University of Wisconsin-Eau Claire







TR, 2 to 3:50 p.m. (Discussions), and T 7-10 p.m. (Screenings), HHH 321

Fall 2001, University of Wisconsin-Eau Claire


Office: HHH 425, (715) 836-4369

Office Hours: M 4-5 and 9:30-10:30 p.m.; W 4-6 p.m.;

R 4-5 p.m. and 9:30-10:30 p.m.; and By Appointment.


    English 380 and 580, Studies in Film: The Art and Politics of Representation in Contemporary Gay, Lesbian, Bisexual, Transgender, and Queer Film is conceived and organized as a collective critical inquiry into the production and reception of glbtq (gay, lesbian, bisexual, transgender, and queer) film from the watershed moment of the 1969 Stonewall riots to the present. Representation within and by means of film has long been, and continues to be, a central site of oppression, resistance, struggle, affirmation, and transcendence for gay, lesbian, bisexual, transgender and queer people. In this course we will therefore examine the ways in which an exemplary selection of glbtq films reflects and responds to: 1. the lived realities, everyday conditions of existence, and ordinary and extraordinary struggles of lesbian, gay, bisexual, transgender, and queer people; 2. the changing place of glbtq subjectivities and modes of social relationality in "the larger society" and "the general culture," including as sites of resistance, opposition, and revolt against dominant forms of subjectivity and dominant modes of social relationality; and 3. the differences, contradictions, tensions, and conflicts within and among various glbtq "communities" and "movements" over what has been, is, and should be the shape and direction of glbtq politics and culture. In sum, we will focus attention throughout this semester upon the art and politics of cinematic representation in relation to issues of glbtq identity and experience; community and culture; sexuality and desire; discrimination and prejudice; violence and abuse; marginality and alterity; struggle and resistance; and liberation and transformation.


    The films we will screen in this course will be primarily, although not exclusively, from the United States. The reason why is three-fold. First, it is from the United States that we are engaging in this course, and it is important to come to terms with where we are at as a basis for mapping our place and accounting for our interests, as well as our critical perspectives, within the late capitalist global social totality. Second, the United States is the leading capitalist-imperialist nation in the world today, and, as a result, the impact of what takes place in the United States -- economically, politically, and culturally -- has immense shaping power far beyond the geographic boundaries of this nation alone. Third, it is from within the United States -- and other closely culturally allied nations such as Great Britain, Canada, and Australia -- that the majority of the most widely visible and highly influential developments in contemporary, (post)modern glbtq politics and culture have emerged over the course of the past thirty years, including in film.


    At the beginning of the twenty-first century glbtq politics and culture is increasingly sharply divided among advocates of three general directions for future praxis: 1. liberal advocates of steady assimilation and integration into "the general society" and "the culture at large," accompanied not by any substantial change, but rather only moderate reform, of this status quo; 2. anarchist advocates of maintaining a playfully dissident marginality within "the general society" and "the culture at large" in opposition to predominant forms for social, and sexual, subjectivity and relationality; and 3. socialist advocates of revolutionary transformation of the fundamental structures and essential determining constituents of "the general society" and "the culture at large." As we proceed this semester, we will discuss the ramifications of each of these prospective directions for future glbtq praxis, as well as the historic roots of the contestations among them. (It should be noted here that from the last years of the 1980s through the first years of the 1990s "queer" was most frequently embraced by representatives of the second, "anarchist" position to distinguish themselves from representatives of the first, "liberal" position, but over the course of the 1990s "queer" has become rapidly interchangeable with "lesbian, gay, bi, and/or transgender"; "queer" is frequently invoked today by representatives of all three -- "liberal," "anarchist," and "socialist" -- positions, together with "lesbian," "gay," "bisexual," and/or "transgender," to refer, respectively, to different dimensions of glbtq individual and social existence. We will discuss the significance of struggles over terms of identification as the semester proceeds.)

    It is important, however, to note well, right at the beginning of this course, that the "liberal" position is today the overwhelmingly dominant one (and includes many gradations within it), the "anarchist" position is by far the most prominent form of opposition, and the "socialist" position is often virtually invisible, at least within the contemporary glbtq "mainstream." This state of affairs, as we shall see, is, moreover, certainly the case with contemporary glbtq film making. In fact, the costs involved in producing, distributing, and exhibiting films means that cinematic representations of genuinely radical positions are often extremely difficult to put together, especially for release to a large public audience. What's more, although I have done my best to select significant and challenging films from a range of glbtq perspectives, the screenings in this course are primarily (although certainly far from exclusively) limited to relatively low-price video versions of films marketed by large distributors, who can maintain these low prices due to the economies of scale by which they operate. UWEC maintains no standing fund to support the purchase and rental of films or videos used for courses; what money is available through one-time grants is, moreover, highly limited (in fact, as is often typical of film courses taught at this "kind" and "level" of -- "regional," "public," "teaching-centered" [as opposed to "research-centered"] - higher educational institution in the U.S. today, almost all of the VHS format videos and the DVDs we will screen this semester are from my personal collection). Because of this state of affairs, we are, by and large, restricted to the titles which major distributors -- whether "general" or "gay and lesbian" -- have decided are likely to prove sufficiently profitable to include in their catalogs, and these films tend, most often, to represent "liberal," and to a lesser degree "anarchist," positions, but very rarely to represent "socialist" positions.

