This document provides the syllabus for an introductory film theory and criticism course. The course will introduce students to analyzing formal techniques in audiovisual media and applying critical and theoretical concepts. Over 15 weeks, students will explore topics like mise-en-scene, cinematography, editing, narrative, authorship, genre, experimental film, new media, and wearable technologies. Assignments include weekly screening journals, argument summaries, a midterm sequence analysis, and a final essay. The course aims to help students recognize how media create meaning and present analytical arguments in writing.
1 Final Research PaperProject J320 Gender, Media, and.docxgertrudebellgrove
1
Final Research Paper/Project
J320: Gender, Media, and Diversity
Final Paper Due: On Canvas in doc or pdf —Friday, June 1st by 11:59 PM
Final Project Due: On a USB drive—Friday, June 1st in discussion section (accompanying
paper must be uploaded to Canvas by Friday, June 1st at 11:59 PM)
Pick a media-related topic that you will research and analyze in relation to one or more of the
concepts and contexts we have learned about this term. The topic you choose could grow out of
current or historical events, a news story, or a particular media text you would like to analyze
and discuss in depth—as long as you are researching a topic pertaining to media. You should
construct your argument using one or more of the concepts you learned in the first half of the
course and it should address one or more of the kinds of contexts we discuss in the second half.
If you are uncertain about your topic or are not sure if/how it fits within these areas, please feel
free to talk to us. We are here to help with exactly these kinds of questions!
Concepts
• Social Construction
• Ideology/Hegemony
• Representation
• Semiotic analysis/Textual analysis
• The gaze
• Queer readings
• Oppositional gaze
• Stereotype analysis
• Intersectionality
Contexts
• Gender
• Race
• Class
• Sexuality
• Ability
• Age
• Nationality
• Ethnicity
Research:
You are expected to use a minimum of 6 outside sources when researching and writing your
paper or project. At least three of these sources must be scholarly publications. This means
they are academic books or book chapters (written by a professor and published by a university
press or academic press) or articles published in scholarly (i.e. peer reviewed) journals.
Please note: You may use class readings to support your arguments, but they do not count
towards the required number of sources
In addition to obtaining books through the library, you can also search for sources through the
library’s online databases and journals. For tips on narrowing your topic and locating and
evaluating sources, see: http://researchguides.uoregon.edu/getting-started.
Remember, Wikipedia is not a valid source in and of itself. However, it often serves as a
useful place to start when gathering information as it frequently links to other books and articles
on the topic.
2
Paper Option
Research and write a 6-7 page paper that examines and makes an argument about a media-
related topic of your choice. Your paper must engage with at least one area from each of the
columns above.
Your paper must include:
• A clever (or at the very least, descriptive) title
• A clearly articulated thesis statement
• An introduction that lays out your thesis and outlines major arguments
• An organized body in which you use your research to analyze your media text, shed light
on your topic, and back up your thesis
• In-text citations, endnotes, or footnotes using standard MLA or Chicago st.
1 Final Research PaperProject J320 Gender, Media, and.docxShiraPrater50
1
Final Research Paper/Project
J320: Gender, Media, and Diversity
Final Paper Due: On Canvas in doc or pdf —Friday, June 1st by 11:59 PM
Final Project Due: On a USB drive—Friday, June 1st in discussion section (accompanying
paper must be uploaded to Canvas by Friday, June 1st at 11:59 PM)
Pick a media-related topic that you will research and analyze in relation to one or more of the
concepts and contexts we have learned about this term. The topic you choose could grow out of
current or historical events, a news story, or a particular media text you would like to analyze
and discuss in depth—as long as you are researching a topic pertaining to media. You should
construct your argument using one or more of the concepts you learned in the first half of the
course and it should address one or more of the kinds of contexts we discuss in the second half.
If you are uncertain about your topic or are not sure if/how it fits within these areas, please feel
free to talk to us. We are here to help with exactly these kinds of questions!
Concepts
• Social Construction
• Ideology/Hegemony
• Representation
• Semiotic analysis/Textual analysis
• The gaze
• Queer readings
• Oppositional gaze
• Stereotype analysis
• Intersectionality
Contexts
• Gender
• Race
• Class
• Sexuality
• Ability
• Age
• Nationality
• Ethnicity
Research:
You are expected to use a minimum of 6 outside sources when researching and writing your
paper or project. At least three of these sources must be scholarly publications. This means
they are academic books or book chapters (written by a professor and published by a university
press or academic press) or articles published in scholarly (i.e. peer reviewed) journals.
Please note: You may use class readings to support your arguments, but they do not count
towards the required number of sources
In addition to obtaining books through the library, you can also search for sources through the
library’s online databases and journals. For tips on narrowing your topic and locating and
evaluating sources, see: http://researchguides.uoregon.edu/getting-started.
Remember, Wikipedia is not a valid source in and of itself. However, it often serves as a
useful place to start when gathering information as it frequently links to other books and articles
on the topic.
2
Paper Option
Research and write a 6-7 page paper that examines and makes an argument about a media-
related topic of your choice. Your paper must engage with at least one area from each of the
columns above.
Your paper must include:
• A clever (or at the very least, descriptive) title
• A clearly articulated thesis statement
• An introduction that lays out your thesis and outlines major arguments
• An organized body in which you use your research to analyze your media text, shed light
on your topic, and back up your thesis
• In-text citations, endnotes, or footnotes using standard MLA or Chicago st ...
1 Final Research PaperProject J320 Gender, Media, and.docxgertrudebellgrove
1
Final Research Paper/Project
J320: Gender, Media, and Diversity
Final Paper Due: On Canvas in doc or pdf —Friday, June 1st by 11:59 PM
Final Project Due: On a USB drive—Friday, June 1st in discussion section (accompanying
paper must be uploaded to Canvas by Friday, June 1st at 11:59 PM)
Pick a media-related topic that you will research and analyze in relation to one or more of the
concepts and contexts we have learned about this term. The topic you choose could grow out of
current or historical events, a news story, or a particular media text you would like to analyze
and discuss in depth—as long as you are researching a topic pertaining to media. You should
construct your argument using one or more of the concepts you learned in the first half of the
course and it should address one or more of the kinds of contexts we discuss in the second half.
If you are uncertain about your topic or are not sure if/how it fits within these areas, please feel
free to talk to us. We are here to help with exactly these kinds of questions!
