choose some sources from appropriate sources in the syllabus supplemental/suggested readings.

*Attempt only two questions. 

*Question # 1, Section A, is compulsory. 

*Choose one more question from Section B. 

*Keep your answers clear, concise and analytical. 

*Address your responses to the specific demands of each question. 

*Limit your answers to 4 (double-spaced, 12-pitch font) pages per question. *Illustrate your answers with pertinent references, and cite key sources consulted. 

*No haphazard submission of papers or excuses for late papers would be accepted.  

*Your answer script must include the questions chosen, your name, and be submitted in PDF. QUESTIONS: SECTION A 

1) Distinguishing between the terms, ‘Third World’ Cinema and Third Cinema, discuss the aims and context of the latter’s emergence, and its significance for the study of global cinema cultures. SECTION B 

2) Examine, with attention to each film’s context, the interplay between culture, community, taboos and relationships in shaping the narrative trajectories of The Salesman and Masaan. 

3) Discuss how the exchanges between personal and national histories shape the political and allegorical inflections of The Cemetery of Splendor and The Great Kilapy.  

4) With reference to the film’s aesthetic strategies and key characters, analyze how the themes of identity, family, anxieties, loss and trauma undergird the narrative dynamics of The Photograph.  

GOOD LUCK KEEP SAFE, HEALTHY AND ENJOY YOUR SPRING BREAK! EXAM GRADING CRITERIA  

‘A’ GRADE RANGE = 90%-100% * Answered all aspects of the questions.  * Cogent application of lectures and readings.  * Cited other relevant materials appropriately.  * Identified characters, directors and situations aptly.  * Clear, engaging and scholarly analyses.  * Avoided pointless summaries of films.  * Hardly any spelling or grammatical errors.  * No colloquialisms (slangs and informal language).  * Kept responses within specified page limits.  * No attempts to ‘stretch’ paper, unduly (through creative pagination, font sizes, etc)  

‘B’ GRADE RANGE = 80%-89% * Answered most aspects of the questions.  * Mediocre applications of lectures and readings.  * Cited other relevant materials unevenly.  * Identified characters, directors and situations aptly.  * Fairly clear, engaging and scholarly analyses.  * Had some pointless summaries of films.  * Occasional spelling and grammatical errors.  * Few, if any, colloquialisms (slangs and informal language).  * Kept responses within specified page limits.  * Probable attempts to ‘stretch’ paper, unduly (through creative pagination, font sizes, etc).  

‘C’ GRADE RANGE = 70%-79% * Answered some aspects of the questions.  * Scant application of lectures and readings.  * Trivial use, if any, of other relevant materials.  * Misidentification of characters, directors and situations.  * Lacked clear, engaging and scholarly analyses.  * Indulgent and artless summaries of films.  * Plentiful spelling and grammatical errors.  * Rife with colloquialisms (slangs and informal language).  * Resourceless use of specified page limits.  * Flagrant attempts to ‘stretch’ paper, (through creative pagination, font sizes, etc)  

‘D’ GRADE = 60%-69% *Gross deficiencies, in range and scope, of a ‘C’ paper. ‘F’ GRADE = 59% and below * Overwhelming attributes, in range and scope, of a ‘D’ paper.  NOTE: For finer differentiations, a plus (+) or minus (-) will be applied to passing grades, only 

Black Studies 161
Winter Quarter, 2021.

‘THIRD WORLD’ CINEMA

INSTRUCTOR: Dr. Jude G. Akudinobi
Lectures: Online, Tues. & Thurs., 8:00am-9:15am, PST/Calif. Time, as scheduled on GOLD.
Location: Virtual classroom, through ZOOM, using valid link, ID or access code to participate.
Film Lab: Virtual, screening on Wednesdays, through GauchoCast, before Thursday lectures.
Office Hours: Online, Tuesdays and Thursdays 11:00am – 12: 30pm, PST/California Time and,
when practical, by special arrangements.

