Spanish Identity: Cinema, Advertising and Pop Music (in English)
Universidad Pablo de Olavide
Area of Study
Taught In English
Although not mandatory, it is highly encouraged a student has completed at least intermediate level Spanish due to the lack of updated readings and audiovisual material in English.
Course Level Recommendations
ISA offers course level recommendations in an effort to facilitate the determination of course levels by credential evaluators.We advice each institution to have their own credentials evaluator make the final decision regrading course levels.
Recommended U.S. Semester Credits3
Recommended U.S. Quarter Units4
Hours & Credits
This course aims at providing a review on the social representations about Spanish identity developed in different areas of the arts and the media in the new democratic period. Artistic works and media practices will be understood here as expressions of social imaginaries. An in-depth analysis of these works/media practices will disclose the struggle for hegemony between discourses and counter-discourses on Spanish identity in the new democratic era.
Course requirementsEven if it is not mandatory, an intermediate II or advanced level in Spanish would be beneficial for students due to the lack of updated readings and audiovisual material in English in some of the areas covered in the course.
Course Goals and Methodology
- To understand artistic works/media commodities as ?nation-building discourses?.
- To apply critical terms and methodology to the analysis of cultural representations.
- To explore the ideological-political dimensions of artistic works/media commodities.
This course is comprised of traditional lectures, guided screenings, in-class discussions and exercises and student exposés. Students will also be called to prepare written assignments and oral presentations on different topics.
-Define basic concepts from the field of cultural and media theory.
-Debate and reach conclusions about Spanish art & media works in a wider cultural and social context.
-Gain positive appreciation for Spanish culture.
-Raise awareness about difference (ethnic, racial, [sub]-national, sexual, political and cultural) through the analysis of media representations.
-Overcome the effects of cultural stereotyping.
-Evaluate media products under a critical perspective encompassing the political/ideological.
-Enhance inter-cultural awareness towards similarities and differences between Spanish and U.S. history and culture.
There will be a course pack with the compulsory reading assignments available at the copy center in the Celestino Mutis Building (Edificio #17) on campus. Supplementary materials may be provided during the course. Power point presentations, extra readings, study guides for every reading in the course pack and handouts for the screenings will be available on Blackboard (virtual platform).
Course Reader Bibliography:
Albritton, D. (2014). Prime risks: The politics of pain and suffering in Spanish crisis cinema. Journal of Spanish Cultural Studies, 15(1-2), 101-115.
Anderson, B. (2006). Imagined communities. Reflections on the origin and spread of nationalism. London & New York: Verso.
Caro, A. (2014). Understanding advertising to transform society. Cuadernos.info, 34, 39-46.
Chislett, W. (2013). Spain: What Everyone Needs to Know. Oxford: University Press.
De Riquer i Permanyer, B. (1995). Towards a consumer society and the making of a mass culture & Changes in attitudes and behavior. In Graham & Labanyi (Eds.), 265-268.
Fisher, M. (2009). Capitalist realism: Is there no alternative?. Ropley: Zero Books.
Gaonkar, D. P. (2002). Toward new imaginaries: An introduction. Public Culture, 4(1), 1-19.
Gies, D. T. (Ed.) (1999). The Cambridge Companion to Modern Spanish Culture. Cambridge: University Press.
Graham, H. & Labanyi, J. (1995). Spanish cultural studies: An introduction. Oxford: University Press.
Jordan, B. (2000). How Spanish is it? Spanish cinema and national identity. In Jordan & Morgan-Tamosunas (Eds.),68-78.
Jordan, B. & Morgan-Tamosunas, R. (Eds.) (2000). Contemporary Spanish Cultural Studies. London: Arnold.
Juliá, S. (1999). History, politics, and culture, 1975-1966. In Gies (Ed.), 104-114.
Longhurst, A. (2000). Culture and development: the impact of 1960s ?desarrollismo?. In Jordan & Morgan-Tamosunas (Eds.),17-28.
