MAY  INTENSIVES  /  SUMMER  SESSIONS  /  FALL  2015  

 BENTLEY  UNIVERSITY  

AAC  084  175  Forest  Street  

Waltham,  MA  02452    

http://academics.bentley.edu/departments/english  Student  Films:  http://vimeo.com/bentleyems  

Twitter:  @MediaandCulture  Facebook:  Media  and  Culture  at  Bentley  University  

   

Last  revised:  3/30/2015  

                             

         

 

ENGLISH  AND  MEDIA  STUDIES  2015  COURSE  GUIDE  

ENGLISH  MAJOR  for  Fall  2015!  

CREATIVE  INDUSTRIES  MAJOR

MEDIA  AND  CULTURE  MAJOR  

Details  inside.  

  2  

STUDYING  ENGLISH  AND  MEDIA  STUDIES  AT  BENTLEY  UNIVERSITY      Language   is   at   the   heart   of   our   mission   as   a   department.   We   aim   to   foster  creation  and  critical  analysis  of  cultural  texts,  including  visual  media  and  literary  works,  and  to  guide  students  toward  a  complex  understanding  of  the  personal,  social,   cultural,   historical,   political,   economic,   and   institutional   contexts   in  which   these   texts   are   produced   and   interpreted.   Offerings   include   closely-­‐linked   courses   in   Literature   and   Film,   Media   and   Culture,   and   Writing   and  Communication.    Students  may  pursue  the  following  programs  of  study:      

• Media  and  Culture  Major  (MC)  • English  Major  (EN)  • Creative  Industries  Major  (CR)  • Liberal  Studies  Major  (LSM)  in  Media  Arts  and  Society  (MS)  • Minor  in  English  and  Media  Studies  • Minor  in  Gender  Studies  

 English   and   Media   Studies   programs   prepare   students   to   enter   fields   that  require   both   creative   and   business   skills,   including:   Media   Production,   Film  Distribution,   Sound   Design,   Media   Advertising,   Film   Editing,   Media   Finance,  Digital   Archiving,   Game   Design,   Entertainment   Law,  Motion   Graphics   Design,  Media  Management,  Screenwriting,  Media  Policy  Analysis,  Journalism,  Lighting  Design,  Media  Marketing,  Publishing,  and  Writing.    Students  have  the  option  of  enrolling  in  the  Business  Studies  Major  or  Business  Studies  Minor  when  declaring  a  B.A.  degree.          

 

 

 

 

CONTACT  INFORMATION  FOR  EMS  MAJORS,  MINORS,  AND  CENTERS      Prof.  Wiley  Davi,  Chair,  English  and  Media  Studies  AAC  091,  781.891.2651,  wdavi@bentley.edu    Kathleen  Sheehan,  Academic  Administrative  Assistant  AAC  083,  781.891.2629,  Fax:  781.891.2896,  ksheehan@bentley.edu    MEDIA  AND  CULTURE  MAJOR  /  INTERNSHIPS  

Prof.  Elizabeth  LeDoux,  LIN  34,  781.891.2961,  eledoux@bentley.edu    CREATIVE  INDUSTRIES  MAJOR  

Prof.  Jennifer  Gillan,  AAC  093,  781.891.2816,  jgillan@bentley.edu    ENGLISH  MAJOR  

Prof.  Catherine  Fung,  AAC  081,  781.891.2697,  cfung@bentley.edu    LIBERAL  STUDIES  MAJOR:  MEDIA,  ARTS  AND  SOCIETY  

Prof.  Samir  Dayal,  AAC  067,  781.891.2957,  sdayal@bentley.edu    

ENGLISH  AND  MEDIA  STUDIES  MINOR  Prof.  Ken  Stuckey,  AAC  099,  781.891.3495,  kstuckey@bentley.edu  

 GENDER  STUDIES  MINOR  

Prof.  Traci  Abbott,  AAC  088,  781.891.2643,  tabbott@bentley.edu    THE  ESOL  CENTER  

Prof.  Pamela  Carpenter,  Director  MOR  306,  781.891.3135,  pcarpenter@bentley.edu  

 MEDIA  AND  CULTURE  LABS  AND  STUDIO  

Prof.  Elizabeth  LeDoux,  Director  LIN  34,  781.891.2961,  eledoux@bentley.edu  

 Prof.  Jeffrey  Stern,  Production  Manager  LIN  10A,  781.891.2967,  jstern@bentley.edu  

 THE  WRITING  CENTER  

Prof.  Gregory  Farber-­‐Mazor,  Director  LIB  023A,  781.891.2978,  gfarber@bentley.edu  

B.A. IN ENGLISH

(4) Core Courses:

EMS 200: Introduction to Literature, Film, and MediaEMS 201: Introduction to Cultural Studies(1) LIT or CIN course on race and ethnicity, or globalization and colonialism, or transnationality and postcoloniality from the following:

LIT 260: Introduction to African American LiteratureLIT 262: Native American Literature and CultureLIT 330: Literature of the HolocaustLIT 333: Literature and Film of the Vietnam WarLIT 337: Carribbean LiteratureLIT 365: Immigrant and Ethnic LiteratureLIT 367: African American Women WritersLIT 370: Passing in American LiteratureLIT 380: Money, Love, and Death: Colonialism in Literature and CultureLIT 394: Selected Topics in African American Lit and Cultural StudiesCIN 376: International CinemaCIN 377: African Americans in Hollywood FilmWith departmental approval:

LIT 391: Selected Topics in Literary FormLIT 392: Selected Topics in Literary ThemesLIT 393: Selected Topics in World LiteratureLIT 395: Selected Topics in American LiteratureLIT 397: Selected Topics in Cultural StudiesLIT 402: Seminar in LiteratureLIT 491: Literary TheoryLIT 492: Directed Study in EnglishCIN 371: Great DirectorsCIN 370: Selected Topics in Cinema Studies

(1) Creative writing course from the following:LIT 310: PoetryLIT 311: FictionLIT 312: Drama/ScreenwritingLIT 313: Nonfiction/EssayLIT 314: Mixed GenresCOM 328: Writing and Design for the Web and Multimedia

(4) Course Electives (CIN, COM, EMS, LIT, MC); it is encouraged that one course focus on constructions of gender and sexuality, such as:

LIT 369: Sexual Identity and CultureCIN 371: Contemporary Queer DirectorsCIN 375: Women in FilmLIT 334: Women in LiteratureLIT 367: African American Women Writers

Additional Degree Requirements

General Education Requirements required of all majorsBusiness Studies Minor or Major(4) Modern Language Courses (intermediate proficiency)(3) Arts & Sciences Course Electives(5) Unrestricted Course Electives

B.A. IN MEDIA AND CULTURE

Centered on the nature of storytelling in all its forms and designed to pre-pare students for careers in the media industries, the Media and Culture major is focused on production with an integrative curriculum on media literacy, theory, and business. Show business is just that—a business. Students not only gain technical expertise in specialties such as video and audio production, graphic and motion design, and writing about media forms, they also learn solid business skills that teaches what it really takes for today’s leading and innovative media companies to succeed. With a keen focus on media literacy that everyone student should have, the wide array of available English and Media Studies courses teach how media texts operate at the creative, cultural, and industrial levels. You can join other media and culture majors who have screened their original films at the Cannes Film Festival, interned at companies like MTV, and landed full-time jobs with prominent media firms in Boston, New York, and Los Angeles.

You will be encouraged to complete either a media internship or capstone project, and will have the flexibility to study abroad or enroll in Bentley’s domestic away program for one semester at New York University. The Media and Culture Labs and Studio are home to professional software for screenwriting, film editing, sound mixing, animation, and graphic design and it is where you will gain hands-on experience in all forms of media production.

(4) Core Courses:

EMS 200: Introduction to Literature, Film, and MediaMC 220: Introduction to Media Production(1) Theory elective from the following:

EMS 201: Introduction to Cultural StudiesCIN 375: Women in FilmCIN 379: Film TheoryMC 200: Introduction to Media Theory

(1) Media production elective from the following:MC 222: Digital PhotographyMC 224: Video ProductionMC 321: Audio Production and Sound DesignMC 322: Documentary ProductionMC 323: Animation Production and Motion Design

(4) Course Electives (CIN, COM, EMS, LIT, MC)

Additional Degree Requirements

General Education Requirements required of all majorsBusiness Studies Minor or Major(4) Modern Language Courses (intermediate proficiency)(3) Arts & Sciences Course Electives(5) Unrestricted Course Electives

B.S. IN CREATIVE INDUSTRIES

The Creative Industries program is the perfect major where business meets the arts & sciences. A partnership of the Departments of English and Media Studies with Information Design and Corporate Communica-tion, Creative Industries majors learn how historical and technological changes drive demand for new culture, and dissect how innovators build content, platforms, or services for market success.

