comm 125 f21x - mediatechcult.files.wordpress.com

Tool, Lee Lozano, 1963

Media/Tech/Culture Thinking Media, Making Media

COMM 125, Fall 2021, Instructor: Dan Leopard Section 01: Tuesday and Thursday 1:15 PM to 2:50 PM, FAH 105 Section 01: Tuesday and Thursday 3:00 PM to 4:35 PM, GV 250

Office Hours: By Appointment via text, email, phone, or FaceTime Phone: 310-779-4908 (cell)

E-mail: [email protected] Blog: http://www.comm125.org

COURSE DESCRIPTION This course examines historical, theoretical, aesthetic, and practical approaches to understanding and using media over the past century. Every innovation in media technology has been paralleled by transformations in the social, cultural, and political public spheres throughout the world. Students will leave this course with an understanding of the key concepts and theories regarding media, old and new, and the basic technical and creative artistic skills necessary to communicate using a variety of complementary technologies that comprise “the media.” The social and cultural languages of the 21st century are networked, global, and interactive. We, as citizens of this networked world, must learn to read, write, and speak these new languages – to be literate in the so-called “digital age.”

“In what follows we shall be questioning concerning technology. Questioning builds a way. We would be advised, therefore, above all to pay heed to the way, and not to fix our attention on isolated sentences or topics. The way is a way of thinking. All ways of thinking, more or less perceptibly, lead through language in a manner that is extraordinary. We shall be questioning concerning technology, and in so doing we should like to prepare a free relationship to it. The relationship will be free if it opens our human existence to the essence of technology. When we can respond to this essence, we shall be able to experience the technological within its own bounds.”

–Martin Heidegger, “The Question Concerning Technology,” 1955

REQUIRED TEXTS 1. Frankenstein by Mary Shelley, the original 1818 text (Broadview, 2012) 2. Understanding Comics by Scott McCloud (HarperPerennial, 1993) 3. The Influencing Machine by Brooke Gladstone & Josh Neufeld (Norton, 2012) 4. Bare Bones Camera Course by Tom Schroeppel (Allworth, 2015) 5. The Medium is the Massage by Marshall McLuhan & Quentin Fiore (Gingko Press, 2001) 6. Citizen: An American Lyric by Claudia Rankine (Graywolf Press, 2014) 7. PDF Files available on the course blog under “Documents”

COMM 125 MEDIA-TECH-CULTURE 2

REQUIRED TOOLS Digital Camera/Smart Phone & Google Drive/Portable HD

LEARNING OBJECTIVES Upon completion of this course students will be able to:

1. Critique media and cultural texts by artists and makers using critical, historical, and theoretical frameworks drawn from class readings, discussions, and screenings.

2. Apply critical, historical, artistic, and theoretical frameworks examined throughout the course to media and cultural texts not covered in class.

3. Demonstrate an ability to read critically, write clearly, and research and argue effectively as the foundational skills upon which media and cultural studies depend.

4. Use electronic and digital media for research, presentation, and creative production at a basic level of proficiency.

5. Complete a final project that incorporates creative artistic production and critical research practice.

COURSE REQUIREMENTS Class Attendance. Students are required to attend all class sessions. Absences due to sickness must be documented. More than four unexcused absences will result in a failing grade for the course. Students must follow the course blog – comm125.org – and check it regularly between class sessions for new information pertaining to class assignments.

Class Discussions. Students are expected to complete each reading assignment and to formulate a question or comment for posting prior to class. See course blog for more details.

Online Screenings. Weekly online screenings will be posted that correspond to course topics and readings. See course blog for more details. Additional clips may be screened during class sessions as well.

Lab Sessions. Students will participate in online and in-person lab activities throughout the semester. Completed projects from these labs will be posted online to the blog as a virtual gallery show or online screening. See course blog for more details.

Critical Visual Essays. Students will complete two short critical visual essays (3-5 paragraphs + images, 1-2 pages total) in response to key texts, concepts, and theories during the first half of the semester. These essays will be posted as a link to Google drive on the blog in response to a prompt by the due date. See course schedule for details.

Critique Sessions. Students will present their final projects at work-in-progress critique sessions to fellow class members. Each phase of the final project will be posted to the blog as a virtual screening or presentation and will be discussed during class critiques.

Final Research-based Project/Presentation + Write-up. Students will complete a final project (comic book, visual essay, portfolio of photographs, short video, or other forms of media) addressing a historical or contemporary issue in a rigorous and creative manner. Students will post their project to the course blog during finals week along with a short written essay explaining how their final project relates to topics studied throughout the semester.


GRADE BREAKDOWN Attendance/Blog Comments & Questions (20%), Critical Visual Essays (25%), Critique Sessions/Presentations/Labs (20%), Final Project/Presentation + Write-up (35%).

Note: Critical Visual Essays and Final Projects will be graded using conventional marks A-F. Participation, Questions, Presentations, and Critiques will be graded Pass-Fail (check, zero, check-plus).

