Media Studies Program

The Media Studies Program encourages the understanding and critical evaluation of new and old media technologies, the centrality of media in global and local culture, social life, politics and economics, and the contemporary and historical impact of media on individuals and societies. As defined by the Program, “media” includes all forms of representational media (oral/aural, written, visual), mass media (print, television, radio, film), new media (digital multimedia, the Internet, networked media), their associated technologies, and the social and cultural institutions that enable them and are defined by them.

The Program emphasizes several interrelated approaches to the study of media: multidisciplinary perspectives derived from the arts, humanities, social and natural sciences; the historical study of various forms of communication and the representation of knowledge; theoretical and critical investigation of how media shape our understandings of reality, and the dynamic interrelationship of media industries, cultural texts, communication technologies, policies, and publics; examination of global, as well as non-Western, indigenous, and oppositional media forms and practices; and practical work in media production and the use of media technologies.

Because the Media Studies concentration incorporates courses originating within the program as well as a wide range of courses from other programs and departments, students wishing to concentrate in Media Studies should consult with the Program Director as early as possible to design their course of study in consultation with a faculty adviser who will be drawn from the Program Steering Committee. Prospective majors will submit a “focus statement” outlining their interests, objectives, the proposed course of study, and a tentative senior project. The proposed course of study should be rigorous, well-integrated, and feasible in the context of the College curriculum. Focus statements should identify specific courses and provide a narrative explaining the linkages across departments/programs and curricular levels among the proposed courses, as well as their relevance for the proposed senior project. Focus statements will be evaluated by the Program Director, in consultation with the Program Steering Committee.

As the Steering Committee occasionally requests revisions of focus statements in consultation with the prospective major adviser and the program director, students who plan to spend one or both semesters of their Junior year studying abroad should submit their focus statement no later than the Friday following October break of their sophomore year. Students who intend to take courses at another domestic institution during their junior year should submit their focus statements no later than the Friday of the first week of classes of the spring semester of their sophomore year. All other students should submit their focus statements no later than March 1 of their sophomore year.

Advisers: Students will consult with the program director to select an adviser from the steering committee or participating faculty.

Programs

Major

Courses

Media Studies: I. Introductory

160a and b. Approaches to Media Studies (1)

This course explores concepts and issues in the study of media, attentive to but not limited by the question of the "new" posed by new media technologies. Our survey of key critical approaches to media is anchored in specific case studies drawn from a diverse archive of media artifacts, industries, and technologies: from phonograph to photography, cinema to networked hypermedia, from typewriter to digital code. We examine the historical and material specificity of different media technologies and the forms of social life they enable, engage critical debates about media, culture and power, and consider problems of reading posed by specific media objects and processes, new and old. We take the multi-valence of "media"---a term designating text and apparatus of textual transmission, content and conduit---as a central problem of knowledge for the class. Our goal throughout is to develop the research tools, modes of reading, and forms of critical practice that help us aptly to describe and thereby begin to understand the increasingly mediated world in which we live. To be announced (a); Mr. Ellman (b).

181a. American Television Comedy (1)

(Same as FILM 181) What have Americans laughed at on television? Why? To what effect? This course explores the history of American television comedy from its roots in early radio to its current multiplicity of forms with a particular emphasis on the role of humor as rhetoric and affect. Students explore the genre as an expression of multiple factors from television's economic organization and audience conception to larger sociocultural formations. By doing so, they learn about the development of different forms of television comedy, including sitcoms, domesticoms, sketch, and variety programs. Screenings may include I Love LucyThe HoneymoonersBewitchedI Dream of JeannieThe Smothers Brothers Comedy Hour, All In the FamilyThe Mary Tyler Moore ShowSanford and Son,M*A*S*HSaturday Night LiveThe Cosby ShowThe Fresh Prince of Bel AirThe SimpsonsSeinfeldSex and the CityWill and GraceThe Daily ShowSouth ParkTim and Eric: Awesome Show, and Great Job among others. Mr. Scepanski.

