110135 SE Medienwissenschaftliches Seminar (MA) - Spanisch (2023W)
El Canon Cinematográfico Contemporáneo Español
Prüfungsimmanente Lehrveranstaltung
Labels
VOR-ORT
Voraussetzungen lt. Studienplan:
MA: S. Studienplan; Lehramt (Master): keine
MA: S. Studienplan; Lehramt (Master): keine
An/Abmeldung
Hinweis: Ihr Anmeldezeitpunkt innerhalb der Frist hat keine Auswirkungen auf die Platzvergabe (kein "first come, first served").
- Anmeldung von Di 19.09.2023 09:00 bis Mi 04.10.2023 10:00
- Abmeldung bis Di 31.10.2023 23:59
Details
max. 25 Teilnehmer*innen
Sprache: Spanisch
Lehrende
Termine (iCal) - nächster Termin ist mit N markiert
Mittwoch
08.11.
17:00 - 19:30
Seminarraum ROM 9 (3B-O1-21) UniCampus Hof 8
Mittwoch
15.11.
17:00 - 19:30
Seminarraum ROM 9 (3B-O1-21) UniCampus Hof 8
Mittwoch
22.11.
17:00 - 19:30
Seminarraum ROM 9 (3B-O1-21) UniCampus Hof 8
Samstag
25.11.
10:00 - 15:00
Seminarraum ROM 9 (3B-O1-21) UniCampus Hof 8
Mittwoch
29.11.
17:00 - 19:30
Seminarraum ROM 9 (3B-O1-21) UniCampus Hof 8
Samstag
02.12.
10:00 - 15:00
Seminarraum ROM 9 (3B-O1-21) UniCampus Hof 8
Mittwoch
06.12.
17:00 - 19:30
Seminarraum ROM 9 (3B-O1-21) UniCampus Hof 8
Information
Ziele, Inhalte und Methode der Lehrveranstaltung
Art der Leistungskontrolle und erlaubte Hilfsmittel
The underlying teaching philosophy will have a strong element of ‘flipped classroom’: students will be expected to complete a range of tasks, such as screenings and readings, before the class, and to participate in student-centred tasks, such as moderated discussions and debates, in the class. The proficiency level of the students will be used to calibrate the extent to which the ‘flipped classroom’ model can be used effectively for an optimal learning experience.
Each student will be invited to take each of the film indicated above as a starting point to further explore the broad notion of canonicity as well as the cinematic pathways these acclaimed films have opened upStudents will be required to do a preliminary screening, undertake the required preliminary reading, and participate in the seminar. All classes will adopt an interactive seminar structure allowing students to participate in moderated discussions.
Each student will be invited to take each of the film indicated above as a starting point to further explore the broad notion of canonicity as well as the cinematic pathways these acclaimed films have opened upStudents will be required to do a preliminary screening, undertake the required preliminary reading, and participate in the seminar. All classes will adopt an interactive seminar structure allowing students to participate in moderated discussions.
Mindestanforderungen und Beurteilungsmaßstab
Each student has to carry out:Personal project: An essay on one of the three films studies in the course (1000 words in Spanish): 40%
Learning diary: A minimum of 3 x 200-word entries (in Spanish): to be submitted in 3 times during the course: 30%
Minimum of 1 oral presentation: 5-minute oral presentations can be arranged weekly: 20%
Class attendance (students are expected to attend and participate in all class activities.): 10%
Learning diary: A minimum of 3 x 200-word entries (in Spanish): to be submitted in 3 times during the course: 30%
Minimum of 1 oral presentation: 5-minute oral presentations can be arranged weekly: 20%
Class attendance (students are expected to attend and participate in all class activities.): 10%
Prüfungsstoff
Students will be required to do a preliminary screening, undertake the required preliminary reading, and participate in the seminar. All classes will adopt an interactive seminar structure allowing students to participate in moderated discussions. The underlying teaching philosophy will have a strong element of ‘flipped classroom’: students will be expected to complete a range of tasks, such as screenings and readings, before the class, and to participate in student-centred tasks, such as moderated discussions and debates, in the class.
Evaluation on the basis of the performance of the Minimum requirements and assessment criteria (above).
Evaluation on the basis of the performance of the Minimum requirements and assessment criteria (above).
Literatur
Required and further readings will be provided to students prior to the beginning of the course. This is an indicative selection of general and background textbooks.D’Lugo, Marvin, Pedro Almodóvar, Urbana, University of Illinois Press, 2006.
Feenstra, Pietsie and Hub Hermans (eds.), Miradas sobre pasado y presente en el cine español (1990-2005), New York, Rodopi, 2008.
Lie, Nadia, Silvana Mandolessi and Dagmar Vandebosch (eds.), El juego con los estereotipos: la redefinición de la identidad hispánica en la literatura y el cine postnacionales, Bruxelles, Peter Lang, 2012.
Martínez Expósito, Alfredo, Cuestión de imagen: cine y Marca España, Vigo, Pontevedra (España), Editorial Academia del Hispanismo, 2015.
Matz, María R. and Carole Salmon (eds.), How the Films Of Pedro Almodóvar Draw Upon and Influence Spanish Society: Bilingual Essays on his Cinema. Preface by Brad Epps. Lewiston, The Edwin Mellen Press, 2012.