OUTLINE:
As a generic term, the ‘Third World’ includes Africa, the Middle East, the Caribbean, Latin
America and Asia (excluding Japan and, depending on your yardstick, China). Despite their
differences, these societies, cultures, peoples are, in dominant ‘understanding’, homogeneously
marked as backward, exotic, chaotic, and even, dangerous. Interestingly, these cliches about the
Third World not only constitute the preponderant elements of its Western filmic representations
but, more importantly, foster rigid frameworks which define dominant spectatorial expectations
and interpretations. This course will, therefore, explore the social constructions of ‘Third World’
‘realities’ from their own (Third World) perspectives, the relationship of ‘Third World Cinema’
to dominant (Hollywood) cinema, globalized popular culture, new media technologies, post-
colonial diasporas, and so forth.

FORMAT:
Instruction and communications will be synchronous, through ZOOM, engendering a real-time
presence, connections with each other, comments, and feedback that approximates face-to-face
communications, and recreates the classroom experience, virtually, in ways that foster vibrant
atmospheres for pedagogical rapport, instantaneous thinking and effective learning.

In this panoramic survey, we will, through lectures and discussions, not only examine the
representational territories of the ‘Third World’ but also establish links between it and the larger
history/cultural politics of the West. As such, sample films from the regions indicated above,
articulating the Third World ‘realities’, will be scrutinized to illuminate the social relations the
films (in)form, their internal logic and the distinct forces which constitute them. In tandem with
social, cultural and aesthetic analyses, the class will contemplate the complex dynamics through
the ‘Third World’ constructs notions of society, identity and representation, as well as theoretical
developments in the analyses of ‘Third World Cinema’.

REQUIREMENTS:
Attendance of all lectures, viewing scheduled films, familiarity with assigned materials before
class meetings, and conscientious class participation. Other requirements include (1) mid-term
(2) final examination (3) term paper of about 8 pages which must be finely edited, using brief
quotations used to support the thesis, include full bibliographical annotations, using the MLA
format, show originality and demonstrate mastery of pertinent issues on a specified or, approved,
chosen topic.

GRADING:
Evaluations will be according to the following percentages: consistent attendance, informed and
thoughtful class participation 25%, mid-term 25%, final exam 25%, and term paper 25%. All
categories are weighed equally. Penalty will be exacted for irregular class attendance and
missed exams, except in the event of a natural disaster, religious obligation, ill-health (doctor-
certified), proven extenuating circumstances or unforeseen personal calamity.

REQUIRED TEXT:
Course Reader. Santa Barbara, CA: SB Printer, UCEN, 2021.
Course Reader. @ SB Printers, Santa Barbara, CA, and available for purchase through
https://sbprinter.myshopify.com/products/bl-st-161-akudinobi

SUPPLEMENTARY TEXTS:
Armes, Roy. Roots of New Arab Film (Bloomington, IN: Indiana Univ. Press, 2018).
Devasundaram, A. I. Indian Cinema Beyond Bollywood (NY & London: Routledge, 2020).
Langford, Rachel. Film Genres and African Cinema (London & New York: Bloomsbury
Academic, 2020).
Tierney, Doroles. New Transnationalisms in Latin American Cinema (Edinburgh, UK:
Edinburgh University Press, 2019).

