EFTA02677319.pdf

Spring 2014 - Course Description LAM 3028 Human Rights & Humanitarianism In a Critical Perspective LANT Anthropology Faculty: Ticktin. Miriam TR 01:50 PM 03:30 PM Credits: 4 CRN 6398 Sec A LANT 2028 Love and Money: Intimate Transactions 'This course introduces the principles and practices of human rights and humanitarianism in Faculty: Halawa. Mateusz TR 11:55 AM - 01:35 PM Credits: 4 CRN 6981 Sec A interdisciplinary perspective. We will inquire into the notions of "'humanity" imagined and The intimate and the economic are often imagined as two separate, or even hostile. spheres of protected by each of these. as well as how each are bounded by national and colonial histories. social life. If mixed, conventional wisdom holds, love and money will corrupt each other The readings will help students explore how these hegemonic discourses and practices are sentiments will get in the way of business, and calculation will poison passion. Our very ideals of culturally contextualited and mediated: arid while trying to understand how claims of resistance intimacy and economic activity both rely on constantly drawing boundaries between the two. and struggle are being re-articulated in legal languages of nghts and entitlements and/or in a However, ethnographic evidence gathered by anthropologists and sociologists suggests that in the moral language of humanitarianism, we will pay particular attention to how these claims often practice of everyday life, love and money intermingle constantly in the practices of of individuals. have unintended consequences. Using gender, race and class as focal points. we will think about couples, and households and often with good results. This course serves as an introduction to •who• benefits from these discourses and practices and what alternatives we may have. This social and cultural analysis of money in everyday life by way of exploring a series of messy course satisfies requirements in Reading and Writing? 'intimate transactions? How does money circulate between spouses, friends, lovers, relatives, LAM 3035 Workshop in Ethnography parents and children? What pleasures and profits. divisions and attachments do these exchanges Faculty: Raffles. Hugh M 12:10 PM - 02:50 PM Credits: 3 CRN 6800 Sec A produce? The course explores, among other themes: compensated and uncompensated household labor, inheritance, informal loans, remittances from those overseas, college funds. and This course introduces students to some of the basic techniques of Anthropology as a fieldwork- allowance. We will discuss and debate the relationship between love and money based on based discipline. Students will develop and undertake a series of individual and collaborative anthropologcal, sociological, legal. journalistic, and literary readings. This course satisfies fieldwork exercises that they wilt workshop into written ethnography. developing the basic skills requirements in Writing. used by professional anthropologists. Readings will focus on both practical and ethical issues LAIR 2100 Postcolonial Africa connected to standard field methodologies. Reading Ethnography, an equivalent Anthro course, or permission of the instructor Is required. This course satisfies requirements in Doing. Faculty: Reitman. Janet TR 10:00 AM - 11:40 AM Credits: 4 CRN 4993 Sec A Postosionial Africa is typically represented as a marginal place in the world: a place of disorder LARS The Arts and war. How does anthropology help us to consider Africa's place in our world? Do anthropological accounts of postcolonial Africa confirm that it is a place of chaos and violence? Or LARS 2030 Latin American Modem: 1920s-1960s does anthropology allow us to better understand how we came to think about Africa as prone to Faculty: Cepero-Amador, MW 10:00 AM - 11:40AM Credits: 4 CRN 7175 Sec A violence and marginality? This seminar will consider these questions. We will examine some of This course examines the emergence and development of Latin American modemisms. The first the key concepts and debates that are central to the anthropology of postcolonial Africa with an wave, which unfolded from the 1920s to the 1940s in Brazil. Mexico and Cuba. witnessed the aim to developing a aitical perspective on representations of this vast continent and the diversity artists' combination of European avant-garde tendenciesfisuch as post-impressionism and of practices that make Africa more than a continent. The seminar will take a thematic approach. Cubismfiwith local motifs in a quest to reflect a national Identity. The second wave pertains to the covering topics such as kinship and ethnicity, religion and witchcraft. and economics and post-World War II rise of abstraction in South America. specifically. concrete abstraction in globalization. We will use both ethnographies and novels as the basis for discussion and debate. Argentina and Brazil. and op and kinetic art in Venezuela. Artistic modernisms In the region will be This course satisfies requirements In Reading and Writing. studied in connection with the