UCC/UGC/YCC
Proposal for New Course
1. Effective BEGINNING of what term and year?:
Spring 2013
See effective dates calendar.
2. College: SBS
3. Academic Unit: Ethnic Studies
4. Course subject and number:
ES 204
5. Units: 3
6. Long course title: Chicano(a)/Latino(a) Cinema
(max 100 characters including spaces)
7. Short course title: Chicano(a)/Latino(a) Cinema
(max. 30 characters including spaces)
8. Catalog course description (max. 60 words, excluding requisites):
This course examines the cinematic representation of diverse experiences of Latinos/as (Chicanos/Mexican
Americans, Puerto Ricans, and Cuban Americans) in the United States in historical and social contexts. By
exploring gender, race and ethnicity in the United States, students consider how these matters influence the
perception of U.S. Latinos/as, people of color, through the medium of cinema.
9. Grading option:
Letter grade
Pass/Fail
Both
10a. UGC approval date*:
10. Co-convened with:
(For example: ESE 450 and ESE 550)
*Must be approved by UGC before UCC submission, and both course syllabi must be presented
11. Cross-listed with:
(For example: ES 450 and DIS 450)
Please submit a single cross-listed syllabus that will be used for all cross-listed courses.
12. May course be repeated for additional units?
12a. If yes, maximum units allowed?
12b. If yes, may course be repeated for additional units in the same term?
Revised 06/22/2011
Yes
No
Yes
No
1
13. Prerequisites:
none
14. Co requisites:
none
15. Is this course in any plan (major, minor or certificate) or sub plan (emphasis or concentration)?
Yes
No
If yes, describe the impact and attach written responses from the affected academic units prior
to college curricular submission.
This class is part of the Ethnic Studies minor; it also meets liberal studies and diversity course
requirements.
16. Is there a related plan or sub plan proposal being submitted?
If no, explain.
ES Minor
Yes x
No
17. Does this course include combined lecture and lab components?
Yes
If yes, note the units specific to each component in the course description above.
No
18. Does this course duplicate content of existing courses?
Yes
If yes, list the courses with duplicate material. If the duplication is greater than 20%,
explain why NAU should establish this course.
No
19. Names of the current faculty qualified to teach this course:
Sara Aleman, Juanita Heredia,
Mark Montoya
20. Justification for new course.
This course has been offered as a topics course successfully. This proposal is to make it a
permanent course line. This will give students more options to explore issues critical to both the local
community and national community within the Ethnic Studies minor and/or as a diversity requirement
and/or a liberal studies requirement.
Answer 21-22 for UCC/YCC only:
21. Is this course being proposed for Liberal Studies designation?
Yes
If yes, forward this form along with the appropriate supporting documentation to the
Liberal Studies Committee.
No
22. Is this course being proposed for Diversity designation?
Yes
If yes, forward this form along with the appropriate supporting documentation to the
Diversity Committee
No
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2
Annette Lawrence 9/15/12
Reviewed by Curriculum Process Associate
Date
Approvals:
Department Chair/ Unit Head (if appropriate)
Date
Chair of college curriculum committee
Date
Dean of college
Date
For Committee use only:
UCG/UGC/YCC Approval
Date
:
Approved as submitted:
Yes
No
Approved as modified: Yes
No
:
:
Please attach proposed Syllabus in approved university format.
Revised 06/22/2011
3
College of Social and Behavioral Sciences
Ethnic Studies
ES 204 Chicano(a)/Latino(a) Cinema (3)
Semester, Year
Credit Hours: 3
Instructor:
Office address and contact info:
Office hours:
Course Prerequisites:
None.
Course Description:
In this course students will examine the cinematic representation of diverse experiences of
Latinos/as (Chicanos(as)/Mexican Americans, Puerto Ricans, Cuban Americans, Dominican
Americans and South Americans) in the United States in historical and social contexts. By
viewing Hollywood and independently produced films from the 1960s into the 21st century, this
course will explore issues such as gender, race and ethnic identities in the rapidly changing
multicultural communities of the United States. The course will consider these matters as they
play a key role in influencing the perception of U.S. Latinos/as through the medium of cinema.
