催生并传播师生研究成果·促进社会发展和性别公正

To provide a platform for generating, sharing, participating and promote research results
To pursuit gender justice and social development

新开课“性别与电影”【游静】

2017-06-16

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1、课程简介(Course Description

本课程探讨性别和性与电影历史、电影制作、电影再现及电影受众之间多重的关系 。通过涉及不同的社会文化背景、电影类型、电影运动、形式和意识形态评论来学习电影文本。通过本课程加强学生对视听艺术及流行文化的理解,发展批判思维及具历史意识的国际视野。通过本课程的学习,学生能掌握分析电影及影像媒体的语言,对性别研究作为当代显学之一如何影响及改造了视听艺术及流行文化再现,有进一步的脉络化认识。

 

2、预期学习结果(Intended Learning Outcomes

本课程的预期学习结果如下表:

知识单元

知识点

初始程度

要求程度

预期学习结果

1好莱坞经典写实主义

1.1 好莱坞

L1

L2

学习视听读写

1.2 写实主义电影历史

L1

L2

学习女性主义电影批评

1.3 经典写实主义

L1

L2

 

1.4 女性主义

L1

L2

 

2种族与阶级

2.1 电影与种族

L1

L2

学习电影研究术语

2.2 电影与阶级

L1

L2

学习形式分析

2.3 种族阶级再现

L1

L2

 

3重写好莱坞

3.1好莱坞电影运动

L1

L2

学习电影研究术语

3.2 酷儿理论

L1

L2

能进行电影形式分析

3.3电影类型

L1

L2

 

4全女班

4.1 与社会性别

L2

L3

能进行女性主义探究

4.2女性主义酷儿

L1

L2

掌握女性主义与电影研究的矛盾

5 新酷儿电影与受众

5.1独立电影制作

L1

L2

学习阅读独立电影

5.2 酷儿电影

L1

L2

掌握酷儿电影研究观点

5.3 受众

L1

L2

学习受众研究

6身份政治

6.1身份政治的脉络

L1

L2

学习身份政治分析

6.2 身份政治的矛盾

L1

L2

学习意识形态批评

7亚洲新自由主义

7.1亚洲新电影

L1

L2

掌握比较意识形态批评

7.2新自由主义

L1

L2

能反思新自由主义

8跨性别

8.1 社会性别与酷儿

L1

L2

熟悉性别与电影文本的多重关系

8.2新自由主义种族阶级

L1

L2

反思电影研究的性别角度

8.3

L1

L2

在电影研究中培养批判性思维

3、先修要求(Pre-requisite

4、教材及其他教学资源(Textbooks and Other Learning Resources

课前观影:

电影/视频: All That Heaven Allows (Douglas Sirk, 1955)

节选片段: The Barbie Liberation Organization (®TMark/The Yes Men, 1993)

电影/视频: Ali: Fear Eats The Soul (Rainer Werner Fassbinder, 1974)

电影/视频: Far From Heaven (Todd Haynes, 2002)

节选片段: Superstar: Karen Carpenter Story (Todd Haynes, 1987) and Carol (Todd Haynes, 2015)

电影/视频: The Sluts and Goddesses Video Workshop: Or, How To Be A Sex Goddess In 101 Easy Steps (Annie Sprinkle and Maria Beatty, 1992)

电影/视频: She Must Be Seeing Things (Sheila McLaughlin, 1987)

节选片段: Go Fish (Rose Troche, 1994)

电影/视频: Mukhsin (Yasmin Ahmad, 2006)

节选片段: Petronas ads (Yasmin Ahmad, 1998-2009) and Sepet (Yasmin Ahmad, 2004)

电影/视频: Ilo Ilo (Anthony Chen, 2014)

节选片段: Singapore Gaga (Tan Pin Pin, 2006)

When Hainan Meets Teochow (Han Yew Kwang, 2010)

电影/视频: Wild Side (Sebastien Lifshitz, 2004)

阅读材料:

Laura Mulvey, “Visual Pleasure and Narrative Cinema.” Film Theory and Criticism: Introductory Readings. Leo Braudy and Marshall Cohen eds. New York: Oxford UP, 1999: 833-44.

Laura Mulvey, “All That Heaven Allows: An Articulate Screen.”

https://www.criterion.com/current/posts/96-all-that-heaven-allows-an-articulate-screen

Laura Mulvey, “Douglas Sirk and Melodrama.” Australian Journal of Screen Theory 3 (1977): 26–30.

Thomas Elsaesser, Fassbinder’s Germany: History, Identity, Subject. Amsterdam: Amsterdam University Press, 1996, pp. 7-18.