political and cultural context. specifically. the process of nation- LAW 3013 Mies and Globalization state building the rise of populist ideologies, and the incidence of developmentalism in the Faculty: Rao, VyJayanthi F 12:10 PM 02:50 PM Credits: 4 CRN 7070 Sec AX Southern Cone during the 1950s and 1960s. We will analyze a range of artists. such as Tarsila do Amaral, Candid() Portinarl, Diego Rivera, David Maio Sieueiros Frida Kahle. Wrfredo Lam, Cundo For the first time in world history, more people live in urban rather than rural settlements. The Bernick:. Mario Carreto, Pedro Figari group MAD-, Lygia Clark. Helio Oiticica. Carlos Cruz-Diez scale, complexity and dynamism of contemporary urbanization and the tendency toward disorder or entropy in contemporary cites is historically unprecedented. This momentous and global and .lese Rafael Soto. Topics might include: the strategies of modernity in Latin America, the new concept of 'invested utopia? the role of the avant-garde group manifestos. the post-colonial legacy. transformation has great social, cultural, economic and political implications and numerous causes. In this seminar course, we will examine the specific relationship between the and the meaning of abstraction within a turbulent political milieu. We discuss crucial concepts that define cultural modernism in Latin America: among them, identity, indigenism, costumbrismo, contemporary urban revolution and globalization or the recent post-cold war integration of transculturation, syncretism, hybridization, and race politics. As part of the course, we will visit the economic and political institutions at the global scale and we will explore their implications for our Latin American collection at MoMa and art galleries that specialize in Latin American art. collective future. The seminar is structured around core topics such as infrastructure and urban ecology, urban inequality and uneven development and the question of urban visions and futures. Case studies are drawn from across the world and we will use several channels of analysis, including documentary films and television broadcasts, the internet. reports prepared by multilateral organizations and think tanks and, finally, your own field researches in and around New York City. Ideas will be snared in class through interactive Journals and shared reports. Students must have taken at least one prior anthropology course at the 200 level. Office or the Dean 10/240/2013 Pagel°, 52 EFTA_R1_01971949 EFTA02677319  UM 2250 Practicing Curating LARS 3065 Art and Labor Faculty: Lookofsky, Sarah F 12:10 PM - 02:50 PM Credits: 4 CRN 6173 Sec AX Faculty: Toon, Soyoung TR 10:00 AM 11:40 AM Credits: 4 CRN 7177 Sec A Practicing Curating will offer an in-depth introduction to curatorial practice, examining the art of The course offers a history of modern and contemporary art through the framework of art and exhibition making from a historical. cultural, theoretical, and pragmatic perspective. The course labor. the various relationships between art and labor, the changes in the conditions of artistic covers current and historical exhibitions along with curatorial and critical writing related to production as well as the transformations in the measure/value of artistic tabor. Students address exhibition practices. Students will also gain hands-on experience in various aspects of mounting an artistic representations of work as well as different figurations of the artist as worker. as exhibition, including planning, designing, installing, and archiving the show. The exhibition venue nonworker, as out-of-work. If the Lumnine brothers' Workers Leaving the Factory (1895) Is the first will be the Skybridge Art and Sound Space located on the third floor between the Lang and New film in the history of cinema, we will also ask what happens after the leaving of the factory: the School buildings. Students must be able to dedicate time outside of normal Class hours for time-space of reproduction and care, of work that is overlooked and undervalued (for example. excursions to museums, galleries. alternative art spaces, and other venues as an essential part of women's work*); of the refusal to work, of strike, sabotage, or anti-work politics and post-work this course. imaginanes: of the displacement of the factory and the assembly-llne as the primary mode of LARS 3045 Postwar Art and Theory production. Students address how artists have worked with and against the effects of the Faculty: Young, Benjamin MW 03:50 PM - 05:30 PM Credits: 4 CRN 7176 Sec A restructurations of capital and social/technological transformations that have changed the very conditions of production, especially the supposed shift from a Fordist to post-Fordist economy: the This course will survey major developments in mostly American and European visual art from the blurring of the distinction between work and life. the Increasing Importance of what has been end of World War II to the present. At the start of the course, students will be introduced to the called