GRADING STANDARDS “C” indicates an adequate command of the substantive material of the course as demonstrated through class participation and satisfactory completion of class assignments and papers.

“B” indicates significantly above average engagement with the course and its requirements. “A” indicates mastery of course material and represents a sophisticated analysis or creative treatment of the ideas and materials covered in the course.

“D” indicates that less than satisfactory work has been accomplished.

“F” indicates a failure to meet the minimum requirements for the course.

COURSE LOGISTICS Incompletes or Missing Papers/Projects. No late assignments or projects will be accepted for any reason except for a documented medical emergency. Incompletes will be determined on a case-by-case basis. Discussion questions, critical essays, and final papers/projects are due at the beginning of class on the due date.

Academic Integrity. Saint Mary’s College expects the highest standards of academic excellence and ethical performance from students. It is particularly important that you are aware of and avoid plagiarism, cheating on exams, submitting a paper to more than one instructor, or submitting a paper authored by anyone other than yourself. Violations of this policy will result in a failing grade and be reported to the Office of Advising. If you have any doubts or questions about these policies, consult the student handbook and/or confer with the professor. A Manual for Writers by Turabian provides concise advice on how to avoid plagiarism – see guides at end of syllabus.

Student Disability Services Statement. Student Disability Services extends reasonable and appropriate accommodations that take into account the context of the course and its essential elements for individuals with qualifying disabilities. Students with disabilities are encouraged to contact the Student Disability Services Office at (925) 631-4358 to set up a confidential appointment to discuss accommodation, policies, guidelines and available services. Additional information regarding the services available may be found at the following address on the Saint Mary’s website: http://www.stmarys-ca.edu/sds

Library Statement. Need library sources but don't know where to start? Searching for a book, article, or data to inform your argument? Not sure how to cite a source in your bibliography? Ask a librarian! Research help is available in person at the Reference Desk, by phone at 925-631-4624, and during reference hours you can even text a librarian at 925-235-4762 or chat with us live via the Library's website. Check the Library’s Ask Us page for details: http://www.stmarys-ca.edu/library/ask-us


CLASS SCHEDULE Legend:

View = watch clip on blog prior to class and/or during class session Read = read prior to class session Lab = complete and post online by the deadline posted on the blog Due = at beginning of class session

Begin. UNIT I: ORIGINS OF TECHNOCULTURE Week 1* 31 August: Introduction to Media Studies – Follow the Stones

View: Blade Runner, Ridley Scott, 1982 (USA) - Survey of Media since 1963

2 September: Critical Writing and Visual Essays - Frankenstein Overture View: Examples of Visual and Video Essays – Frankenstein Clips Read: Jillian Tamaki, “Trash the Block” (PDF) Due: Discussion Question/Sign up – Group Presentations

Week 2 7 September: Frankenstein I – Life, Art and Romanticism

View: Fantastic Planet, René Laloux, 1973 (France) Read: Mary Shelley, Frankenstein, vol. I Due: Discussion Question/Screening Notes

Group Presentation 1 on Johnston or Doctorow (PDFs)

9 September: Drawing Lab Read: Vincent Agarwal, “A Sketchbook about Drawing” (PDF) Lab: Contour Drawing & Gesture Drawing + Post link on blog

Week 3 14 September: Frankenstein II – Power, Creation, and Mastery

View: Koko, a Talking Gorilla, Barbet Schroeder, 1978 (USA) Read: Mary Shelley, Frankenstein, vol. II Due: Discussion Question/Screening Notes

Group Presentation 2 on Maienschein & MacCord or Nordmann (PDFs)

16 September: Design/Comics Lab Read: Scott McCloud, Understanding Comics, Introduction through chapter 4 Lab: Collage & Montage + Post link on blog

Week 4 21 September: Frankenstein III – The Ice World and the Other View: The Way Things Go, Peter Fischli & David Weiss, 1987 (Germany) Read: Mary Shelley, Frankenstein, vol. III Due: Discussion Question/Screening Notes

Group Presentation 3 on Bear, Mellor, or Douglas (PDFs)

23 September: Design/Comics Lab 2 Read: Scott McCloud, Understanding Comics, Chapters 5 through 9 Lab: Comics, Graphic Novels & Storyboards + Post link on blog


UNIT II: MEDIA THEORY Week 5*

28 September: Mass Communication and Journalism 1 View: Network, Sidney Lumet, 1976 (USA) View2: Fontana Modern Masters (UK): http://www.fontanamodernmasters.org Read: Brooke Gladstone & Josh Neufeld, The Influencing Machine, p. xi-70 Due: Critical Visual Essay 1 (post link to blog) + Discussion Question

30 September: Photography Lab/Visual Essay Critique Read: Tom Schroeppel, Bare Bones Camera Course, p. 1-72 Lab: Instagram and Snapchat Photo series + Post link on blog

Week 6 5 October: Mass Communication and Journalism 2 View: The Clock, Christian Marclay, 2010 (UK) View2: The Guardian (UK): http://www.theguardian.com Read: Brooke Gladstone & Josh Neufeld, The Influencing Machine, p. 71-167 Due: Discussion Question

