RTF 1623 / Drama 2367 Film History (Women, Minorities, and Film) [Syn 33285]
Spring 2006, Austin Community College
Location:
Time/Date:
Blackboard Site:
Professor:
Office:
Office Hrs:
Phone:
Email:
EVC 1208
T 6:00pm-10:00pm
Log on via http://acconline.austincc.edu/
Mocha Jean Herrup, PhD
EVC 9404
M, W 2:15-4:30
223-4904
herrup@realtime.net (best way to reach me)
COURSEPACK
A coursepack will be available in mid to late January. Cost will be approximately $20. Details TBA.
COURSE DESCRIPTION
This class examines the representation of women and minorities in narrative, documentary and
experimental film. Our analyses will involve close readings of the films that incorporate psychoanalytic,
feminist, queer, post-colonial and critical race theories. Issues we will discuss include the production
and response to stereotypes, objectification and exoticization. We will also get at the heart of visual
representation and consider what it means to provide “alternative” representations in the face of content
and structural challenges. Questions we will consider include the role of stereotypes in cinematic
representation. Are these stereotypes always bad? How can you complicate roles and stories? What
does it mean to tell a story from the perspective of “The Other?” How does this relate to how you,
yourself, see the world? How might our subconscious drives inform if not prescribe our imaginations?
COURSE REQUIREMENTS
1) Attendance and Participation: Come to class on time and having read all of the materials and
completed all assignments. Come to class ready to discuss! Read articles more than once. Highlight.
Jot down questions. Prepare! Enjoy!
2) Assignment Portfolio
3) 2 In-Class Essays
GRADING
In-Class Essays (2@20%)
Assignment Portfolio
Attendance
Participation
40%
30%
10%
20%
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IN-CLASS ESSAYS
2 In-Class essays are scheduled throughout the semester. Essays are
“open book” and will cover all screenings and reading materials. Come prepared with all of your
readings (marked up with a pen and/or highlighter) and your notes from class. You may also use any
additional research provided you clearly cite all outside sources. You will have up to 3 hours to
complete the essays. This is more than enough time—most students finish in 2 hours—if you have
taken the time to review your notes before class and sketch out some main ideas.
ASSIGNMENTS
There are 12 assignments due throughout the semester. You are required to turn
in 10 of them. If you complete more than 10, only your top scores will be factored into your assignment
grade. It is important that you follow the directions for each assignment carefully, including all
formatting instructions.
Assignments are due in class on the day they are due. Assignments cannot be emailed. Students
who miss class when an assignment is due can receive partial or full credit for the assignment by turning
it in with their portfolio at the end of the semester with a note of explanation attached.
ATTENDANCE
Students who attend class on time and are absent less than 2 times during the
semester will receive a 100% attendance grade. Other attendance grades are determined as follows:
1 absence
2 absences
3 absences
4 absences
5 or more
100%
90%
80%
65%
0% (student may be withdrawn at professor’s discretion)
If you are absent for an excused reason such as a doctor’s visit for which you have documentation, you
may submit this information when you turn in your assignment portfolio at the end of the semester. If
you have not been absent more than two times, there is no need to turn in this information.
PARTICIPATION: You will receive a grade based on your participation in class discussion and how
well you demonstrate familiarity with the assigned readings. Attendance grades are factored into your
participation grade. Usually your participation grade will not be more than 10 points higher than your
attendance grade.
2
CLASS POLICIES & GUIDELINES
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Come to class on time and prepared, having completed all reading and written
assignments; Class time is meant for discussion, not an excruciatingly tedious repetition of
what you’ve just read.
Check the syllabus before each class to stay current with the course schedule. It is your
responsibility to know about due dates for assignments, tests, quizzes, etc. Do not depend on
a reminder; They are rarely given.
If you have a course related question, check your syllabus first.
Turn your cell phone and other electronic gadgets off before class begins.
No text messaging, reading newspapers or books for other classes, working on
assignments for other classes, etc. If you do this, I will ask you to leave.
Do not gather your books and/or pack your bags before class is over. I’m really good
about ending on time. Please show me the same respect.
If you are absent for any reason it is your responsibility to get the notes, handouts and,
very important, find out about any announcements from a fellow student. Do not ask
me to re-teach the class or supply you with materials once they have been distributed.
Follow all written directions very carefully. This includes formatting instructions and
things like making sure your papers are stapled.
Good participation means speaking and listening. Listen to what your classmates are
saying so that we can have a conversation, not a collection of random thoughts.
ATTENDANCE
Sign in on the daily sign-in sheet. If you miss this sheet or come in late you can receive credit by
turning in a separate, 8.5 by 11 non-fringed piece of paper that includes the following information:
-Your name
-The course title, date and time it meets
-The date you did not sign-in
*Unless you clearly specify otherwise, I will assume that you are turning in this paper because you
arrived to class late.
TARDINESS
If you arrive to class after instruction begins you are considered late. Two late arrivals equal one
absence.
MISSED WORK
If you are late or miss class for any reason (excused or unexcused) it is your responsibility to find out
what you missed from a fellow student. Some screenings may be available for you to view in the library
or to rent from a local rental house.
CELL PHONES, PAGERS, AND OTHER ELECTRONIC GADGETS
Please turn off and put away all cell phones and pagers before entering the classroom. If your cell
phone, pager, or other electronic gadget does go off, points will be deducted from your highest quiz
grade or you can bring snacks to class the next time we meet. This must be a good snack, like Krispy
Kreme donuts, cheese and crackers, a wholesome fruit plate. Do not bring in cheap-o store brand, overprocessed, unhealthy foods with no redeeming taste value. Don’t forget to bring napkins and/or plates!
