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SYLLABUS Music in Film and Fiction Fall 2011

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SYLLABUS Music in Film and Fiction Fall 2011 Music in Film and Fiction Span 1107 MAC GRAW HALL 145 MW 8.40-9.55 Instructor: Aurélie Vialette Office: Morrill Hall 412 Office hours: Wednesdays 10am-12pm (or by appointment) Phone: 255-6407 Email: [email protected] Jazz, salsa, tango, fado, bolero: how do novels, movies, and society interpret these and other Hispanic musical forms? How can a novel include the sound of music? How do novels and films describe the musician? How do novels and films represent creativity, both musical and literary? And what role does modern society give to music and musicians? We will engage such questions in an exploration of Spanish, Portuguese and Latin American fiction, movies, and music. Through reading, listening, lively discussion, and regular writing assignments, students will explore the role of music in Hispanic novels, cinema, and society, examining form and language in order to engage with broader issues. READINGS: (Electronic reader for all the readings except Trimble, John R. Writing with Style that you are responsible to buy. You are free to buy your own copy of the books we will read in this course. Feel free to read the texts in their original language). ☞Borges, Jorge Luis. “History of the Tango.” in Borges, a reader: a selection from the writings of Jorge Luis Borges. Rodríguez Monegal, Emir and Alastair Reid. New York: Dutton, 1981, 260-267. Print. ☞Carpentier, Alejo. The lost steps. Trans. Harriet de Onís. Minneapolis: University of Minnesota Press, 2001. Print. ☞Cortázar, Julio. The Pursuer. in The Jazz Fiction Anthology. Feinstein, Sascha and David Rife (Eds.). Bloomington: Indiana University Press, 2009, 115-165. Print. ☞---. Bix Beiderbecke. in The Jazz Fiction Anthology. Feinstein, Sascha and David Rife (Eds.). Bloomington: Indiana University Press, 2009, 107-114. Print. ☞Mariscal, Javier and Howard Curtis. Chico and Rita. London: SelfMadeHero, 2011. Print. ☞Shulman, Irving. West Side Story. New York: Pocket Books. 1961. Print. ☞Trimble, John R. Writing with Style. Conversation on the Art of Writing. 3rd ed. Glenview: Pearson Education, 2011. Print. 1 MOVIES: The library has a copy of each movie, except Fados (available on netflix in watch instantly). Please, remember that some of them are on “borrow direct” so don’t wait until the last minute to watch them. I advise you to buy your own copy (amazon.com or Itunes), or watch some of the movies on Netflix. ☞Almodóvar, Pedro, Dir. High Heels. Perf. Victoria Abril, Marisa Paredes, Miguel Bosé, El Deseo, 1991. Film. ☞---. The Skin I Live In. Perf. Antonio Banderas, Elena Anaya, Marisa Paredes, El Deseo, 2011. Film. ☞Robbins, Jerome and Robert Wise, Dir. West Side Story. Perf. Natalie Wood, George Chakiris, Richard Beymer, MGM Home Entertainment, 2003. Film. ☞Novaro, María, Dir. Danzón. Perf. María Rojo, Carmen Salinas, Tito Vasconcelos, Zafra, 2007. Film. ☞Saura, Carlos, Dir. Tango. Perf. Miguel Ángel Solá, Cecilia Narova, Mía Maestro, Columbia Tristar Home Video, 1999. Film. ☞---.¡Ay, Carmela!. Perf. Carmen Maura, Andrés Pajares, Gabino Diego, Ellepi Films/Iberoamericana Films Internacional/Televisión Española (TVE), 1990, Film. ☞Trueba, Fernando, Dir. Chico and Rita. CinemaNX, 2011. Film. MUSIC: (MP3s will be available on Blackboard.cornell.edu) ☞Selection of tangos: Gardel, Carlos. “Adiós muchacho,” “Volver,” “A media luz.” ☞Selection of Boleros: Mayte Martín and Tete Montoliu. ☞Selections of songs from Colombia. WRITING: Essays: You will be asked to write six essays during the semester. All essays, with the exception of the first and second, will go through two drafts. The first one will be used in class during the workshops. The practice of peer editing will be essential during those workshops. Afterwards, you will submit a final copy of the essay. This writing seminar is designed to help you learn pre-writing and revision strategies that will help you produce a well-reasoned argument on a particular aspect of Hispanic Culture that we will be studying. Other assignments: You are responsible for coming to class having read the texts, watched the movies, etc, and with at least three questions about the assigned texts, movies or songs. These questions will help to foster discussion and writing assignments. All assignments must be completed prior coming to class. No late assignments will be accepted. Also, I will at times require small response papers (one paragraph) to a particular question that arises in the program. These responses will be used to help with the discussions, and they may aid you in creating paper topics. Not completing these assignments will affect your participation grade. Not participating in the workshops will 2 also affect your grade. Workshop and Peer Editing: In order to make efficient use of time, you will need to do the following: - Bring two copies of your essays to class on the date that rough drafts are due. All of your writing for this class will be shared