HP/FS 340 CONTEMPORARY SPANISH FILM IES Abroad Barcelona

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HP/FS 340 CONTEMPORARY SPANISH FILM IES Abroad Barcelona DESCRIPTION: This course provides an introduction to contemporary Spanish society through cinematic representation.

1 HP/FS 340 CONTEMPORARY SPANISH FILM IES Abroad Barcelona DESCRIPTION: This course provides an introduction to contemporary Spanish society through cinematic representation. The 1960 s shall be the point of departure in order to offer an overview of cinema under Franco and analyze further historical processes, such as the transition to democracy, the 1980 s and the economic growth in the 1990 s. The course will address cultural stereotypes, definitions of self/other, as well as notions of nationality, social differences, gender issues, terrorism, etc. By the end of the course, students will understand that the country s cinematic representation is linked to its political, social and economic evolution. Students will also gain some knowledge of the conceptual tools required to study cinematic texts, and basic concepts of film theory. By means of that knowledge and by a critical approach to the main subjects students will have a cross-cultural approach to Spanish society and history. CREDITS: 3 credits CONTACT HOURS: 45 hours LANGUAGE OF INSTRUCTION: English PREREQUISITES: None METHOD OF PRESENTATION: Classes will combine guided film screenings, lectures, discussions, field studies, and student presentations. Before each class the students will see a film that will be discussed in class using a guide provided by the teacher. The student will do relevant readings that will introduce the subject of each class or will consolidate the knowledge achieved after the session. The discussion on the film will introduce the lectures that will include instructor s exposition of the historical, social, cultural and ideological background. Following these class structure (screening-reading-discussion-lecture/ Screening-discussion-lecturer-reading) we will: Stimulate the approach to Spanish History and to the cinematic language. Provide dynamic activities. Develop critical thinking. Provide tools to expose critical thought. Provide resources to develop the student s autonomy and creativity. During film analysis students will participate actively. In addition to the 2 class sessions per week, there will be weekly film screenings, to which assistance is compulsory. Viewing guides will be prepared by the professor to guide the discussion on films. Along with the class activities and the field studies the professor will provide and recommend activities and events outside the class in order to improve them experience. Those events and activities could be used for an assignment after a negotiation with the students in order to schedule them activities. Students will write short film reviews and a 3000 word final paper analyzing a Spanish film related to the contents of the course. REQUIRED WORK AND FORM OF ASSESSMENT: Class participation (20%) Paper contents & oral presentation (30%) Written assignments (10%) Midterm exam (20%)

2 Final exam (20%) LEARNING OUTCOMES: By the end of the course students will be able to: Recognize the influence of contemporary social and historical evolution on Spanish film. Determine the aesthetic strategies filmmakers produce to address social issues. Analyze and interpret filmic texts in their cultural and aesthetic context. Compare and contrast dominant film with arthouse and auteurist film. ATTENDANCE POLICY: Attendance is mandatory for all IES Abroad classes, including course-related excursions. Any exams, tests, presentations, or other work missed due to student absences can only be rescheduled in cases of documented medical or family emergencies. If a student misses more than three classes in any course 3 percentage points will be deducted from the final grade for every additional absence. Seven absences in any course will result in a failing grade. CONTENT: Session Content Required Reading Session 1 Session 2 Session 3 Session 4 Session 5 Session 6 Session 7 Course presentation. Introduction to cinema as a source for social history. An approach to cinema in its historical contexts. Discussion using film excerpts. How to write a film review. Practical class in which we will work with resources on film. Screening (in class): Un chien andalou (An Andalusian Dog) (Luis Buñuel, 1929). Spanish film before 1975 I. Film promotion and censorship under Franco. Spanish Film before 1975 II: Official and dissident cinema part 1. Discussion: Welcome, Mr. Marshall (Luis García Berlanga) Spanish film before 1975 III: Official and dissident cinema part 2. Discussion: Viridiana (Luis Buñuel, 1961) Course related trip /Filmoteca Visit to the film archive and the library with sources available for students. Jordan, B.; Allinson, M. (2005): Film Studies Basics: Technique, Narrative and Style, in Spanish Cinema: A Student s Guide. London: Hodder Arnold, pp Freud, S: On Dreams in Harrison C. and Wood, P. (2002) Art in Theory, : An Antology of Changing Ideas. Loghboroug: Blackbell Publishing. pp Stone, R. (2002): Spanish Cinema. Essex: Pearson, pp Populism, the National-Popular and the Politics of Luis García Berlanga: Welcome Mister Marshall! (1952) in Marsh, Steven (2005) Popular Spanish Film Under Franco. Comedy and the Weakening of the State. Palgrave Macmillan. Buñuel, Luis (1985): My Last Breath. Glasgow: Fontana Paperbacks. pp