Concepts
• Social Construction
• Ideology/Hegemony
• Representation
• Semiotic analysis/Textual analysis
• The gaze
• Queer readings
• Oppositional gaze
• Stereotype analysis
• Intersectionality
Contexts
• Gender
• Race
• Class
• Sexuality
• Ability
• Age
• Nationality
• Ethnicity
Research:
You are expected to use a minimum of 6 outside sources when researching and writing your
paper or project. At least three of these sources must be scholarly publications. This means
they are academic books or book chapters (written by a professor and published by a university
press or academic press) or articles published in scholarly (i.e. peer reviewed) journals.
Please note: You may use class readings to support your arguments, but they do not count
towards the required number of sources
In addition to obtaining books through the library, you can also search for sources through the
library’s online databases and journals. For tips on narrowing your topic and locating and
evaluating sources, see: http://researchguides.uoregon.edu/getting-started.
Remember, Wikipedia is not a valid source in and of itself. However, it often serves as a
useful place to start when gathering information as it frequently links to other books and articles
on the topic.
2
Paper Option
Research and write a 6-7 page paper that examines and makes an argument about a media-
related topic of your choice. Your paper must engage with at least one area from each of the
columns above.
Your paper must include:
• A clever (or at the very least, descriptive) title
• A clearly articulated thesis statement
• An introduction that lays out your thesis and outlines major arguments
• An organized body in which you use your research to analyze your media text, shed light
on your topic, and back up your thesis
• In-text citations, endnotes, or footnotes using standard MLA or Chicago st.
1 Final Research PaperProject J320 Gender, Media, and.docxShiraPrater50
1
Final Research Paper/Project
J320: Gender, Media, and Diversity
Final Paper Due: On Canvas in doc or pdf —Friday, June 1st by 11:59 PM
Final Project Due: On a USB drive—Friday, June 1st in discussion section (accompanying
paper must be uploaded to Canvas by Friday, June 1st at 11:59 PM)
Pick a media-related topic that you will research and analyze in relation to one or more of the
concepts and contexts we have learned about this term. The topic you choose could grow out of
current or historical events, a news story, or a particular media text you would like to analyze
and discuss in depth—as long as you are researching a topic pertaining to media. You should
construct your argument using one or more of the concepts you learned in the first half of the
course and it should address one or more of the kinds of contexts we discuss in the second half.
If you are uncertain about your topic or are not sure if/how it fits within these areas, please feel
free to talk to us. We are here to help with exactly these kinds of questions!
Concepts
• Social Construction
• Ideology/Hegemony
• Representation
• Semiotic analysis/Textual analysis
• The gaze
• Queer readings
• Oppositional gaze
• Stereotype analysis
• Intersectionality
Contexts
• Gender
• Race
• Class
• Sexuality
• Ability
• Age
• Nationality
• Ethnicity
Research:
You are expected to use a minimum of 6 outside sources when researching and writing your
paper or project. At least three of these sources must be scholarly publications. This means
they are academic books or book chapters (written by a professor and published by a university
press or academic press) or articles published in scholarly (i.e. peer reviewed) journals.
Please note: You may use class readings to support your arguments, but they do not count
towards the required number of sources
In addition to obtaining books through the library, you can also search for sources through the
library’s online databases and journals. For tips on narrowing your topic and locating and
evaluating sources, see: http://researchguides.uoregon.edu/getting-started.
Remember, Wikipedia is not a valid source in and of itself. However, it often serves as a
useful place to start when gathering information as it frequently links to other books and articles
on the topic.
2
Paper Option
Research and write a 6-7 page paper that examines and makes an argument about a media-
related topic of your choice. Your paper must engage with at least one area from each of the
columns above.
Your paper must include:
• A clever (or at the very least, descriptive) title
• A clearly articulated thesis statement
• An introduction that lays out your thesis and outlines major arguments
• An organized body in which you use your research to analyze your media text, shed light
on your topic, and back up your thesis
• In-text citations, endnotes, or footnotes using standard MLA or Chicago st ...
While-End Loop (Repetition Structure)
PreviousNext
Hide Description
LOOPS, FLOWCHARTS
Create your own simple program using a repetition(i.e Loop) structure. You decide the theme. Provide an overview (i.e Program Design) of what your repetition structure is doing. Then provide the Pseudocode of your example. Please keep the design simple for this exercise. Just a few lines of code is all that is needed for this response.
First, write using a For loop for a fixed number of loops.
Then for the same program use a While loop with a sentinel approach.
When using the While loop, you will need some logic to exit the loop and you will need a loop counter.
You could take one of your prompts from Road Trip and create a loop around it.
I dont want to see just a loop where you just print out the loop counter.
Some suggestions:
1)prompt for mileage run daily, count the days, calculate the ave miles per day, display total miles and ave daily miles
2)prompt for grocery costs per week, count the weeks, calculate the ave grocery costs per week, display total grocery costs and ave grocery costs
3)prompt for car miles driven in a month, count the months, calculate the ave miles driven per month, display total miles and ave monthly miles driven
4)prompt for number of movie tickets sold in a night, count the number of nights, calculate the ave tickets sold per night, display the total tickets sold and the ave tickets sold per night.
Remember--- The accumulation of total is done inside the loop. To calculate ave you divide the accumulated total by the number of whatever you are looping. The ave is done after the end of the loop.
2:
Convert Part 1 to C-code. You only need to do one of the loop types. Don't for get to indent your code. Put Part 2 - problem no.X in the Subject area and submit a .txt (or .c) file for your code.
Part 3 (optional):
Take your While-End repetition structure from Part 1 and modify it so that the While condition test uses a Boolean variable. You will need to initialize the Boolean variable prior to the loop as well as set it inside the loop so that you exit the loop appropriately.
Dr. Janine Nkosi
[email protected]
559-278-2892
Office Hours: By Appointment
Location: Virtual Office
Critical thinking is an important component of sociology; the sociological
imagination requires us to step back, to ask questions, to identify and
examine unstated assumptions, and to evaluate evidence.
1
Course Description: Scholars
suggest that the only effective way to
develop these skills is as a conscious course
objective, perhaps even the primary goal of
the course. Thus, the focus of this course is
critical thinking, not social problems or
social issues—the issues are the vehicle for
teaching critical thinking. In this class, we
discuss restoring civil society where people
act not just in their own interest but also
for the common good. To complement
your classroom learning, each student will
participate.
PAGE
1
HUM 220.03
Instructor: Shawn Taylor
Values and Culture
email [email protected]
W 1810p-2055p
Office HUM 219
Humanities Room# HUM 115
Office hours: W. 2100p-2200p
Schedule Number: 4220
(GE C2: Humanities)
This syllabus is not set in stone and is subject to change at any time.
