Winter 2015

DMS 212 section FHI Film History Intensive
Dr. Tanya Shilina-Conte :: Online
reg#10007

This intensive course in Film History will expose students to screenings and scholarship chronicling the political, social and technological conditions of film production from the 1890’s to the present. We will examine early motion pictures, pre-code Hollywood, German Expressionism, French Impressionism and Surrealism, Soviet Montage, Neorealism, the French New Wave, Post-colonial filmmaking, 1970’s Hollywood, as well as digital and large-format filmmaking. Since the course will be taught online, students will be expected either to be Netflix subscribers or rent / purchase the films we’ll be analyzing in this class

DMS 212 Selfies and Statuses: The Mediated Self and Online Identity
Sean Feiner and Chloe Higganbotham :: Online
Reg#10186

This course will investigate concepts of self-representation online within the scope of media analysis. We will examine the ways that the self, as mediated by technology, changes and differs from other selves, and draw parallels between these concepts and classic theory texts/current journal articles. In particular, the course focuses on social networks, the internet and technologies of the past, Web 2.0, and beyond. Students will begin with a self-diagnostic of technologies used by themselves, their peers, and culture at large. The course shall foreground basic skills in reading these platforms and activities, their technological and ideological implications, and the cultures they enable. In addition, the class will focus on cultures of fandom and fan identity, the contemporary status and prevalence of celebrity andself-branding, integrated and convergent media cultures of “the self,” neoliberal discourses of “self care,” and monetization of individual personal data and online activity.

DMS 422 Digital Literature Key Works
Glazier :: Online
Reg#10198

“Digital Literature Key Works” provides an essential primer on electronic literature, examining a number of “masterworks” of electronic literature from the perspective of the digital revolution. This course will touch on key works in electronic theory as well as electronic literature’s experimental literature precursors. This online course will rely work in and through media, relying not only on your reading of essential sections of the core texts in the field but on video interviews, films, performances, installations, happenings, and media works related to the literature in multimedia modes. *No digital skills nor literature experience is required.* Students will write responses to core readings and also work on a Winter Session final project. The final project can be: (1) creative (as writing, video, digital, or other medium); (2) a compilation of creative/critical journal entries from class topics, or; (3) a creative/critical project of your choosing, in collaboration with the professor. Texts: Some print texts may be assigned with most works relevant to the course available on the Web.

DMS 422SEM GTA Grand Theft Auto and Its Discontents: Violence Crime and Simulation
Feiner,Sean M :: Online
Reg#1018
8
This course serves as an active exploration and investigation of Rockstar’s Grand Theft Auto (GTA) series as a cultural phenomenon and media empire and similar contested game texts.The class shall investigate GTA and other contemporary and historical games that havepushed the limits of representation including but not limited to: Doom, GTA, Mortal Kombat,Legacy of Kain, Call of Duty, and other texts. The class will begin with a review of game analysis and design philosophies and mechanics in order to ground students with an understanding of and critical vocabulary for the symbolic, technological, and socio-culture dimensions of video game texts. Attention will be given to contemporary game scholarship, game journalism, and cultural reactions to games that are morally contested sites of representation and simulation. Through individual game play, documentation of play-throughs, and class dialogue students will gain critical perspectives on ideologies and debates surrounding these controversial texts, their supposed role(s) in culture at large, and issues ofcensorship and freedom.

DMS 422SEM SIFI Dystopian Science Fiction Cinema
Stadelmann,Tanya Andrea :: Online
Reg#10187

The term: dystopia was meant to be antithetical to Thomas More’s idealistic Utopia, and derives meaning from the Ancient Greek dys- “bad or difficult” and topia “place, landscape”. Dystopian is now commonly used to describe works of fiction that contain themes of an undesirable and frightening society.
According to scholar Tom Moylan, the real world roots of dystopian fiction is largely the product of the terrors of the 20th Century. As we face increasing economic worries, wars, environmental catastrophes, surveillance and a drug dependent society in our reality, these themes are reflected in our narrative cinema. This summer online course covers a range of dystopian science fiction films from the 1970s till the present: The Hunger Games, Children of Men, Fight Club, The Road, Nineteen Eighty-Four and Soylent Green. During this course we will analyze and discuss how filmmakers use narrative structure, location, production design, cinematography and sound design to create dystopian worlds and read critical essays on the dystopian imagination in science fiction.