Ing. comercio exterior

LCST 2000: FEMINIST SCREEN THEORY—Fall 2007

Instructor:
Dr. Orit Halpern
History Department
80 Fifth Avenue, 5th Floor
Room 507
e:HalpernO@newschool.edu
Office Hours: Tuesday/Wednesday 10-11AM/4-5:30PM
(please sign up/e-mail beforehand)


INTRODUCTION:

What is the relationship between feminism and the screen? This course will be a preliminary investigation of this question. Wewill inquire into what feminism can offer our imagination of media technologies and practices. And how feminist practice informs, contests, and re-creates the interface.

This is a journey that will take us from the history of medicine to Hollywood, to the digital age, in the search for the nature of the image, and the history of gender.

As a result, this course will prepare students foradvanced work in media studies, history, and science studies. We will also emphasize the close relationship between concepts and practices, interrogating both together.

This course should appeal to students interested in media studies, feminism, and science technology studies.

REQUIREMENTS:
Class attendance and participation will comprise 20% of you grade.

There will be one 5-7 page, doublespaced, essays responding to themes in the class, that will comprise 30% of your grade.

One final project (a 10-15 page paper or its equivalent) including a classroom presentation. This will comprise 50% of your grade.
The project will entail choosing a visual artifact and discussing it in relation to the dominant themes of the course.

TEXTS:
Sue Thornham, Feminist Film Theory: AReader, Sue Thronham, ed. (New York: NYU Press, 2006)
Peter Gay, ed. The Freud Reader, [New York:W.W. Norton and Company, 1995).
Donna Haraway, Primate Visions: Gender, Race, and Nature in the World of Modern Science, (New York: Routledge,1989
Trinh-T. Minh Ha, Woman, Native, Other, (Bloomington: Indiana University Press, 1989)
Lisa Cartwright, Screening the Body: Tracing Medicine’s VisualCulture, (Minneapolis: University of Minnesota Press, 1995)
Georges Didi-Huberman: Invention of Hysteria: Charcot and the Photographic Iconography of the Salpêtrière , (Cambridge: MIT Press, 2003)



Feminist Screen Theory


INTRODUCTION: Theory is a practice
What is a screen? And what might feminism offer this question?


HISTORY

WEEK 1: Surveillance
9/6 Lisa Cartwright: Screeningthe Body: Tracing Medicine’s Visual Culture
Introduction
Chapter 1-2,pp.1-47.

The Body and the Archive
Allan Sekula
October, Vol. 39 (Winter, 1986), pp. 3-64 [on-line]

Week 2: Surveillance (cont.)

9/11 Georges Didi-Huberman: Invention of Hysteria: Charcot and the Photographic Iconography of the Salpêtrière
Section I: Spectacular Evidence, pp.1-66, also read the “argument”, xi, xii.Chapter 7: Repetition, Rehearsals, Staging , pp.175-257


Please check out these movies
Screenings early cinema clips/ Archives Library of Congress [on-line]

http://memory.loc.gov/ammem/edhtml/edshift.html
http://memory.loc.gov/ammem/awhhtml/awmi10/index.html


9/13 NO CLASS—but we will discuss these readings in the coming week
Cartwright, Chapter 3,6

SUPPLEMENTARY
Cartwright,Chapter 5







WEEK 3-Pscyhe

9/18
Looking and Listening: The Construction of Clinical Knowledge in Charcot and Freud, Daphne de Marneffe, Signs Vol. 17, No. 1 (Autumn, 1991), pp. 71-111 [on-line]

Selections from The Interpretation of Dreams, in The Freud Reader

mini-assignment: submit a one page paper with your reflections on Freud. Pick statements, sentences, or ideas that struckor confused you and we will discuss them in class.

9/20
Screen Memories in The Freud Reader

Selections from Three Essays on Sexuality, Sigmund Freud, in The Freud Reader, Peter Gay, ed. [New York:W.W. Norton and Company, 1995).

Selections from The Case of Dora, The Freud Reader

WEEK 4: Screen-Memories—Returning to Freud

9/25

continue discussion of Freud

Jacqueline Rose,...