教學大綱 Syllabus

科目名稱：女性影像與新媒體

Course Name: Women's Cinema and New Media: From Gaze to Play
  • 學年學期：114-1 Fall Semester, 2025
  • 科目代碼：ZM1885001 Course No.ZM1885001

修別：選

Type of Credit: Elective

3.0

學分數

Credit(s)

15

預收人數

Number of Students

課程資料Course Details
  • 開課單位：全創碩一、全創碩二 Course Department:Global Communication and Innovation Technology/M/1&2
  • 授課老師：卓庭伍 Instructor: CHO TING-WU
  • 先修科目：無Prerequisite(N/A)
  • 上課時間：三34C Session: wed10-13

課程簡介Course Description

What is Women’s Cinema? In Women’s Cinema: The Contested Screen, Alison Butler argues that “’Women’s cinema’ is a complex critical, theoretical and institutional construct, brought into existence by audiences, film-makers, journalists, curators, an academics and maintained only by their continuing interest: a hybrid concept, arising from a number of overlapping practices and discourses…” (Alison Butler, 2003, 2)

The course tackles such complex, hybrid, constructed term by not only understanding it as “works made by women” or “films designed for the female audience,” but by learning about the history and social context in which women have engagd with cinema and new media, both as creators and consumers, and consider the complex interplay between production, consumption, and representation in relation to women and film/media texts.

To do so, the course examines women’s roles, rerpesentations, and experiences from early cinema to comtemporary digital culture. Students are introduced to a diverse set of methodologies and theoretical frameworks which will allow them to explore works from films, television, aniem, video games, and other media forms from various cultures; from the perspectives of film history, auteur, spectatorhsip, genre, feminist criticism, industry, circulation, globalization, and (trans)nationalism. By combining these interdisciplinary approaches, the course introduces a feminist intevention to the existing paradigms and provides studenst with a thorough grasp of women’s cinema and media culture from its historical origins to its current manifestations.

Final projects may take the form of traditional research papers, creative media work, or essay films, encouraging students to engage with course materials through critical and/or creative expression.

核心能力分析圖 Core Competence Analysis Chart

能力項目說明

    課程目標與學習成效Course Objectives & Learning Outcomes

    1. Identify key figures and movements in the history of women’s cinema.
    2. Analyze films and media texts from a feminist perspective, considering the role of gender, genre, and cultural context.
    3. Evaluate the impact of women filmmakers and media creators in world cinema and media culture.
    4. Engage with critical theories and debates surrounding women and film/media in diverse perspectives.
    5. Develop research and presentation skills through class discussion, assignments and a final research project, which may take the form of a written paper, creative media work, or essay film.

    每周課程進度與作業要求 Course Schedule & Requirements

    Week

    Topic

    Content and Reading Assignment

    Teaching Activities and Homework

    1

    9/2

    Introduction:

    What is “Women’s Cinema”?

     
    1. Introduction to the course
    2. Course requirements and assignments

     

    Screening:

    The Consequences of Feminism (Alice Guy, 1906), 7 min

    Suspense (Lois Weber, 1913), 10 min

    La Souriante Madame Beudet (Germaine Dulac, 1923), 38 min

     

    2

    9/9

    Female Pioneers: Erased Presences
    1. Mayne, Judith. “The Women at the Keyhole: Women’s Cinema and Feminist Criticism.” New German Critique, no. 23( 1981): 27-43.
    2. Alison Butler, “Introduction: From Counter-Cinema to Minor Cinema,” in Women’s Cinema: The Contested Screen. Wallflower Press, 2003.
    3. GAINES, JANE M. “WHAT HAPPENED TO WOMEN IN THE SILENT U.S. FILM INDUSTRY?” In Pink-Slipped: What Happened to Women in the Silent Film Industries?, 16–32. University of Illinois Press, 2018.
    4. GAINES, JANE M. “MORE FICTIONS: Did Alice Guy Blaché Make La Fée Aux Choux (The Cabbage Fairy)?” In Pink-Slipped: What Happened to Women in the Silent Film Industries?, 51–70. University of Illinois Press, 2018.