SAMPLE SUGGESTED READING:
Armes, Roy. New Voices in Arab Cinema (Bloomington, IN: Indiana Univ. Press, 2015).
Armes, Roy. Third World Film Making and the West (Berkeley: U. Of Calif. Press, 1987).
Armes, Roy and Lizbeth Malkmus. Arab and African Filmmaking (London and New Jersey:
Zed Books, 1991).
Barlet, Olivier. African Cinemas: Decolonizing the Gaze (London: Zed Books, 2000).
Braziel, Jana and Anita Mannur. Theorizing Diaspora: A Reader (Oxford: Blackwell, 2003).
Ciecko, Anne Tereska. Contemporary Asian Cinema (Oxford & New York: Berg, 2006).
Chakravarty, S. S, National identity in Indian Popular Cinema (Austin,TX: University of
Texas Press, 1993).
Bonetti, Mahen and Prerana Reddy (eds.) Through African Eyes: Dialogues with Directors
(New York: African Film Festival, 2003).
Cham, Mbye ed., Ex-iles: Essays on Caribbean Cinema (Trenton, NJ: Africa World Press,
Inc., 1992).
Chanan, Michael. Chilean Cinema (London: British Film Institute, 1976).
Dabashi, Hamid. Close Up: Iranian Cinema Past, Present and Future (London: Verso, 2001).
De la Mora, Sergio. Cinemachismo: Masculinities and Sexuality in Mexican Film (Austin,
TX: University of Texas Press, 2006).
Devasundaram, A. I. India’s New Independent Cinema (NY & London: Routledge, 2016).
Downing, John D. H. Film and Politics in the Third World (New York: Autonomedia, 1986).
Dwyer, Rachel. Filming the Gods: Religion and Indian Cinema (London: Routledge, 2006).
Esfandiary, Shahab. Iranian Cinema and Globalization: National, Transnational and
Islamic Dimensions (Chicago & London: Intellect Books, 2012).
Garritano, Carmela. African Video Movies and Global Desires: A Ghanaian History (Athens,
OH: Ohio Univ. Press, 2013).
Givanni, June (ed.) African Cinema: Symbolic Narratives (London: BFI, 2000).
Gokulsing, K. Moti, & Wimal Dissanayake (eds.). Routledge Handbook of Indian Cinemas

(New York and London: Routledge, 2013).
Guneratne, Anthony (ed.) Rethinking Third Cinema (London: Routledge, 2003).
Hillauer, Rebecca. Encyclopedia of Arab Women Filmmakers (Cairo: American U. Press,
2005).
Kaur, Raminder and Ajay J. Smith. Bollyworld: Popular Indian Cinema Through a
Transactional Lens (Thousand Oaks and London: SAGE Publications, 2005).
King, John. Magical reels: A History of Cinema in Latin America (London: Verso, 2000).
Krings, Matthias, & Onookome Okome (eds.). Global Nollywood: The Transnational
Dimensions of an African Video Film Industry (Bloomington, IN: Indiana Univ. Press, 2013).
Lal, Vinay and Ashis Nandy.(Oxford and New York: Oxford University Press, 2006).
Manjunath, Pendakur and John Lent. Indian Popular Cinema: Industry, Ideology, and
Consciousness (Hampton Press, 2003).
Mirbakhtyar, Shahla. Iranian Cinema and the Islamic Revolution (Jefferson, NC: McFarland
and Company, 2006).
Nagib, Lucia. The New Brazilian Cinema (London and New York: I.B. Tauris, 2003).
Naficy, Hamid. An Accented Cinema: Exile and Diasporic Filmmaking (Princeton, NJ:
Princeton University Press, 2001).
Noble, Andrea. Mexican National Cinema (London & New York: Routledge, 2005).
Pfaff, Francoise. Focus on African Films. (Bloomington, IN: Indiana Univ. Press, 2004).
Pines, Jim & Paul Willemen, Questions of Third Cinema (London: BFI Publishing, 1989).
Shohat, Ella, Israeli Cinema: East-West & the Politics of Representation (Austin,TX:
University of Texas Press, 1989).
Rego, Calcida. M, & Carolina Rocha (eds.). New Trends in Argentine and Brazilian Cinema
(Chicago & London: Intellect Books, 2011).
Shohat, Ella & Robert Stam, Unthinking Eurocentrism (London & New York: Routledge,
1994).
Smith, Paul J. Mexican Screen Fiction (Cambridge, UK: Polity, 2014).
Tapper, Richard. The New Iranian Cinema: Politics, Representation and Identity (London:
I.B Tauris & Co Ltd, 2002).
Teo, Stephen. Asian Cinema Experience (New York and London: Routledge, 2014).
Tsika, Noah A. Nollywood Stars (Bloomington, IN: Indiana Univ. Press, 2015).
Ukadike, Nwachukwu F., Black African Cinema (Berkeley: Univ. of California Press, 1994).
Vasudevan, Ravi (ed.) Making Meaning in Indian Cinema (Oxford: Oxford U. Press, 2000).
Viola, Shafik. Arab Cinema: History of Cultural Identity (Cairo: American U. Press, 1999).
Warner, Keith Q. On Location: Cinema and Film in the Anglophone Caribbean (London:
Macmillan Education, 2000).
Wayne, Mike. Political Film: The Dialectics of Third Cinema (London: Pluto Press, 2001).
Witt, Emily. Nollywood: The Making of a Film Empire (New York, NY: Columbia Global
Reports, 2017).

