Course Syllabus

JOHN CABOT UNIVERSITY

COURSE CODE: "CMS/GDR 353"
COURSE NAME: "Women in Film"
SEMESTER & YEAR: Summer Session I 2024

SYLLABUS

INSTRUCTOR: Erika Tasini
EMAIL: [email protected]
HOURS: MTWTH 3:40 PM 5:30 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES:
OFFICE HOURS:

COURSE DESCRIPTION:
This course introduces the issues that feminist theories pose for the analysis of films and culture. These issues are usually framed in reference to women’s access to and roles in the production of media and women’s representation within these media. Correspondingly, the course offers two major sections of investigation. First, we will explore the historical development of women’s roles in the cinema as creative artists. Second, we will explore the various ways in which women’s roles in the film industry intersect with the wider identity political issues of race, class, sexuality, and national identity.

SUMMARY OF COURSE CONTENT:
This course introduces the issues that feminist theories pose for the analysis of films and culture. These issues are usually framed in reference to women’s access to and roles in the production of media and women’s representation within these media. Correspondingly, the course offers two major sections of investigation. First, we will explore the historical development of women’s roles in the cinema as creative artists. Second, we will explore the various ways in which women’s roles in the film industry intersect with the wider identity political issues of race, class, sexuality, and national identity.

LEARNING OUTCOMES:

Learning outcomes:

This course will acquaint students with the key issues in feminist film theory, and provide a solid overview of the history of women’s place in film, both in front of and behind the camera. By the end of the term, students will be able to employ various critical perspectives in order to analyze how a film represents gender and sexuality, will be able to critique and evaluate an author’s thesis about the relations between feminism and film, and will have improved writing skills.

TEXTBOOK:

Book Title	Author	Publisher	ISBN number	Library Call Number	Comments	Format	Local Bookstore	Online Purchase
Feminist Film Theory: A Reader.	Sue Thornham,	New York University Press	0814782442
Ward 81	MARY ELLENE MARK	STEIDL	3969990130

REQUIRED RESERVED READING:

NONE

RECOMMENDED RESERVED READING:

Book Title	Author	Publisher	ISBN number	Library Call Number	Comments
Hoda Afshar: A Curve Is a Broken Line	ed Isobel Parker Phillip	Univ of Washington Press	174174167X

GRADING POLICY
-ASSESSMENT METHODS:

Assignment	Guidelines	Weight
Midterm		20%
Screening Notes		15%
Presentation		15%
Final Exam		25%
Attendance and participation		25%

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course.
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.

-ATTENDANCE REQUIREMENTS:
This course introduces the issues that feminist theories pose for the analysis of films and culture. These issues are usually framed in reference to women’s access to and roles in the production of media and women’s representation within these media. Correspondingly, the course offers two major sections of investigation. First, we will explore the historical development of women’s roles in the cinema as creative artists. Second, we will explore the various ways in which women’s roles in the film industry intersect with the wider identity political issues of race, class, sexuality, and national identity.

ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.

STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.

SCHEDULE

Course outline:

WEEK 1

Tu 1/15 Introduction

Th. 1/17 WOMEN IN MEN’S EYES:

Screening: The Descent

Reading:

1) Sharon Smith, "Introduction: The Image of Women in Film," in FFT, pp. 9-13.

2) LESSONS FROM THE SCHOOL OF INATTENTION. Link to blog entry:

http://oggsmoggs.blogspot.it/2007/07/descent-2005.html

WEEK 2

Hollywood Genres: The Woman’s Film

TU: Stella Dallas (King Vidor)

TH: Mildren Pierce (M. Curtiz)

Reading:

1) Molly Haskell, "The Woman's Film," FFT, pp. 14-20.

2) Annette Kuhn “Women’s genres: melodrama, soap opera and theory” pp. 146-157

WEEK 3

Tu: Discussion ON THE WOMAN’S FILM

CLASSICAL HOLLYWOOD AND WOMEN.

A feminist approach to cinema.

TH: Screening: Rear Window (Hitchcock)

Reading:

1) Laura Mulvey, "Visual Pleasure and Narrative Cinema," FFT, pp. 9-69.

WEEK 4

Tu: discussion on Hitchcock/Mulvey

DECISIONS ON PRESENTATIONS ARE FINALIZED TODAY!

Female Directors in Classical Hollywood Cinema

Ida Lupino, Dorothy Arzner

Th: Screening: Christopher Strong (Dorothy Arzner, 1936)

Reading:

1) “Dorothy Arzner’s trousers” by Jane Gaines, JUMP CUT.

