CIEE Study Center in Amsterdam, the NetherlandsCourse name:

Screen CulturesCourse number:

VIST 3001 NETHPrograms offering course:Social SciencesLanguage of instruction: EnglishU.S. Semester Credits:3Contact Hours:

45Term:

Spring 2015Course meeting times: Tuesdays and Thursdays from 17:00 to 18:30Course meeting place: CIEE office, Roetersstraat 8 HS, 1018 WC AmsterdamInstructor:

Jonathan KeyContact Information: jkey@ciee.orgOffice address:

CIEE office, Roetersstraat 8 HS, 1018 WC AmsterdamOffice hours:

By appointmentCourse DescriptionBeginning from the premise that we live mediated lives, and that the visual media texts we consume on a daily basis shape our understanding of the world around us, CIEE Screen Cultures will explore the ways in which media at large and film and television, in particular produce meaning, articulate ideology and identity, and both reflect and effect cultural change. After a critical introduction to the historical development and formal elements of film and television, as well as an overview of the major theoretical approaches that inform the study of popular culture, this course will home in on (a) the representation of race, gender, and sexuality, and (b) the global circulation, reception and cultural translation of historically and culturally situated visual media texts (with a specific focus on the cross-cultural mediation of European identity/ies). While this course is principally concerned with the cultural work performed by film and television, we will make brief forays into literature and music videos in an effort to come to a rudimentary understanding of the roles they play in the current era of convergence culture.

Learning Objectives

When students reach the end of this course, they will be expected to: Be familiar with the history and current state of film and television;

Have a basic understanding of the formal and institutional parameters of film and television;

Process, engage with, and interrogate theories of popular culture;

Apply theories of popular culture to visual media texts, both orally and in writing;

Understand and comment on the complex relationship between the creators, distributors, critics, and consumers of popular culture;

Identify and be sensitive to the ways in which identity is shaped and represented on screen;

Have become more discerning and critical consumers of film and television.

Course Prerequisites

There are no prerequisites for CIEE Screen Cultures except for an interest in film and television!

Method of InstructionCIEE Screen Cultures runs for 16 weeks (in other words, throughout block 4 and 5) and meets twice a week for 1.5 hours. Every single class, students will be assigned one or more theoretical texts, one or more introductory readings and one or more primary texts (i.e. a film, one or more episodes of a television show, or a combination of the two). This course is taught as a seminar, which means that we will discuss the primary and secondary texts together, and that students are free to pose questions to the instructor and each other.In order to frame the discussion, every class will begin with a synopsis of the materials, which will be presented either by the instructor or by the discussion leader. It is the discussion leaders responsibility to explain the theoretical readings and, crucially, to show how they relate to the film or television show assigned for that class. Every student will serve as discussion leader at least once, and discussion leaders should aim for their presentation to between 15 and 20 minutes long.

Although the ensuing discussion will be facilitated and moderated by the instructor, it is imperative that students contribute actively to the discussion. Seminar-style classes rise and fall by the participation of the students, which makes it essential that everyone comes to class prepared. At a minimum, students should have read the assigned texts, watched the assigned movie(s) and/or television show(s), and taken (extensive) notes on both.

Assessment and Final Grade

Students final grades will be based on the following:

Class participation: 10%

Discussion leadership: 10%

Three pop quizzes: 10%

Review/recap: 15%

Midterm prompt paper: 15%

Presentation/pitch of research paper: 15%

Research paper: 25%Class participation 10%

As mentioned above, the success of seminar-style classes depends in no small part on the active and informed contributions of students; you will therefore be expected to come to class prepared and ready to engage with your fellow students on the assigned readings and visual media texts.

Note: Although all of you are experienced viewers of film and television, there is a difference between watching a movie in bed before you go to sleep and watching a movie in order to unpack its ideological underpinnings. While some of you may choose to watch a film two times, all of you will have to take copious notes and bring these to class in order to support your arguments with specific references to scenes, camera movements, dialogue, etc.

Discussion leadership 10%

In addition to what is outlined under Method of Instruction, please note that successful discussion leaders go above and beyond the standard requirements for class participation by doing additional research on both the primary and secondary texts and by making connections to previously discussed readings.

Three pop quizzes 10%

These three unannounced quizzes are designed to test that students have read the assigned readings and watched the assigned visual media texts. Students will have 20 minutes to answer 4 or 5 straightforward questions, and quizzes will precede the presentation by the discussion leader.

