ARHU 102-02

The Art of Interpretation 2:

Images and Sound
Fall 2021: Session 2

Synchronous meeting time: Tuesdays & Thursdays, 2:25-5:15 (DKU time)

Academic credit: 4 DKU Credits

Course format: Seminar + Workshop + Discussion

Room: AB 3033

Zoom Meeting ID: 950 7445 1765

https://duke.zoom.us/j/95074451765?pwd=bzdxeGk3QTh3SVhwc1F2MGU1cThVUT09

Passcode: mediaarts

*Note: All students who are in China are expected to attend class in person every class session. If, for
some reason you cannot attend in person, you need to write to Dean France and receive permission
BEFORE the class. Reasonable illness is the only exception.

Instructor’s information

Richard M. Davis (He/Him/His), Senior Lecturer in Cultural Studies

Email: [email protected]

Office Hours: TBA

I am a film and media scholar who works on cinematic crossings between Japan, East Asia, and the
United States. My first book project concerns musical films made in interwar and wartime Japan. I have
previously taught at Singapore Management University, Tsinghua University in Beijing, and the
University of Chicago, where I received my PhD.
What is this course about?

How do we engage with and relate to the images and sounds that constitute our communities, our
societies at large? How, through the incessant flux of images and sounds that surround us, do we make
sense of our world? As an Arts and Humanities requirement, this course aims to introduce you to the
paradigmatic aspects of images and sounds as texts. The course will focus on visual and aural studies and
their interconnected relationship to the constitution of the sensible world. You will develop a better
understanding of the social, cultural, ideological constructs conveyed through visuality and aurality, and
gain literacy in sound and visual studies that will have much relevance in other disciplines—from
sciences to humanities. In short, as crucial as literacy traditionally conceived, audiovisual literacy is
imperative for citizens of the 21st century world.

Through the study of a wide range of written and audiovisual materials, you will be introduced to key
notions in visual and sound studies, and to trends in audiovisual and multimedia cultures. Equal emphasis
will be placed on hands-on practice: the course will be structured with a series of workshops as well as
individual and group assignments and projects. The goal is to not only understand audiovisual cultures
critically, but also actively engage in their production through creative projects. You will be strongly
encouraged to connect course materials to the larger global context, highlighting the global movement
and cross-cultural networks of audiovisual media both enabled and complicated by technologies. The
theme “Arts of Seeing and Listening” provides an evocative framework for the class to think visually and
aurally in cultural terms, informed at once by many categories—race, gender, time, place, history, nation
state, and their social, political, and economic manifestations.

What Background knowledge do I need before taking this course?

This is a beginning level course and there are no prerequisite classes for the course. Just come to each
project and mini-assignment with a serious attitude but ready to explore, take risks, and have fun.

What will I learn in this course?

This course will provide you with the foundational methodologies, concepts, and notions in the
disciplines of visual and audiovisual studies, also including discourses from other related disciplines, such
as media studies, film studies, and cultural anthropology.

By the end of the seminar, you will be able to:

● Be an active and critical watcher/listener by understanding the wide range of audiovisual

production that exists in contextual and situated ways.
● Demonstrate audiovisual literacy by using appropriate theoretical concepts to analyze the sounds
and images that surround us.
● Describe and articulate in writing the cultural differences and ideological implications, as well as
to identify different methodological approaches through specific chosen topics and genres of
audiovisual production.
 Seeing and listening to the world around you in critical ways will open the possibility of not only being
consumers of media, but also producers of content. Assignments are designed to push us beyond technical
know-how. They aim to encourage you to understand audio and visual products creatively, and curatorial
practices analytically and critically. You will be expected to do work both inside and outside the
classroom, and teamwork and individual effort will be emphasized equally. The final project will deepen
the thinking of audiovisual cultures through producing one specific case study, with the goal of helping
you challenge yourself in the conceptualization, reception, and execution of audiovisual works for public
consumption.

What will I do in this course?

This is a hybrid course designed to focus on both practice and theory. There will be weekly seminars and
activities based on readings and screenings that you will do on your own time. We will use the
synchronous class time to hold discussions on these readings and media pieces, explore the interplay of
concepts and techniques, and ultimately make linkages that will support your practical work. You will be
guided through photographic and sound based narrative production techniques. Finally, you will write
weekly forum posts.

How can I prepare for the class sessions to be successful?

