ࡱ> %` (bjbj"x"x 3>@@ 6T####$$,MN$d$d$d$d$d$d$d$QMSMSMSMSMSMSM$rOhQwMd$d$d$d$d$wMd$d$M'''d$~d$d$QM'd$QM''nJ!Md$B$ Pf~Y#% K EM M0M-KlR&HlR@!MlR!M$'d$d$d$wMwM'd$d$d$Md$d$d$d$d##(6 WST 494: Women of Color in Film and Television Dr. L. Anderson Class meeting time: Thursday 4:40-7:30pm Office: WEST 235 Email:  HYPERLINK "mailto:lmanderson@asu.edu" lmanderson@asu.edu Course Description: We will critically analyze the history and representations of African American, Latina, Asian American, and American Indian women in film and television through the intersections of gender, race, sexuality, class, and nationalism. We will look at two primary contexts: mainstream Hollywood and independent film from the 1930s to today, and network television programming from the 1970s to today Required Texts: You are not required to purchase any books for this class. All of the readings are journal articles and book chapters, and will be available through the courses Blackboard site. If students are interested, I can also make them available as a course packet that you can purchase from Alternative Copy. The films that we watch are also texts, and are therefore also required. Note: some of the films for this course have R ratings for various reasons (language, nudity, sexual situations). If you feel that you may be offended by these films, you may want to reconsider taking this course. I chose these particular films for this course very carefully because of their importance to film studies, popular culture, and the ways in which they have become a common language in US culture. In other words, I believe they are important films to study, even if we may find them offensive. Course Requirements: Participation/Contribution (15%): all students are required to participate in discussions. We will have discussions about both the theoretical materials and the films in class and online. I expect that everyone will contribute to one or both. Please remember to be respectful in your discussions, and remember that this is an academic environmentyou should be able to support your assertions with evidence, and you should make reasoned arguments. Personal attacks will not be tolerated, and anyone engaging in disrespectful commentary will be barred from online conversations. Note: I do not require attendance; you are adults, and you are responsible for getting the most out of your education. However, because we will do much of the work of the course in class, it is important for you to be present, and if you miss one class, you have missed a week of class. If you cannot be present due to illness, religious/spiritual observation, or family emergency, please be sure to find out what we covered in class, and also be sure to contribute to the online discussion. Quizzes (30%): There will be several short quizzes on the course readings and films. In order to maximize class discussion time, the quizzes will be available online for one week each. Papers (55%): Because this is a 400-level class, the majority of your work will be written work. All students will write two short (5pp) papers and one semester research paper. Short papers (10% each): These papers, no more than 5pp, will briefly analyze a film that we watch in class. One is due by Feb. 12th, the other due by March 12th. You may turn the paper in whenever you have completed it. Semester Research paper (35%): This paper is on a topic of your choice, in which you address a comparative aspect of the issues in the course (you should examine your topic in the context of two racial/ethnic groups). This paper should be 10-15pp. Papers should always be proofread and spell checked. You are free to use APA, MLA, Chicago, as long as you use it