     

    Website: Women Film Pioneers Project https://wfpp.columbia.edu

     

    Screening:

     

    Be Natural: The Untold Story of Alice Guy-Blaché (Pamela B. Green, 2018)

     

    “A History of Silence: Cinema of Lois Weber” (8 min)

     

    3

    9/16

    Women’s Picture:

    Classic Hollywood and Female Audience

     

    1. Stacey, Jackie. 2 FROM THE MALE GAZE TO THE FEMALE SPECTATOR, Star Gazing: Hollywood Cinema and Female Spectatorship. London and New York: Routledge, 1994.
    2. Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Screen 16.3 (1975): 6-18.
    3. *Williams, Linda. “Melodrama Revised.” Refiguring American Film Genres, 42-88.

     

    Screening:

    The Women (George Cukor, 1939), 133 min

     

    4

    9/23

    Women and Modernity:

    The “Modern Girls”
    1. Zhang, Zhen. “Fighting over the Modern Gril” in An Amorous History of the Silver Screen: Shanghai Cinema, 1896-1937, U of Chicago Press, 2005.
    2. Wada-Marciano, Mitsuyo, 'Imaging Modern Girls in the Japanese Woman’s Film', Nippon Modern: Japanese Cinema of the 1920s and 1930s (Honolulu, HI, 2008; online edn, Hawai'i Scholarship Online, 17 Nov. 2016).
    3. *Kelleter, Frank; Mayer, Ruth (2007):"The Melodramatic Mode Revisited: An Introduction." Melodrama! The Mode of Excess from Early America to Hollywood. Eds. Kelleter, Frank; Krah, Barbara; Mayer, Ruth. Heidelberg: Universitätsverlag Winter. 7-17. American Studies – A Monograph Series 145.

     

    Screening:

    Center Stage (1991)

    Burden of Life (Heinosuke Gosho, 1936), 66 min (clip)

    Woman of Tokyo (Yasujiro Ozu,1933), 45 min (clip)

    5

    9/30

    Women and Modernity:

    Female Subjectivity
    1. González-López, Irene, and Hide Murakawa. ""Film Director Tanaka Kinuyo": The Challenges of Female Authorship." JCMS: Journal of Cinema and Media Studies 62, no. 4 (2023): 130-154.
    2. González-López, Irene, and Ashida Mayu. “The First Female Gaze at Post-War Japanese Women: Tanaka Kinuyo, Film Director.” In Tanaka Kinuyo: Nation, Stardom and Female Subjectivity, edited by Irene González-López and Michael Smith, 104–25. Edinburgh University Press, 2018.
    3. Saito, Ayako. “Kinuyo and Sumie: When Women Write and Direct.” In Tanaka Kinuyo: Nation, Stardom and Female Subjectivity, edited by Irene González-López and Michael Smith, 126–54. Edinburgh University Press, 2018.

    Screening:

    Eternal Breasts (Kinuyo Tanaka, 1955)

    6

    10/7

    Body and Genre: Exploitation

     
    1. Williams, Linda. “Film Bodies: Gender, Genre, and Excess.” Film Quarterly 44, no. 4 (1991): 2–13. https://doi.org/10.2307/1212758.
    2. Alexandra Heller-Nicholas, “The Rape-Revenge Film Canon” in Rape-Revenge Films: A Critical Study, Jefferson NC: McFarland & Company, Inc., Publishers, 2011.

     

    Screening:

    Lady Snowblood (Fujita Toshiya, 1973), Female Prisoner #701 (Ito Shunya, 1972),

    clip

     

    *Revenge (Coralie Fargeat, 2017), 108 min

     

     

    7

    10/14

     

    Body and Genre: From Abject to Monstrous Feminine

     
    1. Creed, Barbara, “Alien and the Monstrous-Feminine,” in The Gendered Cyborg, Routledge, 2000.
    2. KRISTEVA, JULIA, and Leon S. Roudiez.”POWERS OF HORROR.” In Powers of Horror: An Essay on Abjection, 213-16. Columbia University Press, 2024.
    3. Creed, Barbara, “Vampires, Feminism & Ethnicity: A Girl Walks Home Alone at Night,” in Return of the Monstrous-Feminine: Feminist New Wave Cinema, Routledge, 2022.

