COAS

Home

Office of Development and Alumni Programs

Department Websites



Other Websites

Admissions Office

Office of the Registrar

Honors Division

University Division

Continuing Studies

Graduate School

IU Bloomington

IU Big List


    An IU Alumni Association Constituent Publication

    The College
    Spring 1999


    
    

    Class Act: Making Sense of the Movies

    C290, Survey of Film History, Preofessor of Comparative Literature James Naremore

    By Anne Kibbler

    Think of James Dean, and you probably think "rebel" - as in Rebel Without a Cause, the movie that honed Dean's image as a black-leather-jacket renegade.

    Think again, says James Naremore. To say that Dean's character, Jim Stark, was rebelling because of the breakdown of the 1950s middle-class family, Naremore tells his class, "is an absurd argument, my friends. It seems to me that what Jim Stark wants is a normal American family life. It seems to me that Jim Stark is an incredibly conservative guy. How did James Dean become a cult figure for teens all over the country who were tired of the 'father-knows-best' family? His style."
    James Namemore


    Not only was Dean's character not a rebel, Naremore explains, but his jacket wasn't black, and it wasn't even leather. It was a red windbreaker colored black in promotional materials for the movie.

    Some students may be surprised at Naremore's rejection of popular interpretations of Rebel Without a Cause, but at this point in the course - about halfway through the semester - they have come to expect and relish the added details, such as the story about Dean's jacket.

    Naremore has been fascinated by film since childhood, when he lived just a block from a movie theater and counted Roy Rogers among his favorites. He has an encyclopedic knowledge of the film industry. In his scholarly work, he has written about directors Orson Welles, Alfred Hitchcock, and Vincente Minnelli, among others. But his knowledge extends far beyond those great directors, as students in "Survey of Film History" discover.

    The course begins with the very earliest days of film, with Thomas Edison and W.K.L. Dickson's 1889 invention of the kinetograph - a box in which moving images were viewed through a peephole - and the 1895 unveiling in Paris and New York of the Lumière brothers' cinematograph, the industry's first projector.

    "The most powerful aesthetic experiences I've ever had in my life have been at the movies."
    James Naremore



    Through silent movies and "talkies," black and white and color, Naremore leads the class through a chronicle of film history to the high-tech extravaganzas of today. His 75-minute lectures range from narratives that define plots and bring characters into focus, to technical explanations of filming and editing techniques, to extended conversations with students, many of whom are film buffs themselves. Every lecture provides some social, cultural, and sometimes political context of the industry and the times.

    Students in Naremore's fall class say they appreciate the "big picture" he provides.

    "His topics and the anecdotes and sidebars he relates make the class," says junior Jenny DeArmitt, who is taking Naremore's class on Hitchcock this spring. "He just has an extensive knowledge of film and a down-to-earth perspective on Hollywood."

    Junior Joe Phua says the class reinforced his interest in film. "I learned a lot, not only about different film styles, genres, and films from every period in Holly-wood history, but also how to intellectually critique movies in a way I have never done before," he says.

    One thing Naremore hopes to pass along to his students is his appreciation for the aesthetics of the movies.



    "The most powerful aesthetic experiences I've ever had in my life have been at the movies," he says. "I am trying to enhance that in my students without making them naive movie buffs. It's a balancing act between respect for the art form and concern about the negative effects of the mass media."

    Students in the College who are interested in film can major in communications and culture with a concentration in film studies. With the Lilly Library, the Black Film Center Archive, and a good core of film historians, says Naremore, they have access to some of the best resources in the Midwest for the study of film.

    
    	

    TO THE ISSUE INDEX

    Last updated: June 10, 1999
    Webmaster: iuaaweb@indiana.edu
    Copyright 1997-99, the Trustees of Indiana University