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Poslední úprava: Michaela Červenková (27.04.2022)
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Poslední úprava: Mgr. Kateřina Kolářová, Ph.D. (10.10.2023)
Full sylabus is available upon registration, or upon request by the instructor.
QUEER FILM 2023
ATTENDANCE Unless stated otherwise, the class sessions for the winter semester 2023 will be conducted in person. The class assignments will be turned in via the MSTeams platform. For more information about MSTeams and how to register, see here: https://dl.cuni.cz/ms-teams/. Attendance is required and is crucial to the community-building in which we’ll be engaged over the course of the semester, exchanging ideas and learning from each other. Your participation grade will be impacted if you have more than two unexcused absences. Please do not Text/Tweet/Facebook during class; again, your grade will be impacted if you do so. Some students learn best with their laptops; laptops are acceptable if you are one of those learners, but don’t use your laptop to be online. Preparing for classes
You are expected to read the material carefully and critically and participate in the class discussions. Participation is central component of this class; you are required to come well prepared for discussion. Prepared and active attendance is part of your grade.
ACADEMIC INTEGRITY As an academic community, School of Humanities (and The GS Study programme) is committed to providing an environment in which research, learning, and scholarship can flourish and in which all endeavors are guided by academic and professional integrity. The most common Academic Integrity issue that arises is plagiarism. For further clarification about what constitutes plagiarism, please refer to https://owl.english.purdue.edu/owl/resource/589/01/. This is a very useful primer to understand what plagiarism is and how to avoid it. Please keep in mind that plagiarism occurs through intentional copying of non-original (either your own or others) work as well as through the lack of proper citation of resources that you use in your papers and discussions. Academic dishonesty is defined as cheating of any kind, including misrepresenting one’s own work, taking credit for the work of others without crediting them and without appropriate authorization, and the fabrication of information. Often, plagiarism results more from not being fastidious than from intentional use of someone else’s words as your own. Make sure any and all quotations or ideas that you draw from other sources are adequately cited. Plagiarism will result in, at a minimum, a zero on the assignment. Other consequences include any and/or all of the following: an automatic failure of the course, reporting to the University, academic probation, and/or expulsion from the programme.
N.B. ! Wikipedia will not be recognized as an academic secondary source!
DISABILITY SUPPORT SERVICES The provision of support services for students with special needs is governed by the Rector’s Provision No. 9/2013: Charles University standards of support for students with special needs.
Centre for Information, Counselling and Social Services E-mail: ipsc@ruk.cuni.cz Phone: +420 224 491 850
School of Humanities: https://fhs.cuni.cz/FHSENG-1264.html
I am eager to ensure that all students feel accommodated; feel free to talk comfortably with me about any access preferences. Furthermore, disability will be approached in the context of material we study over the course of the semester to highlight disability as a useful analytic for approaching much of what we will read or view.
I. INTRODUCING QUEER FILM
5.10. Week 1: New Queer Cinema
Introducing Queer Film What are GLBT film studies? Is there a difference between GLBTI (Gay, Lesbian, Bisexual, Trans_, Intesex…) and Queer film/film criticism? Should we care about good and positive representations of GLBTIAQ people? Why film? And does it all matter, really?
Reading: Michele Aaron, “New Queer Cinema: An Introduction,” New Queer Cinema. A Critical Reader. Rutgers UP. 2004 (pp. 3-14)
In-class screening: Fabulous! The Story of a Queer Cinema (Lisa Ades and Lesli Klainberg, US, 2006) https://www.youtube.com/watch?v=cIod2QP2TaI
Recommended: Rod Ferguson, “Race-ing Homonormativity: Citizenship, Sociology and Gay identity” in Black Queer Studies: A Critical Anthology, Patrick E. Johnson, Mae Henderson, Eds.Durham and London: Duke University Press, 2005; pp. 52-67
Keeling, Kara. „Joining the Lesbians: Cinematic Regimes of Black Lesbian Visibility,” in Black Queer Studies: A Critical Anthology, Patrick E. Johnson, Mae Henderson, Eds. Durham and London: Duke University Press, 2005; (pp. 213–227)
Briggs, Laura, Gladys McCormick, and J. T. Way. "Transnationalism: A Category of Analysis." American Quarterly 60.3 (2008): 625-48.
12.10. Week 2: Queer Film Festivals and Global Cultural Economy
Reading: Jules Rosskam, “Making Trans Cinema: A Roundtable Discussion with Felix Endara, Reina Gossett, Chase Joynt, Jess Mac and Madsen Minax.” Somatechnics 8.1(2018): 14–26.
