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Class Syllabus
<h4>CTCS 585: Seminar in Film/TV Critical Theory + Production: Activism in the Digital Age <br />Professor Tara McPherson <br />Fall 2017 SCI L114 <br />Tuesdays 10:00 – 1:30 p.m. <br />Office Hours: Tuesdays, 2-3 pm + by appointment. Just email me.<br />Main Office Phone: 213-740-3334 <br /><br />DOWNLOAD SYLLABUS HERE:<br /><a href="https://drive.google.com/file/d/0B7KGgcZzSNcAMEpURzlaMk84RTg/view?usp=sharing">https://drive.google.com/file/d/0B7KGgcZzSNcAMEpURzlaMk84RTg/view?usp=sharing</a></h4><div><div>From the Arab Spring to Occupy Wall Street to Black Lives Matter to last winter’s Women’s March, the last decade has seen a variety of competing claims about the role digital media might play in activist struggles for social change. Through a series of case studies that will center on issues of race, gender, sexuality, privacy, and class, the course will explore the ways in which digital media intersect with and possibly reconfigure activist practice in the twenty-first century. This class is also a practicum of sorts, so students will be asked to engage with media making tools and activities in a variety of contexts. Theory and practice will be integrated across the semester, and each mode of expression will be valued. Throughout the semester, the guiding frameworks of the class will be those of cultural theory, digital media studies, feminism, and critical race theory, and we will constantly link our exploration of old and new technologies to investigations of social change, aesthetics, and efficacy. </div><div> </div><div>As we collectively shape the contours of the class, I hope that we will address questions like the following: "How do technologies shape our sense of self and other?", “How does technology impact social organization and forms of community?”, "What continuities exist between activism before and after the web?", "What potential do tactical media offer activists?", "How do digital activism and other forms of activism intersect?", and "Do digital media enable new ways of imagining social change?".</div><div> </div><div>We will also explore the impacts of digital media on strategies for organizing through the exploration of concrete case studies. In order to explore issues of organizational strategy, consensus building, and deliberation, several weeks of the semester are as yet unmapped. Students in the course will collectively author the contours of these sessions, deciding upon four case studies, assigned readings, hands-on activities, and other materials. We’ll talk more about this process in the next few weeks.</div><div> </div><div>Finally, the course takes seriously the notion that digital media are re-jiggering the relationship between theory and practice, illuminating new possibilities for activism, art, and daily life. As such, a few hands-on labs and other excursions will give students the opportunity to explore various elements of digital activism, particularly in relation to the creative expression. </div><div> </div><div>Required Texts:</div><div>Most of the course texts will be freely available online via Blackboard or other resources. You will present on a book in week six and will need to acquire that book. There may also be some costs for possible field trips during the course.</div><div> </div><div>Classroom Technology Use:</div><div><em>PLEASE BRING A LAPTOP OR TABLET TO ALL CLASSES!!! </em>That said, please also be aware that I may, at times, ask you to disengage from your devices for focused attention in class. Thus, it’s also a good idea to have old-fashioned writing supplies on hand.</div><div> </div><div>Class Requirements:</div><div>Advance Homework Assignments (30%): </div><div>During the semester, you will be required to post a variety of homework assignments to the class website. The assignments for the first few weeks are noted below. Additional assignments will be created as we together map out the remainder of the term. You should also feel free post to the website whenever you are moved to do so. Ideally, the site will become a communal space for the class, one used to address and ponder course themes and to point your peers to interesting and relevant materials. You are, of course, expected to read the site regularly and to comment on your peers’ posts and assignments.</div><div> </div><div>Participation, Attendance, Labs + Excursions (10%): </div><div>Attendance:</div><div>It should go without saying that students are expected to attend all classes and to arrive at class prepared and ready to participate (i.e. having finished and thought about the day’s materials.) Absences will affect your grade. Additionally, all assignments are due on time; late assignments will rarely be accepted. </div><div>Labs/Excursions:</div><div>Additionally, there will likely be a few hands-on labs and/or excursions associated with the course. Details on these will be posted on the blog ‘on the fly’ as part of our experiments in flexible course design for the info age. </div><div> </div><div>Class Session Design (30%):</div><div>A significant concern of this class is the exploration of participatory activism in the digital age. Such activism involves complex dynamics of cooperation, consensus building, organization, and struggle. In such processes, the virtual and physical intersect and shape one another. How might such endeavors shape the very design of graduate education, particularly in relation to media studies? Might we think of course design differently, as more collaborative and bottom-up? Presumably, you’re each in this course because you have some interest in activism of some type. I could shape the course via my own predilections and interests but that strikes me as the wrong approach to take given our course themes. Working as a team, we will collaboratively take charge of designing case studies and actions for the course schedule. For these weeks, a small group of planners will be responsible (with ongoing input from me and from classmates) for selecting readings, screenings, links, field trips, class visitors, or other illustrative materials pertinent for the topic on hand. You are encouraged to be creative in tackling this portion of the semester. Some potential topics to get you started might include Black Lives Matter, climate change, electoral politics, indigenous land rights, mass incarceration, sexual violence, trans politics, or Palestinian liberation. Or we might choose something quite different, busting out of the confines of the seminar space altogether. For instance, we might choose one case study and pursue it in and beyond the classroom for several weeks, planning one or two actions in relation to it. We might decide to focus on two topics with an action apiece. How would you remake the graduate seminar in the digital age? What really interests you about activism today? This is an opportunity to try out your ideas.</div><div> </div><div>Final project (30%):</div><div>Students will be required to produce a final project for the class, but the form of this project will be open. You might produce a conventional seminar paper addressing course themes, but I strongly encourage you to consider other formats that your project might take including the creation of web resources around key issues, a performance, a video, or some type of coordinated action. You should schedule a meeting with me to talk about your ideas for the project at some point during the semester. We will also discuss this further as the class begins to take a more defined shape.