![](../images/clear.gif) |
![](../images/line.gif)
Course Description
An introductory level course exploring video as a medium, particularly
as it is utilized by women, people of color, lesbians and gays, grassroots
activists, as well as other peoples who are under and/or mis-represented
by dominant media. This class explores independent video production from
historical as well as issue-oriented approaches. The history of video
technology, from analog to digital, is studied with a focus on developments
that made video an accessible and powerful tool for self-expression and
political intervention. Issues around gender, race, class, and sexual
politics are examined in relation to works from the above-mentioned communities.
Bodies of work by individual makers and collectives are presented as case
studies in how multiple issues can be addressed through singular oeuvres.
No prerequisite.
![](../images/line.gif)
Course Organization
Class activities include group
discussion, student presentations, video screenings, writing assignments, and direct action. There may also be site visits and field trips, depending on our schedule and class size. Your participation in class activities
will factor into your final grade. Throughout the semester, guest speakers,
including film and video makers, media artists, programmers, etc., maybe
invited to class and/or venues at the Claremont Colleges, so be prepared
to attend out-of-class screenings.
Please turn off all
cell phones and pagers during class. These and other diversions are not
acceptable during class time, and will lower your grade.
Course Requirements
|
1. |
Attend all classes |
2. |
Participation in class discussions and presentations |
3. |
Completion of all individual and group assignments |
![](../images/line.gif)
Attendance
Attendance and participation of all classes is required. Do not miss class
or arrive late! If you
miss class 3 times without a proper excuse, (e.g. a doctor's note if you
are sick) you fail the class.
Absences must be cleared by me before or after (in case of emergencies only)
the class you missed in order for it to not affect your final grade. Attendance
is determined by when I take roll.
Class Participation
Your active, well-prepared participation in class discussions is essential
to creating a dynamic (i.e. not boring!) learning environment. Although
you will not receive a letter grade for class participation, it will figure
into your final grade based on my observations.
We often study sexually explicit, political, and otherwise challenging
material in this course. These are not included for shock value, but are
legitimate investigations of controversial subject matters in media. You
are certainly encouraged to explore difficult and complex subject matters
in your work, and you should be prepared to consider these issues intellectually
and emotionally. Our class is a safe space in which students can express
their beliefs and opinions. You always have a voice, but please be respectful
of others as well. Abusive language and behavior are not be tolerated.
Open-mindedness is encouraged!
Class
Assignments & Exams
Reading and writing assignments are not graded individually, but are averaged into your participation grade.
• |
3 in-class exams - when we finish examining each historical period, (e.g. 1940s-1960s) there is an in-class exam, usually in the form of multiple choice questions and short essays discussing the information and issues we explored. |
• |
Diversity group action - affinity groups will each plan and stage an action that address the concerns of their group. A proposal for the action is due October 23. The action must be concluded by November 26. Go to DGA guidelines and groups. |
• |
Final research paper/project - each student will hand in a final research paper or project on December 11. This should engage with issues of video and diversity that are important to you. Possible paper/projects include: research paper on a movement and its video productions, an analytical paper on a video, video maker, or genre of video; a creative work addressing these themes. The content of your paper/project should not have been extensively discussed in class. Your paper/project must be approved upon by instructor by November 13, and is due on December 11. |
Unless an extension
is approved by myself in advance of the due date, your grade will be reduced
by one letter grade (i.e. B to C) per class day your paper is late.
You are encouraged to meet with me individually during my office hours
to discuss your assignments, your grades, and your overall performance
in class. I am always open to suggestions and feedback!
![](../images/line.gif)
Reading
Assignments
Required readings will be from the following textbooks (available at the Huntley Bookstore), and/or posted on the class web site. Suggested readings are available from Huntley in limited numbers, and will be posted on the web site and on Sakai (sakai.claremont.edu). You should be able to draw from these reading assignments during class discussions, exams, papers, other assignments.
Required Textbooks:
Maureen Adams, Warren J. Blumenfeld, Rosie Castaneda, Heather W. Hackman, Madeline L. Peters, Ximena Zuniga, eds., Reading For Diversity and Social Justice, Routledge, NY, 2000.
Doug Hall and Sally Jo Fifer, eds., Illuminating Video: An Essential Guide to Video Art, Aperture/BAVC, 1990.
