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African American Film after the Civil Rights Movement (Film afroamerykański od roku 1960)

Informacje ogólne

Kod przedmiotu: 4219-SD026-OG Kod Erasmus / ISCED: 08.9 / (0229) Nauki humanistyczne (inne)
Nazwa przedmiotu: African American Film after the Civil Rights Movement (Film afroamerykański od roku 1960)
Jednostka: Ośrodek Studiów Amerykańskich
Grupy: Courses in foreign languages
Przedmioty ogólnouniwersyteckie na Uniwersytecie Warszawskim
Przedmioty ogólnouniwersyteckie OSA
Przedmioty ogólnouniwersyteckie społeczne
Punkty ECTS i inne: 5.00
zobacz reguły punktacji
Język prowadzenia: angielski
Rodzaj przedmiotu:

ogólnouniwersyteckie

Tryb prowadzenia:

w sali

Skrócony opis:

The work of such directors as Julie Dash, Isaac Julien, Melvin Van Peebles, Spike Lee and John Singleton serves as grounds for the discussion of the processes of claiming Black subjectivity, (re)configuring African American identity and challenging the (aesthetic, political) norms of classical Hollywood cinema. Analysis of specific films situated in the context of African American history and culture focuses on such issues as: deconstruction of racial stereotypes, Black politics, the Black aesthetic, the interconnections between gender, sexuality and race, African American icons (in music, film, sports, popular culture), the benefits and risks attending the entry of Black culture into mainstream American culture and our position as white audience.

Pełny opis:

The course examines selected movies made by African American film directors after the Civil Rights Movement. We will look at a variety of genres-from "blaxploitation" movies of the 1970's, through highly crafted feature films and documentaries of Spike Lee and independent cinema of Julie Dash, Cheryl Dunye and Haile Gerima, to John Singleton's Hollywood blockbusters. We will address the processes of claiming Black subjectivity in film, (re)configuring African American identity and challenging the (aesthetic, political) norms of classical Hollywood cinema. Analysis of specific films situated in the context of African American history and culture focuses on such issues as: deconstruction of racial stereotypes, Black politics, the Black aesthetic, the interconnections between gender, sexuality and race, African American icons (in music, film, sports, popular culture), the benefits and risks attending the entry of Black culture into mainstream American culture and our position as white audience.

Topics discussed:

1. African American film in the 1970s: comedy, blaxploitation and African American new wave

2. African American popular culture: the music video, hip hop, African American body image

3. Race and the tradition of American Gothic

4. Political cinema

5. African American music continued: jazz

6. African American success in Hollywood

7. A critique of mainstreaming of African American culture

8. African American independent cinema

9. Gender and sexuality in African American film

10. Black documentary filmmaking

Literatura:

FILM:

Raisin in the Sun, 1961 (plus fragments from Raisin in the Sun, 2008, TV)

Watermelon Man 1970

Sweet Sweetback's Badassss Song, 1971

Shaft 1, 1971 (plus fragments from Shaft Returns, 2000)

The Spook Who Sat By the Door

Do the Right Thing

Mo' Better Blues

Boyz'n the Hood

Poetic Justice

Daughters of the Dust

Tongues Untied

Watermelon Woman

Bamboozled When the Levees Broke

SELECTED BIBLIOGRAPHY:

Manthia Diawara, "Black American Cinema: The New Realism

Andrew Ross, "Hip and the Long Front of Color"

Kimmel, “Masculinity as Homophobia”

Castro, “Tongues Untied”

Toni Morrison, "Romancing the Shadow"; The Killer of Sheep

Baraka, "Spike Lee at the Movies"

Baker, "Spike Lee and the Commerce of Culture"

hooks, "Counterhegemoning Art"

Dyson, "Between Apocalypse and Redemption"

Bambara, "Reading the Signs"

Brouver, "Repositioning"

Interview: Dash with Baker

David Van Leer "Visible Silence: Spectatorship in Black Gay and Lesbian Film"

Spillers, "Uber Against Race"

Diawara, "Black Spectatorship"

hooks, "The Oppositional Gaze"

Efekty uczenia się:

1. Cultural studies: basic knowledge of film genres, film techniques and classical Hollywood conventions.

2. Tools for film analysis.

3. Knowledge of selected film theories.

4. Capacity for comparing/relating different cultural/esthetic models

5. Application of earlier knowledge of cultural studies, American history and esthetics.

6. Development of oral and writing skills in English.

7. Ability to define an appropriate research topic, locate secondary materials, construct a research paper.

Metody i kryteria oceniania:

1. Attendance in class and at weekly film screenings

2. Written responses to Viewing Questions

3. One class presentation.

4. Final paper.

Zajęcia w cyklu "Semestr letni 2019/20" (zakończony)

Okres: 2020-02-17 - 2020-08-02
Wybrany podział planu:


powiększ
zobacz plan zajęć
Typ zajęć: Konwersatorium, 30 godzin, 20 miejsc więcej informacji
Koordynatorzy: Krystyna Mazur
Prowadzący grup: Krystyna Mazur
Lista studentów: (nie masz dostępu)
Zaliczenie: Przedmiot - Zaliczenie na ocenę
Konwersatorium - Zaliczenie na ocenę
Pełny opis: (tylko po angielsku)

This semester we will watch and discuss (a selection from) the following films:

Marlon Riggs, Ethnic Notions

Melvin Van Peebles, Watermelon Man

Gordon Parks, Shaft

Melvin Van Peebles, Sweet Sweetback's Badassss Song

Isaac Julien, Badassss Cinema

Ivan Dixon, The Spook Who Sat by the Door

Francisco Newman, Staggerlee: A Conversation with Black Panther Bobby Seale

Göran Olsson, The Black Power Mixtape, 1967-1975

Charles Burnett, Killer of Sheep

Spike Lee, Do the Right Thing

John Singleton, Boyz’n the Hood

Julie Dash, Daughters of the Dust/Beyonce, Lemonade

Cheryl Dunye, Watermelon Woman

Isaac Julien, Looking for Langston

Spike Lee, Bamboozled

Lee Daniels, Precious

Steve MacQueen, 12 Years a Slave

Haile Gerima, Sankofa

Ryan Coolgler, Fruitvale Station

Ava DuVernay, Selma

Ava DuVernay, 13th

Spike Lee, BlacKkKlansman

Barry Jenkins, Moonlight

Jordan Peele, Get Out

Literatura: (tylko po angielsku)

Kobena Mercer, from “Black Masculinity and the Sexual Politics of Race”

Malcolm X, “The Ballot or the Bullet”

Gil Scott Heron, “This Revolution Will Not be Televised”

Ntongela Masilela, “The Los Angeles School of Black Filmmakers”

Dan Flory, “Spike Lee and the Sympathetic Racist”

bell hooks, "Counterhegemoning Art"

Public Enemy, “Burn Hollywood, Burn”

Manthia Diawara, "Black Spectatorship"

Sarah Jones, “Your Revolution”

bell hooks, “The Oppositional Gaze”

David Van Leer “Spectatorship in Black Gay and Lesbian Film”

Trey Ellis, “The New Black Aesthetic”

Sapphire, from Push

Opisy przedmiotów w USOS i USOSweb są chronione prawem autorskim.
Właścicielem praw autorskich jest Uniwersytet Warszawski.