Creative industries are a major driver of global growth. To succeed in this rewarding arena there is a need for mastery of vital advocacy and visibility tools so creative works can “break through the clutter” to reach intended audiences. Our courses introduce students to the special-ized techniques creative industries need in film, music, mobile gaming, television, advertising, user interface design, packaging, promotion, information architecture, and sports or entertainment public relations.

MC 341: Creative Industries(1) Media industry elective from the following:

MC 260: The Television IndustryMC 342: Media Industry ConvergenceMC 345: The Music IndustryMC 350: The Video Game Industry

(2) EMS media-related electives or internship:COM 321: Mass CommunicationCOM 324: Design as CommunicationCOM 328: Writing and Design for the Web and MultimediaLIT 312: Creative Writing: Drama/ScreenwritingLIT 313: Creative Writing: Nonfiction EssayLIT 314: Creative Writing: Mixed GenresMC 200: Introduction to Media TheoryMC 220: Introduction to Media ProductionMC 300: Selected Topics in Media StudiesMC 321: Audio Production and Sound DesignMC 323: Animation Production and Motion DesignMC 421: Internship in MediaMC 260, MC 342, MC 345, MC 350

IDCC 370: Web Design IIDCC 240: Fundamentals of Visual Communication(1) IDCC elective from the following:

IDCC 250: Public Relations Theory and PracticeIDCC 255: Public Relations WritingIDCC 340: Advanced Visual CommunicationIDCC 350: Journalism for the WebIDCC 360: Public Relations and Information TechnologyIDCC 375: User Interface DesignIDCC 380: Web Design IIIDCC 385: Elements of Usability and User ExperienceIDCC 390 (approved topic only; see DRS for details)IDCC 421: Internship in IDCC

(1) IDCC elective or internship

Additional Degree Requirements

General Education Requirements required of all majorsBusiness Core Requirements(5) Arts & Sciences Course Electives(2) Unrestricted Course Electives(1) Business related elective

3

  4  

LIBERAL  STUDIES  MAJOR  IN  MEDIA,  ARTS  AND  SOCIETY    Students  embarking  in  the  Liberal  Studies  Major  with  a  concentration  in  Media  Arts  and  Society  will  be  grounded  in  the  discipline  of  English  and  Media  Studies  with  a   cultural   studies  approach.  This   LSM  aims   to  engage   students   in   critical  discourse   about   the   uses   and   effects   of   modern   media,   increase   knowledge  about  media   technology,   and  encourage   creative   thinking   through   the  use  of  such  media.  This  concentration  has  a  “hands  on”  component  in  which  students  work  directly  with  video,  graphic  design,  digital  photography,  and  sound  design  in  creative  ways.  LSM  in  Media  Arts  in  Society  course  requirements  include:    

• Media  and  Culture  production  elective  • 1  or  2  media-­‐focused  courses  from  a  business  discipline  • 5  or  6  courses  in  media-­‐focused  electives  in  media  and  culture,  cinema  

studies,  communication,  expository  writing,  literature,  mathematics,  modern  languages,  natural  and  applied  sciences,  sociology,  history,  interdisciplinary  studies,  global  studies,  psychology,  information  design  and  corporate  communication,  law,  taxation,  and  financial  planning,  marketing,  and  computer  information  systems  

 Please  note:  you  may  not  major  in  IDCC  and  the  LSM  in  Media  Arts  and  Society.    ENGLISH  AND  MEDIA  STUDIES  MINOR    A  minor   in   English   and  Media   Studies   is   a   perfect   complement   to   a   business  education.   The   English   and  Media   Studies  minor   increases   your   sensitivity   to  language   and   culture,   enhances   your   ability   to   communicate   effectively,   and  develops   your   analytical   abilities.   The   following   detail   the   basic   guidelines   to  complete  a  minor,  as  well  as  information  on  the  four  concentrations  available:    

§ All  minors  consist  of  4  courses  (12  credits)  in  a  specific  discipline,  with  the  exception  of  the  business  studies  minor  (15  credits)  

§ Completion  of  a  minor  may  require  coursework  beyond  degree  requirements  

§ Courses  applied  to  the  minor  may  not  count  toward  the  major  § Courses  in  the  minor  may  be  applied  to  the  Humanities/Social  Science  

elective  in  the  General  Education  core,  Business,  Arts  and  Sciences,  or  Unrestricted  elective  slots  only  

§ Students  may  apply  no  more  than  3  credits  in  AP  or  transfer  credit  to  the  minor  

§ Students  must  attain  a  minimum  cumulative  GPA  of  2.0  in  the  minor  

   Communication    

§ COM  210:  Effective  Speaking    § COM  Communication  elective    § COM  Communication  elective    § COM  or  IDCC  Communication  elective    

 Note  that  IDCC  courses  count  as  business  courses.    Creative  Writing    This  minor  encourages  students  to  explore  their  own  insights  and  develop  their  own  styles  and  voices.  

§ LIT  Literature  elective  in  literary  forms  (LIT  210  -­‐  224)    § LIT  Creative  writing  elective  (LIT  310  -­‐  314)      § LIT  Creative  writing  elective  (LIT  310  -­‐  314)    § LIT  Literature  elective    

 Literature  and  Cinema    With   the  help  of   an   advisor   from   the  English   and  Media   Studies  Department,  minors   select   four   courses   in   literature—and/or   cinema   studies   that   form   a  coherent   group.   (The   four   courses   for   the  minor   do   not   include   the   general  education  literature  requirement.)    Media  and  Culture  With   the  help  of   an   advisor   from   the  English   and  Media   Studies  Department,  minors  select  four  courses  in  media  and  culture  that  form  a  coherent  group.    GENDER  STUDIES  MINOR    The   Gender   Studies   program   provides   an   interdisciplinary   approach   to  understanding   the   political,   social,   economic,   and   personal   implications   of  gender   issues.   Courses   combine   the   analytical   tools   of   different   disciplines,  incorporating  practical  and  theoretical  strategies  to  explore  gender   in  a  broad  range   of   cultural   and   historical   contexts.   This  minor  allows   students   to  more  fully  understand  the  way  gender  informs  the  personal  and  professional  aspects  of   their   lives  and   to   communicate   to  prospective  employees   that   the   student  has   taken   initiative   to   expand   upon   his   or   her   academic   and   professional  knowledge  of  social  and  political  issues.    

 

  5  

FACULTY  ADVISERS  for  all  EMS  Majors  and  Minors      Please  speak  to  your  adviser  or  a  faculty  member  in  the  English  and  Media  Studies  Department  should  you  have  questions.    Traci  Abbott,  Lecturer  AAC  088,  781.891.2643,  tabbott@bentley.edu    Ben  Aslinger,  Associate  Professor  (on  sabbatical)  AAC  075,  781.891.2944,  baslinger@bentley.edu    Andy  Aylesworth,  Associate  Professor  (MK)  MOR  279,  781.891.3149,  aaylesworth@bentley.edu    Wiley  Davi,  Associate  Professor  and  Chair  AAC  091,  781.891.2651,  wdavi@bentley.edu    Samir  Dayal,  Associate  Professor  AAC  067,  781.891.2957,  sdayal@bentley.edu    Michael  Frank,  Associate  Professor  AAC  097,  781.891.2948,  mfrank@bentley.edu    Catherine  Fung,  Assistant  Professor  AAC  081,  781.891.2697,  cfung@bentley.edu    Jennifer  Gillan,  Professor  AAC  093,  781.891.2816,  jgillan@bentley.edu    

           Casey  Hayward,  Associate  Professor  AAC  087,  781.891.2862,  chayward@bentley.edu    Bruce  Herzberg,  Professor  AAC  079,  781.891.2950,  bherzberg@bentley.edu    Judith  Klein,  Senior  Lecturer  AAC  074,  781.891.2768,  jklein@bentley.edu    Elizabeth  LeDoux,  Senior  Lecturer  LIN  34,  781.891.2961,  eledoux@bentley.edu    Linda  McJannet,  Professor  MOR  381,  781.891.2507,  lmcjannet@bentley.edu    Randall  Nichols,  Associate  Professor  AAC  078,  781.891.2504,  rnichols@bentley.edu    Tzarina  Prater,  Assistant  Professor  AAC  085,  781.891.3103,  tprater@bentley.edu    Anna  Siomopoulos,  Associate  Professor  AAC  073,  781.891.2858,  asiomopoulos@bentley.edu    Jeffrey  Stern,  Lecturer  LIN  10A,  781.891.2967,  jstern@bentley.edu        