*** Other articles on specific films/issues may be given weekly or placed on GauchoSpace.

FILM SCHEDULE AND ASSIGNED READING:

WEEK 1/ Jan. 06: THE SECOND MOTHER (Anna Muylaert, 2015, Brazil)
Read: Rego, pgs. 204-211; Dennison, pgs. 131-144 pgs; Pinho, pgs. 103-128.

WEEK 2/Jan. 13: HELI (Amat Escalante, 2013, Mexico)
Read: Campbell, pgs. 60-77; Lantz, pgs. 253-269; Bunker & da Gruz, pgs. 702-716.

WEEK 3/Jan. 20: THE HARDER THEY COME (Perry Henzell, 1973, Jamaica)
Read: Paddington & Warner, pgs. 91-108; Gaztambide-Fernandez, pgs. 353-376.

WEEK 4/Jan. 27: SUGAR CANE ALLEY (Euzhan Palcy, 1983, Martinique)
Read: Demissiea, pgs. 101-110; Ebrahim, pgs. 146-152; Gaudry-Hudson, pgs. 478-493.

WEEK 5/Feb. 03: WADJDA (Haifaa Al-Mansour, 2014, Saudi Arabia)
Read: Sakr, pgs. 214-233; Deb, pgs. 521-532; Garcia, pgs. 34-37.

WEEK 6/Feb. 10: THE PHOTOGRAPH (Nan Triveni Achnas, 2007, Indonesia)
Read: Hanan, pgs. 107-121; Hughes-Freeland, pgs. 417-444; Michalik, pgs. 378-396.

WEEK 7/Feb. 17: THE CEMETERY OF SPLENDOR (Apichatpong Weerasethakul, 2015,
Thailand)
Read: Harrison, pgs. 321-338; Teh, pgs. 595-609; Marshall, pgs. 230-241.

WEEK 8/Feb. 24: THE SALESMAN (Asghar Farhadi, 2016, Iran)
Read: Ganjavie, pgs. 11-20; Reichle, pgs. 64-76; Rugo, pgs. 173-187.

WEEK 9/Mar. 03: MASAAN (Neeraj Ghaywan, 2015, India)
Read: Kumar, pgs. 1-14; Ray, pgs. 23-43; Chatterjee, pgs. 195-221.

WEEK 10/Mar. 10: THE GREAT KILAPY (Zeze Gamboa, 2012, Angola)
Read: Apa 253-266; Stewart, pgs. 255-269; Buchsbaum, pgs. 153-166.

IMPORTANT ADVISORY:
1) To facilitate participation and collaborative learning, the class may be divided into caucuses
or break-out rooms. Each member must belong to a caucus. All caucuses must, either
collectively or through a spokesperson of their choice, present a ‘position paper’ each week
covering the assigned film, readings and other pertinent issues they want to raise or share with
the class. Non-membership in a caucus, or perfunctory participation in caucus or class affairs
will earn the erring member grade point deductions.

2) The caucus presentations are opportunities for you to apply or critically engage all assigned
materials, including films, and, preferably, initiate debate. As such, aim for discernment and be
prepared to take questions afterwards (as the class is expected to critique or evaluate your
presentation). You may, also, illustrate certain critical issues or apply materials pertinent to the
class, in skits, for example, to stimulate further critical reflection. Overall, your presentations
would be judged on content, perceptiveness, and contributions to prevailing issues or materials

3) Your term-paper must be organized around the concerns of the syllabus. In analyzing a film or
group of films, for instance, pay attention to how the narrative unfolds – structure, thematic
concerns, stylistic devices, dramatic shifts, gender roles, characterizations, etc. – substantive

http://www.palgrave-usa.com)

issues raised in the film(s) and demonstrate sophisticated understandings of the historical,
cultural, political and aesthetic considerations which frame the film(s). Studies of distinguished
directors, specific national cinemas, as well as the interactions and exchanges between the
disparate film cultures that constitute ‘Third World Cinema’ are, especially pertinent. As such,
‘Third world’ films not in the current roster are encouraged for term-papers. Since this is not a
‘film appreciation’ class, whether you like or dislike a particular film, director or country, for
example, is peripheral.