correctly. Because these papers involve critical analysis, they will have sources that must be correctly cited. All assignments will be graded on a 100-point scale. Reading Schedule Week 1 1/22 Introductions Lecture: Feminism and film. What are some of the key concepts of feminist film theory? Who looks? Who is looked at? How does the visual shape perception? Week 2 1/29 Representation Reading: from Ways of Seeing, John Berger; from Representation, ed. Stuart Hall Discussion: How do images create and carry meaning? Week 3 2/5 Early film images of African American Women View: Selections from Birth of a Nation, Gone With the Wind Reading: Anderson; Wallace Week 4 2/12 Early Film Images of Asian American Women View: Shanghai Express Reading: Leong; Wang Paper 1 Due Week 5 2/19 Early Film Images of the American West: Native American and Mexican American Women View: Duel in the Sun Reading: Cortz, Who is Mara? What is Juan? Mulvey, Afterthoughts on Visual Pleasure and Narrative Cinema Week 6 2/26 The Golden Age of Hollywood and Racial Stereotypes View: selections from Imitation of Life (1934 & 1959) Reading: Thaggert, Divided Images: Black Female Spectatorship and John Stahls Imitation of Life Week 7 3/5 The Hollywood Musical and Racial Stereotypes View: West Side Story Reading: Negrn-Mutaner, Feeling Pretty Week 8 3/12 Indian Princess/Indian Maiden View: Pocahontas (Disney, 1995) Reading: Kiyomi, Disneys Pocahontas Paper 2 Due Week 9 Spring Break No Classes Week 10 3/26 Television Constructions of Racialized Gender View: Episodes from [Julia, Good Times, Cosby Show] Reading: Burr, Television and Societal Effects: An Analysis of Media Images of African-Americans in Historical Context Week 11 4/2 View: Episodes from [All American Girl, Ally McBeal] Reading: Shah, Asian Culture and Asian American Identities in the Television and Film Industries of the United States Week 12 4/9 View: Episode from Ugly Betty Reading: Rivero, Beautiful Betty: An" ugly" new TV character brings gender, class, ethnic and body issues to the screen Week 13 4/16 View: Saving Face Reading: TBA Week 14 4/23 View: Selena Reading: Ovalle, Framing Jennifer Lopez Week 15 4/30 Wrap-up; students choice film Final Exam time/date TBA Course Readings Anderson, Lisa M. Mama on the Couch, Mammies No More: The Changing Image of Black Women on Stage and Screen. Lanham, MD: Rowman and Littlefield, 1997. Burr, Sherri. Television and Societal Effects: An Analysis of Media Images of African-Americans in Historical Context, Journal of Gender, Race, and Justice 4 (2000-2001), 159-182. Cortz, Carlos E. Who is Mara? What is Juan? Dilemmas of Analyzing the Chicano Image in U.S. Feature Films, in Chicanos and Film: Representation and Resistance, ed. Chon A. Noriega. Minneapolis: University of Minnesota Press, 1992. hooks, bell. The Oppositional Gaze: Black Female Spectators, in Black Looks: Race and Representation. Boston: South End Press, 1992. Kiyomi, Kutsuzawa. Disney's Pocahontas: Reproduction of Gender, Orientalism, and the Strategic Construction of Racial Harmony in the Disney Empire, Atlantis 2004 Special Issue Two, p. 43-53. Leong, Karen J. Anna May Wong, The China Mystique: Pearl S. Buck, Anna May Wong, Mayling Soong, and the Transformation of American Orientalism. Berkeley: U California Press, 2005, p. 57-105. Mulvey, Laura. Afterthoughts on Visual Pleasure and Narrative Cinema inspired by King Vidors Duel in the Sun 1946, [1981] in Feminist Film Theory: A Reader, ed. Sue Thornham. New York: NYU Press, 1999. Negrn-Mutaner, Frances. Feeling Pretty: West Side Story and Puerto Rican Identity Discourses, Social Text 63, 18(2), p. 83-106, Summer 2000. Ovalle, Priscilla Pea. Framing Jennifer Lopez: Mobilizing race from the wide shot to the close-up, in The Persistence of Whiteness: Race and Contemporary Hollywood Cinema, ed. Daniel Bernardi. New York: Routledge, p. 165-184, 2008 Rivero, YM. Beautiful Betty: An" ugly" new TV character brings gender, class, ethnic and body issues to the screen. Ms: 2006 17 (1):65 Shah, Hermant. Asian Culture and Asian American Identities in the television and film industries of the United States, SIMILE Aug 2003, 3(3) Thaggert, Miriam. Divided Images: Black Female Spectatorship and John Stahls Imitation of Life, African American Review 32 (3), p. 481-491, 1998. Wang, Yiman. The Art of Screen Passing: Anna May Wongs Yellow Yellowface Performance in the Art Deco Era, Camera Obscura 60, 20(3), P. 159-191, 2005. Wallace, Michelle. The Search for the Good Enough Mammy: Multiculturalism, Popular Culture, and Psychoanalysis, Dark Designs and Visual Culture. 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AndersonmH!<H22-!'22TTUU@z@LP TTUU@z@LP h,TT3UU@z@LP f,TT4_ UU@z@4LP u,T` UU@z@` !LClass meeting time: Thursday 4:40 C,''N,,21N,=22"'2-0222TTUU@z@LP- !Tp)UU@z@LX7:30pm2222NTT*WUU@z@*LP o. TXJoUU@z@XXLlOffice: WEST 235H!!,,_=8=222TTKwoUU@z@KXLP e- TxXq{UU@z@XL\Email: 5=N,%  T|qUU@z@|Lplmanderson@asu.eduN,22,!'22\,'2,22'% Ld||]!??% (  TTqUU@z@LP e- TTXUUU@z@X>LP i- TTXWUU@z@XLP - Rp@Times New Romanpb@b@:n:304:+04:,0:}:kT0Gz Times ew Romank08/b1$:0:lN0:dv% TX;UU@z@X&LtCourse Description: H28,',H,'-,8!28!TT;UU@z@&LP H6 Rp@Cambria}t?::@:>t:304:+0t4:,0:}:kT07K@Cambrik08/b1$:0:lN0:dv% T0X=gUU@z@X&LWe will critically analyze the history\1M,)",121813.1"717+"5)2Tg=UU@z@g8L and representations of African American, Latina, Asian 187)18)1+18"1"58+5>),18>S1),1861!80>+18 T\XR&UU@z@XXLAmerican, and American Indian women in film and television through the intersections of >S1),18187>S1),18 8718M5S188S187"112+58"7)5717#718"1)+1,"58+5 TXX'bUU@z@XWLgender, race, sexuality, class, and nationalism. We will look at two primary contexts: :11871))1,1+1071"2,1++18781"581+R\1M5541""M58)S1)2,58"10"+ TX UU@z@XLmainstream Hollywood and eS18+")11SE52M558187TdUU@z@6Lindependent film from the 1930s to today, and network 871818718"S)5S"717877+"5"572218781"M5)4 % T`Xt UU@z@Xq.Ltelevision programming from the 1970s to today"112+588)51)1SS81)5S"717787+"5"5812% TTt  UU@z@t qLP pRp@Times New Romandp22@:od:304:+0d4:,0:}:kT0Gz Times e&" WMFC 1qw Romank08/b1$:0:lN0:dv% TT  UU@z@ qLP % TT  UU@z@ qLP - TTXUU@z@XLP n- % TX k UU@z@XV LlRequired Texts: H,88,,8C,2!'!TT Ak UU@z@ V LP e7 % TXm  UU@z@X eLYou are not required to purchase any books for this class. All of the readings are journal articles aH22,!,22",22!,2232!,2,',,402222'!2!2',,''H2!2,!-,221'-!,22!2,,!,,' T X Q UU@z@X: #Land book chapters, and will be avait,222222,2,2-!',22I2,,2,T Q UU@z@: =Llable through the course s Blackboard site. If students are D,2,2!23122,,22!'-!'B,,222-!2(, !'22,2',!, TdXS A UU@z@X YLinterested, I can also make them available as a course packet that you can purchase from 2,!,',2 -,2,'2N,3,2,N,2,,2,,',,23!',2,,3,2,022,,232!,2,',!!2N T|X 7 UU@z@X ]LAlternative Copy. The films that we watch are also  texts, and are therefore also required.tH,!2,2,C240=2,!N'2,H,H,,2-!,,(2,,3',,22,!,2-!,!3!,,'2!,22!,2TT 7 UU@z@ LP a. TTX9  UU@z@X LP t- % TV 4 UU@z@X LdNote: some C2,!'2H,TL5 J UU@z@5 ULof the films for this course have  R ratings for various reasons (language, nudity, d22,H'2'2',22'',22,,8=8'222'2',2'22'',2'12' 222222,222, ThX  UU@z@Xy ZLsexual situations). If you feel that you may be offended by these films, you may want to ',,22'2222' !,23,,22,22H2,2,2-22,22,2,',H',22H2,C222 T4X  UU@z@X QLreconsider taking this course. I chose these particular films for this course