Course Description: This is a discussion-based course that will interrogate: the future, technology, sports, popular culture, and media. You will be using your selves as maps through our shared culture. We will explore how speculation can be a form of creative inquiry. We will watch films, listen to music, read books (it is university, you kind of have to read), and have conversations to make the argument that one of the best ways to know the world is to imagine it.
What do you get?: In exchange for your full participation, you will develop the skills to think critically about what you receive through all of your senses and sense-making apparatus. Thinking critically means that you can call “B.S.” when you see or hear it. You will learn how to formulate and defend written and spoken arguments; along with being able to see past the surface explanation of things. This means that when you call “B.S.”, you’ll be able to explain “why” you think this, as well as offer up information to bolster your point.
Learning Objectives:
(a) Students' papers consider questions of how values intersect with/influence/diverge from culture as they are addressed in a range of literary and visual texts produced across the globe.
(b) Students' papers require close reading of written texts and close examination of images, and articulation of the student's own understanding of them, while acknowledging the possibility of multiple interpretations.
(c) Papers require in-depth analysis of works and ideas, and attention to appropriate methods of inquiry in the humanities.
(d) Papers and course discussions require comparisons between works representing various global communities past and present, which ensures that students will gain understanding of other value systems and ways of life.
(e) Papers require close engagement with the works under study, stimulating students' appreciation of literature and the arts and laying an indispensable foundation for their active cultivation.
Course Requirements: Class participation is a must. If you want a good grade, you have to participate. We only meet 150 minutes per week, but if you work hard, I’ll work even harder.
Attendance: Come to class. It isn’t algebra. Show up, you learn and earn a grade. If you don’t show up, you miss out and your grade is negatively impacted. You get three (3) absences. After that, you lose two (5) points for each subsequent absence.
3x5 index cards: A 3x5 index card with your name, date, and a question about the current material is due at the start of each class period. These cards will be used as prompts to help engineer our class discussion. They are also a secondary attendance check.
Cell .
CMGT 304 Risk, Safety and Environmental Risk Management Plan.docxclarebernice
CMGT 304
Risk, Safety and Environmental Risk Management Plan Report
Students will prepare and present a comprehensive report, addressing Risk, Safety and Environmental
Management for a specific construction project of their choosing. Project must be pre-approved in
advance, by the instructor. Milestone dates and specific criteria for progressive submission of elements
of this report are included in the assignment.
Grading Structure
Report is 30% of the overall course grading.
Specifics
This is a team project. Your team needs to designate a Team Leader and confirm the name of the Leader
to me via E-mail by Monday, March 27th. The Team Leader will serve as the conduit for
communications. All future correspondence from and to your Team on this project will go thru this
leader.
The final output of your team will be 5 deliverables:
1. Team leader name by March 24 or sooner
2. Submittal of Project by March 27 or sooner; approval by March 28 or sooner
3. Peer Assessment of team members (Individual) -2 pts-Due April 25
4. Team paper (Group) 14 points-Due April 25; upload original to Blackboard
5. Power Point Presentation (Team) – 9 points-Due April 25; upload original to Blackboard after
presentation
Topic
You are to research one mega size international project. (examples such as the Boston Big Dig, China
Three Gorges dam, Brazil Olympics, London Olympics, etc.) that has been completed within the last 4
years, and research and explain the following. Previous projects reviewed during the course (and
submitted as exercises) are not to be considered. Include the following:
Background of project-description, benefits, etc.
What firms participated in the project? Designers, Constructors, managers
How did the project finish versus the planned initial project goals?
Why did the project succeed or not succeed-be specific.
Risk Management -Project Specific
o Boston Square (lecture Notes 3, Slide 46)
o Each team incorporate its own numbering and lettering system
o Risk Inventory Chart-Your Top 8 Risks
o Risk
o Source Group
o Probability Description and Rating
o Impact Description and Rating
o Revised Probability Description, Your Rational and Revised Rating
o Revised Impact description, Your rational and Revised Rating
o Written description of why you selected the specific risks.
Safety Management Issues-Project Specific
o Safety Hazard Analysis
o Detailed Analysis of the ‘Top Five’ Safety Hazards
Identification, Assessment, Evaluation,
Response, Monitor and Control
Project Specific Environmental Issues
o For each provide a detailed description/analysis of the Top Five Environmental Risks:
o Performance Objectives
o Management Strategies
o Responsibilities (Company and individual)
o Monitoring and Reporting-Monitoring and Corrective Actions
Description of additional (major) issues the construction project team experience duri ...
Syllabus for Image of the Journalist in Popular Culture: GWU Class - Crowdsou...Nikki Usher
I'm sharing a file that I'm proud of - my GWU syllabus for the Image of the Journalist in Popular Culture. A similar class is taught by Joe Saltzman at USC - he is the don of this type of study - and he provided much help. I'm hoping to share this with others and improve it!
PSYCHOLOGY 10200 (Psychology in the Modern World)Mondays & Wedne.docxpotmanandrea
PSYCHOLOGY 10200 (Psychology in the Modern World)
Mondays & Wednesdays (11:50-12:40 or 1:00-1:50 in AR 1)
Discussion Sections (various times and locations)
Spring 2018
Instructor: Brett Silverstein. Write your teaching assistant’s name here ________________________
Introduction and Course Description
I've designed this course to give you a basic understanding of each of the different fields that collectively make up the science of psychology. One field is concerned with how the brain is organized; another with how children mature; still another with why people become anxious or depressed and how to help them. Psychology is concerned with each of these areas, and much more. In psychology we are interested in why people think and feel and act the way that they do. By the end of this course, you should have a good understanding of what psychologists study, and some of their most important research findings.
Because so many different fields are involved, I will divide the course into sections: neuroscience, development, psychological disorders, and so forth. In lecture, I will survey what psychologists know about each field. This information is reinforced and expanded upon in the textbook and in weekly discussion sessions. To evaluate how well you understand the textbook material, in each section I will ask several questions on the lectures and readings. You will have an opportunity to apply the issues to your own lives during weekly recitation sessions. I also have assigned four papers to develop your written expression of psychology. Finally, there will be a cumulative in class final exam given during finals week.
Course Objectives
After taking PSY 102, you should be better able to:
1. Apply critical thinking skills to research designs and practical problems in psychology.
2. Understand basic psychological theories, principles, and concepts in the areas of human development, social interaction, psychopathology, cognitive processes, and the biological bases of behavior.
3. Evaluate hypotheses, research designs, research findings, and theories.
4. Understand how statistical significance is used in research
5. Understand the difference between pseudo-science and science and apply such understanding to media reports about psychology.
