ciee screen cultures: men and women in contemporary american cinema and television

CIEE Study Center in Amsterdam, the Netherlands

Course name: Screen CulturesCourse number: VIST 3001 NETHPrograms offering course: Amsterdam Social Sciences and Amsterdam Business & CultureLanguage of instruction: EnglishU.S. Semester Credits: 3Contact Hours: 45Term: Fall 2015Course meeting times: Monday 13:00-14:30 and Thursday 11:00-12:30Course meeting place (Block 1): REC E0.04 and REC B3.02Course meeting place (Block 2): REC B3.01 and REC E0.08Instructor: Jonathan KeyContact Information: [email protected] address: CIEE office, Roetersstraat 8HS, 1018 WC AmsterdamOffice hours: By appointment

Course Description

Beginning from the premise that we live mediated lives, and that the visual media texts we consume on a daily basis shape our understanding of the world around us, CIEE Screen Cultures will explore the ways in which media at large – and film and television, in particular – produce meaning, articulate ideology and identity, and both reflect and effect cultural change. After a critical introduction to the historical development and formal elements of film and television, as well as an overview of the major theoretical approaches that inform the study of popular culture, this course will home in on the representation of gender and sexuality across a wide range of film and television texts, hailing from the post-World War II period up to the present. Ultimately, the goal of this course is to illustrate how the theory and the text exist in an overdetermined relationship, with one influencing the other in order to understand the changing representations of -- and the ideas about -- women and men in society.

Learning Objectives

When students reach the end of this course, they will be expected to:

Be familiar with the (modern) history and current state of film and television; Have a basic understanding of the formal and institutional parameters of film and television; Process, engage with, and interrogate theories of popular culture, specifically Marxist, psychoanalytic

and (post)feminist interventions in the interpretation of images of women and men on the small and big screen;

Apply those theories of popular culture to visual media texts, both orally and in writing; Understand and comment on the complex relationship between the creators, distributors, critics, and

consumers of popular culture -- and how each decode the film and television text in their own way;

Identify and be sensitive to the ways in which gender is shaped and represented on screen; Have become more discerning and critical consumers of film and television.

Course Prerequisites

There are no prerequisites for CIEE Screen Cultures – except for an interest in film and television!

Method of Instruction

CIEE Screen Cultures runs for 16 weeks (in other words, throughout the first two blocks) and meets twice a week for 1.5 hours. Every single class, students will be assigned one or more theoretical texts, one or more introductory or background readings and one or more primary texts (i.e. one film, two or more episodes of a television show, or a combination of the two). This course is taught as a seminar, which means that we will discuss the primary and secondary texts together, and that students are free to pose questions to the instructor and each other.

Although the discussion will be facilitated and moderated by the instructor, it is imperative that students contribute actively to the discussion. Seminar-style classes rise and fall by the participation of the students, which makes it essential that everyone comes to class prepared. At a minimum, students should have read the assigned texts, watched the assigned movie(s) and/or television show(s), and taken (extensive) notes on both.

Assessment and Final Grade

Students’ final grades will be based on the following:

Class participation: 10%

Four pop quizzes: 10%

Discussion leadership: 20%

Journal entries: 25%

Final exam: 35%

Class participation – 10%

As mentioned above, the success of seminar-style classes depends in no small part on the active – and informed – contributions of students; you will therefore be expected to come to class prepared and ready to engage with your fellow students on the assigned readings and visual media texts.

Note: Although all of you are experienced viewers of film and television, there is a difference between watching a movie in bed before you go to sleep and watching a movie in order to unpack its ideological underpinnings. While some of you may choose to watch a film two times, all of you will have to take

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copious notes -- in the form of journal entries -- and bring these to class in order to support your arguments with specific references to scenes, camera movements, dialogue, etc.

Four pop quizzes – 10%

These four unannounced quizzes are designed to test that students have read the assigned readings and watched the assigned visual media texts. Students will have 20 minutes to answer 3 to 5 questions (ranging in level of difficulty), and quizzes will precede the presentation by the discussion leader. Only three of these quizzes will count toward the student’s overall grade; the quiz with the lowest score will be discarded.

