CONCEPTS OF FILM AND NEW MEDIA

CONCEPTS OF FILM AND NEW MEDIA

CONCEPTS OF FILM AND NEW MEDIA

Prof. TBA FILMM UH-1011

[email protected] Fall 2022 | NYU Abu Dhabi
A6 ### | tel. 02 628 #### Seminar | Tue/Thu 12:45–14:00 on Zoom
office hours | by appointment Screening | Wed 17:00–20:30 in C3 B1-101

CATALOGUE DESCRIPTION
An introduction to basic concepts in film and new media studies. The course provides an overview of the
historical development of film as an art, science/technology, and industry and the role of new media as an
extension to and reinvention of models for production, distribution, exhibition, and reception. Students are also
introduced to documentary, experimental, and narratives modes within different historical and cultural contexts,
comparative aesthetics, and the lines of critical enquiry that have been developed for film and new media in
dialogue with other fields in the arts and humanities.

COURSE OBJECTIVES
The course has three primary objectives: (1) to develop a critical vocabulary for the analysis and interpretation of
film and new media by focusing on sound, color, structure, cinematography, mise en scène, editing, and
interface; (2) to recognize the cultural and historical contexts of film and new media production, distribution,
exhibition, and reception, including technical, industrial, economic, social, and legal influences; and (3) to use
these analytical skills in written, oral, and audiovisual responses.

LEARNING OUTCOMES
Upon completion of this course, students will be able to:
1. Identify different critical concepts within film and new media studies (PLO2);
2. Situate critical thinking and making within historical and cultural context (PLO1, PLO6);
3. Describe, analyze, and interpret media by using both technical terms and critical concepts (PLO2);
4. Deconstruct so-called universal abstractions, epistemologies, philosophies, and theorizations (PLO2, PLO6);
5. Understand different priorities and intended audiences for different film- and media-making practices (PLO2);
6. Convey arguments in different written and audiovisual forms (PLO3/PLO4/PLO5, PLO7/PLO9, PLO8/PLO10).

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EXPANDED COURSE DESCRIPTION
Since their popularization by the Lumière brothers and the Edison Company during the 1890s, “movies” have
become ubiquitous. They appear on the wireless mobile devices that we carry in our pockets and on large screens
mounted hundreds of meters above our heads in cities around the world. The multiplicity of histories and
iterations of moving images—whether pre-cinematic technologies like magic lanterns and motions toys, or
cultural and historical formations like “silent cinema” and “intervals”—are often as distant from our everyday
thoughts as a time before DVDs, TVOD, and SVOD. We will also look beyond the field’s conventional focus on
narrative features and experimental films, both of which have historically restricted the perspectives conveyed
on film due to high production costs, to include activist, amateur, community, documentary, and ethnographic
film and new media, as well as locative media, tactical media and counter-gaming.
The goal of this course is to enhance critical engagement with film and new media practices and to forward
nuanced understanding of diverse forms of film and new media from around the world over the past twelve
decades, so that no format becomes a “global standard.” Film and new media practices vary tremendously from
Bollywood’s simultaneous global release across media platforms to Nollywood’s sale of videos-films on the
streets; from cutscenes between levels in videogames to machinima that critique public policy; from international
film festivals in Berlin, Cannes, Carthage, Ouagadougou, Toronto, and Venice to collector’s editions of canonical
films on DVD and Blu-ray; from experimental films screened on portable 16mm projectors to documentaries
screened on cable television; from activist media uploaded to file-sharing platforms to product placement in
Hollywood blockbusters as an antecedent to social media influencers; from public service announcements (PSAs)
on health and safety to Indigenous media on preservation of cultural history and local knowledge; from gallery
films at international arts fairs to amateur films in national archives; and beyond.
With the advent of analogue and later digital video, “film” has been a term of convenience rather than a medium
or even a mode. We will look at the shift in thinking about “film” by thinking through new (digital) media: code
versus celluloid for storage; streaming versus projection for exhibition; modular versus linear structures; random
access versus chronology, coherence, and continuity; multiple iterations across multiple platforms versus master
theatrical cuts; artist collaborations versus film crews; DIY versus film school.
The course will introduce students to key concepts, so that they can analyze and interpret film in writing and
studies-into-practice assignments—both of which require equal parts creative and critical engagement.

BOOKS
DC Smeeta Mishra, Digital Cultures
(New York: Routledge, 2021) | ISBN-13: 978-0367724986
CSKC Susan Hayward, Cinema Studies: The Key Concepts, 5th edition
(Routledge, 2017) | ISBN-13: 978-1315619729
FMGCC Scott MacKenzie (ed.), Film Manifestos and Global Cinema Culture: A Critical Anthology
(Berkeley: University of California Press, 2014) | ISBN-13: 978-0520377479
GFB Roy Stafford, The Global Film Book
(New York: Routledge, 2014) | ISBN-13: 978-0415688970
WaSM Lisa Patti (ed.), Writing About Screen Media
(New York: Routledge, 2019) | ISBN 13: 978-0815393528

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TYPES OF ASSESSMENT
The course has three primary assessment categories: (1) individual preparation and participation, including
facilitating in online discussion and participating in it; (2) three types on individual writing assignments, which
apply critical theory to film and new media analysis and interpretation; (3) two types of research-led-practice
assignments, one individual and one collaborative, and (4) critical reflection (e.g., theorizing one’s own arts
practice) on these research-led-practice assignments.
Please let me know if you have any questions or require special accommodations.

GRADING
Individual preparation and participation
In-class presentation 05% leading discussion once per semester
On-the-spot examination 05% short-answer questions on reading as necessary

Writing assignments
Critical analysis 20% 3–page essay (media wks 1–3; concepts wks 2–3) Fri 23 Sep by 23:59
Comparative analysis 25% 5–page essay (media wks 1–7; concepts wks 4–7) Fri 28 Oct by 23:59
Film/media review 10% 2–page review (media and concepts in wks 8–14) Fri 15 Dec by 23:59

Research-led-practice assignments
Storyboard adaptation 15% original text, 10-shot board, 2-page crit. reflection Fri 18 Nov by 23:59
Collaborative essay film/remix 15% 5-minutes short plus 2-page critical reflection Fri 15 Dec by 23:59

Pro-tip: Reading as much as you can about film and new media enriches your thinking about them in your
writing assignments. Rereading is just as important. Writing as much as possible about film and new media
enriches your thinking through film and new media in research-led-practice assignments. Take notes as you
read; take notes as you screen films and new media objects; takes notes during class. Think about and through
film and new media in terms of framing questions and organizing complexities rather than “proving”
assumptions or “resolving” contradictions. Please let me know if you have any questions or require special
accommodations

LATE ASSIGNMENTS
Late assignments will be reduced by a partial letter grade (+/-) for each class that they are late. Assignments more
than a week late will not be accepted unless special arrangements have been made in advance.

ACADEMIC HONESTY AND PLAGIARISM

Please be aware of NYUAD’s policies on academic honesty and plagiarism.
https://nyuad.nyu.edu/students/campus.life/policies/policy.academic.integrity.html
Plagiarism results in an F on the assignment. Repeated plagiarism results in an F for the course.

