Media Studies Program

Director: Eva Woods Peiro; Professors: Colleen Ballerino Cohen (Anthropology), Robert DeMaria (English), William Hoynesa (Sociology), Michael Joycea (English), Sarah R. Kozloff (Film), Amitava Kumar (English), Molly Nesbit (Art), Michael Pisanib (Music), Peipei Qiu (Chinese and Japanese), Harry Roseman (Art), Cindy Schwarz (Physics and Astronomy), Adelaide Villmoare (Political Science); Assistant Professors: David Bradley (Physics and Astronomy), Eve Dunbar (English), Dara N Greenwood (Psychology), Hua Hsu (English), Dorothy Kim (English), Hiram Perez (English), Andrew Tallonb (Art);Associate Professors: Heesok Chang (English), Lisa Gail Collinsa (Art), Hiromi Tsuchiya Dollase (Chinese and Japanese), Wenwei Du (Chinese and Japanese), Thomas Ellmanab (Computer Science), Kathleen J. Man (Film), Brian R. Mann (Music), Mia Mask (Film), Leonard Nevarez (Sociology), Tom Porcello (Anthropology), Jeffrey Schneiderb (German Studies), David Tavárez (Anthropology), Silke von der Emde (German Studies), Eva Woods Peiro (Hispanic Studies); Visiting Associate Professor: Karen Robertson (English); Visiting Assistant Professor: Saúl Mercado (Anthropology); Adjunct Instructor: Margaret Leeming (Religion); Adjunct Associate Professor: M. Mark (English); Adjunct Assistant Professors: Paulina Bren (History), Judith Linn (Art); Post Doctoral Fellow: Tarik Ahmed Elseewi (Film); Senior Lecturer: Lisa Camille Brawley (Urban Studies).

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, communications 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.

Requirements for the Concentration: 131/2 units, including Media Studies 160, 250, 260, 300, 301 and 310. The additional  8 courses will ordinarily be selected from courses cross-listed with Media Studies and the list of Media Studies Approved Courses, which is available on the program website:

Students wishing to apply other courses toward the Media Studies concentration should consult with their adviser before petitioning the Program. All petitions must be approved by the Program Director. The additional courses must be distributed as follows:

  1. 200-level course work from a minimum of three different departments or multidisciplinary programs;
  2. a minimum of two 300-level courses, from more than one department or program, and which must reflect the intellectual path set by previous coursework;
  3. a minimum of one course on multicultural media practices or issues. Students should consult with their faculty advisers to identify appropriate courses from the list of Approved Courses;
  4. one practice-based course. If the course is not selected from the list of Approved Courses, a Junior Year Away or Field Work course may satisfy the requirement upon approval of the Program Director. While students are encouraged to pursue further practice-based coursework or internships, a maximum of two such units may be applied toward the concentration.

After declaration of the concentration, no courses applied toward the concentration may be elected NRO.

Senior-Year Requirements: Media Studies 310, Senior Seminar; Media Studies 300, a senior project under the supervision of a member of the program faculty.

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

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. Mr. Chang, Ms. Cohen.

180. Transformation of the Word (1)

What is the relationship between medium and message in verbal works of art? Does the medium in which a work of literature is created or received influence its meaning? Does it matter whether we hear a story told, read it in a book, encounter it in a personal letter, or find it on-line? Is the story the same in each case, or do the media through which it is transmitted react on the story itself and change it for the listener, reader, or browser? How has the relationship between visual and verbal means of communications changed over time? These questions will be asked in relation to a number of literary works from various periods of history. Works studied may include the following: Pindar's Odes, Plato's Phaedrus, the Bible, Chaucer's Canterbury TalesHamletGulliver's Travels, Tristram Shandy, lyric poems by Frost, Heaney, and others. There is some reading in secondary sources such as The Consequences of Literacyby J. Goody and I. Watt and The Emergence of Print Culture in the Westby Elizabeth Eisenstein. Students write (or compose) in various verbal media. Mr. DeMaria

Two 75-minute meetings.

Fulfills the Freshman Writing Seminar Requirement.

II. Intermediate

222b. Narratives of Japan: Fiction and Film (1)

(Same as Asian Studies and Japanese 222) Ms. Qiu.

250a. 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. The program faculty.

May be repeated for credit if the topic has changed.

Prerequisite: Media Studies 160 or by permission of instructor.

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. Brawley.

Prerequisite: Media Studies 160 or by permission of instructor.

264b. The Avant-Gardes, 1889-1929 (1)

(Same as Art 264b) Ms. Nesbit.

