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The course deals with the issue of film as a historical source. It deals thematically with two areas: the European exploration and conquest of the New World and the White Savior complex (both linked to global understanding of colonialism). The course will have an interdisciplinary focus on the analysis of whole films or film excerpts. The goal of the course will be to develop not only a critical perspective on films that are generally understood to be entertaining, suspenseful, etc. (which applies primarily to films with a White Savior theme), but also a broader understanding of the issues of a Eurocentric understanding of world history or non-European cultures. <br>
The analysed films are based on various international collaborations, belong to different cinematic cultures and are made not only in English but also in the language of the cultures depicted (this does not apply to all films). The films are of varying quality and have been awarded various prizes (including negative prizes). The selected works also belong to different genres (from fantasy to science fiction, action to historical). <br> In the individual lectures we will focus on different tactics of depicting the Other, but also on processes of stereotyping, alliteration, alienation or marginalization. We will systematically expose the exoticization of the cultures of the Other that serve to entertain Western audiences. The course is divided into several different themes (in some cases the themes will relate to specific films, in other cases the themes will be studied in a selection of films - all to be specified during the semester). The academic outcomes of this specific course are based on the futher understanding of epistemic violence herited from the colonial racist and essentialist narrative and represented in contemporary movies that are supposed to entertain the spectator. Futhermore students will learn how to use different critical approches to decode this stereotypical thus rooted representation of the others. The course will be held in hybride version, in presence for students in Prague and online - on the MCTEAMS platform - for those who are not in Prague. Link: https://teams.microsoft.com/l/meetup-join/19%3ameeting_NzhmNjkxMTMtNmUwMi00YmNmLTkzNjYtMTRkMTE5NmE0NjNi%40thread.v2/0?context=%7b%22Tid%22%3a%2271cbe59b-f59f-49d8-bed9-6de6b6468917%22%2c%22Oid%22%3a%2231889f7e-78fe-4552-9b35-08b272687c93%22%7d Materials will be shared via MOODLE. Last update: Šarše Vojtěch, Mgr., Ph.D. (05.02.2025)
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Activity in discussions, reading of selected texts and home preparation by watching the films are required. This is not, of course, merely an experiential viewing of the films, but an active study and realization of the full meaning and impact of the films. Three absences are permitted. Last update: Šarše Vojtěch, Mgr., Ph.D. (10.12.2024)
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Bex, Sean; Craps. "Humanitarianism, Testimony, and the White Savior Industrial Complex: What Is The What versus Kony 2012". Cultural Critique. 92 (1). University of Minnesota Press: 32–56. doi:10.5749/culturalcritique.92.2016.0032 Burgoyne, Robert. The Hollywood Historical Film. Oxford: Blackwell, 2008. Chapman, James. Film and History. Basingstoke, UK: Palgrave Macmillan, 2013. DOI: 10.1007/978-1-137-36732-7 Carreňo González, Gastón. Entre flechas y rituales: aproximaciones a la representación del indígena latinoamericano en algunas producciones audiovisuales (1960-2000). (PhD Thesis). Santiago de Chile: Universidad de Chile. K dispozici online: https://repositorio.uchile.cl/handle/2250/117476. Colombres, Adolfo (ed.). Cine, antropología y colonialismo. Buenos Aires: Ediciones del Sol, 1985. Cullen, Jim. Sensing the Past: Hollywood Stars and Historical Visions. New York: Oxford University Press, 2016. King, Geoff, ed. Spectacle and the Real. Bristol, UK: Intellect, 2005. Fitzgerald, Michael Ray. "The White Savior and his Junior Partner: The Lone Ranger and Tonto on Cold War Television (1949–1957)". The Journal of Popular Culture. 