Fall 2026 AHVS 312: Gender, Identity and Film (Units: 1.5)

Territorial Acknowledgement

We acknowledge and respect the Lək̓ʷəŋən (Songhees and Xʷsepsəm/Esquimalt) Peoples on whose unceded territory the university stands, and the Lək̓ʷəŋən and W̱SÁNEĆ Peoples whose historical relationships with the land continue to this day.

I’m of settler heritage originally from Sault Ste. Marie, Ontario, the traditional territory of the Anishnaabeg, specifically the Garden River and Batchewnana First Nations, and the Métis Nation of Ontario, within lands protected by the Robinson-Huron Treaty of 1850.

Colonial structures and oppressive ideologies persist. Challenges to them are on-going.

Course Description

This course is concerned with the history of dominant film practices, some of the theoretical perspectives that have emerged to account for them, and Western feminist alternatives to mainstream films. In considering the constructions of gender in Hollywood narrative cinema, we will explore issues of visual pleasure, spectatorship and subjectivity, and the ideological relationships among film, society, and history. We will also consider the ways in which Hollywood film conventions have been appropriated by women/feminists and employed in a progressive manner. Although the focus is on constructions of gender in cinema, this course will also consider cinematic constructions of race, economic class, sexual orientation and transgender identities. Of particular concern are the intersections among identities and the relation of film culture to the struggle for social justice.

Course Objectives and Learning Outcomes

Learning Outcomes: write and speak clearly, effectively, and critically using terminology appropriate to the area of popular film and cultural theory; investigate, analyze, and apply theoretical concepts; investigate, analyze, and articulate the interrelations between cultural/historical contexts and film; activate critical perspectives and multiple identities in analyzing film.

Textbooks

All readings are available on Brightspace.

Attendance Policy

University Attendance Policy

https://www.uvic.ca/calendar/future/undergrad/#/policy/ryNResf_E?bc=true&bcCurrent=03%20-%20Attendance&bcGroup=Undergraduate%20Academic%20Regulations&bcItemType=policies

Students who do not attend classes must not assume that they have been dropped from a course by an academic unit or an instructor. Courses that are not formally dropped will be given a failing grade. Students may be required to withdraw and will be required to pay the tuition fee for the course.

Academic Concessions

Be sure to review the guidelines for Academic Concessions in the Undergraduate Calendar, since the requirements and processes are frequently updated: 

Please note that for deferrals, the Calendar states that “In order to support conditions for student success, a significant portion of the course must be completed before a deferral may be granted."

Normally this means completing 50% or more of the core course components, including attendance.

Use of Generative AI in Assignments

Please be advised that in this course you are not authorized to use any form of generative AI. To successfully complete course activities, generative AI is not required nor welcomed. Students should not make any use of generative AI tools such as ChatGPT, Grammarly, among others that use AI for content generation and editing. As the University of Victoria states in its Academic Integrity Policy “Academic integrity requires commitment to the values of honesty, trust, fairness, respect, and responsibility.” Therefore, I expect you to comply with the course syllabus and I encourage you to enhance your academic experience in this course by refraining from using generative AI.

Assignments and Evaluation

Consult the Film Analysis Guidelines available on Bright Space.

Submit your assignments on Brightspace as either a Word Document or PDF. 

Use 12-point font and double space. 

Any citation method is acceptable. 

A timestamp isn’t necessary when citing examples from films.  

1) First Essay (approximately 2000 words) Due: Thursday, October 15^th (35% or 50% without optional assignment) 

Choose a film from the Film List in either part one or two. 

Write an analysis of the film making use of lecture material and course readings. 

Clearly state an argument about the film’s meanings in the introduction.

Consider what the film is saying about gender relations.

Investigate whether and how the film reproduces or subverts patriarchal gender constructions. 

Show how specific examples from the film support the interpretation. 

2) Optional Creative Project and Written Statement (approximately 1000 words) Due: Thursday, November 12^th (30%) 

Choose a section of the course and let it inspire a creative project. The written statement must relate the project to course material and explain its significance. 

