Spanish 481- Film and Literature in Spain and Latin America

Spanish 481-1,  Spring 2000
Film & Literature in Spain & Latin America
California State University, Chico

Professor:                    Pilar Alvarez-Rubio
Office:                         Trinity Hall 144
Communications:    Tel.  898-6370;  palvarez-rubio@csuchico.edu
Office Hours:             Tuesdays:   11 to 12, and  2 to 5

                                      Thursdays:  11 to 12 

Description and Objectives:  Drawing from Spanish and Latin American�s literary works and film, this course will focus on a wide range of issues, beginning with the complexities involved y the cinematic adaptation of the short story, drama, novel, poetry and biography.  Some topics covered will be standard fictional and dramatic elements in film and literary analysis, questions of editing, cinematic and literary point of view, the concept of director�s style, theory of reception, and the didactic uses of cinema.  Thematically, we will examine issues of culture and society in both Spanish-speaking continents:  representation of history, ideology, and art; the construction of gender and sexuality through cultural representation; myths related to race, class and nation.  Classes will combine lectures, screenings and discussions, and students will be encouraged to critically examine these and other related issues from the vantage-point of their personal interests and disciplines.  

Conducted in Spanish.

Texts and films:       Donoso, Jos�.  El lugar sin l�mites

                                    Sk�rmeta, Antonio.  Ardiente paciencia o El cartero de Neruda

                                    Azuela, Mariano.  Los de abajo

                                    P�rez Gald�s, Benito.  Tristana

                                    Rodoreda, Mercedes.   La plaza del diamante

                                    Almod�var, P. Mujeres al borde de un ataque de nervios.

                                    An�nimo.  El m�o Cid  (Selecci�n)

                                    Sanchis Sinisterra, Jos� . �Ay Carmela!

                                    Garc�a M�rquez, Gabriel.  �Un hombre muy viejo con unas alas enormes�                                    

Vargas Llosa, Mario.  Pantale�n y las visitadoras

                                    De la Cruz, Sor Juana.  Sonetos y La carta

Requirements:  Prerequisites:  SPAN  104A, 105A or 105B; or faculty permission. 

Disciplined reading, attendance and participation are key elements for the successful completion of this course.  All readings are to be done before class. There will be quizzes, a mid-term exam (take-home), a first draft-final paper, and a final paper.  No make-ups or late assignments.

Alvarez-Rubio SPAN 260

Absence Policy:  Students are expected to attend all  class during each  session.

                              Students may make up a maximum of 2 excused absences by reading texts

                              on reserve and viewing corresponding videos.

Grade:                        Quizzes:                                 20%

                                    Mid-term exam                    30%

                                    First-draft of final paper     15%

                                    Final paper                            35%               

PLAN SEMESTRAL TENTATIVO 

Enero 27        Introducci�n al curso.

                                    Mujeres al borde de un ataque de nervios: La �movida madrile�a,� y la      postmodernidad (Almod�var).  El cine y la did�ctica del espa�ol

Febrero          3          Tristana: Ideolog�as y moralidades de la Espa�a decimon�nica   Concepto de auteur   en la cinematograf�a (Bu�uel y P�rez Gald�s)

                                     Problemas de adaptaci�n; gui�n , novela, filme.

                        10        �Ay Carmela! : La guerra civil y el arte (Saura y  Sanchis Sinesterra)       Drama y cine. Aproximaci�n hist�rica.

                        17        La plaza del diamante:  La posguerra y la subjetividad femenina.

                                    ( Rodoreda)

                        24        El Cid:  El h�roe seg�n Hollywood

                                    (De Sica) Poes�a �pica y cine                      

Marzo            2          Idem.   El h�roe seg�n la TVE                   

                        9          El rey pasmado:  Comentarios r(R)eales sobre la moralidad                     (Uribe y Torrente Ballester)          

                        16        Yo la peor de todas.  Inquisiciones:  la mujer de Nueva Espa�a

                                    (Bemberg, Sor Juana In�s de la Cruz, y Paz) Poes�a, biograf�a y cine

                                    EXAMEN PARCIAL              

 Vacaciones de primavera Alvarez-Rubio SPAN  260

                        30        Los de abajo:  La revoluci�n mexicana

                                    (Gonz�les y Azuela) Historia y cine

Abril               6          Pantale�n y las visitadoras: Militarismo y farsa

                                    (Vargas Llosa) Comentario social y cine 

                        13        El lugar sin l�mites:  Sexualidad y marginalizaci�n                 (Ripstein y Donoso)

                        20        Memorias del subdesarrollo:  Cine cubano.

                                    **ENTREGAR BORRADOR DEL TRABAJO CRITICO**

                        27        Un hombre muy viejo con unas alas enormes: lo real maravilloso

                                    (Garc�a M�rquez)

Mayo              4          Ardiente Paciencia o el Cartero de Neruda: el poeta  y sus admiradores

                                    (Sk�rmeta y  ) Adaptaci�n chilena

11    Idem. Adaptaci�n italiana 

18    TRABAJO FINAL  

P. Alvarez-Rubio

ADDENDUM TO SYLLABUS, SPA 260, 2/3/00 

Questions and reflections on narrative and cinema.

As part of your grade evaluation (20%),  you must send me via e-mail (palvarez-rubio@csuchico.edu):

*   two coherent questions/statements that speak to the significance of the theme of the novel, and that will serve as  a discussion topic in our next meeting.  You may be asked to lead the discussion at times.

*   one question that speaks to the narrative�s possibilities of adaptation to film. 

I must receive this assignment by 4 p.m., the Tuesday previous to our class meeting.