    From my perspective this is certainly somewhat problematic insofar as glbtq politics and culture today, especially in the advanced capitalist "First World," are increasingly riven by class divisions, divisions which more "mainstream" glbtq representations often ignore, downplay, or mystify. These are, in sum, divisions over what, if anything, currently is, and in the immediate future should be, the relationship between, on the one hand, glbtq community organization, cultural expression, and political mobilization, and, on the other hand, considerations of political economy. Considerations of political economy involve questions concerning the organization and articulation of social differences, and oppositions, in terms of 1. material interest and need; 2. right of access to -- as well as opportunity effectively to exercise -- natural and cultural resources, powers, and capacities; and 3. extent of ownership and control of socially produced wealth -- in particular, ownership and control as this is manifested in the appropriation and accumulation of the products of socially invested labor.

    Today the basic problem that confronts glbtq activism in the U.S. is still most often understood as exclusion and invisibility, and the solution thereby as inclusion and visibility. As a result, heterosexism and homophobia tend to be treated as atavistic aberrations, rooted in ignorance, that run counter to the basic values of American democracy, and which are doomed to pass into oblivion as more and more straight Americans are re-educated and thereby enlightened. Glbtq struggle for equality is in effect reduced to struggle for assimilation and integration: 1. assimilation of "queerity" into the straight mainstream of American society and culture so that this "queer difference" can be tolerated and accepted as an -- unthreatening -- part of the mainstream, and 2. integration of glbtq people into positions of power within business and industry, government, the military, and the news and entertainment media without simultaneously challenging the kinds of ends these institutions are designed to advance or the kinds of interests they are designed to serve. I believe this means struggling for an ultimately illusory equality of representation across all levels of a still fundamentally unequal society. According to the logic of this position, as long as glbtq people are proportionately equal to straights as exploiters of labor and as managers, facilitators, regulators, and legitimators of this exploitation, then seemingly all is well. Even if this scenario were to be realized, it would leave the largest mass of glbtq people at the bottom of society together with the largest mass of straights, and therefore glbtq people would be still subject to capitalist exploitation -- and to all the dehumanizing costs of such an alienated existence.

    Even the superficially "radical" mode of "anarchist" glbtq politics I have mentioned often collapses into a "liberal" politics because it is still ultimately focused at the level of "reformist" concerns: it is concerned to protect and secure the "rights" of a "minority population" within the existing system of social relations, and this remains true regardless of whether the "identity" of that "minority population" has been reunderstood as fluid rather than fixed, and regardless of whether these "rights" have been reunderstood to include the "rights" to remain rebelliously defiant of and marginally opposed to the cultural "mainstream." This kind of "radical" politics, as I see it, is not in effect actually directed at radical social change: it is not directed at change of what is fundamental about the organization of the totality of social relations; it does not seek to accomplish fundamental transformation of dominant social institutions and enterprises or of dominant structures of social relations and dominant forms of cultural practices.

    Yes, glbtq people have made considerable strides in many directions over the course of the past three decades in the United States, while the extent of general public "tolerance" and "acceptance" has dramatically increased, yet it is worth reflecting upon not only the distance between tolerance and acceptance but also the distances between acceptance and active support, and between active support and active, intelligent, and constructive appreciation, interest, and engagement. On what terms, within what limits, and in what forms, have glbtq people gained this greater tolerance and acceptance - and which (kinds of) glbtq people are tolerated and accepted (and to what varying degrees), while which others are not? These gains are often far more fragile and precarious than might readily seem to be the case; they will never be adequately secured until it becomes impossible to derive material advantage from the oppression of glbtq people, until, that is, glbtq and straight people have worked together to transform "the larger society" and "the general culture" such that it serves human needs, not the interests of private profit and accumulation through exploitation. Radical gay, lesbian, bisexual, transgender, and queer people strive to create a new form of society -- and new mode of culture to go with it -- organized according to the principles of genuine mutuality, collective equality, rational cooperation, social justice, ecological sustainability, and such that "the free development of each is the condition for the free development of all."