It is required that you discuss your idea with me before you proceed with this option.

Options include:

a film (approximately 5 minutes); 

a screenplay (approximately 10 pages);

a short story (approximately 1500 words);

a podcast (approximately 10 minutes).

3) Final Essay (approximately 2000 words) Due: Monday, December 7th (35% or 50% without optional essay)

Choose a film from the Film List in one of parts three to seven. 

Write an analysis of the film considering course material. 

Clearly state an argument about the film’s meanings in the introduction.

Consider what the film is saying about gender in relation to economic class, race, sexual orientation and/or transgender identities. 

Investigate whether the film reproduces or subverts ideologies that work to oppress marginalized identities.  

Show how specific examples from the film support the interpretation. 

Grade Rationale for Written Assignments

An A-range has a clearly stated argument/thesis that interprets the possible meanings of the film or films under consideration, and it makes use of theoretical concepts in the analysis. It offers a convincing interpretation by providing evidence/examples from the film(s) to support the argument, and it shows how the examples support the thesis of the paper. It adopts a logical organization that follows the development of the argument. Reference is made to lectures, readings, and films/clips screened in class.

A B-range may have an argument, but it is not clearly stated or not stated in enough detail in the introduction and the implications of the argument are not considered. Examples from the film may be provided but the paper doesn’t show how the evidence supports the thesis. Theoretical detail is largely absent or not integrated into the analysis and secondary sources are minimal. A B-range paper is, for instance, not organized according to the development of the argument but rather as a list of examples used. 

A C-range lacks an argument and is descriptive rather than analytical or interpretative. It does not consider the possible meanings of the evidence from the film(s) and makes no use of theory or secondary sources. The organization is often according to the trajectory of the narrative.

A D fails to make use of class material and offers a minimum of even descriptive content. It is largely impressionistic and provides opinion rather than analysis.

A Failure may result if a paper is not handed in or if it does not meet the requirements for the assignment.

Grade Rationale for Creative Project

An A-range demonstrates a thoughtful engagement with course material and attempts to incorporate it into the concerns of the creative project. It shows an effort to address the significance of the project in relation to course material. The written statement clearly articulates the ways in which the project engages with course material using lectures, readings and examples from films/clips screened in class.

A B-range shows evidence of engagement with course material but is limited in its attempt to incorporate it into the concerns of the creative project. The significance of the project in relation to course material is unclear. The written statement articulates the ways in which the project engages with course material but makes minimal use of lectures, readings and examples from films/clips screened in class.

A C-range shows limited evidence of engagement with course material and does not clearly show an attempt to incorporate it into the concerns of the creative project. There is no consideration of the significance of the project in relation to course material. The written statement minimally articulates the ways in which the film engages with course material and does not make use of readings and examples from films/clips screened in class.

A D fails to make use of course material in any way. The written statement does not articulate the ways in which the project engages with course material and does not make use of readings and examples from films screened in class.

A Failure results if an assignment is not handed in or if it does not meet the minimal requirements.

Late Assignment Submission Policy

There’s no late penalty but please let me know by email if you need an extension of more than a week. Medical documentation is not necessary.  

Essential Course Components

The First Essay and the Final Essay must be completed to receive credit in this course. 

Schedule of Classes

The film screenings/discussions in class are an important part of the course. It is expected that you include reference to course films in your assignments, and discussions in class will aid in your analyses of films and understandings of theoretical concepts considered in lectures. 

Lecture slides will be available on Brightspace.