  6  

ESOL  CENTER    Students  whose  home  language  is  not  English  are  invited  to  take  advantage  of  the  free  tutorial  services  offered  by  our  ESOL  Center.  English  and  Media  Studies  faculty  who  specialize  in  teaching  English  to  speakers  of  other  languages  (ESOL)  provide  support  to  help  students  achieve  success  in  their  courses  across  the  curriculum.  To  schedule  an  appointment:  bapps.bentley.edu  or  call  781.891.2021.    MEDIA  AND  CULTURE  LABS  AND  STUDIO    The  Media  and  Culture  Labs  and  Studio  supports  the  English  and  Media  Studies  Department’s  media  and  culture  major,  the   joint  Creative   Industries  major,  as  well  as  the  university’s  double  major  in  Liberal  Studies  with  a  concentration  in  Media,  Arts  and  Society.  This  state-­‐of-­‐the-­‐art  facility  provides  resources  for  all  forms  of  media  production:  video,  sound,  digital  photography  and  design.  The  labs  house   industry-­‐standard   software   for   video  editing,   screenwriting,   sound  mixing,   animation,   graphic   and   motion   design,   and   DVD   authoring.   The  professional  production  tools  available  include  digital  and  HD  cameras,  lighting  and   grip   equipment,   microphones   and   audio   accessories.   A   soundproofed  studio   with   green   screen   and   lighting   grid   complete   the   professional  production  environment.    THE  WRITING  CENTER    

The  Writing  Center   is  opens  days  and  evenings  for  one-­‐to-­‐one  assistance  with  writing  skills.  It  is  staffed  by  a  writing  instructor  and  by  peer  tutors  chosen  for  both   the   quality   of   their   own  writing   and   for   their   friendliness.   Hundreds   of  students   at   Bentley  —   students   of   all   years   and   abilities  —   use   The  Writing  Center  each  semester.  What   is  more,  they  come  to  the  center  at  all  stages  of  the   writing   process.   To   schedule   an   appointment:   bapps.bentley.edu   or   call  781.891.3173.                    

CAREERS  AND  INTERNSHIPS      Students  in  our  programs  have  interned  or  currently  work  for  such  companies  as   Amblin   Entertainment,  MTV  Networks,   Allen  &  Gerritsen,   Spike   TV  Digital,  Arnold  Worldwide,  Dick  Clark  Productions,  Martha  Stewart  Omnimedia,  Marvel  Comics,  WGBH,   Picture   Park,   Fox   News,   Charlesbridge   Publishing,   PlatformQ,  CBS   News,   Sony   Music   Entertainment,   and   the   Cannes   International   Film  Festival  Internship  Program  offered  by  the  American  Pavilion,  among  others.    REGISTRATION  FOR  DIRECTED  STUDIES,  INTERNSHIPS,  AND  CAPSTONES      If  you  plan  to  register  for  the  following  media-­‐related  courses,  please  speak  to  your  adviser  directly,  as  they  each  entail  additional  registration  requirements:    

LSM  450:  CULMINATING  PROJECT  –  MEDIA  ARTS  AND  SOCIETY  MC  401:  DIRECTED  STUDY  IN  MEDIA  MC  420:  MEDIA  AND  CULTURE  CAPSTONE  PROJECT  MC  421:  MEDIA  AND  CULTURE  INTERNSHIP  

 LIBERAL  STUDIES  MAJOR  –  ALL  CONCENTRATIONS      There  are  numerous  English  and  Media  Studies  courses  that  are  approved  for  the  following  LSM  concentrations:      

• American  Studies  • Diversity  and  Society  • Earth,  Environment,  and  Global  Sustainability  • Ethics  and  Social  Responsibility  • Global  Perspectives  • Health  and  Industry  • Media,  Arts  and  Society  • Quantitative  Perspectives  

 Please  be  sure  to  consult  the  Registrar’s  site  for  approved  and  offered  courses  for  each  term.      

  7  

2015  REGISTRATION    The   following   are   course   offerings   from   the   English   and   Media   Studies  Department   only.   Please   consult   the   Registrar’s   course   information   on   the  Bentley   website   for   any   newly   LSM-­‐approved   courses   and   courses   in   other  disciplines:   http://www.bentley.edu/offices/registrar/undergraduate-­‐day-­‐registration-­‐information#201509    Registration  for  May  intensives  and  summer  sessions  begins  on  March  30.  Fall  registration  begins  April  7.    Please  note  the  following  where  designated  for  course  descriptions:    C  =  Communication  Intensive  Course  D  =  Diversity  Intensive  Course  I  =  International  Intensive  course  SL4  =  Service  Learning  4th  Credit  Option  EMB  =  Embedded  Service  Learning    LSM-­‐AM  =  Liberal  Studies  Major  (American  Studies)  LSM-­‐DS  =  Liberal  Studies  Major  (Diversity  and  Society)  LSM-­‐EG  =  Liberal  Studies  Major  (Earth,  Environment,  and  Global  Sustainability)  LSM-­‐ES  =  Liberal  Studies  Major  (Ethics  and  Social  Responsibility)  LSM-­‐GP  =  Liberal  Studies  Major  (Global  Perspectives)  LSM-­‐HN  =  Liberal  Studies  Major  (Health  and  Industry)  LSM-­‐MS  =  Liberal  Studies  Major  (Media  Arts  and  Society)  LSM-­‐QP  =  Liberal  Studies  Major  (Quantitative  Perspectives)    Synchronous  Remote  Course:  students  will  work  on-­‐line  from  a  remote  location  during  the  regularly  assigned  class  times.    Hybrid  Course:  students  will  have  the  option  of  attending  in  the  classroom  OR  working  from  a  remote  location  during  the  regularly  scheduled  class  times.    **:  Designates  cluster  courses.  Requires  registration  for  both  courses  listed.  

 

 

 

   

  8  

MAY  INTENSIVES  -­‐  2015  COURSE  DESCRIPTIONS      COM  311:  MONEY,  POWER,  COMMUNICATION  (3  credits)  S11:  Randy  Nichols,  MTWRF,  9:00AM-­‐5:00PM  –  C,  D,  LSM-­‐AS,  LSM-­‐MS  Mandatory  Pre-­‐session  April  17,  6-­‐8PM.  Class  meets  May  11-­‐15.      Prerequisite:  EXP  101                Musicians   have   sung   about   it;   filmmakers   have   documented   it;   even   video  games   like  The  Sims  have  said   something  about   the  struggle  over  money  and  power  –  who  has  it,  who  needs  it,  and  what  it  can  be  used  for.  This  course  uses  a  mixture  of  films,  games,   lectures,  class  discussions  and  exercises  to  examine  this   struggle—particularly   through   mass   communication.   By   drawing   on  examples   from   a   variety   of  media,   the   course  will   illustrate   not   just   how  we  commonly  view  money  and  power  but  also  how  we  relate  our  perceptions  of  those  things  to  other  categories  such  as  gender,  race,  and  sexuality.    MC  342:  MEDIA  INDUSTRY  CONVERGENCE  (3  credits)  S11:  Jennifer  Gillan,  MTWRF,  9:00AM-­‐5:00PM  –  C,  LSM-­‐MS    Mandatory  Pre-­‐session  April  17,  6-­‐8PM.  Class  meets  May  11-­‐15.      This   course   considers   the   changes   to   the   structure   and   scope   of   Hollywood  studio   and   television   network   operations,   especially   in   response   to   the  emergence   of   new   technologies,   cross-­‐media   conglomerates,   transnational  patterns   of   circulation,   and   new   distribution   platforms   (e.g.,   Blu-­‐ray/DVD,  iTunes,  Netflix).  Our  analysis  of   the  millennial  media   industries   is  grounded   in  two   case   studies   of   midcentury   Disney   and   Warner   Brothers.   Through  comparison  to  current  conglomerate  practices  and  recent   films  and  television  programs,   these   studio   case   studies   provide   historical   foundations   for   an  examination  of  convergence  culture—the  technological,  industrial,  cultural  and  social   changes   to   the   way   media   circulate   in   and   among   cultures.   This  intersection   of   media   practices   also   impacts   how   media   industries   pursue  national  and  global  audiences.  To  that  end,  we  study  trailers,  posters,  promos,  and   engagement   campaigns   associated  with   blockbuster   and   niche   films   and  television   series.   We   analyze   particular   forms   of   visual   communication   and  address   the   limitations   of   that   communication   given   studio,   network,   and  corporate  practices  and  priorities  as  well  as   cultural,   social,  and   technological  constraints.  The  course  combines  seminar-­‐style  discussion,  group  assignments,  and  written  response.  Screenings  are  held  outside  of  class.    

 

SUMMER  I  -­‐  2015  COURSE  DESCRIPTIONS      COM  210:  EFFECTIVE  SPEAKING  (3  credits)    E11:  Zachary  Hanzel-­‐Snider,  T/R,  6:00-­‐9:10PM  –  C  Prerequisite:  EXP  101.  Fulfills  A&S  or  Hum/SS  elective,  not  LIT  elective.      Success  in  every  aspect  of  business  life,  from  interviewing  to  meetings  to  giving  reports  and  presentations,  from  sales  to  management  to  client  relationships  in  accounting  and  finance—all  depend  on  the  ability  to  speak  confidently,  and  to  project   oneself   and   one’s   message   effectively.   Developing   these   skills  strengthens  presentations  in  other  classes  as  well.  This  course  gives  techniques  and   tools   for   developing,   organizing,   and   delivering   a   variety   of   strong  presentations.  It  also  covers  effective  use  of  Powerpoint  and  other  visual  aids,  and  methods  for  overcoming  stage  fright  and  anxiety  about  public  speaking.            