</div><div> </div><div>Course Schedule: </div><div>(Note: hands-on homework assignments are due at the start of class on the days they are listed)</div><div> </div><div>8/22: Class Introductions</div><div>Plus speed dating and potential case study discussion</div><div><em>Screenings:</em></div><div>Paper Tiger TV, “Oldies and Goodies: A Paper Tiger Sampler” https://vimeo.com/145211312<br />Ant Farm, Media Burn, 1975 edit,</div><div><a href="http://mediaburn.org/video/media-burn-by-ant-farm-2003-edit/">http://mediaburn.org/video/media-burn-by-ant-farm-2003-edit/</a></div><div>Community Video Center/Dispatch New Service “Harrisburg 8”</div><div><a href="http://mediaburn.org/video/harrisburg-8-2/">http://mediaburn.org/video/harrisburg-8-2/</a></div><div> </div><div>8/29: Media Activism before the Web: Guerilla TV, Video Art + Farmworker Futurism</div><div><em>Readings:</em><br />Patricia Mellencamp, “Video Politics: "Guerrilla TV", Ant Farm, "Eternal Frame"</div><div>Christine Tamblyn, “Qualifying the Quotidian: Artists Video and the Production of Social Space”</div><div>Martha Rosler, “Video: Shedding the Utopian Moment”</div><div>Curtis Marez, “Cesar Chavez’s Video Collection” Available online: https://scalar.usc.edu/nehvectors/curtis-marez/index</div><div> </div><div>Pre-class homework: Peruse the Paper Tiger TV video archive (https://vimeo.com/papertigertv/videos) and watch a few videos of interest to you. Create a 2-5 minute video of your own that addresses an issue of your choosing that in some way reflects the aesthetics and/or tactical strategies of the various activists and artists we’ve read about for this week. Production values are not the key issue here (as the readings should make obvious.) A “talking head” video is certainly an option if it suits your goals. Think about how form suits content for your piece.</div><div> </div><div>9/5: Media Activism before the Web: Considering ACT-UP</div><div><em>Readings:</em></div><div>-Esther Kaplan, "This City is Ours." (from Benjamin Shepard and Ronald Hayduk, <em>From ACT-UP to the WTO, </em>2002)</div><div>-Alex Juhasz, <em>AIDS TV: Identity, Community, and Alternative Media</em> (Chapter One, 1995)</div><div>-T.V. Reed, "ACTing Up against AIDS” from <em>The Art of Protest: Culture and Activism from the Civil Rights Movement to the Streets of Seattle</em> (2005)</div><div>-John D’Addario, “AIDS, Art and Activism: Remembering Gran Fury” Available online: <a href="http://hyperallergic.com/42085/aids-art-activism-gran-fury/">http://hyperallergic.com/42085/aids-art-activism-gran-fury/</a> (Please follow the links in the article too, particularly the Manifesto and the <em>Art Forum</em> interview.)<br /> </div><div><em>Optional/Reference:</em><br />-Douglas Crimp, “The Boys in my Bedroom” (1990, reprinted in <em>The Lesbian and Gay Studies Reader)</em><br />-Liz Highleyman, “Radical Queers or Queer Radicals? Queer Activism and the Global Justice Movement” (from Benjamin Shepard and Ronald Hayduk, <em>From ACT-UP to the WTO)</em> <div> </div></div><div>Pre-class homework: Look through various sites chronicling the graphic visual strategies used by AIDS activists in the 1980s (see for instance, <a target="_blank" href="http://www.queerculturalcenter.org/Pages/GranFury/GFGllry.html">http://www.queerculturalcenter.org/Pages/GranFury/GFGllry.html</a>). Create a graphic image of some type in relation to an issue of concern to you. You may create a purely digital piece or work with other materials (and document the piece photographically.) Reflect on your design choices in 150-300 words, and post both your image and your rationale to the blog.</div><div> </div><div>9/12: Activating the Web: Tactical Media + Cyberfeminism</div><div><em>Readings:</em></div><div>Critical Art Ensemble, <em>Digital Resistance: Explorations in Tactical Media </em>(esp. Intro and Chapters 1-4); online at <a href="http://www.critical-art.net/books/digital/">http://www.critical-art.net/books/digital/</a></div><div>Maria Fernandez, Faith Wilding, Michelle M. Wright, eds., a <a href="http://www.cyberfeminism.net/">subRosa</a> project,</div><div><em>Domain Errors: Cyberfeminist Practices!</em> [selections: Introduction; Situating Cyberfeminisms; Cyberfeminism, Racism, Embodiment; subRosa Manifestations; Refugia! Manifesto for Becoming Autonomous Zones (BAZ)] Online at <a href="http://www.refugia.net/domainerrors/">http://www.refugia.net/domainerrors/</a></div><div> </div><div>Pre-class homework: Review the Gran Fury Manifesto from week 2 and the Refugia Manifesto from this week. Create a 1-2 page manifesto for an issue of your choosing and post it to the class blog.</div><div> </div><div>9/19: Theorizing Activist Strategies in 2017</div><div><em>Readings:</em><br />Michael Hardt + Antonio Negri, <em>Assembly</em> (selections TBA)</div><div>Adrienne Maree Brown, <em>Emergent Strategy: Shaping Change, Changing Worlds </em>(selections TBA)</div><div> </div><div>Pre-class homework: TBA<br /> </div><div>9/26: Reviewing Tactics in 2017</div><div><em>Readings:</em><br />For class this week, you will work in small groups to present the core ideas from a small resource list.</div><div> </div><div>The remainder of the syllabus will be a work-in-progress, to be shaped by our collective deliberations, planning, and actions.</div><div> </div><div>NOTE: There will be no class the week of November 23<sup>rd</sup> (Thanksgiving)<br /> <div><strong>Required University Caveats + Info:</strong></div><div> </div><div><strong>Academic Conduct</strong></div><div> </div><div>Plagiarism – presenting someone else’s ideas as your own, either verbatim or recast in your own words – is a serious academic offense with serious consequences. Please familiarize yourself with the discussion of plagiarism in <em>SCampus </em>in Section 11, <em>Behavior Violating University Standards </em>https://scampus.usc.edu/1100-behavior-violating-university-standards-and-appropriate-sanctions. Other forms of academic dishonesty are equally unacceptable. See additional information in <em>SCampus </em>and university policies on scientific misconduct, <a href="http://policy.usc.edu/scientific-misconduct">http://policy.usc.edu/scientific-misconduct</a>.</div><div> </div><div>Discrimination, sexual assault, and harassment are not tolerated by the university. You are encouraged to report any incidents to the Office of Equity and Diversity http://equity.usc.edu or to the Department of Public Safety https://dps.usc.edu/. Information on Title IX at USC, including reporting options, is available at http://titleix.usc.edu/; information on diversity and inclusion in<br />SCA is available at http://cinema.usc.edu/about/diversity.cfm and at the university overall at http://diversity.usc.edu/. Reporting incidents and utilizing these resources is important for the safety and wellbeing of the whole USC community. Another member of the university community – such as a friend, classmate, advisor, or faculty member – can help initiate a report, or can initiate the<br />report on behalf of another person. A list of other resource centers and affinity groups is here https://careers.usc.edu/students/diversity-resources/usc-student-centers/ and here<br />https://undergrad.usc.edu/services/support-systems/ .<br />Counseling services are supported by http://undergrad.usc.edu/services/counseling/ .<br /><br />If you difficulty affording groceries or accessing sufficient food to eat, please be aware of USC’s<br />Virtual Food Pantry. Information is available at https://dornsife.usc.edu/food-pantry/</div><div> </div><div><strong>Support Systems</strong></div><div> </div><div>A number of USC’s schools provide support for students who need help with scholarly writing. Check with your advisor or program staff to find out more. Students whose primary language is not English should check with the <em>American Language Institute </em>http://ali.usc.edu/, which sponsors courses and workshops specifically for international graduate students.</div><div> </div><div><em>The Office of Disability Services and Programs </em>provides certification for students with disabilities and helps arrange the relevant accommodations. http://dsp.usc.edu/</div><div> </div><div>If an officially declared emergency makes travel to campus infeasible, <em>USC Emergency Information </em>will provide safety and other updates, including ways in which instruction will be continued by means of blackboard, teleconferencing, and other technology. http://emergency.usc.edu</div><div> </div><div><strong>Course Exam, Project and Paper Retention Policy</strong></div><div> </div><div>It is the responsibility of all students in Cinema and Media Studies Studies courses to retrieve all papers, projects, assignments and/or exams within one academic year of completion of a course. These records may be essential in resolving grade disputes and incompletes as well as assist in verifying that course requirements have been met. The Cinema and Media Studies Division will dispose of all records from the previous academic year in May of the current academic year. No exceptions. Please be in contact with your TA or Professor about collecting these documents while you are taking the course.</div></div></div>
