 |
Course Description
This course will focus on current practices in media arts. It will cover
the production, exhibition/distribution, and critical evaluation of these
practices. Using Los Angeles and Southern California as our home base,
class activities will be centered on the attendance of screenings, exhibitions,
performances, artist lectures, and other related events that will happen
over the course of this semester. Attendance
of these (largely free) events is essential to taking this course.
Through studying these events and the media producers involved, students
will analyze the way media art is culturally distributed, and the ideological
and conceptual dialogue surrounding contemporary non-commercial media
production. Aesthetic, conceptual, and historical issues are examined
through first-hand encounters with actual works and makers, and supplemented
by readings, lectures, artist talks, and independent research by students.
In addition, media art projects will be presented in class, and we will
have at least one visiting speaker. Since a lot of our activities will
take place off-campus, be prepared to be flexible, mobile, and spontaneous
(having a car will be convenient but not essential).
Our working definition of contemporary media art is expansive, critical,
and multi-disciplinary; it includes film, video, photography, installation,
performance, culture jamming, audio art, installation, public and activist
art, net art, and different kinds of hybrid projects. Given the plethora
of media art activities today, it will be impossible to cover every significant
movement and all of the major artists adequately in fifteen weeks. Instead,
I will select significant examples that are accessible to us, and use
them to convey an overall picture of the landscape of contemporary media
arts. Keep in mind that we are studying an active, evolving practice.
My approach is informed by my practice as a working media artist, and
by my experience as an independent curator. Since the aim of this course
is to peruse and respond to current issues, students are encouraged to
bring their interests and expertise to our activities, and to suggest
possible events for the class to visit.
Course Organization
Class activities will include attending screenings, lectures, performances,
art exhibitions, web sites, and other events, on-campus discussions based
on these events and required readings, as well as student papers and journals.
In order to do well in this course, you must actively participate in all
these activities. I will try to arrange for our visits to coincide with
gallery talks by makers and/or curators. Most of these events will be
free. I will look into reserving a van to take students to these events
from the Pitzer campus and back, or you can arrange your own transportation.
The schedule for site visits will be posted on our course web site. Keep
in mind that the schedule is flexible and subjected to frequent changes
and updates, so check it often! I will also post announcements for other
events on the schedule, which you are encourage to attend on your own.
(You are required to attend at least one event on your own for the final
paper, see below)
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 site visits |
| 2. |
Participation in class discussions |
| 3. |
Completion of three papers and final
project |
| 4. |
Weekly event reports |
Attendance
Attendance and participation of all classes is required. Do not miss class
or arrive late! For each unexcused absence,
your final grade will be dropped by one letter grade. (i.e. from B to
C) If you miss class 3 times without a proper excuse, (e.g. a doctor’s
note if you are sick) you will fail the class.
Each time you arrival late or leave early, your final grade will be dropped
by 1/2 a grade (i.e. B to B-) 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!
Assignments
You will complete the following assignments for this course:
| • |
Three papers
(3-5 pages, typed and double-spaced, with footnote and bibliography)
due Week 5, 8, and 12, comparing and discussing at least two of the
events you attended. |
| • |
Final Project: (choose
one) |
| • |
paper: (8-10 pages, typed
and double-spaced, with footnote and bibliography) due the last class,
comparing and discussing at least five of the events you attended
for this class, plus at least one event you attended outside of class.
Topic and format for your final paper has to be approved by the instructor. |
| • |
A media project (film,
video, installation, performance, web site, etc.) that investigates
subject matter or topic relevant to this course. Research projects,
fiction, and experimental works are all acceptable, provided they
are intellectually and technically rigorous. Pre-existing work or
projects created for other courses will not be accepted. Topic and
format for your project has to be approved by the instructor. Collaborations
are allowed when approved by instructor. |
I will hand out more specific guidelines later for these assignments. 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!
Required Reading and Event Reports
Required readings will be handed out in class or put on reserve
in the library under this course and my name. Catalogues from most of
the events we attend will be also put on reserve in the library, usually
after the site visit.
