Gender, Sexuality, + Media/CTCS 412 (18116R):
STARS + CELEBRITY
Professor Tara
McPherson, tmcphers@usc.edu
Tuesdays 10-1:50/SCA
258, Spring 2016
Office: SCA 327
Office Hours: Weds: 2-3 + by appt.
TA: Jennifer Cho, chojj@usc.edu
From talk
shows to the internet to The Enquirer
to the countless star biographies scattered across cable and bookstores,
fascination with celebrities permeates our culture. We can all name favorite stars, and our
desire to learn more about them can fuel our engagements with popular media. Throughout the twentieth century, much of the
popular writing on cinema has consisted of star biographies and tell-all
memoirs, but scholarly investigations of the star are more recent. This course revolves around a critical
investigation of the role of the star in historical and contemporary U.S.
culture. In an attempt to analyze the
star phenomenon, this class will focus on the role of the star within the
‘machinery’ of cinema – the ways in which stars function in the entertainment
industry, within cinematic and extra-cinematic texts, and at the level of
individual fantasy and desire.
How are the
images of stars created and circulated, guaranteeing both audiences and profits
for media producers, distributors, and exhibitors? How do stars act as organizing presences
within cinematic fictions? What is the
relationship between character and star image – does the star image bind the
spectator into the fictional world of the film or does it threaten to escape or
exceed it? How are our own desires and
fantasies mobilized or managed by classical Hollywood
texts? What are the ideological effects
and cultural consequences of the star phenomenon? Do stars help underwrite particular cultural
notions of gender, class, sexuality and race?
How do they model modes of femininity and masculinity? How do stars fuel consumerism? Can certain audiences read stars ‘against the
grain,’ reclaiming the star for their own communities? How do stars crossover from one medium to
another or between fan bases?
As this
list of questions makes clear, the paradoxes posed by cinematic stars – figures
who are represented as both like and unlike us, mythical yet real, public but
intimately known, commodities as well as people – suggest a number of important
issues which are crucial to the understanding of film as an industrial,
textual, cultural and psychological product.
By employing historical, feminist, psychoanalytic, and sociological
theories of the cinema and of acting, we’ll explore some of the many issues
raised by the Hollywood star machine.
This course
also focuses on many
forms of difference, including class, gender, race and sexuality. Throughout
the term, we will reflect upon complex and diverse aspects of gender and examine
how they relate to issues of power. Students will also learn about race and
representation in media, including the political aspects of identity, race and
media economies, and race as it intersects with issues of sexuality and gender.
Sexuality is explored as ideological and political construction.
The course will draw on multiple levels of discursive analysis and
theory. While we will certainly not
answer all the questions raised by the phenomenon of stars in the course of one
semester, you will, upon completion of the course, have a better sense of the
complicated ways stars have functioned within the Hollywood industry, within U.S.
culture, and within our imaginations.
You will also develop skills in the close reading of scholarly and media
texts and will have an understanding of the ways in which stars and celebrity
have been examined within film and media studies.
Note on
course content: The screenings for our
course address issues of femininity, masculinity, sexuality, race, racism and
other potentially sensitive subjects. Our
discussions in class will also include these topics. If you have concerns about course content,
please feel free to discuss your concerns with me.
COURSE REQUIREMENTS:
This course
is designed as a discussion-based seminar and to work effectively it will
require faithful preparation and active participation from all class
members. You should do all assigned readings
before class and also actively watch television and film and survey the web,
looking for examples from the contemporary media to supplement course
materials. Class time will be divided
between brief lectures, longer discussions, group work, and screenings. Your grade will be determined as follows:
1. Participation
and attendance are required. Missing
more than two classes will significantly lower your grade. In addition to being physically present,
you'll be expected to contribute to discussions each week. I will call on you at random, so be prepared
to contribute. (10%)
2. Online Blog participation:
During the semester, you will be required to post to a class blog at
least 12 times. Five of these posts should be in the form of weekly reading
responses (approximately 350-400 words).