  9  

SUMMER  II  -­‐  2015  COURSE  DESCRIPTIONS      CIN  370:  HORROR/SCI-­‐FI  IN  CONTEMPORARY  FILM  &  TELEVISION  (3  credits)    L21:  Elizabeth  LeDoux,  M/W,  6:00-­‐9:10PM  –  LSM-­‐AS,  LSM-­‐MS  Hybrid  course  /  Fulfills  LIT  requirement  or  A&S  elective.          Isaac  Asimov,  master  of  hard  science  fiction,  once  said,  “science  fiction  can  be  defined   as   that   branch   of   literature  which   deals   with   the   reaction   of   human  beings  to  changes   in  science  and  technology.”  Stephen  King,  master  of  horror  fiction,   stated,  “we  make  up  horrors   to  help  us  cope  with   the   real  ones.”  The  study   of   the   horror   and   science-­‐fiction   genres   in   film   and   television   offers  unique   insight   into   the   consequences   of   the   what   if?   scenario.   These   two  genres,   sometimes   referred   interchangeably   and   occasionally   viewed   as  overlapping  in  shared  codes,  conventions,  and  iconography,  provide  a  means  to  debate   cautionary   social   and   political   controversies   surrounding   unforeseen  futures,  usually  dystopias,  or  the  creation  or  existence  of  unimaginable  beings  —  both  of  which  are  positioned  as  a  detriment  to  humanity.   In  particular,  the  two  genres’  most  central  conveyance  concerns  the  perception  of  the  other  and  the  protagonist’s  struggle  to  remain  or  become  human  and/or  moral.  Although  this  course  will  provide  an  historical  survey  of  some  of  the  more  influential  and  popular   films  and  television  programs  of   the   two  genres,   the   focus  will  be  on  contemporary   work   that   reinvents   prior   axiomatic   tropes   by   contextualizing  them   with   specific   social   commentaries   on   the   science   and   horrors   of   the  present.  We   will   explore   issues   of   gender,   race,   sexuality,   and   class   through  such   vehicles   as:   disaster   —   alien   invasion,   environmental   catastrophes,  humans  supplanted  by  technology,  the  apocalypse,  and  pandemics;   identity  —  cyborgs,   clones,   experimentation   by   biotech   and   government,   precognition,  and   artificial   intelligence;   and,   the   fantastical   —   monsters,   the   paranormal,  time   travel,   and   the  devil   incarnate.   Contemporary   television  programs   to  be  viewed   and   discussed   will   likely   include   Fringe,   iZombie,   Battlestar   Galactica  (2004),   Black   Mirror,   The   Leftovers,   The   Walking   Dead,   Orphan   Black,   Helix,  Lost,  Game  of   Thrones,  American  Horror   Story   (Murder  House/Asylum),  Being  Human   (U.K.),   Constantine,   Supernatural,   and   Penny   Dreadful.   Recent   films  may   include  Moon,  District   9,   The  Host   (2006),   Edge  of   Tomorrow,  Under   the  Skin,   Ringu,   Snowpiercer,   The   Babadook,   A   Girl   Walks   Home   Alone   at   Night,  Minority   Report,   Devil’s   Backbone,   Only   Lovers   Left   Alive,   X-­‐Men,   The   Guest,  and  Cabin  in  the  Woods.  A  few  genre-­‐bending  horror  comedies,  such  as  Shaun  of  the  Dead,  What  We  Do   in  the  Shadows,  Black  Sheep,  and  Zombieland,  may  complete  the  mix.    

     EXP  101L:  EXPOSITORY  WRITING  I  WITH  LAB    (3  credits)  ST1:  Wiley  Davi,  M/W,  8:00AM-­‐12:00PM;  1:00-­‐2:00PM  STEP  Program  only.                Students   learn   to   summarize,  analyze,  evaluate,  and   synthesize   the  published  views  of  others.  The  course  addresses  questions  such  as:  What  does  it  take  to  “crack”   a   difficult   text?   To   assess   the   soundness   of   a   text?   To   position   other  sources   and   oneself   in   relation   to   a   text?   Instructors   of   Expository  Writing   I  assign  readings  that  advance  students’   learning,  challenge  them   intellectually,  engage   them   in   the  process  of   thinking   critically   about   the   issues   raised,   and  motivate   them   to   construct  meaning   of   their   own.   Students   are   expected   to  complete  Expository  Writing  I  by  the  end  of  their  first  year.  Designed  for  native  speakers  of  English  who  can  benefit  from  an  intensive  writing  lab.    MC  345:  THE  MUSIC  INDUSTRY  (3  credits)    R21:  Ben  Aslinger,  M/W,  6:00-­‐9:10PM  –  LSM-­‐MS  Remote  course.                    This   course   examines   changes   in   the   structure   of   the  music   industry   and   the  evolution  of  popular  music  forms  and  genres.  Industrial  topics  include  the  rise  and  fall  of  various  playback  technologies,  cultural  anxieties  surrounding  genres  such   as   jazz   and   rap,   and   intellectual   property.   This   course   provides   an  introduction  to  the  organization  and  structure  of  the  music  industry  through  an  examination  of   the  activities  and  strategies  of   labels,  publishers,  performance  rights  organizations,   startups,   and   subscription   services.   Students   learn   about  how  globalization  and  new  technologies  challenge  production  and  distribution  norms.  Students  are   introduced   to  debates  about  commerce  and  creativity   in  rock,  pop,  indie  rock,  hip  hop,  electronica,  world,  and  remix  music.        

   

  10  

FALL  -­‐  2015  COURSE  DESCRIPTIONS      

Art  

ART  222:  GOING  TO  SYMPHONY  (3  credits  -­‐  awarded  in  spring  term)  E01:  Mike  Frank,  M,  6:30-­‐9:10PM              A   3-­‐credit   course   designed   to   introduce   the   world   of   “Classical   Music”   to  students  with  little  or  no  previous  experience  with  it.  The  course  is  built  around  attendance   at   concerts   by   the   Boston   Symphony   Orchestra   and   other   local  performing  organizations,  and  culminates  in  a  trip  to  the  Metropolitan  Opera  in  New   York.   This   course   runs   through   the   entire   academic   year,   with   class  meetings   once   every   other   week   from   early   October   to   early   April,   six   class  meetings  in  each  semester.  Three  credits  are  awarded  at  the  end  of  the  spring  semester.  Class  meetings  will  consider  the  various  elements  that  make  up  the  world  of  what  is  called  “classical  music,”  the  historical  background  out  of  which  it   grew,   and   its   place   in   contemporary   culture.   Each   class   meeting   will   be  structured   around   a   detailed   examination   of   one   or   more   of   the   particular  pieces  of  music  that  the  class  will   later  hear  performed  live.  While  much  time  will  be  spent  listening  to  these  particular  pieces,  they  will  always  be  considered  in  the  context  of  relevant  historical,  generic,  and  aesthetic  factors.  A  Beethoven  symphony,  for  example,  might  be  discussed  in  the  context  of  the  growth  of  the  middle   class   audience,   or   of   changes   in   orchestration,   but   the   emphasis   will  always   be   on   two   related   things:   the   actual   experience   of   music   –   that   is,  learning   what   the   music   sounds   actually   like,   and   the   aesthetic   framework  within   which   it   was   intended   to   be   heard.   Homework   assignments   will   ask  students   to   prepare   for   class   meetings   by   reading   extended   program   notes  about  the  works  to  be  heard  and  about  their  musical  and  cultural  contexts,  and  by  carefully  listening  to  the  CDs  that  will  be  provided  to  them.  Course  runs  for  a  full  year.  Meets  6  times  in  the  fall  and  6  times  in  the  spring.    

     

Cinema  Studies    CIN  270:  INTRODUCTION  TO  CINEMA  STUDIES  (3  credits)    001:  Anna  Siomopoulos  M/R,  12:30-­‐1:50PM  –  LSM-­‐MS  002:  Anna  Siomopoulos  M/R,  2:00-­‐3:20PM  –  LSM-­‐MS  Fulfills  LIT  requirement  or  A&S  elective.            This   course   is   designed   to   introduce   you   to   the   history   and   analysis   of  film.  While   learning   the   technical  and  critical  vocabularies  of   film  studies,  you  will   examine   films   representing   a   variety   of   styles   and   genres,   including  experimental,   documentary,   and   narrative   modes.  Course   readings   and   class  discussions   will   also   familiarize   you   with   extra-­‐textual   discourses   about   film  industries   as   social   and   economic   institutions.  Because   the   course   has   both   a  global  and  an  historical  scope,  you  will  study  films  from  the  silent  period  to  the  present,   and   from   many   different   nations,   including   Italy,   France,   Germany,  and  Czechoslovakia.  