Open only to freshmen; satisfies college requirement for a Freshman Writing Seminar.

Two 75-minute periods, plus outside screenings.

189a. The Bible as Book (1)

(Same as RELI 189) The Bible is one of the most influential texts in Western history, but we seldom stop to think about its own history, and in particular the variety of textual, illustrative, and physical forms it has taken throughout the centuries. Yet if we do, we see that there have been great differences in what constituted "the Bible" and this has affected how it was disseminated, read, and discussed. This course explores this history and these changes, using the Archives & Special Collections Library-where a fabulous Bible collection is housed-as a laboratory. Here we "go to the source" and look closely at various examples to learn about aspects of design such as format, lettering, writing surfaces, illustration, and binding. We also ask questions about the role and meaning of the Bible at particular times and in particular places. Through reading, conversation, and reflection, we develop responses to our questions, and then learn how to convey these responses, clearly and effectively, in written form. Ms. Bucher and Mr. Patkus.
 

Open only to freshmen; satisfies the college requirement for a Freshman Writing Seminar.

Two 75-minute periods.

Media Studies: II. Intermediate

217b. Studies in Popular Music (1)

(Same as AMST 217 and MUSI 217) Topic for 2014/15b: History of Rock. This class examines the social history of rock from Elvis Presley to the present through examination of musical trends, socio-economic and demographic changes, social and political movements and issues in fandom, production and reception. Seminal artists and events are examined along with the development of genres, subcultures and accompanying trends like fashion, slang, literature, identity politics, as well as the influence of TV, film, radio, video, art, the internet and the music industry. Issues of race, class, gender, age, politics, censorship and hybridity will form the backbone of the course, as well as rock beyond the Anglophone world as a global art form. Mr. Patch.

Recommended: one unit in either Music, Sociology, or Anthropology.

Two 75-minute periods.

218b. Chinese Popular Culture (1)

(Same as CHIN 218) The course analyzes contemporary Chinese entertainment and popular culture. It provides both historical coverage and grounding in various theoretical and methodological problems. Topics focus on thematic contents and forms of entertainment through television, radio, newspaper, cinema, theatre, music, print and material culture. The course also examines the relations between the heritage of traditional Chinese entertainment and the influences of Western culture. All readings and class discussions are in English. Mr. Du.

Prerequisite: one course in language, literature, culture, film, drama, or Asian Studies, or permission of the instructor.

Not offered in 2014/15.

250b. Medium Specificity (1)

Medium specificity is a consideration of what makes a medium a medium. The emergence of so-called new media has called attention to the ways in which new forms borrow upon or "remediate" older forms. By asking what aspects a particular medium can surrender to another without losing its particularity, we can form provisional representations of the essential aspects of a given medium, new or old, which differentiate it from others. The course considers old and new media including literature, photography, film, television, computer games, immersive computer environments, new media art, and digital image manipulation, sometimes viewing them comparatively in order to isolate those cultural, economic, and ideological structures which have led to the construction, identification, and conservation of a specific medium. May be repeated for credit if the topic has changed.

Prerequisite: MEDS 160 or permission of the instructor.

Not offered in 2014/15.

258b. Studies in Sound (1)

(Same as AMST 258) This course familiarizes students with the emerging field of sound studies. We spend the first eight weeks exploring the different facets of sound culture: histories and ethnographies of listening; theories of sound capture and reproduction; the political economy of recording media (particularly the MP3); the experience of the modern American soundscape. We conclude with case studies of contemporary sonic experiences: "glitch"-based digital music and the aesthetics of failure; new developments in sonic weaponry; art and activism that "listens" to drones and the US-Mexico border. Mr. Hsu.

Prerequisite: 100-level course work within the multidisciplinary programs, or permission of the instructor.

Two 75-minute periods.

