Faculty of Liberal Arts and Professional Studies AP/CLTR 3100 6.0: Culture, Meaning, and Form
Summer 2016 When: Tuesdays and Thursdays, 7:00-10:00pm
Where:Vari Hall 2009
Course Director: Hilary E. Davis, PhD
office hours: Tuesday and Thursday, 1:00-2:00pm & by appointment before class
office: 446 South Ross ***This course will use MOODLE and Turnitin***
Course Description: This course will explore the ways in which culture – both popular and 'high art' culture - shapes our understanding of the world and ourselves. We will explore a variety of types of cultural production including the artworld, the mass media, and the grassroots works of fans and subcultures. Various theoretical frameworks including Marxism, structuralism, Modernism, postmodernism, and psychoanalytic theory will inform our study.
We will consider questions such as the following:
Who decides which cultural works and forms are 'popular' and how does 'popularity' effect their value?
Are high art culture and popular culture forms of resistance or domination? Does popular culture and/or high art culture liberate the individual from social norms or maintain the status quo?
Whose interests do cultural forms such as avant-garde art, punk rock, blockbuster films, street art, and performance art serve? Do these various cultural forms express the interest of the individual consumer, artist or the interests of corporations and institutions? Whose values are expressed, subverted, and/or reproduced?
What expectations do we bring to our experiences of high art and popular culture? Why are some cultural pursuits labelled 'guilty pleasures' and others worthy and/or 'elitist'?
In 2014 does it make sense to distinguish between high art culture and popular culture? In what ways do these categories overlap? Why does a hierarchy of cultural forms persist?
In order to foster dialogue and an atmosphere of mutual exploration and debate, this class will be organized as a mix of lecture, in-class discussions, round-table presentations, and small group discussions.
Required Texts: John Storey, Cultural Theory and Popular Culture: An Introduction, 7th Edition. (Pearson, 2015) Meehakshi Gigi Durham and Douglas M. Kellner (eds.), Media and Cultural Studies: Keyworks. Second Edition. Wiley-Blackwell, 2012. David Cottington, Modern Art: A Very Short Introduction. (Oxford, 2005). Julian Stallabrass, Contemporary Art: A Very Short Introduction. Oxford University Press, 2006. Course Pack of readings (published by Canadian Scholars Press Inc.) available in the York Bookstore Some readings are available as electronic resources from the York University Library
****This course uses Moodle to post assignments, lecture slides, course announcements, important links, and homework and assignment instructions. All written assignments must be submitted to Turnitin via Moodle. You must have a Passport York account and active York email which you check regularly.****
midterm test -- Tuesday, June 14th = 20%
3 (of 5) discussion responses (15% each) = 45%
due dates: May 24th, June 2nd, June 21st, July 7th, & July 28th
Final essay/take-home assignment (due Tuesday, August 2nd) = 25%
Group Roundtable Presentation (June 16th OR July 12th OR July 28th) = 5%
Participation = 5%
Total 100%Please note that this schedule of deadlines and grading breakdown is non-negotiable. The value of assignments will under no circumstances be reweighed or redistributed.
Your official grade is given by the Registrar once the term is over.
Do not send emails/messages to discuss your grades online. This is a conversation you can have during office hours, or by appointment if the term is over.
Final Grades are not negotiable. In order to ensure you earn the grade you want or need, you are encouraged to attend class, attend office hour appointments to review your homework exercises or assignments throughout the term, and engage in any Optional Team Work or Bonus opportunities that may arise during the term. Grades are not “bumped up.”
For a description of York University’s grading scale, see the relevant undergraduate calendar at: http://calendars.registrar.yorku.ca/2014-2015/academic/grades/index.htm
Mid-term Test (20%):
This will be a 150 minute test which will consist of short answer and/or comparative essay questions.
Discussion Responses (15% each):
Discussion questions will be posted in advance on Moodle and discussed in class either in small groups or in a larger seminar style format. Write-ups of 3 of these discussion questions must be handed in, each worth 15%. There are 5 groups of discussion questions in total.
These write-ups are NOT to exceed 4 pages in length, typed and double-spaced. Each is due on the date indicated on the course schedule. The hardcopy will be due at the beginning of class and the e-copy must be submitted to Turnitin (via Moodle) by 11:59pm. No late responses will be accepted.