immaterial, communicative. or affective labor. as well as the overall dismantling of the main artistic terms and problems set up by the 'high' modernism of abstract expressionism. We security and stability of work in general. As we analyze the transformations of the affective will then examine the challenges to modernism posed by pop art minimalism. photography and composition of labor. pointing to the current fear and anxiety of wearily. unemployment, debt. we video. and performance and conceptual art in the 1960s and 19705. As the course proceeds. we will underscore labor not only as a matter of economics but also power and subjection: the will narrow our focus to track certain problems set up by these postmodern practices as they are subjective effects of labor, the timespace of the body in relation to labor, the working body. the developed by artists in the 1980s and 1990s. including: the photomechanical challenge to reproductive body, the fatigued body, the body at rest, the idling or drifting body. the body on painting and the unique touch of the artist's hand: the unsettled objecthood of photography. strike. This history of art will be studied alongside different histories and theories of labor. Seminar performance, and text-based work: the tension between art and document or making and discussions will be supplemented with screenings. visits to galleries and museums. participation in recording; authorship, identity (including gender, race, and sexuality), commodification, and artists' talks. appropriation: the shift from medium specificity to the expanded fields of the physical. environmental, social, and political context of the artwork and its maker. Students will conclude LARS 3155 Methods of Art History and Visual Studies the course with a research paper based on a work currently on view in the city. Time permitting, Faculty: Caplan, Lindsay TR 01:50 PM - 03:30 PM Credits: 4 CRN 5793 Sec A class trips to relevant current exhibitions may be arranged; previous familiarity with the history of This is a challenging seminar in which students are introduced to the fundamental issue of modem an is encouraged but not required. methodology in art historical (and cultural) analysis. Through a highly selective series of texts, the course presents an introductory overview of some of the major literature and interpretive models that have been developed, contested, and in some cases overturned. throughout the history of art history. LCST Cultural Studies LCST 2028 Public Radio Culture Faculty: Montague, Sarah MW 03:50 PM 05:30 PM Credits: 4 CRN 7492 Sec A This course examines the history, influence, and unique broadcast culture of public radio, from its grass routes beginnings in the 1940s. to the creation of the hugely influential news programs Morning Edition and All Things Considered to the environment that has shaped and impelled to celebrity such figures as Garrison Keillor. Terry Gross. and Ira Glass. The broad spectrum of program and genres in the system will be examined, as will its place in the larger broadcasting culture. and its internal challenges and dilemmas. At once a voice for independent news and cultural coverage. with increasing weight in the national landscape, it has been plagued by internal dissension and an increasing reliance on corporate sponsorship and commercial models that may comprise the very values that set it apart. Attentive listening critical readings in media history, and essays-audio or written, are among the assignments and obligations of participating students. 00k. or the Dean Papa of 62 EFTA_R1_01971950 EFTA02677320  LOST 2120 Introduction to Cultural Studies LCST 2788 Screen Toolkit Faculty: Wane.. Kenneth TR 10:15 AM - 11:30 AM Credits: 3 CRN 5794 Sec A Faculty Beck, Michele W 03:50 PM - 05:30 PM Credits: 3 CRN 5217 Sec A *Intro to Cultural Studies. (Tracks C & MJ This course examines the pivotal role of culture in the *Screen Toolkit* (Track SI This course combines lectures and tahwork to help students familiarize modern world, including the ideas, values. artifacts. and practices of people in their collective themselves with various software platforms and multimedia tools, in order to more effectively lives. Cultural Studies focuses on the importance of studying the material processes through which gather, analyze, contextualize. present, and re-present information within a broad political and culture is constructed. It highlights process over product and rupture over continuity. In particular. cultural framework. After completing the six different modules (text camera, lighting, sound. it presents culture as a dynamic arena of social struggle and utopian possibility. Students read key editing, distribution), students better understand-and are more confident in usingthe various thinkers and examine critical frameworks from a historical and a theoretical approach, such as modes and methods that enable the critically informed to 'read between the pixels.' as well as Raymond Williams. Stuart Hall and the Birmingham School: the work on popular