Instructor: Erin Tobin Office: 030 Dulles Hall (Basement level) Office hours: Wednesdays 12-2 and by appointment

Transcription

1 Women s, Gender and Sexuality Studies 3317 Hollywood, Women and Film Fall 2014 Wednesdays and Fridays 2:20-3:40 PM Scott Lab N0056 (basement level) 3 credit hours Instructor: Erin Tobin tobin.93@osu.edu Office: 030 Dulles Hall (Basement level) Office hours: Wednesdays 12-2 and by appointment Accommodation of students with Disabilities: Students who have verification from Disability Services are responsible for contacting the instructor as soon as possible to make necessary arrangements. The Office for Disability Services (150 Pomerene Hall; ) verifies the need for accommodations and assists in the development of accommodation strategies. Course Description: This course is a critical survey of the representation of women in Hollywood cinema with examples drawn from different historical periods as well as attention to the representation of women, gender, and sexuality in independent film. It is designed to introduce students to the complexities and ambiguities of the film medium by showing how film has, historically and aesthetically, represented women and particularly how the intersection of various aspects of identity, including race, gender, sexuality, and class, are negotiated in Hollywood and independent films. Course Goals: As a course that fulfills the "Visual and Performing Arts" GEC requirement, the goals of Women's Studies 3317 are to help students: Evaluate significant films in order to develop capacities for aesthetic and historical response and judgment Learn skills to critically analyze, interpret, and evaluate film specifically and visual representations and cultural productions more broadly Using feminist film theory and an intersectional approach to further develop and practice critical listening, reading, seeing, thinking, and writing while experiencing the arts and reflecting on that experience Understand the complexities and ambiguities of film and reflect upon its meanings and relation to/role in society Learning Objectives: Students will develop the ability to be more enlightened observers of cinematic texts as they think critically about film. Students will develop an intersectional lens to understand how gender, race, class, sexuality, and other dimensions of identity intersect and influence visual representation. Students will be able to explain, analyze, synthesize, and contextualize the aesthetic, historical, cultural, and social relevance of film and written texts. Students will enhance their ability to critically and analytically think, read, write, and discuss films through written assignments, class discussions, lectures, and multi- formatted examinations. 1

2 Readings: No textbooks are required for this course. I will post all reading assignments on Carmen. If you have any difficulty accessing these readings, please me. PowerPoint slides will also be made available on Carmen after they are presented in class. Please bring the readings for the day and/or unit with you to class. You may choose to print out the articles and Powerpoints, or download them to your laptop or tablet, and bring them to class on the appropriate day. Supplementary Texts and Resources: I ve provided a list of some supplementary texts and anthologies on film and feminist film studies that may be useful for those with little to no background in these fields (and fun for anyone further interested in the topic!) (Internet Movie Database) Film Art, Bordwell and Thompson Film History, Thompson and Bordwell Film Studies: An Introduction, Sikov Women s Voices, Feminist Visions (anthology), Shaw and Lee Miss Representation (documentary), Jennifer Siebel Newsom, 2011 Karen Chandler, Feminism and Film Studies from Transforming the Disciplines: A Women s Studies Primer, edited by MacNabb, Cherry, Popham, and Prys (2001) The Bechdel Test Movie List Flowtv (an online journal of television and media studies published by the Department of Radio- Television- Film at the University of Texas at Austin) Camera Obscura (Journal of Feminism, Culture, and Media Studies) Jezebel (online blog with feminist critique of popular culture, media, film, politics) Online resources on reading comprehension strategies: ca.edu/academics/academic- resources- support/student- academic- support- services/tutorial- academic- skills- 6 Online resources for how to actively view films: Films: Readings and films are the prime texts for this course. We will screen some in class and the others you will need to screen on your own. Below I have indicated where the films are available. All films should also be available for purchase (DVD copy) on Amazon. Male and Female (view in class) Amazon Instant Video; OSU library; Netflix (DVD- by- mail only); Youtube It Happened One Night: View for Fri., Sept. 19 Amazon Instant Video; OSU library; Columbus Metropolitan Library; Netflix (DVD- by- mail only) Cabin in the Sky (view in class) Amazon Instant Video; OSU library; Columbus Metropolitan Library; Netflix (DVD- by- mail only) Desert Hearts: View for Wed., Oct. 15 Amazon Instant Video; OSU library (via OhioLINK); Columbus Metropolitan Library; Netflix (Instant) She s Gotta Have It (view in class) 2

