UCC/UGC/ECCC
Proposal for Course Change
FAST TRACK
(Select if this will be a fast track item. Refer to Fast Track Policy for
eligibility)
If the changes included in this proposal are significant, attach copies of original and proposed
syllabi in approved university format.
1. Course subject and number: CINE 267
2. Units:
See upper and lower division undergraduate course definitions.
3. College:
Arts and Letters
5. Current Student Learning Outcomes of the
course.
4. Academic Unit:
3
Comparative Cultural
Studies
Show the proposed changes in this column (if
applicable). Bold the proposed changes in this
column to differentiate from what is not
changing, and Bold with strikethrough what is
being deleted. (Resources & Examples for
Developing Course Learning Outcomes)
6. Current title, description and units. Cut and
Show the proposed changes in this column Bold the
paste, in its entirety, from the current on-line
proposed changes in this column to differentiate
academic catalog* http://catalog.nau.edu/Catalog/. from what is not changing, and Bold with
strikethrough what is being deleted.
CINE 267 THE CINEMA OF AMERICA’S
1960S (3)
Description: This course examines global culture
change during the 1960s through film of that
era. Issues related to the cold war,
decolonization, independence movements and
race will be studied in transnational contexts.
Letter grade only. Course fee required.
Units: 3
Requirement Designation: Aesthetic and
Humanistic Inquiry
Liberal Studies Essential Skills: Critical Thinking,
Effective Writing
Effective Fall 2013
CINE 267 THE CINEMA OF AMERICA’S
1960S (3)
Description: This course focuses on the
social, political and cultural struggles that
engulfed America examines global culture
change during the 1960s through film of
that era. Starting with the later 1950s
that placed these issues on the public
agenda to the early 1970s that saw many
of them disappear, students will study
how issues related to racial/ethnic
inequality, feminism, sexuality and cold
war politics were addressed in period
films and their lasting impact on American
culture. Issues related to the cold war,
decolonization, independence movements
and race will be studied in transnational
contexts. Letter grade only. Course fee
required.
Units: 3
Requirement Designation: Aesthetic and
Humanistic Inquiry
Liberal Studies Essential Skills: Critical Thinking,
Effective Writing
CINE 268 SOCIAL PROTEST AND THE
FILMS OF THE GLOBAL 1960S (3)
Description: This course examines global culture
change during the 1960s through film of that
era. Issues related to the Cold War,
decolonization, independence movements, and
race will be studied in transnational contexts.
Letter grade only. Course fee required.
Units: 3
Requirement Designation: Cultural
Understanding and Global
CINE 268 SOCIAL PROTEST AND THE
FILMS OF THE GLOBAL 1960S (3)
Description: This course examines global culture
change during the 1960s through film of that
era. Issues related to the Cold War,
decolonization, independence movements, and
race will be studied in transnational contexts.
Letter grade only. Course fee required.
Units: 3
Requirement Designation: Cultural
Understanding and Global
*if there has been a previously approved UCC/UGC/ECCC change since the last catalog year, please copy the approved
text from the proposal form into this field.
7. Justification for course change.
This proposal is to correct a catalog description error with CINE 267. It appears the new
course proposal for HUM 267 (since changed to CINE 267) from Fall 2013 incorrectly had the
course description for HUM 268 instead of the correct version per the attached new course
syllabus for HUM 267.
8. Effective BEGINNING of what term and year?
See effective dates calendar.
Fall 2015
IN THE FOLLOWING SECTION, COMPLETE ONLY WHAT IS CHANGING
CURRENT
Current course subject and number:
PROPOSED
Proposed course subject and number:
Current number of units:
Proposed number of units:
Current short course title:
Proposed short course title (max 30 characters):
Current long course title:
Proposed long course title (max 100
characters):
Current grading option:
letter grade
pass/fail
or both
Current repeat for additional units:
Effective Fall 2013
Proposed grading option:
letter grade
pass/fail
or both
Proposed repeat for additional units:
Current max number of units:
Proposed max number of units:
Current prerequisite:
Proposed prerequisite (include rationale in the
justification):
Current co-requisite:
Proposed co-requisite (include rationale in the
justification):
Current co-convene with:
Proposed co-convene with:
Current cross list with:
Proposed cross list with:
9. Is this course in any plan (major, minor, or certificate) or sub plan (emphasis)? Yes
No
If yes, describe the impact. If applicable, include evidence of notification to and/or response
from each impacted academic unit.