culture. identity meaningfully contribute to the ever-expanding digital public sphere. This Is an Integrative course. politics, and postmodernism in America; and the emergence of a 'global cultural studies' in which Prerequisite for Screen Studies track. [Track SI transnational cultural flows are examined and assessed. Class sessions are set up as dialogic LCST 3027 Adaptation encounters between cultural theory and concrete analysis. (Tracks C & MI Faculty: Collyer. Laurie M 09:00 AM 11:40 AM Credits: 4 CRN 7499 Sec AX LCST 2122 Introduction to Screen Studies *Adaptaton• ITrack SI Turning nothing into something is something every wnter faces when they Faculty: Isenberg. Noah TR 10:15 AM • 11:30 AM Credits: 3 CRN 4707 Sec A sit down to create a new piece of work. Adaptation is a screenwriting class where we will learn to *Introduction to Screen Studies• (Track SI The goal of this course is to deepen your appreciation turn something which already exists into something else. What we will come to understand, is that of the history of cinema and to explore possible ways of thinking about films. By analyzing we flex the same muscles as when we write from imagination alone. We will adapt news articles. influential films from the cinematic canon. as well as theoretical approaches that have been first person interviews. short stories and fairy tales Into screenplays. We will also experiment with brought to bear on that canon. we will explore the complex relationship between the moving image genre by watching clips and adapting them into other genres 6 drama to comedy, comedy to and critical thought. The course will survey/include the main historical periods and movements western, the possibilities are endless. Weekly staged readings of student work will enhance the from film history 4 silent cinema. the classical Hollywood film. Italian Neo.realism, the French New experience of writing for actors on screen. Adaptation requires previous screenwriting experience. Wave, and American Independent Cinema. The course will also cover some of the major film as well as familiarity with the work of Syd Field and Lagos Egri. (Counts for Track SI genres. key films from various national cinemas. and select auteurs from the history of cinema. LCST 3047 Heterodox Identities (Track SI Faculty: Lee, Orville TR 01:50 PM 03:30 PM Credits: 4 CRN 7503 Sec A LCST 2450 Introduction to Media Studies **Heterodox Identities* ITrack CI Racial passing is a ubiquitous and contentious feature of social Faculty: Scholz, Robert TR 12:00 PM • 01:15 PM Credits: 3 CRN 4035 Sec A and cultural life in the United States. Taking —passing" as an object of analysis, this course is *Introduction to Media Studies* [Track MI This course introduces the student to basic concepts organized around the question of whether social identity should be understood as a set of and approaches in the critical analysis of communications media. Drawing on contemporary essential characteristics or as a type of —performance.— Discussions centering on readings and critiques and historical studies. It seeks to build an understanding of different forms of media. films entertain topics such as the conceptualization of race: the dynamics and meaning of racial such as photography and cinema, television and video, the internet and hypermedia, in order to passing; the movement for the recognition of biracial identities: and the question of —authenticity- assess their role and impact in society. Since media are at once technology, art and in relation to social identities and the politics of the self. (Track CI' entertainment. and business enterprises. they need to be studied from a variety of disciplinary LCST 3049 StoryCorps: Radio and Digital Storytelling perspectives. The readings for the course reflect this multi•pronged approach and draw attention Faculty: Napolin. Julie M 07:00 PM 09:40 PM Credits: 4 CRN 7593 Sec AX to the work of key thinkers and theorists in the field. Moreover, the readings build awareness of *StoryCorps: Radio and Digital Storytelling* (Track MI This course will be taught in collaboration the international dimensions of media activity. range, and power. (Track M) with the senior producer of public radio's 'StoryCorps.' We will produce a StoryCorps-style oral LCST 2787 Media Toolkit history of Eugene Lang College. The New School and the surrounding Greenwich Village area. In Faculty Bardin, Stefan' T 03:50 PM • 06:30 PM Credits: 3 CRN 5858 Sec B the first part of the course, we will consider the history and theory of the relationship between *Media Toolkit* (Track MI This course situates media in the broader context of an innovative and voice, storytelling, and recording technology beginning with print media and the phonograph, and integrative liberal arts education. As such, it enables students to evaluate and make decisions leading up to digital media. How have people understood their voices in acts of witnessing. concerning their relationship to proliferating technologies and various new media. This course testimony, and other forms