Students are required to write weekly event reports. (1-2 pages, typed
and double-spaced) These are not graded, but their completion will figure
into your final grade. (See below) Unless specified, your reports should
contain your thoughts on and responses to the events you attended. Except
when specified, reports can be written in a variety of styles: academic/analytical,
personal, diaristic, etc. You are encouraged to experiment with your writing
style. Ideally, your reports will contain initial ideas and observations
that will be explored further in the three papers for this course. No
reports when papers are due.
Grading
Your final grade will be based on the following |
| • |
Paper 1-3 30% |
| • |
Final Project 30% |
| • |
Participation* 40% |
* Your general performance in class including participation, 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.
One paper (handed in on time) maybe re-written for a better grade.
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.
Contact List
I will create an e-mail contact list for this class (you should
all have an email account) to announce changes in scheduling, events of
interest, as well as any updates related to this course. In some instances,
the list may also be useful in continuing class discussions. Please be
respectful of each other’s privacy when you use or respond to the
list, and only use it for information relevant to this class — no
flaming, chain-letters, or advertising your internet start-up allowed
on the list!
Grading Criteria
This is only meant to be a guideline to the different considerations in
my grading process. If you have any questions about the grade you received,
come and talk to me! Things I consider when grading:
| 1. |
Punctuality
- was the paper handed in on time? |
| 2. |
Premises - How well did
the student follow the topic and other requirements of the assignment? |
| 3. |
Research and analysis
how well did the student understand the subject at hand? Was he/she
able to comprehend the approach and methodology of the artist? Is
he/she able to contextualize his/her observations with historical
information? |
| 4. |
Innovation - Does the
paper say something new about its subject? |
| 5. |
Writing How well the
student express his/her ideas in the paper? Was the paper well written
in terms of grammar and spelling? |
Letter grade to points scale:
| A |
100-90: EXCELLENT,exceed the expectation of the project.
Project demonstrated exceptional concept and realization, is well-executed,
and turn in on time. |
| B |
89-90: Premises
- How well did the student follow the topic and other requirements
of the assignment? |
| C |
79-70: FAIR,
project met requirements of assignment. |
| D |
69-60: UNSATISFACTORY,
project lacking one or several of the criteria listed above. |
| F |
59-less: POOR,
failing in most of the criteria or not turning in an assignment. |
Class Links
|
| |
Course Schedule:
* = Exhibitions or spaces we will visit as a class.
All free events unless otherwise noted.
A valid student ID can usually get you into most museums for free or at
a student discount price.
Week 1: Introduction
Tuesday 1/22, 7pm
First class meeting: go over syllabus and course schedule
Meet at BH 214
AIM III
Lecture [Natalie
Jeremijenko]
Required Reading
A Lecture
by David Ross, Director of SFMoMA
A Story
of Net Art by Natalie Bookchin
Additional Reading
A
brief History of the Internet by Bruce Sterling
Introduction to
Net.Art (1994-1999) by Natalie Bookchin & Alexei Shulgin
Web-based Art Projects
äda'web
Channel
Untitled (2000) by Diane Bertolo
Shu
Lea Cheang web projects (1995-99)
Chroma (2000)
by Erik Loyer
Jodi.org
Web-based Art Exhibitions
Art Entertainment