with your classmates. - Please be a conscientious reader of your classmate’s work. You will receive the paper by email before the workshop and will have at least a day to provide a thoughtful critique of the rough draft you are assigned, so don’t wait until the last minute to review the draft. I will provide a peer-editing sheet with questions that will help guide you through the process. In addition to the home review, we will spend 20-30 minutes in class with an additional peer editor who will also critique the paper, albeit in less detail. Also, remember that your job is to help the writer. That is why all reviews should start with comments on what you think are the strengths in the essay, followed up by questions or observations of areas that need attention. You are required to bring to class written comments about your classmate’s draft. Conferences: You are required to meet with me twice during the semester. You are responsible to schedule appointment times when you write the third and sixth essays. Not attending the conferences will seriously affect your grade. Remember that you can come to my office hours as often as you like. Guidelines for submission of written work: - Word-process all written work. - Use standard font, in 12 point. - Double-space, using 1-inch margins. - Number your pages. - At the top of the first page include your name, assignment number, date, and essay title. - Proofread and spellcheck before bringing any drafts to class. - Include a bibliography. GRADING: As we come toward the end of the semester, your essays will become longer and more demanding. As you can see below, the later essays are weighed more heavily. *January 25: Essay 1 (1-2 pages)……………………………………………….0-5% February 11: Essay 2 (2 pages) ….………………………………………………..5% February 26: Essay 3 (3 pages) …….……………………………………………10% March 17: Essay 4 (3 pages) …….………………………………………………10% April 14: Essay 5 (4 pages) ……………………………………………………...20% April 20: Essay 6 (5-6 pages) ……………………………………………………25% May 10: Portfolio ………………..………………………………………………15% Class participation: ………………………………………………………..……..15% 3 *I will not grade the first essay, but should you fail to submit it, I will deduct 5% from your final average. Please, submit all drafts and final copies of essays on time, and submit them on Blackboard on the due date. I do not accept essays placed in my mailbox or under my door, and late papers lose 5% for each day they are late. Should you need an extension on a paper, please request it from me through email at least three days before the final copy is due, but be aware that you will only be granted one extension. ATTENDANCE, LATENESS, PARTICIPATION AND REQUIRED WORK: Attendance is mandatory. However, you are allowed three absences from class, no questions asked. Further absences or tardiness will impact your grade, as will late submission of work. Please, do arrive on time for each session. Lateness and interruptions are detrimental to the course and demonstrate a lack of respect for both your classmates and me. Failure to give serious, full attention to the work of others (whether in writing or in discussion) will seriously affect your final grade. Everyday participation and contribution to all the activities in class and at home is mandatory and will contribute to your own growth as a writer. ACADEMIC INTEGRITY: All the work you submit in this course must have been written for this course and not another and must originate with you in form and content with all contributory sources fully and specifically acknowledged. Make yourself familiar with Cornell’s Academic Integrity Code, which is distributed to students in the Policy Notebook. The code, together with a guide to Acknowledging the Work of Others, can be downloaded at http://theuniversity-faculty.cornell.edu/pdfs/AIAckWorkRev90620.pdf. In this course, the normal penalty for a violation of the code is an “F” for the term. Collaborative work of the following kinds is authorized in this course: peer review and critique of students’ essays by one another. DISABILITIES: In compliance with the Cornell University policy and equal access laws, I am available to discuss appropriate academic accommodations that may be required for students with disabilities. Requests for academic accommodations are to be made during the first three weeks of the semester, except in unusual circumstances, so that arrangements can be made. Students are encouraged to register with Student Disability Services to verify their eligibility for appropriate accommodations. SYLLABUS The schedule is subject to changes. You can check updated assignments at 4 http://blackboard.cornell.edu. You must create a blackboard account to access course information. Week 1: January 23: presentation: class, program, book (J. Trimble, Writing with style). In class activity on Tango (movie) by Carlos Saura. January 25: The History of Tango by Borges. ESSAY 1 FINAL (1-2 pages ungraded). Gardel, Carlos. “Adiós muchacho,” “Volver,” “A media luz.” (Listen to the MP3 on Blackboard and watch videos on youtube).
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