If you carefully read and watch the weekly assignments before class, approach your assignments with
care and creativity, participate actively in class, and incorporate effectively the feedback that you receive
from the instructors, you will be successful in this course.

What required texts, materials, and equipment will I need?

Due to the interdisciplinary nature of the seminar, a specific textbook is not assigned. Instead, all readings
discussed in class and used for the assignments will be available through the course website on Sakai.
Audiovisual materials will mostly be available through Library Reserves and Warpwire. Essential items
from the bibliography will also be available on Reserve at the Library.

Audiovisual equipment: You are not required to use professional equipment; instead, experimentation
with personal smartphones, cameras, as well as editing software in the Adobe Creative Cloud is strongly
encouraged.

How will my grade be determined?

Assessment: Grades in the class will be determined by:

Visual Storytelling (25%): Photographic Essay of 10 images plus text

Part I (5%): Explore the Visual Telling of Stories website discussed in class and find a photo-essay that
you will share with the class. Summarize why you selected this photo-essay in 300 words, and what it is
about. Submit your written statement to your blog along with a link to the photo essay.

Part II (10%): Design your own visual story in no more than 10 images, using the format we have
discussed from the Visual Telling of Stories site. Your images can be raw, manipulated, enhanced,
complemented with drawing, photoshopped, etc, and must be accompanied by text. These images must be
generated, taken, created or manipulated by you. Upload your sequenced photo- essay to your blog via a
PDF document or through Warpwire in Sakai or a streaming site (Vimeo, YouTube, etc.). Include a
references section typed into your blog. *Note that whenever you use material that is not yours you must
cite the source where you found the image or reference (an active web-site address is sufficient means of
citing your sources).

Part III (10%): After you receive an in-class critique of your visual story you will re-submit the final
draft of your visual story, taking into consideration the feedback you received. Submit your work to your
blog, clearly noting that it is the final project draft for grading.

Sonic Storytelling (35%): 2-3 minute sonic narrative

Part I (10%): Based on our discussions in class and the examples shared by the professor, you are going
to write a 500 word proposal for the sonic narrative you want to create. Your proposal should be for a
sound piece that is two to three minutes long. In the proposal you should identify the topic or story for
your sonic narrative, why this story interests you, what type of experience you are hoping to create for the
listening audience, and how you imagine you will go about creating this sonic narrative (recording audio,
composing, found audio, etc). Submit this proposal to your blog.

Part II (15%): Create your own sonic narrative that is between 2 and 3 minutes long.. You must record
your own audio and can also use free sound effects and music from free to use sites. You must create your
own original sonic narrative and record the various elements that tell the story, using audio editing
software to compile and edit the narrative. You will need to submit the final sonic narrative along with a
written process document of 300-500 words describing what you created and how you created it, as well
as how you found the process of developing, recording, and editing a sonic narrative. Submit all work to
your blog.

Part III (10%): After you receive an in-class critique of your sonic narrative you will re-submit your
piece, taking into consideration the feedback you received. Submit this final version of your sonic
narrative to your blog with a 100-200 word description of the elements you chose to change, modify, or
revisit after the critique session.

Audiovisual Response Journal (25%):

You will keep an audiovisual response journal on your blog and upload sections to Forums in Sakai once
each week. In Weeks 1, and 3-6 you will write about the relationship between a piece of assigned media
for that week that you have watched or listened to, and a reading you have done for the given week. This
500 word audiovisual response is a place for you to discuss your understanding of the media piece and the
article, and to then speak about how they relate to one another, themes that emerge and questions that you
are left thinking about after engaging with the two ‘texts.’ Please upload this entry to your blog each
week, and paste a 100-200 word excerpt from it into the Forum for that week. These will be due by 11:59
pm every Monday. You are required to read and respond to three of your classmates’ posts on the
Forum each week, these responses will contribute to the fulfillment of the requirements and will
accrue credit. Each response will be graded on a satisfactory or unsatisfactory basis. Satisfactory entries:

1) demonstrate that you have read and understood the class materials.

2) begin with a clear topic sentence that makes a focused claim.

3) provide selective evidence from the materials to substantiate the claim.

 4) are written with relatively few mechanical errors between 400 and 500 words.

Unsatisfactory entries will not receive credit. Five satisfactory entries result in full points. If an entry is
graded as unsatisfactory, you cannot change it, however you can write another additional entry that
satisfies the above requirements, either for another class or as a response to someone else’s post to make
up the points.