In addition to film criticism, we will also read texts from a variety of disciplines, including
history, popular culture and feminism to guide our critical thinking, reading and writing. Also
counts for credit in Latin American Studies and meets the university diversity requirements.
Conducted in English.
This is a Liberal Studies Course in Aesthetic & Humanistic Inquiry/U.S. Ethnic Diversity. In this
course we will focus on essential skills (critical reading and critical thinking) through various
writing and discussion assignments. The mission of the Liberal Studies Program 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.
Distribution Block:
Aesthetic & Humanistic Inquiry
Essential Skill:
Through the program students acquire a broad range of knowledge and develop essential skills
for professional success and life beyond graduation. In addition to discipline specific skills, this
course will emphasize critical thinking, an essential skill defined in the University’s Liberal
Studies Program.
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4
U.S. Ethnic Diversity:
This course explores cinematic representations of African Americans and examinations of the
intersections of race, social class, and gender.
Course Outcomes and Student Learning Expectations:
The goals of the course include:
-to critically analyze the historical/social context of different Chicano and U.S. Latino groups
(diversity)
-to critically analyze definitions and terms employed in Chicano/U.S. Latino cinema
(diversity)
-to critically analyze issues pertaining to various Chicano/Latino cultures in cinema (diversity)
-to critically compare and contrast the experiences of different U.S. Latin@ groups in
cinema/media (diversity)
-to engage in critical thinking, reading and writing to develop topics related to
ethnic/gender/race relations that are of interest to student (diversity)
Course Structure:
This course will be taught face-to-face. This course will be based on both lecture and discussion,
and it will include guest speakers, media, group work, and individual presentations.
Course Readings:
The films listed below will be supplemented with other readings available on the Blackboard
Learning (BBL) webshell for this course (bblearn.nau.edu). Readings are listed below in the
“course outline.”
Required texts for all students: Must view (not purchase) all 12 films in class according to the
schedule.
Films:
The Ballad of Gregorio Cortez. Dir. Moctesuma Esparza. Nelson Entertainment, 1983.
Stand & Deliver. Dir. Ramón Mendendez. Warner Home Video, 1988.
Real Women Have Curves. Dir. Patricia Cardoso. HBO Video, 2002.
Quinceañera. Dir. Richard Glatzer. Sony Pictures Entertainment, 2007.
Yo Soy Boricua. Dir. Rosie Pérez. Genius Entertainment, 2007.
West Side Story. Dir. Robert Wise & Jerome Roberts. MGM Home Entertainment, 1997. [1961]
Piñero. Dir. Leon Ichaso. Buena Vista Home Entertainment, 2001.
The Mambo Kings. Dir. Arne Glimcher. Warner Home Video, 1992.
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For Love or Country. Dir. Joseph Sargent. HBO Home Video, 2001.
Raising Victor Vargas. Dir. Peter Sollett. Columbia TriStar Home Entertainment, 2002.
Washington Heights. Dir. Alfred de Villa. Studio Home Entertainment, 2002.
María, Full of Grace. Dir. Joshua Marston. HBO Home Video, 2004.
Required articles:
Available on electronic reserve through Blackboard Learning. Go to http://bblearn.nau.edu and
log into BBL and follow the instructions to access the reserves. Print all articles and bring them
to class on the assigned date.
Optional books: (depending on the semester, course format, and instructor, the following books
may be included)
Fregoso, R.L. (1993) Chicana and Chicano Film Culture
Mendible, M. (2007) From Bananas to Buttocks: the Latina Body in Popular Film and Culture
Molina-Guzman, I. (2010) Dangerous Curves: Latina Bodies in the Media
Noriega, C. (1992). Chicanos and Film: Representation and Resistance
Course Outline:
Week 1: Introduction to course & greetings
Unit 1:
Chicano Cinema: Crossing Cultures in the U.S./Mexico Borderlands
Week 2: What is Chicano/Latino cinema? How are culture and identity represented?