6. Apply psychological concepts and principles to understanding social and cultural phenomena.
7. Communicate your ideas orally and in writing.
8. Apply psychological concepts to you own life and experiences.
PSY 102 satisfies the Individual and Society general education requirement of the CUNY Pathways Common Core. The course also enhances proficiency in writing, information literacy, and quantitative reasoning. In exercising writing proficiency, you will have multiple experiences to communicate your ideas in writing and speaking, including at least 3500 words of writing in specific assignments. For information literacy, you will have multiple opportunities to critically and con ...
Fahad Aldehani
Kyeongheui Kim
LING 136
05.5.2015
Euromail
Eric Weinerin the article ”What Germans can teach us about e-mail.” The author says that the Amerimail is more informal and chatty. I agree that Americans send emails to each other more often than Eurabian. Also, they reply and use smiley faces like it is a text message. From self-experiment, I got an email from my adviser at the University and we were replaying for three days which looks like a SMS text. In the other hand, the Euromail is more formal and powerful than the Amerimail because Europeans email less and only for higher and necessary purposes. Amerimail has more informal words and very short. Americans replay to each other faster and impatience unlike the Europeans. Comment by K Kim: The whole title? Comment by K Kim: How do you know? Do you have evidence of it?
Weinersays “Other forms of electronic communication, such as SMS text messaging, are more popular in Europe than in the United States.” I disagree with the author that Europeans use the electronic communications such as their phones more than the Americans. I went to Europe, and From what I noticed that Europeans uses their cellphones less than Americans. In New York people cannot communicate with each other physically by saying “Hi” in the streets because most of them busy by texting, calling or even emailing. In Europe people like to send email or talk face to face more than using their cell phones. For instance, when I was in Europe I noticed that Europeans gather at some cafés or some nice restaurants for business meeting or a family gathering talking to each other instead of holding their cell phones and chatting with other people. In the US people like to text other people even when they are together sitting at the same place. Comment by K Kim: The author focuses on email.
It appears that you have not checked Reading Note Guidelines and paid attention to the sample Reading Note, either. You are supposed to write the Reading Note the way you write an essay.
Where are Introduction and Conclusion?
Grade: 3.2 out of 4
International Studies 100: Global Citizenship
Summer 2015: On-Line
Professor Richard R. Marcus
Office: LA3-100a
Phone: (562) 985-4714
Email: [email protected]
Skype: richard.marcus (Long Beach)
Course Description
Most, if not all, of us are citizens of particular nation-states. We also have other communities of belonging, such as local, ethnic, religious, or perhaps even our Beach pride. In these communities, we take some level of responsibility for our fellow members and expect to have a voice in determining the rules and actions that affect us. In what ways, however, should we also see ourselves as citizens of the world? How are our economic, cultural, political, and social lives connected to those in faraway places? How do our actions affect people living across the globe? Are these effects positive or negative? How do decisions made elsewhere affect our own lives? What is our responsibility ...
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
While-End Loop (Repetition Structure)
PreviousNext
Hide Description
LOOPS, FLOWCHARTS
Create your own simple program using a repetition(i.e Loop) structure. You decide the theme. Provide an overview (i.e Program Design) of what your repetition structure is doing. Then provide the Pseudocode of your example. Please keep the design simple for this exercise. Just a few lines of code is all that is needed for this response.
First, write using a For loop for a fixed number of loops.
Then for the same program use a While loop with a sentinel approach.
When using the While loop, you will need some logic to exit the loop and you will need a loop counter.
You could take one of your prompts from Road Trip and create a loop around it.
I dont want to see just a loop where you just print out the loop counter.
Some suggestions:
1)prompt for mileage run daily, count the days, calculate the ave miles per day, display total miles and ave daily miles
2)prompt for grocery costs per week, count the weeks, calculate the ave grocery costs per week, display total grocery costs and ave grocery costs
3)prompt for car miles driven in a month, count the months, calculate the ave miles driven per month, display total miles and ave monthly miles driven
4)prompt for number of movie tickets sold in a night, count the number of nights, calculate the ave tickets sold per night, display the total tickets sold and the ave tickets sold per night.
Remember--- The accumulation of total is done inside the loop. To calculate ave you divide the accumulated total by the number of whatever you are looping. The ave is done after the end of the loop.
2:
Convert Part 1 to C-code. You only need to do one of the loop types. Don't for get to indent your code. Put Part 2 - problem no.X in the Subject area and submit a .txt (or .c) file for your code.
Part 3 (optional):
Take your While-End repetition structure from Part 1 and modify it so that the While condition test uses a Boolean variable. You will need to initialize the Boolean variable prior to the loop as well as set it inside the loop so that you exit the loop appropriately.
Dr. Janine Nkosi
[email protected]
559-278-2892
Office Hours: By Appointment
Location: Virtual Office
Critical thinking is an important component of sociology; the sociological
imagination requires us to step back, to ask questions, to identify and
examine unstated assumptions, and to evaluate evidence.
1
Course Description: Scholars
suggest that the only effective way to
develop these skills is as a conscious course
objective, perhaps even the primary goal of
the course. Thus, the focus of this course is
critical thinking, not social problems or
social issues—the issues are the vehicle for
teaching critical thinking. In this class, we
discuss restoring civil society where people
act not just in their own interest but also
for the common good. To complement
your classroom learning, each student will
participate.
PAGE
1
HUM 220.03
Instructor: Shawn Taylor
Values and Culture
email [email protected]
W 1810p-2055p
Office HUM 219
Humanities Room# HUM 115
Office hours: W. 2100p-2200p
Schedule Number: 4220
(GE C2: Humanities)
This syllabus is not set in stone and is subject to change at any time.
Course Description: This is a discussion-based course that will interrogate: the future, technology, sports, popular culture, and media. You will be using your selves as maps through our shared culture. We will explore how speculation can be a form of creative inquiry. We will watch films, listen to music, read books (it is university, you kind of have to read), and have conversations to make the argument that one of the best ways to know the world is to imagine it.
What do you get?: In exchange for your full participation, you will develop the skills to think critically about what you receive through all of your senses and sense-making apparatus. Thinking critically means that you can call “B.S.” when you see or hear it. You will learn how to formulate and defend written and spoken arguments; along with being able to see past the surface explanation of things. This means that when you call “B.S.”, you’ll be able to explain “why” you think this, as well as offer up information to bolster your point.
Learning Objectives:
(a) Students' papers consider questions of how values intersect with/influence/diverge from culture as they are addressed in a range of literary and visual texts produced across the globe.
(b) Students' papers require close reading of written texts and close examination of images, and articulation of the student's own understanding of them, while acknowledging the possibility of multiple interpretations.