    As an advocate of a "socialist" position, I will, as you can tell, represent my position openly in the course of our discussions, not pretending that I am, or can be, a merely disinterested observer. I believe it would be just as problematic to conceal my Marxism from you as it would be to conceal from you the fact that I am gay; in fact, it would be condescending, treating you as if you are too fragile and too immature to be able to think for yourselves. As I see it, any serious intellectual, working as a professor at the university level, should be open with her students about her stance on the issues she is addressing in teaching the texts and topics that she is. In other words, he should have ideas of his own which he (re)presents to his students and he should be accountable to his students for where he is coming from, how, and why. In making my Marxist-socialist position clear and being open about it, trusting and respecting you as capable of dealing with it for what it is, I am inviting contestation and I am making it all the less likely that I might in any way "deviously" "manipulate" your own thinking. I always seek to do justice to positions different from, and opposing, my own -- to my mind no other stance is intellectually, ethically, or politically responsible -- and I welcome, in fact encourage, my students always to feel free to disagree with, argue against, and critique the positions I maintain. I do not seek to "persuade" my students to accept and identify with "my" positions so much as to "compel" you to rethink, reformulate, and rearticulate your previously maintained positions in response to the pressure my arguments, those of your classmates, and those advanced in the texts we will read and the films we will screen exert upon those previously maintained positions. If you agree with me, or find yourself "persuaded" to agree with me, so be it, but that is not my principal objective in openly representing "my own" positions in my pedagogical interaction with you. In short, I want you to think, rigorously and critically, for yourself, and to question all authorities, including me.


    It is often tempting, when first engaging with the cultural productions of an historically oppressed population, uncritically to affirm, appreciate, and celebrate all representations which emerge from the experience of occupying, coping with, and striving to overcome and transform this kind of social position. Since English 380 and 580, Studies in Film: The Art and Politics of Representation in Contemporary Gay, Lesbian, Bisexual, Transgender, and Queer Film is only the second course yet to be taught at UWEC with an explicit focus on glbtq issues (I taught the first, a course similar to this one, in the fall of 1999), and since both the University of Wisconsin-Eau Claire and the West Central Wisconsin region of Eau Claire and the Chippewa Valley can still be oppressively heterosexist and homophobic locations in which to live and work, this uncritical response undoubtedly will be a temptation for us. However, no matter how entirely understandable this temptation is, I urge that we resist it. There are three reasons why. First, it is condescending to imagine that glbtq queer people always have been and always will be so weak and fragile that any form of even constructive critique -- i.e., critique in and as solidarity -- will be destructive to our well-being. Second, to experience an event is simply to have lived through it, and, more precisely, to have been directly, personally involved in, affected by, or engaged with what one lived through as it happened. What an experience is understood to mean depends upon what frames of intelligibility are brought to bear to make sense of the experience, and different frames of intelligibility will lead to different interpretations and evaluations of what this experience was all about. The meaning of experience is in fact a critical site of ideological conflict and struggle, as different ways of making sense of a single experience will lead to different ways of making use of this experience in support of different social-political ends and interests. Third, it is possible to gain an ultimately much more powerful appreciation for -- and even enjoyment of -- literary, artistic, and cinematic texts by subjecting these texts to critical and theoretical scrutiny than by simply responding to them in a largely uncritical, and indeed often passively unquestioning, way. In short, serious intellectual engagement breaks with and moves past the modes of reception and response which involve merely suspending all disbelief (whether willingly or unwillingly), losing one's self in the illusion, surrendering to the manipulation of the text, and delighting in the often seemingly inexplicable and unaccountable "magic," "mystery," and "wonder" the text appears to produce within and upon one's "self."

    At the same time, I believe that it is always extremely important to take seriously, and to attempt carefully to understand, both the determinants and the effectivities of the kinds of non-critical/pre-critical/and anti-critical indulgences in the "pleasures of the text" I have just described in the last sentence. Certainly, the films we will screen this semester speak, often extremely powerfully and extraordinarily movingly, to my own experience as a gay man, and, more precisely, as a gay man who not only has suffered the painful effects of heterosexism and homophobia in his own life but also has actively and extensively engaged over the course of the past seventeen years in many glbtq community organizations and political mobilizations fighting for glbtq equality. And yet, if anything, my personal interest in what these films represent, and how and why they go about this, motivates me all the more to approach contemporary glbtq film as an object demanding of serious, sustained, and especially critical investigation and reflection. I welcome you joining with me on the occasion this course presents for engagement in this pursuit.



Books for Purchase - All Students (Available in the UWEC Bookstore)

1. Gross, Larry and James D. Woods, eds. The Columbia Reader on Lesbians and Gay Men in Media, Society, and Politics. New York: Columbia University Press, 1999.

2. Nava, Michael and Robert Davidoff. Created Equal: Why Gay Rights Matter to America. New York: St. Martin's Press, 1994.

3. Spargo, Tamsin. Foucault and Queer Theory. Postmodern Encounters. Cambridge: Icon Books, 1999.

Book for Rental - All Students (Available in the UWEC Bookstore)

Blasius, Mark and Shane Phelan, eds. We Are Everywhere: a Historical Sourcebook on Lesbian and Gay Politics. New York: Routledge, 1997.

Books for Report Groups

1.  Drucker, Peter, ed. Different Rainbows. Gay Men's Press. London: Millivres Ltd., 2000.

2. Feinberg, Leslie. Trans Liberation: Beyond Pink and Blue. Boston: Beacon Press, 1998.

3. Storr, Merl, ed. Bisexuality: a Critical Reader. New York: Routledge, 1999.

4. Chasin, Alexandra. Selling Out: the Gay and Lesbian Movement Goes to Market. New York: St. Martin's Press, 2000.

Each student will participate in one book report group; you need only purchase the text upon which you will be reporting, and not the other three books, upon which other groups will be reporting, although you are of course welcome to do so if you wish and as you can.

