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## CIN1101HS ## CIN1101HS
### Contents ### Contents
<!--toc:start--> <!--toc:start-->
- [Administrativia](#administrativia) - [Administrativia](#administrativia)
- [Course details](#course-details) - [Course details](#course-details)
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- [Course patterns](#course-patterns) - [Course patterns](#course-patterns)
- [Reading](#reading) - [Reading](#reading)
- [Course schedule](#course-schedule) - [Course schedule](#course-schedule)
- [Week 1: Introductions](#week-1-introductions) - [Week 1: Introductions, 2024-01-10](#week-1-introductions-2024-01-10)
- [Week 2: Cinema, or the invention of modern life](#week-2-cinema-or-the-invention-of-modern-life) - [Week 2: Cinema, or the invention of modern life, 2024-01-17](#week-2-cinema-or-the-invention-of-modern-life-2024-01-17)
- [Week 3: The culture industry and the critique of instrumental reason](#week-3-the-culture-industry-and-the-critique-of-instrumental-reason) - [Week 3: The culture industry and the critique of instrumental reason, 2024-01-24](#week-3-the-culture-industry-and-the-critique-of-instrumental-reason-2024-01-24)
- [Week 4: Politics and the unconscious](#week-4-politics-and-the-unconscious) - [Week 4: Politics and the unconscious, 2024-01-31](#week-4-politics-and-the-unconscious-2024-01-31)
- [Week 5: The cinematic body](#week-5-the-cinematic-body) - [Week 5: The cinematic body, 2024-02-07](#week-5-the-cinematic-body-2024-02-07)
- [Week 6: Writing theoretically](#week-6-writing-theoretically) - [Week 6: Writing theoreticall, 2024-02-14](#week-6-writing-theoreticall-2024-02-14)
- [Midterm paper due: March 1, by 11:59pm](#midterm-paper-due-march-1-by-1159pm) - [Midterm paper due: March 1, by 11:59pm](#midterm-paper-due-march-1-by-1159pm)
- [Week 7: More film theory: Kyle Stevens](#week-7-more-film-theory-kyle-stevens) - [Week 7: More film theory: Kyle Steven, 2024-02-28](#week-7-more-film-theory-kyle-steven-2024-02-28)
- [Week 8: Cont'd](#week-8-contd) - [Week 8: Cont', 2024-03-06](#week-8-cont-2024-03-06)
- [Week 9:The altered spectator: Caetlin Benson-Allott](#week-9the-altered-spectator-caetlin-benson-allott) - [Week 9:The altered spectator: Caetlin Benson-Allot, 2024-03-13](#week-9the-altered-spectator-caetlin-benson-allot-2024-03-13)
- [Week 10: Cont'd](#week-10-contd) - [Week 10: Cont'd, 2024-03-20](#week-10-contd-2024-03-20)
- [Week 11:The subject in technology: Damon Young](#week-11the-subject-in-technology-damon-young) - [Week 11:The subject in technology: Damon Youn, 2024-03-27](#week-11the-subject-in-technology-damon-youn-2024-03-27)
- [Week 12: Cont'd](#week-12-contd) - [Week 12: Cont', 2024-04-03](#week-12-cont-2024-04-03)
- [WIP standups/workshop: date TBD, sometime between April 3 and 19.](#wip-standupsworkshop-date-tbd-sometime-between-april-3-and-19) - [WIP standups/workshop: date TBD, sometime between April 3 and 19.](#wip-standupsworkshop-date-tbd-sometime-between-april-3-and-19)
- [Final paper due: April 26, 2024, by 11:59pm](#final-paper-due-april-26-2024-by-1159pm) - [Final paper due: April 26, 2024, by 11:59pm](#final-paper-due-april-26-2024-by-1159pm)
- [Course policies](#course-policies) - [Course policies](#course-policies)
@ -83,31 +81,27 @@ We have four hours together, in a single block, every week. Here's how you can e
This is a reading-heavy and reading-forward course. The attachment here is to the site of theory. I know it's a lot; you need to get through it. That doesn't mean you need to read every word carefully! Part of the explicit project here will be to relinquish an attachment to mastery. That often means burning out the anxiety about understanding every word. I'm here to help you get it right, but I'm more concerned with your finding sincere & authentically productive ways to engage. This is a reading-heavy and reading-forward course. The attachment here is to the site of theory. I know it's a lot; you need to get through it. That doesn't mean you need to read every word carefully! Part of the explicit project here will be to relinquish an attachment to mastery. That often means burning out the anxiety about understanding every word. I'm here to help you get it right, but I'm more concerned with your finding sincere & authentically productive ways to engage.
### Course schedule ### Course schedule
#### Week 1: Introductions #### Week 1: Introductions, 2024-01-10
2024-01-10
* No guides. * No guides.
* We will discuss this, and other, course documents. * We will discuss this, and other, course documents.