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ABSENCE POLICY
If you will miss class due to religious observance or participation in a sporting event, art performance, or cultural
trip, please notify me at least one week in advance. If you miss class for medical reasons, please provide a note
from your doctor and notify me of extended absences.
Remember, missing a class does not excuse you from respecting assignment deadlines.
Unexcused absences are unacceptable except in extraordinary circumstances. After one unexcused absence,
your grade for the course will be reduced by a partial letter grade (+/-) for each unexcused absence. After three
unexcused absences, you will be asked to withdraw from the course. After five unexcused absences, you will
receive an F for the course. Arriving more than 10 minutes late for class is considered half an unexcused absence.

NYU MOSES CENTER FOR STUDENT ACCESSIBILITY

New York University is committed to providing equal educational opportunity and participation for students of
all abilities. We work with NYU students to determine appropriate and reasonable accommodations that support
equal access to a world-class education. Find further information at: https://www.nyu.edu/ students/communities-
and- groups/student-accessibility.html.

MENTAL HEALTH
As a University student, you may experience a range of issues that can interfere with your ability to perform
academically or impact your daily functioning, such as: heightened stress, anxiety, difficulty concentrating, sleep
disturbance, strained relationships, grief and loss, personal struggles. If you have any well-being or mental health
concerns please visit the Counseling Center on the ground floor of the campus center from 9am-5pm Sunday -
Thursday, or schedule an appointment to meet with a counselor by calling: 02 628 8100, or emailing:
[email protected]. If you require mental health support outside of these hours call NYU's Wellness
Exchange hotline at 02 628 5555, which is available 24 hours a day, 7 days a week. You can also utilize the
Wellness Exchange mobile chat feature, details of which you can find on the student portal. If you need help
connecting to these supports please contact one or both of us directly.

SCREENING BEHAVIOR
Pro-tip: The experience of screening “films”—even when the films are really projected DVDs—cannot be
duplicated by the experience of watching video on a television monitor or streaming it on a computer screen
alone. Although some media is designed specifically for the small size and aspect ratios of mobile devices, other
media is designed for the large screens and widescreen formats of theatrical release. Regardless of the
“intended” or “ideal” screen size, the larger the image, the more likely you will notice specific details of shot
composition and depth of field. Consider the different of playing a videogame connected to your laptop and
one connected to the data projector in an IMAX theater.
Films programmed for this class reflect a wide range of historical and cultural practices, many of which might
be unfamiliar to you. If you find a particular scene of a film upsetting, please let me know, close your eyes, or
cover your ears. When screening a famous French surrealist film from the 1920s, for example, you might want to
close your eyes. If a particular film makes you feel uncomfortable for any reason, however, please feel free to
excuse yourself from the screening.
You will need to take notes during the screenings, as you will be asked to trace elements such as camera angles,
framing of subject, focus, costumes, performance style, sound and image relations, shot composition, narrative
structure, argument and evidence, shot duration, and user interface. You will need these notes to participate in
class discussion, papers, and exams. You may also want to practice taking notes on everything that you screen—
in and out of class—this semester.
In addition to facilitating formal analysis, the screenings allow us the opportunity to gather together and share the
experience of encountering new films or reencountering old favorites in a new setting. Due to the “excessive”
qualities of some films, you will not want to miss your classmates’ screams, gasps, and giggles. We are, however,
gathered together primarily to analyze critically particular artistic, cultural, and historical aspects of cinematic
practice, to decode the meaning of these films, and to explore the range of cinematic practices. We will consider
film in more complex ways than the readily consumed and seldom debated practice of “watching movies” at the
multiplex, on home video, streaming, or download.

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Watching films on home video (VHS, VCD, DVD) or streamed online reflects a particular type of cinematic
experience that emerged since the 1980s, in relation to the business practice of multiple platform delivery of
“content” (movies as software) by transnational entertainment media corporations, as well as resistances to these
practices. In the context of film history, we will consider multiple viewing practices, especially the experience
of sitting in a darkened auditorium with strangers for a collective screening experience—one in which other
audience members might interact with the film through laughter or applause, through gasps or whispers, and
even through involuntary mimicry of the images on screen.
Pro-tip: You are encouraged to watch films and videos multiple times, especially when you are writing on them.
DVD copies of most films are available for additional screenings on reserve in the NYUAD Library, as well as
for streaming on Brightspace.

PREPARATION
Your preparation for class includes completing the assigned readings and taking notes on them as well as in
taking notes or completing a film response worksheet during screenings in preparation for in-class discussion.
Pro-tip: Reading assignments will enhance your engagement with the films by providing definitions of critical
concepts, examples of shot analysis and interpretation, as well historical and cultural context, but you cannot
fully understand the readings without taking notes. Focus on a locating the chapter’s main arguments and
supporting evidence as they relate to the films screened in class. Try to recognize difference in critical,
analytical and interpretative methodologies employed in different reading assignments to get a sense of ways
that scholars can come to different (sometimes contradictory) interpretations of a single film.

IN-CLASS PARTICIPATION
Active participation is required. Discussion is an important means to develop analytical, interpretive, and
creative skills.
Pro-tip: Discussion will help us think in terms of framing questions and organizing complexities rather than
having answers and resolving contradictions. Test your insights without the pressures associated with written
assignments; learn what your classmates think. There are no authoritative interpretations of any film, so let’s
exchange ideas and interpretations about each film.

ON-THE-SPOT EXAMINATION
From time to time, it may become necessary for a brief in-class writing exercise in the form of short-answer
questions on the assigned reading.

WRITING ASSIGNMENTS
You are expected to draw upon your what you have learned about writing in other classes. Be sure that your
essays have a thesis, arguments are supported with evidence, and citations are integrated into your writing.
As part of your pre-writing for all written assignments, be sure to complete a film response worksheet for each
film, including films that you may not choose to review or analyze in your papers. Make use of class discussions
to enhance your reading of the films, but do not transcribe class discussion—particularly our analysis of clips.
With the exception of the movie review, you are required to cite arguments from the assigned readings, noting
page references. See handout on writing a film analysis for details. You are strongly encouraged to write on
different types of films produced in different historical and cultural moments, so that you expand your critical
vocabulary for the exam.

Pro-tip: The main point to remember about these papers is:

(1) start with an understanding of the concept, then
(2) determine how useful it is for the particular film, then
(3) develop an interpretation of the film that uses the concept in an argument that you will then prove with
textual analysis.

Pro-tip: You are discouraged from doing elaborate research for these papers since it can interfere with the
course’s primary objectives, which is the exercise of applying critical concepts to media analysis and
interpretation. Please try to contain your use of secondary sources to the books by Susan Hayward, Smeeta
Mishra, Norton Reader, and Roy Stafford. Chapters in the book edited by Scott MacKenzie and articles on

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Brightspace are primary sources for the concepts. Chapters in the book edited by Lisa Patti are about writing
about media.
If you do consult sources in addition to the one required course reading, be sure to give proper bibliographic
citations to avoid accidental plagiarism—a dishonest effort to pass the work of someone else as your own which
will result in serious consequences.
Papers that are written on the computer within 24 hours of when they are due are seldom exceptional. They are
typically disorganized. Be sure that your thesis is stated clearly in your first paragraph. As you proofread, ask
yourself whether you’ve indicated why the information that you include in each paragraph is important to your
main arguments and that you’ve made as much evident to your reader.

Pro-tip: The purpose of these writing assignments is to get you to think about formal and thematic qualities in
relation to critical concepts. Start with your visceral response and situate media within its historical and cultural
context. If you have a strong emotional or intellectual response, consider what formal or thematic contribute
to your response. You are encouraged to screen media a second time before writing.