3 OSU library; Columbus Metropolitan Library; Netflix (DVD- by- mail only) Boys Don t Cry: View for Wed., Oct. 29 Amazon Instant Video (Prime and for purchase); OSU library (via OhioLINK); Columbus Metropolitan Library; Netflix (Instant) The Silence of the Lambs: View for Fri., Oct. 31 Amazon Instant Video (Prime and for purchase); OSU library (via OhioLINK); Columbus Metropolitan Library; Netflix (Instant) The Help: View for Wed., Nov. 5 Amazon Instant Video; OSU library; Columbus Metropolitan Library; Netflix (DVD- by- mail only) Temptation: View for Fri., Nov. 7 Amazon Instant Video (Prime and for purchase); Columbus Metropolitan Library; Netflix (Instant) The Proposal: View for Wed., Nov. 19 Amazon Instant Video; OSU library; Columbus Metropolitan Library Fruitvale Station (View in class) Amazon Instant Video; Columbus Metropolitan Library; Netflix (DVD- by- mail only) Cell Phone/Tablets/Computers/Recording Devices: Students are permitted to use technology in the classroom, however, out of respect for me and your classmates, I ask that you keep your usage related to the class. Students may choose to take notes and download Powerpoints and readings onto tablets and laptops. Please do not record class sessions without receiving permission from me before class. Also, please resist the urge to text, make and/or receive phone calls during class. This is unprofessional and disrespectful. If there is an urgent concern necessitating your cell phone use, please notify me before class or quietly step outside for the duration of your usage. Etiquette: It is a good idea to get into the habit of corresponding with instructors, professors, administrators, and others at the university, internship, or job, in a professional manor. I want to provide you with the opportunity to practice good etiquette in my class. Please include salutations and avoid inappropriate language including, but not limited to, hey there, hey girl, heeeeey, or yo. This may be common and appropriate in everyday speech and interactions, but think of academic communication with instructors and administrators as more formal exchanges (like those you would have with an employer or someone you want to impress with your outstanding writing skills and etiquette). You will find you receive more respect from those you and people will be more likely to engage with what you are saying, rather than focusing on words you re using. Also, always enter a subject in the subject line. Proper salutations include dear, hello, hi, best, thank you, regards, cheers, among others. Choose your favorite and always sign your name (first or full name) at the end of an . Good form and etiquette keeps people happy and stimulates more effective communication. Below are some resources on etiquette for university students. Some of these are a bit more formal and strict than is typically required, but they are good resources nevertheless! guide/2010/09/30/18- etiquette- tips- for- e- mailing- your- professor biochemistry/e- mail- etiquette- adapted- academia life/correspondence- code- a- college- students- guide- to- - etiquette/ Submitting written work: All assignments (unless otherwise noted) should be typed using a word processor and submitted in hard copy format. If extenuating circumstances arise, arrangements must be made prior to the submission 3