Review/recap 15%

As will become clear in this course, film and television criticism plays a key role in our understanding and consumption of film and television texts. Students will be asked to write their own piece of film or television criticism, which may take the form of a classic review (traditionally used to evaluate movies and television pilots) or of a recap, which summarizes and critiques an individual episode of television.

Students piece of film or television criticism may not be shorter than 750 words and may not exceed 1,000 words, with an acceptable deviation of 15%. Students reviews or recaps should be typed using 1.5 or double spacing, Times New Roman 12-point font, and standard margins.

Midterm prompt paper 15%

For the midterm paper, students will be presented with at least five clips from television shows (not discussed in class) and will be asked to critically engage with one of them by adopting one or more of the theoretical frameworks that were dealt with in class.

Students are allowed to cite any of the articles that were read in class, but they are not allowed to cite only these articles. (In other words, students must venture outside the confines of the required reading list.)

Envisioned as a dry run for students research paper, the midterm paper must have a clear thesis statement that is followed by supporting arguments that display a keen understanding of the chosen clip and a thorough understanding of the theories used to explicate the clips ideological work.Students midterm paper may not be shorter than 1,000 words and may not exceed 1,500 words, with an acceptable deviation of 15%. Students reviews or recaps should be typed using 1.5 or double spacing, Times New Roman 12-point font, and standard margins. Since most academic journals of film, television and media adhere to the MLA Handbook for Writers of Research Papers (MLA), students will be expected to format their papers according to this citation method. Students will be provided with a brief summary of MLA guidelines if they are unfamiliar with this method of citation.Presentation/pitch of research paper 15%

Prior to submitting their research paper, students will have the opportunity to present their provisional thesis/main ideas to their fellow students, who will then provide constructive criticism and point the student in helpful directions as he or she readies his or her paper for submission.

In this presentation, which should last no longer than 15-20 minutes, the student should delineate his or her object of analysis, clearly lay out the chosen theoretical framework, formulate a tentative thesis statement, and present one or more supporting arguments. While students are encouraged to incorporate visual materials in their presentation, they are not required to do so.Research paper 25%

Serving as the culmination of the course, students will write a final research paper in which they will engage with one or more visual media texts of their own choosing and provide a close reading of them. This paper should be both interpretive and argumentative; the student should, respectively, ground his or her reading of the text in cultural theory and persuade the reader that his or her line of argumentation is sound and his or his overall reading of the text is valid. Successful research papers should display an intimate knowledge of both the chosen visual media text(s) and the theoretical apparatus used to support the students analysis.

Students final research papers may not be shorter than 2,000 words and may not exceed 2,750 words, with an acceptable deviation of 15%. Students research paper should be typed using 1.5 or double spacing, Times New Roman 12-point font, and standard margins. Research papers should include a full list of works cited, formatted according to the MLA citation style.Plagiarism is strictly forbidden. If a student is found guilty of plagiarism, he or she will receive a 0 on theassignment in question.

Attendance, class participation and classroom policiesEach student is expected to attend all sessions of the course and to participate actively in class discussions. Attendance will be taken every week by the course instructor. Participation will be assessed according to the CIEE Amsterdam attendance policy outlined below:

1 absence = allowed

2 absences = extra assignment (1 page in consultation with the instructor)

3 absences = 1 point off the students final grade

4 absences = student fails the course

If a student comes in 15-30 minutes late to class, this counts as a absence.

At all times, the student needs to inform the instructor before the start of class in case he or she will incur an absence. Failure to notify the teacher in advance will result in an extra assignment. Note about all assignments: Late assignments will be marked down with 1 point off. Assignments that are more than 3 days (72 hours) late will not be accepted.Students who make active connections to the concepts from the reading materials in class discussions, students who actively ask questions, and students who actively reflect on out-of-class experiences in class will receive extra points for participation. Participation points will be deducted when students do not participate in class or have not read the assigned reading materials before coming to class.Since we will be discussing culturally sensitive issues in class, the classroom must be a safe space in which students are able to express their opinions openly. Discriminatory comments or language of any kind will not be tolerated.

