Grand Hotel (Edmund Goulding, 1932)
Presented by Justus Nieland
At a luxurious Berlin hotel between the wars, the once-wealthy Baron Felix von Gaigern (John Barrymore) supports himself as a thief and gambler. In this lavish adaptation of the successful Broadway play, the baron romances one of his marks, the aging ballerina Grusinskaya (Greta Garbo), and teams with dying accountant Otto Kringelein (Lionel Barrymore) against his former boss, crooked industrialist Preysing (Wallace Beery), and his ambitious stenographer, Flaemmchen (Joan Crawford).
The Shining (Stanley Kubrick, 1980)
Presented by Lily Woodruff
Jack Torrance (Jack Nicholson) becomes winter caretaker at the isolated Overlook Hotel in Colorado, hoping to cure his writer’s block. He settles in along with his wife, Wendy (Shelley Duvall), and his son, Danny (Danny Lloyd), who is plagued by psychic premonitions. As Jack’s writing goes nowhere and Danny’s visions become more disturbing, Jack discovers the hotel’s dark secrets and begins to unravel into a homicidal maniac hell-bent on terrorizing his family.
Coordinators: Dr. Steve Rachman and Laura McGrath
This workshop is for faculty and graduate students who wish to learn more about two important turns in literary studies and digital humanities: distant reading and graphesis.
Over the two semesters of this academic year we will engage the techniques and theories operating behind these analytical approaches. This workshop will 1.) discuss current work in the fields of distant reading and graphical analysis, 2.) share examples of works-in-progress by scholars on and off campus, and 3.) introduce relevant technologies and programs (Voyant, Gephi, etc., tailored to the interests of participants).
For the distant reading portion of the Workshop, key questions include: Do literary genres possess distinctive features at all possible scales of analysis and to what extent can these features be measured? Should the DH practices associated with distant reading be considered as “science” or “humanities”? How can the techniques of distant reading be applied to questions of gender, class, race, or other problems of identity, representation, and diversity?
The graphic mediation elements of the workshop will deal with a growing array of visual forms of knowledge production and consumption as they intersect with literary forms, and we will be investigating the ways in which diverse fields such as graphic design, mathematics, geography, the natural sciences, rhetoric, and philosophy and disciplines of the digital humanities, rhetoric, art history, architecture, and media studies have transformed and will transform literary study. As with the distant reading parts of the workshop, we will be trying to think through these interdisciplinary questions in terms of critical diversity.
Histories of Distant Reading. Reading, “Graphs” from Graphs, Maps, and Trees by Franco Moretti (full text available online through MSU Library); “A Genealogy of Distant Reading” by Ted Underwood.
Please join us for a screening of INAATE/SE/ by Anishinaabe filmmakers Adam Khalil and Zack Khalil.
Wednesday, 9/20, 7pm, C20 Snyder Hall
Cosponsored by Indian & Indigenous Studies, with Film Studies and English.
Pedagogy, Race, and Lit*
Coordinators: Dr. Emery Petchauer and Briona Jones
This research workshop looks to develop our abilities to teach and think with/through race frameworks and epistemologies. We will be guided by questions such as the following: How can we imagine racial justice in classrooms? What kinds of curricula generate from racial inquiry? What kinds of pedagogical moves facilitate racial consciousness development among faculty and students? In what way is race inextricably linked to other forms of oppressions, such as homophobia, sexism, and classism? Why is intersectionality a crucial site of theoretical and praxis-centered inquiry? How can/should classrooms engage with the racial justice movements of our time? We will consider questions like these in context with lit*: literacies, literature, and pedagogical lituations (i.e., classroom situation that are lit).Pursuing these questions, we hope to grow as scholars, colleagues, pedagogues, and community members.
Examining the Charlottesville Syllabus
Grand Budapest Hotel (Wes Anderson, 2014)
Presented by Matt Handelman
In the 1930s, the Grand Budapest Hotel is a popular European ski resort, presided over by concierge Gustave H. (Ralph Fiennes). Zero, a junior lobby boy, becomes Gustave’s friend and protege. Gustave prides himself on providing first-class service to the hotel’s guests, including satisfying the sexual needs of the many elderly women who stay there. When one of Gustave’s lovers dies mysteriously, Gustave finds himself the recipient of a priceless painting and the chief suspect in her murder.
This workshop aims to create a collaborative space in which we will discuss feminist, queer, and transgender approaches to literature and culture. This year, we will act as reading group, publication workshop, and pedagogy/praxis collective. As we interrogate the ways that differences of gender and sexuality are imagined and used to create meaning, whether oppressive or liberatory, we will consider how these differences intersect with those of class, race, ethnicity, ability, and nationality. Some questions that shall guide our reflections on our research, teaching, and praxis include the following: How are constructions of gender and sexuality used to sustain white supremacy, a patriarchal and racist set of beliefs and institutions? How are they used to drive neoliberalism, with its economization of all domains of life? And, crucially, what are the possibilities for resisting these historical processes to create more inclusive, democratic worlds? We invite interested graduate students and faculty to participate.
Thursday, Sept. 28, 4:30-6:00 pm: Inaugural meeting and discussion of Sara Ahmed’s Living a Feminist Life
‘Hokkunud Alpinisti’ Hotell/Dead Mountaineer’s Hotel (Grigori Kromanov, 1979)
Presented by Yelena Kalinsky
A police detective (Uldis Pucitis) visits a remote Alpine hotel to investigate a string of mysterious crimes and is stranded by an avalanche with a colorful group of hotel guests. He soon discovers that the guests are not who they seem to be and must choose between the letter of the law and compassion in this noirish 1979 Soviet Estonian screen adaptation of the Strugatsky brothers’ sci-fi novel of the same name.
Méliès, Magic, and the Avant-Garde
8pm • Friday • 29 September 2017 • Broad Art Museum Sculpture Garden
Michigan State University
Given the rediscovery and current exhibition of Georges Méliès’ Match de Prestidigitation (1904) at the Broad Art Museum, we have put together a screening that looks at this early French filmmaker’s wondrous work and its influences on the development of the trick film (an important genre in the period), and on the avant-garde that learned much from his magic. Films by Méliès, Chomón, Deren, Brakhage, and others. Live music by Lyn Goeringer and friends.
Programmed by Justus Nieland, Matthew Solomon, & Joshua Yumibe
Un homme qui crie/A Screaming Man (Mahamat Saleh Haroun, 2011)
Presented by Ken Harrow
Aging Adam Ousmane (Youssouf Djaoro), who was once an up-and-coming Chadian swimmer, now manages the pool at a prestigious local resort. When the new Chinese managers of the establishment decide to downsize, Adam loses his job to his own son, Abdel (Dioucounda Koma). Shattered by this demeaning turn of events, Adam is pressured into contributing to the Chadian war effort. With no money to speak of, the only asset he can donate is his son, who is then abducted into the Chadian army.