Rhedir gan School of Arts, Culture and Language

20.000 Credydau neu 10.000 Credyd ECTS

Semester2

Trefnydd: Dr Elizabeth Miller

This module focuses on the role that sex, gender, ethnicity and race have played in the creation, reception and theoretical construction of various forms of film and visual culture. This course will cover the key theories and approaches to the study of Race and Gender in film and visual culture focusing specifically on the constructions of masculinity and femininity in mainstream cinema, the legacy of (post)colonialism in Hollywood and non-Hollywood cinema, and how theories of race and gender have contributed to contemporary readings of selected visual and cultural texts. Students will be encouraged to question the role of Race and Gender in film and visual culture as well as gaining an advanced grounding in film and cultural theory.

Topics that may be looked at include: feminist filmmaking; representing women and men on film; black women in film; colonialism and post-colonialism in cinema; filmmaking from the developing world; film and the representation of historical racism and trauma; gender, race and genre.

trothwy

Submitted work is adequate and shows an acceptable level of competence as follows:

1. Generally accurate but with omissions and errors.
2. Assertions are made without clear supporting evidence or reasoning.
3. Has structure but is lacking in clarity and therefore relies on the reader to make links and assumptions.
4. Draws on a relatively narrow range of material.

rhagorol

Submitted work is of an outstanding quality and excellent in one or more of the following ways:

1. Has originality of exposition with the student’s own thinking being readily apparent.
2. Provides clear evidence of extensive and relevant independent study.
3. Arguments are laid down with clarity and provide the reader with successive stages of consideration to reach conclusions.

dda

Good

Submitted work is competent throughout and occasionally distinguished by superior style, approach and choice of supporting materials. It demonstrates:

1. Good structure and logically developed arguments.
2. At least in parts draws on material that has been sourced and assessed as a result of independent study, or in a way unique to the student.
3. Assertions are, in the main, backed by evidence and sound reasoning.
4. Accuracy and presentation in an appropriate academic style.

Very Good

Submitted work is competent throughout and distinguished by superior style, approach and choice of supporting materials. It demonstrates:

1. Very good structure and logically developed arguments.
2. Draws on material that has been sourced and assessed as a result of independent study, or in a way unique to the student.
3. Assertions are backed by evidence and sound reasoning.
4. Accuracy and presentation in an appropriate academic style.

1. Historicise and critically reflect upon theories of gender and sexuality within the field of popular visual culture.

2. Historicise and critically reflect upon theories of race and ethnicity within the field of popular visual culture.

3. You will be able to connect representations of race and gender in contemporary visual culture to broader social concepts of identity.

4. Apply theories of race and gender to the study of selected visual texts.

Math	Enw	Disgrifiad	Pwysau
ESSAY	1st Essay 2,000 word		40.00
ESSAY	2nd Essay 3,000 word		60.00

		Oriau
Lecture		11
Seminar		22
Private study		134
	A screening of a film of up to 3 hours in length.	33

• Literacy - Proficiency in reading and writing through a variety of media
• Self-Management - Able to work unsupervised in an efficient, punctual and structured manner. To examine the outcomes of tasks and events, and judge levels of quality and importance
• Exploring - Able to investigate, research and consider alternatives
• Information retrieval - Able to access different and multiple sources of information
• Inter-personal - Able to question, actively listen, examine given answers and interact sentistevely with others
• Critical analysis & Problem Solving - Able to deconstruct and analyse problems or complex situations. To find solutions to problems through analyses and exploration of all possibilities using appropriate methods, rescources and creativity.
• Teamwork - Able to constructively cooperate with others on a common task, and/or be part of a day-to-day working team
• Argument - Able to put forward, debate and justify an opinion or a course of action, with an individual or in a wider group setting

Goblygiadau o ran adnoddau ar gyfer myfyrwyr

As currently planned students should not have to purchase any resources.

Rhestr ddarllen Talis

http://readinglists.bangor.ac.uk/modules/uxs-3050.html

Rhestr ddarllen

Jessica Evans and Stuart Hall (eds.) Visual Culture: The Reader (London: Sage Press, 1999).

