Save To Worklist
ASIA 394 001 (Lecture)
Post-Revolutionary Iranian Cinema
Gender politics, family relationships, and women's social, economic, and political roles in post-revolutionary Iran as shown through Iranian cinema.
This course is eligible for Credit/D/Fail grading.
To determine whether you can take this course for Credit/D/Fail grading, visit the Credit/D/Fail
website. You must register in the course before you can select the Credit/D/Fail grading option.
Location: VancouverTerm 1
(Sep 03, 2019 to Nov 29, 2019)
Cr/D/F Grading Change Dates
Last day to change between Credit/D/Fail and percentage grading (grading options cannot be changed after this date): September 17, 2019
|Last day to withdraw without a W standing : ||September 17, 2019|
|Last day to withdraw with a W standing |
(course cannot be dropped after this date) :
|October 11, 2019|
|Term||Day ||Start Time||End Time||Building||Room||1|| Mon||17:00||19:00||Buchanan||A103|
|Total Seats Remaining:||37|
|General Seats Remaining:||37|
|Restricted Seats Remaining*:||0|
This course will introduce students to one of the most critically acclaimed cinemas in the world today, that is, postrevolutionary Iranian cinema, through the thematic lens of gender, sexuality, and diversity. During the semester, the students will watch and practice reading critically a wide variety of films by both world-renowned and new directors from Iran and the Iranian diaspora, focusing on the representations, constructions, and contestations of gender, sexuality, race, ethnicity, class, religion, ability, and bodily normativity in and through those films. Film screenings, class lectures and discussions, post-screening mini-quizzes, and pertinent readings on Iranian cinema, society, and culture and on critical diversity studies will provide the students with the conceptual tools a&~ nd the skill set required to complete their major group assignment. Despite its focus on the post-revolutionary era, the course will begin with an overview of Iranian cinema from its inception to the 1979 Revolution in order to provide sufficient context. The course argues that despite sociocultural and political challenges and restraints, an ever-growing thread of filmmakers within the postrevolutionary Iranian cinema has been effectively tackling vital issues concerning social and gender democracy in Iran. Importantly, these filmmakers represent no unified perspective, but a variety of perspectives, on the questions of gender, sexuality, and diversity.
|Title ||Reqd/Opt/Rel ||Author ||ISB |
|No Text Required ||Required ||NO TEXT REQUIRED ||281000028734 |