|
|
|
|
Looking
Back?: Gender, Sexuality and Race in Pacific Photography and Cinema
ARTH 191B
Winter Quarter
2002 Professor Margaret
Jolly Office Hours,
Friday 2-4 Porter College, 205; tel 831-459-2085 Teaching Hours
and Locale Monday and Wednesday 3.30-5.15, Porter College 250 This seminar
focuses on representations of gender, sexuality and race in photography and
cinema in the Pacific but situates this in relation to broader theoretical
debates and comparative insights. We will be looking at a range of photographic
materials and films, pondering changing representations of gender, sexuality
and race in the Pacific from the late nineteenth to the late twentieth century.
This viewing will be situated in a critical consideration of recent feminist
and postcolonial debates about the ‘gaze’. Evaluation (subject to discussion with students in
the first seminar) Attentive
attendance is required at all seminars, including film screenings. Students who
miss seminars and who do not submit essays by the deadlines below will be
penalized unless there are compelling medical or personal reasons presented in
writing. First paper
due February 6th, 6 pages
25%
Second paper
due February 25th, 6
pages 25% Seminar Participation (including
presentation and discussion) 10% Final paper –
project on a chosen film or photographic corpus due March 18th – 10 pages 40% Required Text MacDougall,
David 1998. Transcultural Cinema.
Princeton: Princeton University Press. Available at Literary Guillotine, 204
Locust Street, downtown Santa Cruz or Bay Tree book store. Some core course
readings will also be distributed in seminars. Core and Background Reading The core
reading and viewing listed for each week will form the basis of seminar
discussions. The background reading and viewing is complementary and should
provide a good basis for essay questions. Students are always encouraged to
read and view as widely as possible. Weekly Seminar Outline 1. The Power of Photography and Film, January 7, 9 Photography as
artifact and discourse; photographs in the context of broader visual economies;
photography and history; the relation between still photographs and moving
images. Core Reading
Edwards,
Elizabeth 1997. Making Histories: The Torres Straits Expedition of 1898. In Max
Quanchi (ed) Imaging, Representation and
Photography of the Pacific Islands. Special Issue, Pacific Studies 20(4): 13-34. MacDougall,
David 1998. Transcultural Cinema.
Princeton: Princeton University Press. Chapters Introduction, 1, 2, 3 Core Viewing Images from Barthes
and Quanchi. Background Reading
Barthes,
Roland 19841[1980]. Camera Lucida:
Reflections on Photography. Trans. S. Heath. London: Fontana. Poole, Deborah
1997. Vision, Race and Modernity: A
Visual Economy of the Andean Image World. Princeton: Princeton University
Press. Sontag, Susan
1977. On Photography. New York: Farrar, Straus and Giroux. 2.
Photography, Film and the ‘Other’:
Colonial and Postcolonial Questions, January 14, 16 The problem of
representing ‘others’; colonialism, anthropology and photography; the dilemmas
of ethnographic film; India – from colonial to indigenous photography. Othering
in the Pacific through the lens of National
Geographic. The ethnographic films of Bateson and Mead. Core Reading
MacDougall,
David 1998. Transcultural Cinema.
Princeton: Princeton University Press. Chapters 4, 5,6, 7, 8 Pinney,
Christopher 1989. Representations of India: Normalisation of the Other. Pacific Viewpoint 29(2):144-162. Pinney,
Christopher 1992. The Parallel Histories of Anthropology and Photography. In
Elizabeth Edwards (ed) Anthropology and
Photography. New Haven: Yale University
Press, 74-91. Core Viewing
Images from
Pinney and Lutz and Collins. Bathing Babies in Three Cultures, Gregory Bateson and Margaret Mead, 13
minutes VT 2436 Childhood Rivalry in Bali and New Guinea, Gregory Bateson and Margaret Mead, 17
minutes VT2437 Background Viewing (to be seen outside class or in students’ own
time) Bontoc Eulogy, Marlon Fuentes 56 minutes VT4209
Background Reading Lutz,
Catherine A. and Jane L. Collins 1993. Reading
National Geographic. Chicago: University of Chicago Press. Esp. Chs 5, 6,
8. Moore, Rachel.
1994. Marketing Alterity. In Visualizing Theory: Selecting Essays from V.
A. R. 1990-1994, ed. Lucienne
Taylor. New York and London: Routledge, 126-139. Pinney,
Christopher 1998. Camera Indica: The
Social Life of Indian Photographs. London:
Reaktion Books. Tobing, Rony
Fatimah 1996. The Third Eye: Race, Cinema
and Ethnographic Spectacle. Duke University Press: Durham and London. 3.
