HISP 445

 

Crime, Sex, and Ghosts of the Past: Contemporary Spanish Fiction and Film

 

 

Spain’s transition to democracy following Franco’s death in 1975 was characterized by two contradictory phenomena: a sudden moral, sexual, and political liberation, and a collective “pact of oblivion” that indefinitely postponed any reckoning with the dictatorial past. This course studies the film and fiction of post-Franco Spain, rife with sex and crime but also haunted by the ghosts of history. The reading and viewing list includes works by Martín Gaite, Vázquez Montalbán, Llamazares, Marías, Etxebarria, Almodóvar, Medem, and Bollaín. Taught in Spanish. Enrollment Limit: 15

 

Sebastiaan Faber

MWF 2:30-3:20p, 302 Peters

(Tue 7-9pm film screenings, 234 Peters)

 

HISP 445

Crime, Sex, and Ghosts of the Past: Contemporary Spanish Fiction and Film

syllabus

 

 

instructor

          Sebastiaan Faber

          404 Peters

          tel. x58189

          email: sebastiaan.faber@oberlin.edu

          home page: www.oberlin.edu/faculty/sfaber

          office hours: MW 10-11am or by appt

          messages: The fastest and most efficient way to contact me is via email. You can also leave a message on my voicemail or with Blanche Villar at x55256, or stick a written note in my box in 301 Peters.

 

course prerequisites

          “Any two 300-level courses taught in Spanish normally serve as a prerequisite for admission to those at the 400 level” (Hispanic Studies Course Catalog).

 

required readings [NOTE: any edition in Spanish is fine]

·         Vázquez Montalbán, Manuel. Los mares del sur. Madrid: Planeta. 1st ed: 1977.

·         Martín Gaite, Carmen. El cuarto de atrás. Barcelona: Destino.  1st ed: 1978.

·         Llamazares, Julio. La lluvia amarilla. Barcelona: Seix Barral. 1st ed.: 1988.

·         Marías, Javier. Corazón tan blanco. Madrid: Alfaguara. 1st. ed: 1992.

·         Etxebarria, Lucía. Beatriz y los cuerpos celestes. Madrid: Destino. 1st ed.: 1998.

 

tentative viewing list

·         La colmena (Mario Camus, 1982)

·         Sombras en una batalla (Mario Camus, 1993)

·         Entre tinieblas (Pedro Almodóvar, 1983)

·         Abre los ojos (Alejandro Amenábar, 1997)

·         Tasio (Montxo Armendáriz, 1984)

·         Vacas (Julio Medem, 1991)

·         Silencio roto (Montxo Armendáriz, 2001)

·         Lucía y el sexo (Julio Medem, 2001)

·         Hola, ¿estás sola? (Icíar Bollaín, 1995)

·         A mi madre le gustan las mujeres (Daniela Fejerman, Inés París, 2002)

 

 

course goals

This course provides an eclectic overview of some fascinating developments in Spanish fiction and film since Franco’s death in 1975 and the country’s subsequent transition to democracy. Analyzing five novels and ten films, we will touch on a range of topics and issues, including:

  • developments in Spanish culture and politics since 1975 (sexual liberation, Europeanization, democratization, secularization, regionalism, etc.);
  • the way Spanish politics has, or hasn’t, dealt with its recent dictatorial past;
  • the role and function of literature and film in a post-dictatorial democracy, particularly with regards to the collective memory of the Spanish Civil War (1936-39) and Francoist repression (1939-75);
  • the effects of the commercialization and remarkable international success of recent Spanish fiction and film;
  • postmodernism in Spanish fiction and film (blurred boundaries between ‘high’ and ‘low’ cultural forms, metafiction, depoliticization, etc.)

 

course requirements

·         Students are expected to have read or viewed the assigned texts and films by the day indicated on the syllabus, hand in type-written answers to the assigned questions, and be prepared actively to participate in class discussion.

·         One in-class, 15-minute group presentation about one of the novels or films, incorporating at least two scholarly articles dealing with the work in question. The presentations will be followed by a class discussion moderated by the presenters.

·         Two midterm papers (of 3 and 4 pages each), as well as an 8-page final paper.

·         Students are expected to attend around ten film screenings (on Tuesday nights in 234 Peters). Those who can’t make it to the screening on Tuesday, are expected to have seen the film before Wednesday’s class. All films will be placed on reserve, either in Mudd or in the Language Lab.

·         Since a great part of the class time will be taken up by presentations and group discussions, attendance to all class sessions is mandatory. Following Department policy, any absence over 3 will lower the final class grade with 1 %.

·         Email and Blackboard will be the preferred media for announcements, questions, and assignments; students are expected to check their mail and Blackboard page every day.

 

evaluation

  • Attendance and participation: 20%

·         Presentations and reading questions: 20%

·         Two midterm papers: 30%

·         Final paper (8 pags): 30%

 

other regulations

·         This course is covered by the Oberlin College honor code.

·         No late homework will be accepted.

·         Students are expected to be on time and to remain for the entire class. Unexcused tardiness or early departure will be regarded as an absence. The student who misses any part of the class is responsible for acquiring the information missed.