     

    Screening:

    Rosemary’s Baby (Roman Polanski, 1968)

    Alien (Ridley Scott, 1979)

    * Jennifer’s Body (Karyn Kusama, 2009)

    Teeth (Mitchell Lichtenstein, 2007)

    *A Girl Walks Home Alone at Night (Ana Lily Amirpour, 2014)

    TBA

     

    8

    10/21

     

    Guest Lecture:

    Curating Women’s Film/Media

    TBA

     

    9

    10/28

    WMW group discussion

    After participating in at least one of the events of the WMW film festical, students will come back with reviews/analysis of, or thought on the festival activities or screenings.

     

    10

    11/4

    Body and Genre: Time, Space, and Subjectivity

     
    1. INCE, KATE. “Feminist Phenomenology and the Film World of Agnès Varda.” Hypatia 28, no. 3 (2013): 602–17.
    2. Hayward, Susan. “Beyond the Gaze and into Femme-Filmécriture: Agnès Varda’s Sans Toit Ni Loi.” French Film: Texts and Contexts, 2nd ed., Routledge, 2006, pp. 269–280.
    3. DePaul, B. A.. “Temporality, Spatiality and Looking in Chantal Akerman's Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) and Agnès Varda's Cléo from 5 to 7 (1962).” (2018).

    Screening:

    Vagabond (Agnès Varda, 1985), 105 min

    11

    11/11

    Posthuman:

    Cyborgs to Technosexuality—a Male Fantasy?
    1. HARAWAY, Donna. “A Cyborg Manifesto: Science, Technology and Socialist-Feminism in the Late Twentieth Century.” In Simians, Cyborgs and Women: The Reinvention of Nature. Routledge.
    2. Saaranen, Linnéa. (2020). The Perfect Woman: Scarlett Johansson as a cyborg in 'Under the Skin' (2013), 'Her' (2013) and 'Ghost in the Shell' (2017).
    3. Carl Silvio. “Refiguring the Radical Cyborg in Mamoru Oshii’s ‘Ghost in the Shell.’” Science Fiction Studies 26, no. 1 (1999): 54–72.
    4. Molloy, Missy, 'From Cyborg Theory to Posthuman Mothers', Screening the Posthuman (New York, 2023; online edn, Oxford Academic, 22 June 2023.
    5. Nilima Chaudhary, “Rewriting Femborgian Narratives: Transgression and Subversion of the Female Cyborg in Her and Ex Machina,” Rupkatha Journal, vol. 16, Issue 1, 2024.
    6. Genevieve Liveley, “Changing the Story of Human-Machine Relationships,” Digital Societies, January 25, 2020.

    https://reurl.cc/yD13Ay

    Screening:

    Ghost in the Shell (Mamoru Oshii, 1995)

    Ghost in the Shell 2: Innocence (Mamoru Oshii, 2004)

    Ghost in the Shell (Rupert Sanders, 2017)

    Her (Spike Jonze, 2013)

    Ex Machina (Alexander Medawar, 2015)

    Blade Runner 2049 (Denis Villeneuve, 2017)

     

    12

    11/18

    Guest Lecture: Gender and Interactive Design

    TBA

     

     

    13

    11/25

     

    Witches and Games: Women’s Experimental Cinema
    1. Keller, Sarah. “Done and Undone: Meshes of the Afternoon and Witch’s Cradle.” In Maya Deren: Incomplete Control, 31–80. Columbia University Press, 2015.
    2. WEES. William C. “Peggy’s Playhouse: Contesting the Modernist Paradigm.” In Women’s Experimental Cinema: Critical Frameworks. Ed. Robin Blaetz, Duke University Press, 2007.
    3. “Love and Theft: Peggy Ahwesh and Sondera Perry Play Video Games.” Eai.org. https://reurl.cc/6jVz3b
    4. Brown, W. (2015) ‘Destroy Visual Pleasure: Cinema, Attention, and the Digital Female Body (Or, Angelina Jolie Is a Cyborg)’, in A. Backman Rogers and L. Mulvey (eds) Feminisms. Netherlands: Amsterdam University Press.

