praxis deployed by faculty themselves and will address each area by way of ...
Pink, Daniel H. A Whole New Mind: Why Right-Brainers will Rule the Future.
FILM 200A
Fall 2011
Intro to Grad Studies in Film + Digital Media Prof. Shelley Stamp
[email protected] | 459-4462 | Communications 107 Office Hours: Wednesdays 12:00 – 2:00 pm & by appointment Class Website: http://people.ucsc.edu/~stamp/200A
Wednesdays 2:00-5:00 pm Communications 121
Course Description 200A is one of three foundational graduate courses in Film and Digital Media. It is designed to provide an introduction to approaches to film, video, television, and digital media theory and praxis as they are pursued by our faculty. In this sense the course is not intended as an exhaustive or even representative survey of fields, much less an historically organized one: we are driven by the modes of research and praxis deployed by faculty themselves and will address each area by way of faculty visits rather than an overarching narrative of developments. Despite the impossibility of exhaustively surveying our disciplines, the course nevertheless aims to facilitate a deep questioning and engagement with the formative discourses and critical contexts that surround each faculty member’s work. As a face-to-face introduction to the Film and Digital Media faculty, the course also functions as the beginning of a critical conversation between graduate students and professors. It will allow students to think about the relationships between various faculty projects, will encourage recognition of points of intersection and divergence between faculty and student research and praxis, and will prepare students to identify the critical contexts that they share or are differentiated by.
Assignments Weekly: Complete all the required reading and/or viewing and keep notes on it. Readings will be posted in electronic form on the class website, along with links to work posted online. In some cases videos will be placed on reserve at the Media Center in McHenry Library. Please come to the seminar with questions, comments, connections, thoughts about the material you have read/watched/interacted with. Once per quarter: Each student will choose one week in which to introduce the faculty visitors. You will prepare an introduction for each visitor and begin a critical conversation based on the work that the faculty member has assigned for us to study. Follow-up assignments due each Wednesday: After each faculty visit, all students will be required to produce a short follow-up assignment based on what was presented and discussed that week. This may take the form of a short response paper; it may also be a short media project. For example, you might videotape a presentation and edit it with annotations and interpolation; or you might create a sonic record of the presentation and re-mix it using comments from the ensuing discussion to create a condensed form of argument or reflection; or you might try to map the intellectual terrain covered in the form of a database. You will be encouraged to experiment with more than one method of working during the quarter, but in all cases your short projects must demonstrate a thoughtful contextualization of the week's presentations and discussion. End-of-quarter assignment: At the end of the quarter you will compile an annotated bibliography of work across at least two research areas addressed in the course (as defined by the student) along with annotation of the work found. Students will thus be asked to find work that creates links and divergences between different theoretical and critical approaches that may be pursued in their future research. In addition to the annotated bibliography, students will be asked to write a brief statement that discusses why these areas are of interest to them, and how the bibliographies and topics might be further developed into research and praxis-based projects.
FILM 200A
Fall 2011
Class Schedule Reading/Viewing assignments are subject to change! Consult the course website for the most up-to-date information. Sept 28
Introduction
Reading/Viewing: Laura Mulvey and Peter Wollen, “From Cinephilia to Film Studies” Camera Obscura collective, “30 Years of Camera Obscura” David Rodowick, “Dr. Strange Media, or How I Learned to Stop Worrying and Love Film Theory” Isaac Julien and Mark Nash, “Frantz Fanon as Film” Oct 5
Chip Lord + Warren Sack
Reading/Viewing: Chip Lord: Une Ville de l'Avenir: http://vimeo.com/29705840 In Transit: http://vimeo.com/19371236 To and from LAX: http://vimeo.com/1278296 additional info about Ant Farm: http://artsites.ucsc.edu/faculty/Lord/AntFarm.html Pascoe, David: “Splendours of Space.” In Airspaces. Reaktion Books, UK, 2001. Warren Sack: Wardrip-Fruin, Noah. “The Tale-Spin Effect.” In Expressive Processing: Digital Fictions, Computer Games, and Software Studies. Cambridge: MIT Press. Sack, Warren. “Narrative Intelligence” from book manuscript in progress. Oct 12
Dean David Yager + Soraya Murrary
Reading/Viewing: David Yager: Kelley, Tom. The Art of Innovation: Lessons in Creativity from IDEO, America’s Leading Design Firm. New York: Currency, 2001. [chapters TBA] Pink, Daniel H. A Whole New Mind: Why Right-Brainers will Rule the Future. New York: Riverhead, 2005. [chapters TBA] Soraya Murray: th Murray, Soraya. “Theorizing New Media in a Global Context.” 17 International Symposium on Electronic Art. Istanbul, 2011. Bal, Mieke. “Visual Essentialism and the Object of Visual Culture.” Journal of Visual Culture 2, no. 1 (2003): 5-32.