Pro-tip: The assignments are short, so focus on drafts: write a longer exploratory draft, then revise it into a
more concise polished draft. Short papers demand focused topics, so that you have space for nuance in your
analysis and argumentation. Start broadly and narrow your focus. You are encouraged to write a longer
exploratory draft (10 pages, for example), place it aside for a few days—then go back and edit it to 5 pages.
Long papers do not necessarily have more ideas or better argumentation; they are often poorly structured,
padded with meandering and tangential arguments, repetitive in detail, and incomplete in analysis. You may
want to do pre-writing exercises like brainstorming and outlining, or you may want to embrace your creativity
by writing a sloppy exploratory draft that you will rework into a shorter polished draft.

Pro-tip: You will complete writing assignments that emphasize different approaches to writing about film or
new media, so take time to reflect critically about what each form of writing accomplishes.

Because this class focuses on critical concepts and critical arts practice, the first written assignments are
applications of concepts to film analysis and interpretation. The essays are more like exercises in learning how
to think about and understand film in different ways that you currently do. The later written assignments are
critical reflections on your use of concepts in making your own media.

For your critical analysis, your purpose is to demonstrate an ability to use critical concepts and arts/media
practices to analyze and interpret a film. You should focus on what new questions the concept opens to support
a thesis that is not too vague and general (e.g., “this film portrayed the villain as a blood-thirsty monster in the
classical battle of good versus evil”) but requires the support of concepts and textual analysis to forward an
interpretation (e.g., “film rejects conventional production values and narrative formulas to destabilize the
comforting voyeurism of commercial films on [insert topic]”). There will be an in-class thesis assignment will be
part of the final grade.
Critical concepts and arts/media practices include aesthetics of hunger, cinema of attraction, cinéma vérité,
counter-gaming, decolonizing, festival films, First Cinema/Second Cinema/Third Cinema, imperfect cinema,
indigenous media, national cinema, neorealism, documentary beyond story, oppositional gaze, parallax effect,
poor images, transnational cinema, etc. They might also include particular theorizations of technical properties
or conventions, such as documentary, non-linear modes, ontology of photographic images, piracy, etc.
You should assume that your audience has already screened the film; however, you should remind your audience
of perspective (subjective, omniscient, expository, observational, anticolonial, colonial, etc.), themes (questions
asked about history, culture, etc.), content (story, plot, characters), and form (narrative, documentary, interactive,
conventional, experimental, etc.), especially when they are necessary to your arguments. Your goals for this
assignment are to reveal subtleties and complexities that your audience might have missed—and that you likely
missed during your first screening of the film—and to persuade your reader of your interpretation of the film.
Your title should signal your interpretation and be specific to the film or new media that you analyze; for example,
“Revolution” suggests a broad analysis across multiple academic fields, as well as across cultures and histories,
but “Restaging Revolution in The Battle of Algiers” contains this topic to a particular film.
Your critical analysis will be evaluated according to the following 100-point scale:

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 1 : relevant title (5 pts)
2 : reminder of perspective, themes, content, and form of film or new media project (15 pts)
3 : summary of the concept, including its scope and method, and citations (25 pts)
4 : strong thesis with interpretation supported by textual and contextual analysis (30 pts)
5 : evidence reveals subtleties and complexities missed upon first screening (25 pts)

Your comparative analysis makes arguments that compares two critical concepts and uses them to analyze and
interpret one or two films or new media projects to make a larger argument about how film and new media can
open questions that other disciplines, such as particular understandings of history and social sciences, might
overlook. The goal of this assignment is to make an argument that is supported by comparative analysis of the
concepts in conjunction with the media.
Your comparative analysis will be evaluated according to the following 100-point scale:
1: relevant title (5 pts)
2 : summary of concepts, including their scope and method, and citations (25 pts)
3 : application of subtleties and complexities toward nuanced framing of research question (20 pts)
4 : strong thesis that makes argument supported by textual and contextual analysis (30 pts)
5 : evidence from the film(s) and new media project(s) to support thesis (10 pts)
6 : evidence of process writing as a draft will be mandatory (notes)

You will write a creative cinema writing assignment that includes a choice of the following: script, creative
treatment for documentary, or creative non-fiction photo essay. These draft essays will allow you to allow you
to practice new forms of writing while at the same time working through the concepts and terms introduced in
the class. Students will engage in peer review for this assignment
Unlike the other types of writing for this course, creative writing assignment allows you to choose your own form,
however, you must follow this form closely and show strong sense of structure and unity in your work. You must
choose to follow closely form of writing. You will be given examples of all three. This writing assignment will
be drafted during the semester. Close attention to your prose, your ability to revise, your choice of form, and
your attention to detail will be considered.

Pro-tip: For this assignment, your aim is to translate concepts learned in the class into creative yet standardized
writing forms. Your expected to do some research into the form and also do your best to revise after feedback
from professor and students. Do not miss the office hours dedicated to this assignment.

Aim for a a catchy title and a memorable recommendation Your goals are to capture your audience’s attention,
so that they read your review, and to stay within the page limit—just as professional movie reviewers and amateur
bloggers must stay within word limits.
No footnotes, parenthetical references, or works cited should appear in the review. You can mention specific
articles or books in text, as is the practice in journalism, which also does not include footnotes, parenthetical
references, or works cited.
Your review will be evaluated according to the following 100-point scale:
1 : seductive title (5 pts)
2 : revisions and peer review(15 pts)
3 : effort in form(30 pts)
4 : continuity, unity, and structure (30 pts)
5 : connection to cinematic concepts(20 pts)

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RESEARCH-LED-PRACTICE ASSIGNMENTS
Like the written assignments, these research-led-practice assignments explore different aspects of film and new
media by thinking critically through practice with an emphasis on understanding ways that critical and creative
processes inseparable.

For your storyboard adaptation, you will choose a very short text (500 or fewer words) that has not been widely
adapted as a film and has been translated into English or you can translate. You will adapt this text for the screen
in a storyboard, which will include a shot-be-shot illustration and description. The source text can be anything:
a story, poem, news article, essay, scientific theory.
The text that you adapt needs to be one that you did not create. The assignment requires taking something created
by someone else and adapting it from one medium (song, poem, news story, short story, etc. but not a play or
screenplay since those forms of writing are too close and won't give you the space to be creative in your
adaptation) to another medium (here, a storyboard for a film or new media project).
Your storyboard adaptation will be led by your research into the context of the source material, that is, what do
people typically think the text means. You will translate the text from that context into a new one, which will
include an interpretation of the text. You might adapt a sexist myth that is set in mythical time into a feminist
story set in our moment. You might focus on a minor character (rather than a main character, especially a “hero”)
retell the text from a neglected or marginalized perspective. You might adapt a nationalist myth or story into a
story that is critical of the dangers of nationalism.
Be creative. You might adapt a classical or canonical story, poem, or parable into the contemporary context of
its source culture or another cultural altogether to show its relevance or irrelevance. You adapt an article from a
news service into a narrative or documentary film. You might adapt a poem or a scientific theory into the structure
for evoking a mood, emotion, or sensation audio-visually.
The storyboard worksheet provides a sense of the general information (composition, framing, camera angle, shot
duration, noise, dialogue, music, action, special effects, transition to next shot, etc.) and image (illustrations
rendered by hand or computer, photographs, screen grabs—arranged like a graphic novel or manga) that you
will need to include. They do not have to be exactly as you imagine the film or new media project to look, but
they should give a sense of the composition of each shot. You can include only a limited number of shots in this
storyboard, so think carefully about where you want to lay emphasis.
Storyboards are like scripts, treatments, etc. (i.e., some of the forms of writing taught in that class with that name
alongside critical analysis, movie reviews, etc. taught in that class) in the sense that they are an
in-between step in an adaptation. Remember to use film terms for film storyboards (e.g., CU or closeup, canted
angle, saturated color, red filter, etc. — and you can also think in terms of the smartphone filmmaking in terms
of vertical cinema, angles not possible to GoPros or DSLRs, social media interfaces, etc.) and new media terms
new media storyboard (e.g., haptic or graphic user interface, AR/VR, controllers type of console video game,
key/mouse for web game, use of camera or QR reader, map of the project's architecture in terms of progression
and layers, etc.).

