Introduction to the Analysis of Moving Image Texts Dr. Robert Miklitsch



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Introduction to the Analysis of Moving Image Texts Dr. Robert Miklitsch

ENG 3400 Department of English

Fall 2016 Office: Ellis 319 Hours: M/W 2-3 miklitsc@ohio.edu

ENG 3400 Introduction to Analysis of Moving Image Texts Class Number: 10912

Course Outcomes: to introduce students to the analysis of the form and content of contemporary moving image texts.
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Course Description

“Introduction to the Analysis of Moving Image Texts” is designed for undergraduates who desire to learn about “moving image” culture (film, TV, music video, YouTube, etc.). This class, in addition to offering an introduction to the formal analysis of various media (sound, editing, composition, etc.), will concentrate on understanding specific audiovisual material as material instances of textuality—as, that is to say, texts that are available to critical and rhetorical strategies (for example, “close reading”) as well as theoretical and socio-cultural interpretation.

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Required Texts

Francoise Sagan, Bonjour Tristesse

NB: All required critical readings listed on the syllabus will be available on-line. Books are available at Follett's. (For on-line readings, go to OU website: Libraries/Course Reserves/Name or Instructor.)

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Class Work

There will be regularly scheduled reading quizzes, and there will be no make-ups. (If you do

not intend to access or read the criticism, please do not take class.) A “pass” on quizzes will be

a score of eight (8) or above. Overall grading for quizzes will be based on the number of “passes”—not cumulative points over the course of the semester.
Participants will also be responsible in the course of the semester for either three (3½ pp.) or two short papers (4-5 pp.) on the moving image texts screened in class. All short papers must incorporate citations from the critical readings on the text(s) in question.
All papers must be typed, double-spaced, and, needless to say (but I'll say it anyway!), grammatically correct. (Please proofread.) Papers that are grammatically incorrect or that are not sufficiently proofread will receive a half-grade deduction; papers that do not cite the criticism will also receive a half-grade deduction. NB: Papers should be formatted in 12 POINT/TIMES NEW ROMAN.
A final, formal paper (5-7 pp.) will be due at the end of the semester. Final papers should draw on the critical reading and, equally or more importantly, should offer synthetic analyses that make connections between the formal and thematic aspects of the text(s) in question. Final grades will be reduced if papers do not demonstrate sufficient citation of the criticism.
Total pages due at the end of the semester: 15-20.
Attendance in the class will be mandatory, participation imperative, and enthusiasm much appreciated and rewarded. Students will be allowed two “skips.” The third missed class will result in a 1/2 grade reduction, the fourth a 1/2 grade reduction, and a full grade thereafter for each missed class. If you come to class late or leave early, especially without explanation, I reserve the right to reduce your grade accordingly.
Participation is imperative (except in exceptional cases, i.e., medical and/or psychological excuse.

Please talk to me if this is the case). Those students who do not participate will have their grades

reduced (see grade breakdown below).
Participation
Excellent: twice per class

Good: once per class

Fair: frequently

Poor: infrequently

Mute

PLEASE TURN Off AND PUT AWAY ALL ELECTRONIC DEVICES ONCE CLASS

HAS BEGUN.

Grade
Participation 15%

Quizzes 35%

Short papers (2/3) 30%

Final Paper 20%


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100%


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Academic Conduct
The Ohio University Code of Student Conduct, which is outlined in the Undergraduate Catalogue, prohibits any form of academic dishonesty (e.g., plagiarism). Such misconduct can result in a failing grade or expulsion from the university.

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Schedule

August 22 Introduction
24 Film Analysis: Review
29 Novel: Bonjour Tristesse (Sagan, 1955): 1-79; reading quiz
31 Novel: Bonjour Tristesse: 79-116; Bernard F. Dick, Anatomy of Film: 51-65, 68-75, 79-83, 86-95, 110-113; reading quiz
September 5 No class
7 Film: Bonjour Tristesse (Preminger, 1958); formal cues for in-class assignment
10 Novel/Film: discussion of Bonjour Tristesse; John Gibbs and Douglas Pye,

“Revisiting Preminger’s Bonjour Tristesse (1958) and Close Reading,” Style and Meaning: Studies in the Detailed Analysis of Film (2005): 108-126; Alisia G. Chase, “One Very Chic Hell: Revisiting the Issue of Virginity in Bonjour Tristesse,” Virgin Territory: Representing Sexual Inexperience in Film (2010): 83-102; Chris Fujiwara, The World and Its Double: The Life of Otto Preminger (2008): 217-222; reading quiz


