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Course Description
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 Writing Expression educational objective. It is designed to help you, the 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. I recommend meeting 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.
Pitzer Writing Center (Mead Hall 131)
Director: Jackie Levering Sullivan, Scott 225, x74535
Associate Director: Paul Miller, Mead 131-B, x74321
Email: writing@pitzer.edu
Web site: http://www.pitzer.edu/offices/writing_center
Center Hours (Starting Monday, Sept. 14th):
Monday to Wednesday, 2 – 5 pm, 7 – midnight
Thursday, 2 – 5 pm, 7 – 10 pm
Sunday, 7 – 10 pm
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. Absolutely no texting and similar activities allowed. Laptops can only be used for taking notes and for relevant web searches—no emailing and other cyber actvities not related to this 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 |
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
| • |
Research paper (30% of final grade) letter-graded, due the last day of class. Topic to be determined by student. See assignment guidelines for due dates, criteria, topic options, etc. |
| • |
Mid-term (15 % of final grade) to take place during Week 6 of the semester. In class quiz plus take-home essay with a choice of topics, letter-graded. |
| • |
2 short essays (10% each, total 20% of final grade) take home assignment, 3-4 pages, letter-graded. Topics will be announced closer to assignment due dates. |
| • |
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 Week 8 of this Semester. The action should preferably be concluded by Thanksgiving Break, and must be by Week 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 (15% 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, personal ads, etc. These assignments will not receive a letter grade, but
will be graded with a check, check+, or check-. These grades are averaged into 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 understand the basics of academic writing, including appropriate style, source documentation, etc. 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 or another style manual for specifics. 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 essays 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. and "F") for the assignment.
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!
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 |
| • |
Final Research Paper 30% |
| • |
Mid Term 15% |
| • |
Diversity group action 20% |
| • |
Letter-graded Writing Assignments 20% |
| • |
Class participation* 15% |
* 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.
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 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. 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.
|
| |
Course Schedule:
WEEK 1: INTRODUCTION, WHAT IS DIVERSITY?
Tuesday 9/1: 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? One paragraph, bring a hardcopy to class and be prepared to share!
Additional Viewing
Ryan Trecartin videos on YouTube and on UBUWEB
Thursday 9/3 : 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?
Tuesday 9/8: Intro to Video Technology, Writing Center Tour
| • |
Class defnition of diversity posted on web site |
| • |
Introduction to Video:
__- Video vs. film
__- Electromagnetic Composition
__- How it Works
__- Formats
__- Digital |
Writing Assignment #2
Come up with a one paragraph definition based on the four group definitions – you are allowed and encouraged to “clean up” the language grammatically, but do not introduce new content unless they are for clarification purposes. We will look at everyone’s definitions on Tuesday and come up with a working class definition. Please either bring 16 copies, or email me your definition by Tuesday morning so I can make copies for everyone before class.
Video
Excerpt from FUSES (1964-67) by Carolee Schneemann
Excerpt from VERTICAL ROLL (1972) by Joan Jonas
Thursday 9/10 : Video Vs. Film
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, ESSAY ONE
Tuesday 9/15: Camera Demo, 1940s-50s
| • |
Essay 1 Assignment |
| • |
Video production process |
| • |
Camera Demo - live:
__- Physical Attributes- Zoom, Focus, etc.
__- Aesthetic Framing, Lighting, Sound
__- Defining Space Visual Communication |
Writing Assignment #3
For Thursday's class, research (anyway you want but please use verifiable sources!) 3-5 events or significant trends from the decade of 1940-1950 and compile a list. Your list should contain the date and place for these event, significant individuals involved, their names and why their involvement was significant, and why that particular event or trend is representative of the decade. If you want to show images in class, email them to me by Thursday morning and I will post them on the web site. This exercise is similar to creating an annotated bibliography in academic research.
Thursday 9/17 : 1940s-50s, Career Services Presentation
| • |
Career Services presentation |
| • |
|
| • |
|
| • |
Post- WW2 activity |
| • |
MovieTone Reels oppressed images, censored, controlled. |
| • |
Social Change read, heard, still images. |
Videos
UNDERTONE (1972) by Vito Acconci
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. 349-365.
