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Representations of Disability & Diversity in U.S. Film
Course
Guidelines
"Make level paths for your feet, so that the lame
may not be disabled, but rather healed."
(Hebrews 12:13, NIV)
the basics / diversity / content & communication / course goals / materials / path 1 / path 2 / miscellany
English
374: Representations of Disability & Diversity in U.S. Film
class location: asynchronous, but scheduled like a normal course . . .
instructor: Dr. Paul Marchbanks
e-mail: pmarchba@calpoly.edu
office: 805-756-2159 / building 47 (the "maze"), hallway 35,
office A / by appointment MTW between 9 a.m. and 5 p.m.
The United States entertainment industry has recently begun a much-needed transition, altering the kinds of folk hired to stand both in front of and behind the camera. An industry long-dominated by white men has begun hiring a greater assortment of actors, screenwriters, cinematographers, and directors to better reflect the complexity of diverse audience experiences.
These welcome pressures have also begun to revolutionize issues of representation. Once upon a time, an actor demonstrated her artistic prowess by performing a disability or other embodied difference not her own. Today, a sensitive and empowered audience immediately problematizes such performances, questing for more authentic alternatives. What creative license should we accord actors and filmmakers in the twenty-first century? Should there be strictures in place that discourage certain creative endeavors from getting off the ground, or are we content to allow creative types the freedom to generate whatever content they wish?
This course will consider such pivotal questions as we examine the history of performing physical and cognitive disability and difference in North American film.
DIVERSITY, ACCOMODATION, & ACCESSIBILITY
The films and literature I teach run the gamut of human experience, from the ecstatic and joyful to the degrading and sordid. Many visual and literary artists regularly exercise this kind of topical license, operating under the assumption that representing even the most difficult material can serve a beneficial purpose. One viewer or reader might actually become sensitized to social problems they had hitherto ignored when they encounter such problems dramatized in art. Another might find in a tale’s situations and dialogue helpful analogues for painful things they have themselves experienced: the story, that is, might provide them a voice—useful words and strategies for expressing their own grief and suffering.
Others, however, might be re-traumatized by watching something that hits too close to home because they’re not yet ready to re-experience their pain—even through the medium of fictional art. Or, they might fundamentally disagree with the creators’ representation of challenging subject matter—might be offended by the representation and quickly point to other, more politic and sensitive portrayals of such difficult material. They might even hold that the creator has no right to represent what they have placed in their art because that creator’s own identity factors do not closely enough mirror the elements they have chosen to represent.
Recognizing that even detailed content warnings have limited value, I’d like to supplement them with an open invitation to exercise your freedom during class to disagree with the perspective of others (incl. myself), to approach me during office hours or via email with concerns, and to just leave the classroom for a few minutes if you become upset or disturbed. If this happens, please do keep the lines of communication open, and let me know if a particular issue or representation bothers you: you needn’t explain why it bothered you unless you wish to do so.
PATH 1 Assignments [170 pts total]
This course provides multiple writing opportunities of various sorts in an effort to encourage not only objective analysis, but creativity and the shaping of one's own, unique voice. All Path 1 assignments are linked to required films listed on the Path 1 calendar, and should be sent to Dr. M via email as Word doc attachments (not PDFs). Do not use generative A.I. in creating any assignment for this course.
PATH 2 Assignments [1oo pts total]
Grading: go here for an elaboration of terms used below
| A =
94-100 A- = 90-93 |
A (18-20 on 20-pt scale, 5.4-6.0 on 6-pt scale): creative, topically focused, tightly structured, supported with the most convincing evidence, and virtually error-free |
C+ =
77-79 C = 73-76 C- = 70-72 |
C (14-15.9 on 20-pt scale, 4.2-4.79 on 6-pt scale): a relatively focused essay with clear sense of progression from one idea to the next; argument bolstered by some supporting evidence; distracting number of grammatical errors |
| B+ =
87-89 B = 83-86 B- = 80-82 |
B (16-17.9 on 20-pt scale, 4.8-5.39 on 6-pt scale): topically focused, tightly structured, supported with solid evidence, and containing just a few stylistic or grammatical bumps |
D = 65-69 | D (13-13.9 on 20-pt scale, 3.9-4.19 on 6-pt scale): topic clear but ineffectively argued; evidence provided tangentially relates to argument; loose sense of structure; profound difficulties w/ grammar |
| F = 0-64 | F (0-12.9 on 20-pt scale, 0-3.89 on 6-pt scale): little evidence of effort, or contains plagiarism |
Contact
Take advantage of my office hours. Go here to find an open slot, then email me to reserve that time for an office visit. The fastest way to contact
me if you have a quick question is via email. You can also reach me in my office at 805-756-2159, or in the evening (before 10 p.m.) at 593-0192.
Writing Lab Center
Experienced writers at the University Writing & Rhetoric Center (now in Kennedy Library, Room 11C) offer free assistance with writing
assignments for any course. Using this service will improve even the best writer’s
output. Visit their website to schedule
an appointment in advance of your desired date, or simply drop by between 10a.m. and 8 p.m. MTWRF (reduced hrs on weekend). If writing remains a challenge for you, you might consider enrolling in ENGL 150, a one-credit writing support course.
Plagiarism and the Honor Code
I encourage you to improve your writing with the help of peers, instructors,
and myself. Remember, however, that all work
you
submit must be your own. (I will occasionally vet student work to verify authorship.) Any paper containing borrowed but undocumented thoughts
or words will receive a failing grade (this includes material created by generative A.I.), and I am obligated to
report all instances of plagiarism to the Vice President
of Student Affairs. Let
me know if you have further questions concerning this important issue.
Christina's World (1948)
Andrew Wyeth
Dr. Paul Marchbanks
pmarchba@calpoly.edu