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LGBTQIA+ Student Identity and Introductory Film Studies Curriculum

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LGBTQIA+ Student Identity and Introductory Film Studies Curriculum O’BRIEN, STEPHANIE P., Ph.D. The Kids are not all Right: LGBTQIA+ Student Identity and Introductory Film Studies Curriculum. (2020) Directed by Dr. Leila Villaverde. 239 pp. In attempting to address a broad range of students, introductory film studies curriculum serves to reinforce the marginalization of certain student identities that do not conform to hegemonic ideals reinforced through traditional, canonical analysis. In this study, I argue that marginalized students perform José Esteban Muñoz’s disidentification as a way to move through the traditional curriculum. Through a multi-method approach that includes content analysis, critical discourse analysis, and comparative analysis, this dissertation considers the organizational structure, language, and examples used in five mass-market, introductory film studies textbooks. The study revealed four cartographic rules of knowledge construction that guide introductory film studies curriculum. These cartographic rules illuminate how traditional, canonical, introductory film studies curriculum privileges western, white, patriarchal, heteronormative ideologies within critical film literacy. A reconsideration of the traditional, canonical approach is needed in order to provide a more inclusive and interdisciplinary curriculum. I posit a revision of the traditional, canonical view that, rather than privileging the filmmaker and filmic text as eminent maker of meaning, focuses instead on individual student meaning-making. Lastly, I provide examples, readings, and activities that move toward a more inclusive, student-centered curriculum. THE KIDS ARE NOT ALL RIGHT: LGBTQIA+ STUDENT IDENTITY AND INTRODUCTORY FILM STUDIES CURRICULUM by Stephanie P. O’Brien A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Greensboro 2020 Approved by _________________________________ Committee Chair APPROVAL PAGE This dissertation written by Stephanie P. O’Brien has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro. Committee Chair ___________________________________ Leila Villaverde Committee Members ___________________________________ Silvia Bettez ___________________________________ Danielle Bouchard ____________________________ Date of Acceptance by Committee __________________________ Date of Final Oral Examination ii ACKNOWLEDGEMENTS This journey would not have been possible without the help of dedicated mentors, colleagues, family, and friends. I am grateful for their support. Dr. Leila Villaverde provided the valuable guidance I needed throughout my doctoral studies and this process. To my committee members, Drs. Silvia Bettez, Danielle Bouchard, and Laura Meadows, thank you for your continued support and advice. I could not have completed this journey without the encouragement of my spouse, Jennifer. iii TABLE OF CONTENTS Page LIST OF TABLES ......................................................................................................... vi LIST OF FIGURES ....................................................................................................... vii CHAPTER I. CONTEXTUAL CONSIDERATIONS .............................................................. 1 An Unexpected Discovery ........................................................................ 6 Looking for Dorothy ................................................................................ 7 Teaching Film History and Aesthetics .................................................... 12 Research Questions ................................................................................ 19 II. LITERATURE REVIEW ................................................................................. 23 A Note on Theory................................................................................... 23 Intersections of Theory ........................................................................... 28 The Politics of Identity ........................................................................... 30 Disidentification ......................................................................... 31 Intersectionality .......................................................................... 39 Identity as Assemblages .............................................................. 41 A Venn Diagram of Feminist/Film/Queer Theory ................................... 55 Critical Pedagogy and Interpretive Analyses .......................................... 68 Curriculum and Textbook Studies ............................................... 79 Cartographies of Knowledge ....................................................... 80 LGBTQIA+ Perspectives and Introductory Curriculums ............. 82 III. METHODOLOGY/METHOD ......................................................................... 85 Limitations of the Methodological Process ............................................. 89 Choosing the Texts for Analysis ............................................................. 91 Thematic Content Analysis..................................................................... 97 Critical Discourse Analysis .................................................................... 99 Construction of Knowledge .................................................................. 104 Validity ................................................................................................ 105 IV. ANALYTICAL FINDINGS .......................................................................... 106 Introductory Film Studies and the Construction of Knowledge ............. 107 Organization of Knowledge .................................................................. 109 iv Film Form and Meaning ........................................................... 111 Hollywood as Leader and Underdog ......................................... 114 Hollywood History and the Privileging of Tradition .................. 116 The Canonical Approach ...................................................................... 130 The Aesthetic Perspective ......................................................... 131 Framing as Meaning-Making .................................................... 132 Genre and Film Typology..................................................................... 136 Traditional Critical Analysis ................................................................. 147 A Multi-Disciplinary Curriculum ......................................................... 155 Othering Non-Canonical Perspectives .................................................. 157 Marginalizing Language and Filmic Examples ..................................... 165 Holistic Disparaging ............................................................................. 167 Implicit and Explicit Biases ...................................................... 169 Othering Language ................................................................... 170 LGBTQIA+ Specific Language and Filmic Examples ............... 177 ‘Homosexual’ as an Identifying Term ....................................... 177 Critical Analysis Examples ....................................................... 181 V. CARTOGRAPHIES OF KNOWLEDGE IN INTRODUCTORY FILM STUDIES CURRICULUM ............................................................ 187 Rule 1: The Process of Analytical Meaning-Making Foregrounds a Mostly White, Heteronormative, Patriarchal, Hollywood Perspective ...................................................................................... 189 Rule 2: A Formal, Canonical Aesthetic Analysis is Privileged .............. 193 Rule 3: The Construction of Knowledge is Multi-Disciplinary Rather Than Interdisciplinary .......................................................... 197 Rule 4: Any ‘Way of Looking’ That Does not Conform to the Traditional Canonical Analysis is Marginalized, Elided, and/or Degraded Through Language Use and Filmic Examples .................. 199 Considering Students as Individuals ..................................................... 203 VI. TOWARD A RELATIONAL AESTHETICS OF FILM STUDIES CURRICULUM ........................................................................................ 206 Considering a New Curriculum ............................................................ 207 Putting it all Together ........................................................................... 211 REFERENCES............................................................................................................ 231 v LIST OF TABLES Page Table 1. Instances of LGBTQIA+ Language and Examples Used and the Sections in Which Those Examples Occur .................................................. 185 Table 2. Details of Major Critical Analyses Used in Each Textbook ............................ 186 vi LIST OF FIGURES Page Figure 1. Method Process .............................................................................................. 96 vii CHAPTER I CONTEXTUAL CONSIDERATIONS In November of 2016, voters in the United States elected a new administration that campaigned on a platform of fear; a nationalistic, isolationist fear of the Other. This nationalist wave has infected various countries around the world, and while this is not a new political ideology, fear based on Otherness is once again emboldened to show itself in myriad, public ways. No longer are racist, sexist, classist, homophobic ideologies
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