WIU -Spring 2016ENG/BC 496 Topics in Film –“Genre, Gender, Race and World Cinema”Meeting days/times: M and W 9:00-9:50 and lab M 10-12 (220 SI)
INSTRUCTOR: Dr. Roberta Di Carmine, Ph.D.
Associate Professor of Film Studies &
Faculty Adviser Interdisciplinary Film Minor
Office Hours: M 12-1; T 1-3 and W 10-11
–“Genre, Gender, Race and World Cinema”Course Objectives: this is an upper division film course intended for students who have
had at least an introductory film course and/or a film history course. By looking at a wide
range of US and international films, students will analyze four topics of genre, gender,
race and world cinema and address questions of identities and audience reception as well
as discuss the cultural and social impacts films have in society.
Goals: At the end of the course, students will: a. acquire a better understanding of film
cultures in and outside the US; b. appreciate a variety of cinematic styles and narratives;
c. familiarize with a diverse body of theoretical and critical approaches thus expanding
their knowledge in film studies.
Requirements: Attendance at film screenings is required; there will be discussions and
lectures, 3 papers, in-class activities, group presentations, and a final research paper
Required textbooks: Genre, Gender, Race and World Cinema. An Anthology. Ed by
Julie F. Codell. Blackwell, 2007;Writing About Movies. Fourth edition. By Karen Gocsik,
Richard Barsam, Dave Monahan. W.W. Norton, 2016
Films:
Ali Fear Eats the Soul (Angst Essen Seele Auf, 1974, dir. Werner Fassbinder. 94 m. West
Germany)
Halloween (1978, dir. John Carpenter. 91 m. US)
All About My Mother (Todo Sobre Mi Madre, 1999, Pedro Almodovar. 101 m. Spain/France)
Fight Club (1999, dir. David Fincher. 139 m. US/Germany)
Pulp Fiction (1994, dir. Quentin Tarantino. 154 m. US)
The Crying Game (1992,dir. Neil Jordan. 112 m. UK/Japan)
Orlando (1994, dir. Sally Potter. 94 m. UK/Russia/Italy/France/Netherlands)
Chan is Missing (1982, dir. Wayne Wang. 80 m. US)
Salaam Bombay (1988, dir. Mira Nair. 113 m. UK/India/France)
Clockers (1995, dir. Spike Lee. 128 m. US)
Smoke Signals (1998, dir. Chris Eyre, 89 m. US)
Traffic (2000, dir. Steven Soderbergh, 147 m. US/Germany)
Taste of Cherry (1997, dir. Abbas Kiarostami, 95 m. Iran/France)
Clando (1996, dir Jean Marie Teno. 96 m. Cameron/France/Germany)
Film Screenings: If a student misses a screening and the film is not available at the library or at
the video store, it’s their responsibility to find other ways to watch the film before the discussion.
Attendance at films screening is required.
1
Requirements and Evaluation:
- Presentation (150 pts)
- 3 film papers (300 pts)
- Research paper (400 pts)
- Attendance (50) and participation-in class activities (100 pts)
Total points: 1000. Grading Scale:
1000-934= A
933-900=A899-867=B+
866-834= B
833-800= B799-767=C+
766-734=C
733-700=C699-667=D+
666-634=D
633-600=Dbelow 600 pts= F
NOTE: TURN OFF OR SILENCE YOUR CELL PHONE AS SOON AS YOU ENTER
THE CLASSROOM. I WILL PENALIZE STUDENTS WHO DON’T RESPECT THIS
POLICY BY TAKING OFF POINTS (10 pts each time).
ALSO, NO FOOD IS ALLOWED AT FILM SCREENINGS/DISCUSSIONS. I WILL
PENALIZE STUDENTS WHO DON’T FOLLOW THIS POLICY BY TAKING OFF
POINTS (10 PTS EACH TIME)
Course Policies:
a.- Students are asked to write 3 film papers (300 pts). In these papers, students must use the
critical/film language that are learning in the course and include specific examples from the
film(s) and readings to support the argument. Specific requirements regarding these papers will
be provided on a handout distributed at least one week before the paper is due. REMEMBER
THAT I DO NOT ACCEPT PAPERS SENT VIA EMAIL/AS EMAIL ATTACHMENTS.