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2018-08-04T20:28:08-07:00
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Class Syllabus
<h4>CTCS 585: Seminar in Film/TV Critical Theory + Production: Activism in the Digital Age <br />Professor Tara McPherson <br />Fall 2017 SCI L114 <br />Tuesdays 10:00 – 1:30 p.m. <br />Office Hours: Tuesdays, 2-3 pm + by appointment. Just email me.<br />Main Office Phone: 213-740-3334 <br /><br />DOWNLOAD SYLLABUS HERE:<br /><a href="https://drive.google.com/file/d/0B7KGgcZzSNcAMEpURzlaMk84RTg/view?usp=sharing">https://drive.google.com/file/d/0B7KGgcZzSNcAMEpURzlaMk84RTg/view?usp=sharing</a></h4><div><div>From the Arab Spring to Occupy Wall Street to Black Lives Matter to last winter’s Women’s March, the last decade has seen a variety of competing claims about the role digital media might play in activist struggles for social change. Through a series of case studies that will center on issues of race, gender, sexuality, privacy, and class, the course will explore the ways in which digital media intersect with and possibly reconfigure activist practice in the twenty-first century. This class is also a practicum of sorts, so students will be asked to engage with media making tools and activities in a variety of contexts. Theory and practice will be integrated across the semester, and each mode of expression will be valued. Throughout the semester, the guiding frameworks of the class will be those of cultural theory, digital media studies, feminism, and critical race theory, and we will constantly link our exploration of old and new technologies to investigations of social change, aesthetics, and efficacy. </div><div> </div><div>As we collectively shape the contours of the class, I hope that we will address questions like the following: "How do technologies shape our sense of self and other?", “How does technology impact social organization and forms of community?”, "What continuities exist between activism before and after the web?", "What potential do tactical media offer activists?", "How do digital activism and other forms of activism intersect?", and "Do digital media enable new ways of imagining social change?".</div><div> </div><div>We will also explore the impacts of digital media on strategies for organizing through the exploration of concrete case studies. In order to explore issues of organizational strategy, consensus building, and deliberation, several weeks of the semester are as yet unmapped. Students in the course will collectively author the contours of these sessions, deciding upon four case studies, assigned readings, hands-on activities, and other materials. We’ll talk more about this process in the next few weeks.</div><div> </div><div>Finally, the course takes seriously the notion that digital media are re-jiggering the relationship between theory and practice, illuminating new possibilities for activism, art, and daily life. As such, a few hands-on labs and other excursions will give students the opportunity to explore various elements of digital activism, particularly in relation to the creative expression. </div><div> </div><div>Required Texts:</div><div>Most of the course texts will be freely available online via Blackboard or other resources. You will present on a book in week six and will need to acquire that book. There may also be some costs for possible field trips during the course.</div><div> </div><div>Classroom Technology Use:</div><div><em>PLEASE BRING A LAPTOP OR TABLET TO ALL CLASSES!!! </em>That said, please also be aware that I may, at times, ask you to disengage from your devices for focused attention in class. Thus, it’s also a good idea to have old-fashioned writing supplies on hand.</div><div> </div><div>Class Requirements:</div><div>Advance Homework Assignments (30%): </div><div>During the semester, you will be required to post a variety of homework assignments to the class website. The assignments for the first few weeks are noted below. Additional assignments will be created as we together map out the remainder of the term. You should also feel free post to the website whenever you are moved to do so. Ideally, the site will become a communal space for the class, one used to address and ponder course themes and to point your peers to interesting and relevant materials. You are, of course, expected to read the site regularly and to comment on your peers’ posts and assignments.</div><div> </div><div>Participation, Attendance, Labs + Excursions (10%): </div><div>Attendance:</div><div>It should go without saying that students are expected to attend all classes and to arrive at class prepared and ready to participate (i.e. having finished and thought about the day’s materials.) Absences will affect your grade. Additionally, all assignments are due on time; late assignments will rarely be accepted. </div><div>Labs/Excursions:</div><div>Additionally, there will likely be a few hands-on labs and/or excursions associated with the course. Details on these will be posted on the blog ‘on the fly’ as part of our experiments in flexible course design for the info age. </div><div> </div><div>Class Session Design (30%):</div><div>A significant concern of this class is the exploration of participatory activism in the digital age. Such activism involves complex dynamics of cooperation, consensus building, organization, and struggle. In such processes, the virtual and physical intersect and shape one another. How might such endeavors shape the very design of graduate education, particularly in relation to media studies? Might we think of course design differently, as more collaborative and bottom-up? Presumably, you’re each in this course because you have some interest in activism of some type. I could shape the course via my own predilections and interests but that strikes me as the wrong approach to take given our course themes. Working as a team, we will collaboratively take charge of designing case studies and actions for the course schedule. For these weeks, a small group of planners will be responsible (with ongoing input from me and from classmates) for selecting readings, screenings, links, field trips, class visitors, or other illustrative materials pertinent for the topic on hand. You are encouraged to be creative in tackling this portion of the semester. Some potential topics to get you started might include Black Lives Matter, climate change, electoral politics, indigenous land rights, mass incarceration, sexual violence, trans politics, or Palestinian liberation. Or we might choose something quite different, busting out of the confines of the seminar space altogether. For instance, we might choose one case study and pursue it in and beyond the classroom for several weeks, planning one or two actions in relation to it. We might decide to focus on two topics with an action apiece. How would you remake the graduate seminar in the digital age? What really interests you about activism today? This is an opportunity to try out your ideas.</div><div> </div><div>Final project (30%):</div><div>Students will be required to produce a final project for the class, but the form of this project will be open. You might produce a conventional seminar paper addressing course themes, but I strongly encourage you to consider other formats that your project might take including the creation of web resources around key issues, a performance, a video, or some type of coordinated action. You should schedule a meeting with me to talk about your ideas for the project at some point during the semester. We will also discuss this further as the class begins to take a more defined shape.