Frances Aparicio, “Latino Cultural Studies” in Critical Latin American and Latino
Studies (U Minnesota Press)
Rosa Linda Fregoso, “Looking at Us Looking” in The Bronze Screen(U Minnesota Press)
Chon Noriega, “Introduction” in Chicanos and Film (U Minnesota Press)
Week 3: FILM #1: The Ballad of Gregorio Cortez
Carl Gutiérrez-Jones, “Legislating Languages: The Ballad of Gregorio Cortez
and the
English Language Amendment” in Chicanos and Film (U Minnesota Press)
Américo Paredes, “The Hero’s Progress” in With His Pistol In His Hand (U Texas Press)
-discussion of U.S./Mexico border, legal rights, bilingualism
DUE: PAPER #1
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6
Week 4: FILM #2: Stand and Deliver
Ilene S. Goldman, “Crossing Invisible Borders: Ramón Menéndez’s Stand and Deliver
(1987)” in The Ethnic Eye: Latino Media Arts (U Minnesota Press)
Mike Davis, “Education Ground Zero” in Magical Urbanism (Vergo)
-discussion of Chicano/a activism, education & identity
DUE: PAPER #2
Week 5: FILM #3: Real Women Have Curves
Deborah Paredes, "All About My (Absent) Mother: Latina Aspirations in Real Women
Have Curves and Ugly Betty," in Beyond El Barrio (New York U Press)
Norma Alarcón, “Chicana Feminism: In the Tracks of the Native Woman” in
Between Woman and Nation (Duke U Press)
Sandra Cisneros, “A Woman of No Consequence” in Living Chicana Theory
Optional: Episodes of Ugly Betty
-discussion of Chicana identity, gender, and representation in media
DUE: PAPER #3
Week 6: FILM #4: Quinceañera
Raúl Coronado, “Bringing It Back Home: Desire, Jotos and Men” in
The Chicano/a Cultural Studies Reader (New York U Press)
Richard T. Rodríguez, “Carnal Knowledge: Chicano Gay Men and the Dialectics of
Being” in Gay Latino Studies: A Critical Reader (Duke U Press)
-discussion of negotiating gender and sexuality
DUE: PAPER #4
Unit 2:
Looking East: The Migrations of Puerto Rican Cinema in the U.S.
Week 7: FILM #5: Yo Soy Boricua
María E. Pérez y González, “The American Encounter and Beyond” in Puerto Ricans in
the United States (Greenwood Press)
Frances Negrón Muntaner, “Weighing in Theory: Puerto Ricans and American Culture”
in Boricua Pop (New York U Press)
-discussion of Puerto Rican presence in the United States
DUE: PAPER #5
Week 8: FILM #6: West Side Story
Frances Negrón Muntaner, “Feeling Pretty: West Side Story and U.S. Puerto
Rican Identity” in Boricua Pop (New York U Press)
Juan Flores, “Pan-Latino/Trans-Latino: Puerto Ricans in the ‘New Nueva York’” in
From Bomba to Hip Hop (New York U Press)
-discussion of Puerto Rican gender and sexuality in the United States
DUE: PAPER #6
Week 9: FILM #7: Piñero
Miguel Meléndez, “The Rise and Fall of the Young Lords Party” in
We Took the Streets (Rutgers U Press)
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Michael Hames-García, “Resistant Freedom: Piri Thomas and Miguel Piñero” in
Fugitive Thought (Minnesota U Press)
-discussion of Nuyorican movement, arts & activism /review for midterm
Week 10: MIDTERM: no make-ups
Unit 3:
From Immigrants to Exiles: Cuban American Cinema
Week 11: FILM #8: Mambo Kings
Gustavo Pérez-Firmat’s “Rum, Rump and Rumba” in Life on the Hyphen:
The Cuban-American Way (U Texas Press)
-discussion of Cuban immigration to the United States before 1959
DUE: PAPER #7
Week 12: FILM #9: For Love or War: The Arturo Sandoval Story
Miguel Gonzalez-Pando, “Identity, Culture and Exile Life” in The Cuban Americans
(Greenwood Press)
-discussion of Cuban exile experience after 1959
DUE: PAPER #8
Unit 4:
Neither Here Nor There: The Making of Dominican American Cinema
Week 13: FILM #10: Raising Victor VargasRodolfo
Popelnik, “Changing Imaginaries or the Importance of the Independent Indiefor the
Reconstruction of Caribbean Portrayals: The Case of Raising VictorVargas (2003)” in
Sargasso
Silvio Torres-Saillant, “Forging Dominican American Culture” in The Dominican
Americans (Greenwood Press)
-discussion of the Dominican diaspora in the United States
DUE: PAPER #9
Weel 14: FILM #11: Washington Heights
Read selected chapters from Angie Cruz’s novel Soledad and selected chapters from
Junot Díaz’s Pulitzer prize-winning novel The Brief Wondrous Life of Oscar Wao
-more discussion of the Dominican diaspora in the United States
DUE: PAPER #10
Unit 5:
Toward a South American Latino Cinema
Week 15: FILM #12: María, Full of Grace
Marilyn Espitia, “The Other ‘Other Hispanics’: South American-Origin Latinos in the