Resits are not offered for CIEE courses.ScreeningsAs stated before, students are required to view all of the assigned films and television episodes prior to each class meeting. Students will have the opportunity to view (some of) these as a group in the CIEE classroom on Fridays from 13:00 to 15:00, where (select) movies and episodes will be screened in advance. While students are not required to attend these group screenings, they will then have to make other arrangements to view the assigned texts on their own. Students will be provided with instructions for viewing those films and television episodes that will not be screened in advance.Overview of screenings:(1) Friday, February 13th: Rear Window(2) Friday, February 20th: Damages and Star Trek: Voyager(3) Friday, February 27th: Magnolia(4) Friday, March 6th: Crash(5) Friday, March 13th: Far from Heaven(6) Friday, March 27th: Penoza(7) Friday, April 3rd: Io Sono LAmore(8) Friday, April 17th: Le Fabuleux Destin dAmlie Poulain(9) Friday, April 24th: Zwartboek and Un Long Dimanche de Fianailles(10) Friday, May 1st: ADam-E.V.A.Weekly ScheduleClass 1: Tuesday, February 10th

Introduction to CIEE Screen Cultures

Reading: None

Viewing: a clip of a movie or television show that is a testament to your interest in/love for the medium, and be prepared to discuss it (briefly) in class.

SECTION I: THEORETICAL FOUNDATIONS OF STUDYING FILM AND TELEVISION

Class 2: Thursday, February 12th

The Culture Industry I

Reading:

(a) Adorno and Horkheimer, The Culture Industry

(b) Althusser, Ideology and Ideological State Apparatuses

(c) Benjamin, The Work of Art in the Age of Mechanical Reproduction

(d) Debord, The Society of the Spectacle

(e) Hutchings, Some of Us Are Real, Some Are Not

(f) Ross, The Naysayers

Viewing:

The Purple Rose of Cairo (Woody Allen, 1985)

Class 3: Tuesday, February 17th

The Culture Industry II

Reading:

(a) Arthurs, Sex and the City and Consumer Culture

(b) Collins, Television and Postmodernism

(c) Hall, Encoding/Decoding

(d) Little Non-Darlings and the Bad News Brats

(e) Man Sacrifices Finger to Save Wedding Ring

(f) Marx, Capital

(g) Newcomb and Hirsch, Television as a Cultural Forum

(h) Nussbaum, Difficult Women

Viewing:

Sex and the City (HBO, 1998-2004): Escape from New York (S3E13) | Ring a Ding Ding (S4E16) | A Womans Right to Shoes (S6E9)

Class 4: Thursday, February 19th

Film StyleReading:

(a) Speidel, Film Form and Narrative

(b) Mulvey, Visual Pleasure and Narrative Cinema

Viewing:

Rear Window (Alfred Hitchcock, 1958)

Class 5: Tuesday, February 24th

Television Style

Reading:

(a) Fuchs, The Thing with Feathers

(b) Mittell, Narrative Complexity in Contemporary American Television

(c) Newman, From Beats to Arcs

(d) Nowalk, The Knick: Method and Madness

(e) Nussbaum, When TV Became Art

(f) ODonnell, Television Style

(g) Thorburn, Television as an Aesthetic Medium

Viewing:

Damages (FX/DirecTV, 2007-2012): Get Me a Lawyer (S1E1) | The Knick (Cinemax, 2014-present): Method and Madness (S1E1)

Class 6: Thursday, February 26th

Feminist Interventions I

Reading:

(a) Creed, Alien and the Monstrous Feminine

(b) De Beauvoir, The Second Sex(c) Haraway, A Manifesto for Cyborgs

(d) Maslin, Ripley, Believe It or Not, Has a Secret

(e) Schneider, Dark Frontier

(f) Snierson, Lust in Space

Viewing:

Alien: Resurrection (Jean-Pierre Jeunet, 1997) | Star Trek: Voyager (UPN, 1995-2001): Dark Frontier (S5E15/S5E16)

Class 7: Tuesday, March 3rd

Feminist Interventions II

Reading:

(a) Dowd, Lady Psychopaths Welcome

(b) Flynn, Gone Girl(c) Genz and Brabon, Postfeminist Contexts

(d) Gray, Gender, Performativity, and the Dating Show

(e) Kaminer, Feminisms Identity Crisis

(f) Lisanti, The Two Virgins You Meet in Dating Show Heaven

(g) Scott and Dargis, Sugar, Spice and Guts

(h) Shone, Gone Girl, Hollywood and the Gender War

(i) Dockterman, Is Gone Girl Feminist or Misogynist?