4 deadline to submit the assignment electronically or in my mailbox. Otherwise, ed assignments and electronic copies will not be accepted in lieu of a hard copy. Late work/make- ups: Late work (including quizzes and exams) is not accepted unless there is a documented illness, family, or other emergency. If you anticipate an issue with completing an assignment on time, please contact me before the due date so that I am aware of the situation and, if necessary, can work with you to arrange an alternative deadline. It is always best to contact me and keep me informed about any extenuating circumstances. Medical- related absences (sick, illness): Please do not come to class if you are sick! Go to the Student Health Center ( ) or your local doctor. Send me a quick informing me about your absence (and bring a doctor s note if you would like this absence excused!) and take time to rest and please do what it takes to feel better! Questions or concerns: Please feel free to send me an or arrange to speak outside of class if you have questions about the material or if you have any personal or other concerns that will affect your class performance. I am happy to make appointments to discuss issues at greater length. It is always best to let me know ahead of time if you currently have or anticipate any extenuating circumstances that may impact your attendance, completion of assignments, or other matters related to the class. OSU Writing Center: Writing is an ongoing process that many people struggle with and need help with (even professors!) at some point in their academic career or lifetime. If you are seeking to improve your writing, or struggle with particular aspects of writing, have no fear! The OSU Writing Center takes appointments and offers both in- person tutoring sessions and online tutorials to help you improve your writing. OSU Writing Center Schedule online or call (614) to make an appointment OSU Writing Center three locations: 1.) 4120A Smith Lab 2.) Thompson Library, first floor behind information desk 3.) 114 Smith- Steeb dormitory (accessible to all dorm residents) Evaluation: I calculate grades based on percentages. Evaluation (assignments, attendance, etc.) for the course is worth a total of 100%. 23% Class Attendance and Participation 15% Midterm Exam 25% Final Exam 12% Reading Quizzes 12% Film Quizzes 6% Shot- by- shot analysis assignment 7% Outside film scene analysis assignment 100% Remember: I don t give grades, you earn them! Every student begins the course with a blank slate that means no grades. You earn grades as you attend and participate in class, submit class assignments, take quizzes and exams, and complete other requirements for the course. If you wish to contest a grade, I ask that you wait 48 hours after receiving the grade before approaching me (via or in- person). During that time, assess your own work and prepare 4

5 specific questions about your grade and write up an explanation as to why you think your grade should be different. After the 48 hours, I am happy to arrange an in- person meeting outside of class to discuss your grade on the assignment. Class Attendance and Participation: 23% of final grade The most basic requirement for this course is that you attend class and participate while in class. Participation in class includes paying attention and actively listening during lectures and film screenings, as well as actively participating in small and large group discussions. Each day you attend class you have the opportunity to earn 1%. I will pass around a sign- in sheet at the beginning of every class. I do not take attendance on the first day of class). In class we will have lectures, screen film clips, and engage in dialogue and discussion. When in doubt about whether or not to attend class, please note that it will be difficult to keep- up without the face- to- face interaction. Your classmates and I also value your insights, physical presence, and intellectual contributions to the course, so it is always best to be in class! You do not need to inform me of your absence unless you have medical, legal, or other documentation and wish to obtain an excused absence. Two freebies are part of the 23%. Since I take attendance 25 days (attendance is valued at 1% a day) and it is 23% of your final grade, you may be absent two times, no questions asked, without it affecting your grade. If you only miss one day (attend 24), you will earn 1% extra credit, and perfect attendance (attending 25 days) will earn you 2% extra credit. (Maximum for extra credit is still 5% total) Note: Texting and/or sleeping during class, surfing the web, or refusing to participate in small group discussions will cause you to earn 0% for that day. Pay attention and stay actively engaged you re here to learn! Midterm Exam: 15% of final grade The midterm will be an in- class exam. A review guide for the midterm will be posted on Carmen prior to the exam. There will be no make- up exams permitted without official medical documentation for the absence or without prior arrangement with the instructor due to extenuating circumstances. Students who do not show up for the exam and do not have medical documentation or a prior arrangement with the instructor will earn 0% for the midterm exam grade. Final Exam: 25% of final grade The final will be an in- class exam during the final exam period. A review guide for the final will be posted on Carmen prior to the exam. There will be no make- up exams permitted without official medical documentation for the absence or without prior arrangement with the instructor due to extenuating circumstances. Students who do not show up for the exam and do not have medical documentation or a prior arrangement with the instructor will earn 0% for the final exam grade. Readings Quizzes: 12% of final grade (worth 1-2% each) There will be periodic reading quizzes throughout the semester. The quizzes will be in class, quick, and at the beginning of the class period. The quizzes will be closed- book and closed- note and will serve as accountability checks and exam/lecture/discussion preparation. Their purpose is to make sure you are on the right track and understanding the readings so I may help if the class appears to be struggling with something. Reading questions (posted to Carmen) are not required and will not be collected but will help you prepare for the quizzes. Any readings marked due today for the day of the reading quiz may appear on the quiz. Film Quizzes: 12% of final grade (worth 1-2% each) There will be film quizzes throughout the semester for the films you view outside of class. Like the reading quizzes, the film quizzes will be in class, quick, and at the beginning of the class period. The quizzes will be closed- note and will serve as accountability checks and exam/lecture/discussion preparation. Their purpose is to make sure you are on the right track and understanding (and watching!) the films so I may 5

