9 discussion questions, 150 words each, 9.25th due.
Answer these 9 questions using all the materials I posed, each answer should have around 150 words( total around 4 pages), these are discusses questions so please use words like: I think, in my opinion…
Double space, Times New Roman, 12.
Due 9.25th, please give me before 9.25thnoon.
Check requirements below.
Answer these 9 questions using all the materials I posed, each answer should have around 150 words( total around 4 pages), these are discusses questions so please use words like: I think, in my opinion…
Double space, Times New Roman, 12.
Due 9.25th, please give me before 9.25th noon.
1.
readings:John Storey, Chapter 1: Popular Cultures and Everyday Life inFrom Popular Culture to Everyday Life. London: Routledge,https://doi-org.proxy.lib.sfu.ca/10.4324/9780203077023Links to an external site.
and; John Storey, Popular Culture, METAhttps://meta-journal.net/article/view/6330/6332(Links to an external site.)
and; William J. Puette, Chapter 1: The Movies: Labor Framed inThrough a Jaundiced Eye: How The Media View Organized Labor(Ithaca, N.Y.: ILR Press, 1992).
screening:SNOW PIERCERhttps://media3-criterionpic-com.proxy.lib.sfu.ca/htbin/wwform/006?T=AL113806&ALIAS=AL113806_EN.KF&M=0_7twk4dl4&DSTYLE=0#multimedia_resources_AL113806Links to an external site.
Question:
SNOWPIERCER is a traditional action film in many ways but it also has a clear critique of capitalism and class hierarchies. What did you think of the class critiques in the film? Were they too obvious? Did they go far enough? What was the link between capitalism and environmental collapse? Was this articulated? [these are just prompts you can discuss whatever you like about the film.
2.
readings:Paszkiewicz, Katarzyna, and Stacy Rusnak. “Revisiting the Final Girl: Looking Backwards, Looking Forwards.” Postmodern Culture 28, no. 1 (2017) https://muse-jhu-edu.proxy.lib.sfu.ca/article/703243
screening:SCREAMhttps://media3-criterionpic-com.proxy.lib.sfu.ca/htbin/wwform/006/wwk770?t=AL112379Links to an external site.
alternate film:ISN’T IT ROMANTIChttps://media3-criterionpic-com.proxy.lib.sfu.ca/htbin/wwform/006?T=W2069951Links to an external site.
Question:
I chose SCREAM because it fits the self-reflective stage of the horror genre. The explanation of how horror films work during the party scene encapsulates the self-reflexivity of the film. Having said that, many of the problems of the horror genre are still present.
What is your opinion on SCREAM? What worked for you in the film? What didnt? How does the film use conventions to tell the story? Is class represented in the film? How?
ISN’T IT ROMANTIC is also well aware of all the genres convention of the romantic comedy. How does it navigate it’s self awareness? Does it end up simply being a clever narrative device and replicating all the conventions it is poking fun at? Is class represented in the film? How?
3.
readings:Robert Brent Toplin, Chapter 8: Norma Rae, History by Hollywood (Urbana: University of Illinois Press 2009)
screening:NORMA RAEhttps://media3-criterionpic-com.proxy.lib.sfu.ca/htbin/wwform/006?T=F05356Links to an external site.
Question:
How does Norma Rae both reveal and conceal the history of class, race, and gender in America? How are conventions used in the film?
Do you think film is a good way to convey history? Why or why not? For those who study history, do you use film (fiction or non-fiction) as sources in your historical writing? Why or why not?
4.
readings:Cole, Stephen.The American Historical Review101, no. 4 (1996): 1152-154. Review of Land and Freedomhttps://www-jstor-org.proxy.lib.sfu.ca/stable/2169644Links to an external site.
and: Armstrong, Lawin. 1998. Land and Freedom.Labour (Halifax), no. 41: 325.https://sfu-primo.hosted.exlibrisgroup.com/permalink/f/1u29dis/TN_cdi_proquest_journals_218790736(Links to an external site.)
screening:LAND AND FEEDOM
Question:
What does the film say about class relations and politics? What did you know about the Spanish Civil War before watching this film? Did it give you historical insights into the War? If so how? If not, did it pique your interest about the history? Would you likely research it more?