of cultural memory? We will also discuss the concept of oral history. combines lectures and lahwork to help students familiarize themselves with various software considering such projects as Zora Neale Hurston's recordings of slave narratives and Studs platforms and multimedia tools. in order to more effectively gather. analyze. contextualize. Terkel's oral history of the Great Depression. Why do people tell stories and what are the ethics of present, and re-present information within a broad political and cultural framework. After listening to and documenting them? In studying the StoryCorps project and the fundamentals of completing the five different modules (intro, image, word. sound, number), students better radio documentary, students will seek out, document, script edit, and present an oral history that understand-and are more confident in using-the various modes and methods that enable the will be a part of a larger podcast and web-series, '51oryCorps at Lane This series will begin to critically informed to read between the pixels, as well as meaningfully contribute to the ever- capture the voices of the rich political. Intellectual, and artistic history of our University. Students expanding digital public sphere. This is an Integrative course. ITrack MI will have the opportunity to work with StoryCorps facilities. including the various booths around the city. Students will be chosen based on experience and a personal statement 2 Student Fellows with proficiency in sound recording and Pro Tools will be selected to supervise and design a platform for the public presentation of student work. [Track MJ 00k. or the Dean 10/29/2012 Page 3 of 62 EFTA_R1_01971951 EFTA02677321  LCST 3050 Documenting Williamsburg Living Los Sures LCST 3108 World Cinema Faculty: Zahedt Caveh W 03:50 PM - 06:30 PM Credits: 4 CRN 7556 Sec AX Faculty: Vega-lion& Silvia TR 01:50 PM - 03:30 PM Credits: 4 CRN 6184 Sec A Travel to the acclaimed Elrooklyn-based documentary company. UnionDocs. and contribute to the *World Cinema* (Tracks SI This course studies world cinema. initially understood as films of world- exciting project, Living Los Sures. an ongoing transrnedia documentary on the historical Puerto importance. not produced in and for Hollywood. Beginning with the pioneering work of French Rican barrio of South Williamsburg. Students will create short films with programmer Steve filmmakers, and highlighting German Expressionism of the early 1920s, as well as Russian Holrngren and the UnionDocs team, attend screenings, and participate in master classes and montage cinema of the late 1920s, the focus shifts to Latin America (Mexico and Argentina) as professional development workshops. 2 Student Fellows with a proficiency in film production and well as China and Japan In the 1930s and 1940s. After WW II. the course will consider the film editing will be selected to train other students in the use of the audio-visual equipment and different 'new waves' in Westem Europe (Italian Neo-Realism. the French Nouvelle Vague, New software. German Cinema) and Eastern Europe (Poland, Czech Republic. Hungary), From the 1970s LCST 3072 Mapping Time: Film & Video History and Theory onwards, a politicised. anti- and post-colonial cinema emerges in parts of Latin America (Cuba. Argentina, Brazil) and Sub-Sahara Africa (Maio, Senegal. Ethiopia. Burkina Faso). which also Faculty: Perlin, Jenny F 09:00 AM - 11:40 AM Credits: 4 CRN 6682 Sec AX reflects the increasing importance of intemational film festivals for world cinema. The 1980s *Mapping Time Histories and Theories of Film/Video Installation* This seminar investigates witness a strong presence of Asian films (from Taiwan. South Korea and Hong Kong). while the histories. strategies, and concepts of film and video art. The presentation of projected images in a 1990s reflect the vitality of filmmaking in Mainland China. in Iran. as well as world-class directors non-theatrical setting dates back to the early days of cinema. In this course we will look at film, in Spain and Mexico. With the arrival of digital media and the spread of globalised culture since video, and media works that use space, sound, site-specificity, multiple channels. loops, and the late 1990s. cinema everywhere has undergone such dramatic changes that the course will absences as tools for communicating ideas. The course will address histories of projection conclude with new definitions of what is meant by 'world cinema' today. Readings in film history performance. from the days of magic lantern slides through Dada. Fluxus, and Happenings to and international film culture will be complemented by critical analyses of individual films. (Tracks contemporary installation, multimedia performance & new technologies. Students will be expected SI to read from a variety of historical, theoretical, literary. and art historical texts, write papers. and give In-class presentations on historical and contemporary film and video artists. A component of LCST 3221 Oral Histories of LES the course will take