Discussion leadership – 20%

In order to frame the discussion, every class will begin with a synopsis of the materials, which will be presented either by the instructor or by the discussion leader. It is the discussion leader’s responsibility to explain the theoretical readings and, crucially, to show how they relate to the film or television show assigned for that class. Every student will serve as discussion leader at least once, and discussion leaders should aim for their presentation to between 15 and 20 minutes long.

Journal entries – 25%

Students will be asked to keep a journal, in which they will keep a detailed record of their preparations for every class. These preparations should include -- but are not limited to -- detailed questions, critical reflections, and position statements on the readings and viewings for each class. More information about the specific format of the weekly journal entries will be provided in the first class.

Final exam – 35%

This written exam is designed to test students’ understanding of the theories discussed in class, and, crucially, how these help viewers make sense of the changing representation of men and women in film and television texts from 1950 until the present. During this cumulative exam, which will cover material culled from the entire length of the semester, students will be asked to answer five questions (out of seven questions that will be provided) and will have to demonstrate -- in a cogent and well-structured response -- their knowledge of the major changes in the lives and visual representations of men and women since the end of the Second World War.

Attendance, Class Participation and Classroom Policies

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Each student is expected to attend all sessions of the course and to participate actively in class discussions. Attendance will be taken every week by the course instructor. Participation will be assessed according to the CIEE Amsterdam attendance policy outlined below:

1 absence = allowed 2 absences = extra assignment (1 page in consultation with the instructor)3 absences = 1 point off the student’s final grade4 absences = student fails the course

If a student comes in 15-30 minutes late to class, this counts as a ½ absence. At all times, the student needs to inform the instructor – before the start of class – in case he or

she will incur an absence. Failure to notify the teacher in advance will result in an extra assignment.

Note about all assignments: Late assignments will be marked down with 1 point off. Assignments that are more than 3 days (72 hours) late will not be accepted.

Students who make active connections to the concepts from the reading materials in class discussions, students who actively ask questions, and students who actively reflect on out-of-class experiences in class will receive extra points for participation. Participation points will be deducted when students do not participate in class or have not read the assigned reading materials before coming to class.

Since we will be discussing culturally sensitive issues in class, the classroom must be a safe space in which students are able to express their opinions openly. Discriminatory comments or language of any kind will not be tolerated.

Laptops are not allowed in class.

Resits are not offered for CIEE courses.

Course Materials

All required readings will be made available digitally; students may choose to download them via WeTransfer or from a portable flash drive at the CIEE office.

BLOCK 1

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Weekly Schedule

Class 1: Monday, September 7th, 1pm-2:30pm

Introduction to CIEE Screen Cultures

Reading: None

Viewing: a clip of a movie or television show that is a testament to your interest in/love for the medium

Site Visit #1: Tuesday, September 8 th , 3:45pm-6pm: The Purple Rose of Cairo at the EYE Film Museum

We will attend a screening of Woody Allen’s 1985 film The Purple Rose of Cairo at the EYE Film Museum, which is wrapping up a retrospective on Allen. We will meet up behind Central Station at 3:45pm and take the ferry to the EYE, which will give us a little bit of time to explore the EYE before the movie starts.

SECTION I: THE PRACTICE OF LOOKING

Class 2: Thursday, September 10 th , 11am-12:30pm

Spectatorship, Power, and Pleasure

Reading:

(a) Mulvey, “Visual Pleasure and the Narrative Cinema”(b) Sturken and Cartwright, “Spectatorship, Power, and Knowledge”

Viewing:

Rear Window (Alfred Hitchcock, 1954)

Class 3: Monday, September 14 th , 1pm-2:30pm

Theorizing the (Female) Spectator I

Reading:

(a) Debord, Society of the Spectacle(b) Sturken and Cartwright, “The Mass Media and the Public Sphere”

Viewing:

The Purple Rose of Cairo (Woody Allen, 1985)

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Theorizing the (Female) Spectator II

Reading:

(a) Ang, “Melodramatic Identifications”(b) Modleski, “The Search for Tomorrow in Today’s Soap Operas”(c) Sturken and Cartwright, “Viewers Make Meaning”

Viewing:

The Bold and the Beautiful (CBS, 1987-present): S1E12; S1E17; S1E19; S1E20; S1E21, and “Stephanie unmask[s] the true predator of [the] Forrester family” (YouTube)

Since the five episodes of The Bold and the Beautiful listed above are not available online, screenings will be organized at the CIEE office on:

- Monday, September 14th from 19:00 to 21:00;

- Tuesday, September 15th from 19:00 to 21:00;

- Wednesday, September 16th from 20:00 to 22:00.