Laura Cottingham, “‘Fear Eats the Soul’,” in Fear Eats the Soul (Angst Essen Seele Auf). London: BFI, 2005, pp. 45-84.

Anneke Smelik, “Gay and Lesbian Criticism,” and Alexander Doty, “Queer Theory,” in John Hill and Pamela Church Gibson eds., The Oxford Guide to Film Studies.

Oxford: Oxford University Press, 1998, pp. 96-105, 135-52.   

Dana Luciano, “Coming Around Again: The Queer Momentum of Far From Heaven,” GLQ 13:2-3, pp. 249-272.

B. Ruby Rich, “Chapter 1,” in New Queer Cinema: The Director’s Cut. Durham and London: Duke University Press, 2013, pp. 3-15.

Linda Williams, “A Provoking Agent: The Pornography and Performance Art of Annie Sprinkle,” Social Text, No. 37 (Winter 1993), pp. 117-133.

Teresa de Lauretis, “Film and the Visible,” in Bad Object-Choices ed., How Do I Look? Queer Film and Video. Seattle: Bay Press, pp. 223-263.

Alison Butler, “She Must Be Seeing Things: An Interview with Sheila McLaughlin,” in Martha Gever, John Greyson and Pratibha Parmer eds, Queer Looks: Perspectives on Lesbian and Gay Film and Video. Toronto: Between the Lines, pp. 368-376.

Amir Muhammad, “Sepet,” in Yasmin Ahmad’s Films, Petaling Java: Metahari Books, 2009, pp. 45-76.

Ari Larissa Heinrich, “Desire against the grain: transgender consciousness and Sinophonicity in the films of Yasmin Ahmad,” in Howard Chiang and Ari Larissa Heinrich eds., Queer Sinophone Cultures. London and New York: Routledge, 2014, pp. 179-200.

Annalee Newitz, “Introduction: Capitalist Monsters,” in Pretend We're Dead: Capitalist Monsters in American Pop Culture. Durham and London: Duke University Press, 2006, pp. 1-12.

Michelle H. S. Ho, “Desiring the Singapore story: affective attachments and national identities in Anthony Chen's Ilo Ilo,” Journal of Chinese Cinemas 9.2 (2015), pp. 173-186.

Olivia Khoo, “Slang images: on the ‘foreignness’ of contemporary Singaporean films,” Inter-Asia Cultural Studies 7.1 (2006), pp. 81-98.

 

教学参考文献:

  1. Barbara Creed and Jeanette Hoorn, “Memory and History: Early Film, Colonialism and the French Civilising Mission in Indochina,” French History and Civilization 4 (2011), pp. 223-236.
  2. David Bordwell, Ozu and the Poetics of Cinema. New Jersey: Princeton University Press, 1988.
  3. Graeme Turner, Film as social practice. London and New York: Routledge, 1993 (2nd Edition).
  4. Fernando Solanas and Octavio Getino, “Towards a Third Cinema,” http://documentaryisneverneutral.com/words/camasgun.html
  5. Bad Object-Choices ed., How Do I Look? Queer Film and Video. Seattle: Bay Press.
  6. Martha Gever, John Greyson and Pratibha Parmer eds, Queer Looks: Perspectives on Lesbian and Gay Film and Video. Toronto: Between the Lines,
  7. Thomas Elsaesser, Fassbinder’s Germany: History, Identity, Subject. Amsterdam: Amsterdam University Press, 1996.
  8. Barbara Klinger, Melodrama and Meaning: History, Culture, and the Films of Douglas Sirk. Bloomington and Indianapolis: Indiana University Press, 1994.
  9. Yau Ching ed.,  As Normal as Possible: Negotiating Sexuality and Gender in Mainland China and Hong Kong. Hong Kong:  Hong Kong University Press, 2010.

《性/别光影:香港电影中的性与性别文化研究》, 香港香港电影评论学会, 2006.

课程网站:

http://my.stu.edu.cn/

5、要教学环节(Teaching and Learning Activities

教学环节

理论课

(小时)

习题课

(小时)

实验

(小时)

研讨

(小时)

社会

实践

(小时)

项目

(小时)

在线

学习

(小时)

期中

测试

(小时)

合计

课内

14

0

0

2

0

0

0

0

16

课外

0

0

0

0

0

40

0

0

0

6、课程考核(Assessment Scheme

考核项目

考核内容和考试方法简介

权重

课堂参与

学生考勤:全程到课,阅读课前材料并做好准备参与讨论。

20%

课堂报告

对选定议题进行小组讨论并做出报告演讲。

35%

学期论文

论文包括姓名、论文标题、相关问题、展开的分析论述和所有参考文献来源。

45%

 


性別與電影_汕頭.pdf

CV_YauChing.pdf

教育课程

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