Suggested Textbooks:
Amelia Jones, ed., The Feminism and Visual Culture Reader, Routledge, NY, 2003.
Alexandra Juhasz, ed., Women of Vision: Histories in Feminist Film and Video, University of Minnesota Press, MN, 2001.
Benjamin Shepard & Ronald Hayduk, eds., From ACT UP To The WTO: Urban Protest and Community Building in The Era of Globalization, Verso, NY, 2002.
Additional References (good sources for your research paper/project):
Most if not all of these titles are at the Honnold Library, if you want to purchase copies, go to amazon.com, half.com, etc .
Roy Armes, On Video, Routledge, NY, 1988.
Barbara Abrash & Catherine Egan, eds., Mediating History: The MAP Guide to Independent Video, New York University Press, NY, 1992.
Bad Object-Choices, eds., How Do I Look? Queer Film and Video, Bay Press, Seattle, WA, 1991.
Gina Dent, ed., Black Popular Culture, Bay Press, Seattle, WA, 1992.
Manthia Diawara, ed., Black American Cinema, Routledge, NY, 1993.
Frantz Fanon, Black Skin, White Masks, Grove Wiedenfeld, NY, 1967.
---, The Wretched of The Earth, Grove Wiedenfeld, NY, 1963.
Russell Ferguson, Martha Gever, Trinh T. Minh-ha, Cornel West, eds., Out There: Marginalization and Contemporary Culture, New Museum/MIT Press, NY, 1990.
Peter X. Feng, ed., Screening Asian Americans, Rutgers University Press, 2002.
Peter X. Feng, Identities in Motion: Asian American Film & Video, Duke University Press, 2002.
Coco Fusco, English is Broken Here: Notes on Cultural Fusion in The Americas, The New Press, NY, 1995.
---, The Bodies That Were Not Ours and Other Writings, Routledge, NY, 2001.
Roger Garcia, ed., Out of The Shadows: Asians in American Cinema, Olivares/Locarno Film Festival, 2001.
Martha Gever, John Greyson, Pratibha Parmar, eds., Queer Looks: Perspectives on Lesbian and Gay Film and Video, Routledge, NY, 1993.
Darrell Hamamoto & Sandra Liu, eds., Countervisions: Asian American Film Criticism, Temple University Press, 2000.
John Hanhardt, Video Culture: A Critical Investigation, Peregrine Smith Books, NY, 1986.
Thomas Harding, The Video Activist Handbook, Pluto Press, London & Chicago, 1997.
Alexandra Juhasz, AIDS TV: Identity, Community, and Alternative Video, Duke University Press, Durham, 1995.
Russell Leong, ed., Moving The Image: Independent Asian Pacific American Media Arts, UCLA Asian American Studies Center and Visual Communications, Los Angeles, 1991.
Laura U. Marks, The Skin of The Film: Intercultural Cinema, Embodiment, and the Senses, Duke University Press, Durham, 2000.
Cherrie Moraga & Gloria Anzaldua, eds., This Bridge Called My Back: Writings by Radical Women of Color, Kitchen Table Press, NY, 1981
Jose Munoz, Disidentification: Queers of Color and the Performance of Politics, University of Minnesota Press, MN, 1999.
Chon Noriega, ed., Chicanos and Film: Representation and Resistance , University of Minnesota Press, MN, 1992.
Michael Renov & Erika Suderburg, eds., Resolutions: Contemporary Video Practices, University of Minnesota Press, MN, 1995.
Ruby Rich, Chick Flicks: Theories and Memories of The Feminist Film Movement, Duke University Press, Durham, NC, 1998.
Ira Schneider and Berl Korot, Video Art: An Anthology, Harcourt Brace Jovanovich, NY, 1976.
Anthony Smith, ed., Television: An International History, Oxford University Press, UK, 1998
Fatimah Tobing Rony, The Third Eye: Race, Cinema, and Ethnographic Spectacle, Duke University Press, Durham, NC, 1996.
Ella Shohat & Robert Stam, Unthinking Eurocentrism, Routledge Press, NY, 1994.
Jun Xing, Asian America Through The Lens, AltaMira Press, 1998.
Grading
Your final grade will be based on the following |
• |
Exams 30% |
• |
Research paper/project 25% |
• |
Diversity group action 25% |
• |
Class participation* 20% |
* Your general performance in class including participation, writing assignments, attendance and punctuality, except in the special cases listed above, such as if you have more than 3 un-excused absences.