b.- Presentation (150 pts). A Sign-up sheet for the presentation will be distributed no later than
the second week of classes. Students who will be presenting are required to meet with me at least
one week before the presentation. Students are highly encouraged to start doing research on their
presentation as soon as I distribute the scheduling. All students are required to fully participate in
their presentation and failure to do so will result in a lower grade (->50 points). A short paper (2
double-spaced pages) describing the presentation needs to be handed in the week after it is given
c.- Research paper of 12-15 pages (double-spaced) (400 pts total: final paper=350 pts; annotated
bibliography= 50 pts). The research paper consists of a close analysis of two films among those
studied in class. Students must have a topic/issue they would like to elaborate in their final project
therefore I highly encourage everyone to start thinking of a topic for their final paper as soon as
possible. I will be happy to meet students individually and help them frame the argument around
the topic of their choice but these meetings must occur several weeks before the paper is due. In
this final project, students need to closely refer (by quoting or paraphrasing) to at least 4 readings
amongst those studied throughout the semester. Also, additional research is required with
consultation and citation of 4 academic articles/book chapters/essays on the films chosen.
Together with the draft of the paper, students need to submit the annotated bibliography of all 8
articles/book chapters/books chosen. I will distribute a list of academic journals and texts to
2
consult before spring break. The draft of the final paper of at least 6 pages together with the
annotated bibliography is due Monday, May 2. FAILURE TO SUBMIT THE DRAFT AND/OR
THE ANNOTATED BIBLIOGRAPHY WILL BE PENALIZED 100 PTS. Individual
conferences with students to discuss the draft paper and bibliography are scheduled for May 4
and 5 and the final paper is due Wednesday, May 11 at 8:00 am.
NOTE: Students who submit an incomplete draft or an incomplete annotated bibliography
will be penalized 60 pts.
Class Meetings/Procedures and Participation/Attendance Policies:
Participation
Each week students are expected to come to class prepared for a discussion on the film and
readings. Since the discussion revolves around the readings, the film(s), and lectures, active
participation is based on a careful reading of both films and literary texts as well as
understanding of how the two relate. Keep in mind that your contribution to discussions
counts toward your participation grade. Remember to be respectful in class, disagreements are
inevitable in discussions but they should always be conducted in a civil manner.
Attendance
Regular attendance and participation is REQUIRED. Attendance will be taken regularly in class
periods and screenings. You are allowed 4 unexcused absences.
(0-4 absences= 50 pts; 5-8 absences= 20 pts; 9-11 absences= 10 pts; 12-+ absences= 0 pts).
Remember, consistent late arrival or early departure DOES affect your attendance grade. It is
always the student’s responsibility to make arrangement for any missed class, and check
with a classmate (AND NOT THE INSTRUCTOR) for missed material (lectures/handouts)
given in discussions/film screenings.
NOTE: Students whose behavior during film screenings creates a distraction to others will be
asked to leave. Consistent late arrival or early departure at film screenings and class periods
DOES affect your final grade.
Additional Course Policies:
1. LATE WORK: LATE PAPERS WILL NOT BE ACCEPTED. When a paper is due,
students need to submit the hard copy of their paper, and if they fail to do so their papers will be
penalized 50 pts per hour.
Exceptions: only serious emergency situations will be considered for excused absences and late
papers and they include: absence related to hospitalization with proof of documentation from the
doctor from the hospital; absence due to death of a family member with a documentation of
funeral service attendance or official note from funeral home; absence due to universities
activities, such as sport and students organizations, with an official note; absence due to religious
obligations with documentation from university official. Note that letters from parents/relatives
WILL NOT be accepted. It is always up to the instructor to decide whether or not the
documentation provided is acceptable and after a carefully review of the request. In any case, the
student needs to contact the instructor immediately if he/she misses an in class exam. This policy
will be applied to attendance as well. NOTE: In the case a student misses class for any reasons, it
is always the student’s responsibility to make arrangement for the missed class and for checking
with a classmate of any missed material (notes) in discussions/film screenings.
2. No incomplete is given in this course.
3. Successful participation in this course requires that students complete all the
requirements/assignments.
4. PLAGIARISM: Students should be aware that plagiarism or cheating of any form will not be
tolerated and that academic misconduct entails severe penalties. The most common form of
academic misconduct is plagiarism. As stated on the website regarding Students’ Rights and
3
Responsibilities, “plagiarism is intentionally or knowingly presenting the work of another as
one’s own. Plagiarism occurs whenever:
•
one quotes another person's actual words or replicates all or part of another’s product
without acknowledgment. This includes all information gleaned from any source,
including the Internet; one uses another person's ideas, opinions, work, data, or theories,
even if they are completely paraphrased in one's own words without acknowledgment;
one uses facts, statistics, or other illustrative materials without acknowledgment; one fails
to acknowledge with a citation any close and/or extended paraphrasing of another; one
fails to use quotation marks when quoting directly from another, whether it is a few
words, a sentence, or a paragraph.