12 Film: Straight Outta Compton (Gray, 2015)
19 Film: Straight Outta Compton (cont.); formal cues for in-class assignment
21 Film: discussion of Straight Outta Compton; Ronin Ro, “The Beginning of the End” and “Rest Easy, Eric Wright,” Gangsta: Merchandizing the Rhymes of Violence (1996): 111-118, 187-194; Eithne Quinn, “Straight Outta Compton,” Nuthin’ but a “G” Thang: The Culture and Commerce of Gangsta Rap (2005); 75-79; Elizabeth Grant, “‘It’s Time to Put Compton on the Map’: Gangsta Rap and the Racialization of LA,” The Hip Hop Reader (2008), ed. Tim Strode and Tim Wood: 161-163; Fernando Orejuela, “Listening to NWA.: ‘Straight Outta Compton,’” Rap and Hip Hop Culture (2015): 125-128; Dee Barnes, “Here’s What’s Missing from Straight Outta Compton: Me and the Other Women That Dr. Dre Beat Up,” Gawker (August 18, 2015); Peter Travers, “Straight Outta Compton,” Rolling Stone (August 13, 2015); Adrienne Greene, “Straight Outta Compton and the Social Burdens of Hip-Hop,” The Atlantic (August 14, 2015); reading quiz
26 Music Video: D’Angelo, “Untitled (How Does It Feel)” (Hunter), Voodoo (2000); “Girls/Girls/Boys,” Panic at the Disco, (DJay Browner), Too Weird to Love, Too Weird to Die! (2015);

Justin Timberlake (featuring Jay-Z), “Suit and Tie” (Fincher), 20/20 Experience (2013); Kendrick Lamar,

“Alright” (Tilley), To Pimp a Butterfly (2015); Aimé Ellis, “‘How Does it Feel’: A Question of Life

and Death in D’Angelo’s ‘Untitled,’” If We Must Die: From Bigger Thomas to Biggie Smalls (2012):

123-142; Andres Tardio, “Exclusive: We Got All the Answer about Kendrick Lamar’s ‘Alright,’” MTV

News (June 30, 2015); Yoh, “The Definitive Breakdown of Kendrick Lamar’s ‘Alright,” DJBooth (July 2,

2015); discussion of D’Angelo, Panic at the Disco, Timberlake and Lamar music videos; reading quiz

28 Music Video: Taylor Swift, “You Belong to Me” (White), Fearless (2008); Swift,

“Blank Space” (Kahn), “Bad Blood” (Kahn), and “Shake It Off” (Romanek), from 1989 (2014);

Swift, “Taylor Swift on ‘Bad Blood,’ Kanye West, and How People Interpret Her Lyrics,” interviewed

by Chuck Klosterman, GQ (October 15, 2015): 1-15; Camile Paglia, “Camile Paglia Takes on Taylor

Swift, “Hollywood’s #GirlSquad Culture,” The Hollywood Reporter (December 10, 2015): 1-5; Swift,

“Innocent,” Speak Now (2010)/West, “Runaway” (West), My Beautiful Dark Twisted Fantasy (2010);

Shaun Cullen, “The Innocent and the Runaway,” Journal of Popular Music Studies 28, 1 (March 2016):

33-50; discussion of Swift music videos; reading quiz

October 3 No class

5 Music Video: Beyoncé, “If I Were a Boy” (Nava), I Am . . . Sasha Fierce (2008); Beyoncé, “Run the World (Girls)” (Lawrence), 4 (2011); M.I.A., “Bad Girls” (Gavras), Matangi (2013); Beyoncé, “Formation” (Matsoukas) and “Forward”/“Sorry” (Joseph), Lemonade (2016); Dayna Chatman, “Pregnancy, Then It’s ‘Back to Business’: Beyoncé, Black Femininity, and the Politics of Post-Feminist Gender,” Feminist Media Studies 15, 6 (2015): 926-941; Kevin Ball, “Beyoncé’s ‘Formation,’” Film Criticism 40, 3 (2016); Carol Vernallis, “Beyoncé’s Lemonade, Avant-Garde Aesthetics, and Music Video: ‘The Past and the Future Merge to Meet Us,’” Film Criticism 40, 3 (2016); discussion of Beyoncé and M.I.A videos