Site Visit #2: Friday, September 18 th , 7:30pm-11:30pm: “The Night of Sergio Sollima” at the EYE Film Museum

Serving as a prelude to our discussion of classic representations of men, we will attend a screening of Sergio Sollima’s Face to Face (1967) and Violent City (1970), two so-called “spaghetti westerns” (also known as Italian Westerns, because these westerns were made by Italian directors). In keeping with the tropes of the genre, Sollima’s films deal with the conflict between male heroes and villains, but subvert classically held notions of male honor and morality.

We will meet up at the docks behind Central Station at 7:30pm; Face to Face starts at 8:15pm, and will be followed by Violent City at 10pm.

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SECTION II: CLASSIC REPRESENTATIONS OF WOMEN AND MEN

Class 5: Monday, September 21 st , 1pm-2:30pm

Mad Women: Fixing Femininity in Post-World War II America

Reading:

(a) Collins, “The Fifties: Life at the Far End of the Pendulum”(b) Friedan, The Feminine Mystique

Viewing:

Mad Men (AMC, 2007-2015): “Ladies Room” (S1E2) and “Maidenform” (S2E6)


Mad Men: Manufacturing Masculinity in Post-World War II America

Reading:

(a) Falkof, “The Father, the Failure, and the Self-Made Man”(b) Kimmel, “‘Temporary About Myself’”

Viewing:

Mad Men (AMC, 2007-2015): “Marriage of Figaro (S1E3) and “The Grown-Ups” (S3E12)

Class 7: Monday, September 28 th , 1pm-2:30pm

Wave(s) of Fear I: The Housewife Strikes Back

Reading:

(a) Dicker, “Second Wave Feminism”(b) Helford, “The Stepford Wives and the Gaze”

Viewing: The Stepford Wives (Bryan Forbes, 1975)

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Site Visit #3: Tuesday, September 29th, 6:30pm-9:15pm: The Society of the Spectacle at the EYE

We will attend a special screening of Debord’s own adaptation of The Society of the Spectacle, which will serve as an illustration of his theories on the power (and effects) of the cinema/the moving image.

Class 8: Thursday, October 1 st , 11am-12:30pm

She’s Gonna Make It After All: Television Feminism in the 1970s

Reading:

(a) Lentz, “Quality versus Relevance”(b) Schulman, “Battle of the Sexes”

Viewing:

The Mary Tyler Moore Show (CBS, 1970-1977): “Love Is All Around” (S1E1) and “What’s Wrong with Swimming?” (S7E4) | Maude (CBS, 1972-1978): “Maude Meets Florida” (S1E3) and “Maude’s Reunion” (S1E11) | Three’s Company (ABC, 1977-1984): “A Hundred Dollars a What?” (S5E3)

Class 9: Monday, October 5 th , 1pm-2:30pm

Wave(s) of Fear II: Slashing Away at the 1970s

Reading:

(a) Clover, “Gender in the Slasher Film”(b) Wood, “The American Nightmare”

Viewing:

Halloween (John Carpenter, 1978)

Site Visit #4: Monday, October 5th, 3:30pm-5pm: “Why (and How) Race Is Still Socially Constructed” at REC B5.12

In an effort to deepen our understanding of the ways in which race shapes notions of self/identity, we will attend this seminar by Dr. David Ludwig about the role the social construction of race plays in contemporary debates about race (relations).