Typical examples: Submitting, as one’s own, the work of another writer or commercial
writing service; knowingly buying or otherwise acquiring and submitting, as one’s own work,
any research paper or other writing assignment; submitting, as one’s own, work in which
portions were produced by someone acting as tutor or editor; collaborating with others on
papers or projects without authorization of the instructor.
In addition to oral or written work, plagiarism may also involve using, without permission
and/or acknowledgment, computer programs or files, research designs, ideas and images,
charts and graphs, photographs, creative works, and other types of information that belong to
another.
Because expectations about academic assignments vary among disciplines and instructors,
students should consult with their instructors about any special requirements related to
citation.” (http://www.wiu.edu/provost/student/)
Penalties for plagiarism: In case a student’s paper is found violating these rules, the
paper will be a graded as a “zero” and an academic integrity incident report will be
filed according to the Academic Integrity Policies of Western Illinois University.
***WIU Film Club***
The Film Club shows a selection of films (national and international) and offers thoughtprovoking discussions on a wide range of issues and topics. Students are highly encouraged
to attend these screenings. Further information about this students’ organization will be
given the first week of class. The FILM CLUB President and Treasurer are: Matt Juron
and Rachel Troyer. Check the Film Club on Facebook and on:
http://www.wiu.edu/cas/english_and_journalism/filmclub.php
Extra credits: throughout the semester, I will announce various film related events and films
screenings which allow students to earn extra credits points. In such cases, the student must
attend the event and write a two-pages critical review (double-spaced). A max of 40 points for the
semester (max 10 pts for each review) will be given. The review must be submitted the week after
the event.
The University Writing Center is available to assist you with general and specific questions
on writing assigned in any discipline and at any academic level. The one-on-one assistance
available at the Writing Center is valuable for generating ideas, talking about global-level
issues such as organization, and even working through grammatical problems. Call for an
appointment (298-3512) and be sure to bring a copy of your writing assignment.
Special Accommodation and Disabilities:
“In accordance with University policy and the Americans with Disabilities Act (ADA), academic
accommodations may be made for any student who notifies the instructor of the need for an
accommodation. It is imperative that you take the initiative to bring such needs to the instructor’s
4
attention, as he/she is not legally permitted to inquire about such particular needs of students.
Students who may require special assistance in emergency evacuations (i.e. fire, tornado, etc.)
should contact the instructor as to the most appropriate procedures to follow in such an
emergency. Contact Disability Support Services at 298-2512 for additional services.”
Additional Information: to get important factual information about films (characters’ name,
cast, awards), check www.imdb.com. Be careful though with the “on-line interviews” and other
material you find online. Remember, plagiarism is a very serious matter. It is also essential to
take notes during the screenings. Therefore it is highly recommended to buy a penlight, a
ballpoint pen with an illuminated tip, to facilitate writing in the dark.
Course schedule*
*The course syllabus provides a general plan for the course but some changes may be necessary. Students will be
informed in class of any changes to the assigned schedule.
Week 1:
January 20 (W): Course Introduction. Beginning Screening Ali Fear Eats the Soul (Angst Essen
Seele Auf, 1974, dir. Werner Fassbinder. 94 m. West Germany).
Reading for next M: Introduction and chapter 1
Reading for next W: “Film Bodies: Gender, genre and excess,” by Linda Williams; reading part I
of Writing about Movies (two chapters: “The challenges of writing about movies”; “looking at
movies”)
Week 2:
January 25 (M): cont. screening and discussion on the readings (“Conclusion: A
semantic/syntactic/pragmatic approach to genre.” by Rick Altman)
January 25 (M): Screening: Halloween (1978, dir. John Carpenter. 91 m. US)
Jan. 27 (W): discussion on the film and reading by Williams
Readings for next week: “The body and Spain: Pedro Almodovar’s All about my mother,” by
Ernesto R. Acevedo-Munoz; reading chapters 3 and 4 of Part One (Gocsick) “Formal Analysis
and Cultural Analysis
Week 3:
February 01 (M): discussion on film/readings.
