FAR 330: Women in Film

Course Description

This course will focus on "women and film" in an international perspective. The course will examine selected films with regard to the representation of women on screen, women's filmmaking as critical practice, and issues in feminist film theory and criticism. The course includes perspectives on Hollywood cinema, independently produced American, and international films. Students will learn how to analyze films. (3 credits)

Prerequisites

  • ENG 101: English Composition 1
  • ENG 102: English Composition 2

Student Learning Outcomes (SLOs)

Students who successfully complete this course will be able to:

  1. Discuss visual strategies of film analysis and film making by focusing on the four categories of camera movement (cinematography), sound, editing, and mise-en-scene.
  2. Identify gender specific topics covered in films.
  3. Enhance critical thinking about gendered aspects of our own life and how they are represented in mainstream and independently produced movies.
  4. Look at mainstream movie productions differently after studying aspects of international films and American made movies with international themes.
  5. Respond to movies in a more reflective and critical way after completing this course.

Course Activities and Grading

AssignmentsWeights

Discussions (Weeks 1-8 @ 30 points)

30%

Short Response Assignments (Weeks 1, 2, 5 and 7 @ 60 points)

30%

Research Paper Proposal (Week 3)

10%
Research Paper (Week 6)

30%

Total

100%

Required Textbook

  • This course uses Open Educational Resources (OER). OER are openly licensed, educational resources that can be used for teaching, learning and research. OER may consist of a variety of resources such as textbooks, videos and software that are no cost for students.

Additional Materials

Additional articles will be made available in the Course Documents section of the course

Films - Students are expected to watch the films each week.

Course Schedule

WeekSLOsReadings and ExercisesAssignments

1

1, 2, 3

Topic: Women and Representation

  • Introduction to the course structure & getting to know each other.
  • “Film Form” versus “Film Style.”
    • We will discuss Wendy & Lucy and Maria Full of Grace – choose and watch one
  • Readings:
    • Read Chapter 2, How to Watch a Movie
      in Sharman, R. L. (2020). Moving pictures: An introduction to cinema.
  • Video:
    • Wendy & Lucy and/or Maria Full of Grace (You are only required to watch one but feel free to view both)
  • Read assigned chapters
  • Participate in the discussions
  • Complete short response
  • Watch movie

2

1, 2, 3, 5

Topic: Visual Pleasure 

  • Developing analytical skills for visual analysis: what does that mean? What is “semiotics?” Why is it central to our course?
  • Short Visual Analysis:
    • The kiss in Rear Window with Grace Kelly and Jimmy Stewart. Theorizing the Female/Male Spectator.
  • Readings:
    • Chapter 3 in Moving Pictures.
      in Sharman, R. L. (2020). Moving pictures: An introduction to cinema.
    • Laura Mulvey, “Visual Pleasure and Narrative Cinema” (in Erens, pp. 28-40).
    • Tania Modleski, “Hitchcock, Feminism, and the Patriarchal Unconscious (in Erens, pp. 58-74).
  • Video:
    • Rear Window. Dir. Alfred Hitchcock. Paramount Pictures, 1954.
    • Vertigo (Alfred Hitchcock, 1958);
    • Disturbia (D.J. Caruso, 2007)
  • Read assigned chapters
  • Participate in the discussion
  • Complete short response
  • Watch movie

3

1, 2, 3, 5

Topic: Male Gaze

  • Stereotypes of femininity in mainstream Hollywood films. Mechanism of Stardom.
  • Case Study: Marilyn Monroe as a star phenomenon. The pragmatics and “commodity” of female sexuality: the song “Diamonds are girl’s best friends.”
  • Readings:
    • Maureen Turim (in Erens, pp. 101-111)
    • Lucie Arbuthnot and Gail Seneca (in Erens, pp. 112-125)
  • Video:
    • Gentlemen Prefer Blondes. Dir. Howard Hawks. Twentieth Century Fox, 1953.
  • Read assigned chapters
  • Participate in the discussion
  • Watch movie
  • Submit proposal for research paper