Roundtable Presentations (5%): Scheduled for June 16th, July 12th, and July 28th, these will be group presentations on topics listed on the course schedule. Each student is required to participate as a member of a group on one of these dates and attend the other. Groups will consist of 3 students and will be formed the third week of class.
Presentations should aim to be 10-15 minutes long and should introduce the selected cultural example to the class and link it with the relevant course readings. This is NOT to be simply a summary but should include either analysis or critique. It may take the form of a film/TV review, a debate or panel discussion; or you may wish to construct a website, design an ad, write a short piece of fan fiction etc. which you will then present to the class. Each presentation should involve posing a question or series of questions to the class in order to stimulate discussion. A copy of these questions and one-page outline of your presentation, indicating who is presenting what, must be submitted in hardcopy the day you present.
The assignment will be evaluated on the quality and creativity of your presentation, how effective it is in stimulating class discussion, and how well it demonstrates an understanding of the key concepts and theories that it draws upon.
Attendance is required at all 3 Roundtable classes. Failure to attend will result in a .5% deduction from your participation mark. Participation (5%):
A guiding question will be posted on Moodle in advance of each class. Students must come to class prepared to discuss this question and the assigned course readings as well as any other material linked or posted on Moodle. I will lecture in most classes but this is a seminar so much of out time will be spent discussing the material as a class or in small groups. All students will be expected to come to class prepared to speak and will be given an opportunity to contribute to the discussion. The participation mark will also include attendance (which means staying for the entire class, not leaving at the break or 1/2 hour early); contributions to class during small and large class discussions; and attentiveness during class. Smartphone usage during class, laptop usage for purposes other than note-taking or referring to Moodle, and preparing for other classes during the lecture and/or discussions will indicate that you are not attentive and will negatively effect your participation mark. Contributions to the Cultural Events Forum set up on Moodle and attendance at the optional class outings will count positively towards your participation mark.
Cultural Events Forum on Moodle: Students are encouraged to use the forum to post about cultural events – exhibits performances, new publications, festivals and other cool stuff that you think would be of interest to the class. External links accompanied by a short explanation are fine, but all postings should be in accordance with York's Copyright Policy and Canada's Copyright Act. You should understand these guidelines if you wish to post images, articles, videos, or music. Contributing to the Cultural Events Forum is not required but will count positively towards your participation mark.
Optional Class Outings: What, when, and where TBA. There will be at least 2 optional class outings and these will be scheduled on weekends. These may include a visit to the AGO, a film at the TIFF Lightbox, a trip to downtown art galleries, or possibly a concert. You will be responsible for your own admission costs. Effort will be made to schedule free (or pay-what-you-can) events and venues or those with student pricing. Attendance at these outings is not required but will count positively towards your Participation Mark.
Videos: Videos screened in class are the equivalent of required readings: pay attention, take notes, and do not chatter through them.
Instructions for each will be uploaded on Moodle approximately 2 weeks before they are due.
All written assignments including responses must be typed in 12-point Times New Roman font and double spaced.
Hard copies must be submitted for all written assignments.
Electronic copies of all written assignments must be uploaded to Turnitin via Moodle.
Do not submit your assignments in any sort of folder or binder.
Assignments must be stapled; not fastened with a paper clip, bobby pin, or with duct tape.
Ensure that your name is on your assignment, the course number, my name, and that the pages are numbered.
Separate title pages are not necessary and are actively discouraged; use a header instead.
Written work will not be accepted by email attachment.
Submitting assignments on time, late penalty, missed tests:
Successful academic performance includes students not only completing assignments, but completing them on time. Late penalties are applied to assignments submitted after the due date. Exceptions to the late penalty can be presented to the course director with documented evidence (e.g. a doctor’s note) for consideration. All assignments must be uploaded to Turnitin via Moodle and will also require a hard copy submission.
All written assignments will be penalized 40% if the hard copy is late.
The deadline for Turnitin submissions will extend one week past the hardcopy deadline. Failure to submit your essay to Turnitin will result in a 'O' for the assignment. You are strongly encouraged to avoid uploading assignments within the last hour of a deadline.
If you miss a scheduled test, communicate with the course director via a Moodle message, or email, immediately. Failure to do so may result in you missing the makeup test as well. There is only one opportunity to write a make-up test at a day/time to be determined, irrespective of your personal schedule.
