This first year seminar studies 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.
This is a Writing Intensive Course
This course, if completed successfully, will fulfill Pitzer's Written Expression educational objective. It is designed to help you - a first year student - develop a strong foundation in critical thinking (i.e., thinking in analytical ways about facts and ideas) and in writing within an academic discourse community comprising of faculty, fellow students, and an educated audience. Practice in writing for an academic discourse community will prepare you for a wide range of writing, both in your other classes and beyond. You will gain practice in academic argumentation (presenting a cogent and effective case for a position), as well as in creative expression. You will develop and refine a set of intellectual tools that make effective college writing a smoother and easier task. All letter-graded assignments will receive written feedback from me. Please meet with me during my office hours at least twice during the semester to discuss your assignments, as well as visiting Pitzer's Writing Center outside of class meetings for help and feedback on your writing assignments.
The Pitzer Writing Center
The Writing Center is one of Pitzer’s most popular academic resources, holding more than 1,600 consultations last year. This fall, the center will offer comprehensive virtual support to students enrolled in Pitzer classes. This includes one-on-one video conferences with peer Fellows trained to work with writers on assignments across the disciplines and at any stage of the writing process, from brainstorming ideas to polishing a final draft. The Writing Center will also continue to host a range of online workshops and events, including regular “write-ins” that build community and foster resilience around the writing process. Specialized consultations are available for senior thesis, fellowship, and multilingual writers. In addition, a research librarian offers weekly consultations on all aspects of the research process.
For more information: https://www.pitzer.edu/writing-center/.
To schedule an appointment: https://pitzer.mywconline.com/
Statement of Student Learning Outcome (SLO)
First-year seminar challenges students to achieve the following aspirations:
- Engage in an ongoing process of intellectual inquiry and “conversation” through writing:
- Grapple with the ambiguity and complexity found within texts, which range from the written word to film, art, performance, and beyond; respond to texts critically and thoughtfully.
- Regard learning to write well as a life-long pursuit, not the accomplishment of a single semester or even an entire undergraduate career.
- Appreciate and experience the creativity, independent thinking, and intellectual risk-taking involved in effective academic writing.
- Craft thoughtful and insightful questions worthy of investigation; raise significant problems.
- Recognize and contend with alternative viewpoints/counter-arguments.
- Identify research/information needs.
- Locate appropriate scholarly and popular sources.
- Engage with, evaluate, and draw inferences from sources.
- Craft a clear, arguable, and compelling thesis.
- Experience writing as a complex social interaction between writer and reader:
- Participate in an intellectual community of peers where writing and ideas are exchanged and critiqued.
- Rethink and deepen ideas through a recursive process of discussing, drafting, receiving and giving feedback, and revising at any and every point along the way.
- Gain awareness of audience and of voice.
- Practice writing as a form of critical thinking, rather than merely the achievement of sentence-level correctness.
By the end of this course, students ideally are expected:
- To acquire a sense of the history of video and basic knowledge of the social movements covered in class;
- To be able to analyze different media forms, including video art, experimental and avant garde films, documentary, feature narrative films, advertisements, and television;
- To be able to convey their ideas organized in a coherent and logical way in both critical written arguments and in oral presentations as well as discussion;
- To be able to work and learn in both individual and group contexts.
Class Definition of Diversity
Written collectively by the Fall 2020 class at the beginning of the semester, and then revised at the end, this is designed as a living document that we will continue to reference, work with, edit and change as we further explore discussions on the subject of diversity.
Our class defines diversity as a set of contrasting perspectives and identities. Our class challenges “the frameworks of oppression” through learning and emphasizing equal representation. We strive to create an ideal collaborative community in which everyone has the ability to share their voice and listen to each other without judgment. Discussions in our classroom are designed to enrich our understanding of diverse and differing opinions. Our class will work towards understanding and sustaining an open classroom dynamic. We also acknowledge the value of diversity beyond our classroom and are committed to building diverse communities in all spaces and institutions we encounter.