Additional Texts

    I will supply you with all photocopied handouts of supplementary readings used in the course, and you should note well that I will supply photocopy packets of complete credits listings, plot summaries, and of select reviews, critiques, interviews, and related short articles for all films screened in this course. I strongly recommend you buy a minimum of 3" wide, letter-sized (8" X 11") notebook as well as a paper punch, in which to keep photocopied handouts from the course. This will help you greatly in keeping organized. And keep in mind, we use all recycled and recyclable paper here at UWEC; these handouts make readily available to you, for free, information that you would otherwise have to seek out, and often pay for, on your own; and they demonstrate my commitment to making sure that I provide you with a range of materials to help you learn that could not possibly be found in any single published textbook.

    I will also periodically post study guides and other learning materials on my UWEC faculty website,, as well as, potentially, make some resources available to you at an internet classroom I will create for this course, on the UWEC faculty-student shared computer drive, and via electronic reserve through McIntyre Library. I will announce and explain this in class, as I do it, making sure that everyone can obtain access.

    Finally, I will supply copies of all films screened in class. We will screen these in DVD and VHS formats with large-screen projection and high-fidelity stereo sound reproduction.


Unit One

T afternoon, 9/4: Introduction and Orientation. Introduction to The Art and Politics of Representation.

T evening, 9/4: Screening, Before Stonewall and The Celluloid Closet.

R 9/6: Discussion, Before Stonewall and The Celluloid Closet.

    Read for Class: Packets: Introduction to Lesbian and Gay Film/Introduction to Lesbian and Gay Film Studies, Before Stonewall, and The Celluloid Closet (To Be Distributed).

T afternoon, 9/11: Discussion, Readings on GLBT Life and Representations of GLBT Life Before Stonewall/Reflections on Continuing Hostile Representations in the 'Mainstream' Media and 'Mainstream' Popular Opinion.

    Read for Class: The Columbia Reader, pp. 48-74 (D'Emilio, Faderman, Chauncey), 163-168 (Newsweek, Schreiber), 301-306 (Sheldon), 316-334 (Moritz, Bruni, Gamson), 354-363 (New York Times, Time, Tobin, Alverson); Created Equal, pp. 1-28.

Reflection and Comment Log 1, Entry 1 Assigned.

T evening 9/11: Screening, Outrage '69 and Word Is Out.

R 9/13: Discussion, Outrage '69 and Word is Out.

    Read for Class: Packets: Outrage '69 and Word is Out.

T afternoon 9/18: Discussion, Readings on Stonewall and Gay Liberation.

    Read for Class: The Columbia Reader, pp. 175-179 (Marmor, Bieber, and Gold), 363-367 (Lisker, Fosburgh), 460-466 (Thistelwaite, Jackson), and 575-583 (Tucker). We Are Everywhere, pp. 380-393 (Wittman, Red Butterfly, Shelley), 402-404 (Revolutionary People's Constitutional Convention), 412-419 (Hocquenghem), and Mieli, (438-442). Created Equal, pp. 29-57.

Reflection and Comment Log 1, Entry 2 Assigned.

T evening 9/18: Screening, The Castro and The Times of Harvey Milk.

R 9/20: Discussion, The Castro and The Times of Harvey Milk.

    Read for Class: Packets, The Castro and The Times of Harvey Milk.

T afternoon 9/25: Discussion, Readings on Directions and Divisions within American Gay, Including Gay Liberationist (and Post-Liberationist) Politics and Culture in the 1970s into the Early 1980s - and Beyond.

    Read for Class: The Columbia Reader, 135-147 (Ratzinger, Gomes, Price, Ramsey Colloquium), 245-251 (Bronski), 368-376 (Pierson), 466-473 (Closs), 486-497 (Tucker), 583-587 (Tucker, Denneny), and 601-611 (Decter). We Are Everywhere, pp. 443-453 (Duberman, Milk), 459-468 (North American Man-Boy Love Association), 485-498 (Denneny), and 529-534 (Altman).

Reflection and Comment Log 1, Entry 3 Assigned.

T evening 9/25: Screening, Born in Flames and Last Call at Maud's.

R 9/27: Discussion, Born in Flames and Last Call at Maud's.

    Read for Class: Packets, Born in Flames and Last Call at Maud's.

T afternoon 10/2: Discussion, Readings on Directions and Divisions within American Lesbian, Including Lesbian Feminist, Politics and Culture in the 1970s into the Early 1980s - and Beyond.

    Read for Class: The Columbia Reader, pp. 92-96 (Califia), 105-112 (Queen, Wilson), 367-368 (Klemesrud), 502-517 (Nestle, Nestle, Henderson), and 562-570 (Radicalesbians, Clarke). We Are Everywhere, pp. 420-438 (Bunch; Morgan; Dansky, Knoebel, and Pitchford), 468-469 (National Organization for Women), 498-528 (Frye, Preston, Califia), and 535-541 (Hoagland).

