WIU Spring 2016 ENG/BC/WS 494 Women in Film/Television-sec. 01 Discussion/Lecture: M and W 1:00-1:50 (SI 220) Screening: Monday 2:00-4:00 (SI 220)

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1 WIU Spring 2016 ENG/BC/WS 494 Women in Film/Television-sec. 01 Discussion/Lecture: M and W 1:00-1:50 (SI 220) Screening: Monday 2:00-4:00 (SI 220) Dr. Roberta Di Carmine, Ph.D. Associate Professor of Film & Faculty Adviser, Interdisciplinary Film Minor Office: 219 Simpkins Hall (tel ) Office hours: Monday 12-1; Tuesday 1-3; Wednesday r-dicarmine@wiu.edu Course description and goals: By examining different forms of narrative and key examples of feminist film and media theory, we will critique gender representations in both film and television. The course will focus on a selection of US films, television series as well as international films. Some of the key questions that will be addressed are: what strategies do US and international filmmakers employ to tell women s stories? To what extent these texts challenge traditional gender paradigms and power relations? And, how do filmmakers challenge narrative conventions and generic constructions of gender? Ultimately, in this course students will develop and refine critical thinking, oral and written expressions by discussing the films and TV shows chosen for this class and acquire a critical basis for further studies in film and media studies. Notice: Some of the films screened for this course may contain material some might find uncomfortable. Your enrollment in this course indicates your awareness of this and your willingness to approach these films in an adult, critical manner. Required texts: Interrogating Post-feminism. Gender and the Politics of Popular Culture (edited by Yvonne Tasker and Diane Negra. Durham, NC: Duke UP, 2007) Feminism and Film (edited by E. Ann Kaplan. Oxford: Oxford UP, 2000) Writing about Movies (by Karen Gocsik, Richard Barsam, Dave Monahan, W.W. Norton, 3 rd ed, 2012 or 4 th ed. 2016). Readings are required and must be completed before each screening and/or when assigned (check the schedule on this syllabus). Films (and TV series) to be screened: Rear Window (1954, dir. Alfred Hitchcock, 115 m. US) Stella Dallas (1937, dir. King Vidor, 106 m. US) Laura (1944, dir. Otto Preminger, 98 m. US) All About Eve (1950, dir. Joseph Mankievicz, 138 m. US) Gentlemen Prefer Blondes (1953, dir. Howard Hawks. 91 m. US) All About my Mother (1999, dir. Pedro Almodovar, 101 m. Spain) Orlando (1994, dir. Sally Potter, 94 m. UK/Russia/France/Italy/Netherlands) Southern Comfort (2001, dir. Kate Davis, 90 m. US) The Good Girl (2002, dir. Miguel Artega, 98 m. US/Germany/Netherlands) Diary of a Mad Black Woman (2005, dir. Tyler Perry. 116 m. US) Xala (1975, dir. Ousmane Sembene. 123 m. Senegal) The Killing ( , TV series, US) The Fall (2013--, TV series, UK) 1

