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Anthropology Goes to the Movies - 1:70:367 (3 CREDITS) Asynchronous Online - New Lessons Start Wednesdays Office Hours: Fri 1-5:000Pm Or by Appointment

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Anthropology Goes to the Movies - 1:70:367 (3 CREDITS) Asynchronous Online - New Lessons Start Wednesdays Office Hours: Fri 1-5:000Pm Or by Appointment Anthropology Goes to the Movies - 1:70:367 (3 CREDITS) Asynchronous Online - New lessons start Wednesdays Office hours: Fri 1-5:000pm or by appointment Dr. Pilar K. Rau – [email protected] GoogleHangouts (scarletmail) pkr28 GroupMe (Skype) (add me via Campus Connect tab or link in Canvas) Short Description - This course explores the role of film in ethnographic representation and ethnographic representation in popular film. It looks at the relationship of anthropology to the construction of popular film and of popular film to the construction of culture Course Description – Since the advent of film in the late 19th century, the cutting-edge new discipline of anthropology provided exciting themes –from “cavemen” and “the missing link” to extra-terrestrials (who resemble Native Americans) that have been enormously popular with audiences ever since. The persistence of Hollywood staples such as mummies, cannibalistic natives, exotic demons, and zombies, also reflect the ever-changing history of anthropology from the turn-of- the century until present. These figures (and the ways they change over time) also reflect the political-economic context of colonialism, imperialism, scientific theories and discoveries, as well as debates on race and gender of the historical moments in which they emerged and are redeployed. In addition to reflecting social anxieties, imaging exotic other worlds has also been a liberatory space in which to dream of alternative futures for humanity (as is Anthropology, some would argue). Anthropologists, in addition to being characters in adventure and horror movies, are also humans from a specific cultural context. Malinowski, the father of modern field work, for example, read adventure novels in the field. Young Jane Goodall was a Tarzan fan. Sigmund Freud, who drew on Morgan’s theories and influenced subsequent anthropologists, had nightmares about all the pulp fiction he read. We will also consider how pop culture genres of different eras interacted with genres of ethnographic writing. In short, this course explores the role of film in ethnographic representation and ethnographic representation in popular film. It looks at the relationship of anthropology to the construction of popular film and of popular film to the construction of culture DEPARTMENT LEARNING GOALS http://anthro.rutgers.edu/undergrad-program/department-learning-goals CA1) Gain knowledge that will allow them to identify, explain, and historically contextualize the primary objectives, fundamental concepts, modes of analysis, and central questions in their major field and demonstrate proficiency in their use of this knowledge CA2) Demonstrate proficiency in the use of critical thinking skills CA3) Demonstrate proficiency using current methods in their major fields, including library research skills CA4) Express themselves knowledgably and proficiently in writing about central issues in their major field CA5) Express themselves knowledgably and proficiently in speaking about central issues in their major field COURSE SPECIFIC LEARNING OUTCOME GOALS 1) Explore the historical effects and circulation of anthropological and archaeological theory and research in popular culture and the effects of historical context (including popular culture) on the anthropological imagination [CA1] 2) Critically analyze the politics of representation of cultural, racial, ethnic, gender, and class difference [CA2] 3) Demonstrate an historical understanding of changes in anthropological theory [CA1] 4) Critically analyze the concepts of race and gender as social constructions with powerful effects, rather than biological fact [CA1,2] 5) Develop and demonstrate skills in critical theoretical analysis, conduct independent research, and communicate ideas effectively both orally and in writing. [CA3,4,5] CANVAS & EMAIL- I will contact you about class via Canvas Inbox (it will not email you unless you set it up to do so). You can also email me, use GroupMe to Skype, or use GoogleHangouts to call, text, or video chat from your Scarletmail. Contact the Office of Information Technology (OIT) Help Desk for help with Canvas. https://it.rutgers.edu/help-support ACADEMIC INTEGRITY – You are responsible for adhering to these policies: http://academicintegrity.rutgers.edu ACCOMMODATIONS: Students seeking accommodations should consult the Office of Disability Services https://ods.rutgers.edu Letters of accommodation must be submitted before assignments. If you suspect you may have an undiagnosed learning disability or other disability, contact the Office of Disability Services for assessment and guidance. 