All class and individual meetings will take place on Zoom (meeting ID: 773-331-5933) Class meetings will take place on Tuesdays and Thursdays 11:00am-12:15pm PST. Some accommodations can be made, within reason, for differing locations and time zones.
Normally, class activities include group
discussion, online commentary (e.g. on Sakai forum), student presentations, video screenings, writing assignments, peer reviews on writing, and direct action (or proposals for the online class). There may also be virtual guest speakers as well as site visits depending on relevance to our class topic and level of interest. Your participation in class activities
will factor into your final grade.
For Zoom classes as well as the use of Sakai and other online class sites, your computer with an internet connection and appropriate software, and sometimes perhaps your smart phone, is essential. As I do for my in-person classes, I ask students to agree to these conditions for class: no emails, texting, messaging, checking your social media accounts and other non-class related activities on your device. Additionally, please have your video camera on during classes, and your microphone muted unless you are speaking in class. Appropriate dress and conduct for class is expected.
||Attend all classes
||Participation in class discussions and presentations
||Completion of all individual and group assignments
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.
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 may 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, emotionally, and with responsibility. Our class is a safe space in which students can express
their beliefs and opinions within the context of the course material. You always have a voice, but please be respectful
of others as well. Abusive language and behavior are not tolerated.
Open-mindedness is encouraged!
Assignments & Exams
||Essay One - Reflection (10% of final grade) take home assignment, 3-4 pages, letter-graded. Topics will be announced closer to assignment due dates.
||Essays Two - Constructing an Argument (20% of final grade) take home assignment, 3-4 pages, letter-graded. Topics will be announced closer to assignment due dates.
||Essay Three - Research paper (40% of final grade) letter-graded, final draft due Finals Week. Topic to be determined by student. See assignment guidelines for due dates, criteria, topic options, and other prompts.
||Diversity group action (20% of final grade) affinity groups will each plan and stage an action that address the concerns of their group. A proposal for the action is due between Week 6-8. Each group will meet with instructor to discuss and get feedback on their proposal at least once. During the COVID-19 pandemic, DGA groups can present a fully developed plan of action if their action is not possible under the conditions of social distancing. DGAs must be completed by Week 11, and each group will present the results of their action during Week 12-14. Individual evaluations are due by the last day of class at the latest. Go to DGA guidelines and groups for more information.
||Other writing assignments (10% of final grade along with attendance and class participation) these are short, 1 paragraph to 1 page assignments I will assign throughout the semester, both in and outside of class. They will be in a variety of formats, including video responses, historical perspectives, definitions, profiles, and more. These assignments will not receive a letter grade, and some will receive written feedback. Your work here is considered when I assign your class participation and performance grade.
All writing assignments must be double-spaced, typewritten or word-processed. Use a 10 or 12-point font, 1-inch margins. As students and scholars, you are expected to learn the basics of academic writing, including appropriate style, source documentation, as well as other practices and styles. Reference to class readings are expected when the assignment specifies such requirements, as are citation of your sources. You are expected to make use of a standard citation format, such as the Chicago Manual or MLA-style, in documenting sources - see Diana Hacker, A Writer’s Reference, MLA Handbook (ebook available) or another style manual for specifics (OWL - Purdue University Online Writing Lab, recommended by the current Writing Center staff, is free and online.) All of these are available at the Huntley Bookstore for purchase, or at the Hannold Library for reference. Clarity of expression, accuracy, thoroughness, and neatness are among the criteria that will be evaluated. Proofread your writing assignments carefully!
Hand your work in on time. 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. Excessive tardiness could lead to no credit (i.e. an "F") for the assignment.
Revisions are an integral part of academic and other forms of writing. You have the option to revise Essays 1 or 2 (choose one) based on the feedback you have received for a different grade. These revisions are due on Tuesday, November 24. Revisions are a part of the process for Essay 3. They are mandatory and are scheduled into the syllabus (due on Thursday, November 19, final draft due during Finals Week on Tuesday, December 1).