46 (1): 79–108. doi:10.1111/jpcu.12017 Gabriel, Teshome, "Towards a Critical Theory of Third World Films". In Jim Pines y Paul Willemen (eds.), Questions of Third Cinema. London: British Film Institute, 1989, pp.30-52. Grindon, Leger. Shadows of the Past: Studies in the Historical Fiction Film. Philadelphia: Temple University Press, 1994. Hughey, Matthew (2014). The White Savior Film: Content, Critics, and Consumption. Temple University Press. ISBN 978-1-4399-1001-6 Jablonska, Aleksandra, “De la resistencia a la unión espiritual: La otra conquista de Salvador Carrasco”. In Cristales del tiempo: pasado e identidad de las películas mexicanas contemporáneas. Ciudad de México: UPN/Conacyt, 2009, pp. 163-210. MacDougall, David, “Whose Story Is It?”, Transcultural Cinema. Princeton: Princeton University Press, 1998, pp.150-164. Maurantino, Nicole. "'Reason to Hope?' The White Savior Myth and Progress in 'Post-Racial' America". Journalism & Mass Communication Quarterly. 94 (4): 1130–1145. doi:10.1177/1077699017691248 Nagib, Lúcia, “To Be Or Not To Be a Cannibal”. In Brazil on Screen: Cinema Novo, New Cinema, Utopia. London: I.B. Tauris, 2007, pp. 61-80. Paranaguá, Paulo Antonio (ed.). Tradición y modernidad en el cine de América Latina. Madrid: Fondo de Cultura Económica, 2006. Pick, Zuzana, “Cultural Difference and Representation”. In The New Latin American Cinema: A Continental Project. Austin: University of Texas Press, 1993, pp.126-156. Ramey, James, „The Resonance of the Conquest in Mexican Indigenist Cinema“, In Claudia Arroyo Quiroz et. al., México imaginado: nuevos enfoques sobre el cine (trans)nacional. Ciudad de México: UAM/Conaculta, 2011, s. 117-115. Rivera Cusicanqui, Silvia, “Construcción de imágenes de indios y mujeres en la iconografía post 52. El miserabilismo en el Álbum de la Revolución”, Tinkazos. Revista Boliviana de Ciencias Sociales. La Paz, Bolivia, noviembre de 2005, pp.133-156. Rosenstone, Robert A., and Constantin Parvulescu, eds. A Companion to the Historical Film. Oxford: Wiley-Blackwell, 2013. DOI: 10.1002/9781118322673 Sanello, Frank. Reel v. Real: How Hollywood Turns Fact into Fiction. Lanham, MD: Taylor Trade, 2003. Schiwy, Freya, “La otra mirada. Video indígena y descolonización”. Miradas. Revista del Audiovisual, San Antonio de los Baños, Cuba, Escuela Internacional de Cine y Audiovisual, s. p. K dispozici online: Schiwy, Freya, “Gender, Complementarity, and the Anticolonial Gaze”. In Indianizing Film: Decolonization, the Andes, and the Question of Technology. New Brunswick, New Jersey/London: Rutgers University Press, 2009, pp.109-138. Schroeder Rodríguez, Paul A. Latin American Cinema: A Comparative History. Berkeley: University of California Press, 2016. Shohat, Ella y Robert Stam, “El imaginario imperial”. In Multiculturalismo, cine y medios de comunicación: crítica del pensamiento eurocéntrico. Barcelona: Paidós, 2002, pp.115-150. Stam, Robert y Ella Shohat, “Las estéticas de las resistencias”. In Multiculturalismo, cine y medios de comunicación: crítica del pensamiento eurocéntrico. Barcelona: Paidós, 2002, pp. 249-315. Stubbs, Jonathan. Historical Film: A Critical Introduction. London: Bloomsbury, 2013. Tobing Rony, Fatimah, “Gestures of Self-Protection: The Picturesque and the Travelogue”. In The Third Eye: Race, Cinema, and Ethnographic Spectacle. Durham/London: Duke University Press, 1996, pp.77-98. Toplin, Robert Brent. Reel History: In Defense of Hollywood. Culture America. Lawrence: University Press of Kansas, 2002. Treacey, Mia. Reframing the Past: History, Film, and Television. New York: Routledge, 2016. DOI: 10.4324/9781315639161 Villaroel, Mónica, “Por la ruta del discurso eurocéntrico en el cine de exploradores”, Aisthesis 48, 2010, pp.90-111. K dispozici online: http://www.scielo.cl/pdf/aisthesis/n48/art06.pdf Zemon Davis, Natalie. Slaves on Screen: Film and Historical Vision. Cambridge: 2000. Last update: Šarše Vojtěch, Mgr., Ph.D. (10.12.2024)
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1. Introductory lesson: Film as a historical source Text: 6. Exploitation continues 7 An introductory lesson in the representation of the White Savior in action films. Explanation of basic terms (colonialism, colonial practices, colonial policies, civilizing mission, white saviorism, etc.). Some historical context will be provided. Types of White Savior-themed films will also be introduced. A corpus of films will also be introduced in this introductory class that will require knowledge of the topics: 8. The colonial image of the other in White Savior-themed films 9. White Savior and Language 10. White Savior and Gesture 11. White Savior and Position 12. White Savior, his culture and the culture of The Other 13. The White Savior and the so-called Oriental Woman Last update: Šarše Vojtěch, Mgr., Ph.D. (05.02.2025)
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