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Description This course explores how Islam and Muslims are represented and deployed in filmmic cultures. We will

use films as a platform for asking questions about various dimensions of Islam and Muslims. Conversely, we will use images, metaphors, and teachings found in Islam to discuss the layers and elements visually

and audibly portrayed on screen. Through different critical theoretical approaches, this course will examine how Islam, as variously defined, pervades classical and modern cinema. We will examine this

history through three national cinemas, Hollywood, French, and Iranian. Altogether, we will explore issues of representation, gender, identity, stereotypes, culture, religion, and racism though the depiction

of Islam and Muslim on screen and how audiences respond to these portrayals.

Student Learning Outcomes By the conclusion of this course students will

1) Develop the ability to think both critically and empathetically about Islam and Muslims 2) Demonstrate knowledge of key terms and concepts related to film theory

3) Demonstrate that they have gained knowledge of the history of cinematic culture related to Islam

4) Provide a theoretically informed critical analyses of films using cinematic terms

Assignments and Evaluation grades will be based on…

Analytical Papers: 40% Analytical Responses: 20%

Final Project Presentation: 10% Final Project: 30%

Grade Valuation

98-100= A+

94-97 = A

90-93 = A–

88-89 = B+

84-87 = B

80-83 = B–

78-79 = C+

74-77 = C

70-73 = C–

68-69 = D+

64-67 = D

60-63 = D–

<60 = F

Analytical Papers: 40% For four (4) sets of films students are required to produce a 4-6 page analysis reflecting on how

Islam and/or Muslims are presented around a particular thematic area. Papers should be analytical and not simply descriptive, meaning it needs to demonstrate analytical critique with theoretical sophistication. Papers could examine key themes, relationships, or compare several

scenes. Your written responses will be the basis of class discussion.

Analytical Responses: 20% For five (5) films students are required to produce an 1-2 page analysis reflecting on how Islam and/or Muslims are presented in the film. Responses should be analytical and not simply descriptive, meaning it needs to demonstrate analytical critique with theoretical

sophistication. Responses could examine key themes, a particular character or relationship, or a particular scene. Your written responses will be the basis of class discussion.

Final Project & Presentation: 10% & 30% In conversation with the instructor, each student will select a case study with which to apply the

historical, theoretical, and methodological perspective discussed in class. Each student will do a 10-20 minute in class presentation on their project and produce a comprehensive product that

communicates their approach, its benefits, and particular findings from their study. Final products could be a written analysis, audio podcast(s), video essay(s), or other approved creations.

Required Materials No texts are required for the course. Students will have to have access to a Netflix Account. Some films unavailable on Netflix will be linked to rental versions on Youtube or Amazon. Some films may also be available at local Omaha Public Libraries .

course schedule1/14

What is Islam? (Personal Screening) Watch – Muhammad: Legacy of a Prophet

Watch – Reel Bad Arabs

1/19Muslims in France & Iran

Watch – Inside Iran Watch – Muslims of France: Immigrants

Watch – Muslims of France: Citizens

1/21Thinking about Ideology Peter Brooker, “Ideology”

Craig Martin, “Ideology and the Study of Religion: Marx, Althusser, and Foucault”

1/26Thinking about Representation & Interpretation

Stuart Hall, “Encoding/Decoding” Ella Shohat and Robert Stam, “Stereotype, Realism, and the Struggle over Representation”

1/28

Classical Supernatural Fantasies (Personal Screening) Watch – The Thief of Bagdad (1924) Watch – The Thief Of Bagdad (1940) Watch – Ali Baba and the Forty Thieves (1944) Watch – Sinbad The Sailor (1947)

Watch – The 7th Voyage Of Sinbad (1958) Watch – Captain Sindbad (1963) Watch – The Golden Voyage of Sinbad (1973) Watch – Sinbad and the Eye of the Tiger (1977) Watch – Aladdin (1992) Watch – Aladdin on Broadway (2014)

2/2Contemporary Supernatural Fantasies

Sophia Arjana, “Muslim Monsters”

2/4 Contemporary Supernatural Fantasies Screening – 300 (2006)

2/9Muslims and the Male Gaze (Personal Screening)

Watch – Amira & Sam (2014) Laura Mulvey, “Visual Pleasure and Narrative Cinema”

2/11 Muslims and the Male Gaze – Classical & Contemporary bell hooks, “Eating the Other: Desire and Resistance”

2/15 DUE – PAPER 1 – ORIENTALISM & FILM – CLASSICAL & CONTEMPORARY

2/16Muslims in Iraq

Watch – The Hurt Locker (2008) Guy Westwell, “The Hurt Locker”

