AFA 3930 - Section 1296 - SPRING 2015
African American Studies Program – The University of Florida
Dr. P. Hilliard-Nunn
Class Time:
Class Location:
Office Hours:
Mon 6-8 – 12:50PM-3:50PM
Room 2346 Turlington Hall
Mondays 11:30AM-12:30PM
Other Times By Appointment.
Credit: (03) Three Hours
Exam: 29C
Office Location: 105 Walker Hall
Phone: 352-392-5726
e-mail: hilliardnunn@ufl.edu
Should you have any questions or concerns, do not hesitate to visit, e-mail or call me.
COURSE GOAL: The goal of this course is to critically examine the history, culture, politics, concepts and issues
related to African/Black people and film.
COURSE DESCRIPTION: Blacks in Film provides a comprehensive examination of the history, culture and
politics of African descended Black people and film. While the course focuses on African Americans and film, it
also incorporates filmmakers and films in the African Diaspora. The course reviews the manner in which Blacks
have participated in varied aspects of the film communication process including (i.e. writing, directing, acting,
producing, distributing, exhibiting, spectatorship, critiquing, etc.). Students will also be introduced to several
theories and concepts that can prove useful as they explore the construction and meaning of black independent and
mainstream films from the past and present and their impact on society. Classes will consist of lectures, discussions,
film screenings, group presentations, and individual presentations. Film clips and films will be used during lectures.
Students will also view films reserved in Library West.
COURSE OBJECTIVES: Student will be able to: 1) utilize basic film analysis approaches and terminology in
discussing films, 2) demonstrate an understanding of basic concepts (i.e. world view, culture, stereotype,
representation, etc.) and describe their utility in examining films, 3) identify the common historical representations
of black people in mainstream films, 4) name and describe the works of a sample of Black filmmakers and
actors/actresses 5) examine cultural dependency and self-concept as they relate to and are influenced by film, 6)
describe certain critical claims about the relationship between motion pictures and society in general and Blacks in
particular, 7) identify some of the key individuals, events, and films related to Blacks over the last 12 decades, and
8) learn critical thinking skills.
ATTENDANCE POLICY: Attendance is based on you being on time, signing the roll sheet, being prepared and
staying for the entire class. Do not arrive at class more than 10 minutes late and expect to receive credit for being
present. It is assumed that enrollment in the class means that there are no conflicts with other obligations (weddings,
work, travel, meetings, etc.) during class time. Do not send messages about your attendance through a classmate.
Simply telling me or e-mailing a message indicating that you’ll be absent does not automatically become an
“excused absence.” Because this class meets once a week, it is critical that you attend every class session. If you
have an official excuse for an absence, provide me with a written letter and/or medical excuse on a physician’s
official letterhead w/ phone or official university letterhead that includes the time and date of your care or other
business upon your return to class. Poor attendance and tardiness will affect your final grade. If you miss more
than two classes, you should consider dropping the course. No further admonishments will be made.
MAKE UP POLICY: All assignments are known in advance; therefore, permission to hand in an assignment late is
only granted for exceptional circumstances. If you must miss class, for any reason, on a day that you are due to
present or turn in an assignment, you must turn in your work ahead of time.
Quiz/Test/Exam: Students with documented official university or medical excuses may take a make up
quiz/test/exam. The professor must be notified before or immediately after the absence and the exam must be
scheduled on the first day that the student returns to campus. Students who do not provide documentation and
reschedule the example will not be given a make up.
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Assignments: Students with valid official university or documented medical excuses be allowed to turn in
assignments within one day of her/his return to campus without penalty. The assignment will be considered late and
reduced one letter grade for each day the assignment is not turned in beginning with the due date if the proper
documentation is not provided.
UNIVERSITY CODE OF HONOR: Each student in this course is expected to abide by the University
of Florida’s Student Honor Code and Code of Conduct. Any work submitted by a student in this course
for academic credit will be the student's own work. Students suspected of academic dishonesty or of
violating the Honor Code will be reported to the Dean of Students Office. To learn more about the UF
policy regarding Academic Honesty, please visit: http://www.dso.ufl.edu/judicial/academic.php.
ACCOMMODATIONS FOR STUDENTS WITH DISABILITIES: In compliance with the University of Florida’s
policy and equal access laws, I am available to discuss appropriate academic accommodations that may be required for
students with disabilities. Requests for academic accommodations are to be made during the first three weeks of the
semester, except for unusual circumstances, so arrangements can be made. Students are encouraged to register with
Student Disability Services to verify their eligibility for appropriate accommodations. The Disability Resource Center in
the Dean of Students Office provides information and support regarding accommodations for students with disabilities.