CIN  371:  GREAT  DIRECTORS:  ALFRED  HITCHCOCK  (3  credits)    H01:  Mike  Frank,  R,  6:30-­‐9:10PM  –  D,  LSM-­‐MS  Honors  Program  Only.  Fulfills  LIT  requirement  or  A&S  elective.        Alfred   Hitchcock   is   among   the  most   important   –   and  most   famous   –   of   film  directors,   and   the   reasons   for   his   prominence   are   a   useful   key   to   the  development  of   cinema  as   the   leading  art   form  of   the  20th   century.    Many  of  these  reasons  are,  as  would  be  expected,  connected  to  the  quality  of  the  films  themselves:  Hitchcock  perfected  the  genre  of  the  thriller,  developed  a  number  of  camera  techniques  that  proved  very  seductive  to  audiences,  and  mastered  a  light  touch  allowing  him  to  deal  with  fairly  somber  subjects  in  ways  that  made  them  palatable   to  viewers.  For  many  he   is   the   inventor  of   the  modern  horror  film.  More   significantly,   perhaps,   his   films   show   a   remarkable   sensitivity   to  some   of   the   complex   gender   issues   that   became   a   central   feature   of   20th  Century  consciousness  –  and  these  films  are  often  a  sharp  guide  to  the  tensions  that  accompanied  that  century’s  sexual  revolutions.  This  course  will  consider  a  wide  range  of  Hitchcock  films,  ranging  from  silent  films  made  in  the  twenties  to  Technicolor   blockbusters   made   in   the   sixties,   as   a   way   to   try   to   understand  their  own  specific  qualities  and  their  place  in  20th  Century  filmmaking.  Students  will  be  required  to  watch  a  film  a  week  out  of  class.  There  is  no  final  exam;  the  course   grade   will   be   based   on   participation,   informal   writing   assignments,   a  few  brief  quizzes,  and  a  significant  final  research  paper.  

 

  11  

Cinema  Studies  

CIN  376:  FOOD  AND  INTERNATIONAL  FILM  (3  credits)  001:  Samir  Dayal,  M/W,  3:30-­‐4:50PM  –  I,  LSM-­‐GP,  LSM-­‐MS  002:  Samir  Dayal,  M/W,  5:00-­‐6:20PM  –  I,  LSM-­‐GP,  LSM-­‐MS  Fulfills  LIT  requirement  or  A&S  elective.            This  course  is  based  on  the  analysis  of  international  film,  interpreting  the  films  on  a  parallel  track  with  other  media,  particularly  literature  and  cultural  theory.  Students  in  this  class  will  have  the  opportunity  to  explore  the  power  of  food  to  function  as  an  important  sustainer  of  human  life  and  as  a  source  of  pleasure—as  well  as  the  power  of  business  connected  to  the  production  and  distribution  of   food—to   shape   the   way   we   live   in   and   experience   the   world.   But   it   also  explores  the  codes  of  food  consumption-­‐-­‐how  food  works  in  ways  that  are  not  directly   about   maintaining   life   so   much   as   they   have   to   do   with   elaborating  cultural   ideas.   The   course   will   highlight   the   wider   context   of   debates  concerning  food  production,  distribution  and  consumption,   including   issues  of  fair  trade,  branding,  fashion  (including  dietary  fashions  and  fashions  of  dieting),  anorexia,   bulimia,   obesity,   veganism,   and   environmentalism   (and   therefore  questions  of  sustainability  and  ethical  use  of  consumable  nature).  Students   in  this  course  must  be  willing  to  view  all  films  in  their  entirety  outside  of  class  as  directed  on  the  class  website.  CIN  382:  THE  CITY  IN  AMERICAN  FILM  (3  credits)  E01:  Ken  Stuckey,  T,  6:30-­‐9:10PM  –  D,  LSM-­‐MS  Fulfills  LIT  requirement  or  A&S  elective.            This   course   examines   the   image   of   the   city   of   New   York   in   20th   Century  American   film.  Close  attention   is  paid  to   issues  of   race  and  sexual  orientation  amid   the   multiple,   sometimes   conflicting   portrayals   of   New   York:   a   place   of  refuge,  safety,  violence,  intolerance,  prosperity,  and  poverty.  While  the  setting  provides   the  conceptual   theme  of   the  course,   students  are   invited   to  analyze  these   films   from   the   widest   possible   array   of   perspectives,   grounded   in   the  critical   approaches   relevant   to   the   discipline   of   cinema   studies   and   narrative  interpretation.  Possible   films  under  examination   in   this   course   include  Do   the  Right  Thing,  Taxi  Driver,  Dog  Day  Afternoon,  and  American  Psycho.  

Language  Studies  and  Communication  Theory  

COM  210:  EFFECTIVE  SPEAKING  (3  credits)    002:  Joshua  Lederman,  T/F,  11:00AM-­‐12:20PM  –  C  003:  Joan  Atlas,  M/R,  2:00-­‐3:20PM  –  C,  SL4  004:  Colleen  Fullin,  T/R,  3:30-­‐4:50PM  –  C  005:  TBA,  M/W,  3:30-­‐4:50PM  –  C  006:  TBA,  M/W,  5:00-­‐6:20PM  –  C  E01:  Christine  Sarkisian,  T,  6:30-­‐9:10PM  –  C  Prerequisite:  EXP  101.  Fulfills  A&S  or  Hum/SS  elective,  not  LIT  elective.      Success  in  every  aspect  of  business  life,  from  interviewing  to  meetings  to  giving  reports  and  presentations,  from  sales  to  management  to  client  relationships  in  accounting  and  finance—all  depend  on  the  ability  to  speak  confidently,  and  to  project   oneself   and   one’s   message   effectively.   Developing   these   skills  strengthens  presentations  in  other  classes  as  well.  This  course  gives  techniques  and   tools   for   developing,   organizing,   and   delivering   a   variety   of   strong  presentations.  It  also  covers  effective  use  of  Powerpoint  and  other  visual  aids,  and  methods  for  overcoming  stage  fright  and  anxiety  about  public  speaking.        COM  311:  MONEY,  POWER,  COMMUNICATION  (3  credits)  011:  Randy  Nichols,  T/R,  3:30-­‐4:50PM  –  C,  D,  LSM-­‐AS,  LSM-­‐MS  Prerequisite:  EXP  101                Musicians   have   sung   about   it;   filmmakers   have   documented   it;   even   video  games   like  The  Sims  have  said   something  about   the  struggle  over  money  and  power  –  who  has  it,  who  needs  it,  and  what  it  can  be  used  for.  This  course  uses  a  mixture  of  films,  games,   lectures,  class  discussions  and  exercises  to  examine  this   struggle—particularly   through   mass   communication.   By   drawing   on  examples   from   a   variety   of  media,   the   course  will   illustrate   not   just   how  we  commonly  view  money  and  power  but  also  how  we  relate  our  perceptions  of  those  things  to  other  categories  such  as  gender,  race,  and  sexuality.    COM  322:  THEORIES  OF  PERSUASION  (3  credits)      001:  Mary  Marcel,  M/W,  3:30-­‐4:50PM      Prerequisite:  EXP  101                The  study  of  persuasion,  or  rhetoric,  began  in  a  society  with  no  lawyers,  ancient  Greece.   Much   has   changed   since   then,   including   the   shift   from   face-­‐to-­‐face  persuasion   and   negotiation,   to   the   introduction   of   writing   and   then   mass  media,  and  with  it,  new  forms  of  persuasion  including  advertisement.  Covers  all  these   forms,   and   topics   such   as   the   relation   between   truth   and   rhetoric,  between   form   and   content,   and   the   psychology   of   persuasion.   Students  may  analyze   persuasive   strategies   used   in   advertising,   literature,   political/legal  discourse,  and  science  and  technology.  

  12  

English  and  Media  Studies  

EMS  200:  INTRODUCTION  TO  FILM,  LITERATURE,  AND  MEDIA  (3  credits)      001:  Ben  Aslinger,  M/W,  8:00-­‐9:20AM  –  C,  D            This  course  helps  students  become  more  adept  readers  of  cultural  texts.  When  we  read  a  text,  we  engage  in  a  practice;  this  practice  is  shaped  by  the  text  and  by  the  conditions  of  its  production  and  reception.  This  course  provides  a  basic  foundation  for  understanding  how  a  variety  of  textual   forms  and  genres  work  in   terms   of   style   and   form.   Students   will   read,   view,   and   listen   for   plot   and  pleasure   as   well   as   for   the   intricate   processes   of   narrative,   visual,   and   sonic  construction   that   create   meanings   and   affect   audiences.   This   course   asks  students   to   think  about   texts  are  made  and  to  think  about  what  practices  we  use  to  critically  read  cultural  texts.    