2/18Muslims in Iraq: Take 2

Screening – American Sniper (2014) Kristian Petersen, “For God and Country-Muslims in Cinematic Iraq”

2/23Muslims in Iran (Personal Screening)

Watch – Not Without My Daughter (1991) Gazelle Emami, “The Not Without My Daughter Problem”

2/25Muslims in Iran: Take 2 Watch – Argo (2012)

Evelyn Alsultany, “Argo Tries but Fails to Defuse Stereotypes” Juan Cole, ““Argo” as Orientalism and why it Upsets Iranians”

3/1Muslims Making Films (Personal Screening)

Watch – The Message (1976) Freek Bakkera, “The Image of Muhammad in The Message”

2/29 DUE – PAPER 2 – MUSLIM IN IRAQ & IRAN

3/3 Muslims Making Films (Personal Screening) Watch – My Son the Fanatic (1997)

3/8 Muslims Making Films Hamid Naficy, “Situating Accented Cinema”

DUE ANALYTICAL RESPONSE

DUE ANALYTICAL RESPONSE

3/10 Muslims Making Films Screening – Persepolis (2007)

3/15 Muslims Making Films (Personal Screening) Watch – Valley of Saints (2012)

DUE ANALYTICAL RESPONSE

DUE ANALYTICAL RESPONSE

3/17Muslims Making Films

Watch – A Girl Walks Home Alone at Night (2014) Hamid Naficy, “Hijab and Looking: An Islamicate Gaze Theory”

DUE ANALYTICAL RESPONSE

Spring Break3/22 3/24

3/29French Film & Islam (Personal Screening)

Watch – Battle for Algiers (1966) Frantz Fanon, “Algeria Unveiled”

4/11 DUE – PAPER 3 – FRENCH FILM & ISLAM

3/31

French Film & Islam Listen – Ted Stanger, “Understanding the Paris Riots”

Listen – Bernard-Henri Levy, “Examining the Roots of the French Riots” Jocelyne Cesari, “Ethnicity, Islam, and les banlieues: Confusing the Issues”

Olivier Roy, “The Nature of the French Riots” John Bowen, “Three Reasons France Became a Target for Jihad”

4/5

4/7

4/12Iranian Film & Islam (Personal Screening)

Watch – Close-Up (1990) Mehrnaz Saeed-Vafa, “Abbas Kiarostami”

4/19 Iranian Film & Islam Watch – A Separation (2011)

Project Presentations 4/26

French Film & Islam Screening – La Haine (1995)

French Film & Islam Watch – Un Prophète (2009)

4/14Iranian Film & Islam (Personal Screening)

Watch – Children of Heaven (1997) Cyrus Ali Zargar, “Allegory and Ambiguity in the Films of Majid Majidi: A Theodicy of Meaning”

Iranian Film & Islam (Personal Screening) Watch – About Elly (2009)4/20

4/25 DUE – PAPER 4 – IRANIAN FILM & ISLAM

4/28

Attendance Attendance is required for a successful class. Multiple unexcused absences will result in a lower grade. Each unexcused absence after your third (3) missed class will reduce your grade by one (1) point. In the event that you are absent from

class (excused or not), it is your responsibility to get notes from another student and check your syllabus for what was covered that day in class. Excusable reasons may include illnesses (Doctor’s note absolutely mandatory in such cases),

family emergencies, UNO sponsored athletic events, and other University sanctioned activities involving student members. All other circumstances will be decided on an individual, case by case determination.

Accommodations Each student is welcome to to speak with the instructor about the course or other things. If you need any special

accommodations in the classroom or in testing, please contact the instructor as soon as possible. It is your responsibility to arrange any accommodations prior to when they are needed.

For more info please visit the Disability Services Office (http://www.unomaha.edu/disability/index.php).

Academic Integrity All students at the UNO are expected to conduct their academic affairs in an honest and responsible manner. Any

student found guilty of dishonesty in academic work shall be subject to disciplinary actions. For detailed explanation of infractions and consequences please see UNO’s official page

(http://www.unomaha.edu/aandsaffairs/tabs/student/aiundergrad.php).

Grade Appeals Students who wish to appeal a grade which they feel was capriciously or prejudicially given shall first discuss the matter with the instructor within 30 days of the final course grade being posted. If the matter is not resolved, the

student must meet with the Religious Studies department Chair, Paul Williams (pwilliams@unomaha.edu), to appeal the grade.