Part One: Mainstream Movies and Patriarchal Pleasures

September 10 – 21

Screening: Vertigo (1958) 

Readings: 

Laura Mulvey, “Visual Pleasure and Narrative Cinema” 

E. Ann Kaplan, “Is the Gaze Male?”

Laura Hinton, “A ‘Woman’s’ View: The Vertigo Frame-Up” 

Related Films:

Blonde Venus (1932)

Double Indemnity (1944)

Gilda (1946)

Gentlemen Prefer Blondes (1953) 

Rear Window (1954)

Gentlemen Marry Brunettes (1955)

The Birds (1963)

Sweet Charity (1969)

Showgirls (1995)

Peeping Tom (1960)

Blow-Up (1966)

Klute (1971)

Flash Dance (1983)

Dirty Dancing (1987)

Pretty Woman (1990)

Basic Instinct (1992)

The Virgin Suicides (1999)

Cat Woman (2004)

Little Miss Sunshine (2006) 

Black Swan (2010)

Her (2013)

Ex Machina (2015)

Barbie (2023)

Part Two: Hollywood Melodrama and the Female Subject

September 24 – October 5

Screening: Mildred Pierce (1945) 

Readings: 

Annette Kuhn, “Women’s Genres: Melodrama, Soap Opera and Theory” 

Karen Hollinger, “Listening to The Female Voice in the Woman’s Film”

Pamela Robertson, “Structural Irony in Mildred Pierce, or How Mildred Lost Her Tongue”

Related Films: 

Stella Dallas (1937)

Now, Voyager (1942)

Looking for Mr. Goodbar (1977)

Kramer vs. Kramer (1979)

Terms of Endearment (1983)  

Fatal Attraction (1987)

Baby Boom (1987)

The Hand That Rocks the Cradle (1992)

Sleepless in Seattle (1993) 

The Proposal (2009)

Bridesmaids (2011)

We Need to Talk About Kevin (2011)

Lady Bird (2017)

Mother! (2017)

The Beguiled (2017)

A Marriage Story (2019) 

Part Three: Hollywood Film, Feminist Subversion, and Recuperation

October 8 – 22 (No Class October 12)

Screening: Dance, Girl, Dance (1940)

Readings: 

Claire Johnston, “Dorothy Arnzer: Critical Strategies”

Donna R. Casella, “What Women Want: The Complex World of Dorothy Arzner and her Cinematic Women”  

Mimi White, “Representing Romance: Reading/Writing/Fantasy and the ‘Liberated’ Heroine of Recent Hollywood Films”

Related Films: 

Christopher Strong (1933)

His Girl Friday (1940)

All About Eve (1950)

The Ballad of Josie (1967)

Alice Doesn’t Live Here Anymore (1974)

The Stepford Wives (1975 and 2004)

The Incredible Shrinking Woman (1981)

Desperately Seeking Susan (1985)

Making Mr. Right (1987)

Thelma and Louise (1991)

A League of Their Own (1992)

The Piano (1993)

Orlando (1993)

Tank Girl (1995)

The First Wives Club (1996)

G.I. Jane (1997)

Charlie’s Angels (2000)

Bend it Like Beckham (2002)

Mean Girls (2004)

Frida (2004)

The Sisterhood of the Traveling Pants (2005)

The Brave One (2007)

Mad Max: Fury Road (2015)

Wonder Woman (2017)

Revenge (2018)

Part Four: Racism and Racialized Identities

October 26 – November 12 (No Class November 9th)

Screenings: Illusions (1982) and Imitation of Life (1959)

Readings: 

Tania Modleski, “Cinema and the ‘Dark Continent’: Race and Gender in Popular Film” 

Jane Gaines, “White Privilege and Looking Relations: Race and Gender in Feminist Film Theory”

Marina Heung, “’What’s the matter with Sara Jane?’: Daughters and Mothers in Douglas Sirk’s Imitation of Life”

Erin Ash, Racial Discourse in The Blind Side: The Economics and Ideology Behind the White Savior Format” 

Related Films:

Imitation of Life (1934)

Flower Drum Song (1961)

Guess Who’s Coming to Dinner (1967)

The Color Purple (1985)

Driving Miss Daisy (1989)

The Long Walk Home (1990)

Daughters of the Dust (1991)

Mississippi Masala (1991)

The Joy Luck Club (1993)

Double Happiness (1994)

Jackie Brown (1997)

Beloved (1998)

Smoke Signals (1998)

Monster’s Ball (2001)

Crash (2004)

The Blind Side (2009)

Precious (2009)

The Help (2011)

Rhymes for Young Ghouls (2013) 

Selma (2014)

Hidden Figures (2016)

Girl’s Trip (2017)

Crazy Rich Asians (2018)

Black Panther (2018)

Part Five: Economic Class (and the Intersections of Race and Gender in Alien Invasion Films)

November 16 – 19

Screening: Clips will be shown from various films.