2 IMPORTANT COURSE POLICIES: AT THE BEGINNING OF EACH CLASS (SCREENING INCLUDED), STUDENTS ARE REQUIRED TO SILENCE THEIR PHONE DEVICES. I RESERVE THE RIGHT TO ASK STUDENTS WHO WILL BE FOUND CHECKING THEIR PHONES (OR TEXTING) TO LEAVE THE CLASSROOM AND THAT WILL COUNT AS AN ABSENCE. FOOD IS NOT ALLOWED AT FILM SCREENINGS/DISCUSSIONS Film Screenings: ATTENDANCE AT FILM SCREENING IS REQUIRED. For additional screenings, films can be easily located online, can be rented at video stores or found at the university library. If a student misses a screening it is her/his responsibility to find ways to watch the film before the discussion. Class Meetings and Procedures: Each week students are expected to come to class prepared for a discussion on the film and readings. Occasionally, discussions and lectures will occur on the day scheduled for film screenings. Attendance at BOTH films screenings and discussions is required. Students whose behavior during film screenings creates a distraction to others will be asked to leave. Consistent late arrival or early departure at film screenings and class periods DOES affect your grade. Participation: Since the discussion revolves around the readings, the film(s), lectures, active participation is based on a careful reading of both films and literary texts as well as understanding of how the two relate. In-class activities will be graded as participation points. Keep in mind that your contribution to discussions counts toward your participation grade. Remember to be respectful in class, disagreements are inevitable in discussions but they should always be conducted in a civil manner. Attendance and Late Work Policies: Attendance will be taken regularly in class periods and screenings. You are allowed 4 unexcused absences (0-4 absences= 80 pts; 5-8 absences= 20 pts; 9+ absences= 0 pts). Illness, emergencies, and religious obligations that fall on days of regularly scheduled classes may be excusable upon consultation with the instructor and require documentation from a university official or other authority. Letters from parents or relatives won t be accepted. Note: It is always up to the instructor to decide whether the documentation is acceptable. Remember, consistent late arrival or early departure DOES affect your attendance grade. It is the student s responsibility to make arrangement for any missed class, and check with a classmate for missed material (notes) given in discussions/film screenings. ***WIU Film Club***JOIN THE WIU FILM CLUB! Every semester, the students organization FILM CLUB shows a selection of films (national and international) and offers thought-provoking discussions on a wide range of issues and topics! Students are highly encouraged to attend the screenings/meetings. Further information about the students organization will be given the first week of class. The FILM CLUB President: Matt Juror, treasurer Rachel Troyer. Throughout the semester, I will announce events related to film that will be available on campus and students may earn extra credits for attending. The student who decides to attend must write a two-pages (double spaced) critical review to earn points, for a max of 10 points for each film event (and a max of 4 events--40 pts-- for the entire semester) Requirements and Evaluation: Presentation (180 pts) - 3 film essays (300 pts) - Final paper (320 pts) - Attendance (80 pts) and participation/in class activities (120 pts) Grading Scale: = A =A =B+ 2

3 = B = B =C =C =C =D =D =Dbelow 600 pts= F Requirements/Assignments: 1. You are asked to write 3 film papers (4 full pages each). In each essay, you are asked to address specific topics and issues related to the films watched as well as the readings assigned in class. The papers must be typed, double-spaced, proof-read, spellchecked, and formatted (font: 12; side margins: 1 inch). For quotation standards, use the MLA style. 2. A group-presentation is required. A short paper (2 double-spaced pages) describing the presentation should be handed in the week after it is given. Further information regarding this assignment will be given during the second week of the semester. Each student enrolled in this class is required to participate in the presentation. Students who don t actively and fully participate in the group presentation will receive a zero for this assignment. Also, students who will not submit the two-pages paper will be penalized of 40 points. 3. A final paper of pages (double-spaced) is due Wednesday, May 1:00 pm. The final paper consists of a comparative analysis of two films chosen by the student among those studied in class. In this paper, students need to closely refer (by quoting or paraphrasing) to at least 6 readings done during the semester. A draft of the final paper of at least 6 pages is due May 2 (Monday). Students who won t submit the draft on May 2 will be penalized of 60 pts from their final paper grade. Students who submit a draft of less than 6 pages will be penalized of 40 pts. Please note: I will NOT accept film essays and the final paper SENT AS ATTACHMENTS. HARD COPIES ONLY AND SUBMITTED THE DAY THE ASSIGNMENTS ARE DUE Late Work Policies: Late work won t be accepted. Exceptions will be considered only if provided by documentation and after serious consideration from the instructor. If the documentation provided is not sufficient and does not fully justify the request of a late submission, the instructor will deny the request. Letters from parents or relatives won t be accepted. IMPORTANT: The University Writing Center is available to assist you with general and specific questions on writing assigned in any discipline and at any academic level. The oneon-one assistance available at the Writing Center is valuable for generating ideas, talking about global-level issues such as organization, and even working through grammatical problems. Call for an appointment ( ) and be sure to bring a copy of your assignment. Contact the University Writing Center for more information, mwcenter@wiu.edu Additional Course Policies: No make-up in-class activities. If you miss a class, you also miss the in-class activity. No incompletes will be given in this course PLAGIARISM: Successful participation in this course requires that students complete all the requirements/assignments. Students should be aware that plagiarism or cheating of any form will not be tolerated and that academic misconduct entails severe penalties. The 3