260b. Media Theory (1)

This course aims to ramify our understanding of "mediality"---that is, the visible and invisible, audible and silent contexts in which physical messages stake their ghostly meanings. The claims of media theory extend beyond models of communication: media do not simply transport preexisting ideas, nor do they merely shape ideas in transit. Attending to the complex network of functions that make up media ecologies (modes of inscription, transmission, storage, circulation, and retrieval) demonstrates the role media play not only in the molding of ideas and opinions, but also in the constitution of subjectivities, social spheres, and non-human circuits of exchange (images, information, capital). Texts and topics vary from year to year, but readings are drawn from a broad spectrum of classical and contemporary sources. Ms. Woods.

Prerequisite: MEDS 160 or permission of the instructor.

263b. Anthropology Goes to the Movies: Film, Video, and Ethnography (1)

(Same as ANTH 263) This course examines how film and video are used in ethnography as tools for study and as means of ethnographic documentary and representation. Topics covered include history and theory of visual anthropology, issues of representation and audience, indigenous film, and contemporary ethnographic approaches to popular media. Ms. Cohen.

Prerequisite: previous coursework in Anthropology or Film or Media Studies or permission of the instructor.

Not offered in 2014/15.

Two 75-minute periods, plus 3-hour preview laboratory.

264b. The Nature of Change: the Avant-Gardes (1)

(Same as ART 264) Radical prototypes of self-organization were forged by the new groups of artists, writers, filmmakers and architects that emerged in the early twentieth century as they sought to define the future. The course studies the avant-gardes' different and often competing efforts to meet the changing conditions that industrialization was bringing to culture, societies and economies between 1889 and 1929, when works of art, design, and film entered the city, the press, the everyday lives and the wars that beset them all. Ms. Nesbit.

Prerequisite: ART 105-ART 106, or permission of the instructor.

Not offered in 2014/15.

Two 75-minute periods and one weekly film screening.

265b. The New Order of Media, Message and Art, 1929-1968 (1)

(Same as ART 265) When the public sphere was reset during the twentieth century by a new order of mass media, the place of art and artists in the new order needed to be claimed. The course studies the negotiations between modern art and the mass media (advertising, cinema, TV), in theory and in practice, during the years between the Great Depression and the liberation movements of the late 1960s--the foundation stones of our own contemporary culture. Neither the theory nor the practice has become obsolete. Ms. Nesbit.

Prerequisite: ART 105-ART 106.

Two 75-minute periods and one weekly film screening.

266b. Indigenous and Oppositional Media (1)

(Same as ANTH 266) As audiovisual and digital media technologies proliferate and become more accessible globally, they become important tools for indigenous peoples and activist groups in struggles for recognition and self-determination, for articulating community concerns and for furthering social and political transformations. This course explores the media practices of indigenous peoples and activist groups, and through this exploration achieves a more nuanced and intricate understanding of the relation of the local to the global. In addition to looking at the films, videos, radio and television productions, and Internet interventions of indigenous media makers and activists around the world, the course looks at oppositional practices employed in the consumption and distribution of media. Course readings are augmented by weekly screenings and demonstrations of media studied, and students explore key theoretical concepts through their own interventions, making use of audiovisual and digital technologies. Ms. Cohen.

Not offered in 2014/15.

Two 75-minute periods, plus one 3-hour preview laboratory.

268b. The Activation of Art, 1968 - now (1)

(Same as ART 268) This course studies the visual arts of the last thirty years, here and abroad, together with the collective and philosophical discussions that emerged and motivated them. The traditional fine arts as well as the new media, performance, film architecture and installation are included. Still and moving images, which come with new theatres of action, experiment and intellectual quest, are studied as they interact with the historical forces still shaping our time into time zones, world pictures, narratives and futures. Weekly screenings supplement the lectures. Ms. Nesbit.

Prerequisite: ART 105-ART 106.

Not offered in 2014/15.

Two 75-minute periods and one weekly screening.