</div><div> </div><div>Course Schedule: </div><div>(Note: hands-on homework assignments are due at the start of class on the days they are listed)</div><div> </div><div>8/22: Class Introductions</div><div>Plus speed dating and potential case study discussion</div><div><em>Screenings:</em></div><div>Paper Tiger TV, “Oldies and Goodies: A Paper Tiger Sampler” https://vimeo.com/145211312<br />Ant Farm, Media Burn, 1975 edit,</div><div><a href="http://mediaburn.org/video/media-burn-by-ant-farm-2003-edit/">http://mediaburn.org/video/media-burn-by-ant-farm-2003-edit/</a></div><div>Community Video Center/Dispatch New Service “Harrisburg 8”</div><div><a href="http://mediaburn.org/video/harrisburg-8-2/">http://mediaburn.org/video/harrisburg-8-2/</a></div><div> </div><div>8/29: Media Activism before the Web: Guerilla TV, Video Art + Farmworker Futurism</div><div><em>Readings:</em><br />Patricia Mellencamp, “Video Politics: "Guerrilla TV", Ant Farm, "Eternal Frame"</div><div>Christine Tamblyn, “Qualifying the Quotidian: Artists Video and the Production of Social Space”</div><div>Martha Rosler, “Video: Shedding the Utopian Moment”</div><div>Curtis Marez, “Cesar Chavez’s Video Collection” Available online: https://scalar.usc.edu/nehvectors/curtis-marez/index</div><div> </div><div>Pre-class homework: Peruse the Paper Tiger TV video archive (https://vimeo.com/papertigertv/videos) and watch a few videos of interest to you. Create a 2-5 minute video of your own that addresses an issue of your choosing that in some way reflects the aesthetics and/or tactical strategies of the various activists and artists we’ve read about for this week. Production values are not the key issue here (as the readings should make obvious.) A “talking head” video is certainly an option if it suits your goals. Think about how form suits content for your piece.</div><div> </div><div>9/5: Media Activism before the Web: Considering ACT-UP</div><div><em>Readings:</em></div><div>-Esther Kaplan, "This City is Ours." (from Benjamin Shepard and Ronald Hayduk, <em>From ACT-UP to the WTO, </em>2002)</div><div>-Alex Juhasz, <em>AIDS TV: Identity, Community, and Alternative Media</em> (Chapter One, 1995)</div><div>-T.V. Reed, "ACTing Up against AIDS” from <em>The Art of Protest: Culture and Activism from the Civil Rights Movement to the Streets of Seattle</em> (2005)</div><div>-John D’Addario, “AIDS, Art and Activism: Remembering Gran Fury” Available online: <a href="http://hyperallergic.com/42085/aids-art-activism-gran-fury/">http://hyperallergic.com/42085/aids-art-activism-gran-fury/</a> (Please follow the links in the article too, particularly the Manifesto and the <em>Art Forum</em> interview.)<br /> </div><div><em>Optional/Reference:</em><br />-Douglas Crimp, “The Boys in my Bedroom” (1990, reprinted in <em>The Lesbian and Gay Studies Reader)</em><br />-Liz Highleyman, “Radical Queers or Queer Radicals? Queer Activism and the Global Justice Movement” (from Benjamin Shepard and Ronald Hayduk, <em>From ACT-UP to the WTO)</em> <div> </div></div><div>Pre-class homework: Look through various sites chronicling the graphic visual strategies used by AIDS activists in the 1980s (see for instance, <a target="_blank" href="http://www.queerculturalcenter.org/Pages/GranFury/GFGllry.html">http://www.queerculturalcenter.org/Pages/GranFury/GFGllry.html</a>). Create a graphic image of some type in relation to an issue of concern to you. You may create a purely digital piece or work with other materials (and document the piece photographically.) Reflect on your design choices in 150-300 words, and post both your image and your rationale to the blog.</div><div> </div><div>9/12: Activating the Web: Tactical Media + Cyberfeminism</div><div><em>Readings:</em></div><div>Critical Art Ensemble, <em>Digital Resistance: Explorations in Tactical Media </em>(esp. Intro and Chapters 1-4); online at <a href="http://www.critical-art.net/books/digital/">http://www.critical-art.net/books/digital/</a></div><div>Maria Fernandez, Faith Wilding, Michelle M. Wright, eds., a <a href="http://www.cyberfeminism.net/">subRosa</a> project,</div><div><em>Domain Errors: Cyberfeminist Practices!</em> [selections: Introduction; Situating Cyberfeminisms; Cyberfeminism, Racism, Embodiment; subRosa Manifestations; Refugia! Manifesto for Becoming Autonomous Zones (BAZ)] Online at <a href="http://www.refugia.net/domainerrors/">http://www.refugia.net/domainerrors/</a></div><div> </div><div>Pre-class homework: Review the Gran Fury Manifesto from week 2 and the Refugia Manifesto from this week. Create a 1-2 page manifesto for an issue of your choosing and post it to the class blog.</div><div> </div><div>9/19: Theorizing Activist Strategies in 2017</div><div><em>Readings:</em><br />Michael Hardt + Antonio Negri, <em>Assembly</em> (selections TBA)</div><div>Adrienne Maree Brown, <em>Emergent Strategy: Shaping Change, Changing Worlds </em>(selections TBA)</div><div> </div><div>Pre-class homework: TBA<br /> </div><div>9/26: Reviewing Tactics in 2017</div><div><em>Readings:</em><br />For class this week, you will work in small groups to present the core ideas from a small resource list.</div><div> </div><div>The remainder of the syllabus will be a work-in-progress, to be shaped by our collective deliberations, planning, and actions.</div><div> </div><div>NOTE: There will be no class the week of November 23<sup>rd</sup> (Thanksgiving)<br /> <div><strong>Required University Caveats + Info:</strong></div><div> </div><div><strong>Academic Conduct</strong></div><div> </div><div>Plagiarism – presenting someone else’s ideas as your own, either verbatim or recast in your own words – is a serious academic offense with serious consequences. Please familiarize yourself with the discussion of plagiarism in <em>SCampus </em>in Section 11, <em>Behavior Violating University Standards </em>https://scampus.usc.edu/1100-behavior-violating-university-standards-and-appropriate-sanctions. Other forms of academic dishonesty are equally unacceptable. See additional information in <em>SCampus </em>and university policies on scientific misconduct, <a href="http://policy.usc.edu/scientific-misconduct">http://policy.usc.edu/scientific-misconduct</a>.</div><div> </div><div>Discrimination, sexual assault, and harassment are not tolerated by the university. You are encouraged to report any incidents to the Office of Equity and Diversity http://equity.usc.edu or to the Department of Public Safety https://dps.usc.edu/. Information on Title IX at USC, including reporting options, is available at http://titleix.usc.edu/; information on diversity and inclusion in<br />SCA is available at http://cinema.usc.edu/about/diversity.cfm and at the university overall at http://diversity.usc.edu/. Reporting incidents and utilizing these resources is important for the safety and wellbeing of the whole USC community. Another member of the university community – such as a friend, classmate, advisor, or faculty member – can help initiate a report, or can initiate the<br />report on behalf of another person. A list of other resource centers and affinity groups is here https://careers.usc.edu/students/diversity-resources/usc-student-centers/ and here<br />https://undergrad.usc.edu/services/support-systems/ .<br />Counseling services are supported by http://undergrad.usc.edu/services/counseling/ .<br /><br />If you difficulty affording groceries or accessing sufficient food to eat, please be aware of USC’s<br />Virtual Food Pantry. Information is available at https://dornsife.usc.edu/food-pantry/</div><div> </div><div><strong>Support Systems</strong></div><div> </div><div>A number of USC’s schools provide support for students who need help with scholarly writing. Check with your advisor or program staff to find out more. Students whose primary language is not English should check with the <em>American Language Institute </em>http://ali.usc.edu/, which sponsors courses and workshops specifically for international graduate students.</div><div> </div><div><em>The Office of Disability Services and Programs </em>provides certification for students with disabilities and helps arrange the relevant accommodations. http://dsp.usc.edu/</div><div> </div><div>If an officially declared emergency makes travel to campus infeasible, <em>USC Emergency Information </em>will provide safety and other updates, including ways in which instruction will be continued by means of blackboard, teleconferencing, and other technology. http://emergency.usc.edu</div><div> </div><div><strong>Course Exam, Project and Paper Retention Policy</strong></div><div> </div><div>It is the responsibility of all students in Cinema and Media Studies Studies courses to retrieve all papers, projects, assignments and/or exams within one academic year of completion of a course. These records may be essential in resolving grade disputes and incompletes as well as assist in verifying that course requirements have been met. The Cinema and Media Studies Division will dispose of all records from the previous academic year in May of the current academic year. No exceptions. Please be in contact with your TA or Professor about collecting these documents while you are taking the course.</div></div></div>