Colonial Photography in the Pacific –
Gender and Race in the Views of Travellers, Settlers and Missionaries, January
23 The colonial
photographs of travellers, settlers and missionaries compared; travel writing
and travel photography – esp. the representation of indigenous women, the
missionary vision in text and image; studio and field photography. Core Reading
D’ Ozouville,
Brigitte 1997. Reading Photographs in Colonial History: A Case Study from Fiji,
1872. Max Quanchi (ed) Imaging,
Representation and Photography of the Pacific Islands. Special Issue, Pacific Studies 20(4):51-76. Quanchi, Max.
1997. Introduction. In Max Quanchi (ed) Imaging,
Representation and Photography of the Pacific Islands. Special Issue, Pacific Studies 20(4):1-12. Quanchi, Max
1997. The Invisibility of Gospel Ploughmen: The Imaging of South Sea Pastors in
Papua. Iin Max Quanchi (ed) Imaging,
Representation and Photography of the Pacific Islands. Special Issue, Pacific Studies 20(4):77-102. Core Viewing Images from
Quanchi, Stephen, Thomas and Art Gallery of NSW. The Transformed Isle. 1917. R.C. Nicholson.
Methodist Missionary of Australasia. Australia. 49 minutes (if available).
Background Reading
Art Gallery of
NSW 1997. Portraits of Oceania.
Essays by Annear, Croft, Cooper and Harris, Fox and Hayes and images p.37-112.
Book on sale at Bookshop Santa Cruz. Blanton, C (ed.)
1995. Picturing Paradise: Colonial
Photography of Samoa, 1875-1925. Daytona Beach: Southeast Museum of
Photography. Edwards,
Elizabeth (eds) 1992. Anthropology and
Photography, 1860-1920. New Haven: Yale University Press. Stephen, Ann
(ed.) Pirating the Pacific: Images of
Travel, Trade and Tourism. Sydney: Powerhouse Museum. Thomas,
Nicholas 1992. Colonial Conversions: Difference, Hierarchy and History in Early
Twentieth Century Evangelical Propaganda. Comparative
Studies in Society and History 34 (2): 366-389. Webb,
Virginia-Lee 1995. Manipulated Images: European Photographs of Pacific Peoples.
In Elazar Barkan and Ronald Bush (eds) Prehistories
of the Future: The Primitivist Project and the Culture of Modernism.
Stanford: Stanford University Press, 175-201. 4.
Film and the ‘Other’: Feminist
Questions, January 28, 30 The feminist
critique of the male gaze; the relation between gender, sexuality and race in
looking relations; critiques of gaze theory. Core Reading Gaines, Jane
2000. White Privilege and Looking Relations: Race and Gender in Feminist Film
Theory. In E. Ann Kaplan (ed) Feminism
and Film. Oxford Readings in Feminism. Oxford: Oxford University Press,
336-355. Kaplan, E. Ann
2000. Is the Gaze Male? In E. Ann Kaplan (ed) Feminism and Film. Oxford
Readings in Feminism. Oxford: Oxford University Press, 119-138. Caroline
Vercoe. 1997. Not So Nice Colored Girls: A View of Tracey Moffat’s Nice Coloured Girls. In Max Quanchi (ed)
Imaging, Representation and Photography
of the Pacific Islands. Special Issue,
Pacific Studies 20(4):151-159. Core Viewing Night Cries Tracey Moffatt 19 minutes VT 2208 Background Viewing (to be seen outside class or in students’ own
time) Surname Viet, Given Name Nam 1989. Trinh T. Minh-ha.108 minutes Background Reading
Moore,
Henrietta L. 1994. Trinh T. Minh-ha Observed: Anthropology and Others. In
Lucien Taylor (ed.) Visualizing Theory:
Selected Essays from V.A.R. 1990-1994. New York and London: Routledge,
115-125. Trinh T.
Minh-ha and Nancy N. Chen 2000. Speaking Nearby. In E. Ann Kaplan (ed) Feminism and Film. Oxford Readings in
Feminism. Oxford: Oxford University Press, 317-335. Also in Lucien Taylor (ed.)
