As I wrote about a little in the reading list post, your reading list will depend upon what your major and minor fields are. Here at OSU’s English department, you’re required to have one major field and at least one minor field. You can have two minor fields, though it feels like a lot more work for very little additional payoff, so I avoided that. Here at OSU, you’re also required to justify/explain your major and minor fields and what interests you about them, so for the sake of transparency and helping people who might be in the same position, I’m going to put my justifications here as well. Hope they’re useful for you.
Major Field Description: Post-70 U.S. Film and Television
My major field of study is Post-70 Film and Television, with a strong emphasis on blockbuster films and big budget series. These films and shows are not only the primary tentpoles for the industry during this period, but also the types of films and shows that become touchstones within and instigators of broader cultural conversations. They are also examples of storytelling pitched to the largest possible audience through what Hollywood largely considered as the default character and audience identity of the straight white cis-gendered male. Blockbusters highlighted technological filmmaking advancements (surround sound, digital editing, CGI, etc), the combination of which is fascinating in its implications for both how the films are made and why they are received the way they are by audiences. Of course alongside the rise of the blockbuster spectacular, there’s a strong independent tradition that thrives in the 1970s and continues somewhat diminished into the present (and from which some blockbusters like Halloween and The Terminator emerge); these films on my list provide important examples of alternate storytelling and scale-of-production possibilities. Though my focus is primarily on Hollywood film and television, I have included some examples from outside its boundaries in order to capture a range of other filmmaking (and television-making) techniques that often are eventually subsumed into Hollywood’s blockbuster style, like Spike Lee’s expansive scope in Do the Right Thing that gives the supporting cast space to be fuller characters than were previously allowed in Hollywood’s pragmatist cinematic form, not to mention its attention to characters and audiences that Hollywood had largely ignored in its general myopic concentration on whiteness. Although Hollywood is and has been dominated by white male voices, I also tried to be inclusive of films that had strong input by women and people of color where possible. Broadening beyond the auteurist understanding of single authorship of a film or tv show allows movies like Star Wars (with Maria Lucas’ editing) and shows like Veronica Mars (with Kristen Bell’s central performance) to be strong representatives of female voices in filmmaking alongside more traditional examples like Julie Dash’s direction of Daughters of the Dust and Phoebe Waller-Bridge’s showrunning for Fleabag.
My list of secondary sources is populated with a mix of canonical film theory books and essays as well as representative writings on areas of particular interest to my focus on big budget, highly-leveraged film and television in the post-studio era. I consider myself to be, at least partially, a formalist, so Eisenstein, McLuhan, Bordwell, and Bazin (among others) are foundational texts for me. I am also, however, deeply interested in audience studies and spectator theory, an area that Jenkins, Lewis, and Staiger help illuminate. The history of film and film theory is significant to my major field, since I am bracketing a half century defined by the collapse of the classical studio system and the rise of radically new economic structures and film technologies in production, distribution, and exhibition; Carroll, Barnouw, Rodowick, Langford, and Connor will help me better contextualize the way that the current moment has come to be via industrial and technological changes over recent history. Following Richard Dyer, I am also interested in how Hollywood has constructed an overbearing whiteness as the often-understudied default position from which it tells its stories. So many of the movies and shows on my list are about whiteness without acknowledging that fact, and that phenomenon is one I am keen to study more.
Minor Field Description: Narrative Theory and Seriality Studies
My minor field is in narratology with an emphasis on serialization in film and television. To get as broad an understanding as the field as is possible, I’ve selected some general overviews as well as some standout texts within important subfields (rhetorical narratology, natural and unnatural narratology). With that background, I then focused on serialization in film and television, an until recently underrepresented subfield within narratology. Here I have quite a few studies of television serialization, but, with a few exceptions, little on modern film serialization because not much has yet been written on that subject except for by writers like Locke and Verevis. Writers like Higgins have, however, investigated the world of early film serials. I hope to eventually combine the knowledge from this tv-heavy serialization theory with the more generalized film theory from my major field to create a deeper understanding of how film and tv narratives can operate serially. This will be a crucial part of my dissertation research, as I aim to write primarily about film sequels that were made long after the original films were in theaters. Seriality studies often looks to the way a show balances the serialized/episodic tendencies in relation to the show as a whole, while film studies—when it has analyzed seriality in its medium—usually looks at it primarily as an opportunity to continue a story/world that has been successful (commercially or critically) in the past. I think each of these foci have something to bring to each other, and I think the extreme length of time between films in the movies I’m interested in can call attention to the function gaps play in the aforementioned aspects of serialized filmic/televisual storytelling. To that end, I have populated my primary sources with various kinds of serialized storytelling in film and television. Many of the examples take an original film from my major field list and match it with that franchise’s latest entry, while others have a self-contained serial form, like Moonlight and Boyhood or Russian Doll.