* Scott Richmond, "On the Impersonality of Experience," from _The Oxford Handbook of Film Theory_ (2022) * Scott Richmond, "On the Impersonality of Experience," from _The Oxford Handbook of Film Theory_ (2022)
* Roland Barthes, "The Third Meaning," from _Image, Music, Text_ (1973) * Roland Barthes, "The Third Meaning," from _Image, Music, Text_ (1973)
* Stanley Cavell, "Music Discomposed," from _Must We Mean What We Say?_ (1979) * Stanley Cavell, "Music Discomposed," from _Must We Mean What We Say?_ (1979)
#### Week 2: Cinema, or the invention of modern life #### Week 2: Cinema, or the invention of modern life, 2024-01-17
2024-01-17
* No guides. Scott demos guiding. * No guides. Scott demos guiding.
* Walter Benjamin, "The Work of Art in the Age of its Technological Reproducibility," "Experience and Poverty," and "On Some Motifs in Baudelaire," from _Walter Benjamin: Selected Writings_ * Walter Benjamin, "The Work of Art in the Age of its Technological Reproducibility," "Experience and Poverty," and "On Some Motifs in Baudelaire," from _Walter Benjamin: Selected Writings_
* Susan Buck-Morss, "Aesthetics and Anaesthetics: Walter Benjamin's Artwork Essay Reconsidered," _October_ 62 (1992). * Susan Buck-Morss, "Aesthetics and Anaesthetics: Walter Benjamin's Artwork Essay Reconsidered," _October_ 62 (1992).
* Miriam Bratu Hansen, "Room-for-Play: Benjamin's Gamble with the Cinema," _October_ 109 (2004) * Miriam Bratu Hansen, "Room-for-Play: Benjamin's Gamble with the Cinema," _October_ 109 (2004)
* _Screening_: Dziga Vertov, _Man with a Movie Camera_ (USSR, 1929, 68 min.) * _Screening_: Dziga Vertov, _Man with a Movie Camera_ (USSR, 1929, 68 min.)
#### Week 3: The culture industry and the critique of instrumental reason #### Week 3: The culture industry and the critique of instrumental reason, 2024-01-24
2024-01-24
* Guides TBD. * Guides TBD.
* Max Horkheimer and Theodor Adorno, "The Concept of Enlightenment" and "Enlightenment as Mass Deception: The Culture Industry," from _Dialectic of Enlightenment_ * Max Horkheimer and Theodor Adorno, "The Concept of Enlightenment" and "Enlightenment as Mass Deception: The Culture Industry," from _Dialectic of Enlightenment_
* Theodor Adorno, "On the Fetish Character in Music and the Regression of Listening," from _The Culture Industry_ * Theodor Adorno, "On the Fetish Character in Music and the Regression of Listening," from _The Culture Industry_
* _Musical listening_: some Western art and pop music: Bach, Beethoven, Glass, Lucier; Donna Summer, Lady Gaga, Chappel Roan (approx. 90 minutes, with discussion) * _Musical listening_: some Western art and pop music: Bach, Beethoven, Glass, Lucier; Donna Summer, Lady Gaga, Chappel Roan (approx. 90 minutes, with discussion)
#### Week 4: Politics and the unconscious #### Week 4: Politics and the unconscious, 2024-01-31
2024-01-31
* Guides TBD. * Guides TBD.
* Jacques Lacan, the Mirror Stage essay, from _Écrits_ * Jacques Lacan, the Mirror Stage essay, from _Écrits_
* Jean-Louis Baudry, "Ideological Effects of the Basic Cinematographic Apparatus," _Film Quarterly_ 28.2 (1974-75) * Jean-Louis Baudry, "Ideological Effects of the Basic Cinematographic Apparatus," _Film Quarterly_ 28.2 (1974-75)
@ -116,8 +110,7 @@ This is a reading-heavy and reading-forward course. The attachment here is to th
* Mary Ann Doane, "Film and the Masquerade," _Screen_ 23.3-4 (1982) * Mary Ann Doane, "Film and the Masquerade," _Screen_ 23.3-4 (1982)
* _Screening_: Howard Hawks, _Gentlemen Prefer Blondes_ (USA, 1953, 91 mins.) * _Screening_: Howard Hawks, _Gentlemen Prefer Blondes_ (USA, 1953, 91 mins.)
#### Week 5: The cinematic body #### Week 5: The cinematic body, 2024-02-07
2024-02-07
* Guides TBD. * Guides TBD.
* Roland Barthes, "Leaving the Movie Theater," from _The Rustle of Language_ * Roland Barthes, "Leaving the Movie Theater," from _The Rustle of Language_
* Frantz Fanon, "The Fact of Blackness," from _Black Skin, White Masks_ * Frantz Fanon, "The Fact of Blackness," from _Black Skin, White Masks_
@ -125,38 +118,32 @@ This is a reading-heavy and reading-forward course. The attachment here is to th
* Vivian Sobchack, "What My Fingers Knew," from _Carnal Thoughts_ * Vivian Sobchack, "What My Fingers Knew," from _Carnal Thoughts_
* _Screening_: Kathryn Bigelow, _Strange Days_ (USA, 1995, 145 min.) * _Screening_: Kathryn Bigelow, _Strange Days_ (USA, 1995, 145 min.)
