Instructor: Dr. Lianne McLarty
Office: Fine Arts Building Rm #137
Office Hours: Tues. 1:00-2:00/Thurs. 2:00-3:00 (or by appointment)
Telephone: 721-6303

This course begins with an investigation of dominant (Hollywood) film practices and some of the theoretical feminist perspectives that have emerged to account for them. In considering the representations of women in mainstream cinema, we will explore issues of visual pleasure, spectatorship and subjectivity. We will focus on what's on the screen, on who's watching (and how), and on the significant relationship between film and society. We will consider the ways in which Hollywood film conventions have been appropriated by women and employed in a potentially subversive manner. Alternatives to mainstream film practice will also be explored; particular attention will be paid to women's experimental film practice. The course will conclude with a discussion of race, gender, and representation in the interests of articulating the crucial links among multiple axes of oppression. Overall, HA 312 is concerned with film's ideological relationship to the broader social/historical context, and its role in both maintaining and challenging patriarchy, white supremacy, and heterosexism.

  Feminism and Film Theory (Constance Penley, ed)
  Multiple Voices in Feminist Film Criticism (Diane Carson et al, eds)

Access to a television and VCR is necessary to complete the assignments in this course.

1. Critique (2-3 typed pages) = 20% DUE: OCT. 6
2. Mid-Term Exam = 20% OCT. 20
3. Essay (8-10 typed pages) = 45% DUE: NOV. 28
4. Quiz = 15% DEC. 5

  A+ (95-100); A (90-94); A- (85-89); B+ (80-84); B (75-79); B- (70-74); 
  C+ ( 65-69); C (60-64); C- (55-59); D (50-54); F (49 or below)

  Fri.  Sept. 8:   Introduction
  
  Tues. Sept. 12:  The Gaze  Penley (in Penley); Dittmar et al (in Carson)
  
  Fri.  Sept. 15:  VERTIGO (Hitchcock, 1958)  Mulvey, "Visual Pleasure" (in 
                   Penley); Rich (in Carson)
    
  Tues. Sept. 19:  Mulvey, "Afterthoughts" (in Penley); Mayne (in Carson) 
  
  Fri.  Sept. 22:  Melodrama  Doane, "CAUGHT and REBECCA" (in Penley); 
                   Walker (in Carson) 
  
  Tues. Sept. 26:  NOW, VOYAGER (Rapper, 1942)  Byars (in Carson)  
  
  Fri.  Sept. 29:  Gledhill/Lopez (in Carson); Burton-Carvajal (in Carson) 
                   [rec.]  
  
  Tues. Oct. 3:    A Female Auteur:  The Case of Dorothy Arzner  Johnston 
                   (in Penley); Bergstrom, "Rereading" (in Penley)
  
  Fri. Oct. 6:     CHRISTOPHER STRONG (Arzner, 1933)  Suter (in Penley)

                   CRITIQUE DUE IN CLASS      

  Tues. Oct. 10:   Cook (in Penley)  
  
  Fri.  Oct. 13:   DANCE, GIRL, DANCE (Arzner, 1940)  Carson (in Carson)
  
  Tues. Oct. 17:   Houston (in Carson)  
  
  Fri.  Oct. 20:   MID-TERM EXAM  
  
  Tues. Oct. 24:   Experimental Alternatives  THRILLER (Potter, 1979)  
                   Doane, "Women's Stake" (in Penley)  
  
  Fri.  Oct. 27:   de Lauretis (in Carson)     
  
  Tues. Oct. 31:   DAMNED IF YOU DON'T (Friedrich, 1987)  Weiss (in Carson)
  
  Fri.  Nov. 3:    Straayer (in Carson)  
  
  Tues. Nov. 7:    LOW VISIBILITY (Gruben, 1984)  Cartwright & Fonoroff (in 
                   Carson)
  
  Fri.  Nov. 10:   Staiger (in Carson)  
  
  Tues. Nov. 14:   Reading Break 
  
  Fri.  Nov. 17:   Race, Gender and Representation  Gaines (in Carson)  
  
  Tues. Nov. 21:   THE LONG WALK HOME (Pearce, 1989)  Marchetti; hooks (in  
                   Carson)  
  
  Fri.  Nov. 24:   Arora (in Carson)  
  
  Tues. Nov. 28:   DAUGHTERS OF THE DUST (Dash, 1991)  Gibson-Hudson (in
                   Carson)
   
                   ESSAYS DUE IN CLASS  
  
  Fri.  Dec. 1:    Dittmar (in Carson)
    
  Tues. Dec. 5:    Quiz  

GENERAL COMMENTS:

When writing a film analysis assume the reader has seen the film -- do not summarize the plot. Your essays should advance an argument about what the sequence or film under consideration is saying thematically -- this argument (your thesis) must be clearly stated in the introduction. Consider what meanings (thematic implications) are constructed by the use of certain cinematic features (such as lighting, editing, sound, dialogue, characterization, narrative structure, setting). The theme may be thought of as what the film is "saying" about what it depicts -- remember, no film is neutral. One word is not a theme. For example, to say that EASY RIDER is about freedom is not enough. To say, however, that EASY RIDER is about the impossibility of finding freedom gets at the thematic concerns. It is also not enough to say that some device progresses the plot -- remember, you need to advance an argument about the meanings created. Suspense itself is not a theme. It is a device that can carry thematic significance, but you must state how suspense is used and to what thematic end. Your argument is constructed by seeing and analyzing relationships among the parts. For example, consider constrasts (what oppositions does the film set up?), and similarities (pay attention to recurring features -- "running motifs"). It is also important to account for the juxtapositioning of shots -- a shot may be read in relation to what comes after or before. Cause and effect relationships are also important (if the film depicts a disaster, who and/or what does it blame?). You should also pay attention to changes in narrative progression and/or the characters.