Pro-tip: This assignment is an opportunity for you to be creative. Use concepts from class to adapt/interpret
the text through formal devices that adapt the text by interpreting it (i.e., what you think it is really about or
could really be about) rather than confining yourself to merely illustrating or dramatizing it (i.e., what you
imagine most people think it is about).

Pro-tip: Think of concepts as ideas (some abstract, others concrete) that are used with hardware (cameras,
lights, dollies, gaming consoles, etc.) and software (editing, sound mix, etc.) as different tools to make media).

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Be creative, and look to some of the experimental films, Third Worldist films, Third Cinema, imperfect cinema,
beyond story documentary, nonlinear documentary, counter-games, etc. for inspiration about how your choices
on formal components of film and new media shape expectations, interpret ideas, and construct meaning, which
is what you will be writing about in your critical self-reflection.
You might mobilize Brecht’s alienation effects, Eisenstein’s dialectical editing, García Espinosa’s imperfect
cinema, Teshome Gabriel’s Third Wordlist aesthetics, John Grierson’s creative treatment of reality, Alisa Lebow
and Alex Juhasz’s beyond story, Alexander Galloway’s counter-gaming, etc. You can also adopt hooks’s
oppositional gaze in your interpretation of a text that you feel excludes a perspective, as she theorizes Black
female spectators deriving intellectual pleasures from films that are not produced to allow for their visual pleasure.
You might explore the bias in code as a theme to develop within a story that you adapt from a text.
You will also need to include a 2-page critical reflection that theorizes your arts practice by describing and
analyzing your creative and intellectual choices and methods in selecting and adapting the story, including
specific choices about audiovisual style and audience address. When approaching this assignment, remember
that adaptation is a form of translation (written language to audiovisual images) and interpretation (what is
included or elided, what is emphasized or deemphasized, what is reworked for historical, cultural, or political
reasons). In other words, your paper will defend your choices.

Protip: When you are stuck, work on your critical reflection of the project as a means of translating what you
might be doing intuitively into your own theorization (i.e., what you are doing by adapting the text, whether
emphasizing something that passes as trivial or transforming something that is problematic) of your arts practice
in adapting. The reflection will help you work through any uncertainties that you might encounter.

Your storyboard adaptation and critical reflection will be evaluated according to the following 100-point scale:
1. formal detail on storyboard (20 pts)
2. interpretation of the source text and its themes and context (20 pts)
3. employment of concepts to adapt/interpret further (30 pts)
4. analysis of adaptation as interpretation (30 pts)

Your collaborative essay film or remix is another opportunity to put critical and creative thinking from studies
into practice. Your assignment requires that your group research a film or group of films that you will either (a)
assemble into an essay film, which you can layer with filter, sounds, and text, or (b) remix (reedit) according to
an aesthetic and critical objective. In both, you will reinterpret “found footage” by editing it into another film.
Strategies should focus on clarity of communication of your subject, issue, or perspective; however, you should
not envision or imagine a so-called universal (i.e., White Hollywood) audience.
You will also submit an individual 2-page critical reflection to the assignment in which you theorize your
collaborative arts practice by describing and analyzing your intellectual and artistic framework. Be sure to define
the significance of the source material and reflect critically upon your interpretation of this material by
restructuring it to have a different meaning. Your remix and critical reflection will be evaluated according to the
following 100-point scale:

1. establishment the context of your intervention in the sense of what kinds of media you are remixing
and what the conventional understanding of that media is (20 pts)
2. description of links between your edits and manipulations of found/archival footage to concepts from
class (30 pts)
3. analysis of how you are applying different concepts by reediting, remixing, adding voiceover or
sounds effects, etc. (20 pts)
4. clear statement of an interpretation for what you hope your audiences gets from your video (30 pts)

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COURSE OUTLINE

01—WHAT WAS CINEMA?

Tue 30 Aug seminar in-class screening: The Great Train Robbery
(USA 1903; black-and-white; no dialogue; 12 minutes; dir. Edwin S. Porter)
in-class screening: Le Voyage dans la lune/Trip to the Moon
(France 1903; hand-painted black-and-white; 15 minutes; dir. Georges Méliès)

Wed 31 Aug screening Lumière et compagnie/Lumière and Company

(France/Denmark/Spain/Sweden 1995; multiple languages with English subtitles;
88 minutes: dir. Sarah Moon)
Ilha das flores/Isle of Flowers
(Brazil 1989; color; English; 13 minutes; dir. Jorge Furtado)
Tokunbo
(Nigeria 2019; color; English; 13 minutes; dir. Rogba Arimoro)
Ghen Cô Vy/Jealous Coronavirus
(Viet Nam 2020; color animation; Vietnamese with English subtitles; 3 minutes;
Vietnamese Institute of Occupational and Environmental Health)
#GhenCoVyChallenge and challenge videos
(Viet Nam 2020; color; Vietnamese; 40 seconds; Quang Đăng)
Turuq al Qahira/Cairo Drive | ‫طرق اﻟﻘﺎھرة‬
(Egypt 2013; color; Arabic and English with English subtitles; 77 minutes; dir. Sherief Elkatsha)
Thu 01 Sep seminar Roy Stafford, “Introduction” and “12–Looking to the Future” in GFB: 1–14, 328–345
Anna Cooper, “A New Feminist Critique of Film Canon: Moving Beyond the Diversity/
Inclusion Paradigm in the Digital Era,” Quarterly Review of Film and Video 36.5
(2019): 392–413
recommended: Roy Stafford, “1–The Development of Global Film” in GFB: 17–42
in-class screening: Les Résultats du féminisme/The Consequences of Feminism
(France 1906; black-and-white; no intertitles; 7 minutes; dir. Alice Guy-Blaché)

02—ATTRACTION, ASTONISHMENT, MULTIPLE TAKES, AND NATIONAL CINEMAS

Tue 06 Sep seminar Tom Gunning, “The Cinema of Attraction: Early Film, Its Spectators, and the Avant-
garde,” Wide Angle 8.3–4 (1986): 63–70
Tom Gunning, “An Aesthetic of Astonishment: Early Film and the (In)Credulous
Spectator” (1989), in Film Theory and Criticism, 7th edition, ed. Leo Braudy and
Marshall Cohen (New York: Oxford University Press, 2009): 114–133
Smeeta Mishra, “Exploring Selfies: Beyond ‘Duckfaces’ and Adolescent Rituals” in DC: 8–25
Susan Hayward, “Shots” and “Convergence” in CSKC: 351–353, 98–100
online streaming: Selfiecity
(USA 2014; dir. Lev Manovich) | http://selfiecity.net
in-class screening: three takes of Sortie d’usine/Workers Leaving the Lumière Factory
(France 1895; black-and-white; 50 seconds; dir. Louis Lumière)
in-class screening: May Irwin Kiss aka The Kiss
(USA 1896; black-and-white; 35 seconds; dir. William Heise)
in-class screening: Record of a Sneeze aka Fred Ott’s Sneeze
(USA 1894; black-and-white; 20 seconds; dir. William K.L. Dickson)
in-class screening: Carmencita
(USA 1894; black-and-white; 40 seconds; dir. William K.L. Dickson)
in-class screening: Serpentine aka Annabelle Serpentine Dance
(USA 1895; hand-painted black-and-white; 1 minute; dir. William K.L. Dickson and William Heise)
in-class screening: Sioux Ghost Dance
(USA 1894; black-and-white; 40 seconds; dir. William K.L. Dickson and William Heise)