Generally, outstanding ('A') students in this class have good attendance
and completed all their assignments on time. They are consistently well
prepared for class, and actively participate in and advance our discussions
with pertinent information, questions, and observations. Their work demonstrate
their awareness of the issues at hand, the historical context for the
film and videos they are discussing, as well as their ability to articulate
their observations and analyses in a clear and concise manner. Only letter
grades are given out in this class.
Academic honesty -
all work done for this course must be the original work of the student
submitting it, and should have been undertaken exclusively for this course.
No work done prior to this class maybe used to fulfill the class assignments.
Extra credit - Students are
encouraged to attend screenings, conferences, lectures, exhibitions and
web events related to this course. Write a two-page (typed and double-spaced)
report of the event or activity. Incorporate the event's relevance to
the class as well as your personal responses to it. Proof of attendance
is required (keep your ticket stubs, programs, etc.) Students are allowed
two extra credit papers. Announcements for events of interest to this
class are done in the first 5 mins. of each class.
* I try my best to make my grading criteria as clear as possible,
and you are welcome to come and discuss your grades and your class performance
with me. However, I only consider legitimate concerns, and be aware that
your grade is as likely to go down as it is to go up after I reassess
your assignment. I do not tolerate haggling, bribing, threats, and any
other pointless arguments. I consider all aspects of your performance
before I assign a grade, please respect my assessment as I respect your
efforts.
|
|
![](../images/line.gif)
Course Schedule:
WEEK 1: INTRODUCTION, WHAT IS DIVERSITY?
Spetember 2 : Introduction
• |
Class Introduction |
• |
Review Syllabus & Requirements:
__- Course Description
__- Course Organization/Expectations
__- Attendance Policy
__- Class Participation
__- Assignments
__- Grading Policy |
• |
Class discussion: What is diversity?? |
Video
BEYOND BODY MEMORY (1992) by Neesha Dosanjh
Writing Assignment #1
After reading the assignment for week 1, respond to this question: What is your definition of diversity? and post your response (300-600 words) on Sakai (sakai.claremont.edu) under "Forums". You are encouraged to look at each other's responses before class on Thursday, bring a hard copy to class and be prepared to share!
September 4: Diversity Activity
Week 1 Reading Assignment
"Reflections on Liberation" by Suzanne Pharr and "Towards a New Vision: Race, Class, Gender as Categories of Analysis and Connection" by Patricia Hill Collins, in Reading For Diversity and Social Justice , pp. 450-462
No screening this week
WEEK 2: WHAT IS VIDEO?
September 9: Intro to Video Technology
• |
Class defnition of diversity posted as a Wiki document on Sakai (sakai.claremont.edu), students will log in periodically throughout the semester to modify the document. First check-in will be in two weeks. Also look at the definition of diversity created by the Fall 2006 class. |
• |
Introduction to Video:
__- Video vs. film
__- Electromagnetic Composition
__- How it Works
__- Formats
__- Digital |
Video
Excerpt from FUSES (1964-67) by Carolee Schneemann
Excerpt from VERTICAL ROLL (1972) by Joan Jonas
September 11: Camera Demo
Web Site
A totally whacky site on the history of video technology
Week 2 Reading Assignment
Aesthetics of Video Image by Roy Armes, in On Video, pp. 186-210
"10-Point Plan for Video" by Vito Acconci, "You are Consumed" by Richard Serra, "I Use Video as a Knife by Willoughby Sharp, all in Video Art: An Anthology.
Videos
TELEVISION DELIVERS PEOPLE (1973) or BOMMERANG (1974) by Richard Serra
No Screening This Week
WEEK 3 : 1940-1950
September 16: 1940s-50s
• |
|
• |
1940s-1950s Historical Perspective |
• |
Post- WW2 activity |
September 18: 1940s-50s
• |
MovieTone Reels oppressed images, censored, controlled. |
• |
Social Change read, heard, still images. |
Videos
TELEVISION DELIVERS PEOPLE (1973) or BOMMERANG (1974) by Richard Serra
Movie Tone Reels: BLACK AIRMEN OF WWII (1941), CRAZY FOOTBALL: HOLLYWOOD STYLE (1942), EMPTY HIGHWAYS (1942), THE WOMEN MADE THE TANKS (1942), JAPANESE-AMERICANS IN INTERNMENT CAMPS (1942)
Week 3 Reading Assignment
The Importance of Being Ernie: Taking a Close Look (and Listen) by Bruce Ferguson, in Illuminating Video, pp. 349-265.