plain
2018-08-04T20:26:11-07:00
2
Class Syllabus
<h4>CTCS 585: Seminar in Film/TV Critical Theory + Production: Activism in the Digital Age <br />Professor Tara McPherson <br />Fall 2017 SCI L114 <br />Tuesdays 10:00 – 1:30 p.m. <br />Office Hours: Tuesdays, 2-3 pm + by appointment. Just email me.<br />Main Office Phone: 213-740-3334 <br /><br />DOWNLOAD SYLLABUS HERE:<br /><a href="https://drive.google.com/file/d/0B7KGgcZzSNcAMEpURzlaMk84RTg/view?usp=sharing">https://drive.google.com/file/d/0B7KGgcZzSNcAMEpURzlaMk84RTg/view?usp=sharing</a></h4><div><div>From the Arab Spring to Occupy Wall Street to Black Lives Matter to last winter’s Women’s March, the last decade has seen a variety of competing claims about the role digital media might play in activist struggles for social change. Through a series of case studies that will center on issues of race, gender, sexuality, privacy, and class, the course will explore the ways in which digital media intersect with and possibly reconfigure activist practice in the twenty-first century. This class is also a practicum of sorts, so students will be asked to engage with media making tools and activities in a variety of contexts. Theory and practice will be integrated across the semester, and each mode of expression will be valued. Throughout the semester, the guiding frameworks of the class will be those of cultural theory, digital media studies, feminism, and critical race theory, and we will constantly link our exploration of old and new technologies to investigations of social change, aesthetics, and efficacy. </div><div> </div><div>As we collectively shape the contours of the class, I hope that we will address questions like the following: "How do technologies shape our sense of self and other?", “How does technology impact social organization and forms of community?”, "What continuities exist between activism before and after the web?", "What potential do tactical media offer activists?", "How do digital activism and other forms of activism intersect?", and "Do digital media enable new ways of imagining social change?".</div><div> </div><div>We will also explore the impacts of digital media on strategies for organizing through the exploration of concrete case studies. In order to explore issues of organizational strategy, consensus building, and deliberation, several weeks of the semester are as yet unmapped. Students in the course will collectively author the contours of these sessions, deciding upon four case studies, assigned readings, hands-on activities, and other materials. We’ll talk more about this process in the next few weeks.</div><div> </div><div>Finally, the course takes seriously the notion that digital media are re-jiggering the relationship between theory and practice, illuminating new possibilities for activism, art, and daily life. As such, a few hands-on labs and other excursions will give students the opportunity to explore various elements of digital activism, particularly in relation to the creative expression. </div><div> </div><div>Required Texts:</div><div>Most of the course texts will be freely available online via Blackboard or other resources. You will present on a book in week six and will need to acquire that book. There may also be some costs for possible field trips during the course.</div><div> </div><div>Classroom Technology Use:</div><div><em>PLEASE BRING A LAPTOP OR TABLET TO ALL CLASSES!!! </em>That said, please also be aware that I may, at times, ask you to disengage from your devices for focused attention in class. Thus, it’s also a good idea to have old-fashioned writing supplies on hand.</div><div> </div><div>Class Requirements:</div><div>Advance Homework Assignments (30%): </div><div>During the semester, you will be required to post a variety of homework assignments to the class website. The assignments for the first few weeks are noted below. Additional assignments will be created as we together map out the remainder of the term. You should also feel free post to the website whenever you are moved to do so. Ideally, the site will become a communal space for the class, one used to address and ponder course themes and to point your peers to interesting and relevant materials. You are, of course, expected to read the site regularly and to comment on your peers’ posts and assignments.</div><div> </div><div>Participation, Attendance, Labs + Excursions (10%): </div><div>Attendance:</div><div>It should go without saying that students are expected to attend all classes and to arrive at class prepared and ready to participate (i.e. having finished and thought about the day’s materials.) Absences will affect your grade. Additionally, all assignments are due on time; late assignments will rarely be accepted. </div><div>Labs/Excursions:</div><div>Additionally, there will likely be a few hands-on labs and/or excursions associated with the course. Details on these will be posted on the blog ‘on the fly’ as part of our experiments in flexible course design for the info age. </div><div> </div><div>Class Session Design (30%):</div><div>A significant concern of this class is the exploration of participatory activism in the digital age. Such activism involves complex dynamics of cooperation, consensus building, organization, and struggle. In such processes, the virtual and physical intersect and shape one another. How might such endeavors shape the very design of graduate education, particularly in relation to media studies? Might we think of course design differently, as more collaborative and bottom-up? Presumably, you’re each in this course because you have some interest in activism of some type. I could shape the course via my own predilections and interests but that strikes me as the wrong approach to take given our course themes. Working as a team, we will collaboratively take charge of designing case studies and actions for the course schedule. For these weeks, a small group of planners will be responsible (with ongoing input from me and from classmates) for selecting readings, screenings, links, field trips, class visitors, or other illustrative materials pertinent for the topic on hand. You are encouraged to be creative in tackling this portion of the semester. Some potential topics to get you started might include Black Lives Matter, climate change, electoral politics, indigenous land rights, mass incarceration, sexual violence, trans politics, or Palestinian liberation. Or we might choose something quite different, busting out of the confines of the seminar space altogether. For instance, we might choose one case study and pursue it in and beyond the classroom for several weeks, planning one or two actions in relation to it. We might decide to focus on two topics with an action apiece. How would you remake the graduate seminar in the digital age? What really interests you about activism today? This is an opportunity to try out your ideas.</div><div> </div><div>Final project (30%):</div><div>Students will be required to produce a final project for the class, but the form of this project will be open. You might produce a conventional seminar paper addressing course themes, but I strongly encourage you to consider other formats that your project might take including the creation of web resources around key issues, a performance, a video, or some type of coordinated action. You should schedule a meeting with me to talk about your ideas for the project at some point during the semester. We will also discuss this further as the class begins to take a more defined shape.