http://www.history.umd.edu/Faculty/DWilliams/Summer05/HIST319W/syllabus.html
Summer
2005 |
July
11-August 19, 2005 MW 12:30pm- 3:45pm |
PLS
1119 |
Prof. Daryle Williams
Department of History
2115 Francis Scott Key Hall
(301) 405-4267
daryle@umd.edu
http://www.history.umd.edu/Faculty/DWilliams
Office Hours: After class and by appointment
HIST 319W tackles four interrelated problems of history and historical interpretation in the era of cinema: 1) How do motion pictures represent the past?; 2) How do historians, moviegoers, and filmmakers approach historical film?; 3) How do specific traditions and techniques of filmmaking affect the representation and interpretation of the past?; and, 4) how do movies affect history?
In addressing these problems, we look at academic and popular readings of a number of motion pictures that purport to say something about selected episodes/themes in the history of Latin America. The majority of the films screened will be feature-length, commercial films, but we will make some forays in documentaries, film shorts, and educational films.
The course meets Monday and Wednesday afternoons during Summer Session II (July 11-August 19, 2005). Class sessions will last three hours and fifteen minutes, including a break.
The First Writing Assignment, due on Wednesday, July 27, asks that you develop a six-page critical response to issues of historical interpretation posed by Stevens, Rosenstone, and Davis. Click here for details.
The Second Writing Assignment, due on Friday, August 19, asks that you write a eight-to-ten page review of a selected film. Additional details to be distributed during the third week of class. Click here for details.
Final grades will be determined by the following formula:
40% First Writing Assignment
40% Second Writing Assignment
20% Participation
Active participation and lively discussions enrich everyone's learning experience. It is important that all students use the in-class discussions to engage the assigned materials and one another. Active participation will work in your favor should your final grade fall on a borderline.
Late papers will not be accepted without prior approval. With the exception of legitimate excuses, late papers may be subject to a grade penalty of one full grade for each day late.
Essential to the fundamental purpose of the University is the commitment to principles of truth and academic honesty. Because academic dishonesty, which refers to cheating, plagiarism, or helping someone else to cheat or commit plagiarism, jeopardizes the quality of education and depreciates the genuine achievement of others it must be reported to the Honor Council. The Code of Academic Integrity guides this and all other courses taught at the University of Maryland. Violations may result in a failing grade and/or referral to a University disciplinary committee. The full text of the Code is available on-line at: http://www.studenthonorcouncil.umd.edu/code.html.
Under the provisions of the resolution adopted by the University Senate on April 9, 2001, and approved by President Mote on May 10, 2001, all students will be asked to write by hand and sign the following pledge on all written assignments and examinations, unless otherwise instructed: "I pledge on my honor that I have not given or received any unauthorized assistance on this assignment/examination."
For additional information on the Student Honor Pledge, visit http://www.umd.edu/honorpledge.
Students are expected to watch all assigned films during the regularly scheduled class sessions. Most of the films are available through Nonprint Media Services in Hornbake Library. However, Nonprint Media Services will be closed for renovations during the second summer term. There is, thus, all the more reason to view the films during the normally-scheduled class time.
Most of the films are also available through commercial video rental/sales outlets.
The following readings are required:
Davis, Darien J. "Before Night Falls," American Historical Review 106:4 (October 2001) 1512-13. [EBSCO]
Davis, Natalie Zemon. Slaves on Screen: Film and Historical Vision. Cambridge: Harvard University Press, 2000.
Dorfman, Ariel. "Afterward from Death and the Maiden," Southwest Review 85:3 (Summer 2000): 350-5. [EBSCO]
Graham, Richard. Independence In Latin America: A Comparative Approach. New York: McGraw-Hill, 1994.
Guevara, Ernesto Che. The Motorcycle Diaries: A Latin American Journey. Ocean Press, 2003.
Perelli, Carina. "Settling Accounts with Blood Memory: The Case of Argentina." Social Research 59:2 (Summer 92): 415-442. [EBSCO]
Rosenstone, Robert. Visions of the Past: The Challenge of Film to Our Idea of History. Cambridge: Harvard University Press, 1995.
Said, Edward. "The Dictatorship of Truth: An Interview with Gillio Pontecorvo," Cineaste 25:2 (2000): 24-25. [EBSCO]
Seed, Patricia "'Are These Not Also Men?': The Indians' Humanity and Capacity for Spanish Civilisation," Journal of Latin American Studies 25:3. (October 1993): 629-652. [JSTOR]
Stevens, Donald. Based on a True Story: Latin American History in Film. Wilmington: Scholarly Resources, 1997.
The following reading is recommended:
Chasteen, John Charles. Born in Blood and Fire: A Concise History of Latin America. New York : Norton, 2001.
All assigned books will be available for purchase through the University Book Center and online vendors. These books will also be held on two-hour reserves at the Course Reserves Desk of McKeldin Library.
Full-text journal articles on EBSCO and JSTOR can be freely accessed, read, and downloaded through the ResearchPort link of the University Libraries homepage. Access to these databases will be automatically authorized from any computer linked to the internet though the University of Maryland (on campus or dial-up pool). If you access the University Library's webpage through AOL, Verizon, Earthlink, .com and .gov domains, etc., you will need to log in to ResearchPort.
The University Libraries have prepared a very extensive list of resources related to the study of cinema and the motion picture industry. The list includes major print and electronic resources such as Film Literature Index, International Dictionary of Films and Filmmaker, International Index to Film Periodicals, Lexis-Nexis Academic, MLA International Bibliography, and the Internet Movie Database.
For a complete list, see:http://www.lib.umd.edu/MCK/GUIDES/film_reviews.html
Week I | Celluloid New Worlds | |
July 11 | Course
Introduction |
|
July 13 | 1492: The Conquest of Paradise (1992) | |
READINGS | Stevens,
Based on a True Story, Introduction and Chaps. 1-2 In-Class Handouts |
|
Week II | The Colonial Period: Indians on Film | |
July 18 | Como era gostoso o meu francês (1971) | |
July 20 | The Mission (1991) | |
READINGS | Rosenstone,
Visions of the Past, Part I |
|
Week III | Slave Societies | |
July 25 | The Last Supper (1976) |
FIRST PAPER DUE |
July 27 | Brazil:
An Inconvenient History (2000) Quilombo (1984) |
|
READINGS | Davis,
Slaves on Screen, chaps. 1,3, and 5 |
|
Week IV | The Independence Era: Revolution and Farce | |
August 1 | Burn! (1969) | |
August 3 | Carlota Joaquina: Princesa do Brasil (1995) | |
READINGS | Graham,
Independence in Latin America |
|
Week V | The Cuban Revolution: Idealism and Disillusionment | |
August 8 | The Motorcycle Diaries (2004) | |
August 10 | Mauvaise
conduite/Improper conduct (1984) |
|
READINGS | Guevara,
The Motorcycle Diaries: A Latin American Journey |
|
Week VI | The National Security State: Truth and Reconciliation | |
August 15 | The Official Story (1982) | |
August 17 | Death and the Maiden (1995) | |
READINGS | Stevens,
Based on a True Story, chap. 11 |