Film 4280: Film Genres – B-Movies and Exploitation Cinema (Spring 2009, CRN: 13839)

Class: MW 1:30pm-2:45pm, General Classroom Building 321 Screening: M 3:30pm-5:20pm, Arts & Humanities 406

Instructor: Drew Ayers Office: 840B, One Park Place Email: dayers2@gsu.edu Office Hours: T 3:00pm-4:00pm, W 2:45pm- Website: www.drewayers.net 4:30pm, and by appt. Mailbox: 6th Floor, One Park Place N.B.

1) The course website and uLearn will reflect updates to the course, changes in syllabus, assignments, etc. Be sure to check them regularly. The course syllabus provides a general plan for the course; deviations may be necessary.

2) Your constructive assessment of this course plays an indispensable role in shaping education at Georgia State University. Upon completing the course, please take the time to fill out the online course evaluation.

Course Description This course examines the aesthetic qualities, industrial formation, and cultural status of low-budget B-movies and exploitation films through six distinct lenses of study. The first unit examines the concept of film genres and its relevance to B-movies and exploitation films. The second unit takes a cultural studies approach and examines taste cultures and the cultural status of B-movies and exploitation films. The third unit explores the various definitions of B-movies and exploitation films, from both an industrial point of view (studio and post-studio Hollywood) and aesthetic point of view. The fourth unit examines the status of B-movies and exploitation films in corporate Hollywood, and the fifth unit explores the role of censorship in the production of these films. The sixth unit consists of a series of case studies that analyzes specific examples of B-movies and exploitation films. The focus of this class is primarily on Hollywood fiction films, from the early studio system to the present day. Additionally, a key emphasis of the course will be on developing the skills necessary to write cogently and persuasively about film, as well as on cultivating the skills necessary to do film research. Prerequisites Material covered in Film 1010 (Film Aesthetics and Analysis) and Film 2700 (History of Motion Pictures) provides the foundation for this course. You must successfully complete both courses before taking this class. Course Objectives By the end of the course, students will be able to:

§ Define B-movies and exploitation films from a variety of perspectives § Understand the ever-evolving role of B-movies and exploitation films within Hollywood § Effectively read, analyze, and critique scholarly writing about film § Perform effective film research § Write cogently and persuasively about film

Required Texts

1) Schaefer, Eric. “Bold! Daring! Shocking! True!”: A History of Exploitation Films, 1919- 1959. Durham: Duke University Press, 1999. (Available at the GSU bookstores)

2) Sconce, Jeffrey, ed. Sleaze Artists: Cinema at the Margins of Taste Style, and Politics. Durham: Duke University Press, 2007. (Available at the GSU bookstores)

3) Readings on uLearn and Electronic Reserve ER Link: http://reserves.gsu.edu/eres/coursepage.aspx?cid=3231 Password: 7hctes7nS

4) Course films Screenings Attendance at the screenings is a mandatory part of this course. Consequently, attendance will be taken at the screenings, and absences will be counted as personal days. I also expect everyone to be on time for the screenings, which means that you should be in the screening room and seated by 3:30pm – latecomers are distracting, and missing the first part of a film can radically affect your interpretation of that film. If for some reason you are unable to attend a screening, you are responsible for seeing the film on your own. Some of these films are available through the library media center (2nd Floor, Library South). Additionally, most of the films are available through Netflix or at local video stores (e.g., Movies Worth Seeing and Videodrome). The films are a fundamental part of the course and will comprise a large part of our discussions and written assignments. Thus, even if you have already seen the films, you should plan to view them again. After all, group viewing of films is sometimes the best way to spur discussion. Attendance and Participation Attendance for this course is mandatory. My approach to this class will integrate lectures, class discussions, student presentations, and various exercises and activities in order to explore the principles discussed in the readings and lectures – you can’t participate if you’re not there. Attendance will be taken during the first fifteen minutes of each class by using a sign-in sheet. Each student will have three personal days during the semester to cover absences from either class or screenings. These days may be used for any reason you choose and should include time out for illness, emergencies, religious holidays, and family obligations. For each absence after the initial three, your overall attendance grade will be lowered by one letter grade. If you arrive to class after the first fifteen minutes, you will be counted as tardy. Each tardy counts as one-half of an absence. If you have an ongoing situation that requires special consideration, please discuss this with me at the beginning of the semester. Group discussion of course material will comprise a large portion of our in-class activity. It is essential that you have carefully read the assigned material prior to class in order to fulfill your responsibilities as a member of the learning community of this class. Further, you are expected to actively participate in class discussion. Attendance/Participation comprises 10% of the final grade, and your participation grade will be based on both the level and quality of your participation. Late Assignment Policy