Do not expect me to answer your email in less than 2 days or 48 hours.
Do not expect me to answer email on weekends.
Sending 'messages' via the course Moodle site is preferable.
I will not answer or reply to email which is anonymous or which does not indicate the course title or number in the subject heading – CLTR3100 Culture, Meaning and Form
I will not answer questions by email when the information is on the course syllabus or on the website.
If your question cannot be answered in one sentence, please come to my office hours
Email and messages are for personal and/or administrative issues that arise. All other inquires about course material can be made during class or office hours.
No essays will be accepted by email. Email attachments will be deleted without being opened.
Grades won’t be sent over email so please don’t ask. It is also inappropriate to email me telling me what grades you need or expect in this course.
Electronic Device Policy: No electronic device is to be used for texting, emailing, messaging, surfing on the internet, watching Youtube, posting on Facebook, etc… during lecture or tutorial.Laptop use – even for note-taking -- is strongly discouraged. Cell-phones – so you should turn off your cell-phone when you arrive. It should be 'off' or 'silent' (not on vibrate) and should be put in a bag, purse, or backpack away from your body. It should not be visible or audible during class to others or yourself.
Laptops and tablets – Laptops and tablets should be used for note-taking only and only if absolutely necessary. The process of taking notes by hand is more mindful than typing into a laptop and this helps you learn the concepts and arguments. Transcribing lectures word-by-word is not a successful learning strategy. Everyone should come to class with paper and a pen or pencil with which to take notes. You must get my permission before using a laptop during lectures. In sum, succeeding in this course requires your full attention. If you multi-task you are likely to miss important information or confuse assignment instructions. Further, what is on your screen is visible to the students around you and may distract them. Using your cell-phone, tablet or laptop in class to multi-task is disrespectful to both myself and your classmates. Students seen using their 'smart'-devices and laptops for non-class purposes during lecture or tutorial will receive lower participation marks. If I feel that laptops are being misused in class I will forbid them entirely except for those students whose CDS accommodations require them.
See Independent article on handwritten vs laptop note-taking:
See Toronto Star report on how laptop use in class can lower a B+ to a B-: http://www.thestar.com/life/technology/2013/08/25/laptops_in_the_classroom_can_hinder_grades_study.html
Other classroom policies:
Please do not wear any perfumes, colognes, or other heavily scented products. These trigger migraines in myself and other people with chemical sensitivities
No smelly foods, please.
Please arrive on time and leave only when class is dismissed
Do not leave in the middle of the class unless you must use the washroom or there is an emergency. I determine the time of the break.
Do not start packing up your books and materials until I dismiss you – this is very distracting.
Recording lectures is not permitted. Nor is uploading lecture notes or ANY course material whatsoever to commercial websites. Any student who does so risks violating copyright regulations and will face serious consequences.
To Succeed in this Course:
Do all the reading before class and review it again after class. Expect the reading to be challenging and some weeks it will be heavy. The reading is heaviest in the first half of the course.
Attend all the classes. Arrive on time and stay for the entire class. Do not leave at the break. Do not take longer than designated break (approximately 10 minutes).
Meet all recommended deadlines so that you receive timely feedback on your responses. Don't let these pile up until the end of the term.
Take notes in lecture – always. Preferably write your notes by hand, not on a laptop or tablet.
If you miss a lecture, it is your responsibility to get notes from your peers. Do not email me asking if you missed ‘anything important’ – you did.
If you are over-extended in your studies or work/life commitments or are looking for an easy credit, this course may not be a good fit. The theory we read is rigorous and diverse.
Assigned secondary readings (especially the John Storey text) and additional study resources available on Moodle are there to help you work through difficult concepts and provide additional context.
Come to my office hours as well if you need help. It is strongly recommended that you speak to me in person as you plan your final assignment.
Heed the advice in the following article:http://www.businessinsider.com/10-things-every-college-professor-hates-2014-8
For an updated and helpful website with tips and tools, for writing, time management, and other necessary tools and skills for university success, see: http://www.yorku.ca/spark/
Adding and Dropping This Course – Important Dates:
The last date to add this course through the enrolment module on-line is May 20. If you are currently not enrolled and plan on taking this course, you must keep trying to enrol online and attend lectures so that you are not missing pertinent material.
Please speak to me in person regarding late enrolment between May 21 and June 3. You will not be given permission to enrol late if you have not been attending lectures.