Visualizing Theory: Selected Essays from
V.A.R. 1990-1994. New York and London: Routledge, 433-451. 5. Silent Shadows: Documentaries and Romances of
the Pacific, February 4, 6 Early silent
cinema in the Pacific; documentaries and the ethnographic imperative- Robert
Flaherty’s Moana; the confluence of
documentary and romance – F. W. Murnau and Flaherty’s fraught collaboration Tabu. Contemporary critiques of
documentary film. Core Reading
Jolly,
Margaret 1997. White Shadows in the Darkness: Representations of Polynesian
Women in Early Cinema. In Max Quanchi (ed.)
Imaging, Representation and Photography of the Pacific Islands. Special
Issue, Pacific Studies 20 (4):
125-150. Tobing, Rony
Fatimah 1996. The Third Eye: Race, Cinema
and Ethnographic Spectacle. Duke University Press: Durham and London.
Chapter Five. Core Viewing
Moana: A Romance of the Golden Age. 1926. Robert J. Flaherty. Paramount
Pictures. USA. 76 minutes. VT 4448. Background Viewing (to be seen outside
class or in students’ own time)
Tabu: A Story of the South Seas. 1931. F. W. Murnau and Robert J.
Flaherty. Colorhart Synchrotone, USA. 82 minutes. VT 1997 Background Reading Barsam,
Richard 1988. The Vision of Robert Flaherty: The Artist as Myth and Filmmaker.
Bloomington and Indianapolis: Indiana University Press. Nichols, Bill
1994. The Ethnographer’s Tale. In Lucien Taylor (ed.) Visualizing Theory: Selected Essays from V.A.R. 1990-1994. New York
and London: Routledge, 60-83. Nichols, Bill
1991. Representing Reality: Issues and
Concepts in Documentary. Bloomington: Indiana University Press. Nichols, Bill
1994. Blurred Boundaries: Questions of
Meaning in Contemporary Culture. Bloomington: Indiana University Press. Reyes, Luis
1995.
Made in Paradise: Hollywood’s Films of Hawai’i and the South Seas.
Honolulu: Mutual Publishing. Winston, Brian
1995. Claiming the Real: The Griersonian Documentary and its Limitations.
London: British Film Institute. 6. Images of War: World War Two in the Pacific in
Film and Photography, February 11, 13 The war in the
Pacific – as represented to American and Australian audiences; representing
race in photographs, newsreels and propaganda; documentary and romance genres
again – the case of South Pacific;
the erotics of the exotic and the relationship between militarization and
tourism. Core Reading Jolly,
Margaret 1997. From Point Venus to Bali Ha’i: Eroticism and Exoticism in
Representations of the Pacific. In Lenore Manderson and Margaret Jolly (eds)
1997. Sites of Desire, Economies of
Pleasure. Sexualities in Asia and the Pacific. Chicago:University of
Chicago Press, 99-122. Core Viewing Images from
Lindstrom and White. South Pacific. 1958. Joshua Logan USA Magna/S.P. Enterprises. 157 minutes. (given length
of film we will need to extend class time or work out a separate viewing time).
VT 6027 Background Reading Brothers, C.
1997. War and Photography: A Cultural
History. London and New York: Routledge. Lindstrom,
Lamont and Geoffrey M. White 1990. Island
Encounters: Black and White Memories of the Pacific War. Smithsonian
Institution Press: Washington and London. Teaiwa,
Teresia K. 1994. Bikinis and other s/pacific n/oceans. The Contemporary Pacific 6(1) 87-109. 7. Imaging Nations:
Australians and Papua New Guineans, Pakeha and Maori in Aotearoa New Zealand,
February 20 The relation
between colonialism and nationalism - in Australia and Papua New Guinea (the
films of Maslyn Williams) and images of Maori in government documentaries in
Aotearoa New Zealand. Documentary film in Papua New Guinea in the 1970s and
1980s, especially gender and race in the films of Connolly and Anderson: First Contact, Joe Leahy's Neighbours and
Black Harvest. Core Reading Foster, Robert
J. 2001 Unvarnished Truths: Maslyn Williams and Australian Government film in
Papua and New Guinea. In Naomi McPherson (ed) In Colonial New Guinea:Anthropological Perspectives.
Pittsburg:University of Pittsburg Press, 64-81, 207-209, 221-241. Core Viewing First Contact 1982. BobConnelly
and Robin Anderson, 54 minutes Background Viewing (to be seen outside class or in students’ own
time) Joe Leahy's Neighbours 1988.
BobConnelly and Robin Anderson, 93 minutes Black
Harvest. 1992.