Link:

http://www.ejumpcut.org/archive/onlinessays/JC37folder/ArznersTrousers.html

2) Karen Kay and Gerald Peary, "Interview with Dorothy Arzner,” in Dorothy Arzner: Towards a Feminist Cinema (BFI, 1975).

Link:

http://agnesfilms.com/interviews-with-female-filmmakers/interview-with-dorothy-arzner/

WEEK 5

Tu, Feb 12: NO CLASS/ Make up VISIT TO CINECITTA’ March 8, 2013

Th; discussion on Hollywood female directors and CHRISTOPHER STRONG

Presentation N. 1

WEEK 6:

Women in Early Avant-garde: Germaine Dulac and Maya Deren

As well as VIDEO experiments

Tu: Screening: The Seashell and the Clergyman (1927); Meshes of the Afternoon (Maya Deren, 1943)

YOKO ONO (clips from CUT PIECE)

CAROLINE SCHNEEMAN – (Clips from her films)

Reading from:

Lauren Rabinovitz, Points of Resistance: Women, Power & Politics in the New York Avant-garde Cinema, 1943-1971 (University of Illinois Press, 2003),

1)”Avant-garde Cinemas before WW 2” pp. 37-48

2) "Maya Deren and an American Avant-garde Cinema," in 49-91.

Women and the French Nouvelle Vague

Th: Screening: Cléo from 5 to 7 (Agnes Varda, 1961)

WEEK 7

Women and the French Nouvelle Vague (continued)

Tu: Screening: Vagabond (Agnes Varda)

Th: The Gleaners and I (Agnes Varda)

Reading:

1) "Women and Film: A Discussion of Feminist Aesthetics," FFT, pp. 115-121.

2) INTRO TO VARDA. Link:

http://sensesofcinema.com/2002/great-directors/varda/

3) Janice Mouton, “From Feminine Masquerade to Flaneuse: Agnes Varda’s Cléo in the City,” Cinema Journal 40, no. 2 (Winter 2001).

ELINK ONLY ON CAMPUS

WEEK 8

-Lecture/discussion on Varda’s films

-Review for midterm

PRESENTATIONS 2/3/4

FRI TRIP TO CINECITTA’ on March 8^th, 2013

WEEK 9

MIDTERM: TU March 12, 2013

CONTEMPORARY FEMALE FILMMAKERS:

Th: screening: LA CIENAGA (L. Martel)

Reading:

1) “LUCRECIA MARTEL: A decidedly polyphonic cinema” by Dominique Russell. Link:

http://www.ejumpcut.org/archive/jc50.2008/LMartelAudio/text.html

2) “LUCRECIA MARTEL’s IMMERSIVE CINEMA” BY M. Smith. Link:

http://theotherjournal.com/filmwell/2009/07/31/lucrecia-martel/

WEEK 10:

CONTEMPORARY FEMALE FILMMAKERS:

TU. Screening: ATTENBERG (Athina Rachel Tsangari)

Reading:
1) Johnston, "Women's Cinema as Counter-Cinema," FFT, pp. 31-40.
2) interview with director Tsangari:

http://www.littlewhitelies.co.uk/features/interviews/athina-rachel-tsangari-12809

3) review of ATTENBERG in THE GUARDIAN:

http://www.guardian.co.uk/film/filmblog/2011/sep/05/greek-attenberg-david-attenborough-tsangari

Th: no class. Make up evening with PAOLA RANDI.

SPRING BREAK!

WEEK 11

TU: DISCUSSION ON CONTEMPORARY FILMMAKERS

PRESENTATIONS 5/6 on ATTENBERG and LA CIENAGA

NEW CONTERMPORARY FILMMAKERS:

Gender and Sexuality

Th: The Kids are Alright (L. Cholodenko)

Reading:

1) B. Ruby Rich, "The Crisis of Naming in Feminist Film Criticism," FFT, pp. 41-47.

2) Accidental Lesbianism: review of THE KIDS ARE ALRIGHT by Kathy Miriam

Link:

http://kmiriam.wordpress.com/2010/08/19/49/

Week 12:

Tu: discussion on CONTEMPORARY CINEMA (Randi and Cholodenko)

PRESENTATION 7 on THE KIDS ARE ALRIGHT

FEMALE VOICES/POLITICAL CINEMA: Race and gender.

Th: screening: The Connection (Shirley Clarke)

Reading: Laren Rabinovitz, Points of Resistance: Women, Power & Politics in the New York Avant-garde Cinema, 1943-1971 (University of Illinois Press, 2003)

“Shirley Clarke and the expansion of the American Independent Cinema” pp. 92-139.