(j) VanDerWerff, Gone Girl Is the Most Feminist Mainstream Movie in Years

Viewing:

Gone Girl (David Fincher, 2014) | The Bachelor (ABC, 2002-present): Camping (S19E4)

Class 8: Thursday, March 5th

Moving Manhood

Reading:

(a) Dillman, Magnolia Masquerading as Soap Opera

(b) Ebert, Magnolia

(c) Harris, Constructing Masculinities

(d) Peberdy, Bipolar Masculinity

Viewing:

Magnolia (Paul Thomas Anderson, 1999)

Deadline review/recap: hand in a hard copy in class

Class 9: Tuesday, March 10th

Race and Ethnicity I

Reading:

(a) Downing and Husband, Race and Ethnicity: Definitions and Issues

(b) Jensen and Wosnitzer, Crash and the Self-Indulgence of White America

(c) Hall, Cultural Identity and Cinematic Representation

(d) Middleton, Talking about Race and Whiteness in Crash

Viewing:

Crash (Paul Haggis, 2004)

Class 10: Thursday, March 12th

Race and Ethnicity II

Reading:

(a) Browne, Be Real Black-ish for Me

(b) Chu, Lai, and Yu, It Takes More Than Lunchables to Assimilate

(c) Hall, What Is This Black in Black Popular Culture?

(d) Huang, Bamboo-Ceiling TV

(e) MANAA, Restrictive Portrayals of Asians in the Media

(f) Mastro and Behm-Morawitz, Latino Representation on Primetime Television

(g) Reynolds, Why Television Is Outpacing Film in Diversity

Viewing:

Black-ish (ABC, 2014-present): Pilot (S1E1) | Cristela (ABC, 2014-present): Pilot (S1E1) | Fresh Off the Boat (ABC, 2015-present): Pilot (S1E1)

Class 11: Tuesday, March 17th

Queering Popular Culture

Reading:

(a) Butler, Critically Queer

(b) ---, Gender Trouble(c) Edgar, Drag Representation in RuPauls Drag Race

(d) McCann, Judith Butler Explained with Cats

(e) Raymond, Popular Culture and Queer Representation

Viewing:

Orange Is the New Black (Netflix, 2013-present): Lesbian Request Denied (S1E3) | RuPauls Drag Race (Logo, 2009-present): Drag Queens of Comedy (S6E8) and Glitter Ball (S6E11) [20:38-end]

At the end of this class, you will receive the instructions and prompts for your midterm prompt paper.

Class 12: Thursday, March 19th

Intersectionality

Reading:

(a) Boym, Nostalgia and Its Discontents

(b) Joyrich, Mediation and Immersion in Far from Heaven

(c) Mendelsohn, The Mad Men Account

(d) Nash, Re-Thinking Intersectionality

(e) Sepinwall, Jews Cruise

Viewing:

Far from Heaven (Todd Haynes, 2002) | Mad Men (AMC, 2007-present): Babylon (S1E6)

Tuesday, March 24th

No class (midterm week)

Thursday, March 26th

No class (midterm week)

Class 13: Tuesday, March 31st

Site Visit: Tracing Shifts in the American and Dutch Television Landscape at the Dutch Cultural Media Fund

Reading:

(a) Curtin and Shattuc, The American Television Industry

Viewing:

None; rest your eyes.

SECTION II: CULTURAL TRANSLATION AND ADAPTATION

Class 14: Thursday, April 2nd

Exporting Dutch Realities

Reading:

(a) De Leeuw, TV Nations or Global Medium?(b) Hutcheon, A Theory of Adaptation

(c) Nagel, The Copy and Its Evil Twin(d) Navarro, More than Copycat Television

Viewing:

Penoza (KRO/Nederland 3, 2010-present): Het Begin/The Beginning (S1E1) and Onaangename Verrassingen/Unpleasant Surprises (S1E2) | Red Widow (ABC, 2013): Pilot

Deadline midterm prompt paper: hand in a hard copy in class

Class 15: Tuesday, April 7th

Consuming Italy

Reading:

(a) Crothers, Globalization and American Popular Culture(b) Culler, The Semiotics of Tourism

(c) Newman, Notes on Transnational Film Theory

(d) Romney, The Food of Love

(e) Streib, Inside the Eat Pray Love Merchandising Machine

Viewing:

Eat Pray Love (Ryan Murphy, 2010) | Io Sono LAmore (Luca Guadagnino, 2009)

Class 16: Thursday, April 9th

Consumed by Italy: The Amanda Knox Story

Reading:

(a) Annunziato, The Amanda Knox Case

(b) Rich, The Neverending Nightmare of Amanda Knox

(c) Simkin, Amanda Knox, Sex, and Celebrity Crime

Viewing:

Amanda Knox: The Untold Story (Channel 5, 2011) | A Murder. A Mystery. Amanda Knox Speaks. (ABC, 2013)

Tuesday, April 14th

No class (Jonathan is in Cape Town)

Thursday, April 16th

No class (Jonathan is in Cape Town)

Class 17: Tuesday, April 21st

The French Connection

Reading:

(a) Durham, Finding France on Film

(b) Morrissey, Paris and Voyages of Self-Discovery

Viewing:

Le Fabuleux Destin dAmlie Poulain (Jean-Pierre Jeunet, 2001) | Sex and the City (HBO, 1998-2004): An American Girl in Paris (Part Une)Class 18: Thursday, April 23rd

Animating Japan

Reading:

(a) Cooper-Chen, Cartoon Planet

(b) Fennell, Consuming Anime

(c) Handlen et al., How Sailor Moon Was Sanitized

(d) McNally, How Sailor Moon Crystal Has Failed Me

(e) Poitras, Contemporary Anime in Japanese Popular Culture

Viewing:

Sailor Moon (TV Asahi/first-run syndication/Cartoon Network, 1992-2000): Who Is That Masked Man? (S1E16) and Day of Destiny (S1E40) | Pretty Guardian Sailor Moon Crystal (Toei, 2014-present): Usagi --Sailor Moon-- (S1E1), Tuxedo Mask (S1E6) and Enemy --Queen Metalia-- (S1E12)

Class 19: Tuesday, April 28th

Visualizing Trauma I: The European Wars

Reading:

(a) Caruth, Unclaimed Experience(b) Galpin, Women and the European War Film

(c) Masters, Not French Enough

Viewing:

Zwartboek (Paul Verhoeven, 2006) | Un Long Dimanche de Fianailles (Jean-Pierre Jeunet, 2004) (clips)

Class 20: Thursday, April 30th

Visualizing Trauma II: 9/11

Reading:

(a) Holland, Teaching Americans 9/11 in NBCs The West Wing

(b) Poniewozik, West Wing: Terrorism 101

(c) Somerstein, The Selective Memory of 9/11 Iconography

(d) Spigel, Television Culture after 9/11

(e) Wallace, The View from Mrs. Thompsons

Viewing:

Homeland (Showtime, 2011-present): Pilot | The West Wing (NBC, 1999-2006): Isaac and Ishmael (S3E0)

At the end of this class, you will receive (more) detailed instructions about the research paper.

Tuesday, May 5th

No class (Liberation Day)

Class 21: Thursday, May 7th

Guest Lecture: Adapting Amsterdam

Reading:

None; sigh, relief, breathe.

Viewing:

ADam-E.V.A. (Nederland 2, 2011-present): De Eerste Maandag/The First Monday (S1E1) | Koninginnekoorts/Queens Day Fever (S1E2)

Class 22: Tuesday, May 12th

Site Visit: Building the Audiovisual Archive, or the Dutch Institute for Sound and Vision

Reading:

(a) Hagedoorn, Cultural Memory in the Multi-Platform Era

(b) ODweyer, European Television Archives

Viewing:

None; I hear taking walks is nice.

Thursday, May 14th

No class (Ascension Day)

Class 23: Tuesday, May 19th

The Eurovision Song Contest

Reading:

(a) Baker, Wild Dances and Dying Wolves

(b) Erickson, Pop Politics

(c) Lane, The Meaning of the Eurovision Song Contest

(d) Wolther, More Than Just Music

Viewing:

Selected clips from previous editions of the Eurovision Song Contest

Optional Viewing:

Students are encouraged to attend the CIEE Eurovision Watch Party, which will be held at the CIEE office on Saturday, May 23rd from 20:00 to 23:30.

Class 24: Thursday, May 21st

Student Presentations and Future Directions I

Reading:

(a) Denby, Do the Movies Have a Future?(b) Obst, Sleepless in HollywoodViewing:

None, except for your fellow students presentations.

Class 25: Tuesday, May 26th

Student Presentations and Future Directions II

Reading:

(a) Auletta, Outside the Box

(b) Goodman, Traditional TV vs. Netflix, Etc.?

(c) Sepinwall, How Much Good TV Is Too Much?

(d) Steel, New Network Shows Strive for Boldness

(e) VanDerWerff, Lets Save Network Television!

Viewing:

None; dry your eyes, because this is the last class.

Thursday, May 28th

No class: use this time to revise your research paper

Friday, May 29th

Deadline research paper: hand in a hard copy by 17:00

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