López, I. & Rodríguez, E. (2011). The Spanish model. New Left Review, 69, 5-29.
Maxwell, R. (2000). Marketing with local culture in Spain: Selling the transnational way. In In Jordan & Morgan-Tamosunas (Eds.), 193-194, 199-200.
Martínez-Expósito, A. (2008). Posthumous tales of One, Great, Free nation: Spanishness in post-Franco Spanish Film. Athenea Digital, 14, 143-158.
Palacio, M., Ibañez, J. & Bret, L. (2015). A new model for Spanish cinema, Authorship and globalization: The films of Javier Rebollo. Journal of Spanish Cultural Studies, 16(1), 29-43.
Rodríguez, S. (n. d.). Advertising in Spain: A history. Bookstyle.net, 142-149.
Sabanadze, N. (2010). Globalization and nationalism. The cases of Georgia and the Basque country. Budapest & New York: CEU Press.
Tinnell, R. G. (1999). Spanish music and cultural identity. En Gies (Ed.), 287-297.
Triana-Toribio, N. (2000). A punk called Pedro: la movida in the films of Pedro Almodóvar. In Jordan & Morgan-Tamosunas (Eds.), 274-282.
Triana-Toribio, N. (2003). Spanish National Cinema. London: Routledge.
Additional texts (selection)
On Cultural Theory and Spanish Cultural Studies:
Barker, C. (2011). Cultural Studies: Theory and Practice (4th ed.). London: Sage.
Barry, P. (2009). Beginning Theory: An Introduction to Literary and Cultural Theory (3rd ed.). Manchester: University Press.
Edgar, A. & Sedgwick, P. (2002). Cultural Theory: The Key Concepts. London & New York: Routledge.
Edgar, A. & Sedgwick, P. (2002). Cultural Theory: The Key Thinkers. London & New York: Routledge.
Labanyi, J. (Ed.) (2000). Constructing Identity in Contemporary Spain. Theoretical Debates and Cultural Practice. Oxford: University Press.
Martínez, G. (Ed.) (2001). Franquismo pop. Barcelona: Reservoir Books.
Martins, L. M. (Ed.) (2014). New Readings in Latin American and Spanish Literary and Cultural Studies. Newcastle upon Tyne: Cambridge Scholars Publishing.
Meenakshi, G. & Kellner, D. (Eds.) (2006). Media and Cultural Studies: Keyworks. Malden, Ma: Blackwell.
Monleón. J. B. (Ed.) (1995). Del franquismo a la postmodernidad. Cultura española 1975-1990. Madrid: Akal.
Moore, A. F. (Ed.) (2003). Analyzing popular music. Cambridge: University Press.
Storey, J. (1993). An Introductory Guide to Cultural Theory and Popular Culture. London: Harvester Wheatsheaf.
Verdú, V. (2003). El estilo del mundo. La vida en el capitalismo de ficción. Barcelona: Anagrama.
V.V.A.A. (2012). CT o la cultura de la Transición. Crítica de 35 años de cultura española. Barcelona: DeBolsillo.
On Spanish Film:
Bentley, B, P. E. (2008). A Companion to Spanish Cinema. Woodbrige, Suffolk: Tamesis.
Davies, A. (Ed.). Spain on Screen: Developments in Contemporary Spanish Cinema. New York: Palgrave MacMillan, 2011.
Faulkner, S. (2013). A History of Spanish Film: Cinema and Society 1910-2010. London: Bloomsbury.
Feenstra, P. (2012). New Mythological Figures in Spanish Cinema: Dissident Bodies under Franco. Amsterdam: University Press.
Jordan, B. (1998). Contemporary Spanish Cinema. Manchester: University Press.
Jordan, B. & Allinson, M. (2005). Spanish Cinema: A student´s Guide. London: Hodder Arnold.
Kinder, M. (1993). Blood cinema. The Reconstruction of National Identity in Spain. Berkeley: University of California Press.
Labanyi, J.& Pavlovic, T. (Eds.) (2013). A Companion to Spanish Cinema. Malden, MA/Oxford: Wiley-Blackwell.