Reflection and Comment Log 1, Entry 4 Assigned.

Unit Two

T evening 10/2: Screening, Silverlake Life and Common Threads.

R 10/4: Discussion, Silverlake Life and Common Threads.

    Read for Class: Packets, Silverlake Life and Common Threads.

Class Contribution Summary and Evaluation Report 1 Due.

T afternoon 10/9: Discussion, Readings on AIDS and Its Impact within GLBTQ Politics and Culture.

    Read for Class: Packet, Twenty Years of AIDS (To Be Distributed); The Columbia Reader, 375-386 (Signorile), and 393-407 (Albert, Kinsella). We Are Everywhere, pp. 563-574 (Berkowitz, Callen, and Dworkin; Berkowitz and Callen), and pp. 691-703 (Schmalz, Daniel).

Reflection and Comment Log 1 Due.

Reflection and Comment Log 2, Entry 1 Assigned.

T evening 10/9: Screening, Positive, Silence = Death, and Stop the Church.

R 10/11: Discussion, Positive, Silence = Death, and Stop the Church.

    Read for Class: Packets, Positive, Silence = Death, and Stop the Church.

T afternoon 10/16: Discussion, Readings on AIDS Activism and Its Impacts and Influences.

    Read for Class: We Are Everywhere, pp. 577-586 (Kramer), 600-615 (Kramer, Kramer), 622-650 (ACT UP/NY Portfolio), and 669-677 (Hollibaugh).

Reflection and Comment Log 2, Entry 2 Assigned.

T evening 10/16: Screening, Ballot Measure 9, Out at Work, and The Lesbian Avengers Eat Fire Too.

R 10/18: Discussion, Ballot Measure 9, Out at Work, and The Lesbian Avengers Eat Fire Too.

    Read for Class: Packets, Ballot Measure 9, Out at Work, and The Lesbian Avengers Eat Fire Too.

T afternoon 10/23: Discussion, Readings on Repression and Resistance, One.

    Read for Class: Packet, Portfolio on Contemporary Anti-GLBT Discrimination, Prejudice, and Violence (To Be Distributed).

Reflection and Comment Log 2, Entry 3 Assigned.

T evening 10/23: Screening, Bent and November Moon.

R 10/25: Discussion, Bent and November Moon.

    Read for Class: Packets: Bent and November Moon.

T afternoon 10/30: Discussion, Readings on Repression and Resistance, Two.

    Read for Class: Created Equal, pp. 58-134.

Reflection and Comment Log 2, Entry 4 Assigned.

Unit Three

T evening 10/30: Screening, Edward II and Nitrate Kisses.

R 11/1: Discussion, Edward II and Nitrate Kisses.

    Read for Class: Packets, Edward II and Nitrate Kisses.

Class Contribution Summary and Evaluation Report 2 Due.

T afternoon 11/6: Discussion, Readings on and in relation to Queer Theory, Politics, and Culture.

    Read for Class: Foucault and Queer Theory, pp. 3-71; The Columbia Reader, pp. 31-47 (Duberman, Goode and Wagner, Boswell), 79-91 (Beam, Stein), and 112-116 (Feinberg).

Reflection and Comment Log 2 Due.

Reflection and Comment Log 3, Entry 1 Assigned.

T evening 11/6: Screening, Urbania and Lilies.

R 11/8: Discussion, Urbania and Lilies.

    Read for Class: Packets, Urbania and Lilies.

T afternoon 11/13: Discussion, Readings Concerning Contemporary Contestations in GLBTQ Theory, Politics, and Culture -- Who are 'Queers'? Where Did We Come From and How Did We Get This Way? And What Do We Want?

    Read for Class: The Columbia Reader, 211-217 (Diaz), 588-594 (Anonymous Queers), 631-640 (Sullivan, Stoddard, Edelbrick, Rees); Created Equal, 135-167; and Packet of Select Marxist Writings on Contemporary GLBT/Queer Theory, Politics, and Culture (To Be Distributed).

Reflection and Comment Log 3, Entry 2 Assigned.

T evening 11/13: Screening, Tongues Untied and The Watermelon Woman.

R 11/15: Discussion, Tongues Untied and The Watermelon Woman.

    Read for Class: Packets: Tongues Untied and The Watermelon Woman.

T afternoon 11/20: Discussion, Readings on Race and Racism.

    Read for Class: The Columbia Reader, pp. 96-105 (Takagi), 262-270 (Gomez), 531-537 (Tsang), 571-574 (Quintanales), and 644-652 (Yang, Gates, Smith); We Are Everywhere, pp. 400-401 (Third World Gay Revolution), 404-406 (Newton), 472-484 (Lorde, Mays, Klepfisz), 549-559 (DeMarco, Tinney), 712-722 (Anzaldúa), and 787-798 (Harris, Trujillo).

Reflection and Comment Log 3, Entry 3 Assigned.

T evening 11/20: Screening, Improper Conduct and Gay Cuba.

T afternoon 11/27: Discussion, Improper Conduct and Gay Cuba.