7 October: Video/Cinema/Zoom Lab View: The Sopranos, “Made in America,” David Chase, HBO, 2007 (USA) Read: Tom Schroeppel, Bare Bones Camera Course, p. 73-141 Lab: Short Video-Cinema-TV sequence + Post link on blog

Week 7 12 October: McLuhan and Technological Utopianism View: The Medium is the Massage, Marshall McLuhan, CBS Records, 1968 (USA) View2: McLuhan in Annie Hall, Woody Allen, 1977 (USA): https://youtu.be/sXJ8tKRlW3E Read: Marshall McLuhan & Quentin Fiore, The Medium is the Massage Due: Critical Visual Essay 2 (post link to blog) + Discussion Question

14 October: Portfolio Critique – Midterm Evaluation Due: Portfolio of your best lab work for presentation in class

Week 8 19 October: Semiotics and Visual Culture View: Media Burn, Ant Farm, 1975 (USA)

Black Mask, Wilmer Wilson IV, 2014 (USA) Read: Claudia Rankine, Citizen: An American Lyric Due: Discussion Question

21 October: NO CLASS – midterm break

UNIT III: MAPPING CONTEMPORARY MEDIA CULTURE Week 9*

26 October: The Contemporary View: The Woolworths Choir of 1979, Elizabeth Price, 2012 (UK)

Ways of Seeing, John Berger, BBC, 1972 (UK) The Shock of the New, Robert Hughes, BBC, 1980 (UK)

Read: Giorgio Agamben, “What is the Contemporary?” (PDF) Due: Discussion Question

28 October: Final Project Pitch Session Due: Final Project Proposal Presentation + Sign up for Critique Sessions


Week 10 2 November: Retro Culture – Stump the Jock View: “Starman,” David Bowie on The Top of the Pops, 1972 (UK)

“Lazarus,” David Bowie/Johan Renck from Blackstar, 2016 (USA) Read: Simon Reynolds, Retromania, chapters 8 & 9 (PDF) Due: Discussion Question

4 November: CRITIQUE SESSION 1 Due: Work-in-Progress Presentation (Check schedule for your day and time)

Week 11 9 November: Posthumanism View: Virtual Humans, Shoah Foundation & Institute for Creative Technologies, (USA)

Call of Duty: Black Ops (trailer), Treyarch, 2010 (USA) Read: Dan Leopard, “STEVE,” (PDF) Due: Discussion Question


Week 12 16 November: Accelerationism and the Anthropocene View: Our World, 1967 (US/UK/Canada/Japan/Australia)

BLADE RUNNER revisited >3.6 gigapixels, François Vautier, 2010 (France) Read: Nicholas Carr, “Is Google Making Us Stupid?” (PDF)

Alex Blasdel, “A Reckoning for Our Species…” (PDF) Due: Discussion Question


Week 13 23 November: NO CLASS – Polish final projects for final submission

25 November: NO CLASS – Thanksgiving Break

Week 14* 30 November: Final Creative Project Presentations/Critique Session 1

2 December: Final Creative Project Presentations/Critique Session 2

Week 15 – FINAL PROJECT SUBMISSION 8 December: Final Exam Session – 12:00 PM Pacific Standard Time

Due: FINAL PROJECTS + WRITE-UPS (Post to Google Drive; link on course blog and email as PDF attachment)

End.


Guides to Research, Writing, and Production in Media and Design (Preferred editions are listed, but any edition will work – earlier editions of many of these books can be found cheap as used copies on Amazon. Also see guides under “writing & drawing” on course blog).

Research and Writing

A Manual for Writers of Research Papers by Turabian (U of Chicago Press, recent edition)

A Short Guide to Writing about Film by Timothy Corrigan (any edition)

The Elements of Style (illustrated) by Strunk, White, & Kalman (Penguin, 2007)

How to Lie with Statistics by Darrell Huff (Norton, 1993)

Design, Drawing, and Digital Media

The Non-Designer’s Design Book, 4th ed. by Robin Williams (Peachpit Press, 2014)

Drawing on the Right Side of the Brain by Betty Edwards (Tarcher-Perigree, 2012)

Envisioning Information by Edward Tufte (Graphics Press, 1990)

Film and Video Production Video Basics by Herbert Zettl (any edition)

Story: Substance, Structure, Style/Screenwriting by Robert McKee (ReganBooks, 1997)

Film Directing: Shot by Shot by Steven D. Katz (Michael Weiss Productions, 2019)

In the Blink of an Eye: On Film Editing, 2nd ed. by Walter Murch (Silman-James Press, 2001)

Creativity

Learning by Heart by Corita Kent and Jan Steward (Allworth, 2008)

What it is by Lynda Barry (Drawn and Quarterly, 2008)

Steal Like an Artist by Austin Kleon (Workman, 2012)

Urban Sketchers: http://www.urbansketchers.org/


Ten rules for creativity devised by Sister Corita Kent