HIST 530 – Beyond Hollywood: Introduction to World Cinema
W 12:00pm – 3:00pm | LART 309

Contact Information & Office Hours
Melissa Hutson
Office: MLASB 123F | Office Hours: Tuesday 2:00pm to 5:00pm

Course Description
This introductory course on the history of world cinema will explore how cinema was used as a tool for resistance, inquiry, artistic expression, and propaganda in various theaters throughout the 20th century. The purpose of this course is to utilize a global and transnational perspective while incorporating the history of other significant cinema centers outside of Hollywood, California. The three film analysis workshops will provide students with the opportunity to place each film within a specific cultural and political context, will challenge them to uncover larger themes within the film, and to discover what each film represents, challenges, and contributes to the world of cinema.

Course Outcomes
By the end of the semester, students will have improved their analytical, writing, and speaking skills, and will have formed their own interpretation of the history of world cinema with an informed historical and global understanding of the past. 

Course Assessment & Grade Breakdown
The course serves as a substantial writing component. Throughout the course, students will submit at least five short reading analysis papers (no more than 2 pages) on five out of the ten books assigned in class. Each paper will be due the day we discuss the book, and students may choose which books to write about for their papers. Students may also submit more than the required five short papers to improve their overall short papers grade.

Students will be graded on their participation in the class discussion. There will be three “Film Analysis” days this semester; I will provide a film to watch during the first half of class, and after we will analyze the film and incorporate the readings and what we have learned into our discussions. A six to eight-page synthetic essay is due a week after the last class day on a topic of the student’s choice. Students will provide me their thesis statement and at least four of their sources three weeks before the essay is due.

  • Class discussion – 30% 
  • Short Papers – 50%
  • Final Essay – 20%


  • Carl Mora, Mexican Cinema: Reflections of A Society 1896 – 2004, 3rd ed.
  • Lucia Nagib, The New Brazilian Cinema
  • Jens Andermann, New Argentine Cinema
  • Sally Faulkner, A History of Spanish Film: Cinema and Society 1910 – 2010
  • James E. Genova, Cinema and Development in West Africa: Film as a Vehicle for Liberation
  • Bhaskar Sarkar, Mourning the Nation: Indian Cinema in the Wake of Partition
  • Hsiao-peng Lu and Sheldon H. Lu, Transnational Chinese Cinemas: Identity, Nationhood, Gender
  • Linda Badel, et al., Traditions in World Cinema (use for reference)
  • Angela Dalle Vacche, The Body in the Mirror: Shapes of History in Italian Cinema
  • Sabine Hake, German National Cinema

As with any university course, success depends on consistent attendance. Any unexcused absences will be marked from your class discussion grade.

Academic Integrity & Scholastic Dishonesty
The University policy is that all suspected cases or acts of alleged scholastic dishonesty must be referred to the Dean of Students for investigation and appropriate disposition. Any student who commits an act of scholastic dishonesty is subject to discipline. Scholastic dishonesty includes, but is not limited to cheating, plagiarism, collusion, the submission for credit of any work or materials that are attributable in whole or in part to another person, taking an examination for another person, any act designed to give unfair advantage to a student or the attempt to commit such acts. Each student is responsible for notice of and compliance with the provisions of the Regents’ Rules and Regulations, which are available for inspection electronically at https://www.utsystem.edu/offices/board-regents/regents-rulesand-regulations. All students are expected and required to obey the law, to comply with the Regents’ Rules and Regulations, with System and University rules, with directives issued by an administrative official in the course of his or her authorized duties, and to observe standards of conduct appropriate for the University. A student who enrolls at the University is charged with the obligation to conduct himself/herself in a manner compatible with the University's function as an educational institution. Any student who engages in conduct that is prohibited by Regents’ Rules and Regulations, U. T. System or University rules, specific instructions issued by an administrative official or by federal, state, or local laws is subject to discipline, whether such conduct takes place on or off campus or whether civil or criminal penalties are also imposed for such conduct. 

