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現在位置: ホーム ja シラバス(2020年度) 文学研究科 英語授業 JK14001Foundations I-Seminar (SEG/VMC)

JK14001Foundations I-Seminar (SEG/VMC)

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科目ナンバリング
  • G-LET36 6JK14 LE36
開講年度・開講期 2020・前期
単位数 2 単位
授業形態 特殊講義
対象学生 大学院生
使用言語 英語
曜時限 金3・4
教員
  • 菅野 優香(非常勤講師)
授業の概要・目的 In this seminar, students will be introduced to major debates in feminist and queer film theory and criticism while exploring critical concepts in fields such as women’ cinema, feminist and queer aesthetics and politics, realism, cinema vérité, autobiography, and cinematic modernism. We will engage several key genres and modes (documentary, avant-garde, narrative cinema) in order to focus on the very central questions that have informed and shaped feminist and queer approaches to film texts. This seminar aims to examine the different ways in which feminist and queer theoretical and critical discourses address the intersections of gender, sexuality, and race through concrete analysis of these films.
The course consists of film screenings, lectures, and discussions based on the assigned readings.
到達目標 Through this seminar, students will be able to:
・Understand the historical developments of feminist and queer film criticism while learning key concepts and debates.
・Develop the skills to analyze the film forms, aesthetics, and thematic concerns and the ways in which the issues of gender, sexuality, and race/ethnicity are expressed through them.
・Construct compelling arguments on the social and political implications of film texts.
・Situate the visual and cultural texts amid wider social and historical contexts.
・Cultivate the analytical abilities to apply feminist and queer critical perspectives to contemporary visual culture.
授業計画と内容 Week 1: Women’s Cinema and Feminist Aesthetics
(April 10)
Introduction and Overview

Readings:
・Teresa de Lauretis, “Aesthetic and Feminist Theory: Rethinking Women’s Cinema,” New German Critique 34 (1985): 154-175.

Screenings: Clips from: Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975) and Born in Frames (Lizzie Borden, 1983)


Week 2: Early Queer Cinema
(April 17)
Readings:
・B. Ruby Rich, “From Repressive Tolerance to Erotic Liberation: Maedchen in Uniform,” in Chick Flicks: Theories and Memories of the Feminist Film Movement (Durham and London: Duke UP, 1998): 179-206
・Richard W. McCormick, "From ‘Caligari’ to Dietrich: Sexual, Social, and Cinematic Discourses in Weimar Film." Signs 18:3 (1993): 640-68.

Screening: Mädchen in Uniform (Leontine Sagan, 1931)


Week 3: The Feminist Film Movement and Documentary
(April 24)
Readings:
・Shilyh Warren, ch.3. “Strangely Familiar: Autoethnography and Whiteness in Personal Documentaries,” Subject to Reality: Women and Documentary Film (Urbana, Chicago, and Springfield: University of Illinois Press, 2019): 67- 96
・Julia Lesage, “The Political Aesthetics of the Feminist Documentary Film,” Issues in Feminist Film Criticism, ed. Patricia Erens (Bloomington and Indianapolis: Indiana University Press, 1979/1990): 216-237.

Screenings: Janie’s Janie (Geri Ashur, Peter Barton, Marilyn Mulford, Stephanie Pawleski, Newsreel, 1971), Joyce at 34 (Joyce Chopra, 1972), Union Maids (Julia Reichert et al., 1976).

April 29 Due: Critical Response Paper #1


Week 4: Reconsidering Realism: Experimental Autobiography
(May 1)

Readings:
・Michell Citron, “Fleeing from Documentary: Autobiographical Film/Video and the ‘Ethics of Responsibility,” in Feminism and Documentary, ed., Diane Waldman and Janet Walker (Minneapolis and London: University of Minnesota Press, 1999): 271- 286.
・Linda Williams and B. Ruby Rich, “The Right of Re-Vison: Michell Citron’s Daughter Rite,” Film Quarterly 35:1 (1981): 17-22.

Screening: Daughter Rite (Michelle Citron, 1978)


Week 5: Modernism and Avant-Garde
(May 8)

Readings:
・Laura Mulvey, “Film, Feminism and the Avant-Garde,” in Visual and Other Pleasures (London: Palgrave Macmillan, 1989): 111- 126.
・Maureen Turim, “The Violence of Desire in Avant-garde Films,” in Women and Experimental Filmmaking, ed., Jean Petrolle and Virginia Wright Wexman (Urbana and Chicago: University of Illinois Press, 2005): 71-90.
・Judith Mayne, “Su Friedrich’s Swimming Lessons,” in Framed: Lesbians, Feminist, and Media Culture (London and Minneapolis: University of Minnesota Press, 2000): 193-211.

Screenings: Meshes of Afternoon (Maya Deren, 1946), Sink or Swim (Su Friedrich 1990).

May 13 DUE: Critical Response Paper #2


Week 6: Hollywood Narrative Cinema and Feminist Film Criticism
(May 15)
Readings:
・Florence Jacobowitz, “Hitchcock and Feminist Criticism: From Rebecca to Marnie,” in A Companion to Alfred Hitchcock, ed. Thomas Leitch and Leland Poague (Wiley-Blackwell, 2011): 452-472.
・Rhona J. Berenstein, “‘I’m Not the Sort of Person Men Marry’: Monsters, Queers, and Hitchcock’s Rebecca,” in Out in Culture: Gay, Lesbian, and Queer Essays on Popular Culture, ed. Corey K. Creekmur and Alexander Doty (London and Durham: Duke University Press): 239-261.

Screening: Rebecca (Alfred Hitchcock, 1940)

Week 7: Queer Classics: Hitchcock Reframed
(May 22)

Readings:
・Lucretia Knapp, “The Queer Voice in Marnie,” in A Hitchcock Reader, ed. Marshall Deutelbaum and Leland Poague (Wiley-Blackwell, 2009): 295-311.

Screening: Marnie (Alfred Hitchcock, 1964)

Week 8: Presentations and Feedback
(May 22)

Presentations (20 minutes)
Feedback
成績評価の方法・観点 Regular attendance and active participation (10 %)
Please come to class ready to actively participate, having completed all readings and assignments in advance.

Discussion Facilitation (10%)
Each student will facilitate and lead seminar discussion, either alone or with another student, depending on the seminar size. Please include a summary and the main arguments from the assigned readings as well as biographical information of the author. Formulate some questions from the readings (and screenings) to generate discussion.

Two Critical Response Papers (20%×2 = 40%)
A critical response paper consists of a 3 - 4 page short essay in which you will write a critical review of a film screened for the seminar. This assignment is aimed at giving you an opportunity to practice film criticism and learn to analyse and write about film texts.

Presentation (10%)
Please give a presentation (20 minutes) on your topic for the final essay. At this point, you should have clear ideas on what your final essay will be about. You are also encouraged to give constructive feedback to peer presenters.

Final Essay (30%)
You will write the final paper (8- 10 pages) based on the topics discussed in the seminar. Make sure to incorporate theoretical and critical concepts and perspectives in your analysis.

*Writing guidelines: all your papers are to be in 12-point type, double-spaced, with 1-inch margins and numbered pages. Use either Chicago or MLA citation style.
履修要件 Films and clips in the syllabus will be shown in seminar. Please turn off all the electronic devices, including cell phones, laptops, and tablets.
授業外学習(予習・復習)等 Please come to class, having completed all readings and assignments.