Amelia Jones (ed.) The Feminism and Visual Culture Reader (London and New York: Routledge, 2003)

Lisa Bloom, With Other Eyes: Looking at Race and Gender in Visual Culture (Minneapolis: University of Minnesota Press, 1999).

Judith Butler, Gender Trouble (London: Routledge, 1990), Chapter 1.

Robert Stam and Louise Spence, ‘Colonialism, Racism and Representation’, Screen 24:2 (1983), pp. 2-20.

Silvia Bovenschen, ‘Is there a feminine aesthetic?’, New German Critique 10 (Winter 1977), pp. 111-137.

Claire Johnston, ‘Women’s cinema as counter cinema’, in Sue Thornham (ed.) Feminist Film Theory: A Reader (Edinburgh: Edinburgh University Press, 1999), pp. 31-40.

Lisa Coulthard, ‘Killing Bill: Rethinking feminism and film violence’, in Yvonne Tasker and Diane Negra (eds.) Interrogating Postfeminism: Gender and the Politics of Popular Culture (Durham: Duke University Press, 2007), pp. 153-75.

Elizabeth Hills, ‘From “figurative males” to action heroines: further thoughts on active women in the cinema’, Screen 40:1 (1999), pp. 38-50.

Steve Neale, ‘Masculinity as Spectacle’, Screen 24:6 (1983), pp. 2-17.

Richard Dyer, ‘Don’t look now: the instabilities of the male pin-up’, Only Entertainment (Hoboken: Taylor and Francis, 2005), pp. 122-37.

bell hooks, Black Looks: Race and Representation (New York: Routledge, 2015) (Chapter 3).

Rachel Alicia Griffin, ‘Black Feminist Reflections on the Power and Politics of Representation in Tyler Perry’s For Colored Girls’, in Jamal Santa Cruze Bell and Ronald L. Jackson II (eds.) Interpreting Tyler Perry: Perspectives on Race, Class, Gender and Sexuality (New York: Routledge, 2013), pp. 169-186.

Fernando Solanas and Ocatvio Getino, ‘Towards a Third Cinema’, in Bill Nichols (ed.) Movies and Methods I (Berkeley: University of California Press, 1976), pp. 44-64.

Frantz Fanon, ‘The So-Called Dependency Complex of Colonized Peoples’, in Black Skin, White Masks

Ella Shohat and Robert Stam, ‘The Imperial Imaginary’, in Unthinking Eurocentrism, pp. 100-36.

Homi K. Bhabha, ‘The other question: stereotypes in colonial discourse’, in Evans and Hall (eds.) Visual Culture, pp. 370-8.

Robert Ferguson, ‘Otherness, Eurocentrism and the Representation of Race’, in Representing Race: Ideology, Identity and the Media (London: Arnold, 1998), pp. 65-84.

Sharon Monteith, ‘Civil Rights Movement Film’, in Julie Armstrong (ed.) The Cambridge Companion to Civil Rights Literature (Cambridge: Cambridge University Press, 2015), pp. 123-42.

E. Ann Kaplan, ‘Vicarious trauma and “empty” empathy’, in Trauma Culture: The Politics of Terror and Loss in Media and Literature (New Brunswick: Rutgers University Press, 2005), pp. 87-100.

Sara L. Rubin, ‘Specificity in Genocide Portrayal on Film: Sometimes in April (2005)’, in John L. Michalczyk, SJ Raymond G Helmick (eds.) Through a Lens Darkly: Films of Genocide and Ethnic Cleansing (New York: Peter Lang, 2013), pp. 225-32.

Mahmood Mamdani, When Victims Become Killers: Colonialism, Nativism and the Genocide in Rwanda (Princeton: Princeton University Press, 2002).

Samantha Vice, ‘“How do I live in this strange place?”’, Journal of Social Philosophy 41:3 (2010), pp. 323-42.

Melissa Steyn, ‘“White Talk”: White South Africans and the management of diasporic whiteness’, in Alfred J. Lopez (ed.) Postcolonial Whiteness: A Critical Reader on Race and Empire (New York: State University of New York Press, 2005), pp. 119-36.