Resina, J. R. & Lema-Hincapié, A. (assistant) (Eds.) (2008). Burning Darkness: A Half Century of Spanish Cinema. New York: State University of New York Press.
Stone, R. (2002). Spanish Cinema. New York: Longman.
On Advertising and Pop Music in Spain:
Alvarado-López, M. & Martín-Requero, M. (Coords.) (2006). Publicidad y cultura. La publicidad como homologador cultural. Sevilla: Comunicación Social.
Bermejo-Berros, J. (Coord.) (2005). Publicidad y cambio social. Contribuciones históricas y perspectivas de futuro. Sevilla: Comunicación social.
Eguizábal, R. (2009). Industrias de la conciencia. Una historia social de la publicidad en España (1975-2009). Barcelona: Península.
Fouce, H. (2006). El futuro ya está aquí: música pop y cambio cultural. Madrid: Velecío.
Gámez, C. (2011). Los años ye-yé: cuando España hizo pop. Madrid: T & B.
Montañés-García, F. (2015). 50 años de anunciantes. Una historia de la publicidad y el consumidor en España. Madrid: Asociación Española de Anunciantes.
Mora, K. & Viñuela, E. (Eds.) (2013). Rock around Spain. Historia, industria, escenas y medios de comunicación. Lleida: Universitat de Lleida.
Ordovás, J. (2013). Viva el pop: de la movida a la explosión indie: una historia gráfica del pop español. Barcelona: Lunwerg.
Valiño, X. (2012). Veneno en dosis camufladas: la censura en los discos de pop-rock durante el franquismo. Lleida: Milenio
Grammar books and dictionaries
-Merriam-Webster's Spanish-English Dictionary. Springfield: Merriam-Webster, 2002.
-The Oxford Spanish Dictionary: Spanish-English/English-Spanish. Oxford: University Press, 2008.
- http://www.lahistoriadelapublicidad.com/presentacion.php - Website on the history of world advertising (in Spanish).
- http://www.mecd.gob.es/cultura-mecd/areas-cultura/cine.html - Official website of the Spanish Ministry of Culture, Education and Sports, including a link to a comprehensive Spanish film database.
General Course Policies
- Please keep your cell phones turned off during class.
- Strictly no food to be consumed in class.
- Laptops for note-taking only.
- *Non-compliance with any of the above may result in a student to be removed for the remainder of the class period.
- Late arrivals and early departures may count as absences. Check the ?Attendance and Punctuality? section for more details.
- Students? questions will be addressed after class by appointment during office hours, or via e-mail. In the event of an exam or paper submission, make sure to reach the professor 24 hours in advance. Later than that, students? e-mails may not get a timely reply.
- No further comments/suggestions will be offered by the professor after returning early draft versions of the papers.
Course Requirements and Grading
Students? progress will be checked by class participation, an oral presentation, a response essay, and two exams (mid-term plus final). The final grade is broken down as follows:
1. Participation (x2) 10%
2. Oral presentation 20%
3. Essay 20%
4. Midterm + Final 50% (25% + 25%)
Students will come prepared to class, reading the daily assignment from the course pack. Lively discussions will be encouraged at all times. Class participation will therefore be graded in accordance to both the students? previous readings and reflection about the assigned texts and screenings, and also their daily contribution to class discussion with relevant (text-based and not random or just personal experience-oriented) comments. Two different participation grades will be administered during the semester: one right before the midterm exam, and another before the final exam.
Students will work in small groups to comply with this assignment. Each group of students will be asked to present on the contents of the assigned readings for a specific class period. To arrange the presentation, students should either follow closely the questions on the study guides, or to organize the contents more creatively. In either case, every group is expected to produce a clear, concise and illustrative power point/Prezi presentation, on which extra material (images, Youtube videos, website links...) may be included. Time limit for each presentation is 20 minutes; *make sure: a) not to exceed your allotted time, and b) not to present for less than 15 minutes). The professor will be available during office hours to solve any doubts on the presentations, and will also provide information on grading parameters.
