Professional Documents
Culture Documents
*Please note that course material contains adult themes, strong language, and explicit scenes of
violence. Please consider carefully whether this is the right course for you. Prior familiarity with
the horror genre, or desire to seriously consider the horror genre as an art form and social
document is a must!
I will respond to emails within 24 hours. Any concerns, issues, or questions should be brought to my
attention immediately.
PREREQUISITES:
There are no prerequisites for this course, though I would recommend that you have completed
WRIT 1122 and WRIT 1133, and/or have taken a previous course in film studies, media theory,
literary studies, art history, or similar.
COURSE DESCRIPTION:
The horror genre has often been shunned as a lowbrow form, displaying misogynistic violence
for a stereotypically male viewer. The genre has been castigated and censored for its perverse
potential to incite sexual violence against women, and for its monstrous portrayal of gay and
transgender identities. Despite this stigma, horror films have persisted as a popular art form and
social document, reflecting cultural and political fears and anxieties. Tobe Hoopers 1974
screamfest, The Texas Chainsaw Massacre, has been adopted into the Museum of Modern Arts
permanent collection, and Alfred Hitchcocks Psycho persists on the British Film Institutes Top
50 Greatest Films of All Time. This course will survey horrors ongoing fascination with gender
and sexuality, from Mary Shelleys 1818 anxieties about motherhood, to contemporary feminist
horror films. We will look at representations of femininity, masculinity, family structures,
gendered bodies, and challenges to normative sexuality, as well as assessing gendered viewing
practices and identification with horror films. We will also look at the challenges and potentials
faced by female and gay horror film directors. From the perspective of female horror fandom, I
hope to articulate that the horror film provides a space in which to explore liminal identities, as
well as to present strong and heroic female characters, especially in the figure of the Final Girl.
Students will learn how to closely analyze a film text, as well as how to articulate the importance
of horrors subversive potential as social and political commentary.
Please use DU Libraries, Inter-Library Loan, JSTOR and Project Muse databases, and the online
eJournal Jump Cut for additional sources and research.
DU Libraries: http://library.du.edu
Inter-Library Loan: http://library.du.edu/services/ill/
JSTOR access: http://bianca.penlib.du.edu/record=b5886334~S2
Project Muse access: http://bianca.penlib.du.edu/record=b2590987~S2
Jump Cut: http://www.ejumpcut.org/home.html
It is recommended that you purchase a one-month Netflix subscription ($7.99, unlimited DVDs) in
order to watch recommended films, and the film(s) that you choose to use for your critical analysis
essay. (Note: Netflix Streaming has a free one-month trial, but it does not have a full range of horror
titles)
COURSE REQUIREMENTS:
Attendance and Participation Policy: Students are expected to be present and on time. Student
attendance at all class periods is mandatory. Thoughtful dialogue and collaboration is essential in
fully developing our understanding of course texts and themes, therefore active participation is
expected in face-to-face and online class activities.
Assignment Policy: All assignments must be completed to achieve a passing grade in the course.
Assignments must be fully completed by noon on Friday June 27 (the only exception to this
policy is the approval of an Incomplete grade).
For each day an assignment is late, I will deduct 10% (one whole grade).
ASSIGNMENTS:
Always refer to the course syllabus for reading assignments and due dates. Detailed guidelines
for assignments will be provided in electronic form on Blackboard under the Assignment
Guidelines tab. Please read the assignment guidelines carefully and refer to the guidelines
frequently as you write. All assignments must meet the basic requirements as described in the
guidelines. Students will be asked to revise any assignment that does not meet the guidelines.
1. Participation - 25%
Due to the accelerated format of this course, student presence and participation is essential. Students
are expected to engage in meaningful discussion, sharing ideas and thought-provoking questions.
Participation can take place in several forums, either in class, during instructor office hours, and/or
on our course discussion boards. Students will also be assessed on their ability to engage in
respectful dialogue, and to effectively communicate in a face-to-face and/or technologically
mediated environment. You need to be present and on time to participate fully in the course!