265a. Modern Art and Mass Media, 1929-1968 (1)

(Same as Art 265a) Ms. Nesbit.

266b. Indigenous and Oppositional Media (1)

(Same as Anthropology 266b) Ms. Cohen.

268b. The Times: 1968-now (1)

(Same as Art 268b) Instructor to be announced.

Not offered in 2010/11.

286a. TV History and Criticism (1)

(Same as Film286). This course is a survey of the history, technology, regulation, audience, and economics of television and related electronic media from the 1920s until the present. This class focuses on both the historical development of the medium and its texts as well as on the theoretical frameworks scholars have used to study television. The course approach television primarily through the lens of its relationship with American culture with an ongoing focus on issues of race, gender, class and the political process.

Film 210 and permission from the instructor.

Two 75-minute periods.

290a or b. Field Work (1/2 or 1)

Permission of the director required.

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

Permission of the director required.

III. Advanced

300a or b. 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. Ms. Woods.

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 College Course and English 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 radically changes the terms of the conversation by switching to another language, another genre, another mode or medium? What constitutes a faithful adaptation? In this course we briefly consider the biological model and then explore analogies across a wide range of media. We begin with Metamorphoses, Ovid's free adaptations of classical myths, and follow Medea and Orpheus through two thousand years of theater (from Euripides to Anouilh, Williams, and Durang); paintings (Greek vases and Pompeian walls to Dürer, Rubens, Poussin, Denis, and Klee); film and television (Pasolini, von Trier, Cocteau, Camus); dance (Graham, Balanchine, Noguchi, Bausch); music (Cavalli, Charpentier, Milhaud, Barber, Stravinsky, Birtwistle, Glass); narratives and graphic narratives (Woolf, Moraga, Pynchon, Gaiman); verse (Rilke, Auden, Milosz); and computer games (Mutants and Masterminds, Fate/stay night). We may also analyze narratives and graphic narratives by Clowes, Collins, Ishiguro, Groening, Joyce, Lahiri, Malcolm X, Mann, Millhauser, Nabokov, Pekar, Shakespeare, Spiegelman, Swift, Tanizaki, and Wilde; films by Bharadwaj, Berman/Pucini, Camus, Dangarembga, Ichikawa, Ivory, Kubrick, Kurosawa, Lee, Lyne, Mendes, Nair, Sembene, Visconti, and Zwigoff-, remixes by DJ Spooky and Danger Mouse; sampling; cover bands, tribute bands; Wikipedia, wikicomedy, wikiality; and of course Adaptation, Charlie and Donald Kaufman's screenplay for Spike Jonze's film, based very very loosely on Susan Orlean's Orchid Thief. Ms. Mark.

By special permission.

Not offered in 2011-12.

310a. Senior Seminar (1)

Special topics course for all senior Media Studies majors, providing a capstone experience for the cohort. This course is taught in the fall semester each year. Ms. Mark.

Prerequisite: Media Studies 250 or Media Studies 260.

317. The Printed Bible (1)

(Same as History 317) The Bible has been one of the most influential texts in Western History. Yet there are great differences in how it has been produced, disseminated, read, and discussed across centuries, and across cultures. Drawing from the perspective of the history of the book (rather than theology), this seminar provides an opportunity to examine and consider key editions of the bible produced in Europe, England, and America, from the middle of the 15th Century to the present. Examples include the Gutenberg Bible, translations from Erasmus and Luther, the Geneva Bible, the King James Bible, the Eliot Indian Bible, The Woman's Bible, bibles of missionary societies, bibles of fine presses, family bibles, children's bibles, and recent translations. We discuss current scholarship relating to these and other editions, but our approach is largely empirical; by looking closely at bibles and considering all aspects of their makeup (such is 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 their appearance, 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 and Special Collections Library. Mr. Patkus.

350. New York City as Social Lab (1)

352b. The City in Fragments (1)

(Same as Urban Studies 352) Ms. Brawley, Mr. Chang.

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

(Same as Sociology 356) Mr. Hoynes.

362b. The Thousand and One Nights (1)

379b. Computer Animation: Art, Sciences and Criticism (1)

(Same as Art and Computer Science 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: Art 102-103, or by special permission of instructors.

Two 2-hour periods.

Not offered in 2010/11.

380. Sound Seminar (1)

(Same as Anthropology 380) Mr. Porcello.

Permission of instructor

382a. Latin America and the Media (1)

(Same as Latin American Latino/a Studies 382a.) Ms. Woods.

Not offered in 2011-12.

385a. 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.

Prerequisites: Media Studies 160 or by permission of instructor.

399. Senior Independent Work (1/2 or 1)