(c) Papers require in-depth analysis of works and ideas, and attention to appropriate methods of inquiry in the humanities.
(d) Papers and course discussions require comparisons between works representing various global communities past and present, which ensures that students will gain understanding of other value systems and ways of life.
(e) Papers require close engagement with the works under study, stimulating students' appreciation of literature and the arts and laying an indispensable foundation for their active cultivation.
Course Requirements: Class participation is a must. If you want a good grade, you have to participate. We only meet 150 minutes per week, but if you work hard, I’ll work even harder.
Attendance: Come to class. It isn’t algebra. Show up, you learn and earn a grade. If you don’t show up, you miss out and your grade is negatively impacted. You get three (3) absences. After that, you lose two (5) points for each subsequent absence.
3x5 index cards: A 3x5 index card with your name, date, and a question about the current material is due at the start of each class period. These cards will be used as prompts to help engineer our class discussion. They are also a secondary attendance check.
Cell .
CMGT 304 Risk, Safety and Environmental Risk Management Plan.docxclarebernice
CMGT 304
Risk, Safety and Environmental Risk Management Plan Report
Students will prepare and present a comprehensive report, addressing Risk, Safety and Environmental
Management for a specific construction project of their choosing. Project must be pre-approved in
advance, by the instructor. Milestone dates and specific criteria for progressive submission of elements
of this report are included in the assignment.
Grading Structure
Report is 30% of the overall course grading.
Specifics
This is a team project. Your team needs to designate a Team Leader and confirm the name of the Leader
to me via E-mail by Monday, March 27th. The Team Leader will serve as the conduit for
communications. All future correspondence from and to your Team on this project will go thru this
leader.
The final output of your team will be 5 deliverables:
1. Team leader name by March 24 or sooner
2. Submittal of Project by March 27 or sooner; approval by March 28 or sooner
3. Peer Assessment of team members (Individual) -2 pts-Due April 25
4. Team paper (Group) 14 points-Due April 25; upload original to Blackboard
5. Power Point Presentation (Team) – 9 points-Due April 25; upload original to Blackboard after
presentation
Topic
You are to research one mega size international project. (examples such as the Boston Big Dig, China
Three Gorges dam, Brazil Olympics, London Olympics, etc.) that has been completed within the last 4
years, and research and explain the following. Previous projects reviewed during the course (and
submitted as exercises) are not to be considered. Include the following:
Background of project-description, benefits, etc.
What firms participated in the project? Designers, Constructors, managers
How did the project finish versus the planned initial project goals?
Why did the project succeed or not succeed-be specific.
Risk Management -Project Specific
o Boston Square (lecture Notes 3, Slide 46)
o Each team incorporate its own numbering and lettering system
o Risk Inventory Chart-Your Top 8 Risks
o Risk
o Source Group
o Probability Description and Rating
o Impact Description and Rating
o Revised Probability Description, Your Rational and Revised Rating
o Revised Impact description, Your rational and Revised Rating
o Written description of why you selected the specific risks.
Safety Management Issues-Project Specific
o Safety Hazard Analysis
o Detailed Analysis of the ‘Top Five’ Safety Hazards
Identification, Assessment, Evaluation,
Response, Monitor and Control
Project Specific Environmental Issues
o For each provide a detailed description/analysis of the Top Five Environmental Risks:
o Performance Objectives
o Management Strategies
o Responsibilities (Company and individual)
o Monitoring and Reporting-Monitoring and Corrective Actions
Description of additional (major) issues the construction project team experience duri ...
Syllabus for Image of the Journalist in Popular Culture: GWU Class - Crowdsou...Nikki Usher
I'm sharing a file that I'm proud of - my GWU syllabus for the Image of the Journalist in Popular Culture. A similar class is taught by Joe Saltzman at USC - he is the don of this type of study - and he provided much help. I'm hoping to share this with others and improve it!
PSYCHOLOGY 10200 (Psychology in the Modern World)Mondays & Wedne.docxpotmanandrea
PSYCHOLOGY 10200 (Psychology in the Modern World)
Mondays & Wednesdays (11:50-12:40 or 1:00-1:50 in AR 1)
Discussion Sections (various times and locations)
Spring 2018
Instructor: Brett Silverstein. Write your teaching assistant’s name here ________________________
Introduction and Course Description
I've designed this course to give you a basic understanding of each of the different fields that collectively make up the science of psychology. One field is concerned with how the brain is organized; another with how children mature; still another with why people become anxious or depressed and how to help them. Psychology is concerned with each of these areas, and much more. In psychology we are interested in why people think and feel and act the way that they do. By the end of this course, you should have a good understanding of what psychologists study, and some of their most important research findings.
Because so many different fields are involved, I will divide the course into sections: neuroscience, development, psychological disorders, and so forth. In lecture, I will survey what psychologists know about each field. This information is reinforced and expanded upon in the textbook and in weekly discussion sessions. To evaluate how well you understand the textbook material, in each section I will ask several questions on the lectures and readings. You will have an opportunity to apply the issues to your own lives during weekly recitation sessions. I also have assigned four papers to develop your written expression of psychology. Finally, there will be a cumulative in class final exam given during finals week.
Course Objectives
After taking PSY 102, you should be better able to:
1. Apply critical thinking skills to research designs and practical problems in psychology.
2. Understand basic psychological theories, principles, and concepts in the areas of human development, social interaction, psychopathology, cognitive processes, and the biological bases of behavior.
3. Evaluate hypotheses, research designs, research findings, and theories.
4. Understand how statistical significance is used in research
5. Understand the difference between pseudo-science and science and apply such understanding to media reports about psychology.
6. Apply psychological concepts and principles to understanding social and cultural phenomena.
7. Communicate your ideas orally and in writing.
8. Apply psychological concepts to you own life and experiences.
PSY 102 satisfies the Individual and Society general education requirement of the CUNY Pathways Common Core. The course also enhances proficiency in writing, information literacy, and quantitative reasoning. In exercising writing proficiency, you will have multiple experiences to communicate your ideas in writing and speaking, including at least 3500 words of writing in specific assignments. For information literacy, you will have multiple opportunities to critically and con ...
Fahad Aldehani
Kyeongheui Kim
LING 136
05.5.2015
Euromail
Eric Weinerin the article ”What Germans can teach us about e-mail.” The author says that the Amerimail is more informal and chatty. I agree that Americans send emails to each other more often than Eurabian. Also, they reply and use smiley faces like it is a text message. From self-experiment, I got an email from my adviser at the University and we were replaying for three days which looks like a SMS text. In the other hand, the Euromail is more formal and powerful than the Amerimail because Europeans email less and only for higher and necessary purposes. Amerimail has more informal words and very short. Americans replay to each other faster and impatience unlike the Europeans. Comment by K Kim: The whole title? Comment by K Kim: How do you know? Do you have evidence of it?