If an assignment is turned in late, one full letter grade will be deducted for each day the assignment is late. Additionally, please remember that an assignment is considered late immediately following the class period in which it is due. If you are unable to attend class on a day that an assignment is due, you must contact me prior to the class and make alternative arrangements. All assignments must be submitted in hard-copy form. When assignments are due, expect the unexpected. Assume that one (or perhaps all) of the following will happen to you on exam dates and assignment due dates:

§ Your printer will not print or the line for the printer at the University is a mile long § Your printer will run out of ink or paper § Your disk will crash and all data will be lost § Your car will not run, busses will skip your stop, and all or your friends will be out of

town Please take whatever steps are necessary to prevent these events from affecting the timely submission of assignments and exams. Additional Sources of Academic Support The University offers a range of support services for students. Among the resources available are:

• The Writing Studio (http://www.writingstudio.gsu.edu/) -- Provides advice and tutoring in composition

• Student Support Services (http://www2.gsu.edu/~wwwsss/) -- Offers a variety of services, including tutoring, career counseling, and support groups

Special Accommodations If you have specific physical, psychiatric, or learning disabilities that you believe may require accommodations for this course, please meet with me after class or during my office hours to discuss appropriate adaptations or modifications that might be helpful to you. The Office of Disability Services (http://www2.gsu.edu/~wwwods/) can provide you with information and other assistance to manage any challenges that may affect your performance in coursework. Assignments There are four primary assignments for the semester. We will talk about each in more detail as the due dates approach.

1) Presentation: Each student (in groups of two) will be responsible for opening the class discussion for one class session during the semester. This presentation should be 10-15 minutes in length and should address the following questions: (1) What are the main concerns/theses/arguments of the authors? (2) What evidence do the authors provide to support their arguments? (3) What other authors/theories are the readings relying on, and how do they relate to the other topics we are exploring in the class? (4) How do the readings relate to the film for the week? (5) What points do you find particularly confusing or problematic? (6) What questions do you have for further discussion? Additionally, if you feel that a film clip will help to illustrate your points, you may bring in a clip of no more than two or three minutes to act as a visual aid to your presentation. Don’t feel that you have to explain the readings fully in your presentation – some of these readings are challenging, and might provide you with more questions than answers. That’s ok; I want to see how you’re thinking through problems. My main

concern is that you engage the texts fully, and this presentation is meant to be more of a jumping off point for further discussion than an attempt at a complete analysis of the readings. The presentation is worth 10% of your overall grade.

2) Papers: Students are responsible for completing three papers during the semester, each of which should be 3-5 pages in length. See the pages near the end of this syllabus for more details. Each paper is worth 15% of your overall grade.

3) Quizzes: At random times throughout the semester, I will distribute a total of ten short quizzes to the class. These quizzes are designed to test your comprehension of the assigned reading and/or film for the day. If you are absent on a day on which a quiz is given, that quiz cannot be made up. The quizzes are worth 10% of your overall grade.

4) Final Paper: This assignment builds off the last paper assignment. The final paper will be 8-10 pages in length, and it is meant to showcase all you have learned this semester. The paper should make use of all of our discussions about B-movies and exploitation cinema, and it will require a research element. We will talk much more about the paper throughout the summer. The final paper is due on the last day of class (Monday, April 27th), and it is worth 25% of your overall grade.