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FILM 200A
Oct 19
Fall 2011
Margaret Morse + Irene Lusztig
Reading/Viewing: Margaret Morse: Morse, Margaret. "An Ontology of Everyday Distraction: Malls, Freeways and Television.” In Virtualities: Television, Media Art and Cyberculture. Bloomington: Indiana University Press, 1998. Morse, Margaret. “The Image, the Body and the Space-in-Between.” In Virtualities: Television, Media Art and Cyberculture. Bloomington: Indiana University Press, 1998. Morse, Margaret. Essay on CCT TBA. Bachelard, Gaston. Poetics of Space. Paris: 1957. [excerpts] Irene Lusztig: Reconstruction (Irene Lusztig, 2001) [McHenry Media Center reserve.] What Farocki Taught (Jill Godmilow, 1998) [McHenry Media Center reserve.] “How Real is the Reality in Documentary Film? Jill Godmilow in Conversation with AnnLouise Shapiro.” Hilderbrand, Lucas. “Experiments in Documentary: Contradiction, Uncertainty, Change” & “Experimental Documentary Questionnaire.” Millenium Film Journal 51 (2009). Oct 26
B. Ruby Rich + Irene Gustafson
Reading/Viewing: B. Ruby Rich: Rich, B. Ruby. “Hello Cowboy.” Guardian, September 23, 2005. Rich, B. Ruby. “Brokering Brokeback: Jokes, Backlashes, and Other Anxieties.” Film Quarterly 60, no, 3 (2007): 44-48. Dyer, Richard. TBA Irene Gustafson: Gustafson, Irene, and Julia Zay. “Notes on Screen Testing.” Journal of Visual Culture, 6, no. 2 (2007): 201-08. Holdheim, Wolfgang. “Introduction: The Essays as Knowledge in Progress.” In The Hermeneutic Mode: Essays in Time in Literature and Literary Theory. Cornell: Cornell University Press, 1984. Altman, Rick. “General Introduction: Cinema as Event.” In Sound Theory/Sound Practice. Edited by Rick Altman. London: Routledge, 1992. The Gleaners and I. (Agnes Varda, 2000). [McHenry Media Center reserve.] Arnold, Martin. Passage à l’acte. (1993) [to be screened in class]
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FILM 200A
Nov 2
Fall 2011
L.S. Kim + Sharon Daniel
Reading/Viewing: L.S. Kim: Kim, L.S. “NASCAR Nation and Television: Race-ing Whiteness." In Flow TV: Television in the Age of Media Convergence, ed. Michael Kackman et al. New York: Routledge, 2001. Caldwell, John. "Televisual Politics: Negotiating Race in the L.A. Rebellion." In Televisuality: Style, Crisis, and Authority in American Television. New Brunswick, N.J.: Rutgers University Press, 1995, pp.301-335. Sharon Daniel: Public Secrets: http://publicsecret.net [Please also read the author’s statement: http://vectors.usc.edu/projects/index.php?project=57&thread=AuthorsStatement Blood Sugar: http://bloodandsugar.net [Please click on “Learn More” and listen to or read the Introduction] Agamben, Giorgio. Means without Ends: Notes on Politics. Trans. Vincenzo Binetti and Cesare Casarino. Minneapolis: University of Minnesota Press, 2000. [excerpts] Nov 9
John Leaños + Gustavo Vazquez
Reading/Viewing: John Leaños: Gordon, Avery. Ghostly Matters. Haunting and the Sociological Imagination. Minneapolis: University of Minnesota Press, 2008. [Introduction and chp. one] Gustavo Vazquez: nd The Great Mojado Invasion (or the 2 US/Mexico War). (Gustavo Vazquez & Guillermo Gómez-Peña, 1999.) [McHenry Media Center reserves.] Gómez-Peña, Guillermo. Dangerous Border Crossers: The Artist Talks Back [selections].
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FILM 200A
Nov 16
Fall 2011
Yiman Wang + Larry Andrews
Reading/Viewing: Yiman Wang: Wang, Yiman. “The Transnational as Methodology: Transnationalizing Chinese Film Studies through the Example of The Love Parade and its Chinese Remakes.” Journal of Chinese Cinemas 2.1 (2008): 9-21. Chris Berry, “If China can say No, Can China Make Movies? Or, Do Movies Make China? Rethinking National Cinema and National Agency.” boundary 2 25.3 (1998): 12950. Paul Willemen. “The National Revisited.” Theorizing National Cinema, ed. Valentina Vitali and Paul Willemen. London: BFI, 2006. 29-43. Larry Andrews: TBA Nov 23 Class canceled for Thanksgiving. Nov 30
Renee Tajima-Peña + Shelley Stamp
Reading/Viewing: Renee Tajima-Peña: TBA Shelley Stamp: Stamp, Shelley. “Is Any Girl Safe? Female Spectators at the White Slave Films.” Screen 37, no. 1 (1996): 1-15. Stamp, Shelley. "Presenting the Smalleys: 'Collaborators in Authorship and Direction.'" Film History18, no. 2 (2006): 119-28. Hastie, Amelie. "The Miscellany of Film History." Film History 18, no. 2 (2006): 222-30.
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