Weinersays “Other forms of electronic communication, such as SMS text messaging, are more popular in Europe than in the United States.” I disagree with the author that Europeans use the electronic communications such as their phones more than the Americans. I went to Europe, and From what I noticed that Europeans uses their cellphones less than Americans. In New York people cannot communicate with each other physically by saying “Hi” in the streets because most of them busy by texting, calling or even emailing. In Europe people like to send email or talk face to face more than using their cell phones. For instance, when I was in Europe I noticed that Europeans gather at some cafés or some nice restaurants for business meeting or a family gathering talking to each other instead of holding their cell phones and chatting with other people. In the US people like to text other people even when they are together sitting at the same place. Comment by K Kim: The author focuses on email.
It appears that you have not checked Reading Note Guidelines and paid attention to the sample Reading Note, either. You are supposed to write the Reading Note the way you write an essay.
Where are Introduction and Conclusion?
Grade: 3.2 out of 4
International Studies 100: Global Citizenship
Summer 2015: On-Line
Professor Richard R. Marcus
Office: LA3-100a
Phone: (562) 985-4714
Email: [email protected]
Skype: richard.marcus (Long Beach)
Course Description
Most, if not all, of us are citizens of particular nation-states. We also have other communities of belonging, such as local, ethnic, religious, or perhaps even our Beach pride. In these communities, we take some level of responsibility for our fellow members and expect to have a voice in determining the rules and actions that affect us. In what ways, however, should we also see ourselves as citizens of the world? How are our economic, cultural, political, and social lives connected to those in faraway places? How do our actions affect people living across the globe? Are these effects positive or negative? How do decisions made elsewhere affect our own lives? What is our responsibility ...
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
Francesca Gottschalk from the OECD’s Centre for Educational Research and Innovation presents at the Ask an Expert Webinar: How can education support child empowerment?
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
Introduction to AI for Nonprofits with Tapp Network
303 FILM Theory Syllabus.pdf
1. 1
ENGL 303: FILM Theory and Criticism
Spring 2017
T/TH 11:45am-1:00pm; screenings online
Instructor: Dr. Anthony Stagliano // Email: staglian@nmsu.edu
Classroom: CBW 229 Screening Room: online
Office: CBW 105
Office Hours: 1:00-2:00 PM, T/Th
COURSE DESCRIPTION
This course introduces students to the critical and theoretical study of film and related media. In the first
few weeks, we will develop the skills and vocabulary to analyze the formal characteristics of audio-visual
media. Through the rest of the semester, we will apply those skills to work through key concepts relating
media works to one another and to describe what they do to and for audiences, with a special eye to how
media constitute and reflect social and material worlds. To succeed in the course, students will need to
pay keen attention to course viewings, readings, lectures, and discussions.
LEARNING OUTCOMES
At the end of the course students should be able to:
• recognize and describe the formal techniques through which various moving-image media create
meaning (e.g., editing, cinematography, narrative, sound, interfaces, etc.)
• analyze specific examples (e.g., film sequences, web pages) to identify the meanings and/or effects these
techniques produce in them
• synthesize such analysis to construct interpretive arguments
• present analysis and arguments clearly in writing
COURSE MATERIALS
• Timothy Corrigan and Patricia White, The Film Experience: An Introduction, 4th ed. (at campus
bookstores). Listed in the Schedule of Classes as “CW.”
• Additional Required readings available on Canvas as indicated in the Schedule.
• Important audio-visual artworks, as indicated in the Schedule.
RESPONSIBILITIES AND POLICIES
Required Weekly Screenings
Weekly screenings are a requirement of the course. Nearly all of the films we watch will be available in
streaming format, through the library (through a Netflix-like service they subscribe to, called Kanopy). To
do well on major assignments for the course you will need to watch some materials several times. The
screening program aims to expand your horizons. I have chosen media works not only for their historical
and aesthetic significance, but for their likely unfamiliarity to this class, and their challenging nature. You
will watch material that will sometimes frustrate, sometimes baffle, sometimes offend, and frequently
amaze you, often all at once. Please be aware that some may find part of this material objectionable due to
representations of violence, nudity, sexuality, and other controversial subjects. If you have any concerns
about such matters, please talk to me immediately.
Canvas
All assigned written work for the course must be submitted through the course website using
Canvas. You must submit editable documents that can be opened in MS Word (if in doubt, save as a Rich
Text File). Please identify all your submissions, in their title, with your last name and the assignment.
2. 2
ASSIGNMENTS:
Screening Journal (20%)
To develop your ability to analyze audio-visual works, you must take thorough notes on each required
screening or lab. A journal derived from these notes will sharpen your perception, hone your analytical
skills, and provide a foundation for other written assignments in the course. Write a response about 500
words long in which you precisely and concretely describe elements of the film/media object that are
relevant to the topic under consideration that week and that strike your interest. Journals are due by 5
PM on Mondays, for the screenings associated with that week.
It is your responsibility to watch the films assigned for their respective weeks. I will make all of them
available to you in a streaming format, with most of them available through the library’s subscription to
Kanopy. A few of them I will provide through Canvas, or provide a YouTube link. You must watch the
films/videos attentively, and be prepared to discuss them in class. If you begin missing the screening
journals, or if it appears that you are writing them without having watched the films attentively, in
consideration of the week’s readings, or, worse, at all, I will alert you that you are risking your grade.
Argument Summaries (10%)
Much of the critical and theoretical writing about film and media we will read in this class is conceptually
and argumentatively complex, and we will discuss in class many of the specific argumentative moves and
nuances of these texts, as well as how they use media objects to further their arguments, or as objects of
criticism or analysis. To hone your own argumentative skills, you are required to produce 3 short
summaries of our readings (the Canvas readings, not the Corrigan/White textbook), in which you
identify the main claim(s), at least two of the supporting moves, and how media objects are figured in the
text (if they are). These will be about a page long (200-250 or so words). These entries will be due by 5
PM on Mondays in the week in which the reading is assigned.
NB: The difficult readings are assigned evenly throughout the semester, so you’re better off, time-
management-wise, attending to this requirement earlier, rather than later.
Midterm Sequence Analysis (25% paper; 5% proposal)
In 5-7 pages, you write an analysis of a sequence you choose from one of the films screened in the first
seven weeks of class. In addition to your prose analysis, you will include a chart outlining the sequence
shot-by-shot. Complete instructions will be distributed and discussed in class, a couple weeks before the
assignment is due. A brief proposal of your analysis, identifying the chosen sequence, will be due before
the paper.