3 Session 8 Metaphor as political commentary I. Discussion: El espíritu de la colmena (Víctor Erice, 1973). Colmeiro, J (2011): Nation of Ghosts?: Haunting, Historical Memory and Forgetting in Post-Franco Spain [online article], 452oF. Electronic journal of theory of literature and comparative literature, 4, pp Session 9 Session 10 Session 11 Session 12 Session 13 Session 14 Session 15 Session 16 Session 17 Metaphor as political commentary II. Short film (screened in class) and discussion: La cabina (Antonio Mercero, 1972). Transition to Democracy. Discussion: Deprisa, deprisa / Hurry, Hurry (Carlos Saura, 1981) Spanish film in the 1980s. The Miró law. Discussion: Los santos inocentes (Mario Camus, 1984). Caciquismo in post-civil War Spain. The city s other: rural Spain. The myth of las dos Españas and the black legend of Spain course related trip / Raval Tour Photographic tour where we will visit places showed at the film En Construcción by José Luis Guerin. The objective of the tour is to create a portrait of the quarter and compare it with the movie. Midterm exam preparation The students will present the answer to possible questions to be included at the exam and will complete a visual time-line from the contents of the class that will be included at the exam. Midterm exam A short journey through Spanish Experimental cinema. Discussion: Fire in Castile Tactilvision of the Plateau of Fright (José Val del Omar, 1958) Photo Booths (Eugeni Bonet, 1976) The Movida and the configuration of a new Spanish myth. The identification of Madrid with the liberation of the female. The evolution of post-franco Spain in Almodóvar s films. Colmeiro, J (2011): Nation of Ghosts?: Haunting, Historical Memory and Forgetting in Post-Franco Spain [online article], 452oF. Electronic journal of theory of literature and comparative literature, 4, pp Feenstra, P. (2011), New Mythological Figures in Spanish Cinema. Amsterdam, Amsterdan University Press, pp Triana-Toribio, N. (2003). Spanish National Cinema. London: Routledge: pp Film: Conical Intersect (1975) Gordon Matta-Clark AA.VV. (2011) Val del Omar Overflow. Reina Sofia Museum: pp Willoquet-Maricondi, P (Editor) (2004). Pedro Almodóvar: Interviews. University Press of Mississippi. Life in Bolero pp 9-16 Paula Willoquet-Maricondi (Editor) (2004) Pedro Almodóvar: Interviews. University Press of Mississippi. Pleasure and the new Spanish Mentality pp 40-57

4 Creating a new stereotype for international consumption. Discussion: Women on the Verge of a Nervous Breakdown Session 18 Session 19 Session 20 Session 21 Session 22 Session 23 Session 24 Course related excursions / Field Study, L Alternativa Film Festival The students will chose one of the free screenings of short film and will write a review. After 1992: A new Spain? Discussion: Jamón, Jamón (Bigas Luna, 1992). Julio Medem s film: New Approaches to the Basque Country Identity Discussion: Vacas (1992) Identity tensions: Catalunya vs. España. Discussion: The Bilingual Lover (Vicente Aranda, 1993) This class will discuss the notion of national identity through the film and the own student experience in Catalonia. Recent newspaper articles dealing with the Catalan independence will be discussed in class in order to set the current context. Documentary film in Spain: New visions of reality. En construcción (José Luis Guerín, 2000) Final Exam Preparation The students will present the answer to possible questions to be included at the exam and will complete a visual timeline from the contents that will be included at the exam. Presentation Short presentation from the final paper. Loxham, A (2014) Cinema At the Edges: New Encounters with Julio Medem, Bigas Luna and Jose Luis Guerin. Oxford: Berghahn Books. Bigas Luna: Physical Frontiers, pp Stone, R. (2007) Julio Medem. Manchester: Manchester University Press. pp Kinder, Marsha. (1997). Refiguring Spain: Cinema, Media, Representation. pp Duke University Press. Final exam REQUIRED READINGS: [All required readings can be found in the course reader. The readings listed for a particular session must be completed before coming to class that day]. Populism, the National-Popular and the Politics of Luis García Berlanga: Welcome Mister Marshall! (1952) in Marsh, Steven (2005) Popular Spanish Film Under Franco. Comedy and the Weakening of the State. Palgrave Macmillan.