Readings: 

Katerine Mann, “’You’re Next!’: Postwar Hegemony Besieged in Invasion of the Body Snatchers”

Neal King, “Dead-End Days: The Sacrifice of Displaced Workers on Film”

Diane Negra and Yvonne Tasker, “Neoliberal frames and genres of inequality: Recession-era chick flicks and male-centered corporate melodrama”

Related Films (Economic Class) 

Salt of the Earth (1954)

My Fair Lady (1964)

Norma Rae (1979)

9 to 5 (1980)

Silkwood (1983) 

Working Girls (1986) 

Pretty in Pink (1986) 

Working Girl (1988)

It Could Happen to You (1995)

Erin Brockovich (2000)

Maid in America (2002)

Vera Drake (2004)

North Country (2005)

The Devil Wears Prada (2006)

Maid in Dagenham (2010) 

Bridesmaids (2011)

The Florida Project (2017)

Hustlers (2019)

Part Six: Sexual Orientation and Heteronormativity

November 23– 30 

Screening: Forbidden Love: The Unashamed Stories of Lesbian Lives (1992)

Readings: 

Judith Mayne, “Lesbian Looks: Dorothy Arzner and Female Authorship”

Teresa de Lauretis, “Sexual Difference and Lesbian Representation”   

Judith Butler, “Gender is Burning: Questions of Appropriation and Subversion”

Judith Butler, “Imitation and Gender Insubordination”

Related Films:

Mädchen in Uniform (1931 and 1958)

The Children’s Hour (1961)

The Killing of Sister George (1968)

Daughters of Darkness (1971)

Picnic at Hanging Rock (1975)

Personal Best (1982)

Lianna (1983)

Desert Hearts (1986)

I’ve Heard the Mermaids Singing (1987)

Salmonberries (1991)

Go Fish (1994)

Better Than Chocolate (1999)

But I’m a Cheerleader (1999)

The Hours (2002) 

Monster (2003)

Saving Face (2004)

Loving Annabelle (2006)

I Can’t Think Straight (2008)

The Kids are Alright (2010)

Pariah (2011)

Cloudburst (2011)

Breaking the Girls (2012)

Carol (2015)

Moonlight (2016)

My Days of Mercy (2017)

Tell it to the Bees (2018)

Portrait of a Lady on Fire (2019)

Part Seven: Transgender Identities and Visibility

December 3 - 7 

Screening: Disclosure (2020)

Readings: 

Sharon Cowan, “’We Walk Among You’: Trans Identity Politics Goes to the Movies”

Melissa Rigney, “Brandon Goes to Hollywood: Boys Don’t Cry and the Transgender Body in Film”

Lisa Henderson, “The class character of Boys Don’t Cry”

Traci B. Abbott, “The Trans/Romance Dilemma in Transamerica and Other Films” 

Related Films:

Myra Breckinridge (1970)

In a Year with 13 Moons (1978)

Paris is Burning (1990)

The Crying Game (1992)

Priscilla, Queen of the Desert (1994)

Boys Don’t Cry (1999)

Hedwig and the Angry Inch (2001)

Transamerica (2005)

Laurence Anyways (2012)

Hit & Miss (2012)

52 Tuesdays (2013)

Boy Meets Girl (2014) 

Two 4 One (2014)

The Danish Girl (2015)

Tangerine (2015)

Girl (2018)

A Perfectly Normal Family (2020)

I Saw the TV Glow (2024)

Posting of Grades

Typically marks for assignments, examinations, and provisional final grades, are made available through a Learning Management System (LMS) like Brightspace, where each student will be able to view only their own grades. Sometimes numerical marks/grades may be posted publicly to the entire class. In that case, full student numbers or names will not be included with the posted information.