4

1, 2, 3, 5

Topic: Narrative Conventions 

  • Film Style in Classical Hollywood. Gender Stereotypes. Fabricated identities.
  • Readings:
    • Mary Ann Doane (In Erens, pp. 41-57).
  • Video:
    • View two of these films:
      • Tootsie (Sydney Pollack, 1982)
      • The Stepford Wives (Bryan Forbes, 1975)
      • The Stepford Wives (Remake, Frank Oz, 2004)
      • TransAmerica (Duncan Tucker, 2005)
      • Boys Don’t Cry (Kimberly Peirce, 1999)
      • Albert Nobbs (Rodrigo Garcia, 2011)
      • Pretty Woman (Garry Marshall, 1990)
  • Read assigned chapters
  • Participate in the discussion
  • Watch two movies

5

1, 2, 3, 5

Topic: Classical Hollywood Cinema 

  • Maternal Melodrama. Classic Hollywood versus Remake. Contemporary Versions of motherhood/romance.
  • Case Study:
    • Julia Roberts
  • Readings:
    • E Ann Kaplan (in Erens, pp. 126-136);
    • Linda Williams (In Erens, pp. 137-162)
  • Video:
    • View Stella Dallas (one or the other), and one of your choice:

      • Stella Dallas (King Vidor, 1937)
      • Stella (Remake, John Erman, 1990)
      • Erin Brokovich (Steven Soderbergh, 2000)
      • Support the Girls (Andrew Bujalski, 2018)
      • The Boston Strangler (Matt Ruskin 2023)
  • Read assigned chapters
  • Participate in the discussion
  • Complete short response
  • Watch two movies

6

1, 2, 3, 4, 5

Topic: Film Noir 

  • Classical Hollywood filmmaking. Editing. Film Noir. Different Film Genres/Film Movements.
  • Readings:
    • Article - Film Noir
    • Article - The Femme Fatale
  • Video:
    • View American Cinema 07: Film Noir (Annenberg Learner video).
    • View one of your choice:
      • Out of the Past (Jacques Tourneur, 1947)
      • Mildred Pierce (Michael Curtiz, 1945)
      • Chinatown (Roman Polanski, 1974)
      • Devil in a Blue Dress (Carl Franklin, 1995
  • Read assigned chapters
  • Participate in the discussion
  • Watch two movies
  • Submit Research Paper

7

1, 2, 3, 4, 5

Topic: International Cinema: Diversity of Women's Voices

  • Personal stories of women in different countries. The gaze on America from a woman’s perspective.
  • Readings:
    • None
  • Video:
    • Raise The Red Lantern (Yimou Zhang, China, 1991)
    • Full Time (Eric Gravel, France, 2023) - Free on Tubi
    • Sentinelle (Julien Leclerq, France, 2021) - Netflix
    • Atlantics (Mati Diop, France, Senegal, 2019) - Netflix
  • Read assigned chapters
  • Participate in the discussion
  • Watch two movies
  • Complete short response

8

1, 2, 3, 4, 5

Topic: Women in Horror Films: The Power of the Final Girl

  • The role of women in horror films and the purposes of the “Final Girl”
  • Readings:
    • Chapter 7 - Horror and Slasher films section only) in Film Appreciation
    • The Final Girl Explained
  • Video:
  • Read assigned chapters
  • Participate in the discussion
  • Watch two movies
  • Complete Final Exam
  • Complete Course Evaluation

COSC Accessibility Statement

Charter Oak State College encourages students with disabilities, including non-visible disabilities such as chronic diseases, learning disabilities, head injury, attention deficit/hyperactive disorder, or psychiatric disabilities, to discuss appropriate accommodations with the Office of Accessibility Services at OAS@charteroak.edu.

COSC Policies, Course Policies, Academic Support Services and Resources

Students are responsible for knowing all Charter Oak State College (COSC) institutional policies, course-specific policies, procedures, and available academic support services and resources. Please see COSC Policies for COSC institutional policies, and see also specific policies related to this course. See COSC Resources for information regarding available academic support services and resources.