The last date to drop this course without receiving a grade (in other words, without it appearing on your transcript) is July 6. “Dropping” a course requires you to log on the enrolment system and de-enrol from a course. Only then are you officially off the course list.
For more dates and details, see: http://www.registrar.yorku.ca/enrol/dates/fw14.htm
Assistance with Writing - http://www.yorku.ca/laps/writ/
It takes time and practice to become a better writer. Invest some time into your writing skills while you are enrolled in York courses. The Centre for Academic Writing (CAW) is located in South Ross 311. You might be interested in: (a) one-on-one assistance with a writing instructor regarding an assignment you are working on (by appointment only, book online); (b) a 15 minute drop in session where you can ask quick question(s) about a writing assignment (see website for days/times); or (c) its general writing workshops (book online). You are paying for these services through your tuition, so take advantage of these opportunities when you can.
Assistance for ESL Learners - http://www.yorku.ca/eslolc/keele/default.asp!
The ESL Open Learning Centre (OLC) is located in South Ross 327. Students can ask for help in any aspect of learning English (e.g. writing, speaking, listening, etc.).There are group workshops or individual tutoring sessions available. There is a multimedia library, where you can review materials the OLC has that relate to supporting you in learning and practicing English. There is also a movie and discussion night - great practice for gaining confidence in speaking English. These services are
available to any student who identifies him/herself as ESL (International or Canadian student) who is enrolled in courses at York University.
Assistance with Special Needs - http://www.yorku.ca/cds/
As your Course Instructor, I am committed to maximizing your potential for academic achievement at York and to guaranteeing the services and accommodations for persons with special needs. It is vitally important that students request any specific accommodations and/or services they require, and inform the course instructor on the first day of class. This will help avoid any potential conflicts or misunderstandings that may be encountered during the academic year.
It is important that students with special learning needs, requiring accommodations of any sort in connection with their successful completion of a course, contact the appropriate office(s). A good place to start is with the Counselling and Disability Services (CDS) on campus (Room N110 of the Bennett Centre for Student Services). It’s also important to notify instructors of any concerns as close to the course’s start as possible. You can do this by providing your instructors with the form the CDS gives
you, or during office hours if there is anything you wish to discuss. Making these arrangements significantly in advance will help ensure proper accommodations right from the beginning of the course. Ultimately, your success in this course is important to me, and I encourage you to come and speak to me at any point during the term, in my office, to make arrangements or discuss strategies to help you succeed. Do not wait until deadlines have passed.
You have committed plagiarism when you use someone else’s ideas and present them as your own. This could take several forms: cheating on a test; letting someone copy from you during a test; having someone write your paper; copying parts or all of the paper off the internet; buying a paper; summarizing ideas from any source without properly citing this source. For further information on plagiarism see:
It is also a violation of academic honesty to represent another's artistic or technical work or creation as one's own. Just as there are standards to which one must adhere in the preparation and publication of written works, there are standards to which one must adhere in the creation and presentation of music, drawings, designs, dance, photography and other artistic and technical works. In different forms, these constitute a theft of someone else's work. This is not to say that students should not use the work of others with the proper acknowledgement.
It is also a violation of academic honesty to forge another student’s signature on an attendance sheet, submit a fraudulent medical excuse, or collaborate on work with classmates or peers which is assigned individually.
It is your responsibility as a student to be informed about academic integrity. No level or form of plagiarism or academic dishonesty will be tolerated. Penalties for academic dishonesty range from a grade of zero on the specific assignment, to failing the course, to having an official note of academic dishonesty on your university record.
OTHER: Other important information for students regarding the Ethics Review process, Access/Disability, Academic Honesty/Integrity, Student Conduct, and Religious Observance Days is available on the CCAS webpage (see Reports, Initiatives, Documents):-http://www.yorku.ca/secretariat/senate_cte_main_pages/ccas.htm
Culture, Meaning, and Form
Course Schedule Summer 2016
*** These readings are required
** These readings are recommended; they elaborate on key concepts which you will be responsible for understanding.
Class 2Thursday, May 12th What is Culture? What are Mass Culture and Pop Culture?
***“What is popular culture?” and “The 'Culture and Civilizations' Tradition,' Chapters 1 & 2 of John Storey, Cultural Theory and Popular Culture: An Introduction, 6th Edition. (Pearson, 2012).
