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128303 AR Theory (MA) (2018S)

Queer / Ing Film

5.00 ECTS (2.00 SWS), SPL 12 - Anglistik
Continuous assessment of course work

Details

max. 25 participants
Language: English

Lecturers

Classes (iCal) - next class is marked with N

Thursday 15.03. 10:00 - 12:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
Thursday 22.03. 10:00 - 12:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
Thursday 12.04. 10:00 - 12:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
Thursday 19.04. 10:00 - 12:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
Thursday 26.04. 10:00 - 12:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
Thursday 03.05. 10:00 - 12:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
Thursday 17.05. 10:00 - 12:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
Thursday 24.05. 10:00 - 12:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
Saturday 26.05. 10:00 - 13:15 Raum 3 Anglistik UniCampus Hof 8 3E-EG-13
Thursday 07.06. 10:00 - 12:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
Thursday 14.06. 10:00 - 12:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
Thursday 21.06. 10:00 - 12:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17

Information

Aims, contents and method of the course

Used as an umbrella term ‘queer’ covers what lies beyond the sexuality envisaged by the heteronormative order, that is lesbian, gay, bi- and trans- and intersexual desire. Queer Studies, as an approach within literary criticism and cultural analysis, uses a definition of ‘queer’ that is a little narrower. For a cultural artefact or practice to be ‘queer’ in this second sense, it has to deconstruct the dichotomy of ‘feminine’ vs. ‘masculine’ (on which gender studies concentrated since the 1990s) and/or it must question or irritate the binary opposition between ‘heterosexual’ and ‘homosexual’. If desire and gender are products of how we think, speak and write about them, and of the images we produce to represent them on screen, we need to understand how these processes of production work. Learning how to do a queer reading is one of the aims of this course. In order to practice it, we are going to look at and listen to films from before (and when) Gay/Lesbian identity politics came about; at films which were contemporary to the ‘invention’ of Queer Theory; at classics of New Queer Cinema; at a TV series that plays with the heteronormative notion of what ‘family’ is; at a ‘straight’ film that carries a queer subtext; and at a film which openly reflects on the politics involved in the struggle for equal rights.

This course will combine (film) history and analysis with queer theory. You are going to have the opportunity to hone three skill sets: close reading of visual material, understanding complex argumentative texts; bringing theoretical concepts to bear on a cultural object of analysis.

Assessment and permitted materials

Regular attendance; regular preparation of assigned reading material; active participation in class; active in specialist team for one lesson per term; active participation in peer-feedback loop; three short written assignments.

Minimum requirements and assessment criteria

Attendance:
No more than two lessons may be missed without certified medical reason. If a doctor’s note is produced, a third lesson may be missed but is to be compensated for at the teacher’s discretion. If more than three lessons are missed, this results in failing the course.

Active participation: 10%
10 Facts On (handout): 5%
10 Facts On (presentation): 5%
Specialist task: 30%
Assignment 1 (1000 words): 15%
Assignment 2 (1000 words): 15%
Assignment 3 (1500 words): 20%

Students must attain at least 60% to pass this course.

Marks in %:
1 (very good): 90-100%
2 (good): 81-89%
3 (satisfactory): 71-80%
4 (pass): 60-70%
5 (fail): 0-59%

Examination topics

There will be no written exam.

Reading list

Objects of Analysis:
I have not yet decided on the final selection of what we are going to discuss, but this is the pool from which the objects of analysis will be recruited:

Leontine Sagan, Mädchen in Uniform (1931)
Robert Aldrich, The Killing of Sister George (1968)
Greta Schiller, Before Stonewall (docu, 1984)
Jennie Livingstone, Paris is Burning (docu, 1990)
Todd Haynes, Poison (1991)
Tom Kalin, Swoon (1991)
Peter Jackson, Heavenly Creatures (1994)
Alfred Hitchcock, The Birds (1963)
The Wachowski Brothers, Bound (1996)
Duncan Tucker, Transamerica (2005)
Lucía Puenzo, XXY (2007)
Gregg Araki, Mysterious Skin (2004)
Thom Fitzgerald, Cloudburst (2011)
Jill Soloway, Transparent (series, 2014)
Tom Hooper, The Danish Girl (2015)
Todd Haynes, Carol (2015)

Background reading:
Precise information about the theory we’ll discuss in class will be made available in lesson one. Generally, there is no need for you to have any prior knowledge about Queer Studies. However, it wouldn’t hurt if you had some. So: if you are interested in a general introduction to Queer Studies, I recommend any of the following: Donald E. Hall, "Who and What is 'Queer'?" in: Queer Theories (London, 2003), p. 51-85; Andreas Kraß, "Queer Studies: eine Einführung" in: ders. (Hg.), Queer Denken. Queer Studies (Ffm, 2003), p. 7-28 [edition suhrkamp 2248]; Andreas Kraß, "Queer Studies in Deutschland" in: ders. (Hg.), Queer Studies in Deutschland (Berlin, 2009), p. 7-22; Nikki Sullivan, "Preface" and "The Social Construction of Same-Sex Desire: Sin, Crime, Sickness" in: A Critical Introduction to Queer Theory (NY, 2003), p. v-vii and p. 1-21; and Annamarie Jagosie, Queer Theory: An Introduction (New York, 1996). For a specific interest in queer film: Michele Aaron, New Queer Cinema: A Critical Reader (New Brunswick, 2004). None of this reading is compulsory. The set texts (which are compulsory) will be made available as pdfs on moodle.

Association in the course directory

Studium: MA 844;
Code/Modul: MA3;
Lehrinhalt: 12-0192

Last modified: Fr 31.08.2018 08:42