Archive: Railton and Watson, “Music Video in Black and White: Race and Femininity,” Music Videos and the Politics of Representation: 87-107; Aisha Durham, “‘Check on It’: Beyoncé, Southern Booty and Black Femininities in Music Video,” Feminist Media Studies 12, 1 (March 2012): 35-49; Kirsten Pullen, “If Ya Liked It, Then You Shoulda Made a Video: Beyoncé Knowles, YouTube and the Public Sphere of Images,” Performance Research 16, 2 (June 2011): 145-153; Arielle Loren, “Is Beyoncé the Face of Contemporary Feminism?,” Clutch (May 20, 2011); Kyle, “I Bought It: Beyoncé, Feminism, and All That Sheisse,” The Gaily (July 6, 2011); Malcolm Harris, “Beyoncé: Accidental Feminist? And Why We Should Care!,” HuffPost/Style (May 23, 2011); Charing Ball, “Beyoncé and Feminism,” MadameNoire.Com: Black Women’s

Lifestyle (August 9, 2011); Robin, “‘Countdown’: Beyoncé’s Feminist Reversal of the ‘Catalog Song,’” It’s Her Factory (November 26, 2011); Samhita, “Beyoncé Enters the Women Studies Classroom,” Feministing (February 2, 2012); Biana Percz, “Beyoncé: Feminist or Fauxminist?,” HuffPost/Living (April 26, 2012); Daphne A. Brooks, “‘All That You Can’t Leave Behind’: Black Female Soul Singing and the Politics of Surrogation in the Age of Catastrophe,” Meridians: Feminism, Race, Transnationalism 8, 1 (April 2008): 180-204; Tamara Winfrey Harris, “All Hail the Queen?,” Bitch 59 (Summer 2013): 28-33; Ann Werner, “Getting Bodied with Beyoncé on YouTube,” Mediated Youth Cultures: The Internet, Belonging, and New Cultural Configurations (2014), ed. Andy Bennett and Brady Robards: 182-196
10 Music Video: Rihanna, “Hard” (Matsoukis), Rated R (2009); Rihanna, “We Found

Love” (Matsoukis), Talk That Talk (2011); Rihanna, “Diamonds” (Mandler), Unapologetic (2012);

Rihanna, “Work” (Director X), Anti (2016); Heather D. Russell, “Whose Rihanna?: Diasporic

Citizenship and the Economies of Crossing Over,” Archipelagos of Sound: Caribbeanities, Women



and Music, ed. Ifeona Fulani (2012): 299-320; discussion of Rihanna videos; reading quiz
Archive: Eve Ensler, “Dear Rihanna,” I Am an Emotional Creature: The Secret Lives of Girls (2010):

70-73; Raquel Cepeda, “Another Love TKO: Teens Grapple with Rihanna vs. Chris Brown,” Best



Music Writing: 262-266; Jennifer Keishin Armstrong, “Rihanna: Taking Sexy Feminism to the

Extreme,” The Sexy Feminist (February 14, 2011); Anonymous, “Man Down: On Rihanna, Rape,

and Violence,” The Crunk Feminist Collective (June 2, 2011); Aimee Cliff, “Rihanna: Feminist or

Fetishist?,” Oxfordstudent (November 10, 2011); HJM, “Rihanna, Intimate Violence, and Feminist

Rage,” Prodigies and Monsters (February 25, 2012); Jane Martinson, “Annie Lennox: ‘The World

Has Become More Sexualized,’” The Guardian (March 5, 2012); Roisin, “Rihanna: Feminist Icon

or Bad Role Model,” Studenty-Galway (March 16, 2012); A. Lynn, “Let’s Talk about Rihanna,”

Nerdy Feminist (March 22, 2012); Robin, “Rihanna’s Unapologetic ‘Shadow’ Feminism, Pt. 1,”

It’s Her Factory (November 30, 2012); Alisa Bierria, “‘Where Them Bloggers At?’: Reflections

on Rihanna, Accountability, and Survivor Subjectivity,” Social Justice 37, 4 (2010): 101-125;

Kristin Rodier and Michele Meagher, “In Her Own Time: Rihanna, Post-Feminism, and Domestic

Violence,” Women: A Cultural Review 25, 2 (Summer 2014): 176-193; Rihanna: Barbados World



Gurl in Global Pop Culture, ed. Heather D. Russell and Hilary McD Beckles (2015)
12 YouTube (Online Video): individual presentations of YouTube
Criticism: Michael Strangelove, Watching YouTube: Extraordinary Videos by Ordinary People (2011)
17 YouTube (Online Video): individual presentation of YouTube videos
Criticism: The YouTube Reader (2009), ed. Paul Snickars and Patrick Vonderau

