| Course Name | Contemporary Spanish and Latin American Cinema |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 218 | Fall/Spring | 3 | 0 | 3 | 4 |
| Prerequisites | None | |||||
| Course Language | English | |||||
| Course Type | Elective | |||||
| Course Level | First Cycle | |||||
| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | DiscussionQ&ALecture / Presentation | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | - | |||||
| Assistant(s) | - | |||||
| Course Objectives | This course aims to introduce a broad overview of 21st century Spanish and Latin American cinema (Spain, Mexico, Colombia, Chile, Argentina, Guatemala, Perú, Cuba, Venezuela, etc.), putting the focus of attention on aspects such as corruption, the economic and social crisis, racism, classism, sexism, minorities, the role of women in society, the dictatorial past and civil wars of many of these countries. |
| Learning Outcomes | The students who succeeded in this course;
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| Course Description | This course analyzes a significant sample of films from 21st century Spanish and Latin American cinema, with a focus on sexist, racist, and classist stereotypes. Assessment will be based on a midterm exam, an assignment and a final exam. |
| Related Sustainable Development Goals |      |
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| Core Courses | |
| Major Area Courses | ||
| Supportive Courses | X | |
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Introduction: Spanish and Latin American Cinema | |
| 2 | The drama of unemployment: Los lunes al sol (Fernando León de Aranoa, 2002, España) | Chantal Cornut-Gentille D'Arcy, “Globalization from down below: unemployment and damaged masculinities in The Full Monty (1997) and Mondays in the Sun (2002)”, Studies in European Cinema, vol. 2, 2005, pp. 125-135. |
| 3 | Gender-based violence: Te doy mis ojos (Icíar Bollaín, 2003, España) | Rebesa Maseda, María José Gámez and Barbara Zecchi (eds.), Gender-Based Violence in Latin American and Iberian Cinemas. London and New York: Routledge, 2020. |
| 4 | Bullying in the schools: Después de Lucía (Michel Franco, 2012, México) | Elizabeth Dorton, “Trauma, gender violence, and spectatorial complicity in Michel Franco´s Después de Lucía and Daniel y Ana”, Chasqui: revista de literatura latinoamericana, vol. 47, nº.1, 2018, pp. 129-143. |
| 5 | Mexico… today?: La dictadura perfecta (Luis Estrada, 2014, México) | Brian L. Price, “Heterotemporal mise-en scéne in the films of Luis Estrada”, Arizona Journal of Hispanic Cultural Studies, nº. 16, 2012, pp. 259-274. |
| 6 | Classism and Racism: Roma (Alfonso Cuarón, 2018, México) | Victoria Kearley, “The three amigos: the transnational filmmaking of Guillermo del Toro, Alejandro González Iñárritu and Alfonso Cuarón”, Transnational Cinemas, 5:1, 2014, pp. 89-91. |
| 7 | Midterm | |
| 8 | Zombies and vampires in communist Cuba: Juan de los muertos (Alejandro Brugués, 2011, Cuba) vs Vampiros en La Habana (Juan Padrón, 1985, Cuba) | Gustavo Subero, Gender and Sexuality in Latin American Horror Cinema: Embodiments of Evil. Switzerland: Palgrave Macmillan, 2016. |
| 9 | The (in)visibility of indigenous minorities: La teta asustada (Claudia Llosa, 2008, Perú) Assignment | Manuel Medina and Bridget Franco, “Screening the Indigenous Experience in Contemporary Latin American Cinema”, Diálogo, vol. 23, 2020, pp. 3-6. |
| 10 | With a film-noir scent: El secreto de sus ojos (Juan José Campanella, 2009, Argentina) | Daniel A. Verdú, “Bargaining with globalization: The cinema of Juan José Campanella”, New Cinemas. Journal of Contemporary Film, 16(2), pp. 115-129. |
| 11 | The ghosts of the dictatorship: No (Pablo Larraín, 2012, Chile) | Rob White, “Truth & Dare. Chilean director Pablo Larraín discusses the merging of fact and fiction in his films”, Frieze: Contemporary Art and Culture, nº. 156, 2013, pp. 28-30. |
| 12 | Family and Women: La ciénaga (Lucrecia Martel, 2001, Argentina) and La once (Maite Alberdi, 2015, Chile) | Deborah Martin, The cinema of Lucrecia Martel. Manchester: Manchester University Press, 2016. |
| 13 | The burden of religion: Temblores (Jayro Bustamante, 2019, Guatemala) | María Lourdes Cortés, "The Unexpected Rise of Central American Cinema." In The Film Edge: Contemporary Filmmaking in Latin America, by Eduardo Angel Russo. Buenos Aires: Teseo, 2010, pp. 65-80. |
| 14 | Violence in society: Perro come perro (Carlos Moreno, 2008, Colombia) | elissa R. Meade, “Violence, Oppression, and Double Standards in Three Colombian Films”, Cinema Journal, 2011, pp. 180-186. |
| 15 | Semester Review | |
| 16 | Final Exam |
| Course Notes/Textbooks | |
| Suggested Readings/Materials | Jay Beck and Vicente Rodríguez (eds.): Contemporary Spanish Cinema and Genre. Manchester: Manchester University Press, 2008. ISBN 97807190777530719077753 Duncan Wheeler and Fernando Canet (eds.): (Re)viewing Creative, Critical and Commercial Practices in Contemporary Spanish Cinema. Bristol: Intellect Books, 2014. ISBN 9781783204069 Deborah Shaw (ed.): Contemporary Latin American Cinema: Breaking into the Global Market. USA: Rowman & Littlefield Publishers, 2007. ISBN 978-0-7425-3914-3 Claudia Sandberg and Carolina Rocha (eds.): Contemporary Latin American Cinema: Resisting Neoliberalism? Palgrave Macmillan, 2018. ISBN 978-3-319-77010- |
| Semester Activities | Number | Weighting |
| Participation | 1 | 10 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 1 | 20 |
| Presentation / Jury | ||
| Project | ||
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | 1 | 35 |
| Final Exam | 1 | 35 |
| Total |
| Weighting of Semester Activities on the Final Grade | ||
| Weighting of End-of-Semester Activities on the Final Grade | ||
| Total |
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Course Hours (Including exam week: 16 x total hours) | 16 | 3 | 48 |
| Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | ||
| Study Hours Out of Class | 14 | 1 | 14 |
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | 1 | 14 | |
| Presentation / Jury | |||
| Project | |||
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | 1 | 22 | |
| Final Exams | 1 | 22 | |
| Total | 120 |
| # | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
| 1 | To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms. | X | ||||
| 2 | To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts. | |||||
| 3 | To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media. | |||||
| 4 | To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level. | |||||
| 5 | To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives. | X | ||||
| 6 | To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality. | |||||
| 7 | To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives. | X | ||||
| 8 | To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior. | |||||
| 9 | To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments. | |||||
| 10 | To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media. | |||||
| 11 | To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1). | X | ||||
| 12 | To be able to use a second foreign language at the medium level. | |||||
| 13 | To be able to connect the knowledge accumulated throughout human history to the field of expertise. | |||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