**Introduction and Chapter 1 “Origins of the Concept of Culture in Philosophy and Literature,” in Chris Jenks, Culture. (Routledge, 1999). E-book in York Library.
Class 3 Tuesday, May 17th Frankfurt School – Benjamin
***Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction,” in Media and Cultural Studies: Keyworks. Second Edition. Meehakshi Gigi Durham and Douglas M. Kellner (eds.). Wiley-Blackwell, 2012.
***Catherine Russell, “New Media and Film History: Walter Benjamin and the Awakening of Cinema.” Cinema Journal 43, No. 3 (Spring 2004): 81-85. in coursepack ***“Classical Marxism,” in “Marxisms,” Chapter 4 of John Storey, Cultural Theory and Popular Culture: An Introduction, 6th Edition. (Pearson, 2012).
**Karl Marx and Friedrich Engels, “The Ruling Class and the Ruling Ideas,” in in Media and Cultural Studies: Keyworks. Second Edition. Meehakshi Gigi Durham and Douglas M. Kellner (eds.). Wiley-Blackwell, 2012.
Class 4 Thursday, May 19th Frankfurt School – Adorno and Marcuse ***Max Horkheimer and Theodor W. Adorno, “The Culture Industry: Enlightenment as Mass Deception,” in Media and Cultural Studies: Keyworks. Second Edition. Meehakshi Gigi Durham and Douglas M. Kellner (eds.). Wiley-Blackwell, 2012. E-book in York Library. ***Bruce Baugh, “Left-Wing Elitism: Adorno on Popular Culture,” Philosophy and Literature 14, No. 1 (April 1990), pp. 65-78. in coursepack ***“Frankfurt School,” in “Marxisms,” Chapter 4 of John Storey, Cultural Theory and Popular Culture: An Introduction, 6th Edition. (Pearson, 2012). **Theodor W. Adorno with the assistance and collaboration of George Simpson, “On Popular Music,” http://libcom.org/library/on-pop-music-theodor-adorno-george-simpson Essential Listening (before class): Howlin' Wolf – Spoonful
Cream – Spoonful
Arnold Schoenburg – Piano Concerto, Op. 42
Tuesday, May 24th Marxism: Cultural Hegemony Response #1 due ***Antonio Gramsci, “The History of the Subaltern Classes” “The Concept of 'Ideology'” and “Cultural Themes: Ideological Material,” in Media and Cultural Studies: Keyworks. Second Edition. Meehakshi Gigi Durham and Douglas M. Kellner (eds.). Wiley-Blackwell, 2012. ***Katalin Lustyik, “Disney's High School Musical: Music makes the world go 'round',” Interactions: Studies in Communication and Culture, Vol. 4, no. 3 (2013). in coursepack ***Drew Taylor, “The Next Phase: Disney has big Plans for Frozen, Studio System News (online edition, January 14, 2014). http://www.studiosystemnews.com/the-next-phase-disney-has-big-plans-for-frozen/ ***Bilge Ebiri, “The Eight Reasons Frozen is Unstoppable,” Vulture.com (January 9, 2014). http://www.vulture.com/2014/01/why-is-frozen-such-a-big-hit.html
**“Hegemony,” in “Marxisms,” Chapter 4 of John Storey, Cultural Theory and Popular Culture: An Introduction, 6th Edition. (Pearson, 2012).
**Ariel Dorfman and Armand Mattelart, “Introduction: Instructions on How to Become a General in the Disneyland Club,” in Media and Cultural Studies: Keyworks. Second Edition. Meehakshi Gigi Durham and Douglas M. Kellner (eds.). Wiley-Blackwell, 2012. Essential Viewing before Class: **Frozen (2013) and/or Disney's High School Musical (2006).
**YouTube clips of High School Musical Around the World and Hindi version
Class 6 Thursday, May 26th Structuralism: Barthes and Althusser ***Roland Barthes, “Myth Today,” in Media and Cultural Studies: Keyworks. Second Edition. Meehakshi Gigi Durham and Douglas M. Kellner (eds.). Wiley-Blackwell, 2012. ***Louis Althusser, “Ideology and Ideological State Apparatuses (Notes Towards and Investigation),” in Media and Cultural Studies: Keyworks. Second Edition. Meehakshi Gigi Durham and Douglas M. Kellner (eds.). Wiley-Blackwell, 2012.
