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Black Filmmakers After “Blaxploitation” WB

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Fall 2020 RTF 370: Black Filmmakers After “Blaxploitation” WB Instructor: Adrien Sebro Email: [email protected] Seminar Day anD Time: TTh 2:00PM-3:30PM Office Hours: Thursdays 1-2PM or by appointment Course Description: May it be the Harlem Renaissance, The L.A. Rebellion, or Blaxploitation, there has existed various U.S. arts movements with Black artists and Black culture at their center. Blaxploitation is a term coined in the early 1970s to refer to Black action films that were aimed at Black audiences. Featuring Black actors in lead roles and often having anti-establishment plots, these films were frequently condemned for stereotypical characterizations and the glorification of violence. The films, though receiving backlash for their stereotypical characters, are among the first in which Black characters and communities are the heroes and subjects of film and television, rather than sidekicks or villains or victims of brutality. The genre’s inception coincides with the rethinking of race relations in the 1970s. Blaxploitation films were originally aimed at an urban Black audience, but the genre’s audience appeal soon broadened across racial and ethnic lines. Hollywood soon realized the potential profit of expanding the audiences of Blaxploitation films across those racial lines. But what was to come after this movement? How can we label contemporary Black filmmakers and their works of art? Presently, with the robust number of Black filmmakers across Hollywood, what are the new ways in which Blackness is framed across dominant Hollywood cinema, independent film, animation, television, and experimental film? With this course we will use case studies of various contemporary Black filmmakers (1980s-Present) while working to question and complicate the ways in which they deploy images, understandings, and narratives of Blackness within American society. This course will work to answer questions such as; How have the filmmakers of the Blaxploitation Era inspired contemporary Black filmmakers? Have they? How have (or haven’t) contemporary Black filmmakers worked to resist Hollywood conventions? How has politics continued to evolve the ontological status of Blackness? How have technological advances changed the ways in which Black filmmakers contend with production, distribution, and exhibition? How is Blackness framed in these films? Through the myriad of Black filmmakers discussed, this course will build an understanding of Black film as art, resistance or compliance, and a pedagogy that is constantly evolving and taking new forms. As many of these Black filmmakers and their films have not (or have yet to be) been discussed in scholarly works, the weekly readings will be a mixture of scholarly published texts, journals, film reviews, newspaper articles, and trade press. With that in mind, course discussion will rely heavily on these various readings in conversation with the films themselves. What Do I Need from You? Your active participation is integral to the success of yourself and the seminar collective. What will drive this course are the discussions that will take place in response to screenings and readings. The readings for each week must be completed by the seminar section. It is important that you come to class on time, prepared, and stay until class is over. Also, paying attention during seminar and avoiding distracting behaviors like texting or doing other work in class will offer you the ability to actively contribute and get the most from discussion. If you foresee needing to miss class(es), then you’ll need to contact me via email. This course will often discuss readings and view screenings that address gender, sexuality, race, religion, socioeconomics, etc. This classroom will be a safe space for these conscious discussions and opinions. Any prejudices, bigotry, homophobia, etc. will not be allowed. Every student’s discussions and opinions can of course be challenged but must be done respectfully. *All films and readings will be available via PDF on the course website* Overall Class Grade BreakDown: 1. Weekly Reading Responses 30% 2. Thesis Statement Submission 10% 3. Attendance/Participation 10% 4. Paper Presentation 10% 5. Final Paper 40% Weekly Reading Responses To help drive seminar discussion and participation each student is required to submit at least a page Double-spaceD in response to one or more of the week’s readings and screening. Reading responses are due on the class canvas page every WeDnesDay at 11:59PM before lecture the next day, Thursday Thesis Statement Submission By MonDay of Week 12, each student is required to submit (via Canvas) a rough thesis statement and bibliography for their final papers. These statements will help with the direction, clarity, and organization for your final paper. Attendance/Participation Active participation in class discussion will be noted as well as attendance on Zoom. Paper Presentation In Weeks 14 anD 15 each student will virtually present a power