EMS  201:  INTRODUCTION  TO  CULTURAL  STUDIES  (3  credits)      001:  Catherine  Fung,  M/R,  11:00AM-­‐12:20PM  –  C,  D            What  is  “culture”?  What  is  “popular  culture”  and  why  and  how  do  we  think  and  write   about   it?   To   begin   to   answer   these   questions,   this   course   considers  popular  culture  as  an  arena  of  social  and  political  struggle.  This  course  looks  at  how   cultural   texts   change   meaning   and   significance   as   they   become  increasingly   “popular.”   For   example,   Hip   Hop,   initially   a   subcultural   form   of  expression,   is   now   produced   on   every   continent.   It   began   as   a   supposedly  subversive,  distinctly   “urban”  and   countercultural   “voice,”   yet   these   texts   are  also   read   as   masculinist   violence   against   women   and   products   for/of   mass  consumption  purveyed  through  conduits  of  global  capital.  Is  what  we  consider  “popular”   completely   evacuated   of   substantive   meaning?   Is   it   a   matter   of  generational   and   disciplinary   differences?   If   we   are   considering   sub-­‐cultural  formations,  do  you  have   to  be  “in”   the  culture   to  be  able   to  “read”   the   texts  produced  by  that  culture?  What  does  it  mean  to  read  from  outside?  This  class  gives   students   a   vocabulary   to   enter   debates   about   the  meanings   of   cultural  texts.   In  particular,  we  will   examine  work  which  argues   that   the   space  of   the  popular   is   meaningful,   that   it   can   be   a   site   of   pleasure   and   resistance   and  consider   the   role  of  popular   culture  with   respect   to   identity   formation,   social  location,  pleasure  and  power  in  their  quotidian  expressions.  The  success  of  this  course  will  depend  on  taking  what  we  “learn”  in  the  classroom  and  applying  it  to  the  outside  world  in  which  we  live.  Assessment  will  be  based  on  small  paper  assignments,  class  participation,  a  mid-­‐term,  and  final  paper.  

Expository  Writing  I:  Critical  Thinking  and  Writing  

EXP  101:  EXPOSITORY  WRITING  I    (3  credits)  001:  Traci  Abbott,  M/W,  9:30-­‐10:50AM  –  SL4    002:  David  Copeland,  M/W,  8:00-­‐9:20AM    003:  David  Copeland,  M/W,  9:30-­‐10:50PM  004:  Debra  Goldberg,  M/R,  11:00AM-­‐12:20PM  –  SL4  005:  Debra  Goldberg,  M/R,  12:30-­‐1:50PM  –  SL4  006:  Mareike  Stanitzke,  T/F,  8:00-­‐9:20AM  007:  Joshua  Lederman,  T/F,  12:30-­‐1:50PM  009:  Claudia  Stumpf,  M/W,  5:00-­‐6:20PM  010:  Ralph  Pennel,  T/F,  11:00AM-­‐12:20PM  –  SL4  011:  Colleen  Fullin,  T/R,  5:00-­‐6:20PM  012:  Thomas  Finn,  M/W,  3:30-­‐4:50PM  013:  Thomas  Finn,  M/W,  5:00-­‐6:20PM  014:  Zachary  Hanzel-­‐Snider,  M/W,  9:30-­‐10:50AM  015:  Zachary  Hanzel-­‐Snider,  T/F,  9:30-­‐10:50AM  016:  Claudia  Stumpf,  M/W,  3:30-­‐4:50PM  017:  Mareike  Stanitzke,  T/F,  9:30-­‐10:50AM  E01:  Patricia  Peknik,  R,  6:30-­‐9:10PM            Students   learn   to   summarize,  analyze,  evaluate,  and  synthesize   the  published  views  of  others.  The  course  addresses  questions  such  as:  What  does  it  take  to  “crack”   a   difficult   text?   To   assess   the   soundness   of   a   text?   To   position   other  sources   and   oneself   in   relation   to   a   text?   Instructors   of   Expository  Writing   I  assign  readings  that  advance  students’   learning,  challenge  them   intellectually,  engage   them   in   the  process  of   thinking   critically   about   the   issues   raised,   and  motivate   them   to   construct  meaning   of   their   own.   Students   are   expected   to  complete   Expository   Writing   I   by   the   end   of   their   first   year.   Designed   for  students  who  are  native  speakers  of  English.        

  13  

Expository  Writing  I:  Critical  Thinking  and  Writing    EXP  101L:  EXPOSITORY  WRITING  I  WITH  LAB    (3  credits)  001:  Eli  Evans,  T/F,  11:00AM-­‐1:50PM  002:  Mike  Frank,  M/R,  12:30-­‐3:20PM  003:  Erica  Arkin,  M/R,  11:00AM-­‐1:50PM  004:  Jacob  Crane,  M/W,  8:00-­‐10:50AM  005:  Debra  Goldberg,  T/R,  3:30-­‐6:20PM  –  SL4  006:  Zachary  Hanzel-­‐Snider,  T/F,  11:00AM-­‐1:50PM  007:  Joshua  Lederman,  M/R,  11:00AM-­‐1:50PM  008:  Patricia  Peknik,  T/R,  3:30-­‐6:20PM  009:  Claudi  Stumpf,  M/W,  8:00-­‐10:50AM  010:  Erica  Arkin,  M/W,  8:00-­‐10:50AM  011:  Jacob  Crane,  M/W,  3:30-­‐6:20PM    012:  Summar  Sparks,  T/F,  8:00-­‐10:50AM  –  SL4          Students   learn   to   summarize,  analyze,  evaluate,  and   synthesize   the  published  views  of  others.  The  course  addresses  questions  such  as:  What  does  it  take  to  “crack”   a   difficult   text?   To   assess   the   soundness   of   a   text?   To   position   other  sources   and   oneself   in   relation   to   a   text?   Instructors   of   Expository  Writing   I  assign  readings  that  advance  students’   learning,  challenge  them   intellectually,  engage   them   in   the  process  of   thinking   critically   about   the   issues   raised,   and  motivate   them   to   construct  meaning   of   their   own.   Students   are   expected   to  complete  Expository  Writing  I  by  the  end  of  their  first  year.  Designed  for  native  speakers  of  English  who  can  benefit  from  an  intensive  writing  lab.    EXP  102:  EXPOSITORY  WRITING  I  FOR  ESOL  (3  credits)  001:  Pamela  Carpenter,  M/R,  12:30-­‐1:50PM    002:  Patricia  Ellis,  M/R,  2:00-­‐3:20PM  003:  Heather  Jacob,  T/F,  12:30-­‐1:50PM  004:  Judith  Klein,  T/F,  9:30-­‐10:50AM  005:  Judith  Klein,  T/F,  12:30-­‐1:50PM            Students   learn   to   summarize,  analyze,  evaluate,  and  synthesize   the  published  views  of  others.  The  course  addresses  questions  such  as:  What  does  it  take  to  “crack”   a   difficult   text?   To   assess   the   soundness   of   a   text?   To   position   other  sources   and   oneself   in   relation   to   a   text?   Instructors   of   Expository  Writing   I  assign  readings  that  advance  students’   learning,  challenge  them   intellectually,  engage   them   in   the  process  of   thinking   critically   about   the   issues   raised,   and  motivate   them   to   construct  meaning   of   their   own.   Students   are   expected   to  complete   Expository   Writing   I   by   the   end   of   their   first   year.   Designed   for  international  and  bilingual  students.    

   EXP  102L:  EXPOSITORY  WRITING  I  FOR  ESOL  WITH  LAB  (3  credits)  001:  Judith  Klein,  M/R,  11:00AM-­‐1:50PM           Students   learn   to   summarize,  analyze,  evaluate,  and  synthesize   the  published  views  of  others.  The  course  addresses  questions  such  as:  What  does  it  take  to  “crack”   a   difficult   text?   To   assess   the   soundness   of   a   text?   To   position   other  sources   and   oneself   in   relation   to   a   text?   Instructors   of   Expository  Writing   I  assign  readings  that  advance  students’   learning,  challenge  them   intellectually,  engage   them   in   the  process  of   thinking   critically   about   the   issues   raised,   and  motivate   them   to   construct  meaning   of   their   own.   Students   are   expected   to  complete   Expository   Writing   I   by   the   end   of   their   first   year.   Designed   for  international  and  bilingual  students  who  can  benefit   from  an   intensive  writing  lab.        