</div><div> </div><div>Course Schedule: </div><div>(Note: hands-on homework assignments are due at the start of class on the days they are listed)</div><div> </div><div>8/22: Class Introductions</div><div>Plus speed dating and potential case study discussion</div><div><em>Screenings:</em></div><div>Paper Tiger TV, “Oldies and Goodies: A Paper Tiger Sampler” https://vimeo.com/145211312<br />Ant Farm, Media Burn, 1975 edit,</div><div><a href="http://mediaburn.org/video/media-burn-by-ant-farm-2003-edit/">http://mediaburn.org/video/media-burn-by-ant-farm-2003-edit/</a></div><div>Community Video Center/Dispatch New Service “Harrisburg 8”</div><div><a href="http://mediaburn.org/video/harrisburg-8-2/">http://mediaburn.org/video/harrisburg-8-2/</a></div><div> </div><div>8/29: Media Activism before the Web: Guerilla TV, Video Art + Farmworker Futurism</div><div><em>Readings:</em><br />Patricia Mellencamp, “Video Politics: "Guerrilla TV", Ant Farm, "Eternal Frame"</div><div>Christine Tamblyn, “Qualifying the Quotidian: Artists Video and the Production of Social Space”</div><div>Martha Rosler, “Video: Shedding the Utopian Moment”</div><div>Curtis Marez, “Cesar Chavez’s Video Collection” Available online: https://scalar.usc.edu/nehvectors/curtis-marez/index</div><div> </div><div>Pre-class homework: Peruse the Paper Tiger TV video archive (https://vimeo.com/papertigertv/videos) and watch a few videos of interest to you. Create a 2-5 minute video of your own that addresses an issue of your choosing that in some way reflects the aesthetics and/or tactical strategies of the various activists and artists we’ve read about for this week. Production values are not the key issue here (as the readings should make obvious.) A “talking head” video is certainly an option if it suits your goals. Think about how form suits content for your piece.</div><div> </div><div>9/5: Media Activism before the Web: Considering ACT-UP</div><div><em>Readings:</em></div><div>-Esther Kaplan, "This City is Ours." (from Benjamin Shepard and Ronald Hayduk, <em>From ACT-UP to the WTO, </em>2002)</div><div>-Alex Juhasz, <em>AIDS TV: Identity, Community, and Alternative Media</em> (Chapter One, 1995)</div><div>-T.V. Reed, "ACTing Up against AIDS” from <em>The Art of Protest: Culture and Activism from the Civil Rights Movement to the Streets of Seattle</em> (2005)</div><div>-John D’Addario, “AIDS, Art and Activism: Remembering Gran Fury” Available online: <a href="http://hyperallergic.com/42085/aids-art-activism-gran-fury/">http://hyperallergic.com/42085/aids-art-activism-gran-fury/</a> (Please follow the links in the article too, particularly the Manifesto and the <em>Art Forum</em> interview.)<br /> </div><div><em>Optional/Reference:</em><br />-Douglas Crimp, “The Boys in my Bedroom” (1990, reprinted in <em>The Lesbian and Gay Studies Reader)</em><br />-Liz Highleyman, “Radical Queers or Queer Radicals? Queer Activism and the Global Justice Movement” (from Benjamin Shepard and Ronald Hayduk, <em>From ACT-UP to the WTO)</em> <div> </div></div><div>Pre-class homework: Look through various sites chronicling the graphic visual strategies used by AIDS activists in the 1980s (see for instance, <a target="_blank" href="http://www.queerculturalcenter.org/Pages/GranFury/GFGllry.html">http://www.queerculturalcenter.org/Pages/GranFury/GFGllry.html</a>). Create a graphic image of some type in relation to an issue of concern to you. You may create a purely digital piece or work with other materials (and document the piece photographically.) Reflect on your design choices in 150-300 words, and post both your image and your rationale to the blog.</div><div> </div><div>9/12: Activating the Web: Tactical Media + Cyberfeminism</div><div><em>Readings:</em></div><div>Critical Art Ensemble, <em>Digital Resistance: Explorations in Tactical Media </em>(esp. Intro and Chapters 1-4); online at <a href="http://www.critical-art.net/books/digital/">http://www.critical-art.net/books/digital/</a></div><div>Maria Fernandez, Faith Wilding, Michelle M. Wright, eds., a <a href="http://www.cyberfeminism.net/">subRosa</a> project,</div><div><em>Domain Errors: Cyberfeminist Practices!</em> [selections: Introduction; Situating Cyberfeminisms; Cyberfeminism, Racism, Embodiment; subRosa Manifestations; Refugia! Manifesto for Becoming Autonomous Zones (BAZ)] Online at <a href="http://www.refugia.net/domainerrors/">http://www.refugia.net/domainerrors/</a></div><div> </div><div>Pre-class homework: Review the Gran Fury Manifesto from week 2 and the Refugia Manifesto from this week. Create a 1-2 page manifesto for an issue of your choosing and post it to the class blog.</div><div> </div><div>9/19: Theorizing Activist Strategies in 2017</div><div><em>Readings:</em><br />Michael Hardt + Antonio Negri, <em>Assembly</em> (selections TBA)</div><div>Adrienne Maree Brown, <em>Emergent Strategy: Shaping Change, Changing Worlds </em>(selections TBA)</div><div> </div><div>Pre-class homework: TBA<br /> </div><div>9/26: Reviewing Tactics in 2017</div><div><em>Readings:</em><br />For class this week, you will work in small groups to present the core ideas from a small resource list.</div><div> </div><div>The remainder of the syllabus will be a work-in-progress, to be shaped by our collective deliberations, planning, and actions.</div><div> </div><div>NOTE: There will be no class the week of November 23<sup>rd</sup> (Thanksgiving)<br /> <div><strong>Required University Caveats + Info:</strong></div><div> </div><div><strong>Academic Conduct</strong></div><div> </div><div>Plagiarism – presenting someone else’s ideas as your own, either verbatim or recast in your own words – is a serious academic offense with serious consequences. Please familiarize yourself with the discussion of plagiarism in <em>SCampus </em>in Section 11, <em>Behavior Violating University Standards </em>https://scampus.usc.edu/1100-behavior-violating-university-standards-and-appropriate-sanctions. Other forms of academic dishonesty are equally unacceptable. See additional information in <em>SCampus </em>and university policies on scientific misconduct, <a href="http://policy.usc.edu/scientific-misconduct">http://policy.usc.edu/scientific-misconduct</a>.</div><div> </div><div>Discrimination, sexual assault, and harassment are not tolerated by the university. You are encouraged to report any incidents to the Office of Equity and Diversity http://equity.usc.edu or to the Department of Public Safety https://dps.usc.edu/. Information on Title IX at USC, including reporting options, is available at http://titleix.usc.edu/; information on diversity and inclusion in<br />SCA is available at http://cinema.usc.edu/about/diversity.cfm and at the university overall at http://diversity.usc.edu/. Reporting incidents and utilizing these resources is important for the safety and wellbeing of the whole USC community. Another member of the university community – such as a friend, classmate, advisor, or faculty member – can help initiate a report, or can initiate the<br />report on behalf of another person. A list of other resource centers and affinity groups is here https://careers.usc.edu/students/diversity-resources/usc-student-centers/ and here<br />https://undergrad.usc.edu/services/support-systems/ .<br />Counseling services are supported by http://undergrad.usc.edu/services/counseling/ .<br /><br />If you difficulty affording groceries or accessing sufficient food to eat, please be aware of USC’s<br />Virtual Food Pantry. Information is available at https://dornsife.usc.edu/food-pantry/</div><div> </div><div><strong>Support Systems</strong></div><div> </div><div>A number of USC’s schools provide support for students who need help with scholarly writing. Check with your advisor or program staff to find out more. Students whose primary language is not English should check with the <em>American Language Institute </em>http://ali.usc.edu/, which sponsors courses and workshops specifically for international graduate students.</div><div> </div><div><em>The Office of Disability Services and Programs </em>provides certification for students with disabilities and helps arrange the relevant accommodations. http://dsp.usc.edu/</div><div> </div><div>If an officially declared emergency makes travel to campus infeasible, <em>USC Emergency Information </em>will provide safety and other updates, including ways in which instruction will be continued by means of blackboard, teleconferencing, and other technology. http://emergency.usc.edu</div><div> </div><div><strong>Course Exam, Project and Paper Retention Policy</strong></div><div> </div><div>It is the responsibility of all students in Cinema and Media Studies Studies courses to retrieve all papers, projects, assignments and/or exams within one academic year of completion of a course. These records may be essential in resolving grade disputes and incompletes as well as assist in verifying that course requirements have been met. The Cinema and Media Studies Division will dispose of all records from the previous academic year in May of the current academic year. No exceptions. Please be in contact with your TA or Professor about collecting these documents while you are taking the course.</div></div></div>