271b. Visual Urbanism (1)

(Same as URBS 271) This course examines correspondences between the emergent metrop-olis and practices of urban spectatorship. We approach the moderniza- tion of vision as an aspect of capitalist urbanization, as we engage the shifting media forms that have refracted and regulated modernity's urban conditions from the mid-19th century to the present: camera obscura, magic lantern, window display, crime photography, film noir, snapshot, broadcast television, billboard, hand-held video, SimCity, Google earth, CCTV, immersive VR. Issues we investigate include: the increasing predominance of visual culture in urban everyday life; the distracted attention of the urban spectator as a mode of modern subjectivity; the role of the visual in shaping both official and vernac- ular understandings of the city; the use of city image and urban brand in urban development; the merging of physical and information space as urban landscapes become media-saturated environments; urban surveillance and the use of the visual as a vector of modern political power. Throughout, we approach urban visibility as a fiercely ambiva- lent force: both a source of spectacle and a tool to render legible the hidden powers that structure urban everyday life. Readings include works by Roland Barthes, Jonathan Beller, Walter Benjamin, Guliano Bruno, Susan Buck-Morss, Christine Boyer, Rey Chow, Elizabeth Currid, Jonathan Crary, Guy Debord, Anne Friedberg, Eric Gordon, Tom Gunning, Miriam Greenberg, Frederic Jameson, Rem Koolhaas, Kevin Lynch, W.T.J. Mitchell, Venessa Schwartz, William White, and Raymond Williams. Ms. Brawley.

Not offered in 2014/15.

Two 75-minute periods.

280a. Social Psychological Approaches to Mass Media: Understanding Content, Motivation, and Impact (1)

(Same as PSYC 280) This course is designed to introduce students to the interdisciplinary field of "media psychology," which applies social scientific theory and methodology to the study media use, content, and impact. We will first review theoretical contributions from both Communication Studies and Social Psychology before moving into a range of "hot topics" in the field (e.g., violent media, persuasion and advertising, news, politics, representations of social groups, social media). Along the way, we will consider: psychological processes relevant to media use and impact, individual differences that motivate selective exposure and reception, the positive and negative effect that media may have on our attitudes and behaviors, and the complexities of developing and executing media effects research. Ms. Greenwood.

Prerequisite: PSYC 105 is required. MEDS 160 is recommended but not required.

Two 75-minute periods.

281b. The Comics Course (1)

(Same as ENGL 281) This course examines the medium of comics by focusing on major forms of comic art from 1900 to the present, including comic strips, comic books, graphic novels, and independent mini-comics. It is organized both historically and thematically, with classes exploring such topics as: the formal properties of medium, from the page to the platform; the roles played by gender, sexuality, race, and class in the creation and marketing of comic art; the debates over the morality of comics, and the effects of the "Comics Code"; the relation of comics to various subcultures, such as the "underground" movement of the late 1960s and early 1970s; the positioning of "graphic novels" in the academy and the literary world more generally. Among the artists/works we might consider: McCay (Dreams of a Rarebit Fiend and Little Nemo in Slumberland), Herriman (Krazy Kat), Siegel and Shuster (Superman), Schulz (Peanuts), Spiegelman (Maus), Barry (The Greatest of Marlys), McGruder (Boondocks), Ware (Jimmy Corrigan), Satrapi (Persepolis), and Bechdel (Fun Home). We will also be looking at criticism and theory in the areas of media and cultural studies. Mr. Antelyes.

Two 75-minute periods.

284a. American Television History (1)

(Same as FILM 284) This course analyzes the history of American television, the most ubiquitous American mass medium of the last 70 years. It spans from its roots in radio broadcasting to the latest developments in digital television. In assessing the many changes across this span, the course will cover such topics as why the American television industry developed as a commercial medium in contrast to most other national television industries, how television programming has both reflected and influenced cultural ideologies through the decades, and how historical patterns of television consumption have shifted due to new technologies and social changes. Through studying the historical development of television programs and assessing the industrial, technological, political, aesthetic, and cultural systems out of which they emerged, the course will piece together the catalysts responsible for shaping this highly influential medium. Screenings may include MartyDragnetI SpyFather Knows BestAmos & AndyThe Beverly HillbilliesThe Twilight Zone,Twin PeaksMarried...With ChildrenBuffy the Vampire SlayerThe Steve Harvey ShowSurvivorCSI: Crime Scene Investigation, among others. Mr. Scepanski.

