- Spain in the New Global Context:Literature and Film
In this course we will consider Spain’s role within a larger global context during the twentieth century from a critical standpoint. Through film and literature we will gain an understanding of how the concept of “national” has changed over the course of the past decades. Current theoretical models of film analysis explain how the idea of national cinemas is no longer relevant when analyzing cinematic production and distribution. Likewise, specific events in Spain, such as the civil war (1936-39) and the wave of recent immigration, support the idea that nation states and notions of national “identity” cannot function independently from the rest of the world.
We will focus on three main developments over the course of the twentieth century that exemplify Spain’s role on the global stage: surrealism, the civil war, and migration. Through these main topics we will consider how politics, economics, history, war, gender, and memory are represented in film and literature. Our analyses will focus on Spain’s relationship with Mexico and France (Surrealism), Great Britain, Germany, Italy and the United States (the civil war), and Morocco and the Caribbean (migration) among others. Within these multinational relationships we will be able to appreciate and understand globalization and Spain’s unique place in the new global context.
1. Critically analyze theoretical approaches to film studies. Learn and accurately use appropriate cinematic terminology to analyze films.
2. Gain an understanding of specific historical movements and events such as surrealism, the Spanish civil war, and migration.
3. Identify the populations involved in these movements and understand them historically and culturally.
4. Define and use with accuracy literary and theoretical terms such as marginalization, feminism, transnationalism, and diaspora, among others.
5. Improve written and spoken Spanish in terms of grammar, pronunciation, and expression.
The course grade is based on:
Homework and quizzes = 30%
In-class essays = 30%
Midterm exam = 20%
Final exam= 20%
Class participation is expected of every student and is defined by active contribution to class discussion, prepared contributions when called on in class, active participation in group activities and maintaining Spanish as the language of class communication. [End Page 301]
Homework and quizzes are questions the professor hands out to the class or posts via Blackboard. The student is expected to answer these questions on the literature, films and articles in complete sentences using the information from previous class sessions and readings. Quizzes can also be presented at the beginning of class without warning. All of the homework and quizzes will be based on class readings and discussions.
The in- class essays and exams will be based on theoretical concepts we use to analyze the readings and films. Students are expected to use specific examples from the films, readings, and literary pieces we study in and outside of the classroom. The exams will include historical information, titles, authors, directors and short analyses on specific scenes.
Required text: Vademécum del cine iberoamericano: métodos y teorías. Eds. Eugenia Afinoguénova, Samuel Amago & Kathryn Everly. Hispanófila 177 (2016).
All films listed in the class calendar will be on reserve in Bird Library. Students are responsible for viewing each film outside of class. There will be scheduled screenings of the films, however, if you are unable to attend the screening you are responsible for seeing the film on your own.
All articles and readings not in Vademécum will be available as pdf files on the class Blackboard site.
martes. Introducción al curso - España en el mundo. Orientación al sitio web Cineglos http://sites.holycross.edu/cineglos/1
Unidad 1: Los años de arte y guerra
|jueves||El cine nacional y la globalización. El lenguaje cinematográfico. |
“Cognición audiovisual: un lenguaje para analizar el cine”, Eugenia Afinoguénova.
|martes||Cine y el surrealismo francés. André Bretón y los surrealistas en México. |
El arte de Remedios Varo, Frida Kahlo, Leonora Carrington.
“El sonido cinematográfico”, Kathleen M. Vernon.
|jueves||Un chien andalou - Luis Buñuel. |
“Cámara obscura, miradas asesinas, historias del «Yo»: género y aparato cinematográfico”, Leora Lev...