The American Networks by Les Brown, in Television: An International History, pp. 147-160.
No Screening This Week
WEEK 4: 1950-1960
September 23: 1950s
• |
Television broadcast history: timeline 1, timeline 2, Portapak image |
• |
Educational films and social engineering in the 1950s |
• |
The production of a "critical audience" - Ernie Kovacs |
Videos
Educational films: DUCK AND COVER (1951), THE TROUBLE WITH WOMEN (1959)
Excerpts from the ERNIE KOVACS SHOW
Web Site Our Show of Shows
September 25: Late 50s-1960s
• |
Late 1950s/early '60s Historical Perspective |
• |
Early 1960s mass media and issues of diversity |
Videos & Films:
Excerpts from SAYONARA (1957) Directed by Joshua Logan
Excerpts from FLOWER DRUM SONG (1961) Directed by Henry Koster
Week 4 Reading Assignment
The Cold War Origins of the Model Minority Myth by Robert Lee, in Orientals: Asian Americans in Popular Culture, Temple Univ. Press, Philadelphia, 1999, pp. 145-179.
Writing Assignment #2
Prime Time Survey (1 page) Look at this year's Fall prime time (8pm-11pm) schedule. Break down each network and program's cast and characters in terms of race/ethnicity, gender, sexual identity. Determine patterns. Choose one night during this or next week (to coincide with the Fall season launch) to conduct your survey, report during class.
Week 4 Screening (Tuesday, September 23, 7pm, SC230)
GUESS WHO"S COMING TO DINNER? (1967) Directed by Stanley Kramer
WEEK 5: EXAM #1, 1960-1970
September 30: 1960s
• |
Early 1960s mass media and issues of diversity |
• |
Counterculture and diversity - happenings, love-ins, and the politics of "groovy-ness" |
Videos & Films:
Excerpts from GUESS WHO"S COMING TO DINNER? (1967) Directed by Stanley Kramer
Excerpt from BERKELEY IN THE SIXTIES (1990) Directed by Mark Mitchell
October 2: Exam #1 (1940s-1960s)
• |
In-class exam - study on
__- The characteristics of video technology, difference between film and video, video aesthetics, etc.
__- Early broadcast history, genres, etc.
__- 1950s-60s Hollywood and diversity |
Week 4 Screening (Tuesday, September 26, 7pm, SC230)
Episodes from the ERNIE KOVACS SHOW (Optional)
WEEK 6: 1960-1970
October 7: Late '60s-Early '70s
• |
Late 1950s/early 1960s Historical Perspective |
• |
Counter culture gendered representations |
• |
Gendered representations: proto-feminist artists |
• |
The material manipulation of film vs. the electronic manipulation of video |
Videos & Films:
Excerpt from FUSES (1964-67) by Carolee Schneemann
Excerpt from VERTICAL ROLL (1972) by Joan Jonas
October 9: Susan Mogul Screening, 1:30-3:30, Avery Auditorium
• |
Meet in classroom and we will go over to Avery together, stay after class if you can for Q&A with the artist |
Week 6 Reading Assignment
Interview with Carolee Schneemann in Women of Vision, pp. 61-75 Why Have There Been No Great Women Artists? by Linda Nochlin in The Feminism and Visual Culture Reader, pp. 229-233 "Night to His Day": The Social Construction of Gender by Judith Lorber, The Conundrum of Difference by Sandra Lipsitz Bem, in Reading For Diversity and Social Justice , pp. 203-213, 228-232
Week 6 Screening (Tuesday, October 7, 7pm, SC230)
FUSES (1964-67) by Carolee Schneemann VERTICAL ROLL (1972) by Joan Jonas
BERKELEY IN THE SIXTIES (1990) Directed by Mark Mitchell (Optional)
WEEK 7: 1970s
October 14: Late 1960s—1970s
• |
Late 1960s / early 1970s Historical Perspective, 1965-1973 (Presenters: Lily Burgess, Ti'esh Ni'kol)