The American Networks by Les Brown, in Television: An International History, pp. 147-160.
Week 3 Screening (Wednesday, 9/16, 7pm, SC230)
Selections from THE BEST OF ERNIE KOVACS (1950s) Directed by Ernie Kovacs
WEEK 4: 1950-1960, ESSAY ONE DUE
Tuesday 9/22 : 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
Thursday 9/24 : 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 #4
Prime Time Survey (1 paragraph to 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 (Wednesday, 9/23, 7pm, SC230)
GUESS WHO"S COMING TO DINNER? (1967) Directed by Stanley Kramer
WEEK 5: 1960-1970
Tuesday 9/29: 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
Thursday 10/1: Late '60s-Early '70s
| • |
Late 1950s/early 1960s Historical Perspective |
| • |
Counter culture |
| • |
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
Week 5 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 5 Screening (Wednesday, 9/30, 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 6: MID TERM, 1970s
Tuesday 10/6: Mid Term - In Class Quiz, Take Home Essay
| • |
1960s Diversity and the Mass Media |
| • |
Counterculture and diversity - happenings, love-ins, and the politics of "groovy-ness" |
| • |
Gendered representations: proto-feminist artists |
| • |
The material manipulation of film vs. the electronic manipulation of video |
Week 6 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
Thursday 10/8: Mid Term - In Class Quiz, Take Home Essay
No Screening This Week - Work on your essays!
WEEK 7: 1970s - 1980s, ESSAY TWO DUE
Tuesday 10/13: 1970s, Essay Two (Mid Term) Due
| • |
1970s Historical Perspective, (Presenters:) |
| • |
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 |
| • |
New documentary: video activism, street videos |
| • |
Video collectives |
Video
Excerpt from TECHNOLOGY/TRANSFORMATION (1978) by Dara Birnbaum
Excerpt from MEDIA BURN (1976) by Ant Farm & T.R. Uthco
Thursday 10/15: Late 1970s - 1980s
| • |
Technological Advances
__- The Betacam Changes Broadcast TV formats
__- The Camcorder consumer version available
__- Editing still costly
__- Public Access usage goes up |
| • |
The Women's Movement and early feminist video |
| • |
Presentation by each affinity group on their diversity actions - 5 min. . |
Video
ALWAYS LOVE YOUR MAN by Carla DeVito (1975)
Week 7 Reading Assignment
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
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
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, 1980s, DGA PROPOSALS, ESSAY THREE
Tuesday 10/20: Fall Break - No Class
Thursday 10/22: Feminist Videos, Diversity Action Proposals Due, Essay Three Assignment
| • |
Feminist videos in 1980s |
| • |
1980s Historical Perspective (Presenters: ) |
| • |
Public access and community video |
| • |
Technological advances |
| • |
Video activism |
Videos
Excerpt from VITAL STATISTICS OF A CITIZEN, SIMPLY OBTAINED by Martha Rosler (1977)
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
Week 9 Screening (Wednesday, 10/21, 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 9: FEMINIST VIDEO ART, 1970s-1980s, DGA PROPOSALS, ESSAY THREE
Tuesday 10/27: 1970s, Feminist Videos
| • |
1970s historical perspective |
| • |
The Women's Movement and early feminist video |
| • |
New documentary: video activism, street videos |
| • |
Video collectives |
| • |
The Women's Movement and early feminist video |
Video
Early works by Nam June Paik, see clips from EDITED FOR TELEVISION
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.