6 help if the class appears to be struggling with something. Viewing questions (posted to Carmen) are not required and will not be collected but will help you prepare for the quizzes. Shot- by- shot scene analysis: 6% of final grade Students will conduct a shot- by- shot scene analysis for a provided scene or part of a scene. I will provide an example of a shot- by- shot scene analysis as well as a template for the assignment. Directions will be provided in a separate handout. Outside film scene analysis assignment: 7% of final grade Students will prepare a 2-3 page, double- spaced, scene analysis for an outside film not on the syllabus. Directions will be provided in a separate handout. Extra Credit: 1% per E.C. opportunity, maximum 5% Each student has the opportunity to earn a maximum of 5% extra credit* for the course, including extra credit for attendance. In addition to perfect or near- perfect attendance, there are several options for earning extra credit. Each option is worth 1%. You may do any combination of extra credit opportunities (all worth up to 1% each), for a maximum total of 5%. It is not possible to earn more than 5% extra credit in this course. All of the extra credit options below must be typed and submitted in hard copy. The last day to submit extra credit is Friday, December 5. *Please note that extra credit assignments are extra, and thus should not replace required work for the course. My decision to provide extra credit opportunities is based on the understanding that there are various factors, sometimes outside of the student s control, that impact a student s performance in a course. Extra credit provides a student a chance to slightly increase their grade and to also branch- out and demonstrate their ability to apply ideas and concepts learned and discussed in class to outside materials. Format for extra credit papers: Paragraph 1: brief description of the film (plot, characters, overarching themes), talk, or event Paragraph 2: how the film/talk/event connects to a specific theme discussed in class Paragraph 3: how you would critically analyze the film/talk/event through an intersectional lens. Paragraph 4: how gender in general and women specifically played into the film/talk/event Paragraph 5: how the film compares to another film viewed in class, or how the talk/event relates to larger issues or current debates about gender, sexuality, race, or other dimensions of identity. Note: One paragraph = approximately 5-10 sentences. Option One: femunity film screening femunity is the undergraduate student WGSS and group on campus, connecting WGSS majors and minors with each other and the broader feminist community at OSU. The organization offers a film series throughout Fall and Spring semesters (usually one film a month) that entails the screening of a film and a brief discussion of the film s central themes, its representation of gender, race, and sexuality, and how we might view the film through a feminist lens. Students must attend the film screening (attendance is taken at the screening and will be checked) and write a 500 word, double- spaced critical response paper connecting the film to a concept or theme discussed in our class and explaining how a feminist and/or intersectional lens adds to the interpretation of the film and understanding its representation of women. Include a word count (this should not include your header) at the end of the paper. 6