5 AA.VV. (2011) Val del Omar Overflow. Reina Sofia Museum: pp Buñuel, Luis (1985): My Last Breath. Glasgow: Fontana Paperbacks. pp Colmeiro, J (2011): Nation of Ghosts?: Haunting, Historical Memory and Forgetting in Post-Franco Spain [online article], 452oF. Electronic journal of theory of literature and comparative literature, 4, pp Feenstra, P. (2011), New Mythological Figures in Spanish Cinema. Amsterdam, Amsterdan University Press, pp Freud, S: On Dreams in Harrison C. and Wood, P. (2002) Art in Theory, : An Antology of Changing Ideas. Loghboroug: Blackbell Publishing. pp Jordan, B.; Allinson, M. (2005): Film Studies Basics: Technique, Narrative and Style, in Spanish Cinema: A Student s Guide. London: Hodder Arnold, pp Kinder, Marsha. (1997). Refiguring Spain: Cinema, Media, Representation. Pp Duke University Press. Loxham, A (2014) Cinema At the Edges: New Encounters with Julio Medem, Bigas Luna and Jose Luis Guerin. Oxford: Berghahn Books. Bigas Luna: Physical Frontiers, pp Paula Willoquet-Maricondi (Editor) (2004) Pedro Almodóvar: Interviews. University Press of Mississippi. Pleasure and the new Spanish Mentality pp Stone, R. (2002): Spanish Cinema. Essex: Pearson, pp Stone, R. (2007) Julio Medem. Manchester: Manchester University Press. pp Triana-Toribio, N. (2003). Spanish National Cinema. London: Routledge: pp Willoquet-Maricondi, P (Editor) (2004). Pedro Almodóvar: Interviews. University Press of Mississippi. Life in Bolero pp RECOMMENDED READINGS: Bazin, André. (2004). What is cinema? Vol. 1 & 2 (Hugh Gray, Trans., Ed.). Berkeley: University of California Press Bentley, B. (2008). A Companion to Spanish Cinema. Woodbridge: Tamesis. Bordwell, D.;Thompson, K. (2009). Film Art: An Introduction. New York: McGraw Hill. Bruzzi, S. (2001). New Documentary. London: Routledge. Deleuze, G. (2005) Cinema 1: The Movement-Image. London: Continuum Deleuze, G. (2005) Cinema 2: The Time-Image. London: Continuum Deveny, T. (1993). Cain on Screen: Contemporary Spanish Cinema. Metuchen, NJ: The Scarecrow Press. Evans, P. (1999). Spanish Cinema. The Auteurist Tradition. London: Oxford UP. Feenstra, P. (2011). New Mythological Figures in Spanish Cinema. Amsterdam, Amsterdam University Press Harrison,Charles and Wood, Paul (2002) Art in Theory, : An anthology of changing ideas. Loughborough: Blackbell Publishing. Higginbotham, Virginia. (1988). Spanish Film Under Franco. Austin: University of Texas Press. Hopewell, John. (1986). Out of the Past. Spanish Cinema after Franco. London: British Film Institute. Jordan, B.; Allinson, M. (2005). Spanish Cinema: A Student s Guide. London: Hodder Arnold. Kinder, M. (1997). Refiguring Spain. Cinema/Media/Representation. Durham: Duke University Press. Resina, J.R. (2008): Burning Darkness. A Half Century of Spanish Cinema. New York State University. Smith, Paul Julian. (2000). Desire Unlimited. London: Verso. Allinson, M. (2001). A Spanish Labyrinth. London: I.B. Tauris. Buñuel, Luis (1985): My Last Breath. Glasgow: Fontana Paperbacks Conley, T. Viridiana Coca Cola (Luis Buñuel, 1961), in Resina, J.R. (2008): Burning Darkness. A Half Century of Spanish Cinema. New York State University: Feenstra, P. (2011), New Mythological Figures in Spanish Cinema. Amsterdam, Amsterdan University Press Jordan, B.; Allinson, M. (2005): Authorship, in Spanish Cinema: A Student s Guide. London: Hodder Arnold

6 Kinder, Marsha. (1997). Refiguring Spain: Cinema, Media, Representation. Duke University Press. Perriam, C. (2008): El espíritu de la colmena. Memory, Nostalgia, Trauma in Resina, J.R. (2008): Burning Darkness. A Half Century of Spanish Cinema. New York State University Zunzunegui, S. (ed.) (1998). Modes of Representation in Spanish Cinema. Minneapolis: University of Minnesota Press cop Stone, R. (2002): Spanish Cinema. Essex: Pearson Triana-Toribio, N. (2003). Spanish National Cinema. London: Routledge

Span 361 is a Baccalaureate Core course that fits both the Western Culture and Literature and Arts categories.

Span 361 is a Baccalaureate Core course that fits both the Western Culture and Literature and Arts categories. Professor Guy H. Wood Office: Kidd 216 Telephone: 541-737-3936 Email: gwood@oregonstate.edu Office hours: Course Credits: Span 361: History of Spanish Cinema Span 361 is a three credit course that is taught