In this class, you are required to meet with me individually during my office hours
to discuss your assignments, your grades, and your overall performance
in class. This is a good practice to cultivate for other courses you will take during your academic career. I am always open to suggestions and feedback!
Videos shown and discussed in class are either on Sakai (sakai.claremont.edu, see "Video Playlist") or linked to this web syllabus. Additional videos links, connected to student presentations and class discussion, can be posted to the "Forums" section of Sakai.
Required readings will be posted on Sakai (sakai.claremont.edu) in the "Resources" folder. Please complete readings for the day they are assigned (i.e. if a reading is assigned for Tuesday, 9.1, you should have read that reading by the class meeting time on that day) You should be able to draw from these reading assignments during class discussions, exams, papers, other assignments.
Some of these are also available as ebooks from the Claremont Colleges Library, indicated after each title.
Maureen Adams, Warren J. Blumenfeld, Rosie Castaneda, Heather W. Hackman, Madeline L. Peters, Ximena Zuniga. eds. Reading For Diversity and Social Justice. New York: Routledge, 2000.
Doug Hall and Sally Jo Fifer. eds. Illuminating Video: An Essential Guide to Video Art. San Francisco: Aperture/BAVC, 1990. (ebook available)
Amelia Jones. ed. The Feminism and Visual Culture Reader. New York: Routledge, 2003. (ebook available)
Alexandra Juhasz. ed. Women of Vision: Histories in Feminist Film and Video. Minneapolis: University of Minnesota Press, 2001. (ebook available)
Benjamin Shepard & Ronald Hayduk. eds. From ACT UP To The WTO: Urban Protest and Community Building in The Era of Globalization. New York: Verso, 2002.
Good sources for your research paper/project
Roy Armes. On Video. New York: Routledge, 1988.
Barbara Abrash & Catherine Egan. eds. Mediating History: The MAP Guide to Independent Video. New York: NYU Press, 1992.
Bad Object-Choices eds. How Do I Look? Queer Film and Video. Seattle: Bay Press, 1991.
Sean Cubitt. Eco Media. Amsterdam, NY: Rodopi, 2005
Digital Aesthetics. London: Sage Publishing, 1998.
---, Timeshift: On Video Culture. London: Routledge, 1991.
---, Videography: Video Media as Art and Culture. New York; St. Martin's Press, 1983.
Gina Dent. ed. Black Popular Culture. Seattle: Bay Press, 1992.
Manthia Diawara ed. Black American Cinema. New York: Routledge, 1993.
Jennifer Doyle. Campus Sex, Campus Security. South Pasadena, CA: Semiotext, 2015.
Hold it Against Me: Difficulty and Emotion in Contemporary Art. Durham, NC: Duke Univ. Press, 2013
---, Sex Objects: Art and the Dialectics of Desire.
Minneapolis: Univ. of Minnesota Press, 2006.
Frantz Fanon. Black Skin, White Masks. New York: Grove Wiedenfeld, 1967.
---, The Wretched of The Earth. New York: Grove Wiedenfeld, 1963.
Russell Ferguson, Martha Gever, Trinh T. Minh-ha, Cornel West. eds. Out There: Marginalization and Contemporary Culture. New York/Cambridge, MA: New Museum/MIT Press, 1990.
Peter X. Feng. ed. Screening Asian Americans. Piscataway, NJ: Rutgers University Press, 2002.
Peter X. Feng. Identities in Motion: Asian American Film & Video. Durham, NC: Duke University Press, 2002.
Coco Fusco. English is Broken Here: Notes on Cultural Fusion in The Americas. New York: The New Press, 1995.
---, The Bodies That Were Not Ours and Other Writings. New York: Routledge, 2001.
Roger Garcia. ed. Out of The Shadows: Asians in American Cinema. Locarno: Olivares/Locarno Film Festival, 2001.