United States” in The Columbia History of Latinos in the United States Since 1960
(Columbia U Press)
Emily Davis, “The Intimacies of Globalization: Bodies and Borders on Screen” in
Camera Obscura
-discussion of U.S. South American immigration and presence
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Week 16:
FINAL EXAM: no make-ups
Course Assessment and Evaluation:
Papers- Response Pieces/Critiques:
Students will be required to write 10 short papers/response pieces/critiques on the films and
incorporate readings on the dates due. These papers will be used to assess a student’s ability to
read and write critically. Late papers are not acceptable unless there is an institutional excuse or
an extreme emergency. Each paper should be 1-1.5 pages (12 point, Times Roman, 1 inch of
indented spacing) or 3-4 paragraphs double-spaced and typewritten turned in at the beginning of
the class period. Emailed papers are not acceptable. If you are having problems in writing
(organizing, limited your topic), please see me soon or go to the tutoring center as soon as
possible. Do not wait until the last minute or end of the semester.
Participation and attendance:
Attendance: This means that students should attend class. Any student missing more than 3 class
periods (unexcused) will have his grade lowered by 5% from his final grade for each additional
absence. Please provide formal documentation in order to be excused from class (including
students with disabilities, students on a sports team and students with other documented
commitments). Attendance in the form of a sign-up sheet will be taken. Participation: Students
should come prepared to discuss the materials assigned for class reading as well as the film
viewed. This means that students should know the main ideas/themes of the readings and
provide examples of support/evidence used by the author of the given reading for that date and
make references to the film as well. The professor reserves the right to give pop quizzes or short
in-class writing assignments to assess student preparation in class. Students preparation,
individually, in small groups, and through pop quizzes/writings will be used to assess effective
participation. Cell phones: Cell phones or other similar technologies will not be allowed on your
desk or in any other visible space, and they must be muted during class time.
Examinations:
There will be two examinations in the course. The first exam, a midterm, will be held on
Wednesday, March 14, 5:30-6:45pm. A final examination will be held on Monday, May 7,
5:30-7:30pm. There are no make-ups. If you have a legitimate excuse, please provide formal
documentation at the beginning of the semester.
Grading/assessment:
10 response pieces/critiques
Participation & attendance
Midterm Exam
Final Exam
Grading scale:
50%
15%
15%
20%
A, 90-100%
B, 80-89%
C, 70-79%
D, 60-69%, F, 59% & below
Class Policies
Cheating and Plagiarism:
Plagiarism, handing in written work which is not your own, is a form of stealing. Other people
(your teachers, your fellow students, a tutor in the writing lab) may give you suggestions for
Revised 06/22/2011
9
improving a piece of written work, but the work itself must be your own. It should not be, for
example, a piece of writing found on the inter-net and slightly rewritten and submitted for credit.
If you turn in a paper that someone else has written or copy sections of a book or article without
proper documentation and claim that it is your own, then you will be reported to the University.
Range of penalties may be assigned based on infraction. If you are not sure about your
documentation, or simply cannot complete an assignment please ask before you act.
Student Behavior and Conduct-all students are expected to adhere to norms of proper conduct
in the classroom. Come to class on time, be courteous to fellow classmates and professor. Do
not bring food, nor chew gum for it is disruptive during class lecture and film screening.
NORTHERN ARIZONA UNIVERSITY
POLICY STATEMENTS
SAFE ENVIRONMENT POLICY
NAU’s Safe Working and Learning Environment Policy seeks to prohibit discrimination and
promote the safety of all individuals within the university. The goal of this policy is to prevent
the occurrence of discrimination on the basis of sex, race, color, age, national origin, religion,
sexual orientation, disability, or veteran status and to prevent sexual harassment, sexual assault
or retaliation by anyone at this university.
