Links Goals Readings Writings Screenings
Links Goals Readings Writings Screenings
Evaluation Schedule Other
Frann
Michel
Eaton 204
x6389
fmichel@willamette.edu
MWF 10:20-11:20, 3-4, and other times by appointment
Links
Library Links on Women's Studies
Women in Cinema Reference Guide
More information about writing
On Plagiarism and how to avoid it
Goals
This course explores some central texts and topics in feminist film criticism. We will be viewing feature-length films, mostly American, and reading critical and theoretical works on images of women, psychoanalytic theories of the gaze, formal studies of mise-en-scene and montage, cultural studies of voice and narrative, and studies of viewer response and genre (road movie, mystery, melodrama, horror). We will be examining questions of race, class, and sexuality as well as gender, and we will also be writing feminist film criticism. By the end of the term, students will be able to employ various critical perspectives in order to analyze how a film represents gender, race, class, and sexuality, will be able to critique and evaluate an author's thesis about the relations between feminism and film, and will have improved writing skills
Readings
Assigned readings are due on the day scheduled. Readings not in Thornham's Feminist Film Theory: A Reader will be placed on electronic reserve. The one exception is the screenplay to Daughters of the Dust, which will be on reserve as hardcopy. You should come to class having read the assigned material, having thought about it, and having questions or ideas about it.
Writings
This is a writing-centered class. There will be frequent (nearly daily) brief assignments: summaries, discussion questions, and other short assignments. These will be collected sporadically without advance notice. They are relatively informal, but should be typed. The more you write, the easier it will get. There will also be in-class writing assignments, which also will be collected sporadically and without advance notice. There will be four formal papers, and drafts of these due in advance, as well as an introduction to your final portfolio. Keep a file of all writings for the course, from which you will choose work to include in your final portfolio.
On Writing Feminist Film Criticism
Feminist critical essays often start with discussion of an issue of feminist concern, such as family, sexuality, race, violence. This frames the discussion of the film, tells us why we should care. Similarly, feminist film critics often consider the apparatus of the film: the role of the gaze, the look, identification, spectatorship. They examine the conversation so far about an issue, about feminist film theory and criticism, &/or about a particular film. A summary of the film, the critical debate about it, and the issues at stake can prepare the reader for what follows.
The thesis of the essay articulates an argument, analysis, or interpretation of the film, typically addressing both form and content, and the relation between the two. Though feminist theorists may either emphasize the social content of representations, seeking positive images of women, or emphasize the formal innovations of a film text, feminist film critics most often explore how form creates, supports, or subverts content, or how the film positions the viewer and what that positioning implies.
A critical essay on a film will often develop the critic's ideas by analyzing a couple of scenes in some detail as illustrations of points within the discussion. How do the film's mise-en-scene and montage affect or position the spectator? How is the narrative conveyed or encapsulated within a shot, scene, or sequence? What's the effect of the choice of subject, framing of the shot (near/far, high/low angle, color, shadow & light, foreground/background, focus), editing (cuts/dissolves/fades/blurs, fast or slow pace)? The critic might explore questions of authorship/auteurship, genre, allusions to other films or texts, and conditions of production and distribution.
Summary & Contrast
A summary is a brief statement in your own words of the main idea (i.e., the thesis) of a work. Summary and contrast assignments should devote about a paragraph to summarizing each essay, and then 1-2 paragraphs to juxtaposing the works.
Sequence Analysis
In analyzing the mise-en-scene and montage of a brief, important sequence of a film, you will want to note the formal features described by Monaco. Note, for instance, if and when cuts occur, as well as whether and how the camera moves. Consider how the shot is framed (near/far, high/low angle, color, shadow & light, foreground/background, focus) and edited (cuts/dissolves/fades/blurs, fast or slow pace). Ideally, you will want to consider the relation between these formal features and what they convey: the choice of subject, positioning of the spectator, or development of the narrative. But be very specific and concrete about the formal features of the sequence. I expect everyone to present a sequence analysis in class at least once.
See also these suggestions.