More information may be found here: http://www.dso.ufl.edu/drc/
STATEMENT REGARDING HARRASMENT: UF provides an educational and working environment that is
free from sex discrimination and sexual harassment for its students, staff, and faculty. To learn more about this
policy, visit: http://www.dso.ufl.edu/sccr/sexual/
UF COUNSELING ASSISTANCE: Students who may experience stress related personal issues are
encouraged to visit the University of Florida Counseling and Wellness Center at 3190 Radio Road.
Phone: 392-1575. Website: http://www.counseling.ufl.edu/cwc/contact-us.aspx.
REQUIREMENTS AND EVALUATION:
1.
CLASS ATTENDANCE & PARTICIPATION
________ (10%):
Participation means that you are present, on time and able to engage in class discussions and group
exercises in a meaningful way. It also means that you have completed assigned readings and screened
assigned films by the due date. Be sure to sign the roll. Any information and/or changes that are announced in
class are YOUR responsibility, whether you attended class or not. (See page one, attendance policy,
for more information).
2.
FILM RESPONSES (Due: The class after you view the film) __
(10%):
After viewing a film in class, complete the form and turn it in at the beginning of the following class.
If more than one film is screened, choose one film to respond to. (Template to be e-mailed to you)
3.
TESTS
Test #1 =20% Feb 23
and
Test #2 = 20% April 20
(40%):
The tests will be based on class readings, discussions, presentations, lectures and films. They will consist
of multiple choice, true/false, short answer and short (essay) answer items.
4.
PERSONAL FILM EXPERIENCE ESSAY
(Due: January 26)
(10%):
Write a (6) page essay about how film has or has not influenced you and your perception of Black people,
Black history and Black culture. Include details about the first film or TV image(s) that you saw and what you
recall thinking/feeling about it when you first saw it. How do you feel about the film today? Incorporate the
film titles, etc. in your answer. Keep plot summaries brief. This should be a scholarly
essay and not a running stream of thought.
5.
CRITICAL FILM ANALYSIS
(Due March 16)
(15%):
Write a six (6) page critical analysis which addresses the aesthetic quality of a black-themed film. Be sure
examine how the film represents the African American experience. Give solid reasons for your opinions.
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Select a Black directed film - independent or mainstream - that includes Black characters, and/or specifically
addresses Black culture, history, etc. I must approve your film before you begin. Pay attention to the
narrative structure, the setting, the social, cultural and political context of characters, and how the work
transmits cultural codes/symbols. You should also address what meaning(s) this may have in society, in
general, and in relation to Black people in particular. Use References.
(See the Handout)
6.
CREATIVE RESEARCH PROJECT
(Due April 13)
(15%):
Each student will select a topic related to Blacks and film, get it approved by the professor, conduct research
on the topic and build a creative project. Select one of the following formats (i.e. a DVD, a power point, a
brochure, or another visual vehicle) that you feel comfortable using to communicate your research topic. A
Five page paper must accompany the project. Plan to share your project in class. You will have 5-7minutes
(See the Handout)
WRITTEN ASSIGNMENTS - ** IMPORTANT**
Written work should include a bibliography/filmography. Quotations should be kept to a minimum and should only
be used if they move your thesis forward. Plot summaries should be short. Assume that the reader has already seen
the film. Incorporate the terms and concepts discussed in class in all written assignments. Read the section on
“presentation of work” for further details.
REQUIREMENTS & EVALUATION AT A GLANCE
____
%:
1.
Attendance & Participation
10%
2.
Film Responses
10%
3.
Tests #1 (15%) &
Test #2 (20%)
35%
4.
Personal Film Exper. Essay 6 Pages
5.
Critical Film Analysis 6 Pages
15%
6.
Creative Project 6 Pages
15%
TOTAL
100%
15%
YOUR GRADE WILL BE BASED ON THE FOLLOWING SCALE: 93-100=A, 90-92=A-, 87-89=B+, 8386=B, 80-82=B-, 77-79=C+, 73-76=C, 70-72=C-, 67-69=D+, 63-66=D, 60-62=D-, 57-59=F+, 57 and below = F.
GRADES: Please refrain from telling me what grade you “want” or “need.” All students will receive the grade that
they earn.
PRESENTATION OF WORK:
All assignments must be typed, double-spaced using Times New Roman 12 point font in MS Word. You must use a
standard one-inch margin - no bold-faced fonts. Use the style APA, MLA or Chicago that is used in your academic
discipline to properly format your paper and structure references. All pages should be numbered and stapled. Do not
use a cover sheet. Include identifying information (Name, Assignment and the date that you turn it in to me) in the
upper right hand corner, single-spaced. UF has an online writing assistance site at http://web.cwoc.ufl.edu/owl.