10. Is there a related plan or sub plan change proposal being submitted?
Yes
If no, explain.
These course title changes will not require any related plan change proposals.
No
11. Does this course include combined lecture and lab components?
Yes
If yes, include the units specific to each component in the course description above.
No
Answer 12-15 for UCC/ECCC only:
12. Is this course an approved Liberal Studies or Diversity course?
If yes, select all that apply.
Liberal Studies
Diversity
Yes
No
Yes
No
14. Is this course listed in the Course Equivalency Guide?
Yes
No
15. Is this course a Shared Unique Numbering (SUN) course?
Yes
No
13. Do you want to remove the Liberal Studies or Diversity designation?
If yes, select all that apply.
Liberal Studies
Diversity
Both
Both
FLAGSTAFF MOUNTAIN CAMPUS
Scott Galland
11/21/2014
Reviewed by Curriculum Process Associate
Date
Approvals:
Alexandra Carpino
11/24/2014
Department Chair/Unit Head (if appropriate)
Date
Effective Fall 2013
Chair of college curriculum committee
Date
SEE ATTACHED
Dean of college
11/28/2014
Date
For Committee use only:
UCC/UGC Approval
Approved as submitted:
Approved as modified:
Date
Yes
Yes
No
No
EXTENDED CAMPUSES
Reviewed by Curriculum Process Associate
Date
Approvals:
Academic Unit Head
Date
Division Curriculum Committee (Yuma, Yavapai, or Personalized Learning)
Date
Division Administrator in Extended Campuses (Yuma, Yavapai, or Personalized Learning)
Date
Faculty Chair of Extended Campuses Curriculum Committee (Yuma, Yavapai, or
Personalized Learning)
Date
Chief Academic Officer; Extended Campuses (or Designee)
Date
Approved as submitted:
Approved as modified:
From: Jean M Boreen
Sent: Friday, November 28, 2014 7:47 PM
To: Alexandra A Carpino
Cc: Stuart S Galland
Subject: Re: another CINE change
I am good with all of these. :)
Effective Fall 2013
Yes
Yes
No
No
College of Arts and Letters
Department of Comparative Cultural Studies
HUM 267
Credits
Instructor
Office
Office Hours
Prerequisites
The Cinema of America's 1960s
Spring 2013
3 hrs
Devan Bissonette
N/A
Virtual
None
Catalog Description:
This course focuses on the social, political and cultural struggles that engulfed America during the 1960s. Starting
with the later 1950s that placed these issues on the public agenda to the early 1970s that saw many of them
disappear, students will study how issues related to racial/ethnic inequality, feminism, sexuality and cold war politics
were addressed in period films and their lasting impact on American culture.
Description:
The decade of the 1960s was one of the most turbulent in recent history. The end of the Second World War
signaled the start of decolonization and ideological shifts in governments across the globe. Political, social and
cultural tensions exploded on the world scene early in the decade, culminating in the worldwide protests
movements during 1968.
Though America was not the epicenter of cultural conflict in the 1960s, its society was rife with conflict.
Civil rights protesters, the student movement, anti-war protesters, the women's movement, gay rights activists and
the Chicago movement are just a few of the groups who began to reshape American politics and culture by the
decade's end. History tends to consider how these conflicts played out the streets and in courtrooms and voting
booths. Often forgotten is the key role film played in giving these minority groups a chance to package and
distribute "counter" cultural messages, not just in underground, but mainstream cinema. This course considers the
role of film as a harbinger of social, political and cultural change in America during the 1960s as well as the
relationship between culture and film in initiating social change.