plain
2018-08-04T20:23:32-07:00
1
Class Syllabus
<h4> </h4><div>CTCS 585: Seminar in Film/TV Critical Theory + Production </div><div>Activism in the Digital Age </div><div>Professor Tara McPherson </div><div>Fall 2017 SCI L114 </div><div>Tuesdays 10:00 – 1:30 p.m. </div><div>(we may sometimes run to 1:50) </div><div>Office Hours: Tuesdays, 2-3 pm </div><div>+ by appointment. Just email me. </div><div>Main Office Phone: 213-740-3334 </div><div>Email: tmcphers@usc.edu </div><div>TA: Charlie Furman, cfurman@usc.edu </div><div><br /><br />DOWNLOAD SYLLABUS HERE:<br /><a href="https://drive.google.com/file/d/0B7KGgcZzSNcAMEpURzlaMk84RTg/view?usp=sharing">https://drive.google.com/file/d/0B7KGgcZzSNcAMEpURzlaMk84RTg/view?usp=sharing</a></div><div> </div><div> <div>From the Arab Spring to Occupy Wall Street to Black Lives Matter to last winter’s Women’s March, the last decade has seen a variety of competing claims about the role digital media might play in activist struggles for social change. Through a series of case studies that will center on issues of race, gender, sexuality, privacy, and class, the course will explore the ways in which digital media intersect with and possibly reconfigure activist practice in the twenty-first century. This class is also a practicum of sorts, so students will be asked to engage with media making tools and activities in a variety of contexts. Theory and practice will be integrated across the semester, and each mode of expression will be valued. Throughout the semester, the guiding frameworks of the class will be those of cultural theory, digital media studies, feminism, and critical race theory, and we will constantly link our exploration of old and new technologies to investigations of social change, aesthetics, and efficacy. </div><div> </div><div>As we collectively shape the contours of the class, I hope that we will address questions like the following: "How do technologies shape our sense of self and other?", “How does technology impact social organization and forms of community?”, "What continuities exist between activism before and after the web?", "What potential do tactical media offer activists?", "How do digital activism and other forms of activism intersect?", and "Do digital media enable new ways of imagining social change?".</div><div> </div><div>We will also explore the impacts of digital media on strategies for organizing through the exploration of concrete case studies. In order to explore issues of organizational strategy, consensus building, and deliberation, several weeks of the semester are as yet unmapped. Students in the course will collectively author the contours of these sessions, deciding upon four case studies, assigned readings, hands-on activities, and other materials. We’ll talk more about this process in the next few weeks.</div><div> </div><div>Finally, the course takes seriously the notion that digital media are re-jiggering the relationship between theory and practice, illuminating new possibilities for activism, art, and daily life. As such, a few hands-on labs and other excursions will give students the opportunity to explore various elements of digital activism, particularly in relation to the creative expression. </div><div> </div><div>Required Texts:</div><div>Most of the course texts will be freely available online via Blackboard or other resources. You will present on a book in week six and will need to acquire that book. There may also be some costs for possible field trips during the course.</div><div> </div><div>Classroom Technology Use:</div><div><em>PLEASE BRING A LAPTOP OR TABLET TO ALL CLASSES!!! </em>That said, please also be aware that I may, at times, ask you to disengage from your devices for focused attention in class. Thus, it’s also a good idea to have old-fashioned writing supplies on hand.</div><div> </div><div>Class Requirements:</div><div> </div><div>Advance Homework Assignments (30%): </div><div>During the semester, you will be required to post a variety of homework assignments to the class website. The assignments for the first few weeks are noted below. Additional assignments will be created as we together map out the remainder of the term. You should also feel free post to the website whenever you are moved to do so. Ideally, the site will become a communal space for the class, one used to address and ponder course themes and to point your peers to interesting and relevant materials. You are, of course, expected to read the site regularly and to comment on your peers’ posts and assignments.</div><div> </div><div>Participation, Attendance, Labs + Excursions (10%): </div><div>Attendance:</div><div>It should go without saying that students are expected to attend all classes and to arrive at class prepared and ready to participate (i.e. having finished and thought about the day’s materials.) Absences will affect your grade. Additionally, all assignments are due on time; late assignments will rarely be accepted. </div><div>Labs/Excursions:</div><div>Additionally, there will likely be a few hands-on labs and/or excursions associated with the course. Details on these will be posted on the blog ‘on the fly’ as part of our experiments in flexible course design for the info age. </div><div> </div><div>Class Session Design (30%):</div><div>A significant concern of this class is the exploration of participatory activism in the digital age. Such activism involves complex dynamics of cooperation, consensus building, organization, and struggle. In such processes, the virtual and physical intersect and shape one another. How might such endeavors shape the very design of graduate education, particularly in relation to media studies? Might we think of course design differently, as more collaborative and bottom-up? Presumably, you’re each in this course because you have some interest in activism of some type. I could shape the course via my own predilections and interests but that strikes me as the wrong approach to take given our course themes. Working as a team, we will collaboratively take charge of designing case studies and actions for the course schedule. For these weeks, a small group of planners will be responsible (with ongoing input from me and from classmates) for selecting readings, screenings, links, field trips, class visitors, or other illustrative materials pertinent for the topic on hand. You are encouraged to be creative in tackling this portion of the semester. Some potential topics to get you started might include Black Lives Matter, climate change, electoral politics, indigenous land rights, mass incarceration, sexual violence, trans politics, or Palestinian liberation. Or we might choose something quite different, busting out of the confines of the seminar space altogether. For instance, we might choose one case study and pursue it in and beyond the classroom for several weeks, planning one or two actions in relation to it. We might decide to focus on two topics with an action apiece. How would you remake the graduate seminar in the digital age? What really interests you about activism today? This is an opportunity to try out your ideas.</div><div> </div><div>Final project (30%):</div><div>Students will be required to produce a final project for the class, but the form of this project will be open. You might produce a conventional seminar paper addressing course themes, but I strongly encourage you to consider other formats that your project might take including the creation of web resources around key issues, a performance, a video, or some type of coordinated action. You should schedule a meeting with me to talk about your ideas for the project at some point during the semester. We will also discuss this further as the class begins to take a more defined shape.