Martha Gever, John Greyson, Pratibha Parmar. eds. Queer Looks: Perspectives on Lesbian and Gay Film and Video. New York: Routledge, 1993.
Darrell Hamamoto & Sandra Liu. eds. Countervisions: Asian American Film Criticism. Philadelphia: Temple University Press, 2000.
John Hanhardt. Video Culture: A Critical Investigation. New York: Peregrine Smith Books,1986.
Thomas Harding. The Video Activist Handbook. London & Chicago: Pluto Press, 1997.
Lucas Hilderbrand. Paris is Burning: A Queer Film Classic. Vancouver: Arsenal Pulp Press, 2013.
---, Inherent Vice: Bootleg Histories of Videotape and Copyright. Durham, NC: Duke Univ. Press, 2009.
David Joselit. Feedback: Television Against Democracy. Cambridge, MA: MIT Press, 2007.
Alexandra Juhasz. AIDS TV: Identity, Community, and Alternative Video. Durham, NC: Duke University Press, 1995.
Robert Lee. Orientals: Asian Americans in Popular Culture. Philadelphia: Temple Univ. Press, 1999.
Russell Leong. ed. Moving The Image: Independent Asian Pacific American Media Arts. Los Angeles: UCLA Asian American Studies Center and Visual Communications, 1991.
Ming-Yuen S Ma.
There is No Soundtrack: Art, Media, and the Audio-Visual Contract. Manchester: Univ. of Manchester Press, 2020.
---, and Erika Suderburg. eds. Resolutions 3: Global Networks of Video.
Minneapolis: Univ. of Minnesota Press, 2012.
Laura U. Marks. Hanan al-cinema: Affections for the Moving Image. Cambridge, MA: MIT Press, 2015.
---, Touch: Sensuous Theory and Multisensory Media. Minneapolis: Univ. of Minnesota Press, 2002.
---, 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. New York: Kitchen Table Press, 1981.
Jose Munoz. Disidentification: Queers of Color and the Performance of Politics. Minneapolis: University of Minnesota Press, 1999.
Nguyen Tan Hoang. A View from the Bottom: Asian American Masculinity and Sexual Representation.
Durham, NC: Duke University Press, 2014.
Chon Noriega ed. Chicanos and Film: Representation and Resistance. Minneapolis: University of Minnesota Press, 1992.
Glenn Phillips. ed. California Video: Artists and Histories. Los Angeles: J Paul Getty Museum, 2008.
Patti Podesta. ed. Resolution: A Critique of Video Art. Los Angeles: LACE (Los Angeles Contemporary Exhibitions), 1986.
Michelle Raheja. Reservation Reelism: Redfacing, Visual Sovereignty, and Representations of Native Americans in Film. Lincoln: Univ. of Nebraska Press, 2010.
Michael Renov & Erika Suderburg. eds. Resolutions: Contemporary Video Practices. Minneapolis: University of Minnesota Press, 1995.
Ruby Rich. Chick Flicks: Theories and Memories of The Feminist Film Movement. Durham, NC: Duke University Press, 1998.
Kenneth Rogers. The Attention Complex: Media, Archeology, Method. New York: Palgrave Macmillan, 2014.
Bonnie Ruberg & Adrienne Shaw. eds. Queer Game Studies. Minneapolis: University of Minnesota Press, 2017.
Michael Rush. Video Art. New York: Thames and Hudson, 2007.
---, New Media in Art. New York: Thames and Hudson, 2005.
---, New Media in Late 20th-Century Art. New York: Thames and Hudson, 1999.
Freya Schiwy. The Open Invitation: Activist Video, Mexico, and the Politics of Affect. Pittsburgh: Univ. of Pittsburgh Press, 2019.
and Byrt Wammack Weber. eds. Adjusting the Lens: Community and Collaborative Video in Mexico. Pittsburgh: Univ. of Pittsburgh Press, 2017.