Discussion Questions
A discussion question is one that cannot be answered simply by looking the answer up somewhere, one that does not have an obvious answer, but that must be explored and argued. It is not completely open-ended, but specifically grounded in the text(s). It arises from careful consideration of the reading/viewing assignment: what the text says, and how it says it. In about half a page (150 words), explain what prompted the question, what thinking went into arriving at the question, what possible answers (if any) have been considered, and why those answers are unsatisfactory. Try to frame the question itself in one brief interrogative sentence. Discussion questions must be typed, and will not be accepted late.
Portfolio Introduction
This should explain which works you are including in your portfolio, why you have chosen these texts, how you have revised them, and what you see as their strengths and weaknesses. More generally, you should discuss and assess the development of your writing in this class.
Screenings
Each film will be shown in the film studies room, and will be on reserve in Hatfield library. If you cannot attend a scheduled screening, you are responsible for screening the film on your own. The film studies room is available from 7-10pm every Wednesday this term. If you wish to schedule additional screenings there, please let me know.
Jan 19 Thelma
& Louise (1991) dir. Ridley Scott
Jan 26 & Feb 2 Vertigo (1958) dir. Alfred Hitchcock
Feb 9 Dance,
Girl, Dance (1940) dir. Dorothy Arzner
Feb 23 Imitation
of Life (1959) dir.
Douglas Sirk
Mar 2 Alien (1979) dir. Ridley Scott
Mar 9 & Mar 16 Surname
Viet, Given Name Nam
(1989) dir. Trinh T. Minh-ha
Mar 30 Daughters of the
Dust (1991) dir Julie
Dash
M Apr 11 & W Apr 13: in-class viewing: The
Watermelon Woman (1996)
dir Cheryl Dunye
Apr 13
Riddles of the
Sphinx (1977) dir. Laura
Mulvey and Peter Wollen
Participation
I expect students to attend all classes, to prepare for discussion by viewing and reading assigned materials and by completing all written work. I expect you to participate actively and responsibly in discussion and in-class writing.
Evaluation
Final grades will be based on class participation (including timely and thoughtful completion of all writing assignments and peer editing as well as active engagement in class discussion) and on a portfolio of 2-3 essays (10-15 pages).
If you have a documented disability for which I can make accommodation, please speak with me individually.
Tentative Schedule
M Jan 17 Introductions
W Jan 19 Read Thornham, 1-47. Discussion of strengths and limitations
of Images-of-Women Criticism
7:30 pm Thelma and
Louise
M Jan 24 Discussion of
Thelma and Louise
W Jan 26 Cineaste forum on
Thelma and
Louise; Dargis, "Thelma and
Louise and the Tradition of the Male Road Movie" (e-reserve). Briefly
summarize and contrast two of these reviews (about 2 pages)
7:30pm Vertigo
F Jan 28 draft of your review
of Thelma and Louise
(4 copies); peer
editing
M Jan 31 Paper One:
Thelma and Louise
review due (3 pages);
discussion of Vertigo
W Feb 2 Monaco, "The Language
of Film" from How to Read a
Film (121-191)
7:30pm Vertigo
again
F Feb 4 Reading: Mulvey, "Visual Pleasure and Narrative Cinema";
write a 1-2 page summary of Mulvey's essay.
M Feb 7 Continued discussion;
write a brief description of the mise-en-scene and montage of an
important, brief scene or sequence from Vertigo. Be
prepared to present your analysis to the class.
W Feb 9 Modleski, "Femininity by Design: Vertigo";
summarize Modleski's essay and contrast it with Mulvey's view
7:30pm Dance,Girl, Dance
F Feb 11 Continued discussion
of Vertigo, Mulvey, and Modleski; begin discussing Dance,Girl, Dance
M Feb 14 Houston, "Missing in Action:
Notes on Dorothy Arzner"; write a discussion question ; OPTIONAL:
Johnston, "Dorothy Arzner: Critical Strategies"
W Feb 16 Mayne, "Lesbian Looks: Dorothy Arzner and Female
Authorship"
F Feb 18 Write an analysis of the mise-en-scene and montage of an
important, brief sequence from Dance, Girl, Dance. Be prepared to present your analysis to the
class.