4 most common form of academic misconduct is plagiarism. As stated on the website regarding Students Rights and Responsibilities, plagiarism is intentionally or knowingly presenting the work of another as one s own. Plagiarism occurs whenever: one quotes another person's actual words or replicates all or part of another s product without acknowledgment. This includes all information gleaned from any source, including the Internet. one uses another person's ideas, opinions, work, data, or theories, even if they are completely paraphrased in one's own words without acknowledgment. one uses facts, statistics, or other illustrative materials without acknowledgment. one fails to acknowledge with a citation any close and/or extended paraphrasing of another. one fails to use quotation marks when quoting directly from another, whether it is a few words, a sentence, or a paragraph. Typical examples: Submitting, as one s own, the work of another writer or commercial writing service; knowingly buying or otherwise acquiring and submitting, as one s own work, any research paper or other writing assignment; submitting, as one s own, work in which portions were produced by someone acting as tutor or editor; collaborating with others on papers or projects without authorization of the instructor. READ CAREFULLY: Academic Integrity Policy ( Student Rights and Responsibilities ( In addition to oral or written work, plagiarism may also involve using, without permission and/or acknowledgment, computer programs or files, research designs, ideas and images, charts and graphs, photographs, creative works, and other types of information that belong to another. Because expectations about academic assignments vary among disciplines and instructors, students should consult with their instructors about any special requirements related to citation. (see, If a student plagiarizes a paper, the student will receive an F for that assignment and will be referred to the Student Judicial Program and reported to the Chair of the department of English. Special accommodation: In accordance with University policy and the Americans with Disabilities Act (ADA), academic accommodations may be made for any student who notifies the instructor of the need for an accommodation. For the instructor to provide the proper accommodation(s) you must obtain documentation of the need for an accommodation through Disability Resource Center (DRC) and provide it to the instructor. It is imperative that you take the initiative to bring such needs to the instructor's attention, as he/she is not legally permitted to inquire about such particular needs of students. Students who may require special assistance in emergency evacuations (i.e. fire, tornado, etc.) should contact the instructor as to the most appropriate procedures to follow in such an emergency. Contact Disability Resource Center (DRC) at for additional services. Additional Information: to get important factual information about films (characters name, cast, awards), check Be careful though with the on-line interviews and other material you find online. Remember, plagiarism is a very serious matter. It is also essential to take notes during the screenings. Therefore it is highly recommended to buy a penlight, a ballpoint pen with an illuminated tip, to facilitate writing in the dark. 4

5 FOR Graduate students ONLY: graduate students enrolled in this course will be required to complete the following requirements to receive a passing grade: - attendance and participation, including in class activities ( pts) - 1 (individual) presentation (180 pts) - 3 film essays (6 pages each) (300 pts) - Research paper (12-15 pages) [320 pts: a close analysis of two films seen in class with close reference to at least six readings done in class and six additional critical readings (refereed articles, book essays)]. The student will be responsible to locate these additional readings. A list of film journals/texts to consult will be distributed later in the semester. An in class presentation of their final project is also required at the end of the semester and will be graded. Course Schedule It provides a general plan for the course but some changes may be necessary. Students will be notified in advance of any changes Week 1: January 20 (W): Introduction. Reading for next Monday Introduction p.1-18 (Kaplan); Reading for next M and W: Part One, p. 3-55, Gocsik in Writing about Movies (The challenges of writing about movies; looking at movies..) Week 2: 01/25 (M): Discussion on the reading. 01/25 (M): Screening: Rear Window (1958, dir. Alfred Hitchcock, 129 m. US). Reading for W: read Laura Mulvey s essay, p. 34 (in Kaplan) and re-read Part One Gocsik) 01/27 (W): discussion on the film and readings. Readings for next week (M): re-read Visual Pleasure..., by Laura Mulvey, p. 34 (in Kaplan); Reading for W: Christine Gledhill s essay, p. 66 ( Klute 1: Film Noir and Feminist Criticism, in Kaplan) Week 3: 02/01 (M): Discussion on the readings. 02/01 (M): Screening: Laura (1944, dir. Otto Preminger, 98 m. US) 02/03 (W): discussion on the readings and film Reading for next M: Read Part Two, Gocsik p Reading for W: two essays on Stella Dallas, p. 466 (by E. Ann Kaplan) and p. 479 (by Linda Williams, both in Kaplan) Week 4: 02/08: discussion on the reading (Gocsik). 02/08 (M): Screening: Stella Dallas (1937, dir. King Vidor, 106 m. US) 02/10 (W): discussion on the readings (on Stella Dallas) Reading for next W: Is the Gaze Male? (Kaplan, p. 119); Reading for M: Women s Genre, (Annette Kuhn in Kaplan, p. 437) Week 5: 02/15 (M): Discussion on the film/readings. FILM ESSAY N. 1 DUE 02/15 (M): Screening: Gentlemen Prefer Blondes (1953, dir. Howard Hawks. 91 m. US) 5