All materials must be submitted in hard-copy form and should be typed in 12-point Times New Roman, 1-inch margins on all sides, and double-spaced. Each page should also include your last name and the page number in the upper right-hand corner. The upper left-hand corner of the first page should include your name, my name, the course name, and the date of submission. Use MLA format for your citations and works cited page. Please remember to staple your essays. All work is due at the beginning of the class for which it is due. Grading Presentation: 10% Three Papers (15% each): 45% Attendance/Participation: 10% Quizzes: 10% Final Paper: 25% Grading Breakdown A+ (100-97); A (96-94); A- (93-90); B+ (89-87); B (86-84); B- (83-80); C+ (79-77); C (76-74); C- (73-70); D+ (69-67); D (66-64); D- (63-60); F (59-0) Regarding Scholastic Dishonesty: I take this matter very seriously and will report any suspected cases of academic dishonesty to the Office of Judicial Affairs. For details on the University’s policy on Academic Honesty, please consult the Office’s website at http://www2.gsu.edu/~wwwdos/codeofconduct_conpol.html or the Policy on Academic Honesty in the Faculty Handbook (section 409) at http://www2.gsu.edu/~wwwfhb/fhb.html. The policy prohibits plagiarism, cheating on examinations, unauthorized collaboration, falsification, and multiple submissions. Violation of the policy may result in failing the class as well as disciplinary sanctions. The internet makes it easy to plagiarize, but also easy to track down plagiarism – If you can google it, I can google it. Bottom line: Don’t plagiarize – it’s not worth it. Cite all your sources, put all direct quotations in quotation marks, and clearly note when you are paraphrasing other authors’ work.

Daily Schedule What is Genre? 1/5 Reading: Course syllabus (distributed in class, on uLearn, and class website) Screening: None 1/7 Reading: Schatz, Chapter 1, “The Genius of the System” Schatz, Chapter 2, “Film Genre and the Genre Film” 1/12 Reading: Williams, Linda. “Film Bodies: Gender, Genre, and Excess” Staiger, “Hybrid or Inbred: The Purity Hypothesis and Hollywood Genre History” (uLearn) Screening: Carnival of Souls (Herk Harvey, 1962) Taste Cultures and Distinction 1/14 Reading: Bourdieu, “Introduction to Distinction” Jacobs, “The B Film and the Problem of Cultural Distinction” 1/19 MARTIN LUTHER KING, JR. DAY – NO CLASS/SCREENING 1/21 Reading: Kael, “Trash, Art, and the Movies” Presenter: Researching Film – Guest Presenter, Nedda Ahmed 1/26 Reading: Taylor, “Pure Quidditas or Geek Chic?: Cultism as Discernment” in Sleaze Artists Sconce, “Movies: A Century of Failure” in Sleaze Artists Screening: A Bucket of Blood (Roger Corman, 1959) 1/28 Reading: Sconce, “Esper, the Renunciator: Teaching ‘Bad’ Movies to Good Students” Schaefer, “Exploitation Films: Teaching Sin in the Suburbs” Definitions: Industrial (Studio Era) 2/2 Reading: Schaefer, BDST, Chapter 2 Screening: Glen or Glenda (Edward D. Wood, Jr., 1953) Assignment: Paper #1 Due 2/4 Reading: Taves, “The B Film: Hollywood’s Other Half” 2/9 Reading: Schaefer, BDST, Chapter 3 Screening: Charlie Chan in The Secret Service (Phil Rosen, 1944) 2/11 Reading: Tzioumakis, Chapter 2, “Independent Filmmaking in the Studio Era: The Poverty Row Studios (1930-50s)” Schaefer, BDST, Conclusion