---, Indianizing Film: Decolonization, the Andes, and the Question of Technology. Piscataway, NJ: Rutgers Univ. Press, 2009.
Ira Schneider and Berl Korot. Video Art: An Anthology. New York: Harcourt Brace Jovanovich, 1976.
Anthony Smith. ed. Television: An International History. Oxford: Oxford University Press, 1998
Yvonne Spielmann. Video: The Reflexive Medium. Cambridge, MA: MIT Press, 2008.
Fatimah Tobing Rony. The Third Eye: Race, Cinema, and Ethnographic Spectacle. Durham, NC: Duke University Press, 1996.
Ella Shohat & Robert Stam. Unthinking Eurocentrism. New York: Routledge, 1994.
Holly Willis. Fast Forward: The Future(s) of the Cinematic Arts. London: Wallflower Press, 2016.
---, New Digital Cinema; Reinventing the Moving Image.
London: Wallflower Press, 2005.
Jun Xing. Asian America Through The Lens: History, Representations, and Identity. Walnut Creek, CA: AltaMira Press, 1998.
Your final grade will be based on the following
||Essay One 10%
||Essay Two 20%
||Essay Three 40%
||Diversity group action 20%
||Class participation* and other writing assignments10%
* Your general performance in class including participation, non-letter-graded 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.
If you have a disability for which you are or may be requesting an accommodation, you are encouraged to contact both your faculty and Academic Support Services in the Student Affairs Office by email at the beginning of the semester if you have not already registered for accommodations.
Director of Academic Support Services:
Gabriella Tempestoso, firstname.lastname@example.org
Academic dishonesty in any form -- including the representation of someone else's work as your own, the destruction or malicious alteration of the work of others, the re-use of work prepared for another course, and so on -- will be subject to the most severe penalties permitted under your school's student code.
Extra credit- Students are
encouraged to attend relevant programs (e.g. screenings, exhibitions, performances, lectures, conferences, social media events, etc.) remotely and write a 2 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. 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. Web links can also be posted to the online syllabus (by instructor) and to the class Sakai forum (by all class members).
Questions About Grading
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
WEEK 1: INTRODUCTION, WHAT IS DIVERSITY?
Tuesday 8.25: Introduction
Writing Assignment #1
||Class Introduction: show your video and read writing assignment #1 in class
||Review syllabus & requirements
||Class discussion: What is diversity??
Expanding on the sentence you wrote about the video you chose to introduce yourself to the class with, write a one-paragraph reflection on the video, and 1) how do you think it places or identifies you within our class community? 2) how does it compare to the other students' videos? 3) the final sentence of your paragraph should be an observation of our class community (e.g. is it diverse? If so why, or if not, why not? Who do you think is in our class based on its collection of introductory videos?) Your paragraph should be about 150 words in length. Due Tuesday 8.25 - post it on Sakai in "Forums" (topic: Introductory Videos) and be prepare to present your paragraph in class this week.
BEYOND BODY MEMORY (1992) by Neesha Dosanjh
I-BE AREA (2007) by Ryan Trecartin
Interviews with Ryan Trecartin on YouTube: 1, 2.
Thursday 8.27: Defining Diversity
||Class Introduction: show your video and read writing assignment #1 in class
||Discussion and group work on definitions of diversity
Reading For Diversity and Social Justice, pp. 450-462
Writing Assignment #2
Respond to this question after you have read and thought about the reading assignment for today: What is your definition of diversity? One paragraph, approx 150-200 words, post in Sakai forums (topic: Definitions of Diversity) and be prepare to present your paragraph in class.