Feb. 01 (M): Screening: All About My Mother (Todo Sobre Mi Madre, 1999, Pedro
Almodovar. 101 m. Spain/France)
Feb. 03 (W): Discussion on the film/readings
Reading for next week: “enjoy your flight” Fight Club as a symptom of the network society,” by
Bulent Diken and Carsten Bagge Laustsen
Part two (Gocsick) “the Writing process”, “generating ideas,” “Illustrated Glossary terms”
Week 4:
February 8 (M): discussion and in-class activities.
February 8 (M): Screening: Fight Club (1999, dir. David Fincher. 139 m. US/Germany)
February 10 (W): PRESENTATION N. 1
Reading for next week: to be assigned
5
Week 5:
February 15 (M). Screening Pulp Fiction (1994, dir. Quentin Tarantino. 154 m. US)
February 15 (M): cont. screening
February 17 (W): PRESENTATION N. 2
Reading for next week:
”Genders: more than two. Introduction”; “nothing is as it seems. Reviewing the Crying Game” by
Lola Young; “Crying over the melodramatic penis: melodrama and male nudity in films of the
90s.” by Peter Lehman
Week 6:
February 22 (M): PAPER N. 1 DUE. Discussion
February 22 (M): Screening: The Crying Game (1992,dir. Neil Jordan. 112 m. UK/Japan)
February 24 (W): discussion on the film/readings
Reading for next week:
“Travels with Sally Potter’s Orlando,” by Julianne Pidduck
Week 7:
Feb. 29 (M): Discussion on the film
Feb. 29 (M): Screening: Orlando (1994, dir. Sally Potter. 94 m.
UK/Russia/Italy/France/Netherlands)
March 02 (W): PRESENTATION N. 3
Reading for next week:
”Race: Stereotypes and Multiple Realisms. Introduction,” and “Becoming Asian American: Chan
is Missing,” by Peter X Feng
Week 8:
March 7 (M): discussion and in class activity
March 7 (M): Screening: Chan is Missing (1982, dir. Wayne Wang. 80 m. US)
March 9 (W): PRESENTATION N. 4
Reading for after the break:
“Black on White: Film Noir and the epistemology of Race in recent African American cinema,”
Dan Flory
Reading sections 7 and 8 of Part Two (Gocsick)
Week 9: March 14-18 Spring Break
Week 10:
March 21 (M): PAPER N. 2 DUE discussion on th.
March 21 (M). Screening: Clockers (1995, dir. Spike Lee. 128 m. US)
March 23 (W): discussion on the film/readings
Reading for next week:
“Another Fine Example of the Oral Tradition? Identificaton and Subversion in Sherman Alexie’s
Smoke Signals,” by Jhon Warren Gilroy
Week 11:
March 28 (M): discussion on the film/readings
March 28 (M): Screening: Smoke Signals (1998, dir. Chris Eyre, 89 m. US)
March 30 (W): PRESENTATION N. 5
Reading for next week:
“You are alrigth, but..” by Deborah Shaw
6
Week 12:
April 04 (M): discussion and in-class activities
April 04 (M): screening: Traffic (2000, dir. Steven Soderbergh, 147 m. US/Germany)
April 06 (W): discussion on the film/readings
Reading for next week:
Part IV: World Cinema: Joining Local and Global, Introduction,”; additional readings
Week 13:
April 11 (M): PAPER N. 3 DUE. Discussion on the readings
April 11 (M): cont. screening: Salaam Bombay (1988, dir. Mira Nair. 113 m.
UK/India/France)
April 13 (W): discussion and in class activity
Reading for next week:
”Theorizing Third World Film spectatorship..” by Hamid Naficy and “The Open Image: Poetic
realism..” by Shohini Chandhuri and Howard Finn
Week 14:
April 18 (M): discussion on the film/readings.
April 18 (M): screening: Taste of Cherry (1997, dir. Abbas Kiarostami, 95 m. Iran/France)
April 20 (W): in class activity and discussion on the film/readings
Readings for next week
”Future Past: Integrating Orality into Francophone West African Film,” by Melissa Thackway
Week 15:
April 25 (M): discussion on the film/readings
April 25 (M): screening: Clando (1996, dir Jean Marie Teno. 96 m.
Cameron/France/Germany)
April 27 (W): discussion on the film/readings
Week 16:
May 02 (M): DRAFT FINAL PAPER and ANNOTATED BIBLIOGRAPHY DUE.
Final Considerations and students‘ evaluation
May 02 (M): no screening
May 04 (W): conferences in my office
Week 17:
Final paper due in my office Wednesday May 11 at 8:00 am
7