June 5-July 16, 2006
MW 12:30pm- 3:45pm
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.
For the summer 2006 term, our focus will be on cinema and the history of Rio de Janeiro. Our discussions will contribute to the development of a new textbook, The Rio de Janeiro Reader: Itineraries through the Marvelous City, under development with Duke University Press.
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 I (June 5-July 16, 2006). Class sessions will last three hours and fifteen minutes, including a break.
Our summerterm format is very well-suited for the study of film. The extended sessions provide sufficient time to screen and discuss each film and related readings. The single greatest drawback to this format is that a semester's worth of work must be squeezed into six weeks, rather than fourteen. The pacing is, obviously, much faster than a conventional semester. It will be very difficult to make up for missed work. Therefore, it is extremely important that all students budget their time so that they are able to dedicate at least 90 minutes per day beyond in-class time to meet all course requirements.
The First Writing Assignment is to craft an introductory guide to the city of Rio de Janeiro, drawing upon Ruy Castro's popular history of the city, Rio de Janeiro: Carnival Under Fire, as well as other sources readily available in the mainstream media. The six-page assignment is due Monday, June 12, 2006.
Each student will be responsible for leading the screening of an assigned film. The screening should include the development of a basic summary sheet on the assigned film (see models distributed during the first week of class) and a set of discussion questions that bring together issues of history and film.
The Second Writing Assignment, due at the end of the term, asks that you develop an extended lesson plan for the film discussed in the screening. Additional details to be distributed during the second half of the course.
Final grades will be determined by
the following formula:
25% First Writing Assignment
25% In-class Film Screening
25% Second Writing Assignment
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.
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, see: 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. Most of the films are also available through commercial video rental/sales outlets, such as Video Americain, Potomac Video, and Netflix.com.
The following readings are required:
Bowman, Donna. "Faith and the Absent Savior in Central Station" Journal of Religion and Film 5:1 (April 2001). [ResearchPort: MLA International Bibliography]
Castro, Ruy, Rio de Janeiro: Carnival Under Fire. New York: Bloomsbury USA, 2004
Freire-Medeiros, Bianca "Hollywood Musicals and the Invention of Rio de Janeiro, 1933-1953," Cinema Journal 41:4 (Summer 2002): 52-67. [ResearchPort: JSTOR]
Green, James N. "Madame Satã: The Black Queen of Rio's Bohemia," The Human Tradition in Modern Brazil. Peter M. Beattie, ed. Wilmington, DE: Scholarly Resources, 2004, 267-286.
Jaguaribe, Beatriz, "Favelas and the Aesthetics of Realism: Representations in Film and Literature," Journal of Latin American Cultural Studies 13:3 (December 2004): 327-342.
Leu, Lorraine, "The Press and the Spectacle of Violence in Contemporary Rio de Janeiro," Journal of Latin American Cultural Studies 13:3 (December 2004): 343-355.
Perrone, Charles A. "Don't Look Back: Myths, Conceptions, and Receptions of Black Orpheus," Studies in Latin American Popular Culture 17 (1998): 155-177.
Rosenstone, Robert A. "History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film," American Historical Review 93: 5 (December1988): 1173-1185 [ResearchPort: JSTOR]
Santos, Myrian Sepúlveda dos, "The Brazilian Remake of the Orpheus Legend: Film Theory and the Aesthetic Dimension," Theory, Culture & Society 20: 4 (August 2003): 49-69. [ResearchPort: Hispanic American Periodicals Index/HAPI]
Stam, Robert. Tropical Multiculturalism: A Comparative History of Race in Brazilian Cinema and Culture. Durham: Duke University Press, 1997.
The following reading is recommended:
Dennison, Stephanie and Lisa Shaw. Popular Cinema in Brazil: 1930-2001. Manchester, UK: Manchester University Press, 2004.
Skidmore, Thomas. Brazil: Five Centuries of Change. Oxford University Press, 1999.
All assigned books will be available for purchase through the University Book Center and online vendors.
Full-text journal articles indicated by the [ResearchPort] 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, and the MLA International Bibliography.
For a complete list, see: http://www.lib.umd.edu/MCK/GUIDES/film_reviews.html
The Internet Movie Database [http://imdb.com]
is a comprehensive, user-maintained database about motion pictures.
There are innumerable tourist guides and websites that deal with Rio. Some of the more comprenhenisve include
Riotur, the official tourism board of the city of Rio de Janeiro
Rio de Janeiro Convention and Visitors Bureau
The Ministry of Tourism
|June 5||The Gringo in Mañanaland (1995)|
|June 7||Como era gostoso o meu francês (1971)|
Castro, Ruy, Rio de Janeiro, all
Rosenstone, Robert A. "History in Images/History in Words" [JSTOR]
Stam, Tropical Multiculturalism, 1-23.
THE ORPHEUS LEGEND
||Orfeu Negro [Black Orpheus] (1959)|
|June 14||Orfeu (1999)|
Perrone, "Don't Look Back"
Santos, "The Brazilian Remake of the Orpheus Legend" [ResearchPort]
Stam, Tropical Multiculturalism, pp. 157-178.
HOLLYWOOD AND THE INVENTION OF THE MARVELOUS CITY
|June 19||Flying to Rio (1933)
The Gang's All Here (1943) (excerpt)
Saludos Amigos (1943) (excerpt)
||It's All True (1942;
Nancy Goes to Rio (1956)
Carmen Miranda: Bananas is My Business (1995)
Freire-Medeiros "Hollywood Musicals and the Invention of Rio de Janeiro" [JSTOR]
Stam, Robert. Tropical Multiculturalism, pp. 79-132.
||City of God (2002)|
||Bus 174 (2002)|
Jaguaribe, "Favelas and
the Aesthetics of Realism"
||Madame Satã (2002)|
Green, "Madame Satã (Satan): The Black Queen of Rio's Bohemia"
||Central Station (1998)|
|July 12||Bossa Nova (2000)|
Denby, David . "Leaving Rio." The New Yorker 74 (November 30 , 1998): 129-130.
Interview with Walter Salles [Sony Pictures Classics]