---The mission of the Liberal Studies Program (LSP) at Northern Arizona University is to prepare students to live
responsible, productive, and creative lives as citizens of a dramatically changing world. To accomplish the mission
of Liberal Studies, Northern Arizona University provides a program that challenges students to gain a deeper
understanding of the natural environment and the world’s peoples, to explore the traditions and legacies that have
created the dynamics and tensions that shape the world, to examine their potential contributions to society, and thus
to better determine their own places in that world. Through the program students acquire a broad range of
knowledge and develop essential skills for professional success and life beyond graduation. This class supports the
mission of the LSP through a filmic study of American culture in the 1960s. Studying the ways in which film was
used as a means to express cultural critiques, students will gain a better understanding of the medium's power in
affecting social change, a better understanding of said movements and of the many minority interests that reshaped
American culture during the 1960s.
This course fits within the Aesthetic and Humanistic Inquiry distribution block as a result of its study of
minority, oppressed and politically marginalized groups in America in the 1960s, including those built around issues
of race, age, gender, politics and class. Through various case studies of film, the course considers the potential to
challenge social norms and reshape humanistic meanings through film.
Liberal Studies Essential Skills
This course emphasizes a number of essential skills to help students no matter their major interests. Critical thinking
is encouraged through our weekly discussions, source analyses and written work. Effective writing is also
Effective Fall 2013
emphasized through detailed feedback and assignments that encourage students to push the limits of traditional
thinking in arguing complex points.
Student Learning Outcomes
With any humanities-centered curriculum, the first goal of the class is to hone your critical thinking skills, especially
as it relates to human activities and behavior that have shape, are shaping, and will shape the world in which we life.
To this end, one hope of the course is that you will learn to look at familiar subjects in different ways to see them in
a new light and take new meaning from them. To this end, by the conclusion of the term you will be able to:
-Discuss some of the key ideas that shaped American cultural discourse in the 1960s.
-Explain the role of film in presenting cultural critiques to mass society.
-Critically analyze filmic representations for ideological content.
-Describe key moments and sites of conflicts related to the 1960s.
Texts: -Mark Hamilton Lytle, America's Uncivil Wars: The Sixties Era From Elvis to the Fall of Richard Nixon (New
York: Oxford University Press, 2006) ISBN#: 978-0-19-517497-7
-Barry Keith Grant, ed. American Cinema of the 1960s (New Brunswick, NJ: Rutgers University Press, 2008) ISBN#:
978-0-8135-4219-5
Suggested Readings:
Ronald L. Davis, Celluloid Mirrors: Hollywood and American Society since 1945 (London: Wadsworth, 1996)
Archie Loss, Pop Dreams: Music, Movies, and the Media in the American 1960s (London: Wadsworth, 1998)
Mary Ann Watson, Defining Visions: Television and the American Experience in the 20th Century
(New York:
Wiley-Blackwell, 2008)
Leonard Quart and Albert Auster, American Film and Society Since 1945 (New York: Praeger, 2011)
Lynn Spigel, Welcome to the Dreamhouse: Popular Media and Postwar Suburbs (Durham, NC: Duke University
Press, 2001)
Avital H. Bloch and Lauri Umansky, eds., Impossible to Hold: Women and Culture in the 1960’s (New York:
New York University Press, 2005)
Assessment of Student Learning Outcomes (Assignment Descriptions)
Assignments
Points
Discussion Prompt Replies
Participation
Source Explorations
Totals
100 points
120 points
60 points each, 180 total
400 points
a. Discussions and Participation:
Effective Fall 2013
Percent of Total Score
25%
30%
45%
100%
-Discussion Prompt Replies (25%): Each week we will have one or two discussions about the week’s
materials. They will be split up into a General and Specific Topic Board. Each board has a question for
you answer. You are required to respond to both the General and Specific Topic Board questions
posted this week. Your response to each topic question should be at least 200 words and cite the
textbook/supplementary readings at least once. While I do not expect full citations, make sure you note
the source of any outside evidence (by referencing a page number or website). Above all, make sure you
answer all parts of the question. I am looking to see 1) a reflection in the post that you’ve done and
understand the readings and 2) that you can apply that knowledge to a specific issue related to the
course (see the rubric here). The response to the General Topic Board should be posted no later than
11:59PM, Local Time of Day 3. The response to the Specific Topic Board should be posted no later
than 11:59PM, Local Time of Day 5. Once the week is over, no credit will be given for late posts. Quote
and cite any sources, as any evidence of plagiarism will result in a 0.