#### Week 6: Writing theoretically #### Week 6: Writing theoreticall, 2024-02-14
2024-02-14
* No guides. * No guides.
* Wayne Booth, et al., _The Craft of Research_, selections * Wayne Booth, et al., _The Craft of Research_, selections
#### Midterm paper due: March 1, by 11:59pm #### Midterm paper due: March 1, by 11:59pm
#### Week 7: More film theory: Kyle Stevens #### Week 7: More film theory: Kyle Steven, 2024-02-28
2024-02-28
* Guides TBD. * Guides TBD.
* Readings TBA. * Readings TBA.
* Screening: Lynne Ramsay, _You Were Never Really Here_ (UK/France/USA, 2019, 90 mins.) * Screening: Lynne Ramsay, _You Were Never Really Here_ (UK/France/USA, 2019, 90 mins.)
#### Week 8: Cont'd #### Week 8: Cont', 2024-03-06
2024-03-06
* Kyle Stevens, "The Very Thought of Theory" and "The Frame of the Skull," from _The Oxford Handbook of Film Theory_ * Kyle Stevens, "The Very Thought of Theory" and "The Frame of the Skull," from _The Oxford Handbook of Film Theory_
* Zoom visit from Kyle Stevens (Applachian State University) * Zoom visit from Kyle Stevens (Applachian State University)
#### Week 9:The altered spectator: Caetlin Benson-Allott #### Week 9:The altered spectator: Caetlin Benson-Allot, 2024-03-13
2024-03-13
* Guides TBD. * Guides TBD.
* Zhou Chenshu, "Introduction: 'Projecting Cinema'," from _Cinema Off Screen: Moviegoing in Socialist China_ (2021) * Zhou Chenshu, "Introduction: 'Projecting Cinema'," from _Cinema Off Screen: Moviegoing in Socialist China_ (2021)
* Addtional screening & readings TBA. * Addtional screening & readings TBA.
#### Week 10: Cont'd #### Week 10: Cont'd, 2024-03-20
2024-03-20
* Caetlin Benson-Allott, "Contesting the White Gaze: Black Film and Postcinematic Spectatorship" from _The Oxford Handbook of Film Theory_ * Caetlin Benson-Allott, "Contesting the White Gaze: Black Film and Postcinematic Spectatorship" from _The Oxford Handbook of Film Theory_
* Caetlin Benson-Allott, "Introduction: Material Mediations," "Shot in Black and White: The Racialized Reception of US Cinema Violence," and "Conclusion: Expanding the Scene of the Screen" from _The Stuff of Spectatorship_ * Caetlin Benson-Allott, "Introduction: Material Mediations," "Shot in Black and White: The Racialized Reception of US Cinema Violence," and "Conclusion: Expanding the Scene of the Screen" from _The Stuff of Spectatorship_
* Zoom visit from Caetlin Benson-Allott (Georgetown University) * Zoom visit from Caetlin Benson-Allott (Georgetown University)
#### Week 11:The subject in technology: Damon Young #### Week 11:The subject in technology: Damon Youn, 2024-03-27
2024-03-27
* Guides TBD. * Guides TBD.
* Sigmund Freud, "A Child is Being Beaten," _International Journal of Psycho-Analysis_ 1 (1920) * Sigmund Freud, "A Child is Being Beaten," _International Journal of Psycho-Analysis_ 1 (1920)
* Bela Belasz, "The Close Up" and "The Face of Man," from _Theory of the Film_ (1952) * Bela Belasz, "The Close Up" and "The Face of Man," from _Theory of the Film_ (1952)
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* Sianne Ngai, "Our Aesthetic Categories," _PMLA_ 125.4 (2010) * Sianne Ngai, "Our Aesthetic Categories," _PMLA_ 125.4 (2010)
* Screening: John Cameron Mitchell, _Shortbus_ (USA, 2006, 101 min.) * Screening: John Cameron Mitchell, _Shortbus_ (USA, 2006, 101 min.)
#### Week 12: Cont'd #### Week 12: Cont', 2024-04-03
2024-04-03
* Damon Young, "In Defense of Psychoanalytic Film Theory" from _The Oxford Handbook of Film Theory_ * Damon Young, "In Defense of Psychoanalytic Film Theory" from _The Oxford Handbook of Film Theory_
* Damon Young, "Through the Window from _Psycho_ to _Shortbus_" from _Making Sex Public_ * Damon Young, "Through the Window from _Psycho_ to _Shortbus_" from _Making Sex Public_
* Damon Young, "Ironies of Web 2.0," _Post45_ 2 (2019) * Damon Young, "Ironies of Web 2.0," _Post45_ 2 (2019)