CFNM (f2022)—10/20
Wed 07 Sep screening Un Chien andalou/An Andalusian Dog
(France 1929; black-and-white; French intertitles; 16 minutes; dir. Luis Buñuel)
Meshes of the Afternoon
(USA 1943; black-and-white; no dialogue; 18 minutes; dir. Maya Deren and
Alexander Hammid)
Borom sarret
(Sénégal 1966; black-and-white; French with English subtitles; 20 minutes;
dir. Ousmane Sembène)
Bubliny nelzou/Bubbles Don’t Lie
(Czech Republic 2016; color; Czech with English subtitles; 5 minutes; dir. Štěpán Etrych)
Syncromie/Synchromy
(Canada 1970; color animation; no intertitles; 8 minutes; dir. Norman McLaren)
Lola rennt/Run Lola Run
(Germany 1998; color; German with English subtitles; 81 minutes; dir. Tom Tykwer)

Thu 08 Sep seminar Roy Stafford, “4–National Cinema in Europe: Contrasting Experiences” in GFB: 96–12
Frantz Fanon, “On National Culture,” in The Wretched of the Earth (1961),
trans. Richard Philcox (New York: Grove press, 2004 [1963]): 81–94
Susan Hayward, “Avant-garde,” “Experimental Film,” “Surrealism,” “Asynchronization,”
“Diegesis/Diegetic/Non-diegetic,” and “Sound/Soundtrack” in CSKC: 39–42,
143–145, 393, 31, 111–112, 355–360
i In-class thesis assignment on writing critically about film and new media

03—HOLLYWOOD’S WHITE-MALE-CAPITALIST GAZE AS “ENTERTAINMENT”

Tue 13 Sep seminar bell hooks, “The Oppositional Gaze: Black Female Spectatorship” (1992) in Film and Theory:
An Anthology, Robert Stam and Toby Miller (Malden: Blackwell, 2000): 524–538
Manthia Diawara, “Black Spectatorship: Problems of Identification and Resistance”
(1988) in Film Theory and Criticism, 7th edition, ed. Leo Braudy and Marshall
Cohen (New York: Oxford University Press, 2009): 892–900
Susan Hayward, “Genre/Sub-genre,” “Ideology,” “Naturalizing,” “Preferred
Reading,” “Gaze/Look,” and “Feminist Film Theory” in CSKC: 197–203, 227–
230, 288, 311,188–191, 155–167
recommended: Laura Mulvey, “Visual Pleasure and Narrative Cinema” (1975) in
FMGCC: 359–370

Wed 14 Sep screening It Started in Naples

(USA 1960; color; English and Italian; 100 minutes; dir. Melville Shavelson)
Take Off
(USA 1972; black-and-white; 10 minutes; dir. Gunvor Nelson)
Removed
(México/USA 1999; color; English; 7 minutes; dir. Naomi Uman)
My Dad is 100 Years Old
(Canada 2005; black-and-white; 16 minutes; dir. Guy Maddin)
Cut from 三更 | Sam gang yi/3 Extremes
(South Korea 2004; color; Korean with English subtitles; 48 minutes; dir. Park Chan-wook)

CFNM (f2022)—11/20
Thu 15 Sep seminar Roy Stafford, “2–Hollywood and the Studio Model” in GFB: 43–70
Toby Miller, “Hollywood and the World” in The Oxford Guide to Film Studies, ed.
John Hill, Pamela Church Gibson (New York: Oxford University Press, 1998):
371–381
Susan Hayward, “Class,” “Cut,” “Shot/Reverse-angle Shot,” and “Narrative/
Narration” in CSKC: 83–87, 103–106, 350–351, 284–288
recommended: Susan Hayward, “Colour,” “Stars/Star System/Star as Capital Value,”
“Studio System,” and “Censorship” in CSKC: 92–96, 373–383, 386–390, 76–77
recommended: Roy Stafford, “5–Decentering the Hollywood Dominance Debate:
Japan and South Korea” in GFB: 125–151

04—REALISMS, MODERNISMS, AND STEREOTPYES

Tue 20 Sep seminar Siegfried Kracauer, “Basic Concepts” (1960), Film Theory and Criticism: Introductory
Readings, 7th edition, ed. Leo Braudy and Marshall Cohen (New York: Oxford
University Press, 2009): 143–153
Ella Shohat/Robert Stam, “Stereotypes, Realism, and the Struggle over
Representation,” from Unthinking Eurocentrism: Multiculturalism and the Media
(Routledge, 1994/2014): 178–219
Susan Hayward, “Realism” and “Modernism” in CSKC: 331–332, 255–263
in-class screening: Pas de deux
(Canada 1968; black-and-white; no dialogue; 13 minutes; dir. Norman McLaren)
in-class screening: Going Viral
(USA 2021; Jennifer Gradecki and Derek Curry) | https://goingviral.art

Wed 21 Sep screening Umberto D.

(Italy 1952; black-and-white; Italian with English subtitles; 91 minutes; dir. Vittorio de Sica)
小早川家の秋 | Kohayagawa-ke no aki/The End of Summer
(Japan 1961; color; Japanese with English subtitles; 103 minutes; dir. Yasujirô Ozu)

Thu 22 Sep seminar Cesare Zavattini, “Some Ideas on the Cinema” (1953) in FMGCC: 124–133
André Bazin, “Umberto D.: A Great Work” (1952); in What is Cinema?, vol. 2,
ed. Hugh Gray (Berkeley: University of California Press, 2004): 79–82
Susan Hayward, “French Poetic Realism,” and “Italian Neo-realism” in CSKC:
183–185, 234–236
Lisa Patti, “3: From Screen Aesthetics to Site Design: Analyzing Form across Screen
Media” in WaSM: 25–42

Fri 23 Sep i Critical analysis due by 23:59

05—THE POLITICS OF MONTAGE AND AUTEURS

Tue 27 Sep seminar Sergei Eisenstein, “Beyond the Shot” (1929) and “Dickens, Griffith and Ourselves”
(1942), in Film Theory and Criticism, 7th edition, ed. Leo Braudy and Marshall
Cohen (New York: Oxford University Press, 2009): 13–40, 363–371
Vsevolod Pudovkin, “On Editing” (1926), in Film Theory and Criticism, 7th edition,
ed. Leo Braudy and Marshall Cohen (New York: Oxford University Press, 2009):
7–12
Susan Hayward, “Editing/Soviet Montage,” “Dominant Cinema/Mainstream Cinema,”
“Counter-Cinema/Oppositional Cinema” “Soviet Cinema/School” in CSKC:
134–138, 131, 101–102, 360–367