piece outside the classroom at museums, galleries, and performance spaces Faculty: Gtiff-Sleven, Hanna TR 03:50 PM • 05:30 PM Credits: 4 CRN 5877 Sec A throughout New York. Students will have opportunities to meet with art historians. cultural critics. *Oral Histories of The Lower East Side: New Paths to Old Stories* (Track C & MI The Eldridge curators and contemporary artists about their practices at a range of workshops and events Street Synagogue was the first of its kind in America a grand structure built by the newly arriving outside of class. [Tracks M and SI This four-credit course meets for fewer in-class hours than Jewish immigrant community of Eastern Europe. I will work with New School students on creative others but requires additional outside of class activities. ways to integrate new technologies such as digital documentation and digital stories into our LCST 3090 Category of Race: Theory, Genesis, Construction, Democracy historic site. Students will be trained in oral history interviewing techniques. transcription, and the evaluation of oral evidence. Each student will conduct an interview, transcribe and edit the Faculty: Lee. Orville TR 10:00 AM 11:40 AM Credits: 4 CRN 7594 Sec A material and analyze our current use of technology. The theme for this semester will be food and "Category of Race: Theory. Genesis. Construction. Democracy* (Track CI This seminar examines food memories of the Lower East Side. As a class students will create an the origins and evolution of the category of race in America. We will consider the social and exhibition/prOgram/presentation using that technology Integrating the history, aesthetics and cultural 'conditions of possibility for the existence, reproduction. contestation. and spiritual qualities of our space. All classes except for the first one will be at the Museum at democratization of this category. We will also weigh theoretical and methodological issues Eldridge Street. 12 Eldridge Street NY NY 10002. This class will count towards a minor in Jewish pertaining to the study of *race* (Track CI Studies. [Track C & MI LCST 3107 Intimate Film Cultures LCST 3223 Retro-Futurism Faculty: Guilford. Joshua MW 10:00 AM 11;40 AM Credits: 4 CRN 5871 Sec A Faculty: Elchhorn, Cathleen TR 10:00 AM - 11:40 AM Credits: 4 CRN 6828 Sec A *Intimate Film Cultures* (Track S. C & MI What's intimate about cinema? And what 0 if anything 0 *Retro-Futurism • (Track M & CI This course investigates how technologies and media were is cinematic about intimacy? Within the framework of classical film theory, many of cinema's most imagined in the past and how obsolete technologies and media are re-imagined in the present. Intimate devices (the dose-up• the kiss. the photographic trace. etc.) were Invested with Through an exploration of science fiction works and media artifacts, the first pert of the course redemptive potential, even deemed revolutionary by some for their capacity to counter modem explores how our present and future lives were imagined by our late 19tAcentury to mid 20th. alienation and repression. More recently however• cultural theorists have problematized such century counterparts. The second part of the course examines contemporary subcultures from claims, analyzing how cinematic conventions work to structure intimate relations in accordance Steampunk to Dieselpunk• which attempt to re-construct how people may have once imagined with normative ideologies. and suggesting that the aspiration for intimacy may itself be crucial to future worlds. Required course texts include literary, theoretical and cinematic works by writers. the operation of modern systems of power. Pairing classical and contemporary film theory with theorists and artists such as Jules Verne. William Gibson. Samuel Delany. Wolfgang Ernst and Zoe diverse contributions to the emerging field of 'intimacy studies' this course explores such issues Beloff. [Track M & C] by considering how problems of intimacy have organized critical and theoretical discourse on a range of Intimate film cultures, from Hollywood melodrama to queer cinema. French surrealism to Italian neorealism, and from underground film to contemporary diasporic cinema. [Track S, C & MI Office or the Dean 10/29/2013 Page 4d 52 EFTA_R1_01971952 EFTA02677322  LCST 3240 Edgar G. Ulmer Rediscovering a Filmmaker at the Margins LCST 3562 Animal Images: Representing Non-Human Life Faculty: Isenberg, Noah Credits: 1 CRN 7595 Sec A Faculty: Burris, Dew* MW 03:50 PM - 05:30 PM Credits: 4 CRN 6831 Sec A *Edgar G. Ulmer: Rediscovering a Filmmaker at the Margins* (Track Sj Rediscover the sprawling, 'Non-human animals have been represented in various forms of media throughout history. From eclectic works of Austrian-born emigre filmmaker Edgar G. Ulmer through this weekend-long ancient instances of illustration upon cave walls paintings to the plethora of modern day visual festival at the Film Society at Lincoln Center and the Center for Jewish History (Jan. 17.20). media. images of —the animarlf have consistently been produced