***“Althusserism,” in “Marxisms,” Chapter 4 and “Roland Barthes: Mythologies,” in Structuralism and Post-Structuralism, Chapter 6 of John Storey, Cultural Theory and Popular Culture: An Introduction, 6th Edition. (Pearson, 2012).
Class 7 Tuesday, May 31st Subcultures and Resistance ***Dick Hebdige, “Subculture: The Unnatural Break,” in Media and Cultural Studies: Keyworks. Second Edition. Meehakshi Gigi Durham and Douglas M. Kellner (eds.). Wiley-Blackwell, 2012.
***Kevin Mattson, “Did Punk Matter? Analyzing the Practices of a Youth Subculture in the 1980s,” American Studies 42, No. 1 (Spring 2o01), pp. 69-97. in coursepack Class 8 Thursday, June 2nd Introduction to Postmodernism Response #2 due ***John Storey, “Postmodernism,” in Chapter 79 of John Storey, Cultural Theory and Popular Culture: An Introduction, 6th Edition. (Pearson, 2012). ***Dominic Strinati, Chapter 6: “Postmodernism, Contemporary Popular Culture and Recent Theoretical Developments,” in Strinati, Introduction to Theories of Popular Culture, second edition, Routledge (2004)pp. 210-233. E-book in York Library. Class 9
Tuesday, June 7th Postmodernism: The crises of representation and legitimation
***Jean Baudrillard, “The Precession of Simulacra,” in Media and Cultural Studies: Keyworks. Second Edition. Meehakshi Gigi Durham and Douglas M. Kellner (eds.). Wiley-Blackwell, 2012. ***Joshua Gamson, “The Unwatched Life is Not Worth Living: The Elevation of the Ordinary in Celebrity Culture,” PMLA, Vol. 126, no. 4 (2011). in coursepack ***Graeme Turner, “Is Celebrity News, News?” Journalism, Vol. 15, no. 2 (2014). in coursepack Essential Viewing before class (at least one): any episode of Keeping Up with the Kardashians
any episode of either Survivor or Big Brother
video links on Moodle
Class 10 Thursday, June 9th Postmodernism, Late Capitalism, and Convergence Culture ***Frederic Jameson, “Postmodernism, or the Cultural Logic of Late Capitalism,” in Media and Cultural Studies: Keyworks. Second Edition. Meehakshi Gigi Durham and Douglas M. Kellner (eds.). Wiley-Blackwell, 2012.
***Henry Jenkins, “Quentin Tarantino's Star Wars?: Digital Cinema, Media Convergence, and Participatory Culture,” in Media and Cultural Studies: Keyworks. Second Edition. Meehakshi Gigi Durham and Douglas M. Kellner (eds.). Wiley-Blackwell, 2012.
***Kofi Outlaw, “Reboots and Remakes: Upcoming Movies You have Seen Before,” ScreenRant (August 2, 2013). http://screenrant.com/movie-remakes-reboots-2012-2013-kofi-142332/
Recommended Viewing before class (at least one): “Pilot” and “The Thing You Love Most”, Once Upon a Time, Season 1, Episode 1 &
Class 11 Tuesday, June 14th in-class midterm (2.5 hours)
Class 12 Thursday, June 16th Roundtable Presentations: PM and Participatory Fan Culture ***Nicolle Lamerichs, “Stranger Than Fiction: Fan Identity in Cosplay,”Transformative Works and Cultures, Vol. 7, 2011. http://journal.transformativeworks.org/index.php/twc/article/view/246/230 ***Chaka Cumberbach, “I'm a Black Female Cosplayer and Some People Hate It,” XOJane, February 2013. http://www.xojane.com/issues/mad-back-cosplayer-chaka-cumberbatch
***Venetia Laura Delano Robertson, “Of Ponies and Men: My Little Pony and Friendship and the Brony Fandom,” International Journal of Cultural Studies, Vol. 17, no. 1 (2014). in coursepack
*** Lev Grossman, “Forward,” & Anne Jamison, “Why Fic?” in Anne Jamison, Fic: Why Fanfiction is Taking Over the World. (Smart Pop, 2013)in coursepack ***Karen Hellekson and Kristina Busse, “Introduction: Work in Progress,” in Karen Hellekson and Kristina Busse, Fan Fiction and Fan Communities in the Age of the Internet. (McFarland and Company, 2006).in coursepack ***Francesca Coppa, “A Brief History of Media Fandom,” in Karen Hellekson and Kristina Busse, Fan Fiction and Fan Communities in the Age of the Internet. (McFarland and Company, 2006). in coursepack Essential Viewing before class (at least one): Star Trek: The Original Series (any episode)
Ruth Berman, “Visit to a Weird Planet Revisted” http://members.optusnet.com.au/virgothomas/space/trek/weirdplanet.html