    Read for Class: Packets: Improper Conduct and Gay Cuba; We Are Everywhere, pp. 406-412 (Letter from the Cuban Gay People to the North American Gay Liberation Movement; Cuban First National Congress on Education and Culture; Responses by the Gay Liberation Party and the Gay Committee of Returned Brigadistas; Venceremos Brigade), and 469-472 (Oikabeth, Lambda Homosexual Liberation Group, and Homosexual Revolutionary Action Front).

Reflection and Comment Log 3, Entry 4 Assigned.

Unit Four

T evening 11/27: Screening, The Virgin Machine and I am My Own Woman.

R 11/29: Discussion, The Virgin Machine and I am My Own Woman.

Read for Class: Packets, The Virgin Machine and I am My Own Woman.

Class Contribution Summary and Evaluation Report 3 Due.

T afternoon 12/4: Group Book Report (#1) and Discussion, Trans Liberation.

Reflection and Comment Log 3 Due.

Reflection and Comment Log 4, Entry 1 Assigned.

T evening 12/4: Screening, Bedrooms and Hallways and It's in the Water.

R 12/6: Discussion, Bedrooms and Hallways and It's in the Water.

    Read for Class: Packets, Bedrooms and Hallways and It's In the Water.

T afternoon 12/11: Group Book Report (#2) and Discussion, Bisexuality: a Critical Reader.

Reflection and Comment Log 4, Entry 2 Assigned.

T evening 12/11 (Extended Discussion Class Session): Group Book Reports (#3 and #4) and Discussion, Selling Out: the Gay and Lesbian Movement Goes to Market and Different Rainbows.

R 12/13: Conclusion.

Reflection and Comment Log 4, Entry 3 Assigned.

*** R 12/20: Reflection and Comment Log 4, and Class Contribution Summary and Evaluation Report 4 Due. ***


    In this course we will do two things in class: screen films and hold discussions. We will discuss the following: 1. the films we have screened; 2. readings providing contexts and perspectives in which to help make sense of and to critique these films, and 3. diverse issues which the films and readings raise for us. Every Tuesday evening will function as an extended screening session. On Tuesday afternoon we will engage in an extended discussion of readings in contexts and perspectives and on Thursday afternoon we will focus our discussion primarily on the films screened the previous Tuesday evening. Frequently you will be working for part of a class period in small groups or doing some short writing in response to questions I ask you (especially in reviewing clips Thursday from the films screened the previous Tuesday night) to then share with the class; both of these approaches (and others) will help initiate discussion. I will work hard to help everyone feel comfortable and confident enough to participate regularly in class discussions. I will direct our discussions and, as useful, periodically make brief presentations to get us started (or to keep us going), but I will not formally lecture at any point in this course.


    I expect students in this course to be sincerely interested in learning about the subject matter of this course, and to be consistently intellectually serious as well as academically diligent in their pursuit of this learning. I expect students to strive to bring actively and extensively to bear -- in their essays and contributions to class discussion -- insights they gain through their engagement with the texts and topics addressed as part of this course, and I expect students to strive at the same time to relate these texts and topics as closely and as fully as possible to subjects of genuine interest and concern in their own lives. Finally, I expect students to let me know right away when and if they have any questions or problems about any aspect of how they are doing in and with the course, so that I can do everything I possibly can to help answer these questions and solve these problems.



    In evaluating all work done for this course, I will take account of how carefully, seriously, intelligently, enthusiastically, and imaginatively students engage with the concepts, issues, positions, and arguments addressed in the course and represented by the texts we read and screen, by me, and by each other.


    I expect students to attend class regularly, on Tuesday and Thursday afternoons and on Tuesday evenings; let me know if and when you experience problems doing so. It is difficult to do well in a course which you do not attend regularly. At the same time I understand that there will be occasions in which attendance is not possible and I respect you to make your own decisions as to when this will be. I do not expect that everyone will be able to attend the screening of all of the films (or to participate in all of the discussions) included as part of this course; I simply expect that you will do so for as many of these as you can.


        What is This and Why it is Important

    If you don't contribute to the work of this class not only will you fail to derive as much gain from it as would be the case if you did contribute, but also you will deprive everyone else of the benefit of your thoughts, feelings, beliefs, values, knowledge, and experience. In fact, to remain passively silent in class exploits the work of others who actively engage.

   Quality of participation is more important than quantity, although a sufficient quantity is indispensable to insure quality. Quality class participation does not, moreover, involve merely asking questions of me and responding to my questions; quality class participation requires you to work as assiduously as you can to advance a serious and substantial discussion with your peers as well as with me about the texts and topics subject to discussion. Students should, therefore, be prepared to engage with and respond to each other in class discussion, and I will take particular note of how well you do so.