Prerequisite: FILM 175 or FILM 210.

Two 75-minute periods.

285b. Emotional Engagement with Film (1)

(Same as FILM 285 and PSYC 285) While movies engage our emotions in psychologically significant ways, scholarship on the psychological allure and impact of film has existed primarily at the interdisciplinary margins. This course aims to bring such scholarship into the foreground. We begin with a careful examination of the appeal and power of narrative, as well as processes of identification and imagined intimacy with characters, before taking a closer analytical look at specific film genres (e.g., melodrama, horror, comedy, action, social commentary) both in their own right and in terms of their psychological significance (e.g., why do we enjoy sad movies? How do violent movies influence viewer aggression? How might socially conscious films inspire activism or altruism?) In addition to delving into theoretical and empirical papers, a secondary goal of the course is to engage students as collaborators; brainstorm and propose innovative experimental methods for testing research questions and hypotheses that emerge in step with course materials. Ms. Greenwood and Ms. Kozloff.

Prerequisites: for Psychology majors - PSYC 105 or PSYC 106; for Film majors - FILM 175 or FILM 210; for Media Studies majors - MEDS 160.

Two 75-minute periods plus outside screenings.

287a. Crisis and Catastrophe in the Media (1)

(Same as FILM 287) Though unpleasant by definition, few would deny the impact and importance of events like 9/11 and the assassination of John F. Kennedy. How and why do these events grab our attention and what impacts do they have on culture and society? In cases like these, few people are present as eyewitness, meaning that most of our experience comes through media representations in news, documentary, historical reimagining, and outright fiction. This course examines how mass media has covered and subsequently engaged with moments of crisis and catastrophe in 20th and 21st century America. Students will learn to think critically about how and why certain events become "collective traumas" while others may not, paying attention to the economic, ideological, and historical factors that go into coverage. The course will also examine how these events reverberate through culture in journalism, fictionalized accounts, historical fiction, and even more fantastic genres like horror film. In addition to 9/11 and the Kennedy assassination, this course will investigate the War of the Worlds radio broadcast, Pearl Harbor, other assassinations of the 1960s, the 1992 Los Angeles riots/uprising, and Hurricane Katrina, among other crises and catastrophes. Screenings may include news coverage, JFK (Stone, 1991),Malcolm X (Lee, 1992), The Most Dangerous Man in America (Ehrlich and Goldsmith, 2009), All the President's Men (Pakula, 1976), United 93 (Greengrass, 2006), Cloverfield (Reeves, 2006), When the Levees Broke (Lee, 2006) and episodes from television shows like The BoondocksDoogie Howser, MDIn Living ColorDef Comedy JamThe West Wing, and others.

Prerequisites: FILM 175and  FILM 210.

Two 75-minute periods, plus outside screenings.

290a or b. Field Work (1/2to1)

Permission of the director required.

298a or b. Independent Study (1/2to1)

Permission of the director required.

Media Studies: III. Advanced

300a. Senior Project Preparation (1/2)

The Senior Project may be a full-length thesis or a (multi)media project. During the fall semester, students carry out the following independent work under the supervision of the Program Director and participating faculty: formulating a project topic; identifying suitable faculty advisors; writing a project proposal and bibliography; presenting the proposal at a poster event; and developing a work plan. The program faculty.

301b. Senior Project (1)

Students carry out the Senior Project during the spring semester, under the supervision of their two project advisors. All students present their projects at a public symposium at the end of the semester. The projects become part of a permanent Media-Studies archive. The program faculty.