Bats! (My Little Pony, Friendship is Magic, Season 4, Episode 7)
Fansites linked on Moodle
Tuesday, June 21st Modernism and 20th Century Western Art ***Response #3 due*** ***Clive Bell, “The Aesthetic Hypothesis,” from Bell, Art. (1914). (Frederick A. Stokes, 1914). in coursepack. ***David Cottington, Modern Art: A Very Short Introduction. (Oxford, 2005). Essential Viewing: The Mystery of Picasso (1956)
Jackson Pollock documentary by Hans Namuth (excerpt) on YouTube
Luis Bunuel's Un Chien Andalou(1929) Class 14 Thursday, June 23rd Art Today: Contemporary Art, Does Anything Go? ***Jean Robertson and Craig McDaniel, “The Art World Expands,” Chapter 1 in Robertson and McDaniel, Themes of Contemporary Art, Visual Art after 1980, second edition. (Oxford University Press, 2010). in coursepack.
***Arthur Danto, “The Artworld,” Journal of Philosophy, Vol. 61, no. 19 (Oct. 1964): 571-584. in coursepack.
Class 15 Tuesday, June 28th Performance Art: The ontology of 'presence' ***Amelia Jones, “'The Artist is Present': Artistic Re-Enactments and the Impossibility of Presence,” TDR: The Drama Review, Vol. 55, no. 1 (Spring 2011): 16-45. In coursepack ***Adrian Piper, “Performance and the Fetishism of Art Objects,” reprinted in The Nature of Art, Second Edition, Thomas E. Wartenberg, (ed.), Wadsworth, 2007. in coursepack in-class screening of Marina Abramovic's The Artist is Present (2012)
Class 16 Thursday, June 30thContemporary Art, the Artworld, and Commodification ***Julian Stallabrass, Contemporary Art: A Very Short Introduction. Oxford University Press, 2006. ***Terry Smith, “Going Global: Selling Contemporary Art,” Chapter 7 in Smith, What is Contemporary Art? (University of Chicago Press, 2009). in coursepack
**Carl Swanson, “Jeff Koons is the Most Successful Artist Since Warhol, So What's the Art World Got Against Him?” New York Magazine, May 13, 2013. http://www.vulture.com/2013/05/age-of-jeff-koons.html
Tuesday, July 5th Street Art, Public Space, and Commodification – Banksy ***Anna Waclawek, Chapter 3, “Street Art and the City,” in Waclawek, Graffiti and Street Art. (Thames and Hudson, World of Art, 2011). in coursepack ***Will Ellsworth-Jones, The Story Behind Banksy. Smithsonian Magazine (February 2013). Smithsonian.com http://www.smithsonianmag.com/arts-culture/The-Story-Behind-Banksy-187953941.html In-class screening of Exit Through the Gift Shop
Wednesday, July 6th Last Day to Drop the Course
Class 18 Thursday, July 7th Representation: Stereotypes and Otherness ****Response #4 due*** ***Richard Dyer, “Stereotyping,” in Media and Cultural Studies: Keyworks. Second Edition. Meehakshi Gigi Durham and Douglas M. Kellner (eds.). Wiley-Blackwell, 2012. ***bell hooks, “Eating the Other: Desire and Resistance,” in Media and Cultural Studies: Keyworks. Second Edition. Meehakshi Gigi Durham and Douglas M. Kellner (eds.). Wiley-Blackwell, 2012.
***Stuart Hall, selections from “The Spectacle of the 'Other,'” in Representation, Second Edition. Stuart Hall, Sean Nixon, and Jessica Evans (eds.). Sage Publications, 2013. in coursepack
**“'Race,' Racism, and Representation,” Chapter 8 of John Storey, Cultural Theory and Popular Culture: An Introduction, 6th Edition. (Pearson, 2012).