Work will be considered late and graded down one letter grade after the beginning of class on the due date. Work will
continue to be reduced a letter grade for each additional day it is late (see the make up work section for more details).
EVALUATION OF ALL CLASS ACTIVITIES AND ASSIGNMENTS IS BASED ON:
The instructor will evaluate and provide feedback on all written assignments. Your work will be evaluated with
respect to 1) Quality, scope and organization of documentation; 2) Clarity and coherence of expression; 3) Spelling,
Grammar and Punctuation; 4) Quality of critical analysis; 5) Demonstration of an understanding of information and
concepts addressed in the readings and/or discussed in class; 6) Following directions and completing assignments
on time. Students are also expected to meet the minimum word count and deadlines as outlined in the syllabus.
UNIVERSITY CODE OF HONOR: Each student in this course is expected to abide by the University of Florida’s
Student Honor Code and Code of Conduct. Any work submitted by a student in this course for academic credit will
be the student's own work. Do not plagiarize. All work must be cited. Students suspected of academic dishonesty
or of violating the Honor Code will be reported to the Dean of Students Office. To learn more about the UF policy
regarding Academic Honesty, please visit: http://www.dso.ufl.edu/judicial/academic.php.
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REQUIRED COURSE TEXTS:
1. Bogle, Donald (2003). Toms, coons, mulattoes, mammies & Bucks: An interpretive history of blacks in american
films (4th Ed.). NY: Continuum.
2. Reid, Mark. (2005). Black lenses, Black voices: Black Film Now. African American Film Now. Lanham, MD:
Rowman & Littlefield.
REQUIRED FILMS: There is no formal screening period for this class, but you are required to view and be
prepared to discuss the films listed below by the date listed. You may view many of the films on UF ARES course
reserve at the UF library or you may rent the films on your own via NETFLIX or another online source. Should some
of the films change, you will be notified ahead of time. You should make every effort to see the films on the days that
they are shown in class as many are not available at the library.
DATE DUE
January 12
January 26
January 26
February 2
February 2
February 9
February 9
February 9
February 9
February 16
February 16
February 16
February 18
March 9
March 9
March 16
March 16
March 16
March 23
March 23
March 30
March 30
April 6
April 6
FILM TITLE
Ethnic Notions (1986) Marlon Riggs
Within Our Gates (1991) Oscar Micheaux
Scar of Shame (1927, 76 min) Frank Peregini
Bamboozled (2000) Spike Lee
Hallelujah (1929) King Vidor
Hair Piece: A Film For Nappy Headed People (1985) Ayoka Chenzira
I Like It Like That (1994) Darnel Martin
Dreadlocks and the Three Bears (1991, 12 min) Alile Sharon Larkin
TBA Cheryl Dunye
The Learning Tree (1969) Gordon Parks
Baadasssss Cinema (2002) by Isaac Julien
Illusions (1983, 34 min) by Julie Dash
A Dry White Season (1989, 100 min) Euzhan Palcy
Do The Right Thing (1989) Spike Lee
Just Another Girl on the IRT (1992) Leslie Harris
LA NOIRE DE- Black Girl (1969) Ousmane Sembene
Sugar Cane Alley (1983) Euzhan Palcy
Lumumba (2000, 115 min) Raoul Peck
Boyz In the Hood (1991) John Singleton
New Jack City (1991, 101 min) Mario Van Peebles
To Sleep With Anger (1990) Charles Burnett
Sankofa (1993) Haile Gerima
Daughters of the Dust (1991) Julie Dash
Eve’s Bayou (1997, 109 min) Kasi Lemmons
LOCATION
In Class
Library
In Class
In Class
Library
In Class
In Class
In Class
In Class
Library
In Class
In Class
In Class
In Class
Library
In Class
Library
In Class
Library
In Class
Library
In Class
Library
In Class
The films and readings are subject to change. If they do, you will be notified ahead of time.