     

    Screening:

    Meshes of the Afternoon (Maya Deren, 1943), 14 min.

    Witch’s Cradle (Maya Deren, 1943), 13 min.

    She Puppet (Peggy Ahwesh, 2001), 15 min.

     

    14

    12/2

    Witches and Games:

    Gamer Trouble
    1. Phillips, Amanda. “Of Dickwolves and Killjoys: Feminism and Interpretative Violence in Gaming Communities.” In Gamer Trouble: Feminist Confrontations in Digital Culture, 27–65. NYU Press, 2020.
    2. Phillips, Amanda. “Gender, Power, and the Gamic Gaze: Re-Viewing Portal and Bayonetta.” In Gamer Trouble: Feminist Confrontations in Digital Culture, 99–136. NYU Press, 2020.

     

     

    Screening:

    CTFO (Shannon Sun-Higginson, 2015), 76 min

    15

    12/9

     

    Presentation of Research Project

    5-10 min presentation of the final research project.

     

    16

    12/16

     

    Presentation of Research Project

    5-10 min presentation of the final research project.

     

    授課方式Teaching Approach

    30%

    講述 Lecture

    20%

    討論 Discussion

    5%

    小組活動 Group activity

    15%

    數位學習 E-learning

    30%

    其他： Others: Film Viewing and Research 觀影與研究

    評量工具與策略、評分標準成效Evaluation Criteria

    1. Attendance and Class Participation: 15+15%  

    ・Up to 2 absences with reasons will be accepted. 1.5 points will be deducted starting from the third absence (even with reason).

    ・participation of the 2 guest lectures and 1 film festival week group discussion is mendatory. (3 points will be deducted for missing any of the events)

    ・Interaction in class is required. Extra scores (15%) can be earned by participation in class. Extra points might be added for more participation in class discussion. Students should keep notes of your own participation.

     

    1. Online Participation: 15% - All students must complete at least 2 required reading materials each week. Students will be divided into group A and B. Group A post questions or ideas for share according to the weekly reading/ screening 2 days prior to meeting in class. Group B must reply to one of Group A student’s post to have a discussion 1 day prior to our meeting in class. A and B will rotate each week. 1.5 points will be deducted each week if the student does no post anything in time.

     

    1. Key discussions: 15% - Each student should prepare a 5-10 min of review/ analysis/thoughts on events/ screenings of WMW film festival for group discussion.

     

    1. Pop-up quiz: 20% - 5 Pop-up quizzes will be given on related topic of the week. It will be open book. (Example: Please list 1 film that can be considered “body genre” according to Linda Williams’ definition and explain why.)

     

    1. Presentation of Final Project: 15% -Each student will give a 5-10 min presentation of their research proposal (research topic and methodology) of the final research project.

     

    1. Final Project: 20%

    ・Each student must complete a final project—a research paper (10-15 double-spaced pages, Chicago style), or media work/ documentary/ essay film (under 15 min) that reflects on the theories we’ve learned—by the end of the semester. Pay attention to the required academic style and use citation correctly to avoid plagiarism.

    ・Lateness: 24hrs after deadline, 5 points will be deducted. 48 hrs after deadline, 10 points will be deducted. After 72 hrs, the final project gets 0 point.

    指定/參考書目Textbook & References

    BEAN, JENNIFER M., and DIANE NEGRA, eds. A Feminist Reader in Early Cinema. Duke University Press, 2002.

     

    WHITE, PATRICIA. Women’s Cinema, World Cinema: Projecting Contemporary Feminisms. Duke University Press, 2015.

     

    Rich, B. Ruby. Chick Flicks: Theories and Memories of the Feminist Film Movement. Duke University Press, 1998.

     

    Alison Butler, Women’s Cinema: The Contested Screen. Wallflower Press, 2003.

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