__- End of Viet Nam War, Watergate, impeachment of Nixon
__- Arts Movement - predominately white males exhibited
__- People of Color - still organizing, still developing, lacked access to video technology |
• |
Technological advances
__- Technology more advanced - video mixer, special effects, chroma-key, etc.
__- Editing is available but very expensive
__- 3/4" becomes the standard
__- New cameras and portapak |
Videos
Excerpt from GOOD MORNING, MR. ORWELL (1984) by Nam June Paik
Excerpt from TECHNOLOGY/TRANSFORMATION (1978) by Dara Birnbaum
October 16: Late 1970s-1980s
• |
New documentary: video activism, street videos |
• |
Video collectives |
• |
Historical Perspective, 1974-1980 (Presenters: Michele Kaufman, Jaclyn Mena) |
• |
Technological Advances
__- The Betacam Changes Broadcast TV formats
__- The Camcorder consumer version available
__- Editing still costly
__- Public Access usage goes up |
Video
Excerpt from MEDIA BURN (1976) by Ant Farm & T.R. Uthco
Week 7 Reading Assignment La Vie, Satellites, One Meeting—One Life by Nam June Paik, in Video Culture, pp. 219-222 Truth or Consequences: American Television and Video Art by David Ross, in Video Culture, pp. 167-178 Video: Shedding The Utopian Moment by Martha Rosler, in Illuminating Video, pp. 31-50
A Brief History of American Documentary Video by Deirdre Boyle, in Illuminating Video, pp. 51-69
Week 7 Screening (Tuesday, October 14, 7pm, SC230)
4 MORE YEARS (1972) by TVTV
ETERNAL FRAME (1976) by Ant Farm & T.R. Uthco
WEEK 8: FALL BREAK, 1980-1990
October 21: Fall Break - No Class
October 23: 1980s, Diversity action proposals due
• |
The Women's Movement and early feminist video |
• |
Presentation by each affinity group on their diversity actions - 5 min. . |
Week 8 Reading Assignment Feminist Media Strategies for Political Performance by Suzanne Lacy & Leslie Labowitz in The Feminism and Visual Culture Reader, pp. 302-313
Reading For Diversity and Social Justice , pp. 238-260
No Screening This Week - but you are highly encouraged to attend the Resolution 3 Symposium on Friday, October 24 (in Claremont), Saturday October 25 and Sunday October 26 (in Hollywood). Vans will be available to take students from campus to Symposium site at LACE and back, details TBA.
WEEK 9: 1980s
October 28: Feminist Videos
• |
Feminist videos in 1980s |
• |
Public access and community video |
Videos
ALWAYS LOVE YOUR MAN by Carla DeVito (1975)
VITAL STATISTICS OF A CITIZEN, SIMPLY OBTAINED by Martha Rosler (1977)
October 30: Feminist Videos & Video Activism
• |
Feminist videos in 1980s |
• |
1980s Historical Perspective (Presenters: Amanda Miller, Mellanie Moore) |
• |
Public access and community video |
• |
Technological advances |
• |
Video activism |
Videos
Excerpt from LOVE TAPES by Wendy Clarke (1981)
MADE FOR TV by Anne Magnuson and Tom Rubinitz (1984)
Excerpt from JOAN DOES DYNASTY by Joan Braderman (1986)
Week 9 Reading Assignments
The Feminism Factor: Video and its Relation to Feminism by Martha Gever, in Illuminating Video, pp. 226-241
Significant Others: Social Documentary as Personal Portraiture in Women's Video of the 1980s by Christine Tamblyn, in Illuminating Video, pp. 405-417
Interview with Kate Horsfield, Susan Mogul in Women of Vision, pp. 95-106, 183-194
What is Video Activism? by Thomas Harding in The Video Activist Handbook, pp. 1-13
Week 9 Screening (Tuesday, October 28, 7pm, SC230)
VITAL STATISTICS OF A CITIZEN, SIMPLY OBTAINED by Martha Rosler (1977)
LOVE TAPES by Wendy Clarke (1981)
JOAN DOES DYNASTY by Joan Braderman (1986)
WEEK 10: EXAM #2, 1980s-90s
November 4 : 1980s, Public Access and Video Activism
• |
Technological advances |
• |
Video activism |
Videos
UNPACKING THE REVOLUTION IN A BOX (1989) by Paper Tiger TV
Week 10 Reading Assignments
Unpacking the Revolution In A Box by John Walden, I want to read more!