You don't have to talk about everything in the film(s), but you do need to support your argument about the thematic concerns with sufficient evidence. Concrete examples are a central feature of an analysis since they provide the justification for your argument. An analysis should not only provide evidence, it should also demonstrates how that evidence supports the argument/thesis being advanced. While you need to invoke aspects of the film for your examples, avoid excessive description. For example, if you are arguing that a character is constructed in a certain way, only cite the evidence that supports your analysis -- avoid details that don't add anything to your argument -- if a character's clothing is not important for your analysis, don't bother describing it. If you're not making a thematic point about your observations you're likey being overly descriptive.

A weak paper is simply descriptive with no attempt to pull out the possible implications of what the writer observes. In order to transform the descriptive into the analytical, ask your self "So what?","What are the thematic implications of what I've observed?". It is not enough, for example, to say something is constrasted with something else -- consider what is being said about the constrast. The point is not to write something with which you think the reader will agree, but to convince him or her that your thesis is solid because you can justify your assertions with examples. You must end your essays with a conclusion that re-states and ties up your argument.

Don't organize your papers according to the narrative progression -- i.e. starting with the first scene and ending with the last. Organize according to thematic concerns. Aim for an organization that logically develops/builds your argument. There should be a smooth flow from one idea to the next. It is usually a good idea to begin a paragraph with the point you are making (the thematic implication), and then supply the evidence that supports your analysis. The introduction should include not only your thesis statement, but also an indication of how you will develop your argument -- think of it as an orientation or guide for your reader. By the end of your first (or second) paragraph the reader should know what you are going to argue and how you will go about doing it.

There is no one right interpretation, there are, however, better interpretations than others. Make sure the film supports your reading of it. If, for example, there is evidence that contradicts your interpretation, you must account for it.

Underline or capitalize film titles. (If you underline book titles capitalize the film titles, and vice versa.)

Secondary sources must be cited them in a bibliography. If you use someone's idea (whether it is a direct quotation or not) you must give credit in a footnote (these may appear within the text, at the bottom of the page or at the end).

Type and double space. (If typing is absolutely impossible, you may write your essays -- print if your writing is hard for someone else to read -- and double space. Length is calculated according to the number of words (250) on a standard typed page.) Don't increase or decrease the font size to meet the page requirement; use 10 or 12.

Use the present tense. Whatever happens in the film happens every time it is run.

Choose your words carefully. Avoid fancy-sounding words. Zap the word "utilize" from your vocabulary -- at least for this class -- "use" works just fine. Avoid superlatives ("fascinating," "genius") and vague terms ("interesting"). Be specific. Aim for a clear style -- try reading your work out loud -- if it doesn't make sense to the ear, it won't make sense to the eye. This is also a good way to eliminate convoluted sentences -- any sentence that causes you to gasp for breath is too long.

DO NOT USE FOLDERS (PLASTIC OR CARDBOARD); secure your assignments with a paperclip or, even better, a staple.

Number your pages and proof read!

SPECIFIC COMMENTS:

The essay assignments in this course are designed to get you to look critically, or analytically, at film culture. You should construct a feminist analysis of the film(s) under consideration employing the ideas and methods discussed in class. Particular attention should be paid to the thematic implications of the film's gender politics as well as the theoretical assumptions that help illuminate those issues. In each case you should consider the ways in which the film(s) support or challenge oppressive ideologies (or the ways in which it/they may be ambiguous). Your critique must be written on one of the films listed below. You may choose to write your essay (which requires a comparative analysis) on one of the pairs of films listed below. However, you may choose your own pair of films to analyze for your essay. If you do, you must consult with me before you proceed. Secondary sources should be used for the essay; they may be selected from the readings in the course text books.

  THE LAST SEDUCTION
  ALIENS 3
  MARNIE
  BASIC INSTINCT
  DEAD RINGERS
  I'VE HEARD THE MERMAIDS SINGING
  COMPANY OF STRANGERS

ESSAY (suggested titles):

    Masculinity:  JUNIOR and THREE MEN AND A BABY

      Melodrama:  MILDRED PIERCE and STELLA DALLAS

         Horror:  NIGHT OF THE LIVING DEAD (1968) 
                  and NIGHT OF THE LIVING DEAD (1982)

    Avant-garde:  MESHES OF THE AFTERNOON and REASSEMBLAGE

 Lesbian themes:  FORBIDDEN LOVE and DESERT HEARTS

Race and gender:  CORRINA, CORRINA and LOVE FIELDS
                  SHES GOTTA HAVE IT and ANGEL HEART

           Rape:  A SCREAM FROM SILENCE and THE ACCUSED