Language pre-requisite: Normally Spanish 3 or equivalent, but a strong Spanish 2 level is also acceptable. Classes will be taught in English with some films in Spanish without subtitles.
Day/Time: Tuesdays 7.40-9.00 pm (Terms 1 and 2)
Through a focus on key authors and works, this course introduces students to central aspects in twentieth century Spanish film placed in their historical and cultural contexts. The module offers a survey of the main trends in the history of 20th C Spanish cinema and will familiarize students with basic technical and theoretical issues in film study such as: editing, sound, framing, camerawork, lighting, mise-en-scène, costume, genre, self-referentiality and intertextuality, the construction of a national (or regional) cinema, censorship and spectatorship.
Syllabus: TERM 1 Week 1: Introduction, the origins of Spanish film
EssentialTexts: Films: Luis Buñuel/Salvador Dalí: Un chien andalouAndré Malraux: Sierra de Teruel
Carlos Saura: La caza
José Luis Saenz de Heredia: Raza
José Luis Saenz de Heredia: Franco, ese hombre.
Carlos Saura: Ana y los lobos
Basilio Martín Patino: Caudillo
Pedro Almodóvar: Mujeres al borde de un ataque de nervios
Alejandro Amenábar: Los otros. Available through BoB: (https://learningonscreen.ac.uk/ondemand/index.php/prog/00509072?bcast=123388127) Secondary reading: Jo Labanyi and Tatjana Pavlović (eds). A Companion to Spanish Cinema. London: Blackwell, 2013
Jordan, Barry and Mark Allinson. Spanish Cinema. A Student’s Guide. London: Bloomsbury, 2005
Full Module Title:
Power and Control in Spanish Golden Age Art
30 credits / Level 5
Dr Carmen Fracchia
Dr Carmen Fracchia
This module will be taught in English. There is no language requirement other than English.
Thursdays 6.00-7.30 pm (Terms 2 and 3)
The central theme of this course will be the ways in which works of art respond to issues of power and control, including patronage, censorship, class, and gender from the sixteenth to the seventeenth century in Imperial Spain. There will be a greater emphasis on the relations between religion, slavery, race and the visual form. We will explore the effects that a series of crucial events had in the articulations of the visual forms, such as the conquest and imperial expansion in the New World and in Africa; the Christian re-conquest of the Kingdom of Granada; the workings of the Inquisition and the imperial policies of purity of blood; the transatlantic slave trade, and, the Catholic Reformation. The course will also be structured around a series of key places where visual forms of the baroque period were more complex during the Habsburg Empire: Toledo, Madrid and Seville.
Primary texts to be examined will include the works by painters and sculptors such as Sofonisba Anguissola, El Greco, Bartolomé Murillo, José Ribera, La Roldana, Diego Velázquez, and, Francisco de Zurbarán.
Syllabus:__TERM_2_Week_1'>Syllabus: TERM 2 Week 1 Introduction
Week 2 Empire and the production of the visual form
Week 3 The Catholic Reformation/Counter-Reformation and the Habsburgs: Censorship: El Escorial
Week 4 Counter-Reformation: Censorship and transgression: works by El Greco
Week 5 Counter-Reformation: The Christian body and popular devotion: works by Bartolomé Murillo, José Ribera, Francisco Zurbarán
EssentialTexts: Brown, J., The Golden Age of Painting in Spain (1991) OR Painting in Spain 1500-1700 (1998).
Domínguez Ortíz, A., The Golden Age of Spain, 1516 -1659 (1971).
Earle, T. F. and K. J. P. Lowe (eds.), Black Africans in Renaissance Europe (2005), chapters Introduction, 3,10,11, and 15.
Fracchia, C., ‘Constructing the Black Slave in Early Modern Spanish Painting’ in Tom Nichols (ed.), Others and Outcasts in Early Modern Europe: Picturing the Social Margins (2007).
Fracchia, C.,‘The Urban Slave in Spain and New Spain’, in Elizabeth McGrath and Jean Michel Massing (eds.), The Slave in European Art: From Renaissance Trophy to Abolitionist Emblem. The Warburg Colloquia Series, Vol. 20 (2012), pp. 195-216.
Harrison, Charles, Paul Wood and Jason Gaiger (eds.), Art in Theory: 1648-1815: An Anthology of Changing Ideas (Oxford, 2000): see early modern Spanish art theorists (Vicente Carducho, Francisco Pacheco, Antonio Palomino).
Revealing the African Presence in Renaissance Europe (2012), Exhibition catalogue, The Walters Art Museum, Baltimore: http://issuu.com/the-walters-art-museum/docs/singlepages3429_african_presence_10/3?e=1251836/5419900
Language pre-requisite: Spanish 3 or equivalent (all texts to be read in Spanish)
Mondays 6.00 – 7.30 pm
In this course you will explore the work of three key Latin American writers in terms of their relation to both the literary and social history of the region. Mario Vargas Llosa, winner of the Nobel Prize, is still writing today, but we will look at his work in the light of the 1960s and 1970s; Ricardo Piglia (Argentina) is a writer and critic of the 1980s; and Roberto Bolaño (Chile) of the turn of the century; and each in their own way expresses – paradigmatically – the cultural and political conflicts of their time. Key critical themes explored in this course are the relations between literature and: modernity; history and ideology; dictatorship; the figure of the author/intellectual; technologies of representation and communication; violence and globalization.