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DATE
Week 1
Jan 12
Week 2
Jan 19
Week 3
Jan 26
TOPIC(S)
COURSE OVERVIEW
FILM COMMUNICATION
CHARACTER TYPES
NO CLASS
FILM TERMS/CONCEPTS
EARLY FILM HISTORY
EARLY BLACK FILMS
DUE: PERSONAL FILM
EXPERIENCE ESSAY
READING(S)/FILM(S)/ASSIGNMENT(S)
Film: Ethnic Notions (1986) Marlon Riggs
Dr. Martin Luther King, Jr. HOLIDAY
Reading Due: Chapter 1 in Reid
Chapter 1-2 in Bogle
Film In Library: Within Our Gates (1920, 79 min)
Oscar Micheaux
Film In Class: Scar of Shame (1927, 76 min) Frank Peregini
Week 4
BLACK FILM HISTORY 1940s
Reading Due: Chapter 3-4 in Bogle
Feb 2
IMAGE CREATION &
REPETITION
Film In Library: Hallelujah (1929) King Vidor
Film In Class: Bamboozled (2000, 136 min) Spike Lee
Week 5
Feb 9
BLACK
REPRESENTATION
Reading Due: TBA - I will e-mail an article.
Films In Class:
I Like It Like That (1994, 104) Darnell Martin
Hair Piece: A Film For Nappy Headed People (1985, 10 min)
Ayoka Chenzira
Dreadlocks and the Three Bears (1991, 12 min) Alile Sharon
Larkin
Week 6
Feb 16
BLACK FILM HISTORY
60s & 70s
“BLAXPLOITATION”
LA REBELLION
Week 7
Feb 23
TEST #1 – 60 minutes
Week 8
Mar 1-7
Week 9
NO CLASS – SPRING BREAK
March 9
BLACK FILM HISTORY 80s
THE BUSINESS OF FILM
Reading Due: Chapter 5-6 in Bogle and Chapter 3 in Reid
Film in Library: The Learning Tree (1969) Gordon Park
Film In Class:Baadasssss Cinema (2002, 60 min) by Isaac Julien
Illusions (1983, 34 min) by Julie Dash
TEST #1 – 60 minutes
Reading Due: Chapter 9 in Bogle
Film In Class:
Do the Right Thing (1989, 125 min) Spike Lee
Film In Library: Just Another Girl on the IRT (1992, 92, min)
Leslie Harris
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Week 10
Mar 16
CINEMA &
THE AFRICAN DIASPORA
DUE: Critical Film Analysis
Reading Due: Chapter 10 in Bogle
Film In Class: Black Girl (1969, 65 min) Ousmane Sembene
Lumumba (2000, 115 min) Raoul Peck
Film In Library: Sugar
Week 11
SPECTATORS/AUDIENCES
Mar 23
Cane Alley (1983) Euzhan Palcy
Reading Due: Chapter 2 & 3 in Reid
Film In Class: New Jack City (1991, 101 min) Mario Van
Peebles
Film In Library: Boyz In The Hood (1991) John Singleton
Week 12
WAVES OF INDEPENDENT
FILM-MAKING
Mar 30
Reading Due: Chapter 6 in Reid
Film In Library: To Sleep With Anger (1990) Charles Burnett
Film In Class: Sankofa (1993, 125 min) Haile Gerima
Week 13
VARIED GENRES
Reading Due: Chapters 4 & 5 in Reid:
April 6
Film In Class: Eve’s Bayou (1997, 109 min) Kasi Lemmons
Film In Library: Daughters of the Dust (1991) Julie Dash
Week 14
April 13
Week 15
Apr 20
DUE: Creative Projects
LAST CLASS - TEST # 2
LAST CLASS - TEST # 2
CLASSROOM DECORUM:
--No eating or drinking in class. Eat before you arrive in class.
--No cell phones, pagers, laptops or other electronic devices may be used in class. If you use your cell phone or
laptop in class (i.e. text-messaging and/or message checking, internet searches), you will be asked to leave class
and/or considered absent for that day.
--DO NOT e-mail of fax papers unless I ask you to.
--DO NOT put your paper in or under my office door or in my mailbox in the African American Studies office
unless I ask you to do so.
--If you send me an e-mail, be sure to identify yourself and the class that you are in.
