Kurzus nemzetközi vendég- és részidős hallgatóknak
- Kar
- Bölcsészettudományi Kar
- Szervezet
- BTK Művészetelméleti és Médiakutatási Intézet
- Kód
- MA-ERA-ITHAMS-S-F-214
- Cím
- Contemporary Film History: Female Directors
- Tervezett félév
- Őszi
- ECTS
- 4
- Nyelv
- en
- Oktatás célja
- Acquiring knowledge of film history and contemporary film trends. Acquiring general film analysis skills. Focusing on feminist perspectives and the work of female filmmakers, practicing gender-based film analysis techniques.
- Tantárgy tartalma
- During the semester, we will rethink some of the trends of contemporary international film history from a specific perspective: through the work of women directors. In the last few decades, the names of male directors automatically come to mind when we think of the film movements and national film schools that have dominated international film history, and narratives of film history often forget the – typically small number – of women filmmakers associated with a given movement. During the semester, we will examine the work of female participants in national film history schools and trends such as New Korean Cinema, ‘Young Hungarian Cinema’, Chinese 5th Generation, New Argentine Cinema, Japanese Cinema, Dogme '95, etc. After an overview of a particular movement, each class will focus on a detailed analysis of a film by a female filmmaker. The semester will be in seminar format, with required readings and films – for each class, students will be required to watch the assigned film at home in advance. Planned topics: Female voice vs. male voice – Introduction to feminist (film) criticism New Korean Cinema: Lim Soon-rye Young Hungarian Cinema: Ágnes Kocsis Contemporary Japanese Cinema: Naomi Kawase (New) New Argentine Cinema: Lucrecia Martel Chinese 5th Generation: Li Shaohong Contemporary Polish Cinema: Agnieska Holland, Malgorzata Szumowska Contemporary German Cinema: Angela Schanelec Austrian Cinema: Jessica Hausner Ex-Yugoslav Cinemas: Teona Strugar Mitevska
- Számonkérés és értékelés
- 1. Presentations: During the semester each student must give two 15-minute in-class presentations about a film history trend / a female director / a film directed by a woman. 2. Film tests: each class starts with a short quiz about the film that had to be watched for the class. (All film tests must be successfully completed in order to get a grade for the semester.) 3. In class essay: At the end of the semester (during the last class) students will write a short essay about a topic connected to the themes and films discussed during the course. 4. Class participation: Continuous attendance and active participation in class are required. Four or more absences will result in an incomplete for the course. Grade calculation: 30% (presentation) + 30% (in-class activity) + 40% (final essay)
- Irodalomjegyzék
- Mulvey, Laura. "Visual pleasure and narrative cinema." Visual and other pleasures. Palgrave Macmillan, London, 1989. pp. 14-26. French, Lisa: Centring the female: the articulation of female experience in the films of Jane Campion. Chapter 3: Authorship. (PhD Thesis) Grant, Catherine. "Secret agents: Feminist theories of women’s film authorship." Feminist Theory 2.1 (2001): pp. 113-130. O’Meara, Jennifer. "What “The Bechdel Test” doesn’t tell us: examining women’s verbal and vocal (dis) empowerment in cinema." Feminist Media Studies 16.6 (2016): pp. 1120-1123. Chaudhuri, Shohini. Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. Chapter 7: Masculinity in Crisis. Routledge, 2006. pp. 105-119. Bovenschen, Silvia: Is There a Feminist Aesthetic? New German Critique No. 10 (Winter 1977) pp. 111-137. Johnston, Claire: Women's Cinema as Counter-Cinema (1975) In: Claire Johnston (ed.): Notes on Women's Cinema. London: Society for Education in Film and Television. [Reprinted in: Sue Thornham (ed.): Feminist Film Theory. A Reader. Edinburgh University Press, 1999. pp. 31–40.]