Network (Walker Art Center)
Bitstreams
and Datadynamics
(Whitney Museum)
010101 (SF MOMA)
Saturday 1/26, 2-4pm
AIM III:
Luna Park
Natalie Jeremijenko Lecture
Ahmanson Auditorium
MOCA at California
Plaza
250 South Grand Avenue
Los Angeles, CA 90012
(213) 626-6222
* you may want to stop by Hilja Keading's
opening reception (see below) when you get back to Claremont. It will
be held at the Pomona College Museum of Art, 5-7pm
Other Events
1/20-3/10
The Dream of The Audience: Theresa Hak Kyung Cha (1951-1982)*
Beall Center for
Art and Technology
UC Irvine, Claire Trevor School of the Arts
101 HTC, Irvine, CA 92697-2775
(929) 824-6206
Tuesday 1/22 - Sunday 3/3
BACKDROP: Video installation by Hilja Keading*
Pomona College
Museum of Art
333 North College Way, Claremont, CA 91711-6344
(909) 621-8989
Till Sunday 2/3
Beyond Decorum: The Photography of Ike Ude
Till March 3
Queer(ing) Warhol: Andy Warhol's (Self-)Portraits
UCR/California Museum of Photography
3824 Main Street
Riverside, CA 92501
(909) 784-3686
Till Saturday 2/16
Video Works by Tracey Rose, Grazia Toderi and Uri Tzaig
The Project
962 E. 4th Street
Downtown LA
(213) 620-0692
Hours: Wed.-Sat. 11am-6pm
Week 2: Hilja Keading and Critical
Art Ensemble
Wednesday 1/30, 4:15pm
Artist talk by Hilja Keading, LeBus
113
Required Reading
Margot Lovejoy, Postmodern Currents; Art and Artists in the Age of
Electronic Media,
Ch. 4 "Video: New Time Art"
Peter Lunenfeld, Snap To Grid: A User's Guide to Digital Arts,
Media, and Cultures,
Ch. 1 "Technocultures: Commodity Camaraderie"
Carole Ann Klonarides, "Shattered Illusions:
The Video Installations of Hilja Keading", in
Backdrop catalogue, Pomona College Museum of Art, 2002
Additional Reading
Electronic Civil Disobedience and Other Unpopular Ideas by Critical
Art Ensemble (Go to the CAE web site and click on "book projects.")
Margot Lovejoy, Postmodern Currents; Art and Artists in the Age of
Electronic Media, Prentice Hall, 1997
Peter Lunenfeld, Snap To Grid: A User's Guide to Digital Arts, Media,
and Cultures, MIT Press, 2000
Erika Suderburg, ed. Space, Site, Intervention: Situating Installation
Art, University of Minnesota Press, 2000
Erika Suderburg & Michael Renov, eds., Resolutions: Contemporary
Video Practices, University of Minnesota Press, 1996 ECD Projects
ECD
(Electronic Civil Disobedience)
EDT
(Electronic Disturbance Theater archive)
Mongrel
OBN (Old Boys' Network)
®™ark
BACKDROP:
Video installation at Pomona
College Museum of Art
333 North College Way, Claremont, CA 91711-6344
(909) 621-8989
7:00pm
Lecture by Critical Art Ensemble
Baxter Hall, Scripps College
Other Events
Monday 1/28, 7:30pm
Sound. Art. Technology.
An evening of digital music, sound art and discourse with 6 composers
riding the bleeding edge, organized by Rhizome
LA
Whose Cafe
6320 Santa Monica Blvd.
Hollywood/Vine
(323) 462-8500
$5-$10 sliding donation
Thursday 1/31, 7:30pm
TV or Not TV
Panel discussion on arts and mass media, presented by LA
Freewaves
with Titus Levi, Doug Chang, Deedee Halleck, Larry Namer, & Neil Sieling
Ahmanson Auditorium
MOCA at California
Plaza
250 South Grand Avenue
Los Angeles, CA 90012
(213) 626-6222
Friday 2/1, 7:00pm
Latcho Drom (Safe Journey) Dir. Gatlif, 1993
Presented by The Scripps College Humanities Institute
Humanities
Auditorium, Scripps College
Saturday 2/2, 8:00pm
Art and Biotechnology
Panel discussion with Critical Art Ensemble, Natalie Bookchin, Jacqueline
Stevens
Presented by NOMADS+RESIDENTS_LA
at Visual Communications
120 Judge John Aiso Street
Basement Level
Los Angeles, California 90012
(213) 680-4462
Wednesday 1/30 - Sunday 2/3
Actions (virtual + physical) around World Economic Forum Meeting in New
York
Go to these sites for more info:
http://www.rtmark.com/
http://reamweaver.com
http://www.thing.net/~rdom/ecd/fools.html
http://www.appliedautonomy.com/isee/
http://architecture.mit.edu/~atmarcus/bikewriter/writer.html
http://www.sindominio.net/fiambrera/web-agencias/pretaverde.html
Week 3: Kandahar
Saturday 2/9, 1pm
Kandahar
A film by Mohsen Makhmalbaf
Laemmle's
Playhouse 7
673 E. Colorado Blvd.
Pasadena
(626) 844-6500
Reading
Read any 3 of the reviews on the film's
web site
Other Events
Tuesday 2/5, 7:00pm
Working-Class Filmmaking in Los Angeles: The Workers' Film and Photo
League
Presented by David James, USC School of Film and Television
Broad Performance
Space, Pitzer College
Wednesday 2/6, 7:30pm
Blur + Sharpen: Braingirl & Welcome to Willieworld
Taper Hall 202, USC campus
Saturday 2/9, 8:00pm
Laurie Anderson: New Solo Work
Royce Hall, UCLA
www.uclalive.com
Tickets (310) 825-2101
** Sold out, but student rush tickets may be available
Sunday 2/10, 7:00pm
Film Fatale
@ Highways (screening + live music)
Highways
Performance Space
1651 18th St., Santa Monica
(1/2 Block North of Olympic)
(310) 315-1459
Wednesday 2/6 - Monday 2/18
Pan African Film and Arts
Festival
Magic Johnson Theatres and Baldwin Hills Crenshaw Plaza
(213) 896-8221
Saturday 2/9 - Monday 4/22
GHz: The Post-Analog
Object in L.A.
Alyce De Roulet Williamson Gallery
Art Center College
of Design
1700 Lida Street
Pasadena, CA 91103-1999
(626) 396-2244
Week 4: On-Campus Meeting
Tuesday 2/12, 7pm, BH 214
Required Reading
Review readings and artist web sites from the past 3 weeks to prepare
for class discussion.
Other Events
Monday 2/11, 6pm
Lecture by Char Davis
EDA space
1300 Dickson Art Center
UCLA campus
(310) 825-9007
Thursday 2/14, 6pm
Ellen Lupton - Skin: Surface, Substance and Design
Lecture at EDA space
1300 Dickson Art Center
UCLA campus
(310) 825-9007
Thursday 2/14, 8pm
Mercy
Performance by Meredith Monk and Ann Hamilton
Royce Hall, UCLA
www.uclalive.com
Tickets (310) 825-2101
Thursday 2/14, 8pm - 1am
Awkward Seductive Organs
Poetry and performance, art and video, presented by Mika Yoshitake
At El Adobe Studios
5023 Hollywood Blvd/Kingsley
East of 101 Fwy btw. Western & Normandie
Thursday 2/14 - Sunday 2/24
unseen Cinema: Early American Avant Garde Film (1893-1941)
Presented by UCLA
Film and Television Archive
James Bridges Theatre, Melnitz Hall, UCLA campus
(310) 206-FILM
* screenings only selected dates, check web
site above for schedule.
Week 5: DJ Spooky that Subliminal Kid,
Paper 1 Due
Saturday 2/23, 2-4pm
AIM III:
Luna Park
Lecture by Paul D. Miller, AKA DJ Spooky that Subliminal Kid
Ahmanson Auditorium
MOCA at California
Plaza
250 South Grand Avenue
Los Angeles, CA 90012
(213) 626-6222
* Carpool pick-up 12noon outside Broad Center, driver: Josh)
Required Reading
Paper 1 due, no reading
Additional Reading
David Toop , Ocean of Sound: Ather Talk, Ambient Sound, and Imaginary
Worlds, Serpent's Tail, 1995
Other Events
Monday 2/25, 6pm
Louis Castle: Game Design Process, Examples from Westwood Studios
Lecture at EDA space
1300 Dickson Art Center
UCLA campus
(310) 825-9007
Tuesday 2/26, 7:30pm
More Warhol Screen Tests
Presented by Filmforum,
at Gallery 6
UCLA Hammer Museum
10899 Wilshire Boulevard
Los Angeles, CA 90024
(310) 443-7000
Thursday 2/28, 6pm
Top Berlin Media Designers
Lecture at EDA space
1300 Dickson Art Center
UCLA campus
(310) 825-9007
Week 6: Theresa Hak Kyung Cha
Saturday 3/2, 1pm
The Dream of The Audience: Theresa Hak Kyung Cha (1951-1982)
Beall Center for
Art and Technology
UC Irvine, Claire Trevor School of the Arts
101 HTC, Irvine, CA 92697-2775
(929) 824-6206
* Carpool pick-up 11:30am outside Broad Center,
driver: Todd)
Required Reading