Final Essay (20% paper; 5% proposal)
In 5-7 pages, you will make an analytical argument about one of the films screened during the course (not
the same film you used for your sequence analysis), deploying the concepts and arguments we have
encountered in our readings. Before the paper is due, you will submit a proposal and outline that will
count for 5% of your final course grade. Papers will be evaluated on the clarity and persuasiveness of
their arguments. Complete instructions will be distributed and discussed in class, a couple weeks before
the assignment is due.
Participation (15%)
Your participation and readiness to discuss the assigned readings and screenings is essential to your
success in this course. Much of the material and many of the concepts we will cover are difficult and
counterintuitive, and our understanding of these things, together, will be improved through robust,
thoughtful, and respectful discussion in class. 15% of your final grade is based on the quality and quantity
of your participation in class. About midway through the semester, I will post on Canvas your
participations grade to date.
3. 3
Grading Scale: A (94-100%) B+ (88-93%) B (84-87%) C+ (78-83%) C (74-77%) D+ (68-73%) D (64-
67%) F (0- 63%)
Late Work and Incompletes
I do not accept late work or allow incompletes, excepting genuine emergencies. Should you be
experiencing such an emergency, be in touch with me as soon as possible.
Attendance
You are allowed three absences (excused and unexcused) without consequence. Further absences will
lower your “Participation” grade, and you will automatically fail the course with 6 absences or more. If
you miss class, it is your responsibility to find out what you missed.
Sleeping in class is not attending class. You will be marked absent if you sleep in class.
Late is better than absent, but frequent lateness is disruptive to the class discussion and costs you much of
your participation. Three late arrivals will be counted as one absence. Additionally, if you are late, it is
also your responsibility to make sure that I’ve recorded your attendance when class is dismissed.
Plagiarism
Your submitted and presented assignments will follow normal academic standards of reference and
citation. Passing off others’ ideas as your own work will be grounds for failing the course.
4. 4
Class Syllabus Notices
Academic Misconduct
Academic and non-academic misconduct: The Student Code of Conduct defines academic misconduct,
non-academic misconduct and the consequences or penalties for each. The Student Code of Conduct is
available in the NMSU Student Handbook online:
http://studenthandbook.nmsu.edu/
Academic misconduct is explained here:
http://studenthandbook.nmsu.edu/student-code-of-conduct/academic-misconduct/
Discrimination and Disability Accommodation
Section 504 of the Rehabilitation Act of 1973 and the Americans with Disabilities Act Amendments Act
(ADAAA) covers issues relating to disability and accommodations. If a student has questions or needs an
accommodation in the classroom (all medical information is treated confidentially), contact:
Trudy Luken, Director
Student Accessibility Services (SAS) - Corbett Center, Rm. 208
Phone: (575) 646-6840 E-mail: sas@nmsu.edu
Website: http://sas.nmsu.edu/
NMSU policy prohibits discrimination on the basis of age, ancestry, color, disability, gender identity,
genetic information, national origin, race, religion, retaliation, serious medical condition, sex, sexual
orientation, spousal affiliation and protected veterans status.
Furthermore, Title IX prohibits sex discrimination to include sexual misconduct: sexual violence (sexual
assault, rape), sexual harassment and retaliation.
For more information on discrimination issues, Title IX, Campus SaVE Act, NMSU Policy Chapter 3.25,
NMSU's complaint process, or to file a complaint contact:
Lauri Millot, Title IX Coordinator
Agustin Diaz, Title IX Deputy Coordinator
Office of Institutional Equity (OIE) - O'Loughlin House, 1130 University Avenue
Phone: (575) 646-3635 E-mail: equity@nmsu.edu // Website: http://www.nmsu.edu/~eeo/
Other NMSU Resources:
NMSU Police Department: (575) 646-3311 www.nmsupolice.com
NMSU Police Victim Services: (575) 646-3424
NMSU Counseling Center: (575) 646-2731
NMSU Dean of Students: (575) 646-1722
For Any On-campus Emergencies: 911
Syllabus Change Policy
This syllabus is a guideline for the course and is subject to change with advance notice.
5. 5
SCHEDULE—SPRING 2017
UNIT I: Introduction
WEEK 1: WHAT IS AUDIO-VISUAL MEDIA? WHAT IS FILM/MEDIA THEORY?
Thurs 1/19 Course Introduction
WEEK 2: “SCREENING” IMAGE AND WORD
Tues 1/24 Words and Images
Read: FLUSSER; CW 5-16
SCREEN: A Trip to the Moon (Melies, 1902), Great Train Robbery (Porter, 1903), Maxwell's Demon
(Frampton, 1968), Bridges Go Round (Clarke, 1958)
Thurs 1/26 Media and Culture
Read: BENJAMIN; CW 19-28
UNIT II: THEORIZING AUDIO-VISUAL MEDIA: FROM SHOT TO SEQUENCE
WEEK 3: MISE-EN-SCENE
Tues 1/31 Inside the Frame
Read: FASSBINDER, CW 66-85
SCREEN: Ali: Fear Eats the Soul (Fassbinder, 1971); La Chambre (Akerman, 1975); Wavelength
(Snow, 1967)
Thurs 2/2 Transforming the Frame
Read: MARTIN; CW 86-95
WEEK 4: CINEMATOGRAPHY
Tues 2/7 Image and Index
Read: DOANE, CW 97-104
SCREEN: Weekend (Godard, 1968); Inextinguishable Fire (Farocki, 1968)
Thurs 2/9 Significance and the Image
Read: BAZIN, CW 105-32
WEEK 5: SOUND
