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The interdisciplinary fields of gender, sexuality and queer studies have considered representations of lgbt/queer
people central to how compulsory heterosexuality and normative definitions of gender identities works and affect
us—regardless of our desires and identifications. The emergence of new queer cinema in the 1990s pushed the
field beyond asking ‘is this a good or bad portrayal of a lesbian/gay/transgender character?’ and opened new
ways/queer ways of artistic expression as well as new avenues of critical explorations into cultural politics of global
capitalism. Foregrounding the cultural politics of race, ethnicity and structures of inequalities, following questions
transpire as pressing: In what ways were glbt and queer identities incorporated into the nation-states? In what ways
is the call and celebration of (sexual) diversity embedded in the neoliberal ideology of privatized and
individualized ‘choices’ that underpin demontage of ‘the public’ and ‘the social’? How have the lgbt and queer
identities been circulated globally? And how are they implicated in imperialism? For instance, how are cultural
formations such as pink economy, or queer tourism functioning vis-à-vis global capitalism? And what conflicts
have materialized over the ways in which to articulate non-normative desires and identities? What various forms of
activism and cultural critique and strategies of dis/identification have developed over the transnational lgbtq
cultures? The transnational setting of this class (and classroom) will encourage us to reflect upon transnational
translations between the ‘West’ and ‘post-socialist’ and post-colonial contexts and ask, what modes of expression
does the subaltern queer and the post-socialist inarticulate crip develop? And lastly, how can we—drawing on the
late queer theorist José Muñoz—think the possibility of critical imaginaries and visions of the political that
transgress the pragmaticism of ‘presentness’?
Last update: Kolářová Kateřina, doc. Mgr., Ph.D. (24.09.2020)
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DEAR STUDENTS, WELCOME TO THIS CLASS -- IF YOU REGISTERED LATER THAN OCTOBER 9, PLEASE SEND ME AN EMAIL SO THAT I CAN REGISTER YOU ONTO THE MSTEAMS PLATFORM FOR THIS CLASS AND YOU WILL GET ACCESS TO THE THURSDAY CLASS. LOOKING FORWARD SEEING YOU IN THE CLASS. KK
Unless stated otherwise, the class sessions for the winter semester 2020 will be conducted online through the MSTeams platform. The classes will follow the official schedule. For more information about MSTeams and how to register, see here: https://dl.cuni.cz/ms-teams/. Students who miss class will not be penalized, however, you will need to get in touch with the instructor for information about how make up for missed sessions. You are also required to submit all course work at the dates specified in the sylabus. If there is a serisous reason for you missing the deadline, get in touch with the instructor prior to the deadline. If the epidemiological situation permits us to return to in person classes, you will be informed ahead of time. The course management system will remain without changes throughout the semester. The exam and final evaluations will také the form indicated in the sylabus.
Výuka v ZS 2020 probíhá do odvolání v online režimu. Výuka celého studijního programu genderových studií bude probíhat pomocí platformy MS Teams. Informace o této platformě i způsob přihlašování naleznete zde: https://dl.cuni.cz/ms-teams/. Doplňková podpora bude v rámci tohoto kurzu dostupná v moodle2. Účast na online výuce není vzhledem k potenciálně složitým individuálním podmínkám studujících povinná. Nepřítomnost na online výuce není potřeba omlouvat a dokládat doporučením lékaře/řky. O své nepřítomnosti nicméně informujte vyučující/ho a domluvte se na způsobu náhrady absence a způsobu doplnění probírané látky. Průběžné úkoly, které jsou specifikovány v sylabu a které naleznete ve studijních oporách, je třeba plnit (bez ohledu na stávající distanční režim) v zadaných termínech. Pokud z nějakého vážného důvodu nemůžete příslušný termín dodržet, informujte vyučující/ho. Odevzdávání průběžných úkolů bude probíhat pomocí studijní opory. Výuka bude probíhat v časech daných rozvrhem a harmonogramem akademického roku FHS. Pokud bude během ZS 2020 znovu možné převést výuku do prezenčního či hybridního modu, budete o tom včas informováni/y. Studijní podpory však zůstanou po celou dobu beze změn. Zakončení kurzu proběhne dle podmínek stanovených v sylabu (jakékoli změny budou avizovány v dostatečném předstihu).
Plagiarism in any form will be turned over to the ethical committee of the faculty; the procedure can result in expulsion from studies. In case of uncertainty how to quote or use primary material consult any citation manual. I will be also happy to help.
Films screenigs to be announced
QUEER FILM
I. INTRODUCING QUEER FILM
8.10. Week 1: New Queer Cinema
I. Introducing Queer Film What are GLBT film studies? Is there a difference between GLBTI (Gay, Lesbian, Bisexual, Trans_, Intesex…) and Queer film/film criticism? Should we care about good and positive representations of GLBTIAQ people? Why film? And does it all matter, really?