Accommodations need to be requested two weeks before the beginning of the semester 

  • Students that need advanced planning such as the hiring of interpreters or books-on-CD, readers, accessible classroom, etc. should request accommodations one month before the beginning of semester 
  • Reasonable accommodations are provided only to students with known disabilities who are registered with the office of CASS. 
  • Type of accommodation provided is determined by degree of barrier and/or limitation and are provided to allow equal access and opportunity to students with disabilities; for that reason, each student is given individual consideration 
  • Requests for changes or additional services must be referred to the Director of CASS for review to determine if accommodation requested is reasonable and appropriate 

Final determination of an appropriate and reasonable accommodation is made by the Director of CASS in collaboration with faculty, academic deans or chairs, when necessary. CASS does not mail faculty letters. It is the student’s responsibility to make a request every semester. The student should make appointments to meet with each professor to deliver the letters and discuss the accommodations that will be necessary in each class. It is important that the student provide accommodation letters to his/her instructors at the beginning of each semester to discuss disability-related needs for those classes. 

For more information, contact: 
The Center for Accommodations and Support Services (CASS)  
Union East Bldg. Room 106  
E: cass@utep.edu  | P: (915) 747-5148 | F: (915) 747-8712 

Civility Statement
Please be courteous to the other students in your class and leave your cell phones in your bag unless otherwise instructed. No headphones will be worn in class. Be mindful of the fact that this is a learning environment and students are here to learn, not be distracted.  

Week 1 - Wednesday, August 31
Review Badel, et al., Traditions in World Cinema before our first class. We will not discuss it in depth, but it will provide definitions and a basic understanding of the history of world cinema. We will review the syllabus and I will give an introductory lecture on world cinema.

Week 2 - Wednesday, September 7
Readings: Lu, Transnational Chinese Cinemas. Only read the selections below:

  • Hsiao-peng Lu, “Historical Introduction Chinese Cinemas”
  • Yingjin Zhang, “From “Minority Film” to “Minority Discourse””
  • June Yip, “Constructing a Nation”
  • Wendy Larson, “The Concubine and the Figure of History”
  • Yi Zheng, “Narrative Images of the Historical Passion”

Week 3 - Wednesday, September 14
Readings: Sarkar, Mourning the Nation

Week 4 - Wednesday, September 21
Film analysis: Jia Zhangke, Farewell My Concubine 1993

Week 5 - Wednesday, September 28
Reading:  Genova, Cinema and Development in West Africa

Week 6 - Wednesday, October 5
Readings:  Vacche, The Body in the Mirror

Week 7 - Wednesday, October 12
Readings: Hake, German National Cinema

Week 8 - Wednesday, October 19
Film Analysis: Roberto Rossellini, Germany Year Zero 1948

Week 9 - Wednesday, October 26
Readings: Faulkner, A History of Spanish Film

Week 10 - Wednesday, November 2
Readings: Mora, Mexican Cinema

Week 11 - Wednesday, November 9
Readings: Nagib, The New Brazilian Cinema. Only read the selections below:

  • Introduction
  • Jose Alvaro Moises, “A New Policy for Brazilian Cinema”
  • Joao Luiz Vieira, “Chronically Unfeasible”
  • Veronica Ferreira Dias, “A Cinema of Conversation”
  • Ivana Bentes, “The sertao and the favela in Contemporary Film”
  • Robert Stam, “Cabral and the Indians”
  • Epilogue

Week 12 - Wednesday, November 16
Film Analysis: Lucia Puenzo, La Historia Oficial 1985
Paper topic, four sources, and thesis statement due

Week 13 - Wednesday, November 23
No Class for Thanksgiving Holiday 

Week 14 - Wednesday, November 30
Readings: Andermann, New Argentine Cinema

Week 15 - Wednesday, December 7
Final Paper due by 5pm