Participation (15%): Students will be graded on their commitment to the course material, their
involvement in class discussions, and their overall contribution to their peers in the class through
participation in critique, screening and reading discussions, and on the Sakai Forum.

Grading Scale:

All assignments will be graded on a 100-point scale. These grades will not be assigned based on the
docking of points, but on the comprehensive assessment of the strength of the material.

Late Work:

As with many industries associated with image-making and audio-making, keeping deadlines is essential.
In keeping with industry standards, late work is heavily penalized and will be marked down by a whole
letter grade each day it is late (i.e. an A- turned in one day late would become a B-).

What are the course policies?

Communications:

Students will be expected to utilize the Sakai course site to submit class assignments and work and
attend for synchronous classes.

Discussion Guidelines:

Civility is an essential ingredient for academic discourse. All communications for this course should be
conducted constructively, civilly, and respectfully. Differences in beliefs, opinions, and approaches are to
be expected. Please bring any communications you believe to be in violation of this class policy to the
attention of your instructor. Active interaction with peers and your instructor is essential to success in this
course, paying particular attention to the following:
 ● Be respectful of others and their opinions, valuing diversity in backgrounds, abilities, and
experiences.
● Challenging the ideas held by others is an integral aspect of critical thinking and the academic
process. Please word your responses carefully and recognize that others are expected to challenge
your ideas. A positive atmosphere of healthy debate is encouraged.
● Read your online discussion posts carefully before submitting them.

Academic Integrity:

As a student, you should abide by the academic honesty standard of the Duke Kunshan University. Its
Community Standard states: “Duke Kunshan University is a community, comprised of individuals from
diverse cultures and backgrounds. We are dedicated to scholarship, leadership, and service and to the
principles of honesty, fairness, respect, and accountability. Members of this community commit to
reflecting upon and upholding these principles in all academic and non-academic endeavors, and to
protecting and promoting a culture of integrity and trust.” For all graded work, students should pledge
that they have neither given nor received any unacknowledged aid.

Academic Policy & Procedures:

You are responsible for knowing and adhering to academic policy and procedures as published in
University Bulletin and Student Handbook. Please note, an incident of behavioral infraction or academic
dishonesty (cheating on a test, plagiarizing, etc.) will result in immediate action from me, in consultation
with university administration (e.g., Dean of Undergraduate Studies, Student Conduct, Academic
Advising). Please visit the Undergraduate Studies website for additional guidance related to academic
policy and procedures. Academic integrity is everyone’s responsibility.

Academic Disruptive Behavior and Community Standard:

Please avoid all forms of disruptive behavior, including but not limited to: verbal or physical threats,
repeated obscenities, unreasonable interference with class discussion, making/receiving personal phone
calls, text messages or pages during class, excessive tardiness, leaving and entering class frequently
without notice of illness or other extenuating circumstances, and persisting in disruptive personal
conversations with other class members. If you choose not to adhere to these standards, I will take action
in consultation with university administration (e.g., Dean of Undergraduate Studies, Student Conduct,
Academic Advising).

Academic Accommodations:
If you need to request accommodation for a disability, you need a signed accommodation plan from
Campus Health Services, and you need to provide a copy of that plan to me. Visit the Office of Student
Affairs website for additional information and instruction related to accommodations.

What campus resources can help me during this course?

Academic Advising and Student Support

Please consult with me about appropriate course preparation and readiness strategies, as needed. Consult
your academic advisors on course performance (i.e., poor grades) and academic decisions (e.g., course
changes, incompletes, withdrawals) to ensure you stay on track with degree and graduation requirements.
In addition to advisors, staff in the Academic Resource Center can provide recommendations on academic
success strategies (e.g., tutoring, coaching, student learning preferences). All ARC services will continue
 to be provided online. Note, there is an ARC Sakai site for students and tutors. Please visit the Office of
Undergraduate Advising website for additional information related to academic advising and student
support services.

Writing and Language Studio

For additional help with academic writing—and more generally with language learning—you are
welcome to make an appointment with the Writing and Language Studio (WLS). To accommodate
students who are learning remotely as well as those who are on campus, writing and language coaching
appointments are available in person and online. You can register for an account, make an appointment,
and learn more about WLS services, policies, and events on the WLS website. You can also find writing
and language learning resources on the Writing & Language Studio Sakai site.