4) Your paper should embody perspectives that are original; in other words, be capable of
engendering fresh understandings. Hence, while ideas from the class, readings and/or other
sources may be used as premises or supporting materials for the paper, premium should be
placed on exploring the not-so obvious. The library has a trove of online research resources,
scholarly journals, and databases like Google Scholar, Project Muse, Art Full Text, MLA,
JSTOR, Proquest, Academic Search Complete, International Index to Film Periodicals (FIAF),
etc.

5) The term paper fulfils the university’s writing requirement. So, please, acknowledge and
reference all materials derived elsewhere (other than own original ideas). Copying or using other
people’s ideas, works, sentences, even phrases, without proper acknowledgment is plagiarism.

Further, your term paper must derive from individual effort and cannot be jointly-authored.
Passing off someone else’s work as yours, whether bought from online term-paper mills,
obtained for free or traded as a favor constitutes cheating and carries very serious penalties.

Hence, any work, plagiarized or proven not to have been an original endeavor of the student
would receive an automatic failing grade as well as be reported to the appropriate administrative
quarters for further disciplinary sanctions. Referencing and properly citing all appropriated
works, in writing a paper, is a valued feature of discerning scholarship.

6) Papers and take-home assignments (if given) are due on the specified dates and by email. In
other words, any work received via other means or portal, irrespective of reasons, will NOT be
accepted or graded.

7) Your papers, whether term-paper or responses to take-home exams (when applicable), must
be typed in 12-point Times New Roman fonts and double-spaced, with one inch margins. All
term-papers must have titles. In each instance, your papers must be paginated, collated and
stapled, with your name on the cover page (at least).

8) For very practical purposes, particularly of keeping up with assigned materials, all are advised
to keep their copies of the syllabus, securely; more so, as subsequent requests, given the current
circumstances, would be denied.

9) It is each student’s responsibility to view all assigned films prior to class meetings. As the
syllabus shows, each film’s screening is virtual and as scheduled. A second screening may, at
the instructor’s discretion, be arranged as a courtesy to help consolidate issues raised in class but
NOT as an option for the initial, Wednesday evening, screening of which commitment is
required, especially for class, the next day. The Film Studies and Black Studies Departments do

not consider requests for extra screening or videos (if any) from their libraries. So, please, utilize
all scheduled, virtual, screening.

10) A $16 lab fee is required and must be paid by the drop deadline, Monday, February 01,
2021. This one-time fee covers you for all film classes this quarter. Missing the deadline,
however, would result in $16 charged to your account for each film class.

11). Talking on cell phones, text messaging, or emailing on laptops during class is expressly
prohibited. Similarly, NO recording (taping, filming, or photographing) of class proceedings,
whether by camera, cell phone, or other means, without prior and express permission, will be
allowed, as they may be distractive, infringe on privacy, copyrights, and a conducive learning
atmosphere. Use of electronic devices during class is, therefore, restricted.

12. This class satisfies the following GE requirements: Area F (Arts), and World Culture.

13. All Black Studies courses must be taken for letter-grades. As such, the P/NP option is
unavailable for this course, not even by petition.

IMPORTANT DATES:
Midterm: Thursday, February 04, 2021.
Paper topic due: Thursday, February 11, 2021.
Term-paper due, by email: Thursday, March 11, 2021.
Final Exam: 8:00am – 11:00am, Thursday, March 18, 2021.

PLEASE, STAY SAFE, HEALTHY, AND KEEP OUR INTELLECTUAL

FLAG FLYING, GAUCHOS!