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HU Credits:
2
Degree/Cycle:
2nd degree (Master)
Responsible Department:
Communication & Journalism
Semester:
2nd Semester
Teaching Languages:
Hebrew
Campus:
Mt. Scopus
Course/Module Coordinator:
Prof Raya Morag
Coordinator Office Hours:
Tuesday, 1600-1700
Teaching Staff:
Prof Raya Morag
Course/Module description:
Course Description
An examination of films made by women and the portrayal of women in films. While womenʼs filmmaking is diverse, our course will pay particular attention to issues that have been of special interest to women. While troubling the notion of women’s cinema, its definition, limits and limitations, a wide range of case studies – films emerging from dissimilar contexts of production and reception – will be mostly read and discussed in the light of feminist approaches to questions about gender and representation. In this sense, the course will also offer a historical and critical overview of feminist scholarship within film studies and of the ongoing debates in this area of study. It will therefore not provide you with a complete history of womenʼs contributions to film (that would require much more than a semester).
Course/Module aims:
Course Objectives
Students will develop a rich understanding of the diverse interactions women have had with film, and will be able to analyze and discuss contemporary women's film production and feminist film writing in light of historical developments.
Learning outcomes - On successful completion of this module, students should be able to:
By the end of the course, students will be able to:
• Critically reflect upon questions concerning women and film, both in terms of their
involvement in production and in the processes of reception.
• Ponder the key notions involved in the debates around, and the study of, feminist
film theory, gendered representations and considerations on point of view.
Attendance requirements(%):
100%
Teaching arrangement and method of instruction:
frontal lectures, discussions, analisis of clips from films
Course/Module Content:
Lesson no. Date Topic
1. 16.3.20 Introduction
2. 23.3.20 The Piano
3. 30.3.20 Fishtank
4. 20.4.20 The Hurtlocker
5. 27.4.20 Persepolis
6. 4.5.20 Meeting a director
7. 11.5.20 Angkar
8. 18.5.20 Meeting a director
9. 25.5.20 Students' presentations
10. 1.6.20 Students' presentations
11. 8.6.20 Meeting a director
12. 15.6.20 Students' presentations
13. 22.6.20 Meeting a director
14. 29.6.20 Summation
Required Reading:
1. Butler, Alison (2002) “Introduction: From Counter-Cinema to Minor Cinema” Womenʼs Cinema: The Contested Screen. London: Wallflower: 1-23.
2. Doane, Mary Ann (1984) “The Womanʼs Film: Possession and Address” Re-Vision: Essays in Film Criticism. Eds. Doane, M.A., Mellencamp P. and Williams, L., Los Angeles: American Film Institute: 67-82.
3. Kaplan, Ann E. (1983) “Is the Gaze Male?” Women & Film Both Sides of the Camera. London and New York: Routledge: 23-35.
4. de Lauretis, Teresa (1988) “Aesthetic and Feminist Theory: Rethinking Womenʼs Cinema” Female Spectators. Looking At Films and Television Ed. E. Deirdre Pribram London and New York: Verso: 174-195.
5. Johnston, Claire (1975) “Womenʼs Cinema as Counter Cinema” Notes on Women's Cinema, London: Society for Education in Film and Television. Rpt in Sue Thornham (Ed.) (1999) Feminist Film Theory. A Reader, Edinburgh U. P.: 31-40.
6. Cixou, Hélène (1976) "The Laugh of the Medusa" Signs 1.4: 875-893.
7. Cixous, Hélène (Ed. Susan Sellers) (2008) White Ink: Interviews on Sex, Text and Politics. London & New York: Routledge: 58-79.
7. איריגארי לוס (1977/2003) מין זה שאינו אחד תרגום: דניאלה ליבר סדרת ליבידו תל אביב: רסלינג. 15-26.
8. קריסטבה, ז'וליה (1983/2006) "סטאבט מאטר" סיפורי אהבה סדרת 'הצרפתים' בעריכת מיכל בן-נפתלי תל אביב" הקיבוץ המאוחד: 227-254.
9. White, Patricia (2015) Women's Cinema World Cinema: Projecting Contemporary Feminisms Durham and London: Duke University Press.
10. Creed, Barbara (1993) "The Medusa's Gaze" The Monstrous Feminine: Film, Feminism, Psychoanalysis, London: Routledge: 151-166.
11. Margaroni, Maria (2003) "Jane Campion’s Selling of the Mother/Land: Restaging the Crisis of the Postcolonial Subject" Camera Obscura 53, 18.2: 93-123.
12. Bolton, Lucy (2011) Film and Female Consciousness: Irigaray, Cinema and Thinking Women Basingstoke: Palgrave Macmillan.
13. Bolton, Lucy (2015) "A phenomenology of girlhood: being Mia in Fish Tank (Andrea Arnold, 2009)" in F. Handyside and K. Taylor-Jones (eds.) International Cinema and the Girl: Local Issues, Transnational Contexts London: Palgrave Macmillan: 75-84.
14. Jacobs, Amber (2016) "On the Maternal ‘Creaturely’ Cinema of Andrea Arnold" Journal of British Cinema and Television 13.1: 160–176.
15. Hirsch, Pam (2014) "Written on the Body A Reasonable Exit?" Feminist Media Studies 14. 3: 470–484.
16. Benson-Allott, Caetlin (2010) "Undoing Violence: Politics, Genre, and Duration in Kathryn Bigelow’s Cinema" Film Quarterly 64.2: 33–43.
17. Bennett, Bruce and Diken, Bulent (2011) "The Hurt Locker: Cinematic Addiction, 'Critique,' and the War on Terror" Cultural Politics: 165-188.
18. Chute, Hillary (2008) "The Texture of Retracing in Marjane Satrapi's 'Persepolis'" Women's Studies Quarterly 36.1/2: 92-110.
19. Miller, Nancy K. (2007) "Out of the Family: Generations of Women in Marjane Satrapi's Persepolis" Life Writing 4:1: 13-29.
20. Malek, Amy (2006) "Memoir as Iranian Exile Cultural Production: A Case Study of Marjane Satrapi's Persepolis Series" Iranian Studies 39.3: 353-380.
21. Weber-Fève, Stacey (2011) "Framing the 'Minor' in Marjane Satrapi and Vincent Paronnaud's Persepolis Contemporary French and Francophone Studies 15.3: 321-328.
22. Morag, Raya (2020) "Angkar" Perpetrator Cinema Confronting Genocide in Cambodian Documentary New York: Columbia UP: TBA
23. זיו, עמליה (2004) "בין סחורות מיניות לסובייקטים מיניים המחלוקת הפמיניסטית על פורנוגרפיה" תיאוריה וביקורת 25: 163-194.
Additional Reading Material:
Course/Module evaluation:
End of year written/oral examination 0 %
Presentation 0 %
Participation in Tutorials 0 %
Project work 90 %
Assignments 10 %
Reports 0 %
Research project 0 %
Quizzes 0 %
Other 0 %
Additional information:
Course Requirements:
• Required reading – one journal article for each class meeting.
• Submission of paper 1 – "Introduce a female director and her film". Length of paper: 1 page, 12 point font, double spaced. (10% of the final grade) Submission date: 18.5.20 by the beginning of class,. Do not submit by email. No extensions will be granted.
• Required viewing of all films independently.
• Final Paper integrating lecture materials, the films, and the bibliography (90%). Worksheet will be passed out during the final class. Submission date: 30.7.20 before 13:00 on to the Communication Department office. Do not submit by email. No extensions will be granted.
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