性別研究與電影
Gender/Sexuality Study and Film
| 節 | 週二 |
|---|---|
5 13:20–14:10 | 性別研究與電影 HC401 3 節連堂 |
6 14:20–15:10 | |
7 15:30–16:20 |
* 根據陽明交大上課時間表所列
This course is aimed at equipping students with theories of psychoanalysis, feminisms and queer theories. Students will also be trained to apply these theories to analyze films in exploring crucial issues such as female subjectivity, gaze, desire, and power relations in the intersection of gender, nation, and race. Students are encouraged to be engaged in original and critical thinking.
1. Class participation and discussion 2. Presentation: a. Oral Presentation: Please sign up a certain week and give a 25-minute oral presentation. Your oral presentation could be a summary of and a critique on the main concepts of the assigned readings. b. OR an analysis or critique on a film related to the subject of that week. The film could be the assigned film of this course or any film to your interest. If you want to show some video clipping, please edit it prior to your presentation instead of struggling with the machine back and forth--- you only have 25 minutes.) 3. Mid-term paper (4-5 pages, double space): in the mid-term, you have to utilize one or two theories you have learned in this class to analyze a visual text or literary text. Pay attention to your citation. No plagiarism. 4. Final paper: Please turn in a final paper (Graduate Students: 10-12 pages; Undergraduate Students: 4-6 pages; double space) at the end of this semester. You are encouraged to demonstrate your abilities of critical thinking and textual analysis. You have to utilize one or two theories you have learned in this class. The subject of your final paper is flexible as long as it can reflect what you have learned from this course. Pay attention to your citation. No plagiarism.
Grading: Class participation and discussion: 15% Oral presentation: 20% Midterm paper (Both graduate and undergraduate students: 4-5 pages, double space): 25% Final paper (Graduate Students: 10-12 pages; Undergraduate Students: 4-6 pages; double space): 40%
| 週次 | 主題 |
|---|---|
| 第 1 週 | Introduction |
| 第 2 週 | Visual Pleasure and Male Gaze Readings: Laura Mulvey, “Visual and Other Pleasures,” in Visual and Other Pleasures Houndmills, Basingstoke, Hampshire : Macmillan, 1989. 14-37. Film: Vertigo |
| 第 3 週 | Object a and Phallus Reading: Jacqueline Rose, “Introduction II,” in Juliet Mitchell and Jacqueline Rose Eds., Feminine Sexuality. New York: Pantheon Books, 27-58. 劉毓秀,<走出「唯一」,流向非一」:從佛洛伊德到依蕊格來>,《中外文學》第24卷 第11期。1997年4月。 |
| 第 4 週 | Jouissance and the Maternal Semiotics I Readings: Elizabeth Grosz, “Lacan and Feminism,” in Jacques Lacan: A Feminist Introduction. London ; New York : Routledge, 1990. 147-167. 蔡秀枝,<克麗絲特娃對母子關係中「陰性」空間的看法>,《中外文學》第21卷 第9期。1993年2月。 |
| 第 5 週 | Jouissance and the Maternal Semiotics II Reading: 劉黃毓秀,<肉身中的女性再現:《鋼琴師和她的情人》>,《中外文學》第23卷 第6期。1994年6月。 Film: The Piano |
| 第 6 週 | No Class |
| 第 7 週 | Feminist Writing and Polyphonic Mimicry I Reading: Elizabeth Grosz, “Lacan and Feminism,” p.167-187. Film: The Hours |
| 第 8 週 | Feminist Writing and Polyphonic Mimicry II Reading: Luce Irigaray, “The Power of Discourse and the Subordination of the Feminine,” This Sex which is Not One. Cornell UP, 1985. 68-87 Film: Orlando |
| 第 9 週 | Chora and Abjection I Julia Kristeva, The Powers of Horror. Columbia University Press, 1982. 1-18, 56-75. *Submit mid-term paper (4-5 pages, double space) |
| 第 10 週 | Chora and Abjection II Film: Ishiguro, Never Let Me Go |
| 第 11 週 | Performativity of Sex, Sexuality, and Gender I Judith Butler, “Imitation and Gender Insubbordination,” The Lesbian and Gay Studies Reader. Routledge, 1993. 307-20. |
| 第 12 週 | Performativity of Sex, Sexuality, and Gender II 張小虹。<東方服飾 --- 《蝴蝶君》中的文化/性慾/劇場含混>。《性別越界:女性主義文學理論與批評》。台北:聯合文學。1995年。頁138-160。 Film: M. Butterfly |
| 第 13 週 | Cyborg Woman and Posthumanism I Donna J. Haraway, “A Cyborg Manifesto,” in Simian, Cyborgs, and Women. Routledge, 1991. 149-81. |
| 第 14 週 | Cyborg Woman and Posthumanism II Reading: Napier, Susan J. “Doll Parts: Technology and the Body in Ghost in the Shell.” Anime from Akira to Howl’s Moving Castle: Experiencing Contemporary Japanese Animation. New York: Palgrave MacMillan, 2005. 103-16. Film: Ghost in the Shell |
| 第 15 週 | Cyborg Woman and Posthumanism III Reading: Kate Ince, “Cyborg Women, Posthumanity, and Technological Body Art,” Orlan: Millennial Female. Oxford: Berg, 2000. Film: Orlan’s Carnal Art |
| 第 16 週 | Love, Single, or Family? Film: Lobster |
1. Assigned reading texts will be purchased in the Xerox room, 4th fl,浩然圖書館 The assigned reading texts include: Gender/Sexuality Studies and Visual Culture Reader (Edited by Prof. Ivy I-chu Chang) 2. Most visual material will be in reserve area of audio-visual center of campus library (浩然圖書館).