-Participation (30%): Besides your posts to the Topic board or boards you are required to make at least
four replies to the posts of your classmates made to the General and Specific Topic Board each week.
You must make at least one comment to each the General Topic Board and Specific Topic Board. Two
replies should be at least 150 words. Your comments should also be spread out over at least two days
during this week to earn full credit. Responses might entail you agreeing with a peer and adding more
detail to that post, adding a question related to their comment, using the comment to move discussion
in a new direction based on the ideas presented by your peer, and so on. These are merely guidelines—
grades will be based on quality of substantive comments and shorter reactions (see the rubric here). The
more you offer, the easier it will be to earn full credit each week. While I do not expect full citations,
make sure you note the source of any outside evidence (by referencing a page number or website). Any
evidence of plagiarism will result in a 0 for the week. All posts must be made by 11:59PM, Local Time
of Day 7. Posts not made to the current week's board will not count towards your grade. Once the week
is over, no credit will be given for late posts.
b. Papers, Projects and Presentations:
-Source Explorations (15% each): These assignments (800+ words) will address questions related to your
reading and discussion board posts. You also have the option, in consultation with me, of choosing your
own topic. Each paper should investigate the question posed, using a mix of course materials and
outside evidence to argue their point. In short, each source exploration is an evidence-based analysis
based on the specific question, meaning each will involve some outside research and should include
citations both to course readings and at least one outside source, cited properly. Failure to do so may
result in a significant loss of points. Students are required to hand in two source explorations during the
semester. These papers will give me a chance to critique your writing and enhance your critical thinking
skills, especially as they relate to the popular arts. Papers should be uploaded through the "Papers and
Projects" link on the left side of the course website; topics can be found there as well. When you click
on them a window will appear where you may upload the paper and review feedback. When saving your
papers for upload please use the following format:
"LastName_Firstname_Assignmenttitle.doc."Any instance of plagiarism will result in a 0 for the
assignment. Once a paper is uploaded it is considered the "final" copy, so be certain you upload the
correct paper, as you cannot edit after the submission. See associated rubric here.
c. Exams and Quizzes:
-None.
Grade Scale
A
B
90%+
80-89%
Effective Fall 2013
360-400
320-359
C
D
F
70-79%
60-69%
59-----
280-319
240-279
239-----
Grading rubric for all written work (including discussion prompts)
Paper Grading
Breakdown
Content and
Evidence
Total
Points/
Percent
50%
Points
Critical
Thinking
Grammar,
Organization,
Coherency and
Editing
20%
Points
20%
Points
Formatting and
Citing
10%
Points
Total
100%
Points
Contact Information:
Effective Fall 2013
Key Components of Grading Criteria Include
(bold phrases indicate unmet expectations):
Points
Earned
> Adherence of paper to assignment goals
> Integration of course materials/concepts into assignment
> Good mix of evidence (less than 33%) and original analysis
> Evidence/explanations sufficient to address assignment goals
> Quality and credibility of sources (varies by assignment)
> Capability of evidence/sources to support thesis statement
> Quality and originality of paper argument (varies)
> Effectiveness of topic sentences to start each paragraph
> Logical progression of paper's argument
> Effectiveness of the paper’s style in communicating key points
> Innovative use of evidence to support key arguments
> Persuasiveness of overall argument
> Presence of introduction, body paragraphs, and conclusion
> Clarity of thesis
> Writer’s knowledge and understanding of course concepts
> Ability of the paper to convey writer’s thoughts to the reader
> Consistent tenses, proper punctuation and paragraph formatting
> Conceptual clarity (including definitions) of key concepts
> Quality of grammar, writing and word choice
> Use of proper citation format and rules
> Presence of accurate in-paper citations and quotations
> Properly italicized or quoted titles (depending on source type)
> Paper formatted according to relevant guidelines
> Proper organization/formatting of the References/Works Cited
> Adherence of paper to required length/word count
> Usage of required number of (relevant) citations/sources
Overall Comments:
0
You can reach me by phone 585-209-0444 or over email at devan.bissonette@nau.edu
Assignments
Week 1-Introduction
This week we'll begin by introducing ourselves and then turn to the most fundamental question
students confront time and again in studying this tumultuous period in history: the chasm between
the history of the 1960s and representations of the 1960s in media, specifically film. To what extent
can we separate myth from reality, or is it even fruitful to do so in studying the messages from this
era? There are a few of the questions we'll consider as we dive into our study of 60s film.