Constance M. Lewallen, "Theresa Hak Kyung
Cha—Her Time and Place", in The Dream of The Audience:
Theresa Hak Kyung Cha (1951-1982), Constance M. Lewallen et al., University
of California Press, 2001
Moira Roth, "Theresa Hak Kyung Cha 1951-1982:
A Narrative Chronology", in Writing Self Writing Nation,
Third Woman Press, 1994
Trinh T. Minh-ha, "White Spring", in
The Dream of The Audience: Theresa Hak Kyung Cha (1951-1982), Constance
M. Lewallen et al., University of California Press, 2001
Additional Reading
Theresa Hak Kyung Cha, Dictee, Tanam Press, 1982
Elaine Kim & Norma Alarcon, eds., Writing Self Writing Nation,
Third Woman Press, 1994
Constance M. Lewallen et al., The Dream of The Audience: Theresa Hak
Kyung Cha (1951-1982), University of California Press, 2001
Other Events
Saturday 3/2 - Saturday 3/16
Contemporary Latin American Films
Presented by UCLA
Film and Television Archive
James Bridges Theatre, Melnitz Hall, UCLA campus
(310) 206-FILM
* screenings only on Saturdays and Sundays, check web site above for schedule.
Sunday 3/3, 2-4pm
An Afternoon of Shorts: short-form cinematic expressions of the South
Asian diaspora.
Presented by Artwallah
108 Lucas Theater
USC campus
Info: (310) 528-2154, info@artwallah.org
Week 7: On-Campus Meeting
Tuesday 3/5, 7pm, BH 214
Required Reading
Review readings and artist web sites from the past 2 weeks to prepare
for class discussion.
Other Events
Wednesday 3/6, 8pm
Contemporary Chinese Films: Farewell my Concubine
A film by Chen Kaige
Pitzer Cinematheque
Marquis Library, Mead
Hall, Pitzer College
Wednesday 3/6, 7:30pm
Blur + Sharpen: Immersive
Spaces and 3-D Dialectics
In person: Video installation artist Jennifer Steinkamp
Taper Hall 202, USC
Free Admission
Friday 3/8, 1-4pm
Genetics and Culture SINAPSE
Roundtable discussion at EDA space
1300 Dickson Art Center
UCLA campus
(310) 825-9007
Week 8: Senorita Extraviada, Paper
2 Due
Sunday 3/10, 7pm
Senorita Extraviada by Lourdes Portillo
Contemporary Latin American Films series
Presented by UCLA
Film and Television Archive
James Bridges Theatre, Melnitz Hall, UCLA campus
(310) 206-FILM
Required Reading
Loudes Portillo Biography
and interview
with Fred Salas
Any
2 of these articles
Web
site for the film
Additional Reading
Rosa Linda Fregosoa, The Devil Never Sleeps and Other Films by Lourdes
Portillo, University of Texas, 2000.
Other Events
Monday 3/11, 6pm
Lecture by David Wilson (Creator
of Museum of Jurassic Technology)
EDA space
1300 Dickson Art Center
UCLA campus
(310) 825-9007
Wednesday 3/13, 8pm
Filmmaker Minda Martin in person
Pitzer Cinematheque
Marquis
Library, Mead Hall, Pitzer College
Friday 3/15 - Sunday 3/17 (7pm & 4pm)
All Tomorrow's Parties
Music Festival curated by Sonic Youth
Various venues at UCLA
www.uclalive.com
Tickets (310) 825-2101
Week 9: Spring Break
Week 10: Dirges and Sturgeons
Wednesday 3/27, 8pm
Dirges and Sturgeons: an experimental video program
presented by Astria Suparak, independent curator
Pitzer Cinematheque
Broad Performance
Space, Pitzer College
Required Reading
Please look at the press and archive sections, and the program notes on
DIRGES & STURGEONS on Astria's
web site
Other Events
Tuesday 3/26, 7:30pm
Bruce Baillie Screening
Presented by Filmforum,
at Gallery 6
UCLA Hammer Museum
10899 Wilshire Boulevard
Los Angeles, CA 90024
(310) 443-7000
Thursday 3/28, 7pm
Women, War, and Representation Program 8:
Chronicle of A Disappearance
A film by Elia Suleiman
Pitzer Cinematheque
Rm 210,
Broad Hall, Pitzer College
Week 11: Tuesday 4/2: On-Campus Meeting
7pm, BH 214
Required Reading
Review readings and artist web sites from the past 2 weeks to prepare
for class discussion.