WEEK 2: WHAT IS VIDEO? VIDEO PRODUCTION DEMONSTRATION
Tuesday 9.1: Intro to Video Technology
||(cont.) Discussion on class definition of diversity
||Introduction to Video:
— Video vs. film
— Electromagnetic composition
— How it works
Roy Armes, On Video, pp. 186-210
Kenneth Rogers, "New Media States: Web 2.0 and Embedded Video Practice," in Resolutions 3: Global Networks of Video, pp. 36-52 (accessible online at library)
Excerpt from FUSES (1964-67) by Carolee Schneemann
Excerpt from VERTICAL ROLL (1972) by Joan Jonas
Thursday 9.3: Video Vs. Film, IMS Demo
||Introduction to Video:
— Differences between video and film
— Video formats & media making process
Camera Demo with Stephanie Hutin, Director, and Eddie Gonzalez, Assistant Director of the Intercollegiate Media Studies Production Center:
— Physical attributes: zoom, focus, sound, etc.
— Video aesthetics: Framing, Lighting, Sound
— Defining representational space and audio-visual communication
"10-Point Plan for Video" by Vito Acconci, "You are Consumed" by Richard Serra, "I Use Video as a Knife" by Willoughby Sharp, Video Art: An Anthology, p.115, np.
TELEVISION DELIVERS PEOPLE (1973) by Richard Serra
BOOMERANG (1974) by Richard Serra
Writing Assignment #3
Research (anyway you want but please use verifiable sources!) 3-5 events or significant trends from 1940 to 1960 and compile a list. Your list should contain the dates and places for these events or trends, significant individuals involved, their names and why their involvement was significant, and why that particular event or trend is representative of the period. Post your list in Sakai forums (topic: 1940-1960) ideally in chronological order with other students' postings, and be prepared to present your list in class. This exercise is similar to creating an annotated bibliography in academic research. Lists should be posted by next week's Tuesday class.
Excerpt from UNDERTONE (1972) by Vito Acconci
A totally whacky website on the history of video technology
WEEK 3 : POST WWII MEDIASCAPE, INTERCOLLEGIATE MEDIA STUDIES
Tuesday 9.8: 1940s-60s
||(cont.) Discussion on class definition of diversity
||Video production process, media as construction, audience and spectatorship
Robert Lee. Orientals: Asian Americans in Popular Culture, pp. 145-179.
"The American Networks" by Les Brown, in Television: An International History, pp. 147-160.
Thursday 9.10: 1940s-60s, IMS Academic Program, Diversity Action Group Assignment
Robert Lee. Orientals: Asian Americans in Popular Culture, pp. 145-179.
GUESS WHO'S COMING TO DINNER? (1967) Directed by Stanley Kramer
FLOWER DRUM SONG (1961) Directed by Henry Koster
WEEK 4: 1960-1970, ESSAY ONE, WRITING CENTER
Tuesday 9.15: Assimilation Vs. Counterculture, Essay One Assignment
Reading For Diversity and Social Justice, pp. 203-213, 228-232
Movie Tone Reels: BLACK AIRMEN OF WWII (1941), THE WOMEN MADE THE TANKS (1942), JAPANESE-AMERICANS IN INTERNMENT CAMPS (1942)
DUCK AND COVER (1951)
BERKELEY IN THE SIXTIES (1990) Directed by Mark Mitchell
Programming Survey (1 paragraph to 1 page) Choose a moving image media streaming platform or TV network (yes they still exist!) prime time schedule (8pm-11pm). Break down each programming block and program's cast and characters in terms of race/ethnicity, gender, sexual identity. Determine patterns. Be realistic (e.g. you can analyze a playlist from a YouTube channel, but not the entire channel in detail) or choose one night during network TV's Fall season launch to conduct your survey, report during class.
Thursday 9.17: Proto-Feminism, Writing Center Fellow
"Why Have There Been No Great Women Artists?" by Linda Nochlin in The Feminism and Visual Culture Reader, pp. 229-233
Women of Vision, pp. 61-75 (https://www-jstor-org.ccl.idm.oclc.org/stable/10.5749/j.cttts8r3 This is an ebook in the Claremont College Library, you have to sign in as a student to access the book)
Video & Film:
THE TROUBLE WITH WOMEN (1959)
FUSES (1964-67) by Carolee Schneemann
Illuminating Video, pp. 349-365.