You may obtain a copy of this policy from the college dean’s office or from the NAU’s
Affirmative Action website http://home.nau.edu/diversity/. If you have concerns about this
policy, it is important that you contact the departmental chair, dean’s office, the Office of
Student Life (928-523-5181), or NAU’s Office of Affirmative Action (928-523-3312).
STUDENTS WITH DISABILITIES
If you have a documented disability, you can arrange for accommodations by contacting
Disability Resources (DR) at 523-8773 (voice)or 523-6906 (TTY), dr@nau.edu (e-mail)or 928523-8747 (fax).Students needing academic accommodations are required to register with DR and
provide required disability related documentation. Although you may request an accommodation
at any time, in order for DR to best meet your individual needs, you are urged to register and
submit necessary documentation (www.nau.edu/dr) 8 weeks prior to the time you wish to receive
accommodations. DR is strongly committed to the needs of student with disabilities and the
promotion of Universal Design. Concerns or questions related to the accessibility of programs
and facilities at NAU may be brought to the attention of DR or the Office of Affirmative Action
and Equal Opportunity (523-3312).
INSTITUTIONAL REVIEW BOARD
Any study involving observation of or interaction with human subjects that originates at NAU—
including a course project, report, or research paper—must be reviewed and approved by the
Institutional Review Board (IRB) for the protection of human subjects in research and researchrelated activities.
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10
The IRB meets monthly. Proposals must be submitted for review at least fifteen working days
before the monthly meeting. You should consult with your course instructor early in the course
to ascertain if your project needs to be reviewed by the IRB and/or to secure information or
appropriate forms and procedures for the IRB review. Your instructor and department chair or
college dean must sign the application for approval by the IRB. The IRB categorizes projects
into three levels depending on the nature of the project: exempt from further review, expedited
review, or full board review. If the IRB certifies that a project is exempt from further review, you
need not resubmit the project for continuing IRB review as long as there are no modifications in
the exempted procedures.
A copy of the IRB Policy and Procedures Manual is available in each department’s
administrative office and each college dean’s office or on their website:
http://www.research.nau.edu/vpr/IRB/index.htm. If you have questions, contact the IRB
Coordinator in the Office of the Vice President for Research at 928-523-8288 or 523-4340.
ACADEMIC INTEGRITY
The university takes an extremely serious view of violations of academic integrity. As members
of the academic community, NAU’s administration, faculty, staff and students are dedicated to
promoting an atmosphere of honesty and are committed to maintaining the academic integrity
essential to the education process. Inherent in this commitment is the belief that academic
dishonesty in all forms violates the basic principles of integrity and impedes learning. Students
are therefore responsible for conducting themselves in an academically honest manner.
Individual students and faculty members are responsible for identifying instances of academic
dishonesty. Faculty members then recommend penalties to the department chair or college dean
in keeping with the severity of the violation. The complete policy on academic integrity is in
Appendix G of NAU’s Student Handbook http://www4.nau.edu/stulife/handbookdishonesty.htm.
ACADEMIC CONTACT HOUR POLICY
The Arizona Board of Regents Academic Contact Hour Policy (ABOR Handbook, 2-206,
Academic Credit) states: “an hour of work is the equivalent of 50 minutes of class time…at least
15 contact hours of recitation, lecture, discussion, testing or evaluation, seminar, or colloquium
as well as a minimum of 30 hours of student homework is required for each unit of credit.”
The reasonable interpretation of this policy is that for every credit hour, a student should expect,
on average, to do a minimum of two additional hours of work per week; e.g., preparation,
homework, studying.
SENSITIVE COURSE MATERIALS
If an instructor believes it is appropriate, the syllabus should communicate to students that some
course content may be considered sensitive by some students.
“University education aims to expand student understanding and awareness. Thus, it necessarily
involves engagement with a wide range of information, ideas, and creative representations. In
the course of college studies, students can expect to encounter—and critically appraise—
materials that may differ from and perhaps challenge familiar understandings, ideas, and beliefs.
Students are encouraged to discuss these matters with faculty.”
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