    Alternative Forms of Class Contribution

    Class contribution can extend beyond mere speaking in class: it may include a variety of ways in which you can bring to bear your insights to help all of us gain from the experience of this course. If you believe that you can make significant contributions to the success of our class in ways other than by speaking in our class meetings, please arrange to talk with me about this in a conference as early in the semester as possible. I will be glad to support these efforts if they seem potentially productive to me, but I need to know about them and to discuss with you what I think about them in order to endorse them. I certainly understand some college students are better prepared and more confident speaking in class than others, but I would like to engage with what each one of you is thinking and feeling as we proceed through the semester. So, if you tend to be somewhat shy in class, make up for this by coming to talk with me outside of class and by sending me questions and comments over e-mail.

    Class Contribution Summary and Evaluation Reports

    I will divide your class contribution grade into four parts, corresponding to the four units of the course. At the end of each unit I will ask you to prepare a brief class contribution summary and evaluation report, assessing your contribution to the class throughout the period in question. I will take what you write into account in determining your class contribution grades. I will give you specific instructions on what I would like you to summarize and evaluate, yet in each case I will ask that you also include some thoughts that you did not have the opportunity or did not feel comfortable enough to share in class; these additional reflections will help me get a better sense of what you have been thinking about and how you have been responding to readings, class discussions, and screenings than would be the case if I only had to rely upon what you wrote in your logs as well as said in class. Each class contribution summary and evaluation report will be due one week after it has been assigned, together with the log due at the same time. These reports may be any length you see fit, yet you should try not to write excessively long reports, as these are likely to prove counterproductive, especially if you are overly defensive about your contribution (or lack thereof). The class contribution grade for each unit will be worth 10% of the overall course grade, adding up to a combined total of 40%.


    I will assign you one reflection and comment question or set of questions per week related to readings, screenings, and class discussions. Your response will comprise an entry into a log which you will keep and turn in one week after the end of each unit (i.e., as indicated in the schedule, logs 1-3 will each contain four entries, and log 4 will contain three entries). I ask that you type out your response to these questions, double-space, on singles sides of standard white letter-sized (8" X 11") paper. Your margins should be standard-length, your name should be at the top of the first page of the combined log, and you should staple the separate pages of the log together before turning this in to me for a grade. You may use any standard font you prefer and your print size may range between 10 and 12 points. Although I am most concerned with the content of your writing here, I do ask that you try to follow rules and conventions of Standard Written English as closely and fully as possible. At the least I expect that you will strive to write clearly, precisely, and coherently. You will receive a higher grade the more cleanly and effectively you communicate your ideas. Also, I would like you to make clear all sources to which you refer in your paper, including film titles, and to fully document any outside sources you use (sources other than those used in and assigned for this class). I recommend following MLA (Modern Language Association) guidelines for proper documentation of outside sources, yet I won't be a stickler for perfection in this regard as long as your documentation is adequately comprehensive and you follow a consistent documentation pattern (although it would help if you enclose page numbers of quotes, paraphrases, and summaries taken from written texts in parentheses following upon your use of these citations, as well as a complete list of works cited at the end of each log entry). You should aim for a target of approximately 1000 words, on average (roughly the equivalent of four double-spaced, typed pages), per log entry, although what matters most to me is not page or word length, but how clearly, precisely, effectively, and, as far as possible, succinctly you address each assigned question or set of questions. Please do not worry about the page or word target I have mentioned above; this is just to give you some kind of rough guidance in estimating how much you should try to write.

    I will be most happy to help you as you are working on these log entries; I want you to find these useful to you, and I want you to communicate your thoughts and feelings effectively to me. I'd love it if all your logs were wonderful, just as I'd love it if every student enrolled in this class earned a grade of A for her or his work.

    Reflection and Comment Logs 1-3 will each be worth 10% of the overall course grade, whereas reflection and comment log 4 will be worth 7.5% of the overall course grade.


    Each student will participate in a group that will work together to present a report to the class based upon its reading of one assigned book. There will be four groups, and the books are, as indicated in the "texts" section of this syllabus: Trans Liberation: Beyond Pink or Blue, Bisexuality: a Critical Reader, Different Rainbows, and Selling Out: the Gay and Lesbian Movement Goes to Market. These are important books that address urgent topics that we will not have as much chance to spend discussing in the rest of the course as they deserve.

    Your group's responsibility will be to teach us about what your book presents, what we can learn from it, and why it is important that we do. Your presentation may allude to any other readings and screenings from this course, or beyond this course, that you decide will help elucidate the meaning, value, and significance of what your book brings to our attention. You may include photographic handouts, clips from videos or dvds, reference to internet (world wide web) sites, clips from audio or audio-visual recordings, power point presentations (or the like), dramatic skits or role-playing exercises, mock debates among your group members, and many other possibilities. I will work with you over the course of the semester to help you prepare for your presentation and our subsequent discussion of it. I will require each group to meet with me as a group at least once, in an extensive conference to discuss how to approach reporting on your book, and to gain my assistance. You may certainly meet with me more than this one time, as you need and as you wish. Once again, I'd like you all to do superb jobs in these presentations, and I'll do what I can to help make this happen.

    As you are working on putting your report together, you may certainly feel free to disagree with and critique your book's writer or writers, and you should likewise feel free to disagree with and critique each other; presenting different, and opposing, takes on the book can make the presentation even more interesting. You don't have to do either of these things, but you certainly can if you wish.