Adam Haupt, ‘Black Masculinity and the Tyranny of Authenticity in South African Popular Culture’, in Adrian Hadland, Eric Louw, Simphiwe Sesanti and Herman Wasserman (eds.) Power, Politics and Identity in South African Media (Cape Town: HSRC Press, 2008), pp. 378-98.

Jane Stadler, ‘Tsotsis, Coconuts and Wiggers: Black Masculinity and Contemporary South African Media’, in Power, Politics and Identity in South African Media, pp. 343-63.

Gorfodol mewn cyrsiau:

• Q3WP: BA Eng Lang with Film Studs year 3 (BA/ELFS)
• W620: BA Film Studies year 3 (BA/FLM)
• W62B: BA Film Studies (4 year with Incorporated Foundation) year 3 (BA/FLM1)
• W62P: BA Film Studies with Placement Year year 3 (BA/FLMP)
• T125: BA Film Studies and Chinese year 4 (BA/FSCH)
• 3P3Q: BA Film Studies and English Literature year 3 (BA/FSEL)
• PQ3J: BA Film Studies and English Language year 3 (BA/FSELAN)
• PR31: BA Film Studies and French year 4 (BA/FSFR4)
• PR32: BA Film Studies and German year 4 (BA/FSGER)
• P3V1: BA Film Studies and History year 3 (BA/FSH)
• P0R3: BA Film Studies and Italian year 4 (BA/FSI)
• 2W89: BA Film Studies (with International Experience) year 3 (BA/FSIE)
• PR34: BA Film Studies and Spanish year 4 (BA/FSSPAN4)
• R2W6: BA German with Film Studies year 4 (BA/GFS)
• R2P4: BA German with Media Studies year 4 (BA/GMST)
• V1W6: BA History with Film Studies year 3 (BA/HFS)
• V1W7: BA History with Film Studies with International Experience year 4 (BA/HFSIE)
• WW36: BA Music and Film Studies year 3 (BA/MUSFS)
• W6W8: BA Professional Writing & Film year 3 (BA/PWF)
• VP23: BA Welsh History and Film Studies year 3 (BA/WHFS)

Opsiynol mewn cyrsiau:

• T103: BA Chinese and Creative Studies year 4 (BA/CHCS)
• W890: BA Creative&Professional Writing year 3 (BA/CPW)
• W89P: BA Creative and Professional Writing with Placement Year year 4 (BA/CPWP)
• W899: BA Creative & Professional Writing with International Exp year 4 (BA/CRIE)
• WPQ1: BA Creative Studies (with International Experience) year 4 (BA/CSIE)
• WPQ0: BA Creative Studies year 3 (BA/CST)
• WPQB: BA Creative Studies (4 year with Incorporated Foundation) year 3 (BA/CST1)
• WQ93: BA Creative Stds & English Lang. year 3 (BA/CSTEL)
• WR91: BA French and Creative Studies year 4 (BA/CSTFR)
• WR92: BA German and Creative Studies year 4 (BA/CSTG)
• WR93: BA Italian and Creative Studies year 4 (BA/CSTITAL)
• WW93: BA Creative Studies and Music year 3 (BA/CSTMUS)
• WR94: BA Spanish & Creative Studies year 4 (BA/CSTSP)
• P3W8: BA Film Studies and Creative Writing year 3 (BA/FSCW)
• W622: BA Film Studies with Game Design year 3 (BA/FSGD)
• P3W5: BA Film Studies with Theatre and Performance year 3 (BA/FSTP)
• P35W: Film Stud with Theatre & Performance with International Exp. year 3 (BA/FSTPIE)
• P500: BA Journalism (Subject to Validation) year 3 (BA/J)
• P306: BA Media Studies year 3 (BA/MS)
• P31B: BA Media Studies (4 year with Incorporated Foundation) year 3 (BA/MS1)
• P30F: BA Media Studies [with Foundation Year] year 3 (BA/MSF)
• 8U76: BA Media Studies (with International Experience) year 3 (BA/MSIE)
• P30P: BA Media Studies with Placement Year year 3 (BA/MSP)
• WW38: BA Music and Creative Writing year 3 (BA/MUSCW)
• W900: MArts Creative Practice year 3 (MARTS/CP)