Lytle, Introduction & Ch. 1, 1-25; Grant, Introduction, 1-21.
Week 2
What better way to jump into our study of film than with a look at the end of the world? Fears of
nuclear Armageddon were not just filmic: the cold war had convinced many it was likely. While
some rushed out to build shelters, others grabbed placards and took to the streets in protest. This
week will consider the crumbling facade of conformity in the later 50s and the role of film in
bringing some of the concerns behind this tension to the surface through On The Beach, a film quite
literally about the actions by certain groups of people that have led to the end of the world.
Lytle, Chs. 2-3, 26-71.
Film: On The Beach (NAU E-Library)
Minority, oppressed and politically marginalized group(s) studied this week and themes: Women;
antiwar movements
Week 3
Beatniks. Peaceniks. Rebels without a clue. Spoiled brats. These are just a few of the derogatory
names given to America's youth at the turn of the decade. The reason? Youth was become more
visible, not as a nostalgic return to the family, but as a powerful voice on both the left and right
calling for social change. One group who did not take kindly to this sudden, youthful desire to
change the world were those currently in charge, and aside from name-calling from their elders in
power, many establishment films mocked youths as well, presenting them as foolish, directionless
kids who needed a good dose of parental authority. This week we'll consider whether the kids were
all right through The Wild Ride, and how it represents generational conflict and the underlying class
conflicts (not to mention patriarchy) so key to the decade.
Lytle, Ch. 4, 72-95; Grant, 67-88.
Film: The Wild Ride (Openculture.com)
Minority, oppressed and politically marginalized group(s) studied this week and themes: Women;
Youths; Low/Middle Class Conflict
Week 4
John F. Kennedy's New Frontier promised something other than politics-as-usual. It was based
around an activist message that caught the spirit of the growing protest movements of the 1960s and
won the then-Senator many supporters. Kennedy built part of his campaign around using media to
present himself, his family and his message in a very positive (if mass-produced) light, a strategy
critical in earning his slim victory over Vice President Richard Nixon. This week we'll consider the
Effective Fall 2013
growth of the Kennedy mystique this week through a documentary on his run through the
Democratic primaries in 1960, in particular the film's represents of the President, the future First
Lady and the youthful voters so intimately tied with his success.
Lytle, Ch. 5, 96-115; Grant, 44-66.
Film: Primary (NAU E-Library)
Minority, oppressed and politically marginalized group(s) studied this week and themes: Women;
Youths; Civil Rights
Week 5
While most Americans watched a glamorized version of American problems on the silver screen, by
the early 1960s a strong underground or avant-garde generation of filmmakers appeared who
refused to conform to traditional styles. They subverted traditions, both in what stories were told,
how they were told, and even the idea of film as a storytelling medium. In doing so, these
filmmakers created an archive of American "counter" culture that speaks to the problems of the era
long before the widespread public protests that shaped the latter 60s. We'll turn to the work of these
artists this week as we consider their techniques, messages and place in helping us understand in
problems of the decade and the key issues that simply didn't get much if any attention in mainstream
cinema, from Andy Warhol's films that challenged Hollywood's virtual silence on LGBT issues to
minority and alternative lifestyles explored through film.
Grant, 150-171.
Film: Treasures IV: American Avant-Garde Film (NAU E-Library)
Minority, oppressed and politically marginalized group(s) studied this week and themes: African
Americans; Women; LGBT; Counterculture; Civil Rights
Week 6
The hope that ushered in the New Frontier was fading fast as a litany of domestic crises joined
foreign entanglements to damper the hopes of the Kennedy presidency. The growing revelation of
the deep divisions in American society was not seen just in the day's newspaper headlines, but in
film too. As we read this week, Hollywood and the White House projected a certain image of
glamour, but behind that veneer films were beginning to tackle social issues, and this week we'll turn
our attention to Advise and Consent, a film that that sheds light on the hidden conflicts, from civil
rights to gay rights, that haunted the hopeful spirit of the 60s.