302b. Adaptations (1)

(Same as CLCS 302 and ENGL 302) If works of art continue each other, as Virginia Woolf suggested, then cultural history accumulates when generations of artists think and talk together across time. What happens when one of those artists switches to another language, another genre, another mode or medium? In the twenty-first century we may reframe Woolf's conversation in terms of intertextuality---art invokes and revises other art---but the questions remain more or less unchanged: What motivates and shapes adaptations? What role does technology play? Audience? What constitutes a faithful adaptation? "Faithful" to what or whom? In this course we consider the biological model, looking briefly at Darwin's ideas about the ways organisms change in order to survive, and then explore analogies across a range of media. We'll begin with Virgil's Georgics; move on to Metamorphoses, Ovid's free adaptations of classical myths; and follow Orpheus and Eurydice through two thousand years of theater (Euripides, Anouilh, Ruhl, Zimmerman); painting and sculpture (Dürer, Rubens, Poussin, Klee, Rodin); film and television (Pasolini, Cocteau, Camus, Luhrmann); dance (Graham, Balanchine, Bausch); music (Monteverdi, Gluck, Stravinsky, Birtwistle, Glass); narratives and graphic narratives (Pynchon, Delany, Gaiman, Hoban); verse (Rilke, H.D., Auden, Ashbery, Milosz, Heaney, Atwood, Mullen, Strand); and computer games (Battle of OlympusShin Megami Tensei). During the second half of the semester, we investigate other adaptations and their theoretical implications, looking back from time to time at what we've learned from the protean story of Eurydice and Orpheus and their countless progeny. Ms. Mark.

Prerequisite: permission of the instructor.

One 3-hour period.

310a. Senior Seminar (1)

Topic: Media End Memory. We will explore: the destruction of memory; the invention of memory; mnemotechnics; collective memory; historical memory, fabrication and power; voluntary and involuntary memory; modes of collection, storage, and retrieval; memory theaters, cabinets, and atlases; trauma, erasure and blindness; flows, clouds and the futures of memory. Special topics course for all senior Media Studies majors, providing a capstone experience for the cohort. Mr. Chang.

Prerequisite: MEDS 250 or MEDS 260.

350a. New York City as Social Lab (1)

Not offered in 2014/15.

351a. Language and Expressive Culture (1)

Not offered in 2014/15.

352b. The City in Fragments (1)

(Same as URBS 352) In this seminar, we use the concept of the fragment to explore the contemporary city, and vice versa. We draw on the work of Walter Benjamin, for whom the fragment was both a central symptom of urban modernity and a potentially radical mode of inquiry. We also use the figure of the fragment to explore and to experiment with the situationist urbanism of Guy Debord, to address the failure of modernist dreams for the city, and to reframe the question of the "global" in contemporary discussions of global urbanization. Finally, we use the fragment to destabilize notions of experience and evidence---so central to positivist understandings of the city---as we make regular visits to discover, as it were, non-monumental New York. Readings include works by Walter Benjamin, Stefano Boeri, Christine Boyer, Guy Debord, Rosalyb Deytsche, Paul Gilroy, Rem Koolhaas, Henri Lefebvre, Thomas Lacquer, Saskia Sassen, Mark Wigley, and others. Ms. Brawley, Mr. Chang.

Prerequisite: permission of the instructor.

356b. Culture, Commerce, and the Public Sphere (1)

(Same as SOCI 356) This course examines the culture and politics of the public sphere, with an emphasis on the changing status of public spaces in contemporary societies. Drawing upon historical and current analyses, we explore such issues as the relationship between public and commercial space and the role of public discourse in democratic theory. Case studies investigate such sites as mass media, schools, shopping malls, cyberspace, libraries, and public parks in relation to questions of economic inequality, political participation, privatization, and consumer culture. Mr. Hoynes.

Not offered in 2014/15.

360b. Problems in Cultural Analysis (1)

Not offered in 2014/15.

364b. Seminar in Twentieth Century and Contemporary Art (1)

(Same as ART 364) The Moving Image: Between Video and Experimental Curating. Already by 1930 experimental film had tested the boundaries for the exhibition of works of art; when video built on that foundation thirty years later, the borders were again expanded. Moving image and radical exhibition formats would continue to evolve in tandem, becoming a succession of inspirations and experiments. The seminar studies these as theoretical, practical and perceptual questions posed in fact since the invention of cinema; case studies from past and present are compared; the seminar plans and executes curatorial experiments of its own. Ms. Nesbit.