5.
readings:Christine Gledhill, Image and Voice: Approaches to Marxist-Feminist Criticism, inDiane Carson, Linda Dittmar, and Janice R. Welsch, editors.Multiple Voices in Feminist Film Criticism(Minneapolis:University of Minnesota Press,1994)
and: Harvey Roy Greenberg, Re-Screwed: Pretty Womans Co-opted
Feminism.Journal of Popular Film and TelevisionVol.19 No.1 Spring 1991
http://www.doctorgreenberg.net/wp-content/uploads/2012/03/H-greenberg-journal-pretty-woman.pdf(Links to an external site.)
screening:PRETTY WOMAN
Question:
We will be discussing PRETTY WOMAN in more depth next week. In the meantime, I am curious what parallels and differences you see in this classic romantic comedy and more recent 21stcentury romantic comedies.
6.
readings:John Storey,Cultural Theory and Popular CultureChapter 9
screening: REEL INJUNhttp://proxy.lib.sfu.ca/login?url=https://stream-mcintyre-ca.proxy.lib.sfu.ca/sfu/title/21115Links to an external site.
and;
BLOOD QUANTUMhttps://media3-criterionpic-com.proxy.lib.sfu.ca/htbin/wwform/006?T=111006ELinks to an external site.
NOTE: I wanted to have two films this week because the first, REEL INJUN, lays out the problem of Indigenous representation in film and the second, BLOOD QUANTUM, is an example of the resurgence of Indigenous film making in Canada. (apologies that it also fits with my love of the Zombie film!) There are many other examples some of which I outline in the CD article.
Question:
Please feel free to comment on REEL INJUN but my prompts are about BLOOD QUANTUM. How does the film deal with both being an entertaining film and a critique of neo-colonial structures in Canada? Did you feel it did a good job of illustrating the underlying tensions in a society founded on colonialism? Why or Why not? (Also, what about that ending!)
7.
readings:Boger, Jillian (2018) Manipulations of Stereotypes and Horror Clichs to Criticize Post-Racial White Liberalism in Jordan PeelesGet Out The Graduate Review, 3, 149-158.
Available at: https://vc.bridgew.edu/grad_rev/vol3/iss1/22
and;Landsberg, Alison. 2018. Horror Vrit: Politics and History in Jordan Peeles Get Out (2017). Continuum: Journal of Media & Cultural Studies 32 (5): 62942.http://proxy.lib.sfu.ca/login?url=https://search.ebscohost.com/login.aspx?direct=true&db=ufh&AN=132616906&site=ehost-liveLinks to an external site.
screening:GET OUT
Question:
What do you think of Landsbergs conception of horror verit and how it emphasizes the political potential of horror? Does this conception complement Bogers analysis of Get Outs use of stereotypes and clichs to critique white liberalism?
8.
readings:Torchin, Leshu. 2019. Alienated Labor’s Hybrid Subjects: Sorry to Bother You and the Tradition of the Economic Rights Film.Film Quarterly72 (4): 2937.https://doi.org/10.1525/fq.2019.72.4.29(Links to an external site.).
screening:SORRY TO BOTHER YOU
https://media3-criterionpic-com.proxy.lib.sfu.ca/display/006/wwk770?T=AL529402Links to an external site.
Question:
Do you believe film has a role in revolutionary activities or in pushing for paradigm shifts in dominant society? Can genre bending films also help bend the hold of capitalism astheorganizational economic paradigm?
9.
readings:Miles Orvell, Documentary film and the power of interrogation: American dream & Roger and meFilm QuarterlyVol/Issue: 48, Date: Winter 1994, Pages: 10-18 (on JSTOR)
http://www.jstor.org.proxy.lib.sfu.ca/stable/1213092?seq=1#page_scan_tab_contentsLinks to an external site.
screening:AMERICAN DREAM
https://media3-criterionpic-com.proxy.lib.sfu.ca/htbin/wwform/006?T=CF0068
Question:
Is documentary a form that works for you? Do you commonly watch documentaries? What are some of the problems of documentaries when confronting systems of oppression?