Lytle, Ch. 6, 116-140; Grant, 89-109.
Film: Advise and Consent (Amazon)
Minority, oppressed and politically marginalized group(s) studied this week and themes: LGBT;
Antiwar Movement; Civil Rights
*First Paper Due
Week 7
Years of cold war frustrations finally bubbled over in Hollywood in 1964. A new generation of ideas
and concerns (tied to the baby boom) entered the Hollywood mainstream, presenting cultural
critiques that films of previous years mentioned only in innuendo. A society reeling from the death
of President Kennedy and the divided state of the civil rights movement was now locked in a
generational struggle over who created this malaise over American culture and how to best solve it.
Effective Fall 2013
We'll take on some of these questions this week as we look at one of the most controversial
mainstream films of the decade, Dr. Strangelove, and its core critique of the very ideas that shaped
America in the 1960s, from race in the military to cold war culture as a whole.
Lytle, Ch. 7, 143-173; Grant, 110-129.
Film: Dr. Strangelove (openculture.com)
Minority, oppressed and politically marginalized group(s) studied this week and themes: African
Americans; Low/Middle Class Conflict
Week 8
The "good" sixties were in steep decline by 1965. The war in Vietnam (and with it, the antiwar
movement) had captured the nation's attention. Racial unrest had found its way past the MasonDixon line into urban centers of the north and west. America's youth (and civil rights protesters),
were starting to confront corrupt institutions directly. Linking all these issues was the subject of
violence. When was it just, who had the right to use it to achieve power, and what were the limits of
justice and achieving victory? We'll consider this intersection of issues this week as we turn towards
one of Hollywood's most memorable films about youth, violence, class warfare and the American
Dream.
Lytle, Chs. 8-9, 174-216.
Film: Bonnie and Clyde (Netflix)
Minority, oppressed and politically marginalized group(s) studied this week and themes: African
Americans; Women; Youths; Low/Middle Class Conflict
Week 9
These were strange days. Social protest was nearing its climax. The counterculture had begun to
enter the American lexicon. Youthful cries of protest could no longer be ignored, while a generation
removed both by time and ideology from these "kids" pleaded for their patience, support, or to
mind their place. The time for peaceful change, it appeared, was running short. This week we'll
consider Hollywood's reaction to the growing antipathy against the establishment and the extent to
which it might have made a bad situation worse through Wild in the Streets, a film that strategically
lambasted youths, civil rights and class conflict to present an America on the brink of fascism.
Lytle, Ch. 10, 217-239; Grant, 172-192.
Film: Wild in the Streets (Netflix)
Minority, oppressed and politically marginalized group(s) studied this week and themes: African
Americans; Women; Youths; Low/Middle Class Conflict; Antiwar Movement; Counterculture
*Second Paper Due
Week 10
The great optimism that rung in the decade, signified by the election of Senator Kennedy and cheers
for the New Frontier had disappeared by 1968. Not just in the US, but globally there had been a
turn against not just conservatism but old liberalism and the wars and equality both claimed as their
legacy. This week we'll discuss just what went wrong in America that turns years of hope into days
of rage and how film exemplified if not encouraged audiences to feel less than hopeful about the
future of American society. In Night of the Living Dead, a strong African American lead character
becomes the lens through which race relations and other pressing social issues in the 60s and the
role of the establishment in damning progress is laid bare.
Lytle, Ch. 11, 240-265; Grant, 193-216.
Film: Night of the Living Dead (Netflix)
Effective Fall 2013
Minority, oppressed and politically marginalized group(s) studied this week and themes: African
Americans; Women; Low/Middle Class Conflict; Antiwar Movement; Civil Rights
Week 11
While the days of rage had subsided, radicalism had established itself as a powerful force in
American society by the closing days of 1969. Two years of unrest and a growing pushback by the
so-called "silent majority" escalated domestic tensions. In 1969 the American counterculture, a nonviolent alternative to the current malaise infecting mass culture, caught the attention of the
mainstream (some might say so much it commodified it out of existence). This week we'll talk about
the philosophy behind this movement and consider, among other points, the status of women at the
end of the decade, given the growth of feminism and the counterculture through Alice's Restaurant,
the one place where everyone gets what they want, "excepting Alice," as the song goes...