Sharon L. Snyder and David T. Mitchell, “‘How do we get all these disabilities in here?’: Disability Film Festivals and the Politics of Atypicality.” Canadian Journal of Film Studies/Revue Canadienne d'Etudes Cinématographiques 17.1 (2008): 11-29.
Yes, We Fuck! (2015, Antonio Centeno, Raúl de la Morena); http://www.rauldelamorena.com; password: yeswefuck
Recommended:
Disclosure, dir. Sam Feder and Amy Scholder, 2020. Netflix Available at: https://www.disclosurethemovie.com/about
Rich, B. Ruby. “The New Homosexual Film Festivals” GLQ: A Journal of Lesbian and Gay Studies, 12.4. (2006): 620-625.
Barrett, Michael, et al. "Queer film and video festival forum, take one: Curators Speak Out." GLQ: A Journal of Lesbian and Gay Studies 11.4 (2005): 579-603.
Straayer, Chris, and Thomas Waugh, eds. “Queer film and video festival forum, take two: Critics Speak Out." GLQ: A Journal of Lesbian and Gay Studies 12.4 (2006): 599-602.
Straayer, Chris, and Thomas Waugh, eds. "Queer Film and Video Festival Forum: Artists Speak Out." GLQ: A Journal of Lesbian and Gay Studies 14.1 (2007): 120-2.
Arjun Appadurai, Appadurai, Arjun. Modernity at Large: Cultural Dimensions of Globalization. Minneapolis, Minn: University of Minnesota Press, 1996.
II: TRANSNATIONAL CONTEXTS
19.10. Week 3: East and Beyond/ Beyond East
Reading: Pope, Jill. “Spectral fabulations: Belgrade drag performances refashioning socialist memories.” Memory Studies 16. no. 1(2023): 85–99
Kolářová, Kateřina. “Crip Genealogies from the Postsocialist East”, Pp. 217-238 in M. Chen, A. Kafer, E. Kim, and J. A. Minich (eds.). Crip Genealogies. Durham: Duke University Press. 2023.
Screening: Mandragora, dir. Wiktor Grodecki, 1997.
Recommended: Popa, Bogdan. “Marxism and queer theory at the end of the Cold War,” In: De-centering queer theory. Communist sexuality in the flow during and after the Cold War. Manchester University Press. 2021, pp. 97-130.
Zita Farkas, „The Double Bind of Visibility: Mainstreaming Lesbianism in Love Sick” in Fejes, Narcisz, and Andrea P. Balogh.Eds. Queer Visibility in Post-Socialist Cultures. Intellect, Chicago University Press. 2013, 175-196
Robert Kupta, Joanna Mizielinska, De-Centring Western Sexualities: Central and Eastern European Perspectives. Burlington: Ashgate, 2011; chapters: “Introduction: Why Study Sexualities in Central and Eastern Europe? pp. 1-10; “‘Contemporary Peripheries’: Queer Studies, Circulations of Knowledge and East/West Divide”, pp.11-27
Kathi Wiedlack, “Red” vs. the Lesbians—Russian Characters, US-Nationalism and New Cold War Cultures in Orange Is The New Black” The Body in Feminist Theories and Methodologies, a special issue of Gender, Research, eds. Kateřina Kolářová and Jaroslava Marhánková Hasmanová, 17 (1): 29-40
Kuhar, Roman and Takacs, Judit. Eds., Beyond the Pink Curtain. Everyday Life of LGBT People in Eastern Europe,Ljubljana: Peace Institute, 2007.
Reddy, Gayatri, With Respect to Sex: Negotiating Hijra Identity in South India. Chicago: University of Chicago Press, 2005; chapter “Crossing ‘lines’ of Subjectivity: Transnational Movements and Gay Identifications,” (pp. 211-222)
Gopinath, Gayatri. Impossible Desires: Queer Diasporas and South Asian Public Cultures. Durham: Duke University Press, 2005; chapter “Bollywood/Hollywood. Queer Cinematic Representation and the Perils of Translation” (pp. 93-130)
Rafael de la Dehesa, “Third-World Gays” and Western Baggage in the Early Construction of an International Gay and Lesbian Liberation Movement http://sfonline.barnard.edu/thinking-queer-activism-transnationally/
in Czech: Zdeněk Sloboda, Czeslaw Walek, Romana Schlesinger, “PRIDE: Promotion of homosexualism, manifestation of pride, or big party? The interview with Czeslaw Walek, a director of Prague Pride, and with Romana Schlesinger, a director of Bratislava Pride,” Gender, rovné příležitosti, výzkum 14 (2): 52-55; link http://www.genderonline.cz/uploads/020793204beeaa1600f6ecc68e4aaa7b7409c440_rozhovor-pride-walek-schlesinger.pdf
26. 10. Week 4: Sexual/Racial Politics of Exceptionalism (class possibly online, tba)
Moussawi, Ghassan. “Queer exceptionalism and exclusion: Cosmopolitanism and Inequalities in ‘gay-friendly’ Beirut.”The Sociological Review 66.1(2017): 174–190.
