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BOWDOIN COLLEGE / ROMANCE LANGUAGES AND Cinema Studies CINE 2116 / SPAN 3116: Spanish Cinema: Taboo and Tradition Spring 2019 / MW 10:05 Elena Cueto Asín. Sills Hall 210 – 725‐3312 – email: [email protected] Office hours: Monday 2:45‐4, or by appointment. This course introduces students to film produced in Spain, from the silent era to the present, focusing on the ways in which cinema can be a vehicle for promoting social and cultural values, as well as for exposing social, religious, sexual, or historical taboos in the form of counterculture, protest, or as a means for society to process change or cope with issues from the past. Looks at the role of film genre, authorship, and narrative in creating languages for perpetuating or contesting tradition, and how these apply to the specific Spanish context. GRADE Class Participation 40% Essays 60% MATERIALS Film available on reserve at the LMC or/and on‐line. Readings on‐line and posted on blackboard CALENDAR January 23. Introduction January 28 ¡Átame! - Tie Me Up! Tie Me Down! (Pedro Almodóvar 1989) Harmony Wu “The Perverse Pleasures of Almodovar’s Átame” Journal of Spanish Cultural Studies 5 (3) 2004: 261-271. Reviews and controversy: New York Times: February 11, April 22 and 23, June 24, May 4, May 24, July 20 of 1989 January 30 Silent Cinema: The Unconventional and the Conventional El perro andaluz- Un Chien Andalou (Luis Buñuel 1927) Jordan Cox “Suffering as a Form of Pleasure: An Exploration of Black Humor in Un Chien Andalou” Film Matters 5(3) 2014: 14-18 February 4 and 6 La aldea maldita- The Cursed Village (Florian Rey 1929) Tatjana Pavlović 100 years of Spanish cinema [electronic resource] Malden, MA: Wiley-Blackwell, 2009: 15-20 Sánchez Vidal, Agustin. “La aldea maldita- The Cursed Village “IN: Mira, Alberto (ed. and introd.) The Cinema of Spain and Portugal. New York, NY: Wallflower; 2005: 13-21 The Cinema under Francoism Higginbotham, Virginia. Censorship: 1939-1975. Early Postwar Film: 1939-1959. Spanish Film under Franco. Austin: University of Texas Press. 1988. February 11 and 13 Bienvenido Mr Marshall- Wellcome Mr Marshall (Luis García Berlanga 1952) Pietsie Fennstra. New Mythological Figures in Spanish Cinema. Amsterdam University Press (2011): 25-34 Marcelino pan y vino- The Miracle of Marcelino (Ladialao Vadjia 1954) Ryan Prout IN: Mira, Alberto (ed. and introd.) The Cinema of Spain and Portugal. New York, NY: Wallflower; 2005: 71-77 Essay 1 February 18 and 20 Social Critic and Drama in Urban Context. Juan Antonio Bardem. Muerte de un ciclista – Death of a Cyclist (Juan Antonio Bardem 1955) Jo Evans “Sex and the Censors: The Femme fatale in Juan Antonio Bardem’s Muerte de un ciclista”. Screen. 48 (3): 2007: 327-344 Viridiana (Luis Buñuel 1961) Juan Egea “Don Jaime’s Laughter. Humor and Perversion in Viridiana”. Dark Laughter. Spanish Film, Comedy, and Nation. Madison: University of Wisconsin Press. Julian Daniel Gutiérrez -Albilla, “Between the Phobic Object and the Dissident Subject: Abjection and Vampirism in Luis Buñuel ‘Viridiana”. Gender and Spanish Cinema (Seven Marsh and Parvati Nair). New York: Berg (2004): 13-31. February 25 and 27 Desarrollismo and family values La gran familia – The Great Family (Fernando Palacios, 1962) Sally Faulkner “Franco’s Great Family: La gran familia (The Great Family, 1962)”. A Cinema of Contradictions: Spanish Film in the 1960’s. Edinburgh: Edinburgh UP, 2006: 27-47 . El Verdugo- The Executioner (Luis García Berlanga, 1963) Juan Egea. “Complicity Dissected: Berlanga's El Verdugo” Dark Laughter: Spanish Film, Comedy, and the Nation” Madison, WI; U of Wisconsin P; 2013: 49-65 March 4 and 6 La cabina- The Telephone Box (Antonio Mercero 1972) Cría cuervos – Cría! / Raise Ravens (Carlos Saura 1975) Mar Diestro-Dópido. “Cría Cuervos” Sight & Sound, 23 (4) Apr 2013 Ryan Prout “Rise Ravens” IN: Mira, Alberto (ed. and introd.) The Cinema of Spain and Portugal. New York, NY: Wallflower 2005: 149-56 Essay 2 SPRING BREAK March 25 and 27 Cinema and Democratic Spain Stone, Rob, “Over Franco: Spanish Cinema in Transition,” Spanish