Prerequisite: permission of the instructor

Not offered in 2014/15.

One 2-hour period.

379a. Computer Animation: Art, Science and Criticism (1)

(Same as ART 379, CMPU 379, and FILM 379) An interdisciplinary course in Computer Animation aimed at students with previous experience in Computer Science, Studio Art, or Media Studies. The course introduces students to mathematical and computational principles and techniques for describing the shape, motion and shading of three-dimensional figures in Computer Animation. It introduces students to artistic principles and techniques used in drawing, painting and sculpture, as they are translated into the context of Computer Animation. It also encourages students to critically examine Computer Animation as a medium of communication. Finally, the course exposes students to issues that arise when people from different scholarly cultures attempt to collaborate on a project of mutual interest. The course is structured as a series of animation projects interleaved with screenings and classroom discussions. Mr. Ellman, Mr. Roseman.

Prerequisite: permission of the instructor.

Offered alternate years.

Two 2-hour periods.

380a. Special Topics in Media Studies (1)

Not offered in 2014/15.

381a. The Bible as Book: Manuscript and Printed Editions (1)

(Same as RELI 381) The Bible has been one of the most influential texts in Western history. Yet there are great differences in what constituted "the Bible" and how it has been produced, disseminated, read, and discussed across the centuries and across cultures. Drawing from the perspective of the history of the book, this seminar provides an opportunity to examine and consider key moments in the production and transmission of biblical texts from Egypt, Asia Minor, and Palestine in Antiquity, to editions of the bible produced in Europe, England, and America, from the early middle ages to the present. Examples include Codex Sinaiticus, the Vienna GenesisCodex Amiatinus, the Lorsch Gospels, the Winchester BibleBible Moralisée, the Biblia Pauperum, the Wycliffe Bible, the Gutenberg Bible, translations of Erasmus and Luther, the Geneva Bible, the King James Bible, the Eliot Indian Bible, the Woman's Bible, bibles of fine presses, family bibles, childrens' bibles, and recent translations. We discuss current scholarship relating to these and other editions, but our approach is largely empirical; by looking closely at books and considering all aspects of their makeup (such as scribal tendencies, binding and format, typography, illustrations, texts and translations, commentaries and paratexts), we try to gain an understanding of the social, economic, cultural and political factors behind the appearance of particular bibles, and also the nature of their influence in particular places. In order to "go to the source," we rely heavily on examples from the Bible Collection in the Archives & Special Collections Library. Ms. Bucher and Mr. Patkus.

One 2-hour period.

385b. Media and War (1)

Senator Hiram Johnson's 1917 remark "The first casualty when war comes is truth" is often repeated. But the processes through which (mis)information and images circulate in wartime are less well known. This course explores the role of popular media in the production and circulation of knowledge about war. Drawing on both news and entertainment media, we examine how war is represented and remembered in various media, including newspapers, photographs, radio, television, film, and online. Through a series of historical and contemporary case studies, we explore topics such as the practices of the war correspondent, strategies of news management by military planners, the relationship between media images and public attitudes toward war, media as a propaganda tool, and the role of popular media in constructing and contesting national myths and memories of war. Mr. Hoynes.

Prerequisite: MEDS 160 or permission of the instructor.

389b. Computer Games: Design, Production and Critique (1)

(Same as CMPU 389) Investigates all stages of the game development process, including conception, design, physical and digital prototyping, implementation and play-testing, among others. The course emphasizes the integration of formal, dramatic and dynamic game elements to create a specific player experience. The course also examines various criteria and approaches to game critique, including issues of engagement, embodiment, flow, and meaningful play. Course work includes a series of game development projects carried out in groups, along with analysis of published games and readings in critical game-studies literature. No previous experience in media production or computer programming is necessary.

Prerequisite: permission of the instructor.

Not offered in 2014/15.

Two 75-minute periods.

399b. Senior Independent Work (1/2or1)