"Video Art: What's TV Got To Do With It?" by Kathy Rae Huffman, Illuminating Video, pp. 81-90
Web Site
Paper Tiger Television
Deep Dish TV
Freespeech TV Indymedia Centers
November 6: Exam #2 (1965-1986)
• |
In-class exam - study on
__- Social/cultural history: the impact of '60 counter-culture, rebellion and anti-establishment, Vietnam War, awareness of media hegemony; 1970s and the US Women’s Movement; 1980s and reactionary politics
__- Tech history: portapak, video synthesizers, video compositing (blue-screen), consumer video – camcorders and VCR; video technology became more and more available
__- The Women's Movement and Feminist video art – precursor: Carolee Schneemann and Joan Jonas, 1st generation: Dara Birnbaum, Martha Rolser, Carla De Vito, 2nd generation: Anne Magnuson, Joan Braderman, Wendy Clarke
__- Video activism – from street videos to public access: TVTV, Ant Farm, Paper Tiger TV, Deep Dish TV
__- Other artists – Nam June Paik, Peter Campus
|
No Screening this Week - Study for Exam #2
WEEK 11: LATE 1980s-1990s
November 11: AIDS Activist Videos
Videos
KISSING DOESN'T KILL (1990) PSAs by Gran Fury
Selected SAFER SEX SHORTS (1987-90) various directors, produced by GMHC
Web Site
DIVA TV (Damned Interfering Video Activists)
ACT UP Oral History Project
November 13: Late 1980s-1990s
• |
Research paper abstract due - 1 page summary of paper topic and bibliography, typed and double-spaced |
• |
AIDS activist videos |
Videos
Excerpt from VOICES FROM THE FRONT (1992) by Testing the Limits
Excerpt from LIKE A PRAYER by DIVA TV (1991) by DIVA TV
Excerpt from THEY ARE LOST TO VISION ALL TOGETHER (1988) by Tom Kalin
Week 11 Reading Assignments
Reading For Diversity and Social Justice , pp. 324-340
"So Many Alternatives" The Alternative AIDS Video Movement by Alexandra Juhasz, in From ACT UP to the WTO, pp. 298-305 On The Make: AIDS Activist Video Collectives by Catherine Saalfield, in Queer Looks, pp. 21-37
Interview with Carol Leigh, Juanita Mohammed in Women of Vision, pp. 197-222
No Screening This Week because of Exam #2
WEEK 12: 1990s
November 18: Multiculturalism and Identity Politics, Research paper abstract due
• |
1990s Historical Perspective (Presenters: Thania Murillo, Acadia Tucker, Emily Ziegler) |
• |
Desert Storm |
• |
Clinton Era |
• |
Rodney King and the LA Uprising |
• |
Identity politics |
Videos
ALL ORIENTALS LOOK THE SAME by Valerie Soe (1986)
ANIMAQUILADORA by Alex Rivera & Lalo Lopez (1997)
Writing Assignment #4
Write a personal ad for yourself. Bring 2 copies, one with your name, which you will hand in, and one without your name, which will be presented in class.
November 20: Queer Nation?