Class 19 Tuesday, July 12thRoundtable presentations: Stereotypes ***Jay Clarkson, “Contesting Masculinity's Makeover: Queer Eye, Consumer Masculinity, and 'Straight-Acting' Gays,” Journal of Communication Inquiry, Vol. 29, no. 4 (July 2005), pp. 235-255. in coursepack ***Brannan Williams and Gazelle Emami, “How to Make It as a Black Sitcom – Be Careful about How You Talk about Race,” Huffington Post, November 13, 2014. http://www.huffingtonpost.com/2014/10/21/black-sitcom-black-ish_n_6002850.html ***Reel Bad Arabs: How Hollywood Villifies a People, Democracy Now interview with author Jack Shaheen. October 19, 2007. http://www.democracynow.org/2007/10/19/reel_bad_arabs_how_hollywood_vilifies
Essential Viewing Before Class (at least one):
Queer Eye for the Straight Guy (any episode)
Blackish or The Carmichael Show(any episode)
Fame and Fidelity Web Series on YouTube (2014)
Class 20 Thursday, July 14th The 'Male Gaze' ***Laura Mulvey, “Visual Pleasure and Narrative Cinema,” in Media and Cultural Studies: Keyworks. Second Edition. Meehakshi Gigi Durham and Douglas M. Kellner (eds.). Wiley-Blackwell, 2012. ***Laura Mulvey, “Afterthoughts on 'Visual Pleasure and Narrative Cinema,” in E. Ann Kaplan (ed.), Psychoanalysis and Cinema. (Routledge, 1990). in coursepack **E. Ann Kaplan, “Is the Gaze Male?” from Kaplan, Women and Film: Both Sides of the Camera. Routledge, 1983. in coursepack. **“Freudian Psychoanalysis” and “Lacanian Psychoanlysis,” in “Psychoanalysis,” Chapter 5 and “Women at the Cinema,” in “Gender and Sexuality,” Chapter 7 of John Storey, Cultural Theory and Popular Culture: An Introduction, 6th Edition. (Pearson, 2012).
Tuesday, July 19th The 'Male Gaze' continued
***Tania Modleski, “Femininity by Design: Vertigo,” in Modleski, The Women Who Knew Too Much: Hitchcock and Feminist Theory. (Metheun, 1988). in coursepack. in-class screening of Alfred Hitchcock's Vertigo (1958) Class 22 Thursday, July 21st Spectatorship – Resistance and Pleasure ***bell hooks, “The Oppositional Gaze: Black Female Spectators,” in hooks, Black Looks: Race and Representation. (Between the lines, 1992). in coursepack ***Jackie Stacey, “Desperately Seeking Difference,” Screen, Vol. 28, no. 1 (1987). in coursepack ***Teresa de Lauretis, “Rethinking Women's Cinema: Aesthetics and Feminist Theory,” in de Lauretis, Technologies of Gender: essays on Theory, Film, and Fiction. (Indiana University Press, 1987). in coursepack. in-class screening of Julie Dash's Illusions (1982)
Class 23 Tuesday, July 26thFeminist Aesthetics and Women's Cinema
***Julianne Pidduck, “Travels with Sally Potter's Orlando: Gender, Narrative, Movement.” Screen 38, no. 2 (Summer 1997), pp. 172-189. in coursepack.
in-class screening of Sally Potter's Orlando (1992)
Class 24 Thursday, July 28thRoundtable Presentations: Genre and Spectatorship ***Response #5 due*** ***Jackie Stacey, “Desperately Seeking Difference,” Screen, Vol. 28, no. 1 (1987). in coursepack ***Amy Jane Vosper, “Film, Fear and the Female: An Empirical Study of the Female Horror Fan.” Offscreen: The Experience of Cinema, Vol. 18, issues 6-7, July 2014. http://offscreen.com/view/film-fear-and-the-female ***Jason Benoit, “I'm a Man Who Loves Chick Flicks,” Hollywood Journal (January 29, 2013). http://hollywoodjournal.com/industry-impressions/im-a-man-who-loves-chick-flicks/20130829/
Essential Viewing Before Class (at least one)
The Conjuring (2013) or The Conjuring 2 (2016)
The Notebook (2004)
Desperately Seeking Susan (1985) Tuesday, August 2nd Final Essay/Take-home assignment due