Image (above) from Jerzy Skolimowski, Deep End (1970)

HUM 390 | IMAGES OF EROTICISM
SUMMER 2017
Hi-FLEX Course | Online via iLearn | In class: 9:00 am to 1:00 pm in HUM 286
Dr. Robert C. Thomas
E-mail: theory at sfsu dot edu
Office: HUM 416, Office Hour: 1:00 PM – 2:00 PM (or immediately after class): in office, via Zoom, via email, or via iLearn forum
Course Website: http://pornstudies.co/

This course meets the following requirements : Upper Division UD-C: Arts and/or Humanities,
SF State Studies: Global Perspectives, GE Segment 3

Electronic Version of Course Syllabus in AdobePDF
HUM 390 Summer 2017

COURSE DESCRIPTION

This course is a critical study of the relations between eroticism and forms of human expression, including that form of expression we have come to name “pornography.” The historical formation of the concept of “pornography,” including its relation to modernism/modernity, will be foundational for this course. Equally foundational will be those works that seek to simultaneously challenge and re-conceptualize the concept of pornography (e.g. In the Realm of the Senses). We will consider works of literature in the canon of erotic literature (Bataille), important theoretical texts (Foucault, Bataille, Williams, Kendrick, Nash, Preciado), historically censored films, recent hard core art films (Shortbus9 Songs), alt porn (Neu Wave Hookers), 1970’s narrative porn (Sexworld), and narrative films that deal with issues pertaining to the social construction of sexuality (Deep End). We will read significant recent works from feminists in the field of porn studies: Paul Preciado’s Pornotopia: An Essay on Playboys Architecture and Biopolitics, Jennifer C. Nash’s The Black Body in Ecstacy: Reading Race, Reading Pornography. Linda Williams’ Screening Sex will serve as an anchoring text for the class. In addition to our work on the concept of pornography, we will think pornography as a genre of film (i.e. a form of expression that makes use of cinematic conventions). Genre films (which are probably the majority of the films that you see) are those that feature scenes you have seen so many times before, in so many different ways, that you expect to see them again and again depending on the type or genre of film (western, zombie, porn, action, etc.). Genre films don’t just employ cinematic conventions, they also teach us about social conventions, and pornography is no exception (this is particularly true with regard to constructions of gender and sexuality). While the first half of the course focuses on foundations for critically thinking about obscenity, pornography, and sexuality, the second half (more or less) will, in addition to other work, follow Linda Williams in looking at “hard-core” films as a genre. This will enable us to look at the social conventions surrounding sexuality and gender expressed in these works. Students will learn to think critically about various aspects of pornography, censorship, obscenity, sexuality, desire, gender, feminism, gay and lesbian sexuality, sadomasochism, and other subjects in a cross-cultural and comparative framework. Throughout this course we will endeavor to think our relation to these subjects in the context of the historical present. Please be aware that my courses typically build over time. If you do not read the assigned readings, if you are absent during the discussion, if you are not otherwise engaged with what we are covering, you will likely do poorly in the class. While we are doing some really cool things in this course, this is still a challenging class. Please don’t take it if you have no interest in doing this work. Above all, we are not watching films to get people “off” but to analyze them critically. Many of the films we will watch in class will be graphic and sexually explicit, including “hard core” images of sexual acts. Some of the films we will watch have been previously banned and/or heavily censored. The social reaction against these films will form a part of our critical study. While we will all have strong reactions to some of these films, we will endeavor in this class to think critically—beyond the level of mere reaction. It is not just that some of these films shock us that is important to our study, but what that shock is meant to do (critically).

NOTE: This will be a blended online course. There will be 5 days that are online days. This are clearly marked in the syllabus and in iLearn.

Prerequisites: ENG 114 or consent of instructor

REQUIRED TEXTS BOOKS (available at the SFSU bookstore)

  • Jennifer C. Nash – The Black Body in Ecstacy: Reading Race, Reading Pornography
  • Beatriz Preciado – Pornotopia: An Essay on Playboys Architecture and Biopolitics
  • Linda Williams – Screening Sex

ON-LINE ESSAYS AND ARTICLES

Optional Essays

Optional Books

  • Georges Bataille, Story of the Eye (optional)
  • JG Ballard, Crash (optional)

Handouts

Handout on Critical Writing

FILMS

  • Eon Mckai – Neu Wave Hookers (USA, 2006)
  • John Cameron Mitchell – Shortbus (USA, 2006)
  • Nagisa Oshima – In the Realm of the Senses (Ai No Corrida) (Japan, 1976)
  • Wakefield Poole – Bijou (1973)
  • Jerzy Skolimowski – Deep End (USA/Germany/Great Britain, 1970)
  • Anthony Spinelli – Sexworld (USA, 1977)
  • Kate Williams – Pornography: The Secret History of Civilization (USA, 1999) (selections)
  • Michael Winterbottom – 9 Songs (Great Britain, 2005)
  • Eiichi Yamamoto – Belladonna of Sadness (Japan, 1973)

Shorts

  • Andy Warhol’s Blow Job

I encourage students to make use of additional resources made available to you in the course blog. (Please note that some of these resources refer to work done in previous semesters.) For additional research in the field, in addition to numerous books and publications, there is now a Journal of Porn Studies.