• |
NEA and censorship - debate federal funding for the arts (Mapplethorpe, 2 Live Crew, NEA4, etc.) |
• |
Identity politics |
• |
Technological Advances |
• |
History of Public Television |
Videos
ME AND RUBY FRUIT by Sadie Benning (1989)
Week 12 Reading Assignments
marginality as site of resistance by bell hooks in Out There, pp. 341-344
Ethnicity, Politics, and Poetics: Latinos and Media Art by Coco Fusco, in Illuminating Video, pp. 304-316
Video Art: What's TV Got To Do With It? by Kathy Rae Huffman, in Illuminating Video, pp. 81-90
Interview with Valerie Soe in Women of Vision, pp. 249-260
Radical Queers or Queer Radicals? by Liz Highleyman, in From ACT UP to the WTO, pp. 106-120
Interview with Cheryl Dunye in Women of Vision, pp. 291-304
Week 12 Screening (Tuesday, November 18, 7pm, SC230)
DOCTORS, LIARS, AND WOMEN: AIDS ACTIVISTS SAY NO TO COSMO (1988) by Jean Carlomusto and Maria Maggenti for the LIVING WITH AIDS public access TV show
TONGUES UNTIED by Marlon Riggs (1989)
Suggested Viewing
SHE DON'T FADE by Cheryl Dunye (1991)
WEEK 13: 1990s, THANKSGIVING
November 25: Identity Politics
• |
Multiple identities |
• |
Claiming a voice: self-representation and autobiography |
Suggested Reading
Reading For Diversity and Social Justice , pp. 267-318
No Screening This Week
November 27: Thanksgiving Holiday - No Class Meeting
WEEK 14: 1990s-2000s
December 2: Appropriation & Fair Use
• |
Technological advances: digital revolution (non-linear editing, all media on the same platform) |
• |
Appropriation and Fair Use
__- Desert Storm: Gulf War 1991
__- Rodney King and the 1992 LA Uprising
__- Columbus Bicentennial - the "discovery of America |
Videos
IRAQ CAMPAIGN 1991 by Phil Patiris (1992)
December 4: Culture Jamming
|
Diversity Action evaluation - 2-3 page narrative and reflection on the action performed by your group. Each student must hand in an evaluation to receive a grade for the group action project. |
• |
2000-Present Historical Perspective (Presenters: Acadia Tucker, Jaclyn Mena, Ti'esh Ni'kol) |
• |
The Battle of Seattle and WTO protests |
• |
Culture Jamming |
Videos
VIDEO PRESS RELEASE by Barbie Liberation Organization
BRINGING IT TO YOU by RTMark
Reading Assignments
Articles on Detournement by Guy Bedford, Gil J. Wolman, Rene Vienet, in The Situationist International Anthology, pp. 8-14, 55-56, 213-216
"Who's Doin' The Twist? Notes Toward A Politics of Appropriation," by Coco Fusco, in English is Broken Here, pp. 65-77 Excerpts from Culture Jam by Kalle Lasn, Quill/Harper Collins, New York, 2000; pp. 29-35, 123-136 Suggested Reading
Pixel Vision: The Resurgence of Video Activism by Rachel Rinaldo Also read sidebar articles: Video Precursors: 1965-Present and Free Speech TV: Ahead of Its Time & Defining the Curve
Article on CBS attempt to censor Phil Patiris
Article on Fair Use
Web Sites
Modern TV (Phil Patiris' web site)
DIY media
Guerilla Girls
Adbusters Media Foundation
RTmrk
Week 14 Screening (Tuesday, December 2, 7pm, SC230)
CULTURE JAMMER'S VIDEO by Adbusters Media Foundation
COUPLE IN THE CAGE (1997) by Paula Heredia & Coco Fusco, performance by Coco Fusco &
Guillermo Gomez-Pena
Suggested Viewing
INTRODUCTION TO THE END OF AN ARGUMENT by Jayce Saloum & Elia Suleiman (1990)
MEDIA KILLA by Matt MacDaniel (1992-98)
WEEK 15: EXAM #3, GROUP PRESENTATIONS, RESEARCH PAPER DUE
December 9: Exam #3 (1990s-Present)
• |
In-class exam - study on
__- Topics: video activism, AIDS activism, multiculturalism and identity politics, lesbian and gay/queer movements and politics, anti-globalisation/anti-corporate activism;
__- Concepts: Agit prop, marginality, censorship, detournement, appropriation, fair use, cultural jamming;
__- Technology and formats: popularization/commercialization of media technology, camcorders, public access TV, hi-tech vs. lo-tech, digital revolution;
__- Artists: Gran Fury, DIVA TV, Tom Kalin, Testing The Limits, GMHC, Living With AIDS Public Access TV, Valerie Soe, Alex Rivera & Lalo Lopez, Marlon Riggs, Sadie Benning, Adbusters, Coco Fusco & Guillermo Gomez Pena, Guerilla Girls, RTMark |
December 11: Diversity Action evaluations due
• |
Class party - we will meet at 12 noon for lunch at the Grove House, outdoor classroom if it is nice, or the meeting room in back |
• |
Hand in research paper today if you can, final deadline is Tuesday, 12/16, by 5pm - leave a hardcopy in my mailbox in Scott Hall (outside PZ Registrar) or slide it under my door. |
• |
Diversity group action presentations - 5 to 10 mins. from each group, discuss your action and it's results, show video, photo, web/blog documentation |
• |
Class evaluation |
• |
Revisiting our class definition of diversity |
<Back to Course Listing
Back to top
|