Morehead, John W. (ed.), The Supernatural Cinema of Guillermo del Toro: Critical Essays. Foreword by Doug Jones. Jefferson, North Carolina, McFarland & Company, 2015.
Sanabria, Carolina, Bigas Luna: el ojo voraz, prólogo de Román Gubern. Barcelona, Laertes, 2010.
Shaw, Deborah, The Three Amigos: The Transnational Filmmaking of Guillermo del Toro, Alejandro González Iñárritu, and Alfonso Cuarón, Manchester and New York, Manchester University Press, 2013.
Triana-Toribio, Núria, Spanish Film Cultures: The Making and Unmaking of Spanish Cinema, London, Palgrave, British Film Institute, 2016.
Zunzunegui Díez, Santos Historias de España: de qué hablamos cuando hablamos de cine español, Valencia, Generalitat Valenciana, Conselleria de Cultura i Educació, Subsecretaria de Promoció Cultural, Institut Valencià de Cinematografía Ricardo Muñoz Suay, 2002.
Feenstra, Pietsie and Hub Hermans (eds.), Miradas sobre pasado y presente en el cine español (1990-2005), New York, Rodopi, 2008.
Lie, Nadia, Silvana Mandolessi and Dagmar Vandebosch (eds.), El juego con los estereotipos: la redefinición de la identidad hispánica en la literatura y el cine postnacionales, Bruxelles, Peter Lang, 2012.
Martínez Expósito, Alfredo, Cuestión de imagen: cine y Marca España, Vigo, Pontevedra (España), Editorial Academia del Hispanismo, 2015.
Matz, María R. and Carole Salmon (eds.), How the Films Of Pedro Almodóvar Draw Upon and Influence Spanish Society: Bilingual Essays on his Cinema. Preface by Brad Epps. Lewiston, The Edwin Mellen Press, 2012.
Morehead, John W. (ed.), The Supernatural Cinema of Guillermo del Toro: Critical Essays. Foreword by Doug Jones. Jefferson, North Carolina, McFarland & Company, 2015.
Sanabria, Carolina, Bigas Luna: el ojo voraz, prólogo de Román Gubern. Barcelona, Laertes, 2010.
Shaw, Deborah, The Three Amigos: The Transnational Filmmaking of Guillermo del Toro, Alejandro González Iñárritu, and Alfonso Cuarón, Manchester and New York, Manchester University Press, 2013.
Triana-Toribio, Núria, Spanish Film Cultures: The Making and Unmaking of Spanish Cinema, London, Palgrave, British Film Institute, 2016.
Zunzunegui Díez, Santos Historias de España: de qué hablamos cuando hablamos de cine español, Valencia, Generalitat Valenciana, Conselleria de Cultura i Educació, Subsecretaria de Promoció Cultural, Institut Valencià de Cinematografía Ricardo Muñoz Suay, 2002.
Zuordnung im Vorlesungsverzeichnis
Master: MAR S 05/06/07/08/09 a/b, 03/04b;
Lehramt Master: UF MA S 02
Lehramt Master: UF MA S 02
Letzte Änderung: Di 12.09.2023 11:47
Thematically, the course focuses on the formation of a contemporary national canon in Spanish cinema. Each of the films has been chosen for its specific contribution to, or problematisation of, such canon. Students will be invited to take each of the film as a starting point to further explore the broad notion of canonicity as well as the cinematic pathways these acclaimed films have opened up. The films are:
• Todo sobre mi madre (All About My Mother), directed by Pedro Almodovar in 1999
• Volaverunt (Goya’s Lover), directed by Juan Jose Bigas Luna in 1999.
• El laberinto del fauno (Pan’s Labyrinth), directed by Guillermo del Toro in 2006
Issues of canonicity raised by these films include: national versus transnational film production and consumption, literary adaptations and literary literacies, celebrities and fandom, the role of prizes and awards in shaping up the film industry, cinema as social commentary and the cinematic construction of a ‘new’ Spain, and imagological perspectives in film reception abroad.Learning objectives:
1. Gained an overall understanding of canonical cinema in contemporary Spain (1975 to present day).
2. Achieved a detailed understanding of the factors at play in the construction of the cinematic canon in contemporary Spain, with emphasis on the following notions: the transnational, page/screen literacies, the celebrity director/actor, the role of festivals, critical cinema, nation branding through cinema, and imagology.
3. Expanded their factual knowledge and critical understanding of the careers of three key film directors: Pedro Almodóvar, Bigas Luna and Guillermo del Toro.
4. Gained a nuanced understanding of regional and linguistic cultural dynamics in contemporary Spain, with particular focus on the cases of Catalonia and the Basque Country.
5. Gained a reasoned appreciation of the transnational dimension of the contemporary Spanish film industry.
6. Developed critical screening skills.
7. Enriched and expanded their lexicon of technical film terms in Spanish.
8. Developed critical reading skills in both English and Spanish.
9. Developed interpersonal, group-based, and collective discussion and debating skills in Spanish.
10. Further developed their base knowledge of Spanish grammar, vocabulary and academic usage.
11. Improved their ability to write a substantial piece of individual research in academic Spanish.
12. Deepened their ability to take responsibility for their own learning process in the context of a ‘flipped classroom’ course.Teaching in ‘flipped classroom’.