmental policies
concerning the use of simulated weapons, as well as the restrictions or limitations for shooting in higher-
risk situations (subways, rooftops, stunts, moving cars).

CSI Insurance
In addition to insurance provided through New York University, each student is responsible for purchasing
student personal property insurance (CSI) through Fireman’s Fund. This supplemental insurance will
cover students for one year & can be used in all production classes during the year of coverage. No
equipment will be issued until the insurance certificate is presented to instructor.

Areas of coverage
Personal Property - This policy insures all personal articles owned or in the care, custody or control of
the named insured while the insured is an enrolled student.

Rented or Borrowed Equipment - Covers photography or film related equipment that is rented or
borrowed, provided the equipment is rented or borrowed for a period of thirty days or less.

Cost of CSI Insurance

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The total minimum cost of the plan is $155. This total is broken down as follows:

Item Cost

Policy ($6000 Limit/$500 Deductible) $90

Equipment Endorsement ($25,000 Limit) $60

Processing Fee $5
Total $155

How to Purchase CSI Insurance

Step 1: Go to www.collegestudentinsurance.com. Click Order Policy.

Step 2: From the pull-down menu, select New York as the School State and New York University
(Film/Photo/Journalism) as the School Name.

Step 3: Select YES for the $60 Equipment Endorsement and choose your personal property coverage:
The minimum Policy Limit is $6000 with a $500 Deductible for a cost of $90. Continue to fill in your
personal information.

Step 4: Enter your credit card information and purchase the policy. Once your order has gone through
you will receive a confirmation E-mail. Print out your confirmation E-mail and deliver it to your Instructor.
(You will not be permitted to check out equipment from the Production Center without turning in a copy of
your policy.)

PRODUCTION WIKI
All pertinent production information can be found on the Film/TV Wiki site: http://www.nyu.edu/filmguide

Visual Essay Projects:

Completed work files that is ready for screening must be saved as QuickTime files and must be delivered
on a USB Thumb Drive with the following information presented on the departmental slate or countdown
sequence: (Name, Project #, Instructor, Length of Project).

Projects that are not properly presented for screening will not be screened in class. Please remember to
pick up your USB Thumb Drive at the end of class.

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Recommended Films

Weeks 1 & 2: American Exceptionalism: Common Sense, Republicanism and Empire of Liberty

Argot, True Grit (1969), The Coal Miner’s Daughter, Juno, Night at the Museum, Star Wars, Yankee
Doodle Dandy, Back to the Future, Forrest Gump, The Sting, The Pursuit of Happyness, Boogie Nights,
Cocktail, Pretty Woman, An American Tail, Mr. Smith Goes to Washington, Coming to America, The
Patriot, Ferris Bueller's Day Off, The Right Stuff, La Bamba, Ray, Stand by Me, The Glen Miller Story,
The Karate Kid, Rocky.

Weeks 3 & 4: National Mythologies: Immigrants, Class Struggles, and the Promise of the “Melting
Pot”

Ric Burns’ New York, Gangs of New York, The Molly MacGuires, Seven Brides for Seven Brothers,
Charlie Chan, The Big Night, Lone Star, La Familia, The Wedding Banquet, The Namesake, Little
Odessa, El Norte, Crash, The Visitor, The New Land, America America, The Immigrant, Under the Same
Moon, Avalon, Coming to America, The Border.

Weeks 5 & 6: The American Economic System: Making the World Safe for Capitalism

Inside Job, Roger & Me, Manufacturing Consent, Smartest Guys in the Room, The Corporation, American
Dream, The Fountainhead, Network, Parallax View, There Will be Blood, Citizen Kane, The Godfather:
Part II, The Conversation, Silkwood, Wall Street, Treasure of Sierra Madre, The Truman Show, Risky
Business, Ghost Busters, Glengarry Glen Ross, The Social Network.

Weeks 7 & 8: The American Political System and the Promise of Democratic Processes Mr. Deeds

Comes to Town, All the King’s Men, Gentleman’s Agreement The Manchurian Candidate, All the
President’s Men, Parallax View, The Candidate, Failsafe, Good Night and Good Luck, Wag the Dog, Bob
Roberts, Missing, JFK, Being There, Malcolm X, Syriana, Primary Colors, Advise and Consent, Bullworth,
Mr. Smith Goes to Washington, The Fog of War, Primary.

Weeks 9 & 10: Reason in an Unreasonable World: The Courtroom and Liberal Jurisprudence

Twelve Angry Men, To Kill a Mockingbird, Judgment at Nuremberg, The Verdict, A Few Good Men,
Silkwood, Erin Brockovich, My Cousin Vinny, Philadelphia, Dead Man Walking, The People vs. Larry
Flynt, And Justice for All, The Rainmaker, In Cold Blood, Fury, North Country, Reversal of Fortune, I Want
to Live! The Firm, Inherit the Win, The Client, The Paradine Case, Sleepers.

Weeks 11 & 12: National Mythologies: Narratives of Whiteness and Narratives of Racial Equality

Thunderheart, Two Towns of Jasper, Powwow Highway, Smoke Signals, Frozen River, Bad Day at
Blackrock, World of Suzy Wong, Eyes on the Prize, Grand Torino, Stand and Deliver, Lone Star, La
Familia, Gentleman’s Agreement, Blackboard Jungle, In the Heat of the Night, Guess Whose Coming to
Dinner, The Defiant Ones, To Kill a Mockingbird, Sounder, Do the Right Thing, Mississippi Burning,
Amistead, Glory, Crash, Django Unchained, 12 Years a Slave.

Weeks 13 & 14: Gender Slippage: Manhood and Womanhood on Trial

The Man Who Shot Liberty Valence, Death of a Salesman, The Little Foxes, Rope, Tootsie, Rebel
Without a Cause, The Misfits, Some Like it Hot, Milk, The Graduate, Shampoo, Dog Day Afternoon,
Rocky, Coming Home, Johnny Guitar, Million Dollar Baby, The Ice Storm, Rambo, Thelma & Louise,
Brokeback Mountain, Black Swan, Paris is Burning, Norma Rae, Straw Dogs, Deliverance.

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