CFNM (f2022)—12/20
 in-class screening: sequence from Броненосец «Потёмкин» |
Bronenosets ‘Potemkin’/Battleship Potemkin
(USSR 1925; black-and-white; Russian intertitles with English subtitles; 74 minutes;
dir. Sergei Eisenstein)
in-class screening: sequence from Падение династии Романовых
(документальный, реж. Эсфирь Шуб |
Padeniye dinastii Romanovykh/The Fall of the Romanov Dynasty
(USSR 1927; black-and-white; silent; 90 minutes; dir. Esther Shub

Wed 28 Sep screening À Bout de souffle/Breathless

(France 1959; black-and-white; French with English subtitles; 87 minutes;
dir. Jean-Luc Godard)
Touki-Bouki/Journey of the Hyena
(Sénégal 1973; color; Wolof and French with English subtitles; 85 minutes;
dir. Djibril Diop Mambéty)

Thu 29 Sep seminar Alexandre Astruc, “The Birth of a New Avant Garde: Le Caméra-stylo” (1948)
in FMGCC: 603–607
André Bazin, “On the politique des auteurs,” Cahiers du cinéma (1957)
in The French New Wave: Critical Landmarks, ed. Peter Graham and
Ginette Vincendeau (London: BFI, 2009): 130–148
François Truffaut, “A Certain Tendency in French Cinema” (1954) in FMGCC: 133–144
Susan Hayward, “Jump Cut,” “Classical Hollywood Cinema/Classical Narrative
Cinema,” “Art Cinema,” and “French New Wave” in CSKC: 236–237, 88–91,
27–29, 181–183

06—DECOLONIZING MINDS
Tue 04 Oct seminar Fernando Solanas and Octavio Getino, “Towards a Third Cinema” (1969)
in FMGCC: 230–250
Teshome H. Gabriel, “Towards a Critical Theory of Third World Films” (1983) in
Film and Theory: An Anthology, Robert Stam and Toby Miller (Malden:
Blackwell, 2000): 298–316
Susan Hayward, “Third Cinema” and “Postcolonial Theory” in CSKC: 394–402, 293–300

Wed 05 Oct screening La hora de la hornos: notas y testimonios sobre el neocolonialismo,

la violencia y la liberación/The Hour of the Furnaces:
Notes and Testimonies on Neocolonialism, Violence, and Liberation
(Argentina 1968; black-and-white; Spanish with English subtitles; part one:
90 minutes; dir. Grupo Cine Liberación)
La mujer sin cabeza/The Headless Woman
(Argentina/France/Italy/Spain 2008; color; Spanish with English subtitles; 97 minutes;
dir. Lucrecia Martel)

Thu 06 Oct seminar Roy Stafford, “8–Cinema that Needs to be Different” in GFB: 206–234
Glauber Rocha, “The Aesthetics of Hunger” (1965) in FMGCC: 218–220
Julio García Espinosa, “For an Imperfect Cinema” (1969) in FMGCC: 220–230
Michael Chanan. “Revisiting Glauber Rocha’s, “The Aesthetics of Violence” in Killer
Images, ed. Joram Ten Brink and Joshua Oppenheimer (New York: Wallflower
Press, 2012): 80–92
Jaime Humberto Hermosilla, Arturo Ripstein, Paul Leduc, et at., “8 Millimeters
Versus 8 Millions” in FMGCC: 272–273
Lisa Patti, “4: Entering the Conversation: How and Where to Develop a Critical
Argument” in WaSM: 43–58

CFNM (f2022)—13/20
07—DOCUMENTARY AND DOCUMENTING
Tue 11 Oct seminar Susan Hayward, “Documentary” and “Cinéma-Vétité/Cinéma Direct” in CSKC:
124–128, 82–83
Alisa Lebow and Alexandra Juhasz, “Intro: Beyond Story,” World Records 5 (2021): 9–13
Alisa Lebow, “Seeing Revolution Non-Linearly: www.filmingrevolution.org,”
Visual Anthropology 29 (2016): 278–295
Filming Revolution: A Meta-documentary about Filming in Egypt
since the Revolution
(USA 2018; Alisa Lebow) | www.filmingrevolution.org
The Subconscious Art of Graffiti Removal
(USA 2001; color; English; 16 minutes; dir. Matt McCormick)

Wed 12 Oct screening You Are on Indian Land

(Canada 1969; black-and-white; English; 37 minutes; dir. Mort Ransen)
Something Like a War
(India/UK 1991; color and black-and-white; English and Hindi with English subtitles;
52 minutes; dir. Deepa Dhanraj)
El botón de nácar/The Pearl Button
(France/Spain/Chile/Switzerland 2015; color and black-and-white; Spanish with English
subtitles; 82 minutes; dir. Patricio Guzmán)

Thu 13 Oct seminar John Grierson, “First Principles of Documentary” (1932) in FMGCC: 453–459
New York Newsreel, “Initial Statement of the New York Newsreel” (1967)
in FMGCC: 462–463
Robert Kramer, “Nowsreel, or the Potentialities of a Political Cinema” (1970)
in FMGCC: 463–464
Surabhi Sharma, “When Filmmakers Became a Community,” in Towards a People’s
Cinema: Independent Documentary and Its Audiences in India, ed. Kasturi Basu
and Dwaipayan Banerjee (Gurgaon: Three Essays Collective): 197–208
Albert Maysles, “Documentary Manifesto” (2008) in FMGCC: 479–480
Jill Godmilow, “Kill the Documentary as We Know It” (2002) in FMGCC: 473–476
Capturing Reality: The Art of Documentary
(Canada 2008; dir. Pepita Ferrari) | https://capturingreality.nfb.ca/#/info/project/136
Dear John Grierson: A Postscript to the Story of Film
(UK 2017; dir. Marc Cousins) | https://www2.bfi.org.uk/explore-film-tv/sight-sound-
magazine/video/dear-john-grierson-postscript-story-film-rough-cut

MIDTERM EXAMS AND FALL BREAK

Tue 18 Oct seminar no class
Wed 19 Oct screening no class
Thu 20 Oct seminar no class

CFNM (f2022)—14/20
08—ANIMATION AND REANIMATION
Tue 25 Oct seminar Aidan Delaney, “Remixing the Object of Study: Performing Screen Studies through
Videographic Scholarship,” in The Routledge Handbook of Remix Studies, ed. Eduardo
Navas, Owen Gallagher, xtine burrough (New York: Routledge, 2021): 430–442
Jeffrey Middents, “35: The Research and the Remix: Video Essays as Creative
Criticism” in WaSM: 216–220
Hito Steyerl, “In Defense of the Poor Image,” e-flux 10 (2009): 1–13
Dale Hudson, “Digital Performances,” Afterimage 36.5 (2009): 22–23
in-class screening: Lossless #2
(USA 2008; black-and-white; 3 minutes; dir. Rebecca Baron and Doug Goodwin)
in-class screening: Lossless #3
(USA 2008; color; no dialogue; 10 minutes; dir. Rebecca Baron and Doug Goodwin)
in-class screening: S-11 Redux Channel Surfing the Apocalypse
(USA 2002; color; English; 11 minutes; Guerilla News Network)
in-class screening: Total Eclipse of the Heart (Totally Literal Version)
(USA 2009; color; English; 5.5 minutes; David A. Scott aka dascottjr)
in-class screening: Every Covid-19 Commercial Is Exactly the Same
(USA 2020; color; English; 4 minutes; Microsoft Sam)