HELPFUL FILM VOCABULARY
Aesthetic
Auteur
Camera Angle
Cinema Verite
Cut (High,Low, Tilt)
Editing
Gaze/look
Genre
Flashback
Frame
Lighting
Montage
Motif
Narrative
Pan
Plot
Scene
Setting
Sound
Story
Shot (Close Up, Long, Extreme Close Up
Subjective Camera
Transition
Vertical Integration
Mise-en Scene
Voice-Over
Filmmaker
Producer
Screenwriter
Actor
Cinematographer
Director
Assistant Director
Editor
Distributor
Exhibitor
Spectator
Reviewer
Master Shot
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RECOMMENDED WEBSITES:
Blackflix.com
blackfilm.com
Black Film Center / Archive: http://www.indiana.edu/~bfca/
Blaxploitation Cinema: http://www.blaxploitation.com/
Black Box Office: http://theblackboxoffice.com/about/
Black Hollywood Education & Resource Center:
http://bherc.org/
Internet Archive of Moving Images: http://www.archive.org/details/movies
Racism in Disney Cartoons on YouTube
Film Term Glossary: http://www.filmsite.org/filmterms.html
Tips on Viewing a Film: http://www.filmsite.org/filmview.html
Al Movie Guide: http://www.allrovi.com/movies?r=allmovie
Internet Movie Database: http://www.imdb.com/
FILM JOURNALS:
Cinematographer
CTheory
FILMMAKER: The Magazine of Independent Film
Framework: the Journal of Film and Media
Images: A Journal of Film and Popular Culture
The Journal of Moving Images
Jump Cut
Variety
RECOMMENDED READING:
Bobo, Jacqueline Bobo. (1998). Black Women Film and Video Artists NY: Routledge, AFI Film Readers.
Manatu, Norma. (2003). African American Women and Sexuality in the Cinema. Jefferson, NC: McFarland &
Company.
Collins, Hill Patricia. (2004). Black Sexual Politics: African Americans, Gender, and the New Racism. New York:
Routledge.
Gabbard, Krin. (2003).Black magic : White Hollywood and African American culture. New Brunswick, N.J. :
Rutgers University Press.
George, Nelson. (2002). Blackface: Reflections on African Americans and the Movies New York, NY: Cooper
Square Press.
Guerrero, Ed. (1993). Framing Blackness: the African American Image in Film. Philadelphia: Temple University
Press. Series title: Culture and the moving image.
hooks, bell (1992). Black Looks: Race and Representation. Boston: South End Press.
hooks, bell. (1996). Reel to Real: Race, Sex and Class at the movies. NY: Routledge.hooks,
Horowitz, Joy. (August, 1989). Hollywood's Dirty Little Secret. American Visions. 4(4) :16 (6 pages).
Hughey, Matthew W. (Aug, 2009). Cinethetic Racism: White Redemption and Black Stereotypes in "Magical
Negro" Films." Social Problems. 56(3), 543-577, 35p
Larkin, Alile Sharon (Spring-Summer, 2003). Cinematic Genocide. Black Camera. 18(1), p.3-4, 15.
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Lyne, William. (Spring, 2000). "No Accident: From Black Power to Black Box Office." African-American Review,
34(1), 39-59.
Miller, Chris. (Winter, 1998). The Representation of the Black Male in Film. Journal of African American Men.
3(3), p.19-30.
Modleski, Tania. (March 17, 2000). In Hollywood, racist stereotypes can still earn Oscar nominations." (movie
review) Chronicle of Higher Education. 46(28) :B9.
Nama, Adilifu.(Mar, 2009). R Is for Race, Not Rocket: Black Representation in American Science Fiction Cinema.
Quarterly Review of Film & Video, 26 (2), 155-166, 12p
Negra, Diane. (2001). Off-white Hollywood : American culture and ethnic female stardom. NY: Routledge.
Petty, Sheila. (2008). Contact zones : memory, origin, and discourses in Black diasporic cinema. Detroit : Wayne
State University Press.
Pieterse, J.N. (1995). White on Black: Images of Africa and Blacks in Western Popular Culture. New Haven,
CT.: Yale University Press.
Rhines, Jesse (Spring, 2003). Black Film/Black Future. The Black Scholar 33(1), 47-53.
Riggs, Marlon T. (Summer, 1991). Black Macho Revisited: Reflections of a Snap! Queen. Black American
Literature Forum. 25(2), Black Film Issue. 389-394
Reckley, Ralph, Sr. (Ed. Et. al). (1994). Images of the Black Male in Literature and Film: Essays in Criticism.
Baltimore?: Middle Atlantic Writers Association Press.
Reid, Mark A. (1995). The Black Gangster Film. In: Film Genre Reader II / edited by Barry Keith Grant. 1st ed.
Austin: University of Texas Press, 1995. pp: 456-73.
Rocchio, Vincent F. (2000). Reel racism: confronting Hollywood's construction of Afro- American culture.
Boulder, Colo.: Westview Press.
Iverem, Esther. (2007). We gotta have it : twenty years of seeing Black at the movies, 1986-2006 Published: New
York : Thunder's Mouth Press.
Thompson, Cliff. (Dec, 1996). The Brother From Another Race. Black Characters in the Films of John Sayles.
Cineaste. 22(3), 32-33.