THE BEST OF ERNIE KOVACS (1950s) Directed by Ernie Kovacs
WEEK 5: 1970s, ESSAY ONE DUE
Tuesday 9.22: Early Video Culture, Essay One Due
||(cont.) 1960s historical perspective
||Gendered representations: proto-feminist artists
Video Culture, pp. 219-222,167-178
Early works by Nam June Paik, see clips from EDITED FOR TELEVISION (1975) GLOBAL GROOVE (1973) 2 min excerpt from 28:30 mins, ELECTRONIC OPERA NO. 1 excerpt of Paik's contribution to the PBS special THE MEDIUM IS THE MEDIUM, broadcasted in the early 1970s.
MEDIA BURN (1976) by Ant Farm & T.R. Uthco
4 MORE YEARS (1972) by TVTV
ETERNAL FRAME (1976) by Ant Farm & T.R. Uthco
Thursday 9.24: 1970s, Video as Counter Culture
||History of broadcasting
||1970s Historical Perspective
||Video as counterculture
Illuminating Video, pp. 31-50, 51-69
TECHNOLOGY/TRANSFORMATION (1978) by Dara Birnbaum
WEEK 6: 1970s, ESSAY THREE
Tuesday 9.29: Media Interventions
||Video art in the U.S. and media technology
||(cont.) Video as counterculture
"Feminist Media Strategies for Political Performance" by Suzanne Lacy & Leslie Labowitz in The Feminism and Visual Culture Reader, pp. 302-313
No videos for this week - work on your presentations
Thursday 10.1 Diversity Group Actions, Essay Three Assignment
WEEK 7: 1970s - 1980s, ESSAY TWO
Tuesday 10.6: Feminist Videos in The 1970s
Reading For Diversity and Social Justice, pp. 238-260
Women of Vision, pp. 95-106, 183-194
VERTICAL ROLL (1972) by Joan Jonas
ALWAYS LOVE YOUR MAN by Carla DeVito (1975)
TAKE OFF by Susan Mogul (1974)
VITAL STATISTICS OF A CITIZEN, SIMPLY OBTAINED by Martha Rosler (1977)
Excepts from LOVE TAPES by Wendy Clarke (1981)
Thursday 10.8: Library, Feminist Videos in The 1980s, Essay Three Abstract Due
||Claremont Colleges Library: guest speaker Rebecca Halpern, Librarian
||Research paper abstract due - 1 page summary of paper topic, typed and double-spaced
||Feminist videos in the 1970s and 1980s
Illuminating Video, pp. 226-241, 405-417
MADE FOR TV by Anne Magnuson and Tom Rubinitz (1984)
JOAN DOES DYNASTY by Joan Braderman (1986)
WEEK 8: 1980s, ESSAY TWO DUE
Tuesday 10.13: 1980s, Public Access and Video Activism
||1980s Historical Perspective, (Presenters: Ashley, Kayla, Joe)
||Public television and video art
The Video Activist Handbook, pp. 1-13
Illuminating Video, pp. 81-90
Reading For Diversity and Social Justice, pp. 324-339
UNPACKING THE REVOLUTION IN A BOX (1989) by Paper Tiger TV
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
Paper Tiger Television
Deep Dish TV
Thursday 10.15: AIDS Activism, Essay Two Due
||Introduction to AIDS activism
No Required Reading or Video
WEEK 9: 1980s, AIDS ACTIVIST VIDEOS, ESSAY TWO PEER REVIEW, CAREER SERVICES
Tuesday 10.20: AIDS Education, AIDS Demo Graphics
From ACT UP to the WTO, pp. 298-305
Queer Looks, pp. 21-37
Women of Vision, pp. 197-222
KISSING DOESN'T KILL (1990) PSAs by Gran Fury
LIKE A PRAYER by DIVA TV (1991) by DIVA TV
SAFER SEX SHORTS (1987-90) various directors, produced by GMHC
TESTING THE LIMITS, PART ONE (1987) by Testing the Limits
Thursday 10.22: Minerva Cuevas Exhibition and Talk
Please read the exhibition catalogue
plus at least one of the articles on Cuevas's work in the Sakai folder for this week.