ven',,22'2,'2,222',32'',!,22',2,(,22',22'H'2'2',22'&,,,T r UU@z@ Lhry carefully n',,2',2, TX v UU@z@X_ ^Lbecause of their importance to film studies, popular culture, and the ways in which they have 2,,22',22,'H22'22,,2H'22,'22222',22',2222,C2,'2C2,22,,22,, TXx  UU@z@X ^Lbecome a  common language in US culture. In other words, I believe they are important films 2,,2H,28,3HH22223222,82H2,22',!222,'C2'2'!2,,,,2-,2',H22'22H' T\X 7 \UU@z@XE-Lto study, even if we may find them offensive.a2'22,,,,2C,H2,222,H2,2',,TT8 l \UU@z@8 ELP t5 TTX^UU@z@XLP 4 % T|XBUU@z@X-L\Course RH28,',HTBUU@z@- Ldequirements:,88,-S,8!'!TTQBUU@z@-LP Y7 % TXBUU@z@X!LParticipation/Contribution (15%):h<2-!,82!28H28!,88!28!22e!!% T&" WMFC qDfUU@z@?L all students are required to participate in discussions. We a,'22,2'+!,!,22",222,!,2,,22',2''22'_, TX(UU@z@XaLwill have discussions about both the theoretical materials and the films in class and online. I H2,2,2',2''22',2222222,2,2!,,,N-,!,',222,!N'2,,'',22222,  TxX* UU@z@X2Lexpect that everyone will contribute to one or bot,32,,2,,2,#022,H,22!22,222,2!22T\ *UU@z@ -Lh. Please remember to be respectful in your 38,,',!,N,N3,!22,!,'2,,!22022! TX_ UU@z@X>Ldiscussions, and remember that this is an academic environment2',2''22',22!,N,N3,!2,2'',2,,,3,N,,22!22N,2TT_  UU@z@` LP fT zUU@z@ Lyou should be able to support 022'23222,,2,2'2222! TXUUU@z@Xj^Lyour assertions with evidence, and you should make reasoned arguments. Personal attacks will 032!,'',!22'H2,23,2,,,22022'2222N,2,!,,'23,2,"12O,2'8,!'22,,,,2'H TXUU@z@XL|not be tolerated, and an222,2,!,,2,22,4T UU@z@ELyone engaging in disrespectful commentary will be barred from online 122,,31-13122'!,'2-,!2,2NN,2,#0H2-2,!!,2!!2N222, TXgUU@z@XPLlconversations. ,222,!',22'TTgUU@z@PLP . % TpiUU@z@[LNote: I do not require attendance; you are adults, and you are responsible for getting the C2,!!2222',22',2,2222,,!,222',222'222,222',','222'2,2'2,222, T(*MUU@z@6OLmost out of your education. However, because we will do much of the work of thH2'222,22',22,222H2C,,,'2-,22',C,C22H2,222,C2',22T+MUU@z@+6 L`e course ,,22'', TOUU@z@^Lin class, it is important for you to be present, and if you miss one class, you have missed a 2,2'''H22'221',2222,2',',2222,22H''22,,2'',2222,,H'',22 T|g3UU@z@]Lweek of class. If you cannot be present due to illness, religious/spiritual observation, or C,,,2,2''!,22,23222,2',',222,22,''',222''2'2221',',2222' Ts5( UU@z@<Lfamily emergency, please be sure to find out what we covered2H,,H,'2,3,,2,2(-2,'2',22222C22C,,2,,(,2T# 5GUU@z@# L in class, and also be sure 2,2''2222'22,'2', TD UU@z@)Lto contribute to the online discussion. 2,22'22,22,221,2',2''22TT  UU@z@ LP 4 % TXUU@z@XtLhQuizzes (30%):N&WMFCq8,,,'!22e!!% TDUU@z@tTL There will be several short quizzes on the course readings and films. In order to =2,!,I2,',2,!,'22!22--,'222,,22!',",,231',22!N'23!2,!2 TXXUU@z@XWLmaximize class discussion time, the quizzes will be available online for one week each.N,3N-,,,''2',2''12N,2,22--,'H1,,2,,2,222,!2!22-H,,2-,,2TT+UU@z@LP . % TXoUU@z@XZ LhPapers (55%):<28,,'!22e!!% T<qUU@z@ZL| Because this is a 400B-,,2(-2'',222TT=]qUU@z@=ZLP-!T^qUU@z@^Z7Llevel class, the majority of your work will be written ,2,,,''2,N,2!02!023!H2"2H2,H!,2 T\XsUU@z@XXLwork. All students will write two short (5pp) papers and one semester research paper. H2!2H'22,2'HH!,H2'22!!222!3,3,!',2222,(,N,',!!,'-,!,22,3,!TTs*UU@z@LP .% 666666666666666666666666666666666666 6 66 6  6 66 6  6 66 6  6 66 6  6 66 6 66666666666666666666  ."System-@Times New Roman- 2 hWST 494R  12 h: Women of Color in Filmr       "2 h and Television    2 h0 i  2 ~k i @Times New Roman-"2 UDr. L. Anderson   2  i# 2  i* 2  i+ 2 + i+=2 V!Class meeting time: Thursday 4:40a    2 -i2 "7:30pm 2 M i#2 UOffice: WEST 235   2  i2 UEmail: R - &2 lmanderson@asu.edu - @ !