- Analysis of required film text due Saturday 6/14 at midnight via email
- Analysis of recommended film text due Tuesday 6/17 at midnight via email
ACADEMIC INTEGRITY:
Colorado Womens College fully endorses the University of Denvers Honor Code and the
procedures put forth by the Office of Student Conduct. Academic dishonestyincluding
plagiarism, cheating, and falsification of data and researchis in violation of the code and will
result in a failing grade for the assignment or for the course. In severe cases, a report will be
submitted to the Office of Student Conduct, who will investigate the case. This may result in a
hearing, probation, and additional academic assignments. As student members of a community
committed to academic integrity and honesty, it is your responsibility to become familiar with
the DU Honor Code and its procedures:
https://www.du.edu/studentlife/studentconduct/media/documents/honor_code_2013-2014.pdf
Plagiarism or cheating includes:- Not quoting or citing material taken from print or online
sources; working with another student on an independent assignment resulting in 2 identical
papers; paying for an essay from an essay mill or online site; relying on a family member, friend,
or another student to write your paper. Plagiarism is typically easy to identify, particularly when
student essays do not conform in style and tone to other writing for the course, or when students
include advanced terminology and theoretical ideas that are beyond the typical level of
comprehension. Tools such as SafeAssign are also used at DU to identify cases of plagiarism.
Your thoughts and ideas matter. If you are struggling with any aspect of an assignment,
please notify your professor and ask for help. Scheduling a face-to-face meeting can often
help resolve any issues or anxieties. Plagiarism or cheating will be more damaging to your
academic career than submitting a late assignment.
ADA ACCOMMODATIONS:
Students who require accommodations under the Americans with Disabilities Act must contact the
instructor to discuss their needs. Failure to notify the instructor immediately may hinder the
colleges ability to accommodate accordingly. Students with learning disabilities should also
contact the University Disability Services Program at http://www.du.edu/studentlife/disability/ .
University Disability Services houses the Learning Effectiveness Program (LEP) and the Disability
Services Program (DSP).
COURSE SCHEDULE:
REQUIREMENTS FOR THE FIRST CLASS: Students are required to have completed the reading
for Sunday June 8. Students should come to class prepared to discuss the readings, as well as the
syllabus, the assignments, or the Blackboard course site.
Required Reading
Nol Carroll, Why Horror? (BB)
Linda Williams, When the Woman Looks (DD)
Laura Mulvey, Visual Pleasure and Narrative Cinema (BB)
In-Class Screening
The Bride of Frankenstein (James Whale, 1935)
The Hunger (Tony Scott, 1983)
Recommended Reading and Viewing
David J. Hogan, Dark Romance: Sexuality in the Horror Film
Elizabeth Young, Here Comes the Bride: Wedding Gender and Race in Bride of
Frankenstein (DD)
Bonnie Zimmerman, Daughters of Darkness: The Lesbian Vampire on Film
(DD)
Vera Dika, From Dracula With Love (DD)
Nina Auerbach, Our Vampires, Ourselves
Jeffrey Brown, Kinky Vampires and Action Heroines
Patricia White, Female Spectator, Lesbian Spectator
Dolf Zillmann and James Weaver, Gender-Socialization Theory of Reactions to
Horror
In-Class Screening
Psycho (Alfred Hitchcock, 1960)
In-Class Screening
The Silence of the Lambs (Jonathan Demme, 1991)
In-Class Screening
The Descent (Neil Marshall, 2006)
In-Class Screening
Scream (Wes Craven, 1996)
Tues. 6/17 Film Analysis 2 Due by midnight (Analysis of recommended film text) (via
email)
Note on email submissions: You must also copy and paste your work into the body of the email.
I am aware of a student hack intentionally corrupting files to delay submission of an
assignment. To prevent this, you must attach your document as a .doc or .docx file AND copy
and paste your work into the email itself. If I cannot open your document, and you did not also
copy and paste your work into the body of the email, it will be classed as late and you will lose
one full grade for each day I cannot open and read your assignment.