Definitions: Aesthetics, Style, and Content 2/16 Reading: Schaefer, BDST, Introduction Sconce, “‘Trashing’ the Academy: Taste, Excess and an Emerging Politics of Cinematic Style” Screening: Pink Flamingos (John Waters, 1972) 2/18 Reading: Gunning, “The Cinema of Attractions: Early Film, Its Spectator, and the Avant-Garde” (uLearn) Sontag, “Notes on ‘Camp’” Screening: Un Chien Andalou (Luis Buñuel, 1929) [in class] Electrocuting an Elephant (Thomas Edison, 1903) [in class] Clips from Landmarks of Early Film [in class] Definitions: Industrial (Post-Studio Era) 2/23 Reading: King, New Hollywood Cinema, Chapter 1, “New Hollywood, Version I: The Hollywood Renaissance” Screening: Lisa and the Devil (Mario Bava, 1973) 2/25 Reading: Heffernan, “Art House or House of Exorcism?: The Changing Distribution and Reception Contexts of Mario Bava’s Lisa and the Devil” in Sleaze Artists Lowry, “Dimension Pictures: Portrait of a 1970s’ Independent” 3/2 SPRING BREAK – NO CLASS/SCREENING 3/4 SPRING BREAK – NO CLASS 3/9 Reading: King, American Independent Cinema, Chapter 1, “Industry” Screening: Kickboxer (Mark DiSalle and David Worth, 1989) B-Movies in Corporate Hollywood 3/11 Reading: Wasser, “Is Hollywood America?: The Trans-Nationalization of the American Film Industry” Minard, “Givebacks, Hollywood Style” Assignment: Paper #2 Due 3/16 Reading: Ayers, “Bodies, Bullets, and Bad Guys: Elements of the Hardbody Film” Desser, “The Martial Arts Film in the 1990s.” Screening: Scarface (Howard Hawks, 1932) Censorship and Exploitation 3/18 Reading: Schaefer, BDST, Chapter 4 Case Study: The Sex Hygiene Film 3/23 Reading: Schaefer, BDST, Introduction

Schaefer, BDST, Chapter 5 Screening: Sex Madness (Dwain Esper, 1938) 3/25 Reading: Feaster, “The Woman on the Table: Moral and Medical Discourse in the Exploitation Cinema” (uLearn) Kleinhans, “Pornography and Documentary: Narrating the Alibi” in Sleaze Artists Case Study: The Drug Film 3/30 Reading: Schaefer, BDST, Chapter 6 Screening: Reefer Madness (Louis Gasnier, 1936) Case Study: Doris Wishman and the Nudie-Cutie 4/1 Reading: Schaefer, BDST, Chapter 8 Assignment: Paper #3 Due 4/6 Reading: Payne, “Beyond the Pale: Nudism, Race, and Resistance in The Unashamed” Cook, “‘Exploitation’ Films and Feminism” (uLearn) Screening: Nude on the Moon (Doris Wishman, 1960) 4/8 Reading: Modleski, “Women’s Cinema as Counterphobic Cinema: Doris Wishman as the Last Auteur” in Sleaze Artists Luckett, “Sexploitation as Feminine Territory: The Films of Doris Wishman” Case Study: The Race Film 4/13 Reading: Bowser, et al., “Introduction: Oscar Micheaux and Race Movies of the Silent Period” Taylor, “Black Silence and the Politics of Representation” Wallace, “Oscar Micheaux’s Within Our Gates: The Possibilities for Alternative Visions” Screening: Within Our Gates (Oscar Micheaux, 1920) Case Study: Blaxploitation Cinema 4/15 Reading: Lott, “Hollywood and Independent Black Cinema” Kraszewski, “Recontextualizing the Historical Reception of Blaxploitation: Articulations of Class, Black Nationalism, and Anxiety in the Genre's Advertisements” 4/20 Reading: Hartmann, “The Trope of Blaxploitation in Critical Responses to Sweetback” (uLearn) Bates, “Sweetback’s ‘Signifyin(g)’ Song: Mythmaking in Melvin Van Peebles’ Sweet Sweetback's Baadasssss Song” Screening: Sweet Sweetback's Baadasssss Song (Melvin Van Peebles, 1971)