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Class 10: Thursday, October 8 th , 11am-12:30pm

Wave(s) of Fear III: Feminism in Outer Space

Reading:

(a) Creed, “Alien and the Monstrous Feminine”(b) ---, “Horror and the Monstrous Feminine”(c) Tasker, “Action Women”

Viewing:

Aliens (James Cameron, 1986)


Wave(s) of Fear IV: Back(s)lash Feminism in the 1980s

Reading:

(a) Faludi, Backlash(b) Jermyn, “Rereading the Bitches from Hell”

Viewing:

Fatal Attraction (Adrien Lyne, 1987)


Masculinity at Century’s End I: Top Gun

Reading:

(a) Kellner, “Top Gun”(b) Kimmel, “The Masculine Mystique”(c) Neale, “Masculinity as Spectacle”

Viewing:

Top Gun (Tony Scott, 1986)

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Monday, October 19 th

No class (midterm week)

Thursday, October 22nd

No class (midterm week)

BLOCK 2

Weekly Schedule


Masculinity at Century’s End II: Born on the Fourth of July

Reading:

(a) Karner, “Fathers, Sons, and Vietnam”(b) Kimmel, “Wimps, Whiners, and Weekend Warriors”

Viewing:

Born on the Fourth of July (Oliver Stone, 1989)

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SECTION III: CONTEMPORARY TAKES ON MEN AND WOMEN


Masculinity at Century’s End III: American Beauty

Reading:

(a) Hentzi, “American Beauty”(b) Kimmel, “From Anxiety to Anger Since the 1990s”(c) Maslin, “Dad’s Dead, and He’s Still a Funny Guy”

Viewing:

American Beauty (Sam Mendes, 1999)

Guest Lecture:

In the second half of class, we will be joined by Nico van den Berg, a film critic for the Dutch magazine HP/De Tijd, as well as the editor-in-chief of the Dutch online film magazine MovieScene. He will discuss the process of reviewing films, his life as a film critic, and his take on American Beauty (and the two reviews listed above).

Class 15: Monday, November 2 nd , 1pm-2:30pm

Small Screen Anxiety: Contemporary Masculinities on TV

Reading:

(a) Kimmel, “Masculinity in the Age of Obama”(b) Lotz, “Trying to Man Up”

Viewing:

The Sopranos (HBO, 1999-2007): “The Sopranos” (S1E1) | Men of a Certain Age (TNT, 2009-2011): “Pilot” (S1E1) | BoJack Horseman (Netflix, 2014-present): “BoJack Hates the Troops” (S1E2)

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Class 16: Thursday, November 5 th , 11am-12:30pm

Postfeminism I: Gone Girl

Reading:

(a) Dockterman, “Is Gone Girl Feminist or Misogynist?” (b) Dowd, “Lady Psychopaths Welcome”(c) Genz and Brabon, “Postfeminist Contexts”(d) Shone, “Gone Girl, Hollywood, and the Gender Wars”

Viewing:

Gone Girl (David Fincher, 2014)

Class 17: Monday, November 9 th , 1pm-2:30pm

Postfeminism II: The Female Antihero

Reading:

(a) Fuchs, “The Thing with Feathers”(b) Gunn, “I Have a Character Issue”(c) Lotz, “Postfeminist Television Criticism”(d) Ryan, “Dishing Some Dirt”(e) Ulaby, “Working Women on Television”

Viewing:

Damages (FX, 2007-2012): “Get Me a Lawyer” (S1E1) | Dirt (FX, 2007-2008): “Pilot” (S1E1)

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Postfeminism III: The Real Her

Reading:

(a) Dockterman, “UnREAL and the Female Anti-Hero”(b) Gray, “Gender, Performativity, and the Dating Show”(c) Lisanti, “The Two Virgins in Dating Show Heaven”(d) Nussbaum, “Doll Parts”

Viewing:

The Bachelor (ABC, 2002-present): “Camping” (S19E4) | UnREAL (Lifetime, 2015-present): “Return” (S1E1)

Site Visit #5: Friday, November 13 th , 7:30pm-11:15pm: “An Original Horror Night” at the EYE Film Museum

Tying in perfectly with our discussion on gender in the horror film -- and intended to celebrate the cinematic legacy of Wes Craven (who passed away on August 30th) -- “An Original Horror Night” will allow us to compare Halloween (from the motivations of the killer to the treatment of his victims) to two other masterpieces of the slasher film genre: Wes Craven's A Nightmare on Elm Street (1984) and Sean S. Cunningham’s Friday the 13th

(1980).

A Nightmare on Elm Street will lead off this horror double-header at 8:15pm, and the blood will continue flowing at 10pm, when Jason Voorhees will continue Freddy Krueger’s reign of terror in Friday the 13th.