Anne Mulhall, “The republic of Love: On the complex achievement of the same sex marriage referendum in Ireland; available at: https://bullybloggers.wordpress.com/2015/06/20/the-republic-of-love/
Screening:
Recommended: “The Miseries of Marriage: What Do Queers Lose When We “Win?”, The ASA 2015 panel
El-Tayeb, Fatima. “‘Gays Who Cannot Properly be Gay’: Queer Muslims in the Neoliberal European City.” European Journal of Women's Studies 19.1 (2012): 79-95.
Puar, Jasbir. “The Golden Handcuffs of Gay Rights: How Pinkwashing Distorts both LGBTQI and Anti-Occupation Activism”; available from http://www.thefeministwire.com/2012/01/the-golden-handcuffs-of-gay-rights-how-pinkwashing-distorts-both-lgbtiq-and-anti-occupation-activism/
Rushbrook, Dereka. “Cities, Queer Space, and the Cosmopolitan Tourist.” GLQ: A Journal of Lesbian and Gay Studies8.1-2 (2002): 183-206.
David A B Murray. “Real Queer: ‘Authentic’ LGBT Refugee Claimants and Homonationalism in the Canadian Refugee System.” Anthropologica 56.1 (2014): 21. Web.
2.11. Week 5: Queer Transgressions
Todd Haynes, Poison (discussing the film)
Kirksey, Eben. “Queer Love, Gender Bending Bacteria, and Life after the Anthropocene.” Theory, Culture & Society, vol. 36, no. 6, 2019, pp. 197–219, https://doi.org/10.1177/0263276418769995.
Welcome dinner with the Washington group
Recommended:
Spurgas, Alyson K. 2020. Diagnosing Desire: Biopolitics and Femininity into the 21st century. Ohio UP.
Chase, Cheryl. "Hermaphrodites with Attitude: Mapping the Emergence of Intersex Political Activism." GLQ: A Journal of Lesbian and Gay Studies 4.2 (1998): 189-211.
Holmes, Morgan. „The Intersex Enchiridion: Naming and Knowledge.“ Somatechnics 1.2 (2011): 388–411
III. WORKSHOP: 2.11.-9.11. Mezipatra Queer Film Festival
During the intensive workshop, we will meet daily (apx. 12am-4pm) for class followed by 1-2 cinema screenings/a night. The workshop starts with an evening meeting of the two international groups over dinner on 2 November. https://www.mezipatra.cz/en/
The precise schedule of the workshop will be provided prior to the workshop.
23.11. Mini-Conference’
30.11. Wrap up
REQUIREMENTS FOR THE CLASS:
General requirements
Attendance is required (see above)
Come prepared: You are expected to read the material carefully and critically and to attend every class. Easy questions, comprehension questions, or more theoretical queries you have. Our in-class discussions will rely on your questions
Presentation in-class (see below)
In-class presentations (Group-work): Each class is based upon the discussion of readings and additional material provided by the teacher. The presenters are collectively responsible for preparing assigned texts for discussion and for moderating the in-class debates of the materials. The presentation should consist of: - summarising main thesis and argument of the text(s), - drawing a link to the topics of the class, - present a list of questions that the text raises and that you, as the presenter, want us to discuss and think about in the class. - A handout listing all the above (1-2 pages; please respect the max length for access)
I will be happy to meet with you in the week/s before the class and discuss the presentations, handouts, questions and organisation of the class.
Workshop requirements: Again, attend the screenings and seminar discussions regularly. Attendance is part of your grade! Lead a discussion of a chosen film: mixed groups of PRG and WASH students will sign up to prepare questions for the in-class discussions of the film screenings (group-work)
Final project: Presentation during the Mini-Conference and a write-up of the presentation. You are required to use at least 2 theoretical sources from the class syllabus. This short essay should be between 3-4 pages (300 words/per page).
Position paper: A short commentary on the festival experience, what did it mean for you to take part in the queer film festival (1-2 pages); where do you see the significance of queer film and what are the complexities of the transnational queer cultural production. The position paper needs to be written in English
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