  14  

Expository  Writing  II:  Advanced  Inquiry  in  Writing    EXP  201:  EXPOSITORY  WRITING  II  (3  credits)  001:  Pierce  Butler,  M/R,  2:00-­‐3:20PM  –  SL4    

 TOPIC:  "Religion  and  Culture"  002:  Keith  Clavin,  T/F,  11:00AM-­‐12:20PM  –  EMB,  SL4  003:  Keith  Clavin,  T/F,  9:30-­‐10:50AM  –  EMB,  SL4  004:  Aimée  Sands,  T/F,  12:30-­‐1:50PM    005:  Aimée  Sands,  T/F,  11:00AM-­‐12:20PM  006:  Martha  Singer,  T/F,  8:00-­‐9:20AM  –  SL4  007:  Martha  Singer,  T/F,  9:30-­‐10:50AM  –  SL4  008:  Kristina  Kopic,  M/W,  8:00-­‐9:20AM    009:  Kristina  Kopic,  M/W,  9:30-­‐10:50AM    010:  Matthew  Nelson,  R,  8:00-­‐10:50AM  011:  Matthew  Nelson,  W,  11:00AM-­‐1:50PM    012:  Kimberly  Vaeth  T/R,  3:30-­‐4:50PM  013:  Kimberly  Vaeth  T/R,  5:00-­‐6:20PM  014:  TBA,  M/W,  3:30-­‐4:50PM    015:  TBA,  M/W,  5:00-­‐6:20PM    E01:  Kevin  Browne,  R,  6:30-­‐9:10PM  H01:  Joan  Atlas,  M/R,  11:00AM-­‐12:20PM  –  EMB      TOPIC:  "Grant  Writing";  (Honors  Program  Only)  Prerequisite:  EXP  101  or  EXP  101L  with  approval          Expository  Writing  II  reinforces  and  advances  the  lessons  of  Expository  Writing  I,   leading   students   toward   mastery   of   the   processes   involved   in   sustained  inquiry:   questioning,   hypothesizing,   testing,   re-­‐hypothesizing,   and   re-­‐testing.  Students  undertake  an  ambitious  intellectual  project  that  culminates  in  a  final  paper  in  which  they  report  on  the  progress  they  have  made  through  extensive,  in-­‐depth   inquiry.  Projects  must  draw  on   library  and   Internet  sources  and  may  entail   original   research   that   takes   such   forms   as   interviews,   observations,  surveys,  and  service-­‐learning  experiences.  During  the  course,  students  will  have  opportunities   to   engage   in   guided   self-­‐assessment   for   the   purpose   of  generating   personalized   agendas   for   improvement   that   will   serve   them   both  during   the   course   itself   and   in   the   years   to   come.   Students   are   expected   to  complete   Expository  Writing   II   by   the   end   of   their   junior   year.   Designed   for  students  who  are  native  speakers  of  English.    

   EXP  201L:  EXPOSITORY  WRITING  II  WITH  LAB    (3  credits)  001:  Wiley  Davi,  M/W,  8:00-­‐10:50AM    Prerequisite:  EXP  101L  or  EXP  101  with  approval            Expository  Writing  II  reinforces  and  advances  the  lessons  of  Expository  Writing  I,   leading   students   toward   understanding   and   mastery   of   the   processes  involved   in   sustained   inquiry:   questioning,   hypothesizing,   testing,   re-­‐hypothesizing,   and   re-­‐testing.   Students   undertake   an   ambitious   intellectual  project   that   culminates   in   a   final   paper   in  which   they   report   on   the  progress  they   have   made   through   extensive,   in-­‐depth   inquiry.   Projects   may   draw   on  library   and   Internet   sources   and/or   may   entail   original   research   such   as  interviews,   observations,   surveys,   and   service-­‐learning   experiences.   Students  are  expected  to  complete  Expository  Writing  II  by  the  end  of  their  junior  year.  Designed  for  students  who  can  benefit  from  an  intensive  writing  lab.    

Expository  Writing  II:  Advanced  Inquiry  in  Writing    EXP  202:  EXPOSITORY  WRITING  II  FOR  ESOL  (3  credits)  001:  Mary  Wright,  M/R,  12:30-­‐1:50PM  –  SL4  Prerequisite:  EXP  101                Expository  Writing  II  reinforces  and  advances  the  lessons  of  Expository  Writing  I,   leading   students   toward   understanding   and   mastery   of   the   processes  involved   in   sustained   inquiry:   questioning,   hypothesizing,   testing,   re-­‐hypothesizing,   and   re-­‐testing.   Students   undertake   an   ambitious   intellectual  project   that   culminates   in   a   final   paper   in  which   they   report   on   the  progress  they   have   made   through   extensive,   in-­‐depth   inquiry.   Projects   may   draw   on  library   and   Internet   sources   and/or   may   entail   original   research   such   as  interviews,   observations,   surveys,   and   service-­‐learning   experiences.   Students  are  expected  to  complete  Expository  Writing  II  by  the  end  of  their  junior  year.  Designed  for  international  and  bilingual  students.  

  15  

Interdisciplinary  Studies    ID  211:  INTRODUCTION  TO  GENDER  STUDIES    (3  credits)  001:  Traci  Abbott,  M/R,  11:00AM-­‐12:20PM  –  D,  SL4,  LSM-­‐AS,  LSM-­‐MS      This   course  uses  a   cultural   studies  approach   to   study   the   social,  political,   and  theoretical   paradigms   that   structure   our   understanding   of   masculine   and  feminine   identity.     We   examine   the   origins   of   a   variety   of   perspectives   of  gender   identity,  how  these   ideas  have  changed   in  America’s  history,  and  how  notions  of  gender  identity  complicate  and  inform  our  concurrent  beliefs  about  sexuality,  class,  race,  and  ethnicity.    In  addition  to  exploring  texts  from  a  range  of  academic  backgrounds  as  well  as  texts  of  popular  culture,  literature,  and  art,  students  will  be  asked  to  make  relevant  connections  between  these  materials  and  their  impact  in  the  realm  outside  the  classroom.    

Creative  Writing    LIT  310:  CREATIVE  WRITING:  POETRY    (3  credits)    001:  Ralph  Pennel,  T/F,  12:30-­‐1:50PM  –  C                      Develops   the   student's   ability   to   recognize,   analyze,   and   design   effective  structures   of   imaginative   language   and   poetic   form.   Classroom   methods  include   workshops   to   critique   student   work,   in-­‐class   exercises,   analysis   and  exposition  of  works  by  noted  poets,  and  frequent  writing  assignments.      LIT  311:  CREATIVE  WRITING:  FICTION  (3  credits)    SX1:  Pierce  Butler,  S,  9:00AM-­‐5:00PM  –  C,  SL4  Mandatory  Pre-­‐session  9/26.  Class  meets  10/3,  10/24,  10/31,  11/7,  11/14.    This   course   is   an   intensive   workshop   in   writing   short   stories—and   an  exploration   of   the   creative   process.   The   material   of   the   course   is   drawn  primarily  from  your  own  experience.  How  can  you  understand  this  experience  by  writing  about  it?  How  can  you  gain  a  greater  understanding  of  yourself  as  a  writer?  How   can   you   get   in   touch  with   your   own   creativity?   The   emphasis   is  divided   between   the   technique   of   short-­‐story   writing   and   an   analysis   of   the  psychological   difficulties   faced   by   individual   writers.   You   will   study   the  elements   of   fiction,   analyze   the   stories   of   contemporary   writers,   and   apply  what   you   learn   in   your   own  writing.   You  will   also   read  work-­‐in-­‐progress   and  receive   constructive   suggestions   from   the   group.   Each   student   will   conceive,  write,   and   revise   four   complete   short   stories.   Visiting   writers   are   frequently  invited  to  sit  in  on  a  class.    

   LIT  312:  CREATIVE  WRITING:  DRAMA/SCREENWRITING  (3  credits)    001:  Gregory  Faber-­‐Mazor,  T/F,  11:00AM-­‐12:20PM  –  C,  LSM-­‐MS      Develops  students'  ability  to  write,  analyze,  and  critique  essential  elements  of  dramatic   writing   for   the   stage   and   screen,   including   structure,   character,  dialogue,  and  story.  Emphasizes  writing  for  the  theatre  vs.  the  screen;  may  vary  from  semester  to  semester.  Classroom  methods  include  workshops  to  develop  student  work,   in  class  exercises,   frequent  writing  assignments,  and  analysis  of  short  and  feature-­‐length  films,  stage  plays,  and  screenplays.  The  class  is  limited  in  size.  

LIT  313:  CREATIVE  WRITING:  NONFICTION/ESSAY  (3  credits)    001:  Val  Wang,  M/R,  2:00-­‐3:20PM  –  C                        Personal   essay   and  memoir   are   among   the  most   popular   forms   of   literature  today,  a   fact  one  can  confirm  by   looking  any  Sunday  at   the  best  sellers   list   in  the   New   York   Times.   Emphasizes   creativity   of   expression   and   provides   an  opportunity   to   practice   these   genres.   Encourages   experimentation   with   a  variety  of   first-­‐person   forms  and  shows  how  to   treat   subjects   that   they  know  about   and   that   are   important   to   them.   Conducted   as   a   workshop   in   which  students  share  their  work  with  and  learn  from  one  another.  Frequent  individual  conferences  with  the  instructor.  The  class  is  limited  in  size.    LIT  314:  CREATIVE  WRITING:  MIXED  GENRES  (3  credits)    001:  Val  Wang,  M/R,  11:00AM-­‐12:20PM  –  C                      Each   student   chooses   his   or   her   own   work   (family   history   or   memoir,   love  poetry  or  satire,  nature  or  adventure  writing,  whatever  you  want).  Using  class  and   individual   exercises,   videotaped   inspiration,   and   guests   discussing   their  own  work  in  progress,  students  will  learn  the  major  skills  of  each  written  genre  to   apply   to   their   own   special   piece.   Include   word   choice,   imagery,   language  rhythm,   conflict,   characterization,   narrative   intervention,   and   tone.   Other  overarching   concerns   that   professional   writers   struggle   with   include   subtext,  production,  and  intention.  The  class  is  limited  in  size.    