SECTION IV: QUEERING FILM AND TELEVISION


Site Visit #6: Queer Foundations: IHLIA LGBT Heritage

We will visit the IHLIA LGBT Heritage archive at the Amsterdam Public Library to learn more about their mission to collect -- and make public -- a wide range of (visual) materials documenting LBGTQ issues.

Reading:

Van der Wel, “IHLIA -- Making LGBTIQ Issues Visible”

Viewing: None

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Queer Cinema: Scaling the Mountain

Reading:

(a) Hicklin, “Brokeback Mountain: 10 Years On”(b) Keller and Jones, “Brokeback Mountain: Masculinity and Manhood”(c) Sullivan, “The Social Construction of Same-Sex Desire”(d) ---, “Assimilation or Liberation?”

Viewing:

Brokeback Mountain (Ang Lee, 2005)


Queer Television I: From Ellen to Orange

Reading:

(a) Becker, “Prime-Time Television and Gay Politics”(b) Beirne, “Queer Women on Television”(c) Reed, “Public Lesbian Number One”

Viewing:

Ellen (ABC, 1994-1998): “The Puppy Episode” (S4E22/23) | Orange Is the New Black (Netflix, 2013-present): “Lesbian Request Denied” (S1E3)


Queer Television II: Call Me Caitlyn

Reading:

(a) Bissinger, “Caitlyn Jenner: The Full Story”(b) McNamara, “I Am Cait Engenders Genuine Illumination”(c) Sullivan, “Transsexual Empires and Transgender Warriors”

Viewing:

20/20 (ABC, 1978-present): “Bruce Jenner, In His Own Words” (YouTube) | I Am Cait (E!, 2015-present): “Meeting Cait” (S1E1) and “The Road Trip: Part 1” (S1E2)

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Site Visit #7: TBD: A documentary screening at the International Documentary Film Festival Amsterdam

Every year, the city of Amsterdam hosts the International Documentary Film Festival Amsterdam (or IDFA), the world’s largest documentary film festival. Although the program has not yet been made available, we will attend a screening of one of the 200+ documentaries that will be shown between November 18th and November 29th. This will stand us in good stead for when we take a closer look at the genre of the documentary in our class on The Queen of Versailles.


Queer Television III: Isn’t Life a Drag?

Reading:

(a) Butler, Gender Trouble(b) Edgar, “Drag Representation in RuPaul’s Drag Race”(c) McCann, “Judith Butler Explained with Cats”(d) Stein, “Gender Performance in RuPaul’s Drag Race”

Viewing:

RuPaul’s Drag Race (Logo, 2009-present): “Snatch Game” (S5E5) and “Glitter Ball” (S6E11)

SECTION V: RACE, CLASS, AND MOVING TOWARDS INTERSECTIONALITY

Class 24: Thursday, December 3 rd , 11am-12.30pm

Far from Perfect: Historicizing Intersectionality

Reading:

(a) Boym, “Nostalgia and Its Discontents”(b) Dika, “Between Nostalgia and Regret”(c) Nash, “Re-Thinking Intersectionality”

Viewing:

Far from Heaven (Todd Haynes, 2002)

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Class 25: Monday, December 7 th , 1pm-2:30pm

Multiple Identifications I: Magnolia

Reading:

(a) Dillman, “Magnolia Masquerading as Soap Opera”(b) Ebert, “Magnolia”(c) Maslin, “Entangled Lives”

Viewing:

Magnolia (Paul Thomas Anderson, 1999)

Class 26: Thursday, December 10 th , 11pm-12:30pm

Multiple Identifications II: Crash

Reading:

(a) Downing and Husband, “Racism, Ethnicity, and Media”(b) Jensen and Wosnitzer, “Crash and the Self-Indulgence of White America”(c) Middleton, “Talking about Race and Whiteness in Crash”

Viewing:

Crash (Paul Haggis, 2004)

Class 27: Monday, December 14 th , 1pm-2:30pm

Coda: The Home Race, Class, and Gender Built

Reading:

(a) Hayward, “The Economic Crisis and After”(b) Nichols, An Introduction to Documentary(c) Scott, “Let Them Eat Crow”

Viewing:

The Queen of Versailles (Lauren Greenfield, 2012)

Class 28: Thursday, December 18 th , 11am-1pm: Final Exam

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ciee screen cultures: men and women in contemporary american cinema and television

Documents