6 02/17 (W): discussion on the film/readings. Reading for next week: read Woman as Sign by Elizabeth Cowie, p. 48 (in Kaplan); Film and the Masquerade, by Mary Ann Doane (in Kaplan, p. 418) Week 6: 02/22 (M): discussion on the readings. BEGIN SCREENING 02/22 (M): Screening: All About Eve (1950, dir. Joseph Mankievicz, 138 m. US) 02/24 (W): PRESENTATION N. 1 (Grad Student) Reading: for M: Introductory notes, p. 151; for W, read The difficulty of difference, (David Rodovick, p.181, in Kaplan) Week 7: 02/29 (M): discussion on the readings. 02/29 (M): Screening All About my Mother (1999, dir. Pedro Almodovar, 101 m. Spain) 03/02 (W): PRESENTATION N. 2 Reading for next W: Masochism and the perverse by Gaylyn Studlar, p. 203 (in Kaplan); Week 8: 03/07 (M): discussion on the film/readings. FILM ESSAY N. 2 DUE 03/07 (M): Screening: Orlando (1994, dir. Sally Potter, 94 m. UK/Russia/France/Italy/Netherlands 03/09 (W): PRESENTATION N. 3 Reading for next week: Masculinity as Spectacle: Reflections of Men and Mainstream cinema (by Steve Neale, p. 253) and Women s Stake: Filming the female body by Mary Ann Doane, p. 86 (Kaplan) Week 9: SPRING BREAK Week 10: 03/21 (M): Discussion on the film/reading. 03/21 (M): Screening: Southern Comfort (2001, dir. Kate Davis, 90 m. US) 03/23 (W): PRESENTATION N. 4 Reading for M: read Introduction (Tasker and Negra, in Postfeminism) Reading for W: read chapter 2 Mass magazine Cover Girls: Some Reflections on Postfeminist Girls and Postfeminism s Daughters, p. 40 (Projansky in Posfeminism) Week 11: 03/28 (M): discussion on the readings 03/28 (M): Screening: The Good Girl (2002, dir. Miguel Artega. 98 m. US/Germany/Netherlands) Reading for W: chapter 4 I Hate my job, I hate everybody here, Adultery, Boredom, and the Working Girl in Twenty-First century American Cinema (by Suzanne Leonard, in Postfeminism) 03/30 (W): PRESENTATION N. 5 Reading for next W: read Divas, Evil Black Bitches, and Bitter Black Women.. (by Springer, in Post-feminism, p. 249) 6

7 Week 12: 04/04 (M): Discussion on the readings. FILM ESSAY N. 3 DUE 04/04 (M): Screening: Diary of a Mad Black Woman (2005, dir. Tyler Perry. USA, 116 m.) 04/06 (W): PRESENTATION N. 6 Reading for M/W: The Carapace that Failed: Ousmane Sembene s Xala (by Laura Mulvey, p. 535, in Kaplan) Week 13: 04/11 (M): discussion on the readings. 04/11 (M): Screening: Xala (1975, dir. Ousmane Sembene. 123 m. Senegal) 04/13 (W): discussion on the film/readings Reading for next W: to be assigned Week 14: 04/18 (M): discussion on the readings 04/18 (M): Screening: two episodes, The Killing 04/20 (W): discussion on the films Readings for next week: to be assigned Week 15: 04/25 (M): discussion on the readings 04/25(M): Screening: two episodes, The Fall 04/27 (W): discussions on the films Week 16: 05/02 (M): Final considerations/students evaluations. DRAFT final paper due in class. PRESENTATION GRAD STUDENT S RESEARCH PAPER 05/02 (M): no screening. 05/04 (W): conferences in my office Week 17: FINAL WEEK. FINAL PAPER IS DUE WEDNESDAY, MAY at 1:00 pm in my office. NOTE: LATE PAPER WILL BE PENALIZED 50 PTS FOR EACH HOUR LATE 7

ENG/BC/WS 494(G) Women in Film/Television Fall 2017 Western Illinois University

ENG/BC/WS 494(G) Women in Film/Television Fall 2017 Western Illinois University Discussion/Lecture: M/W 9-9:50 (SI 220) Screening: Monday 10:00-11:50 (SI 220) Instructor: Dr. Roberta Di Carmine, Professor