Sociology Index

Sociology of Film

Sociology of Music, Sociology of Arts, Casting Couch

Sociology of Films is concerned with films as a social institution, and how works of fiction, documentaries, and archive films offer a space of convergence for numerous sociological and psychological perspectives. In "restructuring the fast-paced upper-crust romance, the screwball comedy dominated Depression-era screen comedy and provided that period's most significant and engaging social commentary. - Thomas Schatz. "The melodrama's narrative formula-- its interrelated family of characters, its repressive small-town milieu, and its preoccupation with America's sociosexual mores-managed to live beyond the Eisenhower years and into the era of civil rights, Vietnam, the sexual revolution, and the Women's Movement." - Thomas Schatz.

Film noir is a term that was coined by the French who categorized the films of the 1940s-1950s to use film noir. "Generally speaking, film noir ("black films") refers to two interrelated aspects: visually, these films were darker and compositionally more abstract than most Hollywood films; thematically, they were considerably more pessimistic and brutal in their presentation of contemporary American life." - Thomas Schatz. Hollywood Genres. Random House, 1981.

Sociology of Films - Alex Hicks
This course will introduce students to social aspects, causes and consequences of the production, distribution, content, form and reception of film. The course will carried out as a combination of lecture course and seminar, enlivened by frequent film clips and nearly weekly films (required unless otherwise indicated).

Sociology of Films
Description: This course examines the history of the film industry and the significance of films in the cultural history of the United States. In particular, it focuses on the effects of social conditions on the film industry and the content of films. It also assesses the impact of films on American culture and society.

University of Bordeaux - France
SOCIOLOGY OF FILMS / AUDIOVISUAL
Course Description: This course examines how works of fiction, documentaries, and archive films offer a space of convergence for numerous sociological and psychological perspectives. The course questions what permits cinema to present itself as a medium of human expression and how it becomes a witness to our times. This course presents in-depth sociological and sociocultural approaches to analyzing cinema and the audiovisual. - Language of Instruction: French - Partner Title: SOCIOLOGIE DU CINEMA ET DE L'AUDIOVISUEL

Sociology 250b (570): The Sociology of Films - Prof. David MacGregor
Description: This course deals with film as a social institution. We look at the movies as a globalized industry with a particular history that operates like any other productive enterprise—bringing together labour, capital and land. Film involves an audience with certain characteristics and expectations.
As Richard Barsam points out in Chapter 8 of Looking at Movies (p. 340), “movies are a social phenomenon. Social history and culture have a profound effect on the movies, which in turn often influence society and culture. Because the movies reflect, make and influence history, they can be primary sources in the study of society.”

Soci 3000: Sociology in Film
Prof. James J. Dowd Baldwin Hall, Rm. 320
Course Syllabus
This course is designed to supplement and to reinforce some of the lessons learned in the 1000-level sociology courses, particularly Introduction to Sociology (Soci1101). The distinctive feature of this course is its extensive use of feature-length films to illustrate sociological concepts and issues. We will also consider various sociological ideas, including modernization theory, anomie, social class and social mobility, cultural capital, gender roles, social identity, subculture, and assimilation.

Image and Influence: Studies in the Sociology of Film , London : Allen & Unwin; New York : St Martin 's Press, 1974.

Wellesley College - Sociology of Film
COURSE DESCRIPTION
This course will examine movie-going and the experience of spectatorship within a comparative and historical frame. Focus will be on the relationship between the spectator and the cultural product and the evolution of the culture of reception. Beginning with an exploration of the origins of cinema and its links to the consumer revolution in the 19th century, the course will follow the evolution of cinema through its itinerant, nickelodeon and movie palace eras and beyond with particular emphasis on reception settings, film exhibition and audiences.