7 Option Two: Watch a film on your own Students may watch a film from the provided Suggested Viewing Guide and write a 500 word, double- spaced critical response paper as described in Option One. Include a word count (this should not include your header) at the end of the paper. Option Three: Attend a WGSS- related talk or event Students attend an event sponsored or co- sponsored by the WGSS department at OSU and write a 500 word, double- spaced critical response paper connecting the content of the talk or event to an overarching theme or concept discussed in class. Students may observe and discuss impact of audience attendance, location of talk/event, and any potential connections to readings and films in class. Include a word count (this should not include your header) at the end of the paper. Option Four: Attend an outside talk/event on or off campus Ideas and representation we witness in film not only impact our cinematic and media viewing, but affect our everyday lives, too! You may attend an outside talk or event on or off campus (through another department at OSU or outside of the university community) and write a 500 word, double- spaced critical response paper as described in Option Three. Include a word count (this should not include your header) at the end of the paper. Grading Scale: A % C % A % C 73-76% B % C % B 83-86% D % B % D 60-66% C % E Below 60% Plagiarism: As defined by University Rule , plagiarism is "the representation of another's works or ideas as one's own; it includes the unacknowledged word for word use and/or paraphrasing of another person's work, and/or the inappropriate unacknowledged use of another person's ideas." Plagiarism is one of the most serious offenses that can be committed in an academic community; as such, it is the obligation of this department and its instructors to report all cases of suspected plagiarism to the Committee on Academic Misconduct. After the report is filed, a hearing takes place and if the student is found guilty, the possible punishment ranges from failing the class to suspension or expulsion from the university. Although the existence of the Internet makes it relatively easy to plagiarize, it also makes it even easier for instructors to find evidence of plagiarism. It is obvious to most teachers when a student turns in work that is not his or her own and plagiarism search engines make documenting the offense very simple. Cite your sources, ask questions before you turn in an assignment if you are uncertain about what constitutes plagiarism, and see me if you are having difficulty with an assignment. Do not plagiarize! 7

8 Day 1: Wednesday, August 27 General Introduction Review syllabus Intro powerpoint Course Schedule Day 2: Friday, August 29 Why study women and film?; Intersections of film studies and women s, gender, and sexuality studies Narratives and counternarratives Race, gender, and class in early cinema: D.W. Griffith and Oscar Micheaux Film Studies concepts, how to describe and discuss film form and aesthetics Readings due today: 1.) Greg Smith, It s Just A Movie (2001) 2.) bell hooks, Introduction: Making Movie Magic from Reel to Real: Race, Sex, and Class at the Movies 3.) Richard Dyer, The Colour of Virtue: Lillian Gish, whiteness and femininity Also take a look at: 1.) A Basic Glossary of Film Terms 2.) Yale Film Studies Film Analysis Guide analysis/ 3.) Glossary of Film Terms from Bordwell and Thompson s Film Art (posted on Carmen) Day 3: Wednesday, September 3 *Reading Quiz 1 Film Studies concepts continued The male gaze and oppositional spectatorship Reading(s) due today: Laura Mulvey, Visual Pleasure and Narrative Cinema (1975) bell hooks, The Oppositional Gaze: Black Female Spectators (1996) John Berger, Ways of Seeing (1972) Day 4: Friday, September 5 The male gaze and oppositional spectatorship continued Readings due today (very short articles online): 1.) The Bechdel Test Movie List 2.) Hollywood Sexist? Female Directors Still Missing in Action top- 10- grossing- films- of directed- by- women- is- a- sad- sad- list / 3.) Hollywood s glass ceiling: Why doesn t the film industry trust women? glass- ceiling- women/ 4.) Hollywood s Black Herstory: Have Roles for Black Women Evolved in the Past 73 years? black- herstory- have- roles- for- black- women- evolved- in- the- past- 73- years/ 5.) Women grossly underrepresented on film taking just 28% of speaking roles in Hollywood /Women- just- 30- Hollywood- speaking- roles- sexualised- teenagers- - despite- success- Twilight- Hunger- Games- Bridesmaids.html 8