IT Support

If you are experiencing technical difficulties, please contact IT:

● China-based faculty/staff/students 400-816-7100, (+86) 0512- 3665-7100

● US-based faculty/staff/students (+1) 919-660-1810
● International-based faculty/staff/students can use either telephone option (recommend using tools
like Skype calling)
● Live Chat: https://oit.duke.edu/help
● Email: [email protected]

What is the expected course schedule?

*Note ~ This is a tentative schedule that may change due to unforeseen problems. I will update this document and notify you
when changes occur.*

Class Bibliography and Reference Materials

Reading

● Barthes, Roland. Rhetoric of the Image

● Berger, John. 1972. Ways of Seeing (maybe the BBC series, although very Euro painting centered)
AND/OR his About Looking, 1992 (Part I)
● Bellantoni, Patti. 2012. If It's Purple, Someone's Gonna Die: The Power of Color in Visual Storytelling.
Read Backstory chapter, pp. xxi - xxxiii. Mix of practice and theory grounded in psychological symbolism
of colors in contemporary films. Some room for critique.
● Chion, Michel. The Audiovisual Couple in Film: Audio-Vision. Chapter 1,
● Chion, M. Audio-Vision, Sound on Screen. Columbia University Press, 1994 Chapters 1&2
● Cooper, Loren W. 2001. Chain of Ghosts: Resonance in Language, Story, and the Brain. Patterns that exist
in storytelling, and how we learn and engage with them. Read Chapter II: The Poetics and Modern Fiction
Techniques, pp. 18 - 29.
● Crook, Tim. “Sound Design Vocabulary” in Radio Drama; Theory and Practice
● Goulish, Matthew, Criticism.
● Huron, David Brian. 2006. Sweet Anticipation: Music and the Psychology of Expectation. MIT Press.
● Jowitt, Deborah, Meredith Monk, 1997 Chapter pp. 171-183
● Laing, Olivia. 2020. Funny Weather - Art in an Emergency. Role of art in the early days of COVID-19.
 ● Lacey, Nick. 2009. Image and Representation. Explores media language and representation throughout a
variety of visual texts.
● Cooper, Loren W. 2001. Chain of Ghosts: Resonance in Language, Story, and the Brain. Patterns that exist
in storytelling, and how we learn and engage with them. Read Chapter II: The Poetics and Modern Fiction
Techniques, pp. 18 - 29.
● Mirzoeff, N. (2002). The Visual Culture Reader. Second ed. Routledge. Chapters 1&2
● Salle, David. 2016. How to See. Written from an artist’s perspective on thinking about others’ and your
own art.
● Sontag, Susan. 2007. “In Plato’s Cave.” In On Photography, 1–19. Rosetta Books
● Voegelin, Salome . 2010. Listening to Noise and Silence: Toward a Philosophy of Sound Art. (Introduction
and Chapter 1)

Watching

● Persona, Ingmar Bergman - https://duke.kanopy.com/video/persona

● Hell Bento, Anna Broinowski
● Pina by Wim Wenders
● La Jettée by Chris Marker (1962) - https://duke.kanopy.com/video/la-jetee
● I Could Do That - [https://www.pbs.org/video/art-assignment-could-do-that/]
● What this Photo Doesn’t Show - https://www.youtube.com/watch?v=3AVNhTi9pzM
● Nerdwriter: Van Gogh’s Ugliest Masterpiece - https://www.youtube.com/watch?v=nKNAZr0QJzs
● Visual Telling of Stories - http://www.fulltable.com/VTS/index2.htm
● Visual Telling of Stories Article https://medium.com/nightingale/the-greatest-library-youve-never-heard-
of-the-visual-telling-of-stories-9c6e67437483
● Artist uses Excel to “paint”
● https://www.thisiscolossal.com/2017/12/tatsuo-horiuchi-excel-artist/?
fbclid=IwAR1cOYG9vXAYcvBI9Mi7-cSSIsYKBkdhY4SM7OjhQeQyHLWSdcpFqIKyaGU

Listening

● Monk, M. Atlas – Opera in 3 Parts. ECM Records. 1994

Week 1

Date Tuesday, October 26 + Thursday, October 28

Class topic/unit name Class Introduction and Visual Storytelling

Read: 1) Sontag Sontag, Susan. 2007. “In Plato’s Cave.” In

Pre-class work for students On Photography, 1–19.