These “core” responses should engage critically with the course reading
for that day and should demonstrate both a grasp of the material and your own
considered response to the same. Simply
saying you liked or didn't like something or providing a straight summary of
the readings is not sufficient; you should demonstrate careful, analytical
thinking. You may also pose questions for group discussion for the next class.
Feel free to draw on class screenings or materials outside of the course as
well, integrating them into your discussions and analyses but do address course
readings. These 5 “core” responses should
be posted by 9 p.m. on the Monday evening before class. You will sign up in advance for these posts. Your other 7 “supplemental” posts can take
the form of meaningful responses to your peers’ posts, star sighting stories,
links to interesting celebrity sites or tales, reactions to screenings or
readings, etc. These should be posted by midnight on the Monday evening before class
and can be posted throughout the semester, preferably not all at the end of
term. Ideally, the blog will become
a communal space for the class, one used to address and ponder course themes
and to point your peers to interesting materials. You are, of course, expected to read the blog
regularly and are encouraged to post more frequently if the spirit moves you. The quality of your posts is the most
important aspect of your grade for this portion of the class. The blog is at http://ctcs412-2016.blogspot.com/ ; you will soon be receiving an invitation to
join the blog; follow the instructions in that email. Please post a photo of yourself in your
profile. (30%)
3. A multi-media mid-term project. We'll discuss it in more detail later. (30%)
4. A final project
that applies insights and topics from the class to a creative or analytical
investigation that you will choose in consultation with me. These projects might take many forms, ranging
from websites to short films to board games to essays. We will discuss them in more detail later
this term. (30%)
COURSE TEXTS:
* Richard
Dyer, Stars
* Richard
Dyer, Heavenly Bodies (HB)
* Christine
Gledhill, ed., Stardom: Industry of
Desire (SID)
* Readings
marked “RESERVE” in the syllabus will be available online on Blackboard.
COURSE SCHEDULE:
1/12: Seeing Stars: An Introduction
Screenings: All About Eve 1950 J. Mankiewicz 138m.
Selected shorts
1/19: The Star Phenomenon
Dyer, Stars, pgs. 1-30,
87-131
Screenings:
The Sheik 1921 George Melford 80m.
Selected silent shorts with
Mary Pickford
1/26: Early
Stars: Our Girl vs. the Sheik
Staiger, deCordova, and Hansen in SID
Screening: Now, Voyager 1942 Irving Rapper 117m.
2/2:
Consuming Stars: Stars and Studios
Dyer, Stars, pgs. 33-63
(RESERVE)
Eckert, SID, pgs. 30-39
Screening: Stagecoach 1939 John Ford 96m.
2/9: Multimedia Workshop 1
Screening: North by Northwest,
Alfred Hitchcock, 1959, 136 m.
2/16: Big Men:
Masculinity & Genre
Gary Willis, Prologue and
Introduction to John Wayne’s
America (RESERVE)
Steven Cohan, “The Spy in the Gray Flannel
Suit” from
Masked
Men (RESERVE)
Britton, SID,
pgs. 198-206
Screening: Gentlemen Prefer Blondes 1953 H. Hawkes 91m.
********************RECEIVE MIDTERM PROJECT******************
2/23: Big Women:
Femininity and the Fifties
Harris, SID,
pgs. 40-44
Dyer, HB, pgs. 20-66
Brown, “Audrey Hepburn: The Film Star
as Event” (RESERVE)
Screening: A Streetcar Named Desire 1951 Elia Kazan 122m.
3/1: The Method Men: Acting and Masculinity
King, SID, pgs. 167-182
Dyer, Stars, pgs. 132-150
Gledhill, SID, pgs. 207-229
Screenings: Viva Las Vegas 1964 George Sidney 86m.
Assorted Elvis
3/8: Elvis
Sightings: Whiteness, Taste, and Southern Boys
Readings:
Sweeney, “The King of White
Trash Culture” (RESERVE)
Doss, excerpts from Elvis Culture (RESERVE)
Multimedia
workshop 2: OPTIONAL
******MID-TERM DUE BY Friday. 3/11 at 5 p.m.
via email ********
3/15:
Spring Break
3/22:
Screenings
Only: Showboat 1936, James Whale 113 m.