BobConnelly and Robin Anderson, 90 minutes Background Reading Blythe, Martin
1994. Naming the Other: Images of the
Maori in New Zealand Film and Television. Metuchen, NJ: Scarecrow Press. Connolly, Bob
and Robin Anderson 1987. First Contact: New Guinea Highlanders
Encounter the Outside World. London: Viking Penguin. 8. Colonial Nostalgia and Decolonizing the Image,
February 25, 27, Trobriand Cricket – anti-colonial critique and the question of
irony; the debate about Cannibal Tours
- the tourist as ‘other’. Core Reading
MacCannell,
Dean 1994. Cannibal Tours. In Lucien Taylor (ed.) Visualizing Theory: Selected Essays from V.A.R. 1990-1994. New York
and London: Routledge, 99-114. Weiner,
Annette 1994. Trobrianders On Camera and Off. In Lucien Taylor (ed.) Visualizing Theory: Selected Essays from
V.A.R. 1990-1994. New York and London: Routledge, 54-59. Core Viewing
Trobriand Cricket: An Ingenious Response to
Colonialism. 1976.
Directed by Jerry W. Leach and Gary Kildea. Papua New Guinea Office of
Information. Distributed by University of California Media Center, Berkeley,
CA. 53 minutes. VT 6112 Or Cannibal Tours. 1987 Dennis O’Rourke. Dennis O’Rourke and
Associates. Australia. 70 minutes VT1585 Background Reading Thomas,
Nicholas 1997. Partial Texts: Representation, Colonialism and Agency in Pacific
History. In In Oceania: Visions,
Artifacts, Histories. Durham, Duke University Press, 23-49. 9. Colonial and Anti-colonial Canons: Films from 1990s Aotearoa New Zealand, March
4, 6
Core Reading DuPuis,
Reshela 1996. Romanticizing Colonialism:
Power and Pleasure in Jane Campion’s The
Piano. The Contemporary Pacific,
8(1): 51-79. Dyson, Lynda
1995 . The Return of the Repressed? Whiteness, Femininity and Colonialism in The Piano. Screen 36(3):267-276. Pihima, Leonie
1994. Are Films Dangerous?: A Maori Women’s Perspective on The Piano. Hecate 20(2):339-42. Reid, Mark A.
2000. A Few Black Keys and Maori Tattoos: Re-reading Jane Campion’s The Piano in Post-Negritude Times. Quarterly Review of Film and Video,
17(2). Core Viewing The Piano. 1992. Jane Campion. Australia New Zealand Ciby.
121 minutes (given length
of film we will need to extend class time or work out a separate viewing time). VT 3621. Background Viewing (to be seen outside class or in students’ own
time) Once Were Warriors, 102 minutes VID673 Background Reading Bruzzi, Stella
1995. Tempestuous Petticoats: Costume and Desire in The Piano. Screen 36(3):257-66. Campion, Jane
1993. The Piano. Published
Screenplay. New York: Hyperion. Margolis,
Harriet (ed.) 2000 Jane Campion’s The Piano. Cambridge Film Handbooks. Cambridge:
Cambridge University Press. Molloy,
Maureen 1999. Death and the Maiden: the Feminine and the Nation in Recent New
Zealand Films. Signs: Journal for Women
in Culture and Society. 25(1): 153-170. 10. Indigeneity and Diaspora in Pacific Film and
Video. March 11, 13 Indigenous
filmmaking in the contemporary Pacific; the motif of roots and routes in the
visual arts; the Story Tellers of the Pacific series and films from Pacific
Islanders in Communication, Sacred Vessels. Core Reading Palattella,
John 1998. Pictures of Us: Are Native Videomakers Putting Anthropologists Out
of Business. Lingua Franca,
July-August, 50-57. Ginsburg, Faye
1990. Indigenous Media: Faustian Contract or Global Village? In Cultural Anthropology, 93-112. Ginsburg, Faye
1994. Culture/Media: A (Mild) Polemic, Anthropology
Today 10(2):5-15. Core Viewing Storytellers of the Pacific: Vol 3 Human Rights
(Hawai’i) 20 minutes VT 4725.3 And/Or Sacred Vessels: Navigating Tradition and Identity
in Micronesia. 1997.
Directed by Vicente Diaz. Pacific
Islanders in Communication, Honolulu. 28 minutes Uploaded:
08/22/2002
|
|
oceania | academic
programs | people
| outreach | resources | publications © 2005, UHM, Center for Pacific Island Studies. | Site Credits
| |