Each course participant will write a final paper on a topic of his/her own choosing, but in relation to one of the three main areas of study for the course (cinema, advertising and pop music). The papers should rely on the theoretical framework provided in course lectures, so the use of recommended bibliography (listed above) is mandatory.
Remember that not fulfilling one of these minimum requirements will lower your grade in this assignment:
- Length: 10 double-spaced, typed pages (11-point Calibri, Times New Roman or Arial font).
- Format: place the following information on the left margin of the first page:
Your professor?s name
On subsequent pages, please use a heading including your last name and page number on the right-hand side of the page, for instance: Smith 2. Handwritten essays will not be accepted.
Exams are aimed at evaluating both the students? specific knowledge of the topics covered in class and their ability to analyze and provide insightful reflections on the material presented in the readings. Questions will cover the contents of the related section/s of the syllabus (*the final will NOT be cumulative) and focus on establishing thematic links between units. The final exam?s date will be announced in class. Exam dates will not be changed under any circumstances.
Exams and every other assignment will be marked following the Spanish numerical range. Here is a table to illustrate differences in conversion between the Spanish, U.S. and Standard European grading systems:
10-9,5 (USA Equivilant: A)
9,4-9 (USA Equivilant: A-)
8,9-8,5 (USA Equivilant: B+)
8,4-,7,5 (USA Equivilant: B)
7,4-7 (USA Equivilant: B-)
6,9-6,5 (USA Equivilant: C+)
6,4-5,5 (USA Equivilant: C)
5,4-5 (USA Equivilant: C-)
Essential factors in order to qualify for an A/A+ grade in this course are:
- To comply with reading assignments on a weekly basis.
- To develop analytical and critical skills.
- To participate in class voluntarily and to contribute to discussions with informed reactions.
- To show excellent writing and interpretative skills when submitting papers and/or exams.
Attendance and Punctuality
Due to the nature of the class (participation, screenings, and discussions), attendance to class is mandatory. Be prompt! Punctuality is required. Late arrivals or early departures exceeding 10 minutes will be penalised by 0.5 (half) or 1 full absence (over 30mins). Official documented excuses are verifiable: doctor?s notes and/or hospital bills. A note that does not meet the above stated requirements is not an official excuse. Travel arrangements of individual students and/or group of students will not qualify for excused absence. Make sure to check dates for every assignment in the syllabus. Students are responsible to contact classmates for any updates on class schedule.
Missed or Late Work
No late work will be accepted and no make-up assignments will be provided. In the occasion of a missed class, students are responsible for asking classmates for notes or information on any likely activities to be developed later in class.
4,9 (USA Equivilant: F)
Academic integrity is a guiding principle for all academic activity at Pablo de Olavide University. Cheating on exams and plagiarism (which includes copying from the internet) are clear violations of academic honesty. A student is guilty of plagiarism when he or she presents another person?s intellectual property as his or her own. The penalty for plagiarism and cheating is a failing grade for the assignment/exam and a failing grade for the course. Avoid plagiarism by citing sources properly (using footnotes or endnotes and a bibliography).
Students with Disabilities
If you have a disability that requires special academic accommodation, please speak to your professor within the first three (3) weeks of the semester in order to discuss any adjustments. It is the student's responsibility to provide the International Center with documentation confirming the disability and the accommodations required (*if you have provided this to your study abroad organization, they have most likely informed the International Center already, but please confirm).
Students are expected to show integrity and act in a professional and respectful manner at all times. A student?s attitude in class may influence his/her participation grade. The professor has a right to ask a student to leave the classroom if the student is unruly or appears intoxicated. If a student is asked to leave the classroom, that day will count as an absence regardless of how long the student has been in class.
Courses and course hours of instruction are subject to change.
Eligibility for courses may be subject to a placement exam and/or pre-requisites.
Availability of courses is based on enrollment numbers. All students should seek pre-approval for alternate courses in the event of last minute class cancellations