Case Study: Neo-Schlock and Soft-Core Thrillers 4/22 Reading: Cohan, “Censorship and Narrative Indeterminacy in Basic Instinct: ‘You Won’t Learn Anything From Me I Don’t Want You to Know’” Feasey, “Stardom and Sharon Stone: Power as Masquerade” 4/27 Reading: Andrews, “Sex is Dangerous, So Satisfy Your Wife: The Softcore Thriller in Its Contexts” Screening: Basic Instinct (Paul Verhoeven, 1992) Assignment: Final Paper Due

Paper Assignments All papers should be 3-5 pages in length, and they must be submitted in hard-copy form and should be typed in 12-point Times New Roman, 1-inch margins on all sides, and double-spaced. Each page should also include your last name and the page number in the upper right-hand corner. The upper left-hand corner of the first page should include your name, my name, the course name, and the date of submission. The first page should also include a title for the paper. Use MLA format for your citations and works cited page. Please remember to staple your essays. All work is due at the beginning of the class for which it is due. All essays should begin with an introduction that includes a clear thesis statement and a concise summary of what points you are going to make in the essay. Also pay careful attention to the structure of your essay, making sure that your argument proceeds in a clear and logical order that is easy for the reader to follow. Beginning each paragraph with a clear topic sentence will help with your organization. Paper #1: For this paper, I’d like you to engage with our discussions about genre, taste cultures, and cultural distinction and the ways in which the cultural perception of a film affects its social standing (“high art” vs. “low art”). I will leave the exact topic up to you, but your essay should demonstrate a clear understanding of the topics listed above and should also apply these topics to a specific film or films (either the films discussed in class or films of your choosing). This paper is due on Monday, February 2nd. Paper #2: The instructions for this paper are the same as those for the first paper, but I’d like you to engage with our discussions concerning the various definitions (both aesthetic and industrial) of B-movies and exploitation films and the ways in which our definitions of these films have changed over time. This paper is due on Wednesday, March 11th. Paper #3: For this paper, I’d like you to choose a film and write an essay that explains why you think this particular film should be considered a B-movie or exploitation film. You can argue from any or all of the perspectives we’ve addressed in class: generic, cultural, industrial, and aesthetic. Treat this paper as a starting point for your final paper project. This paper is due on Wednesday, April 1st.

Final Paper Assignment

1) This paper should expand on the work you did in Paper #3. Specifically, you should flesh out your initial argument by incorporating the ideas of other scholars into your work through outside research. At least five outside academic sources are required, and these sources must be cited within the text and in a works cited page – remember, any time you use another author’s work (either paraphrased or directly quoted), you must cite that author. Plagiarism will result in an automatic zero for the assignment and possible academic sanctions.

2) The sources must be academic in nature, either from scholarly journals or books (no Wikipedia or film reviews), and the readings we did in class will not count toward your source total. However, you are welcome to use these readings (as well as critics’ reviews) as sources – they just won’t count toward your total. The goal is to get you to put into practice the research techniques we discussed in class and to utilize the resources of the University library.

3) You should use your sources to support and strengthen the initial argument you made in Paper #3. What have other scholars said about your film? About the genre of which your film is a part? About the filmmaker(s)? What is the history of the film’s production? Its reception by critics and audiences? You can also use the final paper to add any perspectives on the film that you didn’t include in Paper #3 (i.e., generic, cultural, aesthetic, and industrial).

4) Don’t wait until the last minute to do your research. It will show in the finished product. 5) Your paper must be 8-10 pages in length, including a title page (which should NOT be

included in your page count. The title page should include your name, my name, the course name, the date of submission, and a title for your paper.

6) Formatting: Use MLA format for this paper. The essay should be typed in 12-point Times New Roman, 1-inch margins on all sides, and double-spaced. Each page should also include your last name and the page number in the upper right-hand corner. Please remember to staple your essay.

7) This essay is meant to showcase all you have learned about B-movies and exploitation cinema this semester. As such, you should submit a polished essay with a clear thesis and argument. Impress me J

8) The paper is due on Monday, April 27th, at the beginning of class. Late papers will be deducted one letter grade for each day they are late.