Planned in- class activities Session 1 (Tuesday)

Introduction to ARHU102, Logistics, Susan Sontag’s “In Plato’s Cave.” This

class is an introduction to the world of Visual Storytelling, the way that visual
imagery is used to tell stories. In particular we will be looking at examples of a
set or series of photographs in conjunction with text that are made to tell a story
 or communicate information or an idea. You will be exposed to a variety of
visual narratives in a photo essay like style.

Session 2 (Thursday)

You will work in pairs to explore several online visual storytelling sites and
discuss how the creators use visual imagery and text to tell stories. Students will
meet in their pairs to discuss the relationship between Mirzoeff’s text and
Sontag’s. Practice shooting images.
Read: Sontag, Susan. 2007. “In Plato’s Cave.” In On Photography,

Assignments due 1–19. Rosetta Books

Audiovisual Response Journal & Forum Post due Thurs 11:59 pm

For the Tuesday of Week 2: Visual StoryTelling Part I (5%): Explore the
Visual Telling of Stories website discussed in class (Visual Telling of
Stories - http://www.fulltable.com/VTS/index2.htm ) and find a photo-essay
For Next week
that you will share with the class. Summarize why you selected this photo-
essay in 300 words, and what it is about. Submit your written statement to
your blog along with a link to the photo essay.

Week 2

Date Tuesday, November 2 + Thursday, November 4

Class topic/unit name Visual Storytelling

Pre-class work for students Read: 1) Chapters 1 & 2 from Mirzoeff’s Visual Culture Reader.

Watch: 1)John Berger, Ways of Seeing Part I

https://www.youtube.com/watch?v=0pDE4VX_9Kk

2) I Could Do That,

[https://www.pbs.org/video/art-assignment-could-do-that/]

3) La Jettée (1962), https://duke.kanopy.com/video/la-jetee

4) Artist uses Excel to “paint” https://www.thisiscolossal.com/2017/12/tatsuo-horiuchi-excel-artist/?fb

cSSIsYKBkdhY4SM7OjhQeQyHLWSdcpFqIKyaGU
 Lab: Date, Time: TBD.

Individual DSLR training on DKU Campus and through Zoom.

Thursday

We will continue to explore the world of visual storytelling. We will begin with
a discussion in student groups Berger’s Ways of Seeing Part I and the screenings
Planned in- class activities regarding larger issues in art and storytelling. In addition, we will start to look at
some of the visual stories curated by members of the class (your assignment,
Part 1). We will begin to look at how sequences of images evoke story. We will
look at a series of Photo Essays and apply what we have discussed to the Photo
Essays.

● Visual Telling of Stories - http://www.fulltable.com/VTS/index2.htm

● Visual Telling of Stories Article https://medium.com/nightingale/the-
greatest-library-youve-never-heard-of-the-visual-telling-of-stories-
9c6e67437483

Assignments due Visual Storytelling Part I Due

Week 3

Date Tuesday, November 9 + Thursday, November 11

Class topic/unit name Visual Storytelling In Class Critique

Watch: 1) What this Photo Doesn’t Show

https://www.youtube.com/watch?v=3AVNhTi9pzM (Session 1)

2) Nerdwriter: Van Gogh’s Ugliest Masterpiece

Pre-class work for students https://www.youtube.com/watch?v=nKNAZr0QJzs (Session 1)

Read: 1) Barthes, Roland. Rhetoric of the Image (Session 1)

2) Bellantoni, Patti. If It's Purple, Someone's Gonna Die. (Session 2)

3) Cooper, Loren W. Chain of Ghosts (Session 2)

Planned in- class activities Session 1

In today’s class we will hold a critique of the visual stories that you have created.
 The aim of the critique is to help us make improvements on our projects so we
can improve them for our re-submissions that will be due next week.

Session 2

Discussion of the Barthes, Bellantoni and Cooper readings via the forum.
Students will meet in pairs to discuss their visual storytelling projects, and to
discuss the weekly materials. Practice and feedback on photo creation.