Reading: Michele Aaron, “New Queer Cinema: An Introduction,” New Queer Cinema. A Critical Reader. Rutgers UP. 2004 (pp. 3-14)
In-class: The Haunting(sequences) Tongues Untied (sequences)
At home Screening: Fabulous! The Story of a Queer Cinema (Lisa Ades and Lesli Klainberg, US, 2006) https://www.youtube.com/watch?v=cIod2QP2TaI&t=290s
Assignment #1(in MSteam, deadline 14.10.)
Recommended: Rod Ferguson, “Race-ing Homonormativity: Citizenship, Sociology and Gay identity” inBlack Queer Studies: A Critical Anthology, Patrick E. Johnson, Mae Henderson, Eds.Durham and London: Duke University Press, 2005; pp. 52-67
Keeling, Kara. „Joining the Lesbians: Cinematic Regimes of Black Lesbian Visibility,” inBlack Queer Studies: A Critical Anthology, Patrick E. Johnson, Mae Henderson, Eds. Durham and London: Duke University Press, 2005; (pp. 213–227)
15.10. Week 2: Transnational Contexts
Readings:
Robert Kulpa, Joanna Mizielinska, De-Centring Western Sexualities: Central and Eastern European Perspectives. Burlington: Ashgate, 2011; chapters: “Introduction: Why Study Sexualities in Central and Eastern Europe? pp. 1-10; “‘Contemporary Peripheries’: Queer Studies, Circulations of Knowledge and East/West Divide”, pp.11-27
Assignment #2(in MSteam, deadline 20.10.)
Recommended:
Rafael de la Dehesa, “Third-World Gays” and Western Baggage in the Early Construction of an International Gay and Lesbian Liberation Movement http://sfonline.barnard.edu/thinking-queer-activism-transnationally/
in Czech: Zdeněk Sloboda, Czeslaw Walek, Romana Schlesinger, ”PRIDE: Promotion of homosexualism, manifestation of pride, or big party? The interview with Czeslaw Walek, a director of Prague Pride, and with Romana Schlesinger, a director of Bratislava Pride”, Gender, rovné příležitosti, výzkum14 (2): 52-55; link http://www.genderonline.cz/uploads/020793204beeaa1600f6ecc68e4aaa7b7409c440_rozhovor-pride-walek-schlesinger.pdf
Kathi Wiedlack, “Red” vs. the Lesbians—Russian Characters, US-Nationalism and New Cold War Cultures in Orange Is The New Black” The Body in Feminist Theories and Methodologies, a special issue of Gender, Research, eds. Kateřina Kolářová and Jaroslava Marhánková Hasmanová, 17 (1): 29-40
Kuhar, Roman and Takacs, Judit. Eds., Beyond the Pink Curtain. Everyday Life of LGBT People in Eastern Europe,Ljubljana: Peace Institute, 2007.
Reddy, Gayatri, With Respect to Sex: Negotiating Hijra Identity in South India. Chicago: University of Chicago Press, 2005; chapter “Crossing ‘lines’ of Subjectivity: Transnational Movements and Gay Identifications”, (pp. 211-222)
Gopinath, Gayatri. Impossible Desires: Queer Diasporas and South Asian Public Cultures. Durham: Duke University Press, 2005; chapter “Bollywood/Hollywood. Queer Cinematic Representation and the Perils of Translation” (pp. 93-130)
Briggs, Laura, Gladys McCormick, and J. T. Way. "Transnationalism: A Category of Analysis." American Quarterly60.3 (2008): 625-48
After-class screening (voluntary): Todd Haynes, Poison or Safe
22.10. Week 3 Queer Exceptionalism
Anne Mulhall, “The republic of Love: On the complex achievement of the same sex marriage referendum in Ireland“; available at:https://bullybloggers.wordpress.com/2015/06/20/the-republic-of-love/
MA Students also: Moussawi, Ghassan. „Queer exceptionalism and exclusion: Cosmopolitanism and inequalities in “gay-friendly” Beirut“.The Sociological Review, 66. 1.(2017):174–190.
Assignment #3(in MSteam, deadline 27.10.)
Recommended: “The Miseries of Marriage: What Do Queers Lose When We “Win?”, The ASA 2015 panel
El-Tayeb, Fatima. “‘Gays Who Cannot Properly be Gay’: Queer Muslims in the Neoliberal European City.” European Journal of Women's Studies19.1 (2012): 79-95.
Puar, Jasbir, “The Golden Handcuffs of Gay Rights: How Pinkwashing Distorts both LGBTQI and Anti-Occupation Activism”; available from http://www.thefeministwire.com/2012/01/the-golden-handcuffs-of-gay-rights-how-pinkwashing-distorts-both-lgbtiq-and-anti-occupation-activism/ Rushbrook, Dereka. “Cities, Queer Space, and the Cosmopolitan Tourist.” GLQ: A Journal of Lesbian and Gay Studies8.1-2 (2002): 183-206.
David A B Murray. “Real Queer: ‘Authentic’ LGBT Refugee Claimants and Homonationalism in the Canadian Refugee System.” Anthropologica56.1 (2014): 21. Web.