Bibliography Andrews, David. “Sex is Dangerous, So Satisfy Your Wife: The Softcore Thriller in Its Contexts.” Cinema Journal 45.3 (Spring 2006): 59-89. Ayers, Drew. “Bodies, Bullets, and Bad Guys: Elements of the Hardbody Film.” Film Criticism 32.3 (Spring 2008): 41-67. Bates, Courtney E. J. “Sweetback’s ‘Signifyin(g)’ Song: Mythmaking in Melvin Van Peebles’ Sweet Sweetback's Baadasssss Song.” Quarterly Review of Film & Video 24.2 (2007): 171-181. Bourdieu, Pierre. “Introduction to Distinction.” The Cult Film Reader. Eds. Ernest Mathijs and Xavier Mendick. New York: Open University Press/McGraw-Hill Education, 2008. 386- 391. (PN1995.9.C84 C85 2008) Bowser, Pearl, Jane Gaines, and Charles Musser. “Introduction: Oscar Micheaux and Race Movies of the Silent Period.” Oscar Micheaux and His Circle: African-American Filmmaking and Race Cinema of the Silent Era. Eds. Pearl Bowser, Jane Gaines, and Charles Musser. Bloomington: Indiana University Press, 2001. xvii-xxx. (PN1998.3.M494 O83 2001) Cohan, Steven. “Censorship and Narrative Indeterminacy in Basic Instinct: ‘You Won’t Learn Anything From Me I Don’t Want You to Know.’” Contemporary Hollywood Cinema. Eds. Steve Neale and Murray Smith. London: Routledge, 1998. 263-279. (PN1993.5.U65 C63 1998) Cook, Pam. “‘Exploitation’ Films and Feminism.” Screen 17.2 (1976): 122-127. Desser, David. “The Martial Arts Film in the 1990s.” Film Genre 2000: New Critical Essays. Ed. Wheeler Winston Dixon. Albany: SUNY Press, 2000. 77-109. (PN1995 .F45787 2000) Feasey, Rebecca. “Stardom and Sharon Stone: Power as Masquerade.” Quarterly Review of Film & Video 21.3 (Jul-Sep 2004): 199-207. Feaster, Felicia. “The Woman on the Table: Moral and Medical Discourse in the Exploitation Cinema.” Film History 6.3 (1994): 340-354. Gunning, Tom. “The Cinema of Attractions: Early Film, Its Spectator, and the Avant-Garde,” Wide Angle 8, nos. 3-4 (1986): 63-70. Hartmann, Jon. “The Trope of Blaxploitation in Critical Responses to Sweetback.” Film History 6.3 (Autumn 1994): 382-404. Jacobs, Lea. “The B Film and the Problem of Cultural Distinction.” Screen 33.1 (Spring 1992): 1-13. Kael, Pauline. Going Steady. Boston: Little, Brown, 1970. (PN1995 .K23 1970) King, Geoff. American Independent Cinema. Bloomington: Indiana University Press, 2005. (PN1993.5.U6 K465 2005) ---. New Hollywood Cinema: An Introduction. New York: Columbia University Press, 2002. (PN1993.5.U65 K56 2002) Kraszewski, Jon. “Recontextualizing the Historical Reception of Blaxploitation: Articulations of Class, Black Nationalism, and Anxiety in the Genre's Advertisements.” The Velvet Light Trap: A Critical Journal of Film & Television 50 (2002): 48-63. Lott, Tommy L. “Hollywood and Independent Black Cinema.” Contemporary Hollywood Cinema. Eds. Steve Neale and Murray Smith. London: Routledge, 1998. 211-228. (PN1993.5.U65 C63 1998)