Wed 26 Oct screening Papageno

(Germany 1935; color; German; 11 minutes; dir. Lotte Reiniger)
Tetsuwan Atomu/Astro Boy, season one, episode 1 | 鉄腕アトム
(Japan 1963; black-and-white; English dub; 25 minutes; dir. Osamu Tezuka)
Tma, Svetlo, Tma/Darkness, Light, Darkness
(Czechoslovakia 1989; color; 6 minutes; dir. Jan Svankmajer)
Street of Crocodiles
(UK 1986; color; no dialogue; 20 minutes; dir. Stephen Quay and Timothy Quay)
Bengali Tourists
(India 2003; color; English; 4 minutes; dir. Sarnath Banerjee)
Rabbit
(UK 2005; color; English; 8 minutes; dir. Run Wrake)
Hollywood Harems
(Egypt 1999; color; 24 minutes; English; dir. Tania Kamal-Eldin)
Ikhtifa’aat el-Thalaathat Soad Hosni/The Three Disappearances of Soad Hosni |
‫اﻻﺧﺗﻔﺎءات اﻟﺛﻼﺛﺔ ﻟﺳﻌﺎد ﺣﺳﻧﻲ‬
(Lebanon/France 2011; color and black-and-white; Arabic with English subtitles;
68 minutes; dir. Rania Stephen)

Thu 27 Oct seminar Michael O’Pray, “The Animated Film,” in The Oxford Guide to Film Studies, ed. John
Hill, Pamela Church Gibson (New York: Oxford University Press, 1998): 50–55
Susan Hayward, “Animation” in CSKC: 16–22
Peter Decherney, “Copyright Dupes: Piracy and New Media in Edison v. Lubin
(1903),” Film History 19.2 (2007): 109–124
Patricia R. Zimmermann, “Pirates of the New World Images Orders” (2000), in
Technology and Culture: The Film Reader, ed. Andrew Utterson (New York
Routledge, 2005): 89–95
in-class screening: Hair Piece: A Film for Nappy-Headed People
(USA 1984; color; English; 10 minutes; dir. Ayoka Chenzira)

Fri 28 Oct i Comparative analysis due by 23:59

CFNM (f2022)—15/20
09—INTERNATIONAL (WESTERN) FESTIVALS, TRANSNATIONAL CAPITAL, AND SMARTPHONES
Tue 01 Nov seminar Nick Davis, “40: Bridging the Gaps between Scholarly Essays and Mass-market Film
Writing” in WaSM: 238–242
Dale Hudson, “#OscarMustFall: On Refusing to Give Power to Unjust Definitions of
‘Merit,’” Jump Cut 61 (2022)
John Hess and Patricia R. Zimmermann, “Transnational Documentaries: A
Manifesto,” in Transnational Cinema: The Film Reader, ed. Elizabeth Ezra and
Terry Rowden (London: Routledge, 2006): 97–108
in-class screening: No Bikini
(Canada 2007; color; English; 8 minutes; dir. Claudia Morgado Escanilla)

Wed 02 Nov screening Le Clandestin

(Zaire 1997; black-and-white; French intertitles; 15 minutes; dir. José Zeka Laplaine)
Surviving Sabu
(UK 1997; color; English; 15 minutes; dir. Ian Iqbal Rashid)
Menged
(Ethiopia 2006; color; Amharic and Italian with English subtitles; 21 minutes;
dir. Daniel Taye Workou)
Two Cars, One Night
(New Zealand 2003; black-and-white; English; 12 minutes; dir. Taika Waititi)
Il giorno della prima di Close Up/The Opening Day of Close-Up
(Italy 1996; color; Italian with English subtitles; 7 minutes; dir. Nanni Moretti)
重慶森林 | Chongqing senlin/Chungking Express
(Hong Kong 1994; color; Cantonese, Mandarin, and English with English subtitles;
102 minutes; dir. Wong Kar-wai)

Thu 03 Nov seminar Roy Stafford, “7–International Art Cinema and the Festival Circuit” in GFB: 181–205
Tamara Falicov, “‘The “Festival Film”: Film Festivals Funds as Cultural
Intermediaries,” in Film Festivals: History, Theory, Method, Practice, ed. Marijke
de Valck, Brendan Kredell, Skadi Loist (New York: Routledge, 2016): 209–229
Karl Schoonover, “Queer or Human? LGBT Film Festivals, Human Rights and Global
Film Culture,” Screen 56.1 (2015): 121–132

10—DECOLONIZING MALE DECOLONIZATIONS

Tue 08 Nov seminar Palestinian Film Group, “Manifesto of the Palestinian Film Group” (1973) in FMGCC:
273–275
Fernando Birri, Ousmane Sembène, Jorge Silva, Sanitiago Álvarez, Med Hondo, et al.,
“Resolution of the Third World Filmmakers Meeting” (1973) in FMGCC: 275–285
Heiny Srour, Salma Baccar, and Magda Wassaf, “For the Self-expression of Arab
Women” (1978) in FMGCC: 375–376
FEPACI (Fédération panafricain des cinéastes), “Statement of African Women
Professionals of Cinema, Television, and Video” (1991) in FMGCC: 383–385
Max Schleser, “Creative Innovation,” in Smartphone Filmmaking: Theory and
Practice (London: Bloomsbury Academic, 2021): 195–237

Wed 09 Nov screening Reassemblage: From the Firelight to the Screen

(USA 1982; color; English; 40 minutes; dir. Trinh T. Minh-ha)
Rue cases nègres/Sugar Cane Alley
(France/Martinique 1983; color; French with English subtitles; 107 minutes;
dir. Euzhan Palcy)
Phyllis
(Nigeria/UK 2010; color; English; 16 minutes; dir. Zina Saro-Wiwa)

CFNM (f2022)—16/20
Thu 10 Nov seminar Robert Stam, “Third World Film and Theory” and “Third Cinema Revisited” through
“Film and the Postcolonial” in FTI: 281–298
Trinh T. Minh-ha, “Documentary Is/Not a Name,” October 52 (1990): 76-98
Susan Hayward, “Black Cinema–UK,” and “Costume Dramas/Heritage
Cinema/Historical Films” in CSKC: 42–46, 100–101

11—ETHNOGRAPHIC AND INDIGENOUS MEDIA

Tue 15 Nov seminar Alexandra Halkin, “Outside the Indigenous Lens: Zapatistas and Autonomous
Videomaking,” Global Indigenous Media: Cultures, Poetics, and Politics, ed.
Pamela Wilson and Michelle Stewart (Durham: Duke University Press, 2008):
160–180
Juan Francisco Salazar and Amalia Córdova, “Imperfect Media and the Poetics of
Indigenous Video in Latin America,” Global Indigenous Media: Cultures, Poetics,
and Politics, ed. Pamela Wilson and Michelle Stewart (Durham: Duke University
Press, 2008): 39–57
Susan Hayward, “Ethnographic Film/Gaze” in CSKC: 141
in-class screening: Xulum’ Chon: Weavers in Resistance from the Highlands
(México 2002; color; Spanish and Tzeltal with English subtitles;
15 minutes; Chiapas Media Project)

Wed 16 Nov screening Babakiueria

(Australia 1986; color; English; 29 minutes; dir. Don Featherstone)
Tenacity
(USA 1995; color; English; 10 minutes; dir. Chris Eyre)
Bontoc Eulogy
(USA/Philippines 1995; black-and-white; English; 57 minutes; dir. Marlon Fuentes and
Bridget Yearian)
Rouch in Reverse
(UK/USA 1995; color; English and French with English subtitles; 51 minutes;
dir. Manthia Diawara)
We Don’t Need a Map
(Australia 2017; color; English; 85 minutes; dir. Warwick Thornton)

