CDM 218 | Course Introduction and Application Information - Department of Cinema and Digital Media

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	Discussion Q&A Lecture / Presentation
National Occupation Classification	-
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; Analyze films within a particular historical, social, and economic context. Identify the thematic and formal heterogeneity of Spanish and Latin American cinema. Describe the various genres, languages, and filmmakers of Spanish and Latin American cinema. Demonstrate intercultural competence and critical thinking skills to understand the socio-economic reality of the Hispanic world. Discuss cultural stereotypes about a cinematographic canon that often excludes women directors, minorities or marginalized groups. Identify controversial issues in Latino cultures such as sexism, politics, violence in society, corruption, or national identity.
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

Course Category	Core Courses
	Major Area Courses
	Supportive Courses	X
	Media and Management Skills Courses
	Transferable Skill Courses

Week	Subjects	Related Preparation
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	Weigthing
Participation	1	10
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Portfolio
Homework / Assignments	1	20
Presentation / Jury
Project
Seminar / Workshop
Oral Exams
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
Theoretical Course Hours (Including exam week: 16 x total hours)	16	3	48
Laboratory / Application Hours (Including exam week: '.16.' x total hours)	16		0
Study Hours Out of Class	14	1	14
Field Work			0
Quizzes / Studio Critiques			0
Portfolio			0
Homework / Assignments	1	14	14
Presentation / Jury			0
Project			0
Seminar / Workshop			0
Oral Exam			0
Midterms	1	22	22
Final Exam	1	22	22
		Total	120

#	Program Competencies/Outcomes	* Contribution Level
#	Program Competencies/Outcomes	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.	-	-	-	-	-