Here I
Stand, 1999, St. Clair Bourne, 90 m
3/29: Black Masculinities and Popular Culture
Dyer, HB, pgs. 68-140
Mercer, SID, pgs. 300-316
Screening: Terminator 2 1991
James Cameron 136 m.
4/5: Hardcore Masculinity in the 1980s and 1990s
Readings:
Jeffords, “Terminal Masculinity: Men in
the Early 1990s” (RESERVE)
Bukatman, “Terminal
Resistance/Cyborg Acceptance” (RESERVE)
Dyer (McDonald), Stars, pgs. 180-186
Screenings: Truth or Dare 1991 Alek Keshishian 118m.
4/12: NO CLASS FOR TALENT WEEK
4/19: Softcore Femininity: The Many Faces of Madonna
Readings:
hooks, “Madonna: Plantation Mistress or Soul Sister” (RESERVE)
Cvetkovich, “The Powers of Seeing and Being Seen” (RESERVE)
Screening: Out of Sight 1998 Steven Soderbergh 122m.
4/26: Global Stars: Consuming Latino/a Culture
Readings:
Roberts, “The Lady in the Tutti Frutti Hat” (RESERVE)
Beltran, “The Hollywood Latina Body as Site of Social Struggle…” (RESERVE)
Frances Negron-Muntaner, “Jennifer’s Butt” (RESERVE)
No screening
Final Project Presentations will take place during
the scheduled exam period on Tuesday, May 10th from 11 a.m. to 1
p.m.
Required
University Caveats + Info:
Academic
Conduct
Plagiarism
– presenting someone else’s ideas as your own, either verbatim or recast in
your own words – is a serious academic offense with serious consequences.
Please familiarize yourself with the discussion of plagiarism in SCampus in
Section 11, Behavior Violating University Standards https://scampus.usc.edu/1100-behavior-violating-university-standards-and-appropriate-sanctions. Other forms of academic
dishonesty are equally unacceptable. See additional information in SCampus and
university policies on scientific misconduct, http://policy.usc.edu/scientific-misconduct.
Discrimination,
sexual assault, and harassment are not tolerated by the university. You are
encouraged to report any incidents to the Office of Equity and Diversity http://equity.usc.edu or to the Department of Public
Safety http://capsnet.usc.edu/department/department-public-
safety/online-forms/contact-us. This is important for the
safety of the whole USC community. Another member of the university community –
such as a friend, classmate, advisor, or faculty member – can help initiate the
report, or can initiate the report on behalf of another person. The Center
for Women and Men http://www.usc.edu/student-affairs/cwm/
provides 24/7 confidential support, and the sexual assault resource
center webpage http://sarc.usc.edu describes
reporting options and other resources.
Support Systems
A number of USC’s
schools provide support for students who need help with scholarly writing.
Check with your advisor or program staff to find out more. Students whose
primary language is not English should check with the American Language
Institute http://dornsife.usc.edu/ali, which sponsors
courses and workshops specifically for international graduate students.
The Office of Disability Services and Programs provides certification for students with disabilities and helps arrange the relevant
accommodations. http://sait.usc.edu/academicsupport/centerprograms/dsp/home_index.html
If an officially declared emergency makes travel to campus infeasible,
USC Emergency Information will provide safety and other updates,
including ways in which instruction will be continued by means of blackboard,
teleconferencing, and other technology. http://emergency.usc.edu
Course Exam, Project and Paper Retention
Policy
It is
the responsibility of all students in Critical Studies courses to retrieve
all papers, projects, assignments and/or exams within one academic year of
completion of a course. These records may be essential in resolving grade
disputes and incompletes as well as assist in verifying that
course requirements have been met. The Critical Studies Division
will dispose of all records from the previous academic year in May of the
current academic year. No exceptions. Please be in contact with your TA or
professor about collecting these documents while you are taking the course.
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