point presentation to myself and the TA on the subjects that their final papers intend to cover. These presentations will aid in strengthening presentation skills as well as mining through any questions or concerns that one may still have while completing their final papers. Great work requires constructive peer feedback. The order of the virtual presentations will be announced in Week 13. Final Paper The seminar final paper is due via Canvas during Finals week on Thursday Dec. 10. The final paper is to be 8-10 pages, Double-spaceD, Times New Roman 12-point font, anD 1-inch margins. Students have the choice of TWO options for the final paper: 1. Critically compare and contrast two Black films (one from a Blaxploitation Filmmaker and one contemporary) and the modes in which the characters, themes, and directors responded to their political moment. Textual analyses of films is encouraged. 2. Discuss popular themes, cultural impact, advertising/promotion, and critical reception of a single contemporary Black filmmaker and one of their films. Textual analysis of the film is strongly encouraged. *If you are interested in writing a paper that doesn’t fall within these categories, we can discuss this possibility in office hours. Plagiarism Plagiarism, or the manipulation of another’s work as your own of ANY kind is strictly prohibited by myself and the University at large. If you are confused whether something you are writing may be perceived as plagiarism, please do not hesitate to clear it with me first, before submission. If a plagiarized paper is submitted, a student will automatically fail the course. Academic Integrity. Each student is expected to abide by the University of Texas Honor Code: “As a student of The University of Texas at Austin, I shall abide by the core values of the University and uphold academic integrity.” Plagiarism is taken very seriously at UT. Therefore, if you use words or ideas that are not your own (or that you have used in a previous class), you must cite your sources. Otherwise you will be guilty of plagiarism and subject to academic disciplinary action, including failure of the course. You are responsible for understanding UT’s Academic Honesty and the University Honor Code: http://deanofstudents.utexas.edu/sjs/acint_student.php. Name anD Personal Pronoun Preferences. Class rosters are provided to me with your legal name. I will honor your request to address you by a name that is different from what appears on the official roster, and by the gender pronouns you use (she/he/they/ze, etc). Please advise me of this preference early in the semester. Writing anD Learning Support Moody College Writing Support Program. <http://sites.utexas.edu/moodywriting/>, located in BMC 3.322, offers individualized assistance to undergraduates in Moody College classes seeking to improve their writing. They have specialists in RTF, among other communication fields. You can book half-hour appointments on their website for assistance during all stages of the writing process. Writing coaches also will take drop-ins if they are not working with appointments. The University Writing Center. <http://uwc.utexas.edu/>, at PCL 2.330, on the first floor of the Learning Commons of the Perry Castañeda Library, offers individualized assistance to students who want to improve their writing skills. There is no charge, and students may come in on a drop in or appointment basis. Please inform me early in the semester if you have a learning difference or other issue that could affect your performance in class or your work outside of class. I will work to accommodate you and will maintain the confidentiality of these discussions. For more information on learning accommodations, contact Services for Students with Disabilities, 512-471-6259 (voice) or 1-866- 329- 3986 (video phone). University Resources for Self Care: Taking care of your general well-being is an important step in being a successful student. If stress, test anxiety, racing thoughts, feeling unmotivated or anything else is getting in your way, there are options available for support. For immediate support, visit/Call the Counseling and Mental Health Center (CMHC): M-F 8-5p | SSB, 5th floor | 512-471-3515 |cmhc.utexas.edu • CMHC Crisis Line: 24/7 | 512.471.2255 |cmhc.utexas.edu/24hourcounseling.html • CARE Counselor in the Moody College of Communication is: Abby Simpson, LCSW o M-F 8-5p | CMA 4.134 | 512-471-7642 (Please *leave a message* if she is unavailable) • FREE Services at CMHC include: o Brief assessments and referral services o Mental health & wellness articles -cmhc.utexas.edu/commonconcerns.html o MindBody Lab - cmhc.utexas.edu/mindbodylab.html o Classes, workshops, & groups -cmhc.utexas.edu/groups.html Title IX Reporting Title IX is a federal law that protects against sex and gender based discrimination, sexual harassment, sexual assault, sexual misconduct, dating/domestic violence and stalking at federally funded educational institutions. UT Austin is committed to fostering a learning and working environment free from discrimination in all its forms.
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