9 6.) Hollywood Movies With Strong Female Roles Make More Money movies- strong- female- roles- make- money/ 7.) Women In Film Are Underrepresented, Hypersexualized, Despite Year of the Woman Claims in- film- underrepresented- hypersexualized- report_n_ html Gender, Class, and the New Woman in the Silent Era: Male and Female (Cecil B. DeMille, 1919, 116 min.) Male and Female will be viewed in class. Day 5: Wednesday, September 10 Screening Male and Female (Part I) Robert Sklar, The Silent Film and the Passionate Life in Movie- Made America: A Cultural History of American Movies (1994, originally published in 1975) Day 6: Friday, September 12 *Reading Quiz 2 Screening Male and Female (Part II) Discussion of Male and Female Sumiko Higashi, The Screen as Display Window: Constructing the New Woman (1994) Day 7: Wednesday, September 17: Discussion of Male and Female The Romantic (Screwball) Comedy: It Happened One Night (Frank Capra, 1934, 105 min.) Students should view It Happened One Night outside of class. Day 8: Friday, September 19 *Film Quiz 1 Discussion, It Happened One Night Readings due today (in same pdf on Carmen): 1.) Linda Mizejewski, Chapter 1: Rules and Unruliness: Romantic Comedy from It Happened One Night (2010) 2.) Linda Mizejewski, Chapter 2: Sex and Censorship: The Wavering Walls of Jericho from It Happened One Night (2010) Day 9: Wednesday, September 24 *Reading Quiz 3 Discussion, It Happened One Night Tina Olsin Lent, Romantic Love and Friendship: The Redefinition of Gender Relations in Screwball Comedy 9

10 in Classical Hollywood Comedy, edited by Karnick and Jenkins, 1995) The (Black Cast) Hollywood Musical: Cabin in the Sky (Vincente Minnelli, 1943, 98 min.) Cabin in the Sky will be viewed in class. Day 10: Friday, September 26 Screening, Cabin in the Sky (Part I) Paula Massood, Chapter 1: The Antebellum Idyll and Hollywood s Black- Cast Musicals in Black City Cinema (2003) Day 11: Wednesday, October 1 *Reading Quiz 4 Screening, Cabin in the Sky (Part II) Discussion, Cabin in the Sky Sheril Antonio, The Urban- Rural Binary in Black American Film and Culture (2009) Day 12: Friday, October 3 Discussion, Cabin in the Sky Discussion, early African American filmmaking and excerpts from early race films Robin R. Means Coleman and Timeka N. Williams, The Future of the Past: Religion and Womanhood in the Films of Tyler Perry, Eloyce Gist, and Spencer Williams, Jr. Assignment due today: Shot- by- shot scene analysis Day 13: Wednesday, October 8 Midterm Review Due today: Submit two original practice questions based on the midterm study guide. Include answers to your questions. Questions may be in any format (multiple choice, fill- in the blank, short answer, etc.). This assignment may be typed or handwritten and must be submitted in hard copy today to receive attendance/participation credit for 10/8. Day 14: Friday, October 10 Midterm Exam 10

11 The Erotic Western/Female Friendship Film: Desert Hearts (Donna Deitch, 1985, 96 min.) Students should view Desert Hearts outside of class. Day 15: Wednesday, October 15 *Film Quiz 2 *Reading Quiz 5 Discussion, Desert Hearts Readings due today: 1.) Karen Hollinger, Chapter 5: The Erotic Female Friendship Film, from In the Company of Women: Contemporary Female Friendship Films (1998) 2.) Jackie Stacey, If You Don t Play, You Can t Win : Desert Hearts and the Lesbian Romance Film in Immortal, Invisible: Lesbians and the Moving Image, edited by Tamsin Wilton, 1995) Day 16: Friday, October 17 Discussion, Desert Hearts, New Queer Cinema, and POWER- UP short films Eric Sterling, Dualistic Hearts: Social Class, Education, Different Cultures, and Lesbian Love in Desert Hearts (2012) The Liberated/Unliberated Woman: She s Gotta Have It (Spike Lee, 1986, 84 min.) She s Gotta Have It will be viewed in class. Day 17: Wednesday, October 22 *Reading Quiz 6 Screening, She s Gotta Have It 1.) Salamishah Tillet, Spike Lee s She s Gotta Have It Turns 25 (2011) 2.) Latoya Peterson, The Not Rape Epidemic Day 18: Friday, October 24 *Reading Quiz 7 Discussion, She s Gotta Have It Readings due today: 1.) Felly Nkweto Simmonds, She s Gotta Have It : The Representation of Black Female Sexuality on Film (1988) 2.) bell hooks, Whose Pussy Is This? A Feminist Comment in Reel to Real (2006) Female Masculinity, Trans* Representation, and Location: Boys Don t Cry (Kimberly Peirce, 1999, 118 min.) Students should view Boys Don t Cry outside of class. Day 19: Wednesday, October 29 *Film Quiz 3 Discussion, Boys Don t Cry 11