Paik's video sculptures: 1 (TV Buddha), 2 (Piano Piece, 1993), 3 & 4 (TV Robots)
Excerpt from MEDIA BURN (1976) and ETERNAL FRAME (1976) by Ant Farm & T.R. Uthco
Excerpt from TECHNOLOGY/TRANSFORMATION (1978) by Dara Birnbaum
Thursday 10/29: Feminist Videos, Diversity Action Proposals Due, Essay Three and Research Paper Assignments
Videos
Excerpt from VITAL STATISTICS OF A CITIZEN, SIMPLY OBTAINED by Martha Rosler (1977)
TAKE OFF by Susan Mogul (1974)
Excerpt from MADE FOR TV by Anne Magnuson and Tom Rubinitz (1984)
Excerpt from JOAN DOES DYNASTY by Joan Braderman (1986)
Excerpt from LOVE TAPES by Wendy Clarke (1981)
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
Week 9 Screening (Wednesday, 10/28, 7pm, SC230)
ALWAYS LOVE YOUR MAN by Carla DeVito (1975)
MADE FOR TV by Anne Magnuson and Tom Rubinitz (1984)
WEEK 10: 1980s-90s, RESEARCH PAPER ABSTRACT
Tuesday 11/3: 1980s, Public Access and Video Activism, Library Tour
| • |
Tour of Hannold Library and Film/Video Collection? |
| • |
Technological advances |
| • |
Video activism |
Videos
UNPACKING THE REVOLUTION IN A BOX (1989) by Paper Tiger TV
Web Site
Paper Tiger Television
Deep Dish TV
Freespeech TV
Indymedia Centers
Thursday 11/5: AIDS Activist Video
| • |
Research paper abstract due - 1 page summary of paper topic and bibliography, typed and double-spaced |
| • |
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
Week 10 Reading Assignments
What is Video Activism? by Thomas Harding in The Video Activist Handbook, pp. 1-13
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
Reading For Diversity and Social Justice , pp. 324-340
Week 10 Screening (Wednesday, 11/4, 7pm, SC230)
THEY ARE LOST TO VISION ALL TOGETHER (1988) by Tom Kalin
VOICES FROM THE FRONT (1992) by Testing the Limits
WEEK 11: LATE 1980s-1990s, ESSAY THREE DUE
Tuesday 11/10: Late 1980s-1990s
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
Thursday 11/12 : Multiculturalism and Identity Politics
| • |
1990s Historical Perspective (Presenters: ) |
| • |
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 #2
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.
Week 11 Reading Assignments
"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
marginality as site of resistance by bell hooks in Out There, pp. 341-344
No Screening This Week
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
LIKE A PRAYER by DIVA TV (1991) by DIVA TV
WEEK 12: 1990s
Tuesday 11/17: 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)
Thursday 11/19; Multiple Identities and Autobiography
| • |
Multiple identities |
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Claiming a voice: self-representation and autobiography |
Week 12 Reading Assignments
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
Suggested Reading
Reading For Diversity and Social Justice , pp. 267-318
Week 12 Screening (Wednesday, 11/18, 7pm, SC230)
TONGUES UNTIED by Marlon Riggs (1989)
SHE DON'T FADE by Cheryl Dunye (1991)
WEEK 13: 1990s-2000, THANKSGIVING, RESEARCH PAPER DRAFT
Tuesday 11/24:1990s - 2000
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Technological advances: digital revolution (non-linear editing, all media on the same platform) |
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2000-Present Historical Perspective (Presenters: ) |
No Screening or Reading This Week
Thursday 11/26: Thanksgiving Holiday - No Class Meeting
WEEK 14: 1990s-2000s, REARCH PAPER PEER REVIEW
Tuesday 12/1: Appropriation & Fair Use
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Appropriation and Fair Use |
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Desert Storm: Gulf War 1991 |
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Rodney King and the 1992 LA Uprising |
Videos
IRAQ CAMPAIGN 1991 by Phil Patiris (1992)
Thursday 12/3: Culture Jamming
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The Battle of Seattle and WTO protests |
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Culture Jamming |
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Columbus Bicentennial - the "discovery of America |
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 (Wednesday, 12/2, 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: GROUP PRESENTATIONS, RESEARCH PAPER DUE
Tuesday 12/8:
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Diversity group action presentations - 5 to 10 mins. from each group, discuss your action and it's results, show video, photo, web/blog documentation |
Thursday 12/10: Diversity Action evaluations due
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Class party - TBA |
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Hand in research paper today if you can, final deadline is Tuesday, 12/15, by noon - leave a hardcopy in my mailbox in Scott Hall (outside PZ Registrar) or slide it under my door. |
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(Cont.) Diversity group action presentations - 5 to 10 mins. from each group, discuss your action and it's results, show video, photo, web/blog documentation |
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Class evaluation |
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Revisiting our class definition of diversity |
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