</div><div> </div><div>Course Schedule: </div><div> </div><div>(Note: hands-on homework assignments are due at the start of class on the days they are listed)</div><div> </div><div>8/22: Class Introductions</div><div>Plus speed dating and potential case study discussion</div><div><em>Screenings:</em></div><div>Paper Tiger TV, “Oldies and Goodies: A Paper Tiger Sampler” https://vimeo.com/145211312<br />Ant Farm, Media Burn, 1975 edit,</div><div><a href="http://mediaburn.org/video/media-burn-by-ant-farm-2003-edit/">http://mediaburn.org/video/media-burn-by-ant-farm-2003-edit/</a></div><div>Community Video Center/Dispatch New Service “Harrisburg 8”</div><div><a href="http://mediaburn.org/video/harrisburg-8-2/">http://mediaburn.org/video/harrisburg-8-2/</a></div><div> </div><div>8/29: Media Activism before the Web: Guerilla TV, Video Art + Farmworker Futurism</div><div><em>Readings:</em><br />Patricia Mellencamp, “Video Politics: "Guerrilla TV", Ant Farm, "Eternal Frame"</div><div>Christine Tamblyn, “Qualifying the Quotidian: Artists Video and the Production of Social Space”</div><div>Martha Rosler, “Video: Shedding the Utopian Moment”</div><div>Curtis Marez, “Cesar Chavez’s Video Collection” Available online: https://scalar.usc.edu/nehvectors/curtis-marez/index</div><div> </div><div>Pre-class homework: Peruse the Paper Tiger TV video archive (https://vimeo.com/papertigertv/videos) and watch a few videos of interest to you. Create a 2-5 minute video of your own that addresses an issue of your choosing that in some way reflects the aesthetics and/or tactical strategies of the various activists and artists we’ve read about for this week. Production values are not the key issue here (as the readings should make obvious.) A “talking head” video is certainly an option if it suits your goals. Think about how form suits content for your piece.</div><div> </div><div>9/5: Media Activism before the Web: Considering ACT-UP</div><div><em>Readings:</em></div><div>-Esther Kaplan, "This City is Ours." (from Benjamin Shepard and Ronald Hayduk, <em>From ACT-UP to the WTO, </em>2002)</div><div>-Alex Juhasz, <em>AIDS TV: Identity, Community, and Alternative Media</em> (Chapter One, 1995)</div><div>-T.V. Reed, "ACTing Up against AIDS” from <em>The Art of Protest: Culture and Activism from the Civil Rights Movement to the Streets of Seattle</em> (2005)</div><div>-John D’Addario, “AIDS, Art and Activism: Remembering Gran Fury” Available online: <a href="http://hyperallergic.com/42085/aids-art-activism-gran-fury/">http://hyperallergic.com/42085/aids-art-activism-gran-fury/</a> (Please follow the links in the article too, particularly the Manifesto and the <em>Art Forum</em> interview.)<br /> </div><div><em>Optional/Reference:</em><br />-Douglas Crimp, “The Boys in my Bedroom” (1990, reprinted in <em>The Lesbian and Gay Studies Reader)</em><br />-Liz Highleyman, “Radical Queers or Queer Radicals? Queer Activism and the Global Justice Movement” (from Benjamin Shepard and Ronald Hayduk, <em>From ACT-UP to the WTO)</em> <div> </div></div><div>Pre-class homework: Look through various sites chronicling the graphic visual strategies used by AIDS activists in the 1980s (see for instance, <a target="_blank" href="http://www.queerculturalcenter.org/Pages/GranFury/GFGllry.html">http://www.queerculturalcenter.org/Pages/GranFury/GFGllry.html</a>). Create a graphic image of some type in relation to an issue of concern to you. You may create a purely digital piece or work with other materials (and document the piece photographically.) Reflect on your design choices in 150-300 words, and post both your image and your rationale to the blog.</div><div> </div><div>9/12: Activating the Web: Tactical Media + Cyberfeminism</div><div><em>Readings:</em></div><div>Critical Art Ensemble, <em>Digital Resistance: Explorations in Tactical Media </em>(esp. Intro and Chapters 1-4); online at <a href="http://www.critical-art.net/books/digital/">http://www.critical-art.net/books/digital/</a></div><div>Maria Fernandez, Faith Wilding, Michelle M. Wright, eds., a <a href="http://www.cyberfeminism.net/">subRosa</a> project,</div><div><em>Domain Errors: Cyberfeminist Practices!</em> [selections: Introduction; Situating Cyberfeminisms; Cyberfeminism, Racism, Embodiment; subRosa Manifestations; Refugia! Manifesto for Becoming Autonomous Zones (BAZ)] Online at <a href="http://www.refugia.net/domainerrors/">http://www.refugia.net/domainerrors/</a></div><div> </div><div>Pre-class homework: Review the Gran Fury Manifesto from week 2 and the Refugia Manifesto from this week. Create a 1-2 page manifesto for an issue of your choosing and post it to the class blog.</div><div> </div><div>9/19: Theorizing Activist Strategies in 2017</div><div><em>Readings:</em><br />Michael Hardt + Antonio Negri, <em>Assembly</em> (selections TBA)</div><div>Adrienne Maree Brown, <em>Emergent Strategy: Shaping Change, Changing Worlds </em>(selections TBA)</div><div> </div><div>Pre-class homework: TBA<br /> </div><div>9/26: Reviewing Tactics in 2017</div><div><em>Readings:</em><br />For class this week, you will work in small groups to present the core ideas from a small resource list.</div><div> </div><div>The remainder of the syllabus will be a work-in-progress, to be shaped by our collective deliberations, planning, and actions.</div><div> </div><div>NOTE: There will be no class the week of November 23<sup>rd</sup> (Thanksgiving)<br /> <div><strong>Required University Caveats + Info:</strong></div><div> </div><div><strong>Academic Conduct</strong></div><div> </div><div>Plagiarism – presenting someone else’s ideas as your own, either verbatim or recast in your own words – is a serious academic offense with serious consequences. Please familiarize yourself with the discussion of plagiarism in <em>SCampus </em>in Section 11, <em>Behavior Violating University Standards </em>https://scampus.usc.edu/1100-behavior-violating-university-standards-and-appropriate-sanctions. Other forms of academic dishonesty are equally unacceptable. See additional information in <em>SCampus </em>and university policies on scientific misconduct, <a href="http://policy.usc.edu/scientific-misconduct">http://policy.usc.edu/scientific-misconduct</a>.</div><div> </div><div>Discrimination, sexual assault, and harassment are not tolerated by the university. You are encouraged to report any incidents to the <em>Office of Equity and Diversity </em>http://equity.usc.edu or to the <em>Department of Public Safety </em>https://dps.usc.edu/contact/. This is important for the safety of the whole USC community. Another member of the university community – such as a friend, classmate, advisor, or faculty member – can help initiate the report, or can initiate the report on behalf of another person. <em>Relationship and Sexual Violence Prevention and Services (RSVP) </em>http://www.usc.edu/student-affairs/cwm/ provides 24/7 confidential support, and the Title IX webpage http://titleix.usc.edu/ describes reporting options and other resources.</div><div> </div><div><strong>Support Systems</strong></div><div> </div><div>A number of USC’s schools provide support for students who need help with scholarly writing. Check with your advisor or program staff to find out more. Students whose primary language is not English should check with the <em>American Language Institute </em>http://ali.usc.edu/, which sponsors courses and workshops specifically for international graduate students.</div><div> </div><div><em>The Office of Disability Services and Programs </em>provides certification for students with disabilities and helps arrange the relevant accommodations. http://dsp.usc.edu/</div><div> </div><div>If an officially declared emergency makes travel to campus infeasible, <em>USC Emergency Information </em>will provide safety and other updates, including ways in which instruction will be continued by means of blackboard, teleconferencing, and other technology. http://emergency.usc.edu</div><div> </div><div><strong>Course Exam, Project and Paper Retention Policy</strong></div><div> </div><div>It is the responsibility of all students in Cinema and Media Studies Studies courses to retrieve all papers, projects, assignments and/or exams within one academic year of completion of a course. These records may be essential in resolving grade disputes and incompletes as well as assist in verifying that course requirements have been met. The Cinema and Media Studies Division will dispose of all records from the previous academic year in May of the current academic year. No exceptions. Please be in contact with your TA or Professor about collecting these documents while you are taking the course.</div></div></div>
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