12 Readings due today: 1.) B. Cooper, Boys Don t Cry and Female Masculinity: Reclaiming a Life and Dismantling the Politics of Normative Heterosexuality (2002) 2.) J. Halberstam, The Transgender Look in In a Queer Time and Place: Transgender Bodies, Subcultural Lives (2005) Perspective and the Female Detective: The Silence of the Lambs (Jonathan Demme, 1991, 118 min.) Students should view The Silence of the Lambs outside of class. Day 20: Friday, October 31 *Film Quiz 4 *Reading Quiz 8 Discussion, The Silence of the Lambs 1.) Taubin, Grabbing the Knife 2.) DuBois, Seeing the Body Differently Civil Rights Nostalgia, Collective Memory, and Racialized, Classed Gender Norms: The Help (Tate Taylor, 2011, 146 min.) Students should view The Help outside of class. Day 21: Wednesday, November 5 *Film Quiz 5 *Reading Quiz 9 Discussion, The Help Readings due today: TBA A Modern Day Morality Tale: Temptation: Confessions of a Marriage Counselor (Tyler Perry, 2013, 111 min.) Students should view Temptation outside of class. Day 22: Friday, November 7 *Film Quiz 6 Discussion, Temptation TBA **NO CLASSES Wednesday, November 12 or Friday, November 14** (Work on Outside Film Scene Analysis Assignment) Post- feminism and the Working Woman in Film: The Proposal (Anne Fletcher, 2009, 108 min.) Students should view The Proposal outside of class. Day 23: Wednesday, November 19 *Film Quiz 7 12

13 *Reading Quiz 10 Discussion, The Proposal Readings due today: 1.) Manohla Dargis, From the Corporate Jungle to Wild Alaska: Taming the Savage Boss (NY Times, 2009) 2.) Angela McRobbie, Post- feminism and Popular Culture (2007) 3.) Diane Negra, Postfeminist Working Girls: New Archetypes of the Female Labor Market in What a Girl Wants? Fantasizing the Reclamation of Self in Postfeminism, ) Optional: Diane Negra, Introduction in What a Girl Wants? Fantasizing the Reclamation of Self in Postfeminism, 2009 Assignment due today: Outside film scene analysis Race, Class, and Masculinity: Fruitvale Station (Ryan Coogler, 2013, 85 min.) Fruitvale Station will be viewed in class. Day 24: Friday, November 21 *Reading Quiz 11 Screening, Fruitvale Station TBA **THANKSGIVING BREAK** NO CLASSES Wednesday, November 26 or Friday, November 28 Have a Safe and Happy Thanksgiving! J Day 25: Wednesday, December 3 Discussion, Fruitvale Station TBA Day 26: Friday, December 5 Wrap- up and review for final exam Due today: Last day to submit extra credit papers FINAL EXAM DATE AND TIME TO BE ANNOUNCED Disclaimer: This syllabus is a working document and is subject to change at the instructor s discretion. Updates will be announced and posted on Carmen. 13