Assignments due Visual Storytelling Part II Due in class

Audiovisual Response Journal & Forum post by before class

Week 4

Date Tuesday, November 16 + Thursday, November 18

Class topic/unit name Introduction to Sonic Narratives

Listen To: 5 sonic narratives on the NYT 1 in 8 million (Session 1)
http://archive.nytimes.com/www.nytimes.com/packages/html/nyregion/1-in-8-million/index.html

Read: 1) Michel Chion’s Sound on Screen, Chapters 1 & 2 (Session 1)

Pre-class work for students
2) Salomé Voegelin’s Listening to Noise and Silence, Intro and Chapter 1
(Session 2)

3) Nick Lacey’s Image and representation, Section 1.13, 5.2 and 5.2 (Session 1)
Planned in- class activities Session 1

This week we will transition away from imagery and into the world of audio
storytelling and sonic narratives. You will be exposed to a variety of sonic
narrative styles and formats. We will hold break-out conversations to discuss
these sonic narratives, and learn to discuss the aspects of sound design we hear.

A collection of great short audio documentaries can be found through the 3rd
Coast Fest Short Doc. Challenge website: https://www.thirdcoastfestival.org

Session 2

Sound Recording Workshop to be held in class. Found Sound Orchestra

activity. Discussion of Chion, Lacey, NYT 1 in 8 million, and Voegelin readings
 in pair groups, and in audiovisual journals as well on the forum.

Assignments due Visual Storytelling Part III Due by Thursday's class

Audiovisual Response Journal & Forum Post by Tuesday's class

Week 5

Date Tuesday, November 23 + Thursday, November 25

Class topic/unit name Sonic Narratives II

Watch:

Persona by Ingmar Bergman-https://duke.kanopy.com/video/persona (Session 1)

Listen To: Atlas Part 1 by Meredith Monk (Session 1)

Pre-class work for
Read: 1) Crook, Tim. “Sound Design Vocabulary” in Radio Drama; Theory and
students Practice (Session 2)

2) Jowitt, Deborah, Meredith Monk, 1997 Chapter pp. 171-183 (Session 2)

3) Optional Reading: Lassetter, Meredith Monk: An Interview about her recent opera,
Atlas.
Planned in- class Session 1

activities We will continue to explore the world of sonic narratives through Meredith Monk’s
Opera, Atlas and Ingmar Bergman’s Persona.

Session 2

Introduction to Post Production and Adobe Audition via Linkedin Learning. Just click,
"Free one-month trial" you DO NOT need to buy it:
https://www.linkedin.com/learning/audition-cc-2019-essential-training?trk=learning-
serp_learning_search-card&upsellOrderOrigin=sem_src.go-pa_c.ggl-lil-sem-b2c-
brand-dr-namer-us-lang-en-biz-alpha-desktop-core-lilbrand_pkw.linkedin
%2Blearning_pmt.e_pcrid.343926466304_pdv.c_plc._trgid.kwd-
47311766595_net.g_learning

Discussion of Jowitt and Crook readings.

 Sonic Narratives Part I Due by Thursday's Class, Week 5
Assignments due
Audiovisual Response Journal & Forum Post Due by Tuesday's class (Nov 23)

Week 6

Date Tuesday, November 30 + Thursday, December 2

Class topic/unit name Sonic Narratives Work in Progress Discussions

Watch: Pina, by Wenders (Friday Session) https://digitalcampus-swankmp-
net.proxy.lib.duke.edu/duke307391/watch/15430A9C7A1D0BCA?referrer=direct

Pre-class work for studentsListen to: Atlas Parts 2 by Meredith Monk (Session 1, Monday)

Read: 1) Huron, David Brian. 2006. Sweet Anticipation: Music and the
Psychology of Expectation. MIT Press. (Introduction, 19 pages) (Session 1)
Session 1

In Today’s class we will continue working with audio post production and discuss
how storytelling happens from a craft perspective within software programs. We
Planned in- class activities
will discuss Pina, Atlas Part 2, and Huron’s article.

Session 2 Practice unlocking sonic pieces and discussion. Attend Kunqu

performance.
Sonic Narrative Progress, Due in Thursday's Class for Feedback (no

Assignments due grade for this draft)

Audiovisual Response Journal & Forum Post Due by Tuesday's class

Week 7

Date Tuesday, December 7 + Thursday, December 9

Class topic/unit name In Class Critique - Class Wrap Up

Pre-class work for students Read: 1) Chion, Michel. The Audiovisual Couple In Film.
Planned in- class activities Session 1

Today we will hold a critique of your Sonic Narrative Part II. All students will
 share their work in class.
Sonic Narratives Part II Due by Thursday’s class (Dec 9) for critique.

Assignments due Part III is due the following Sunday, December 12 by 11:59 pm