19 YouTube (Online Video): individual presentation of YouTube videos


Criticism: YouTube: Online Videos and Participatory Culture, ed. Jean Burgess and Joshua Green (2009)
24 YouTube (Online Video): individual presentations of YouTube video
Criticism: Ephemeral Media: Transitory Screen Culture from Television to YouTube (2011), ed. Paul

Grainge


26 Film: Ex Machina (Garland, 2015); formal cues for in-class assignment
31 Film: discussion of Ex Machina; Brian Jacobson, “Ex Machina in the Garden,” Film

Quarterly 69, 4 (2016): 14-23; Nick Jones, “Ex Machina,” Science Fiction Film & Television 9, 2 (2016):

299-303; reading quiz

November 2 Television Series (Drama): Mad Men (AMC/Weiner), “Smoke Gets in Your Eyes,”

Season 1, Episode 1 (2007); discussion of Mad Men


Criticism: Gary R. Edgerton, “Introduction: When Our Parents Became Us,” Mad Men: Dream Come

True TV, ed. Edgerton (2011): xxi-xxvi; reading quiz
7 Television Series (Drama): Mad Men, “Ladies Room,” Season 1, Episode 2 (2007);

discussion of Mad Men

Criticism: Mary Beth Haralovich, “Women on the Verge of the Second Wave,” Mad Men: Dream

Come True TV: 159-176; Kim Akass and Janet McCabe, “The Best of Everything: The Limits of Being

a Working Girl in Mad Men,” Mad Men: Dream Come True TV: 177-192; reading quiz


9 Television Series (Drama): Mad Men, “Maidenform,” Season 2, Episode 6 (2008)

14 Television Series (Drama): discussion of Mad Men


Criticism: Tanya Krouse, “Every Woman Is a Jackie or a Marilyn: The Problematics of Nostalgia,”

Analyzing Mad Men: Critical Essays on the Television Series (2011), ed. Scott F. Stoddart: 186-204;

Mary Ruth Marotte, “Not a ‘Jackie,’ Not a ‘Marilyn’: Mad Men and the Threat of Peggy Olson,”



Mad Men, Women and Children: Essays on Gender and Generation (2012), ed. Heather Marcovitch

and Nancy Batty: 33-44; reading quiz




  1. Television Series (Comedy): Girls (HBO/Dunham): Season 1, Episode 1 (2013);

discussion of Girls

Archive: Katie Roiphe, “Why Is Sex on HBO’s Girls Such a Drag,” Slate (April 9, 2012); Emily

Estahani Smith, “Sex in the Age of Post-Feminism,” Acculturated (April 19, 2012); Stefania Marghitu

and Conrad Ng, “Body Talk: Reconsidering the Post-Feminist Discourse and Critical Reception

of Lena Dunham’s Girls,” Gender Forum 45 (2013): 47-56; Lara Bradshaw, “The Critical Investigation

of HBO’s Girls: Feminist Text, Quality, and Happy Womanhood,” Spectator (Spring 2014): 32-38;


21 Television Series (Comedy): Girls, Season 2, Episode 5; discussion of Girls; Tom

Pace, “Generation X Archetypes in HBO’s Girls,” HBO’s Girls and the Awkward Politics of Gender,



Race, and Privilege (2015), ed. Elwood Watson, Jennifer Mitchell, and Mark Edward Shaw: 117-123;

reading quiz; handout on final paper

Archive: Rebecca Carroll, “White Girls, Big City: What HBO’s New Show Misses,” The Daily Beast

(April 20, 2012); Anna Holmes, “White ‘Girls,’” New Yorker (April 23, 2012); Emily Estahani Smith,

“Post-Feminism, ‘Girls’ Style,” Armavirumque/The New Criterion (April 30, 2012); Judy Berman,

“Revisiting Lena Dunham, ‘Girls,’ and Race,” Flavorwire (May 14, 2012);

23 No Class


28 Television Series (Comedy): Girls (TBA); discussion of Girls Margaret Tally, “Post-

Modernity, Emerging Adulthood and the Exploration of Female Friendships on Girls,” HBO’s Girls:



Questions of Gender, Politics, and Millennial Angst (2014), ed. Betty Kaklamanidou and Margaret Tally:

28-42; Melinda M. Lewis, “I Want Somebody to Hang Out with All the time: Emotional Contradictions,



Intimacy and (Dis) Pleasure,” HBO’s Girls: 172-185; reading quiz
30 Final Class: all short papers due; topic for final paper due.


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