29.10. Week 4 Transgressions and knowledge circulation
Holmes, Morgan. „The Intersex Enchiridion: Naming and Knowledge.“ Somatechnics 1.2 (2011): 388–411
MA Students also: Jules Rosskam, „Making Trans Cinema: A Roundtable Discussion with Felix Endara, Reina Gossett, Chase Joynt, Jess Mac and Madsen Minax“. Somatechnics, 8.1 (2018): 14–26
Assignment #4(in MSteam, deadline 4.11.)
Schedule of the film discussions, division of groups (in MSTeam, deadline 4.11.)
Recommended:
Chase, Cheryl. "Hermaphrodites with Attitude: Mapping the Emergence of Intersex Political Activism." GLQ: A Journal of Lesbian and Gay Studies4.2 (1998): 189-211.
Spurgas, Alyson K. “(Un)Queering Identity: The Biosocial Production of Intersex/DSD” in Critical Intersex, Morgan Holmes Ed., Burlington: Ashgate, 2009; pp. 97-123
5.11. Week Queer Film Festivals and Global Cultural Economy
Reading: Tba
In-class visit Dr. Patsavas, presenting bonus material from Code of the Freakson sexuality and disability.
Assignment #5(in MSteam, deadline 4.11.)
In-class screening: Mezipatratrailor(s) Yes, We Fuck! (sequences) (2015, Antonio Centeno, Raúl de la Morena) https://vimeo.com/123177395; sexually explicit content
Recommended:
Rich, B. Ruby. “The New Homosexual Film Festivals” GLQ: A Journal of Lesbian and Gay Studies, 12.4. (2006): 620-625
Barrett, Michael, et al. "Queer film and video festival forum, take one: Curators Speak Out." GLQ: A Journal of Lesbian and Gay Studies11.4 (2005): 579-603.
Straayer, Chris, and Thomas Waugh, eds. “Queer film and video festival forum, take two: Critics Speak Out." GLQ: A Journal of Lesbian and Gay Studies12.4 (2006): 599-602
Straayer, Chris, and Thomas Waugh, eds. "Queer Film and Video Festival Forum: Artists Speak Out." GLQ: A Journal of Lesbian and Gay Studies14.1 (2007): 120-2.
Arjun Appadurai, Appadurai, Arjun. Modernity at Large: Cultural Dimensions of Globalization. Minneapolis, Minn: University of Minnesota Press, 1996; chapter: “Disjuncture and Difference in the Global Cultural Economy”; pp. 27-47
III. WORKSHOP: 5.11.-12.11. Mezipatra Queer Film Festival
During the workshop, we will meet daily. We will watch films screened through the film festival and then meet to discuss them in class. The detailed schedule of the workshop will be announced as soon as it is clear if the festival happens in-person or online.
!!! Even this Covid-defined year, we will get a special guest: Dr. Alyson Patsavas(University of Illinois at Chicago), a writer and co-producer Code of the Freaks(2020), a documentary about Hollywood portrayal of sexuality of people with disabilities.
Assignmentfor the workshop: Each of you will be part of a team that will prepare a discussion of the films we will watch together during the festival. After the workshop, as for the final assignment, you are asked to write a short discussion of any chosen film from the festival.
26.11. Last class
REQUIREMENTS FOR THE CLASS:
General requirements
As long as we are online, attendanceis highly recommended (but to required) and is crucial to the community-building, exchanging ideas and learning from each other. Please do not Text/Tweet/Facebook during class.
Come prepared:You are expected to read the material carefully and critically and to turn in weekly assignments. Come with questions: comprehension questions, simple or more theoretical queries you have. Our class will rely on your questions and participation.
Assignments:
Each class is based upon the discussion of readings (and possibly additional material that I will happily provide). The weekly assignments are design to give you space to prepare for the discussions. Each assignment should not be more than 300-500 words.
When preparing for the class, try to: summarize main thesis and argument of the text(s), draw a link to the topics of the class and present a list of questions that the text raises and that you, as the presenter, want us to discuss and think about in the class.
Workshop requirements:
· Attendanceof the screenings is required and the attendance of the daily class is highly recommended and expected.
· Lead a discussionof a chosen film: in the course of the festival, we will see apprx. & films and possibly have access to some extra material/events. You will be asked to create groups and together prepare questions for the in-class discussions of the film screenings.
Final project/essay:
You are asked to go back to the discussion of the festival film/s you prepared for the workshop and reflect on the film once more, and/or the discussion of the film (think about what has (not) been discussed, where do you see the limits of the discussion, what new aspects of the film you see now etc. You can alternatively compare the film with another film/media representation of the discussed theme), you are also encouraged to discuss the politics of the festival and the in/visibility of certain topics and issues, the barriers and accessibility politics of the festival, the transnational aspects and global economy of queer representations... You are required to use at least 2 theoretical sources from the class syllabus. This short essay should be between 2-3pages (300 words/per page), 5-6 pgs for MA students; can be written either in English or in Czech.
Last update: Kolářová Kateřina, doc. Mgr., Ph.D. (13.10.2020)
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