|UCSC/FILM + DIGITAL MEDIA DEPARTMENT|
|FILM 165C• LESBIAN/GAY/QUEER FILM and VIDEO|
#1: 4-5 pages [typed, 1” margins (max.), no larger than double-spaced
DUE: Tuesday February 5th at the beginning of class
|In “The History of Sexuality” Michel Foucault argues that repression does not so much silence sexuality as it does produce a set of meanings about it. He writes,|
has sexuality been so widely discussed, and what has been said about it?
What were the effects of power generated about what was said? … .The
central issue, then (at least in this instance), is not to determine whether
one says yes or no to sex, whether one formulates prohibitions or permissions,
whether one asserts its importance or denies its effects, or whether one
refines the words one uses to designate it; but to account for the fact
that it is spoken about, to discover who does the speaking, the positions
and viewpoints from which they speak, the institutions which prompt people
to speak about it and which store and distribute the things which are said.
What is at issue, briefly, is the over all “discursive fact,”
the way in which sex is put into discourse.”
We ‘Other Victorians’ p. 11/ p. 65CR
In an attempt to explore Foucault’s ideas about how sexuality “is put into discourse”, you will be doing a close analysis of (1) film that we've seen this quarter, exploring its use of film language to analyze HOW sexuality appears in it. In what ways does sexuality manifest itself? How do you see it or read it as?
[on-line resource: http://ic.ucsc.edu/~ahastie/film/] “fdmstudent”
#2: 4-5 pages [typed, 1” margins (max.), no larger than double-spaced
DUE: Tuesday March 4th at the beginning of class
|ANSWER QUESTION 1 OR 2 (do not answer both)|
|It is learning
how to take our differences and make them strengths. For the master’s
tools will never dismantle the master’s house. They may allow us temporarily
to beat him at his own game, but they will never enable us to bring about
genuine change. And this fact is only threatening to those…who still
define the master’s house as their only source of support.
-Audre Lorde “The Master’s Tools Will Never Dismantle The Master’s House”
(CR p. 228)
In this paper you will be exploring how a film refuses to use the “master’s tools” in an effort to dismantle the “master’s house.” In other words, the films in the list below, it could be argued, represent non-normative sexuality through non-normative film languages or use film language in non-normative ways.
• It is not necessary to provide detailed
plot/event synopsis of the entire film unless it is relevant to your particular
FILMS TO WORK WITH:
Genet’s Un Chant D’Amour
In this class we have been discussing the representation of non-normative sexualities in film & video. This task has been made easier by the relative uniqueness of seeing so many films in which lesbian, gay, and queer characters appear. In other words, we may not take these representations for granted in the way that we do representations of normative sexuality.
Engage substantially with ideas from at least ONE course reading.
Almost any course reading will prove interesting,
but here are a few suggestions:
FILM 165C • WINTER 2008 • LESBIAN/GAY/QUEER FILM + VIDEO
|YOU MUST ANSWER QUESTION #1|
1. Summarize Jagose’s chapter “QUEER.” Think of this as
a book report of review in that you will need to outline the chapter’s
major argument. According to her, what is “queer’s” historical
lineage? What is its intellectual context? What is its value as a term of
personal identification? And what are its limitations (you may need to go
into the next chapter to answer this one)?
Do not excessively quote her prose rather use your own writing style and vocabulary. Of course, you may quote her but your emphasis should be on explanation and contextualization.
|YOU MAY ANSWER EITHER QUESTION 2 or 3, but not both|
|In her essay on “Reading the Codes”, Patty White introduces the term ‘”lesbian representability” (p. 50B CR). The term may seem strange to us—why not just use the phrase “lesbian representation”? The problem with the term “representation,” in White’s mind, is that it implies that there is lesbianism out there in the world and that it could be quite simply “presented again.” White uses the term “representability” to suggest the processes of encoding and decoding of lesbianism that goes on in cultural forms. In other words, she’s trying to develop a language that will allow us to see and critique how lesbianism is produced in cinema through cultural codes and discourses. In your own words, try to describe your understanding of “discursive formations” of sexuality. How does sexuality get encoded and decoded in cultural forms?|
|3. In your own words, define what you think “lesbian, gay, or queer cinema” is? Is it a film made by a gay/lesbian/queer person? Is it one that addresses lesbian, gay, or queer issues? Or is it something else--- a film that problematizes heterosexuality? A media text that problematizes normative gender? Why? You will need to define your terms and provide an example.|