Thu 17 Nov seminar Horace Miner, “Body Ritual Among the Nacirema,” American Anthropologist 58.3
(1956): 503–507
Faye Ginsburg, “Decolonizing Documentary On-Screen and Off: Sensory Ethnography
and the Aesthetics of Accountability,” Film Quarterly 72.1 (2018): 39–49
Faye Ginsburg, “The Parallax Effect: The Impact of Indigenous Media on
Ethnographical Film,” Visual Anthropology Review 11.2 (1995): 158–175
Jay Ruby, “Ethnographic Cinema (EV): A Manifesto/A Provocation” (2003) in
FMGCC: 476–477

Fri Nov 18 i Storyboard adaptation and critical reflection due by 23:59

CFNM (f2022)—17/20
12—DIGITAL ALTERNATIVES TO FILM AND FILM ARCHIVES
Tue 22 Nov seminar Patricia R. Zimmermann, “Geographies of Desire: Cartographies of Gender, Race,
Nation and Empire in Amateur Film,” Film History 8.1 (1996): 85–98
Jaimie Baron, “9: From Meaning to Effect: Writing about Archival Footage” in WaSM: 88–91
Dale Hudson and Patricia R. Zimmermann, “19: Writing about Digital and
Interactive Media” in WaSM: 131–136
online streaming: Colonial Film: Moving Images of the British Empire
http://www.colonialfilm.org.uk/
online streaming: British Pathé | http://www.britishpathe.com/

Wed 23 Nov screening Sib/The Apple | ‫ﺳﯿﺐ‬

(Iran 1997; color; Persian with English subtitles; 84 minutes; dir. Samira Makhmalbaf)
Hell or High Water
(Nigeria 2016; color; English; 32 minutes; dir. Oluseyi “Asurf” Amuwa)
Mondomanila: Kung paano ko inayos ang buhok ko matapos ang mahaba-haba ring
paglalakbay/Mondomanila, or: How I Fixed My Hair After a Rather Long Journey
(Philippines/Germany 2012; color and black-and-white; Filipino, Tagalog, and English with
English subtitles; 75 minutes; dir. Khavn de la Cruz)

Thu 24 Nov seminar Samira Makhmalbaf, “The Digital Revolution and the Future Cinema” (1985) in
FMGCC: 580–585
Khavn de la Cruz, “Digital Dekologo: A Manifesto for a Filmless Philippines” (1985)
in FMGCC: 588–589
Ola Balogun, “Pathways to the Establishment of a Nigerian Film Industry” (1985) in
FMGCC: 183–192
Gbemisola Adeoti, “Home Video Films and the Democratic Imperative in
Contemporary Nigeria,” Journal of African Cinemas 1.1 (2009): 35–56
Susan Hayward, “Sexuality” and “Queer Cinema” in CSKC: 346–250, 324–329

13—COUNTER-GAMING AND SOFTWARE STUDIES

Tue 29 Nov seminar Alexander R. Galloway, “5: Countergaming,” Gaming: Essays on Algorithmic Culture
(Minneapolis: University of Minnesota Press, 2006): 107–126
Craig Hight, “Software as Co-creator in Interactive Documentary,” in i-docs: The
Evolving Practices of Interactive Documentary, ed. Judith Aston, et al. (London:
Wallflower, 2017): 82–96
McDonald’s Video Game

(Italy 2006; Molleindustria) | https://www.molleindustria.org/mcdonalds/
Oiligarchy

(Italy 2008; Molleindustria) | https://www.molleindustria.org/en/oiligarchy/

Wed 30 Nov screening No class—Commemoration Day and National Day holiday

Thu 01 Dec seminar No class—Commemoration Day and National Day holiday

CFNM (f2022)—18/20
14—ACTIVIST, COMMUNITY, PARTICIPATORY MEDIA—AND SOCIAL MEDIA ADDICTION
Tue 06 Dec seminar Byron Russell, “Appropriation Is Activism,” in The Routledge Companion to Remix
Studies, ed. Eduardo Navas, Owen Gallagher, xtine burrough (New York:
Routledge, 2015): 203–209
Smeeta Mishra, “Digital Activism: The Power of Hashtags and Memes” in DC: 93–112
anonymous filmmakers, “China Independent Film Festival Manifesto:
Shamans Ö Animals” (2011) in FMGCC: 480–483
recommended: Roy Stafford, “10–Diverse Indian Cinemas” and “11–Chinese
Cinemas” in GFB: 264–294, 295–327
in-class screening: Digital Smoke Signals:
Aerial Footage from The Night of November 20, 2016 at Standing Rock
(USA 2016; color; English; 7 minutes; Myron Dewey and Digital Smoke Signals)
in-class screening: segments of KONY 2012
(USA 2012; color; English; 30 minutes; dir. Jason Russell)

Wed 07 Dec screening Love Lunch Community: Just Produce/Food Justice

(USA 2014; color; English; 13 minutes; dir. Helen De Michiel)
现实是过去的未来 | Xianshi shi guoqu de weilai/Disorder
(China 2009; color and black-and-white; Mandarin with English subtitles; 58 minutes;
dir. Huang Weikai)
Machines
(India/Germany/Finland 2017; color; Hindi with English subtitles; 71 min; dir. Rahul Jain)

Thu 08 Dec seminar Mark Andrejevic, “Introduction,” iSpy: Surveillance and Power in the Interactive Era
(Lawrence: University of Kansas Press, 2007): 1–21
Matt Delmont, “Drone Encounters: Noor Behram, Omer Fast, and Visual Critiques of
Drone Warfare,” American Quarterly 65.1 (2013): 193–202
Smeeta Mishra, “Becoming Internet Famous: Performing ‘Authenticity’ and Engaging
Audiences” and “‘Digital Detox’: Resisting the Lure of the Digital” in DC: 71–92,
113–120
episode “Morning Rituals” from Do Not Track/Traque interdite
(Canada 2015; color; English; 6 minutes; dir. Brett Gaylor)
Tracing You
(USA 2015; Ben Grosser)
Face to Facebook
(Italy 2011; Paolo Cirio and Alessandro Ludovico)
Drone Strike Photos
(UK 2011; Noor Behram)
Forensic Architecture
(UK 2010–present; Eyal Weizman et al.)
recommended: Eyal Weizman, “Introduction: at the Threshold of Detectability,”
Forensic Architecture: Violence at the Threshold of Detectability (New York: Zone
Books, 2017): 13–47

CFNM (f2022)—19/20
15—FORENSTICS OF DRONE VISION
Sun 011 Dec screening Legislative Day (Wednesday schedule)

Mon 12 Dec seminar Legislative Day (Thursday schedule)

iCollaborative essay films and remixes
Stranger Comes to Town
(USA 2007; color; English; 29 minutes; dir. Jacqueline Goss)
5,000 Feet Is Best
(Israel/Germany 2011; color; English; 30-minute loop; dir. Omar Fast)
“Nosedive” from Black Mirror (UK 2011–2016; cr. Charlie Brooker)
(UK 2015; color; English; 63 minutes; dir. Joe Wright)

Tue 13 Dec seminar No class—Legislative Day (Friday schedule)

Thu 15 Dec i Film or media review by 23:59

Thu 15 Dec i Critical reflection on collaborative essay film or remix due by 23:59

CFNM (f2022)—20/20