    You will sign up for group reports by the end of the third week of classes, and your group can meet with me as soon as you are ready to begin talking about the report; you may also meet with me individually or in small subgroups if this proves more convenient, although I'd really like to meet with you all together at least one time.

    Your group book report will be worth 22.5% of the overall course grade.


    Ideally, a course which requires this many in-class hours per week should offer you at least four credits. I am working on seeking to gain four credits for all the film courses we teach in the English Department. However, that change is at least a year away. In the meantime, I want to show my appreciation to you for committing to this course, by offering you additional credit, should you wish to receive it.

    Undergraduate students enrolled in the course may complete an additional final term paper (or equivalent project) on an issue of particular individual interest in GLBTQ Studies/GLBTQ film (and/or television), subject to my approval and consultation with me. This is completely optional, but for students who would like to earn more credit for the amount of time this class is scheduled to meet, this will be an available option.

    I will ask any graduate students enrolled in the course to write a short term paper as part of their job in meeting the requirements for taking the course for three graduate credits. If graduate students wish to pursue additional independent study credit, they must consult with me about the prospect of completing a more extensive additional final paper or project.

    If you are interested in the two-credit independent study option, please let me know by the end of the third week of classes. I encourage you seriously to think about this; if you do not already recognize this now, you will soon find out that a vast range of issues exists in the fields of glbtq studies and of studies in glbtq film, video, and moving-image culture that you may choose from to explore - extending far beyond what we will have time to address, at least in detail, as part of this one course. I welcome you pursuing such an interest of yours, and I'll be glad to help you pursue it.


    Students may obtain extra credit by writing a short report on or critique of any one film screened at the Minneapolis-St. Paul LGBT Film Festival in October (specific dates to be announced) or do the same on any two other contemporary LGBT films and/or television shows. Please note that I will work with you to help make arrangements so that all English 380/580 students interested in attending the Film Festival can find transportation - and pay for tickets -- as needed. The festival is a great event; I highly recommend it - and the same for the whole year's series of film screenings and festivals sponsored by the University Film Society in Minneapolis.


    This university is, as most of you undoubtedly well know, a liberal arts institution; education in the liberal arts (and sciences) represents the historic and central commitment of what we do together on this UW campus - not vocational training and pre-professional development. The university administration and faculty support this commitment so strongly that they have asked that all syllabi elaborate the official goals of the baccalaureate, as well as identify which ones the course in question will help you achieve. According to the UWEC administration, the baccalaureate degree shall work to develop the following for UWEC students:

  • an understanding of a liberal education.
  • an appreciation of the University as a learning community.
  • an ability to inquire, think, analyze.
  • an ability to write, read, speak, listen.
  • an understanding of numerical data.
  • a historical consciousness.
  • international and intercultural experience.
  • an understanding of science and scientific methods.
  • an appreciation of the arts.
  • an understanding of values.
  • an understanding of human behavior and human institutions.
  • UWEC strives to help you meet these objectives in the course of the "higher education" you pursue here. Please note that in making these our foremost aims, we at UWEC clearly distinguish ourselves from technical colleges as well as from all other UW schools, especially places like Stout and River Falls. This course will help contribute to you meeting goals 1-4, 6, and 9-11.


        I encourage students to meet with me in conference during office hours or at another mutually convenient time to discuss any issue of interest or concern. Please do not hesitate to drop by during office hours or to ask for an appointment at any time you think this might be helpful; I regard making myself available for conferences with you to be my responsibility as your teacher. Furthermore, I always welcome getting to know and working with my students outside as well as inside of class. I recognize that learning which takes place in conferences can at times be equally as important, and in fact occasionally even more important, than what takes place in class. I am ready to do whatever I can in conference to help you in your understanding of issues addressed in presentations, discussions, and required readings and screenings, as well as to help you in your writing for and participation in this course. You may also feel free to write me via e-mail, and to call me -- or leave a message for me on the answering machine -- at my office. I enjoy meeting and working with students outside as well as inside of class; I really do. I would rather talk with you during my office hours than do anything else, so please do not worry about "disturbing" me in coming to talk with me; my office hours are time that I have set aside to meet, talk, and work with you. PLEASE DO TAKE ADVANTAGE OF THIS OPPORTUNITY! And, remember, once again, taking the time to meet and talk with me periodically in conference is a great way to contribute to the class.


    I strive to be as responsible and as accountable to my students as possible. I believe it is crucial that students become aware of the ideas and the values which shape and direct their education, and I believe students should expect that all of their teachers will be prepared to explain why they teach as they do. Please, therefore, take the time, as early as you can this semester, to read through and think carefully about my "Statement of Teaching Philosophy" that I have posted on my UWEC faculty website: . This statement explains WHY I teach as I do. I think it is extremely important that you know and understand where your teachers are coming from in teaching you as they do. You will find me one who trusts you sufficiently always to be frank and honest about this with you.

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    Last Updated September 22, 2001