1 ASSIGNMENTS AND GRADING STRUCTURE (see Canvas for grading rubrics) • Response/discussion (60% total) this grade is comprised of 2 parts. Top 10 scores (60% total)[CA5] o Film/Reading response – 3% *10 = 30 – respond to weekly readings in Discussions the Sunday *before* Wednesday's class. This is a more formal writing assignment than the “discussion.” Responses should directly engage with and analyze the films in terms of the readings. You might think of these as notes for your paper ~250 words o Class discussion 3% *10 = 20. [CA5] thoughtfully (and creatively) engage with your classmates’ Reading Response. Reply to 2+ mates and all who replied to you. You are free to use writing, audio, video, etc. Due "in class" Wednesday (11:59pm) • Introduction (5% total) participate in the week 1 activities o Personal Bio (2.5%) o Study Group intro (2.5%) • Lead Discussion (5% ) – your Study group will co-hosts and help the professor moderate 2 forum discussions. Feel free to kick off the discussion with an interesting media artifact, video clip, YouTube rant, or any other creative, attention- grabbing contribution. Meet with your group via Zoom, Skype, Gooogle Hangouts, WeChat etc. [CA1,3,5] • Papers (30% total) [CA1,2,4] Upload to Canvas > Assignments o Paper 1 (10%) - Develop an original thesis on the films, lectures, and readings of Part I of the course. 5-7pp. o Paper 1 (10%) - Develop an original thesis on the films, lectures, and readings of Part II of the course. 5-7pp. o Final Paper (10%) [CA1,2,3,4] On the topic of your choice from part III. 8pp Due 5/9 11:59pm • Extra credit (2%) Meet with Dr. Rau one-on-one – attend office hours and chat about a topic of your choice [CA5] COURSE READINGS & FILMS All required readings and films are available for download via Canvas or the library. We will screen film clips and films to analyze each class. I will also provide you with additional (optional viewing) examples of film genres and tropes. I encourage you to seek examples of your own via Netflix, Amazon, Hulu, Kanopy, Swank, etc. Older works that are out of copywrite may be available on the Internet Archive or YouTube. While they are not required, you may wish to read the following public domain ebooks, as many authors reference these historical figures and texts and many films draw on their ideas. I will also provide relevant public domain ebooks each week for context (also optional). **Note the year in which they were published! –Anthropological theory has changed *a lot* in the past century; however, Hollywood films are often inspired by ideas from the 1890s) from both anthropology and fiction.** Blackwell, Antoinette, 1875. The Sexes Throughout Nature. Darwin, C. 1871. The Descent of Man and Selection in Relation to Sex,.I www.gutenberg.org/ebooks/34967 --1859. Origin of Species Frazer, J. 1894. The Golden Bough https://archive.org/details/goldenboughstudy01fraz Freud, S. 1913. Totem and Taboo: Resemblances Between the Mental Lives of Savages & Neurotics https://archive.org/details/totemtaboosomepo00freu Morgan. L.H. 1877. Ancient Society: Researches in the Lines of Human Progress from Savagery through Barbarism to Civilization https://archive.org/details/ancientsocietyor00morgrich Malinowski, B. Sex & Repression in Savage Society https://archive.org/details/sexrepressionins00mali Spencer, H. 1897. The Evolution of Society. https://archive.org/details/principlesbiolo11spengoog Tylor. E. B. 1871. Primitive Culture: Researches Into the Development of Mythology, Philosophy, Religion, Language, Art and Custom vol I. https://archive.org/details/primitivecultur12tylogoog Vol. II https://archive.org/details/primitivecultur13tylogoog 2 1. IMPERIALIST IMAGINARIES: ETHNOGRAPHIC IMAGES IN EARLY POPULAR CINEMA Week 1 - Imperialist Imaginaries (Due Wed 1/20) Read: Introduction: Imperialist Imaginaries (Canvas > Module 1) Brantlinger, P. 1985. Victorians and Africans: The Genealogy of the Myth of the Dark Continent. Critical Inquiry. 12. 166-201 Shohat, E. and Stam, R. 1994. The Imperial Imaginary. Unthinking Eurocentrism: Multiculturalism and the Media. Recommended (optional) Graham, J. 2012. Goodall, Jane. Tarzan Should Have Married Me. The Big Issue. Shohat, E. and Stam, R. 1994. Introduction: Unthinking Eurocentrism. Unthinking Eurocentrism. Thompson, C.1995. Anthropology's Conrad: Malinowski in the Tropics and What He Read. Journal of Pacific History.30:1. 53-75 Lewis, S. 2012. Romancing the Zulu: H. Rider Haggard, Nada the Lily, and Salvage Ethnography. English in Africa, 39:2. 69–84,5. Analyze: • (clip) Melies, George. (1898). The Astronomer’s Dream • (clip) Melies, George. (1902). Voyage to the moon (parody of Jules Verne and H. G. Wells-type voyages) • (clip) Sidney, Scott. (1918 ). Tarzan Recommended • (trailer) Kloos, Reinhard. (2013). Tarzan (or any other Tarzan) • (clip) Stevenon, Robert. (1937). King Solomon’s Mines. 80min • (clip) Bennett, Compton (1950). King Solomon’s
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