Paper #3 assignment
Final Project proposal
Week 11: Wednesday 4/10: Contemporary
Chinese Cinema
7pm, BH 214
Required Reading
Berenice Reynaud, New
Visions/New Chinas: Video—Art, Documentation, and The Chinese Modernity
in Question, in Resolutions: Contemporary Video Practices,
Univ. of Minnesota Press, 1996
Other Events
Wednesday 4/3, 8pm
Contemporary Chinese Films: Shower
Pitzer Cinematheque
Marquis
Library, Mead Hall, Pitzer College
Saturday 4/6, 2-4pm
AIM III:
Luna Park
Lecture by Rafael Lozano-Hemmer
Ahmanson Auditorium
MOCA at California
Plaza
250 South Grand Avenue
Los Angeles, CA 90012
(213) 626-6222
Week 12: Contemporary Chinese Cinema,
Paper 3 Due
Wednesday 4/10, 8pm
Contemporary Chinese Films: Guest Speaker Berenice Reynaud
Pitzer Cinematheque
Broad Performance
Space, Pitzer College
Week 13: AIM III Symposium
Saturday 4/20, 1pm
Rithy Panh Film Retrospecitve:
ONE EVENING AFTER THE WAR
Rose
Hills Theater, Pomona College
Other Events
Wednesday 4/17, 8pm
Women, War, and Representation Program 9:
The Gulf Crisis TV Project by Deepdish TV and Paper Tiger Television
Pitzer Cinematheque
Marquis
Library, Mead Hall, Pitzer College
AIM
III: Symposium
Day 1: Friday 4/19, 10am-5pm
Annenberg Auditorium, USC
Day 2: Saturday 4/20, 10am-5pm
Ahmanson Auditorium
MOCA at California
Plaza
250 South Grand Avenue
Los Angeles, CA 90012
(213) 626-6222
Friday 4/19 - Sunday 4/21
Rithy Panh Film Retrospecitve
All screening at Rose
Hills Theater, Pomona College
Friday 4/19 7pm
LAND OF WANDERING SOULS (1999)
Humanities Auditorium, Scripps College
Saturday 4/20 1pm
ONE EVENING AFTER THE WAR (1997)
4:30pm
BOPHANA: A CAMBODIAN TRAGEDY (1996)
Sunday 4/21 1pm
SITE II (1985)
6pm
THE RICE PEOPLE (1994)
Week 14: On-Campus Meeting
Tuesday 4/23, 7pm, BH 214
Other Events
Wednesday 4/24, 8pm
Women, War, and Representation Program 10:
Introduction to The End of An Argument (1990)
by Jayce Salloum and Elia Suleiman
Pitzer Cinematheque
Marquis Library, Mead Hall, Pitzer College
Week 15: Jose Munoz, Guest Lecturer
Wednesday 5/1, 8pm
Guest Speaker: Jose Munoz
Pitzer Cinematheque
Broad Performance
Space, Pitzer College
Other Events
Tuesday 4/30, 7:30pm
Two Neck-Snapping Classics: Michael Snow and Ernie Gehr
Presented by Filmforum,
at Gallery 6
UCLA Hammer Museum
10899 Wilshire Boulevard
Los Angeles, CA 90024
(310) 443-7000
Week 16: Last Class,
On-Campus Meeting
Tuesday 5/7, 7pm, BH 214
__ • Final paper/projects due
__ • Class evaluation
__ • Superise event?
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