by all human societies, and for coinciding with the annual Jewish Film Festival. His work includes: such daring and original horror a variety of complex purposes. This course traces the manykey instances of animal portrayal films as The Black Cat (1934) and 8luebeard (1944): a startling variety of ethnic films, from the all. through the agesdifferent epochs. with emphasis on identifying the ways in which humans interact black musical drama. Moon Over Harlem (1939). to Ukrainian operettas and powerful Yiddish with, and maintain, relationships with animals through the creation of their mediated image. features, most notably The Light Mead (1939): and such film noir classics as Detour (1945). Enjoy Drawing upon sociological and philosophicalinterdisciplinary theoretical viewpoints that explore screenings and participate in roundtable discussions with Viennese film critic Stefan Grissemann, the subject of the animal and humans—conceptions— of them. we examine and question potential and head of the Ulmer Preservation Corp.. Arians Ulmer Capes. 2 Student Fellows will be psychological motivations and consequences involved in creating and interacting with animals via selected to aid in the organizational elements of the screenings, discussions and seminar. their presentation as emblems, friends, and partners. companions, humanized characters, and Schedule: - Course runs JANUARY 17 . JANUARY 20 Screenings at Uncoln Center on Fri. 1/17 wild others. Examination of visual media is key to the course and students are expected to and Sat. 1/18 - Roundtable discussion on Sun. 1/19 and Mon. 1/20 (Track Sj contribute image visual examples to the online course blog for collective analysis. as well as and LCST 3324 Social History of New Media co-creation of a digital gallery that will have an online opening at the end of the semester Faculty: Scholz. Robert TR 10:00 AM • 11:40 AM Credits: 4 CRN 6829 Sec A LCST 3618 Experimental Film: Sites and Spaces *Social History of New Media* (Track M & C) This course follows the history of computing and Faculty: Yue, Genevieve F 12:10 PM - 02:50 PM Credits: 4 CRN 7571 Sec M networking communication. We'll approach the history of communication - from the telegraph. *Experimental Film: Sites and Spaces* (Track M & 5) The history and scope of experimental or radio. and television, to the Internet and World Wide Web, from a political, cultural, and social avant-garde cinema has been closely tied to. but also significantly separate from, the practices of perspective. Key themes include: intellectual property. remix. privacy, social netwotking, peer to the an world, on one hand. and commercial Hollywood filmmaking, on the other. Situated between peer culture, social costs and benefits for net users, and the reoccurring utopian hopes and these two poles. it has developed into many distinct and overlapping cultures characterized by dreams that accompany the emergence of new media. One mid-term paper, one presentation, and artisanal modes of filmmaking. independent theatrical and distribution channels, auxiliary print a final paper are required. Readings include Janet Abbate. Katie Hefner. Marshall McLuhan. and and screening practices, and often highly charged debates concerning medium specificiry, Vannevar Bush. (Track M & C) aesthetics, and politics. This course maps the multiple spaces in which experimental film has LCST 3523 Designing Digital Knowledges flourished, from the underground bohemia of downtown New York City and the rural isolation of Faculty: Cowan, Theresa TR 01:50 PM - 03:30 PM Stan Brakhage's Colorado outpost. to the 'minor and 'minority cinemas that sprung up on the Credits: 4 CRN 6830 Sec A outskirts of Hollywood and the found footage experiments of contemporary artists in Vienna. "Designing Digital Knowledges: Production. Action, Labor* (Track C & M) This course takes up the Additionally the course examines notions of space as articulated in experimental film and media. principals, priorities and possibilities of Speculative Digital Humanities as they are articulated In including dry symphonies, landscape film, expanded cinema, and modes of ethnographic Johanna Drucker's Speclab, and moves through a set of readings and exercises that will encounter. In each of the course's many sites of articulation, we will pay close attention to the encourage us to consider `imaginary solutions" (Alfred May) to the problems of bringing avant-garde's impulse to locate, in film, video, and digital media, spaces of political resistance. humanities-based inquiry and creation to the digital and vice versa. We will also study a range of personal expression, and aesthetic possibility. 'Track M & SJ digital projects that —exist— and figure out what they do. how they work and study them through the lens of our key terms: Knowledge, Production. Action. Design and Labor. This course includes LOST 3782 Feminist and Queer Affect Studies work on feminist, queer and critical race code studies, network theory. digital media research and Faculty: Rault, Jasmine TR 11:55 AM