WEEK 10: 1980s-1990s, AIDS ACTIVIST VIDEOS, IDENTITY POLITICS
Tuesday 10.27: AIDS Demo Graphics, Remembering ACT UP, Essay Two Peer Review
No Required Reading
THEY ARE LOST TO VISION ALL TOGETHER (1988) by Tom Kalin
DIVA TV (Damned Interfering Video Activists)
ACT UP Oral History Project
Thursday 10.29: 1990s, Multiculturalism and Identity Politics
||1990s Historical Perspective (Presenters: Casey, Niki, Ollie)
||History of Public Television
Out There, pp. 341-344
Illuminating Video, pp. 304-316
Women of Vision, pp. 249-260
Writing Assignment #4
Write a social media profile for yourself. You are encouraged to be creative, playful, performative, and/or confrontational. The profile should be short and concise (about 50-100 words), and I would recommend you use an actual platform's format (e.g. Facebook, Instagram, TikTok, Tinder, etc.) The idea is representation yourself with a few words and phrases. Email your profile to me by the end of the day on Wednesday 10.28. I will post all of the profiles anonymously on Sakai Forums, and we will work with these in class on Thursday this week.
ALL ORIENTALS LOOK THE SAME by Valerie Soe (1986)
ANIMAQUILADORA by Alex Rivera & Lalo Lopez (1997)
TONGUES UNTIED by Marlon Riggs (1989)
SHE DON'T FADE by Cheryl Dunye (1991)
WEEK 11: 1990s-2000s, ESSAY THREE DRAFT
Tuesday 11.3: Multiple Identities and Autobiography
||Multiple identities, hybridity, intersectionality
||Claiming a voice: self-representation and autobiography
Reading For Diversity and Social Justice, pp. 267-318
Women of Vision, pp. 291-304
Illuminating Video, pp. 81-90
Thursday 11.5: Queer Nation? Essay Three Draft Due
||Queer activism in 1990s and 2000s
From ACT UP to the WTO, pp. 106-120
ME AND RUBY FRUIT by Sadie Benning (1989)
WEEK 12: 2000s-2010s AND AFTER
Tuesday 11.10: Appropriation & Fair Use
||2000s Historical Perspective (Presenters: Alice, Anna, Erika)
Writings 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 Towards a Politics of Appropriation" by Coco Fusco, in English is Broken Here, pp. 65-77
IRAQ CAMPAIGN 1991 by Phil Patiris (1992)
COUPLE IN THE CAGE (1997) by Paula Heredia & Coco Fusco, performance by Coco Fusco &
INTRODUCTION TO THE END OF AN ARGUMENT by Jayce Saloum & Elia Suleiman (1990)
Thursday 11.12: Culture Jamming, Essay Three Peer Review Due
||2010s (and after) Historical Perspective (Presenters: Jeffrey, Lexie, Lilii, Lily)
Culture Jam by Kalle Lasn, pp. 29-35, 123-136
BRINGING IT TO YOU by RTMark
CULTURE JAMMER'S VIDEO by Adbusters Media Foundation
Adbusters Media Foundation
The Yes Men
Barbie Liberation Organization
WEEK 13: Small File Media Festival, Diversity Group Presentations
Thursday 11.19: Diversity Group Presentations
||Diversity group action presentations - 15 mins. from each group, discuss your group's action and it's results (or go over your proposal in detail), show video, photo, web/blog documentation
WEEK 14:2000, THANKSGIVING
Tuesday 11.24: Final Class Meeting
Thursday 11.26:Thanksgiving Holiday - No Class Meeting
WEEK 15: FINALS WEEK, ESSAY THREE DUE
||Hand in final draft of research paper by 5PM PST
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