Grant, 217-238.
Film: Alice's Restaurant (Netflix)
Minority, oppressed and politically marginalized group(s) studied this week and themes: Women;
Youths; LGBT; Low/Middle Class Conflict; Antiwar Movement; Counterculture; Civil Rights
Week 12
The barricades and billy clubs that had shaped past confrontation gave way to bombs, bullets and,
from much of the country, boredom towards social change. This indifference was not just from
Nixon's "silent majority" but may liberal activists who had lost hope social change could be
achieved within the system. Most, aside from the Weathermen and hippies, were unwilling to
consider more revolutionary alternatives. Others like the Black Panthers used a new politics of
confrontation to force the establishment to address their grievances. Into this climate Hollywood
tenuously addressed America's social tensions. The Strawberry Statement is mainstream American film's
only direct presentation of student protest, making its message about the nature of protest and the
conflicts (as well as their justifications) very telling in understanding how the establishment had
framed the decade and how audiences should treat these protesters.
Lytle, Chs. 14-15, 316-356.
Film: The Strawberry Statement (Amazon)
Minority, oppressed and politically marginalized group(s) studied this week and themes: African
Americans; Women; Youths; Low/Middle Class Conflict; Antiwar Movement; Civil Rights
Week 13
The 1968 Miss America pageant was the moment most Americans first heard of the growing
women's movement, though its origins were older and in fact owed much of its rapidly growing
strength to the failures of liberalism, specifically the student and civil rights movement, to address
their internal sexism or take women's issues seriously. Like these other movements, many issues
limited its progress, race, class and sexuality being the most divisible issues. This week we'll consider
the impact and shape of feminism at the turn of the 1970s, as well as its internal struggles, which
found their way onto the silver screen in a rare moment when a woman found access to the
director's chair.
Lytle, Ch. 12, 269-288.
Film: Wanda (NAU E-Library)
Minority, oppressed and politically marginalized group(s) studied this week and themes: Women;
Low/Middle Class Conflict; Civil Rights
Effective Fall 2013
Week 14
We've read a lot to date about the civil rights movement and the rise of black militancy. Behind all
this was a more basic concern about how America approached the idea of difference. While in the
1970s the differences that captured headlines were frequently related to gender, ethnicity and
sexuality, it was race, a sort of litmus test for America's attitude towards difference that finally won
some significant attention in Hollywood by the 1970s. Blacksploitation remains the most
remembered genre, and to its racial politics we'll turn our attention this week in Shaft, a film's whose
racial politics both shifted blame for the militancy in race relations but also offered a curious
glimmer of hope in shifting discourse from race, in part, to class conflict.
Lytle, Ch. 13, 289-315.
Film: Shaft (NAU E-Library)
Minority, oppressed and politically marginalized group(s) studied this week and themes: African
Americans; Low/Middle Class Conflict
*Final Paper Due
Week 15
The great promise that ushered in the 1960s was gone. Liberals and conservatives alike turned their
backs on the "uncivil" wars, most focusing on their personal trials and tribulations, leaving politics
to the adventurous few, arguably the same type of citizen who had caused the problems that birthed
these conflicts in the first place. Why they had this push for social change ended? What was left in
its place? How did Americans after Watergate look back on this period, and what is its lasting effect
on the nation today? These are a few of the questions we'll tackle this week as we wrap-up the
course by watching Death Wish. Its celebration of violence, in particular the beating and murder of
social deviants (which in the film's world goes from hardened criminals to the implication that 60s
protesters were justifiable targets for having made the nation soft) says much about the
consequences of the 60s on American culture.
Lytle, Ch. 16, 357-374.
Film: Death Wish (Netflix)
Minority, oppressed and politically marginalized group(s) studied this week and themes: African
Americans; Women; Youths; Low/Middle Class Conflict; Antiwar Movement; Counterculture; Civil
Rights
Effective Fall 2013