Tues 2/14 Sound and Image
Read: CHION, CW 181-205
SCREEN: Soundings (Hill, 1979);
Thurs 2/16 Acoustic Art
Read: SHINGLER & WIERNGA, LASTRA
WEEK 6: EDITING
Tues 2/21 Relating Images and Sounds
Read: EISENSTEIN, VERTOV, CW 140-61
SCREEN: Sans Soleil (Marker, 1983); Man with a Movie Camera (Vertov, 1929)
Thurs 2/23 Continuity/Discontinuity
Read: WOLLEN, CW 162-75
WEEK 7: NARRATIVE
SEQUENCE ANALYSIS PROPOSAL DUE: 10/2 5:00 PM
Tues 2/28 Telling an Audio-Visual Story
Read: MULVEY, CW 214-30
6. 6
SCREEN: Phoenix (Petzold, 2015)**This film is on Netflix; Killer of Sheep (Burnett, 1977)**I will make
this film available
Thurs 3/2 Narrative and Spectacle
Read: GUNNING, CW 243-52
UNIT III: CRITIQUE: MEDIA AND CULTURE
WEEK 8: AUTHORSHIP
Tues 3/7 The Function of the Author
Read: FOUCAULT, CW 355-65
SCREEN: F for Fake (Welles, 1973); Close-Up (Kiarostami, 1990)
Thurs 3/9
WEEK 9: GENRE and INDEPENDENCE
Tues 3/14 Genre
Read: ALTMAN, DERRIDA, CW 317-46
SCREEN: Omega Shell (Soto, 2000); Breaking Bad, Season 1, ep. 1;
Thurs 3/16 “Independent” cinema
Read: ________, CW 366-96
SPRING BREAK 3/20-3/24
WEEK 10: SCREENING RACE
Tues 3/28 Race and the Screen Image
Read: DYER, STEWART
SCREEN: Lumumba: Death of a Prophet (Peck, 1990)
Thurs 3/30 Race and New Media
Read: NAKAMURA, CHUN
WEEK 11: POLITICS, AESTHETICS, TERCER CINE (THIRD CINEMA)
Tues 4/4 The Politics of Representation
Read: MINH-HA, SOLANAS, CW 392-99
SCREEN: Reassemblage (Minh-ha, 1982); De Cierta Manera (Gómez, 1974)
Thurs 4/6 Aesthetics of Politics/Politics of Aesthetics
Read: RANCIERE, DEBORD, CW 297-314
WEEK 12: EXPERIMENTAL SCREENS: PUSHING AGAINST THE APPARATUS
Tues 4/11 Experimental Film/Video
Read: ZRYD, BRAKHAGE
SCREEN: Meshes of the Afternoon (Deren, 1941); The Dead Weight of a Quarrel Hangs (Ra’ad, 1996-
99); Turbulent (Neshat, 1998); Outer Space (Tcherkassky, 1999), Selections from Ryan Trecartin, Rist
Thurs 4/13 The Apparatus and Its Limits
Read: BAUDRY, AGAMBEN
UNIT IV: MEDIA MATTER / SYSTEM / INFRASTRUCTURE
WEEK 13: NEW MEDIA / PRINT MEDIA
Tues 4/18 Media Old and New
Read: McLUHAN, HAYLES, MANOVICH
SCREEN: Video games lab/workshop
7. 7
Thurs 4/20 Video Games and Procedure
Read: BOGOST, CW 429-37
WEEK 14: THE POLITICS and MATERIALITY OF MEDIA SYSTEMS
FINAL PAPER PROPOSAL DUE: 11/27 5:00 PM
Tues 4/25 Control and Protocol
Read: CHUN, GALLOWAY, CW 438-48
SCREEN: Hacking/Coding workshop
Thurs 4/27 Media Matters
Read: LATOUR, PARIKKA
WEEK 15: WEARABLE TECHNOLOGIES AND BIOMEDIA
Tues 5/2 Biomedia and Bioart
Read: PARIKKA, THACKER
SCREEN: Eduardo Kac
Thurs 5/4 Wearable Media and Surveillance
Read: PETERSON, KAC
FINAL PAPER DUE: TUESDAY 5/9 BY 5:00 PM, VIA CANVAS.
8. 8
BIBLIOGRAPHY OF COURSE READINGS
Agamben, Giorgio. “What Is an Apparatus?”
Altman, Rick. “Where Do Genres Come From?” In Film/Genre. London: BFI, 1999.
Baudry, Jean-Luc. “Ideological Effects of Basic Cinematic Apparatus.” In Narrative, Apparatus,
Ideology: A Film Theory Reader, edited by Philip Rosen. New York: Columbia UP,
1986. 286-298.
Bazin, Andre. “Ontology of the Photographic Image.” In What is Cinema?
Benjamin, Walter. “The Work of Art in the Age of Its Mechanical Reproducibility.”
Bogost, Ian. Persuasive Games: The Expressive Power of Videogames. Cambridge: MIT Press,
2007.
Bourdieu, Pierre. Distinction: A Social Critique of the Judgment of Taste. Cambridge, Mass:
Harvard University Press, 1984.
Chion, Michel. “Projections of Sound on Image.” in Audio-Vision, edited and translated by
Claudia Gorbman. New York: Columbia University Press, 1994. 3-24.
Debord, Guy. The Society of the Spectacle. New York: Zone Books, 1994.
Derrida, Jacques. “The Law of Genre.” Critical Inquiry 7.1, Autumn (1980).
Doane, Mary Ann. 2007. "Indexicality: Trace and Sign: Introduction." Differences 18, no. 1: 1-6.
Eisenstein, Sergei. “A Dialectical Approach to Film Form.” In Film Form, edited by Jay Leyda.
San Diego: Harcourt Brace Jovanovich, 1977. 45-63.
Fassbinder, Rainer Werner. “Six Films by Douglas Sirk.” New Left Review 91, May-June (1975).
Foucault, Michel. “What Is an Author?” Language, Counter-memory, Practice: selected essays
and interviews. Ithaca, N.Y.: Cornell University Press, 1977.
Gunning, Tom. “The Cinema of Attractions: Early Film, Its Spectator, and the Avant-Garde.” In
Early Cinema: Space, Frame, Narrative, edited by Thomas, Elsaesser and Adam Barker.
London: BFI Pub, 1990.
Hayles, N. Katherine. How We Think: Digital Media and Contemporary Technogenesis.
Cambridge: MIT Press, 2012.
Marks, Laura U. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses.
Durham: Duke University Press, 2000.
McLuhan, Marshall. Understanding Media.
Minh-Ha, Trinh, T. "Documentary is/not a Name." October no. 52 (April 15, 1990): 76-98.
9. 9
Mulvey, Laura. “Visual Pleasure and the Narrative Cinema.” In Visual and Other Pleasures.
Bloomington: Indiana University Press, 1989.
Rancière, Jacques. The Politics of Aesthetics: the Distribution of the Sensible. London:
Continuum, 2004.
Shingler, Martin, and Cindy Wieringa. On Air: Methods and Meanings of Radio. Oxford: Oxford
University Press, 1998.
Solanas, Fernando, and Octavio Getino. “Towards a Third Cinema: Notes and Experiences for
the Development of a Cinema of Liberation in the Third Word.” Film Theory 3 (2004).
Wollen, Peter. “Godard and Counter-Cinema: Vent d'Est,” Afterimage 4 (1972): 6-17.
Zedd, Nick. “The Cinema of Transgression Manifesto.”