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HUM 3321
Course Timeline >> General Timeline
General Timeline
Part I: Culture and Ideology in Film
Week 1: Introduction
Reader (see required text on syllabus)
1. Simmons, “Ideology and Multicultural Film”
2. Lippman, “Stereotypes,” “Codes & their Enemies”Lecture (note: all lectures will open in a separate browser window)
Hi bandwidth (56K or higher); Lo bandwidth (28.8K or lower)In Class Possible Selections from The Great Primitives and Battle at Elderbush Gulch.
Real media version available at: http://video1.xoom.com/ramgen/BattleatElderbrush.rm
Week 2: Film Language/Technique
Reader
1. Belton, “Classical Hollywood Style”
2. Bordwell, Thompson, “Style in CITIZEN KANE”Week 3: Ideology
Reader
1. Austin, “Marxist Criticism”
2. Althusser, “Ideology and Ideological State Apparatuses”
3. Kavanaugh (optional)
Lecture
Hi band; Lo band
Part II. Intersectionalities
and Various Approaches to Film Criticism
Week 4: Ideology and RacePart III. Case Study: The Evolution of Frankenstein Films
Reader
1. Omi and Winant, “Racial Formation”
2. McIntosh, Peggy. “White Privilege”
3. Dyer, White, Chapters VI (optional)
4. Snead, “Spectatorship . . . “ (optional)
5. Hooks, “Oppositional Gaze” (optional)Week 5: Psychoanalysis and Gender
Reader
1. Gail Houston, “Psychoanalytic Criticism”
2. Laura Mulvey, “Visual Pleasure and Narrative Cinema”
3. Freud, “On Fetishism” (optional)
4. Merck “Psychoanalysis and Subjectivity” (optional)
5. McKahan, Rethinking the Gaze (optional)Week 6: Sexuality, Gender, Ideology
Reader
1. Rubin, “Thinking Sex”
2. Weber, “A Conceptual Framework for Understanding Race, Class, Gender & Sexuality”
3. Rubin, “Trafficking in Women” (optional)
4. Benshoff, Chapter I (optional)Lecture
6A: Hi band; Lo band
6B: Hi band; Lo bandIn Class Selections from Celluloid Closet.
POSSIBLE DRAFT DUE
Week 7: Love and Ideology
Reader
1. Belton, “Genre and the Genre System”
2. Wright, “Genre Films and the Status Quo”
3. Cooper, “Love, Danger and the Professional Ideology of Hollywood Cinema”
4. Wood, "Ideology, Genre, Auteur (1976)" Note: Because this article in the reader has errors, free copies will be provided in class, or will be scanned for access online. Refer to the Blackboard shell.Week 8: Film Noir, Action/Adventure Films, Masculinity and Femininity
Reader
1. Belton, “Film Noir: Somewhere in the Night”
2. Thompson, “We Should Reject Traditional Masculinity”
3. Place, “Women in the Film Noir” (optional)Week 9: Independent Films
Reader
1. Simmons
2. Belton, “Counterculture Strikes Back”Week 10: MIDTERMS
Week 11: The Politics of the Gaze: Anxieties of Gender & Technology in Frankenstein Films
Reader
1. Picart, Chapter I, The Cinematic Rebirths of Frankenstein
2. Picart, Chapter II, Section II, on Whale’s Frankenstein, and Section IV, on Son of FrankensteinLecture
11A: Hi band; Lo band
11B: Hi band; Lo band
Week 12: Monstrosity, Sex and Gender
Reader
1. Picart, The Cinematic Rebirths of Frankenstein, Chapter II, Section III, on “Bride of Frankenstein”
2. Picart, The Cinematic Rebirths of Frankenstein, Chapter III, Section IV, on “Frankenstein Created Woman”Week 13: Class, Race and the Horror Film
Reader
1. Bordwell/Thompson, “The Horror Film”
2. Picart, The Cinematic Rebirths of Frankenstein, Chapter III, Section IV, on “Evil of Frankenstein”
3. Picart, The Cinematic Rebirths of Frankenstein, Chapter III, Section VII, on “Frankenstein and the Monster from Hell”Week 14: Masculinities and Femininities in Frankenstein Films
Reader
1. Picart, The Cinematic Rebirths of Frankenstein, Chapter III, Section VI, on “Frankenstein Must be Destroyed”
2. Picart, The Cinematic Rebirths of Frankenstein, Chapter II, Section VII, on “House of Frankenstein”Week 15: Contemporary Renditions of the Frankenstein Myth
Reader
1. Picart, The Cinematic Rebirths of Frankenstein, Chapter IV, Section II, on “Frankenstein 1970”
2. Picart, The Cinematic Rebirths of Frankenstein, Chapter IV, Section III, on “Mary Shelley’s Frankenstein”Week 16: Final Exam Week
FINAL PAPERS ARE REQUIRED