M Feb 21 draft due: your analysis of
Vertigo in light of the work of Mulvey and Modleski, OR of
Dance, Girl,
Dance, in light of the work
of Houston and Mayne (3-4 pages, 4 copies)
W Feb 23 Kuhn, "Women's Genres"; Gaines, "White Privilege and Looking
Relations"; hooks, "The Oppositional Gaze" (Thornham, 146-156;
287-295; 299-320)
7:30pm, Imitation of Life
F Feb 25 Paper Two: analysis
of Vertigo or Dance,Girl, Dance due (4-5 pages); discussion of Imitation of Life
M Feb 28 Doane, "Dark
Continents: Epistemologies of Racial and Sexual Difference in
Psychoanalysis and the Cinema" from Femmes Fatales ( reserve)
W Mar 2 Write a description
of the mise-en-scene and montage of a key sequence in Imitation of Life. Be prepared to present your analysis to the class.
7:30pm Alien
F Mar 4 Newton, "Feminism and
Anxiety in Alien"; Taubin,
"The Alien Trilogy: From Feminism to AIDS"
(e-reserve).
M Mar 7 Thornham 229-266
(essays by Clover and Creed). Write a discussion question about
Alien and at least one of these essays about
it.
W Mar 9 Write an analysis of an important, brief sequence from
Alien. Be prepared to present your analysis to the
class.
7:30pm Surname Viet,Given Name
Nam
F Mar 11 Bring to class 4
copies of a draft of your 4-5 page essay on gender and genre in
either Imitation of
Life or Alien.
M Mar 14 Surname Viet Given Name Nam screenplay (e-reserve). Write a discussion question about
Surname Viet Given Name
Nam.
W Mar 16 Paper Three due: Imitation of Life or Alien. Continued
discussion of Surname Viet
Given Name Nam.
7:30pm Surname Viet Given Name
Nam again
F Mar 18 Read Lawrence, "Women's Voices in Third World Cinema"
Mar 21-25 Spring Vacation
M Mar 28 Write an analysis of an
important, brief sequence from Surname Viet Given Name Nam. Be prepared to present your analysis to the
class.
W Mar 30
Screenplay, Daughters of the
Dust [NOTE this is on
reserve but not available
electronically]
7:30pm Daughters of the Dust
F Apr 1 Bobo,
"Daughters of the
Dust" ( reserve); write a discussion question
M Apr 4 Bobo, "Black Women
Reading Daughters of the
Dust" (reserve)
W Apr 6 Write an analysis of an important, brief sequence from
Daughters of the
Dust. Be prepared to present
your analysis to the class.
F Apr 8 Bring to class 4 copies of a draft of your 4-5 page essay
analyzing either Surname Viet,
Given Name Nam or
Daughters of the
Dust.
M Apr 11 In-class Viewing:
The Watermelon Woman
W Apr 13 The Watermelon Woman continued; Paper Four due on Surname Viet, Given Name Nam or Daughters of
the Dust
7:30pm Riddles of the Sphinx
F Apr 15 Re-read Mulvey,
"Visual Pleasure and Narrative Cinema"
M Apr18 Continued
discussion
W Apr 20 SSRD
F Apr 22 Bring to class two copies of a revised version of Paper Two
or Three for oral presentation
M Apr 25 oral presentations of
revised essays, continued
W Apr 27 oral presentations of revised essays, continued
F Apr 29 oral presentations of revised essays, continued
M May 2 Portfolio workshop
Th May 5 Portfolio due, 4pm (Eaton 107 or 204)
Individual consultations/office hours/other questions and suggestions
My office hours are listed at the beginning of this syllabus. Some weeks, I may need to reschedule some hours because of committee meetings or other faculty business. I will post temporary changes on my office door. Most weeks, I will have a sign-up sheet on my office door for scheduling appointments. I will be happy to meet with you individually to go over drafts or discuss your ideas for a paper. If you cannot meet with me at any of the scheduled times, contact me after class or by phone or email to set up an appointment at another time.
When you have questions about materials or assignments, please raise them in class-others may have the same questions. When you have questions or concerns about your work, or suggestions for improving the class, please come see me as soon as possible. I can answer questions, resolve problems, and make use of suggestions only if I know about them.