{-  2  i 2 U i 2 U i@Times New Roman-)2 UCourse Description:   2  i@Cambria-D2 U&We will critically analyze the history _2 28 and representations of African American, Latina, Asian   2 UXAmerican, and American Indian women in film and television through the intersections of     2 UWgender, race, sexuality, class, and nationalism. We will look at two primary contexts:     12 (Umainstream Hollywood and r    \2 (6independent film from the 1930s to today, and network    -P2 9U.television programming from the 1970s to today  - 2 9} i@Times New Roman- 2 9 i- 2 9 i 2 IU i-"2 ZURequired Texts:   2 Z i-2 jUeYou are not required to purchase any books for this class. All of the readings are journal articles   @2 {U#and book chapters, and will be avaio g2 {=lable through the courses Blackboard site. If students are  2 UYinterested, I can also make them available as a course packet that you can purchase from    2 U]Alternative Copy. The films that we watch are also texts, and are therefore also required.      2 _ i 2 U i-2 U Note: some  2 Uof the films for this course have R ratings for various reasons (language, nudity, : 2 UZsexual situations). If you feel that you may be offended by these films, you may want to     2 UQreconsider taking this course. I chose these particular films for this course vet 2  ry carefully 2 U^because of their importance to film studies, popular culture, and the ways in which they have     2 U^become a common language in US culture. In other words, I believe they are important films       O2 U-to study, even if we may find them offensive.y    2 P i 2 !U i-2 2UCourse R  2 2 equirements:  2 2 i-=2 BU!Participation/Contribution (15%):a  -j2 B(? all students are required to participate in discussions. We 2 SUawill have discussions about both the theoretical materials and the films in class and online. I   V2 dU2expect that everyone will contribute to one or bot O2 dn-h. Please remember to be respectful in your y  h2 tU>discussions, and remember that this is an academic environment     2 ti82 tyou should be able to support 2 U^your assertions with evidence, and you should make reasoned arguments. Personal attacks will     /2 Unot be tolerated, and ans2 Eyone engaging in disrespectful commentary will be barred from online    #2 Uconversations.  2  i-2 [Note: I do not require attendance; you are adults, and you are responsible for getting the l 2 Omost out of your education. However, because we will do much of the work of th       2 N e course 2 ^in class, it is important for you to be present, and if you miss one class, you have missed a    2 ]week of class. If you cannot be present due to illness, religious/spiritual observation, or e2 <family emergency, please be sure to find out what we covered    52  in class, and also be sure I2 )to contribute to the online discussion. o 2 ^ i- 2 UQuizzes (30%): -2 T There will be several short quizzes on the course readings and films. In order to   2 +UWmaximize class discussion time, the quizzes will be available online for one week each.      2 +G i-2 <U Papers (55%): -.2 < Because this is a 400n  2 <,-i^2 <17level class, the majority of your work will be written     2 LUXwork. All students will write two short (5pp) papers and one semester research paper.       2 LG i-՜.+,D՜.+,d  hp  Arizona State University; ' !WSH 420: Women of Color in Film Title 8@ _PID_HLINKSAl@omailto:lmanderson@asu.eduD !"#$%&')*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~Root Entry F0u~YData  1Table(RWordDocument3>SummaryInformation(R̥DocumentSummaryInformation8CompObjq  FMicrosoft Office Word Document MSWordDocWord.Document.89q