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INCOMPLETES
Students who have extraordinary circumstances and have attended class regularly may submit a written
request for an incomplete grade. Incompletes will be given at the instructor’s discretion.
READINGS
Complete all reading assignments before coming to class. Class time is meant for discussion. Your
ability to understand class lectures and to participate in discussion depends on your familiarity with the
terms and concepts covered in the readings.
SCHOLASTIC DISHONESTY
“Acts prohibited by the College for which discipline may be administered include scholastic dishonesty,
including but not limited to cheating on an exam or quiz, plagiarizing, and unauthorized collaboration
with another in preparing outside work. Academic work submitted by students shall be the result of
their thought, research or self-expression. Academic work is defined as, but not limited to tests, quizzes,
whether taken electronically or on paper; projects, either individual or group; classroom presentations
and homework.” (Student Handbook, p. 32) Plagiarism is defined as taking credit for someone else’s
work. Even if you are paraphrasing and not directly quoting, you must reference your source. Students
who commit scholastic dishonesty will receive a failing grade for that assignment, and may receive a
failing grade for the class depending on the severity of the offense.
Not citing, or incompletely citing someone else’s work is plagiarism. When you use outside sources you
must indicate this by completely citing that work. If you have questions about how to cite any of your
sources, ask a friendly ACC librarian. He or she will be more than happy to help you. Take special care
to cite Internet sources correctly. Only listing the URL (the site’s address) is not a complete citation and
you will lose points for doing this.
STUDENTS WITH DISABILITIES
“Each ACC campus offers support services for students with documented physical or psychological
disabilities. Students with disabilities must request reasonable accommodations through the Office for
Students with Disabilities on the campus where they expect to take the majority of their classes.
Students are encouraged to do this three weeks before the start of the semester.” (Student Handbook,
page 14.)
DISCLAIMER
All contents of this syllabus are subject to change.
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COURSE SCHEDULE
1/17
Reading
Screening
Course Introduction / Stereotypes
N/A
THE CELLULOID CLOSET (Rob Epstein & Jeffrey Friedman, 1995, 1:42)
1/24
Reading
(Re)presentation
Richard Dyer, “The Role of Stereotypes”
Richard Dyer, “Introduction”
Optional: Eugene Levy, “Cinema of Outsiders: African American Cinema”
DO THE RIGHT THING (Spike Lee, 1989, 2:00)
Screening
1/31
Reading
Screening
Alternative Story Structure
Marion Fabe, “Political Cinema: Spike Lee’s Do The Right Thing”
Cornel West, “The New Cultural Politics of Difference,” pp. 25-34
LONGTIME COMPANION (Norman René, 1990)
2/7
Reading
Screening
AIDS & Representation
Emanuel Levy, “Cinema of Outsiders: Gay & Lesbian Cinema”
THE LIVING END (Greg Araki, 1992, 1:32)
2/14
Reading
In-Class Essay #1
Emanuel Levy, “Cinema of Outsiders: Drama: Challenging Stereotypes,” pp. 282-4
2/21
Reading
Screening
Colonial Representation: Techniques, Exoticization, and The Other
Robert Stam & Louise Spence, “Colonialism, Racism, and Representation: An Introduction”
NANOOK OF THE NORTH (Robert Flaherty, 1922, 1:19)
REASSEMBLAGE (Trinh T. Minh-ha, 1992, :40)
2/28
Reading
Screening
Colonial Representation (cont’d)
hooks, “The oppositional gaze,” bell hooks, “Is Paris Burning?”
PARIS IS BURNING (Jennie Livingston, 1991, 1:11)
3/7
Reading
Screening
Colonial Representation (cont’d)
Eugene Levy, “Cinema of Outsiders,” pp. 52-57
THE BATTLE OF ALGIERS (Gillo Pontecorvo, 1965, 1:57)
3/14
Spring Break—No Class
3/21
Reading
Screening
Parody and alternatives
no reading
BLAZING SADDLES (Mel Brooks, 1974, 1:33)
3/28
Reading
Screening
Psychoanlysis and Feminist Cinema
Laura Mulvey, “Visual Pleasure and Narrative Cinema”
VERTIGO (Alfred Hitchcock, 1958, 2:09)
4/4
Reading
Screening
Psychoanlysis and Feminist Cinema (cont’d)
Marion Fabe, “Feminism and Film Form: Patricia Rozema’s I’ve Heard the Mermaids Singing”
I’VE HEARD THE MERMAIDS SINGING (Patricia Rozema, 1987, 1:27)
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4/11
Reading
Screening
Subversive Mainstream Forms
TBA
STRANGE DAYS (Kathryn Bigelow, 1995, 2:25)
4/18
Reading
Screening
Subversive Alternative Forms
Stanley Kauffmann, “Jaundice Posing as Justice,” B. Ruby Rich, “Lady Killers”
A QUESTION OF SILENCE (Maureen Gorris, 1982, 1:22)
4/25
Reading
Screening
**Turn in Assignment Portfolios**
TBA
9 TO 5 (Colin Higgins, 1980, 1:50)
5/2
In-Class Essay #2
5/9
Last Class Get-Together (details TBA)
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