Lowry, Ed. “Dimension Pictures: Portrait of 1970s’ Independent.” Contemporary American Independent Film: From the Margins to the Mainstream. Eds. Chris Holmlund and Justin Wyatt. London: Routledge, 2005. 41-52. (PN1993.5.U6 C636 2005) Luckett, Moya. “Sexploitation as Feminine Territory: The Films of Doris Wishman.” Defining Cult Movies: The Cultural Politics of Oppositional Taste. Eds. Mark Jancovich, Antonio Lazaro Reboli, Julian Stringer, and Andrew Willis. Manchester, UK: Manchester University Press, 2003. 142-156. (PN1995.9.S284 D44 2003) Minard, Lawrence. “Givebacks, Hollywood Style.” Forbes 133.7 (3 March 1984): 182-183. Payne, Robert M. “Beyond the Pale: Nudism, Race, and Resistance in The Unashamed.” Film Quarterly 54.2 (Winter 2000-2001): 27-40. Schaefer, Eric. “Bold! Daring! Shocking! True!”: A History of Exploitation Films, 1919-1959. Durham: Duke University Press, 1999. (PN1995.9.S284 S33 1999) ---. “Exploitation Films: Teaching Sin in the Suburbs.” Cinema Journal 47.1 (Fall 2007): 94-97. Schatz, Thomas. Hollywood Genres: Formulas, Filmmaking, and the Studio System. New York: McGraw-Hill, Inc., 1981. (PN1993.5.U6 S32 1981) Sconce, Jeffrey, ed. Sleaze Artists: Cinema at the Margins of Taste Style, and Politics. Durham: Duke University Press, 2007. (PN1995.9.S284 S54 2007) Sconce, Jeffrey. “Esper the Renunciator: Teaching ‘Bad’ Movies to Good Students.” Defining Cult Movies: The Cultural Politics of Oppositional Taste. Eds. Mark Jancovich, Antonio Lazaro Reboli, Julian Stringer, and Andrew Willis. Manchester, UK: Manchester University Press, 2003. 14-34. (PN1995.9.S284 D44 2003) ---. “‘Trashing’ the Academy: Taste, Excess and an Emerging Politics of Cinematic Style.” The Cult Film Reader. Eds. Ernest Mathijs and Xavier Mendick. New York: Open University Press/McGraw-Hill Education, 2008. 100-118. (PN1995.9.C84 C85 2008) Sontag, Susan. “Notes on ‘Camp.’” The Cult Film Reader. Eds. Ernest Mathijs and Xavier Mendick. New York: Open University Press/McGraw-Hill Education, 2008. 41-52. (PN1995.9.C84 C85 2008) Staiger, Janet. “Hybrid or Inbred: The Purity Hypothesis and Hollywood Genre History.” Film Genre Reader III. Ed. Barry Keith Grant. Austin: University of Texas Press, 2003. 185- 199. Taves, Brian. “The B Film: Hollywood’s Other Half.” Grand Design: Hollywood as a Modern Business Enterprise, 1930-1939. Ed. Tino Balio. New York: Scribner, 1993. 313-350. (PN1993.5.U6 H55 1990 v. 5) Taylor, Clyde R. “Black Silence and the Politics of Representation.” Oscar Micheaux and His Circle: African-American Filmmaking and Race Cinema of the Silent Era. Eds. Pearl Bowser, Jane Gaines, and Charles Musser. Bloomington: Indiana University Press, 2001. 3-10. (PN1998.3.M494 O83 2001) Tzioumakis, Yannis. American Independent Cinema: An Introduction. New Brunswick, N.J: Rutgers University Press, 2006. (PN1993.5.U6 T98 2006) Wallace, Michele. “Oscar Micheaux’s Within Our Gates: The Possibilities for Alternative Visions.” Oscar Micheaux and His Circle: African-American Filmmaking and Race Cinema of the Silent Era. Eds. Pearl Bowser, Jane Gaines, and Charles Musser. Bloomington: Indiana University Press, 2001. 53-66. (PN1998.3.M494 O83 2001) Wasser, Frederick. “Is Hollywood America? The Trans-Nationalization of the American Film Industry.” Critical Studies in Mass Communication 12 (1995): 423-437.

Williams, Linda. “Film Bodies: Gender, Genre, and Excess.” Film Quarterly 44.4 (Summer 1991): 2-13.