Cinema, London: Peason, 2002. El diputado – Confessions of Congressman (Eloy de la Iglesia 1978) Alejandro Melero Salvador, “New Sexual Politics in the Cinema of the Transition to Democracy: De la Iglesia's El diputado (1978),” Marsh, Steven & Nair, Parvati, eds, Gender and Spanish Cinema, Oxford: Berg; 2004. Los santos inocentes- The Holy Innocents (Mario Camus 1984) Sally Faulkner. “Nostalgia and the Middlebrow: Spanish Ruralist Cinema and Mario Camus's Los santos inocentes/The Holy Innocents”. Fowler, Catherine (ed. and introd.); Helfield, Gillian (ed. and introd.) Representing the Rural: Space, Place, and Identity in Films about the Land. Detroit, MI; Wayne State UP; 2006. April 1 and 3 Naughty Genres: Pornography and snuff films Tesis- Thesis (Alejandro Amenábar 1999) Jason E. Klodt “En el fondo te gusta: Titillation, Desire, and the Spectator’s Gaze in Alejandro Amenábar’s Tesis” Studies in Hispanic Cinemas 4 (1). 2007: 3-17 María Donapetry,“Tesis/Thesis: delights and Follies in Filmic Discourse”. Spanish Cinema 1973- 2010 (María Delgado and Robin Fiddian eds) Manchester: Manchester University Press (2013): 105-118 Lucía y el sexo- Sex and Lucía (Julio Médem 2001) Paul Julian Smith IN: Mira, Alberto (ed. and introd.) The Cinema of Spain and Portugal. New York, NY: Wallflower 2005: 247 Essay 3 April 8 and 10 Cinema versus Institutions Mar adentro – The Sea Inside (Alejandro Amenábar, 2004) Zames, Frieda “Compassionate Killings” Disability Studies Quarterly (DSQ) 2005 Summer; 25 (3): Electronic publication La mala educación- Bad Education (Pedro Almodóvar 2004) Geoff Pingree, “Pedro Almodóvar and the New Politics of Spain “Cineaste: America's Leading Magazine on the Art and Politics of the Cinema, 30 (1) 2004: 4-8. Paul Julian Smith. “All I desire” Desire Unlimited. The Cinema of Pedro Almodóvar. London: Verso (2014): 181-185 April 15 and 17 Gay comedy and/or drama Reinas – Queens (Manuel Gómez Pereira, 2005) Santiago Fouz-Hernández, “Assimilation and Its Discontents: Representations of Gay Men in Spanish Cinema of the 2000s”; Revista Canadiense de Estudios Hispánicos, 35 (1) 2010: 81-104. Debra A Moddelmog “Can Romantic Comedy Be Gay?: Hollywood Romance, Citizenship, and Same-Sex Marriage Panic.” Journal of Popular Film & Television. 36 (4), 2009:62-73. Princesas- Pricesses (Fernando León de Aranoa, 2005) Michelle Murray “The Politics of Looking in Fernando León de Aranoa's Princesas (2005) Studies in Spanish & Latin American Cinemas 11 (3) 2014 Maria Van Lieu. “Transnational Reciprocity: Liminal Love in Fernando León de Aranoa's Princesas” Quarterly Review of Film and Video (QRFV) 29 (5) 2012: 450-457. Essay 4 ? April 22 and 24 The limits of Social Realism: Lola vende cá – Lola Come Here (Llorenc Soler, 2002) Caterina Pasqualino “The Gypsies, Poor but Happy. A Cinematic Myth” Third Text. 22 (3). 2008: 337-345. Te doy mis ojos- Take my Eyes (Icíar Bollaín, 2003) Richard Curry. Representations of Violence in Icíar Bollaín's Te doy mis ojos Hispanic Journal (HisJ) 2013 Spring; 34 (1): 131-145 Paul Begin “Regarding the pain of others: The art of realism in Icíar Bollaín’s Te doy mis ojos” Studies in Hispanic Cinemas 6 (1). 2010: 31-44 April 29 and May 1 Cinema of History and Revision Las 13 rosas- The Thirteen Roses (Emilio Martínez-Lázaro, 2007) Tabea Alexa Linhard, “The death story of the 'Trece Rosas'” Journal of Spanish Cultural Studies.3 (2) 2012: 187-202 Deveny, Thomas “Bio-Pic/Death Story: Emilio Martínez-Lázaro's Las 13 rosas”. Bulletin of Spanish Studies. Bulletin of Spanish Studies. 89 (7/8) 2012: 39-48 La isla mínima- Marshland (Alberto Rodríguez Librero, 2014) Ignazio Graham Stefan. “Ghosts in the Present: The Haunting Voices of Contemporary Youth in Twenty-First Century Spanish Film” Shifting Subjectivities in Contemporary Fiction and Film from Spain. Newcastle upon Tyne, England: Cambridge Scholars Publishing; 2018. viii, 233 pp. May 6 and 8 Recent and awarded films in other Iberian languages Handia- Giant (John Garaño & Aitor Arregi, 2017) Estiu 1993/ Verano 1993 -Summer 1993 (Carla Simón, 2017) .
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