Texts:

Multiple Voices in Feminist Film Criticism Carson (ed) {MVF}
Feminism and Film Theory Penley (ed) {FFT}

Schedule:

The Course:

This course is designed to allow students to explore the concept of "Women in Cinema" through screenings of films about women directed by men, screenings of films about women directed by women, critical analyses written from both explicitly feminist and nonfeminist perspectives, and readings from film theory as well as through class discussion and the students’own writing. Women have always been a primary focus of cinema. How we look at women is almost always tied to questions of who is looking and why. But in addition to their status as erotic spectacle, women have made profound contributions to the history of cinema as directors writers and technicians, although their work is often overshadowed by an emphasis on MAN as maker. Some of the films we will view have been widely popular and critically acclaimed. Others, possibly because of their subject matter, content or experimental techniques have been dismissed as "too political," and ghettoized as "women’s films", or more derisively as "chick flicks." My position in all of this, as almost all of you already know, will be decidedly feminist. But it is also important to recognize that feminism may have varying definitions, and feminist filmmakers, though primarily interested in women are also interested in other issues, including class, storytelling, genre, sexuality, the law, politics, etc. Some of you will enjoy all of the films; most of you, like me, will find certain films more pleasurable or more compelling than others. All are intellectually stimulating. I hope we will have good conversations. I have left some weeks opens, so that the class will be able to choose a couple films it may want to screen

The Format:

Each Monday we will view a film. Students will read the assigned material (NOTE: Reserve Reading is REQUIRED). On Wednesday students will hand in a 4-5 page informal (TYPED) discussion of the film. This discussion MUST contain some reference to some of the reserve reading. Students will also write 3 (three) graded, formal papers DUE: 10/2 (6-7 pages); 11/2 (7-8 pages); 12/4 (8-10 pages), and complete a final exam. Grades will be computed as follows:

Weekly Writing 30%
6-7 page paper 15%
7-8 page paper 20%
8-10 page paper 25%
Final 10%
Participation is encouraged and may add up to 5% to your final grade.

Electronic Reserves and Sources:

The Library has asked me to set this course up on-line both as an experiment and to ease the reserve desk work load which can be overwhelming for film courses. Therefore all reserve reading marked ** will be found on the class web-page. Unfortunately, since many (like all) of the articles are not available on-line, we have had to scan copies. Thus the copies that show up on your screen will look exactly like a photocopy. You may either read the material on the screen or print out your own copy (this may be a little slow, but the quality of the print is excellent). Just go into the class web page (academics.smcvt.edu/kshea) and click on the article you want to read. Acrobat will come up first, then the article You may do this from any computer on campus, including the one in your room, and at any time. Right now dialing in from off campus may not work.  Please be patient with the printer; donot repeat the print command as it will only slow things down.  If the network is down or you are a computer-phobe, all reserve material will also be available in the usual paper-copy format at the Reserve Desk in the library--so you have no excuse for not reading!  :)

For more material on women and cinema or the films we are viewing, you might check out the MLA Bibliography in the Library’s Electronic Databases. If you just want to read reviews (not criticism) or check out specific facts or actors log into the Internet Movie Database at www.us.imdb.com .

 

You fit into me
Like a hook into an eye
A fish hook, an open eye
                         Margaret Atwood