  16  

Literature    LIT  230:  LIT  &  CULTURE:  LITERATURE  OF  THE  SPIRITUAL  JOURNEY  (3  credits)    001:  Pierce  Butler,  M/R,  12:30-­‐1:50PM  –  C,  SL4          The   journey   of   the   seeker   appears   in   the   literature   of   all   religious   traditions.  The   study   of   this   journey   in   different   cultural   contexts   can   lead   to   an  understanding   of  what   the   different   traditions   have   in   common.   All   religions  postulate   the  existence  of   a  path  or  way,   a  pilgrim’s  progress  of  well-­‐defined  stages.  We’ll  study  these  stages  as  they  are  represented  in  the  original  sacred  texts  and  as  they  appear  in  the  personal  accounts  of  seekers  and  in  the  works  of  writers  who   represent   religious   experience   in   fictional   or   poetic   form.   You  will  be  encouraged  to  compare  the  religious  tradition  with  which  you  are  most  familiar   with   the   other   traditions   that   we   study,   to   examine   religious  stereotypes,   and   to   come   to   a   more   complex   understanding   of   religious  identity.  We  will   try   to   cultivate   a   greater   receptivity   to   traditions   that  might  otherwise  seem  strange  and  incomprehensible  and  to  understand  the  role  that  culture  and  custom  play  in  determining  the  form  of  a  religion.  Some  texts  that  we   will   study:   Lying   Awake,   a   novel   about   a   Carmelite   nun   in   an   urban  monastery   in  LA;  Herman  Hesse’s  Siddhartha,  a  novel  based  on  the   life  of  the  Buddha;   Jack   Kerouac’s   The   Dharma   Bums,   a   free-­‐wheeling   account   of   the  pursuit   of   Buddhist   values   in   the  milieu   of   the   beat   poets   and  writers   of   the  1950s;   Laughing   Boy,   a   story   of   the   efforts   of   the   Navajo   to   preserve   the  spiritual  basis  of  their  way  of  life.    LIT  260:  INTRO  TO  AFRICAN-­‐AMERICAN  LITERATURE  &  CULTURE  (3  credits)    001:  Ken  Stuckey,  T/R,  3:30-­‐4:50PM  –  D,  LSM-­‐AM/DS/ES          This   course   will  offer   a   survey   of   the   major   moments   in   African   American  literary  history.  We  will  take  primarily  a  chronological  approach,  addressing  the  major   forms   and   periods   such   as   the   abolitionist   movement,   the   Harlem  Renaissance,   the   naturalistic   era,   and   the   thriving   presence   of   black   women  writers   in   the   modern   era.   Authors   to   be   considered   include   Wheatley,  Douglass,   Wright,   Baldwin,   Angelou,   Wilson,   and   Morrison.   The   course  will  cover  novels   and   autobiography   primarily,   but   will  also  include   a   unit   on  rap   and   hip-­‐hop.   The   course   grade  will   be   drawn   from  quizzes,   a  midterm,   a  final,  and  a  6-­‐page  essay.    

   LIT  332:  IMAGES  OF  THE  HERO  (3  credits)      001:  Barbara  Paul-­‐Emile,  M/R,  11:00AM-­‐12:20PM  –  C,  D,  I    002:  Barbara  Paul-­‐Emile,  M/R,  2:00-­‐3:20PM  –  C,  D,  I            This  course  examines  the  masks  of  the  hero  as  expressions  of  universal  cultural  values  and  perspectives.    This  class  explores  the  concept  of  the   journey  of  the  hero   as   a   universal   metaphor   for   the   human   search   for   meaning   and   self-­‐knowledge.    Students  will  analyze  texts  and  films  to  discover  the  ways  in  which  the   image   of   the   hero   is   shaped   by   deep   structures   in   the   mass   psyche.    Attention  will   be   paid   to   the   essential   nature   of   the   hero   across   time   and   to  Carl   Jung’s   archetypal   patterns   as   expressed   in   such   models   as   the  warrior,  wanderer,  seer,   lover,  ruler,  caregiver,  magician  and  sage,  among  others.    The  conflict  between  competing  value   systems  such  as  personal   reward  vs.  public  recognition  will  be  examined.    Class  members  will  focus  on  the  various  guises  in  which   the   image   of   the   hero   is   presented   in   selected   contemporary   films.    Students  will   be   encouraged   to   appreciate   “the  wonderful   song   of   the   soul’s  high  adventure”  by  recognizing  the  heroic  in  their  own  lives.      LIT  333:  LITERATURE  AND  FILM  OF  THE  VIETNAM  WAR    (3  credits)    001:  Catherine  Fung,  M/R,  2:00-­‐3:20PM  –  C,  D,  LSM-­‐AM/ES/GP      The   Vietnam   War   is   often   remembered   as   an   event   that   changed   America  forever.    But  what  does  this  mean?  In  this  course,  we  will  critically  examine  the  ways   in   which   the   Vietnam   War   impacted   the   American   cultural   landscape,  specifically   how   the   war   shaped   discourses   surrounding   race,   gender,  nationalism  and  citizenship.  Vietnam  War  literature  and  film  usually  represent  the  war   through   the  point  of  view  of   the   (white)  American  soldier  who  bears  the  wounds  of  his  service.  This  course  will  cover  not  only  the  soldier’s  story,  but  also  that  of   individuals  whose  experiences  with  the  war  often  get  overlooked,  such  as  African  American  soldiers,  women  who  served  in  the  war  or  stayed  at  home,  and  refugees  who  came  to  the  US  after  the  war  ended.  We  will  examine  the   war   alongside   other   events   and   movements   that   occurred   in   that   same  time   period,   including   the   Civil   Rights   Movement,   the   Women’s   Liberation  Movement,   and   the   changing   of   US   immigration   laws.   In   focusing   on   the  question   of   how   the   Vietnam   War   changed   America,   and   in   attempting   to  answer   this  question   through  multiple  perspectives,   this   course  dissects  what  defines  America  during  wartime,  and  asks  whether  that  definition  changes  with  each  subsequent  war.            

  17  

Literature    LIT  337:  CARRIBEAN  LITERATURE    (3  credits)      001:  Kevin  Browne,  T/R,  5:00-­‐6:20PM  –  D,  I,  LSM-­‐GP          This   course   introduces   students   to   the   literature   and   rich   cultural   heritage  of  the  mosaic  of   islands   that   is   the  Caribbean.  Texts  selected   from  the   following  genres:   novel,   short   fiction,   drama   and   poetry   will   speak   to   the   Caribbean  experience   across   national   and   ethnic   lines.   Emphasis   will   be   placed   on   the  shaping   influences  of  Africa,  Europe  and  the  Far  East  on  national  character  as  reflected  in  religious  beliefs  and  mysticism,  socio-­‐political  issues,  race  relations,  color,   class,   musical   and   artistic   expression.   Attention   will   be   paid   to   the  crucible   of   slavery   and   colonialism   in   the   shaping   of   modern   identity   and  contemporary  world-­‐view.  Students  will   receive  study  aids   to  use  as  guides   in  the  analysis  of   textual  material,   in   the  developing  of   journal   reflection  pieces  and   to   spark   class   discussions.   While   exams   will   cover   course   work,   oral  presentations   and   research   papers   will   focus   on   the   heritage   of   assigned  Caribbean  islands.                LIT  340:  GRAPHIC  NOVEL  (3  credits)      E01:  Tzarina  Prater,  M,  6:30-­‐9:10PM  –  D,  LSM-­‐MS          The   graphic   novel,   a  medium   that   joins   text   and   image,   has   been   historically  dismissed   as   marginal   to   “serious   literature,”   and   as   such,   less   deserving   of  critical   attention.   The   course   will   explore   sequential   art   and   its   place   in  contemporary   culture.   Thematically,   this   course   focuses   on   the   engagement  with   “history”   and   “historical   trauma”   in   the   medium   of   the   graphic   novel,  ranging   from   Art   Spiegelman’s   polemic   Holocaust   narrative   Maus   I   &   II,  Marjane  Satrapi’s  coming  of  age  story,  Persepolis,  which  has  the  Iranian  Islamic  Revolution   as   a   backdrop,   G.   Neri’s   Yummy:   The   Last   Days   of   a   Southside  Shorty,  a  graphic  narrative  in  the  voice  of  an  eleven  year  old  Chicago  Southside  native  who  is  desperately  trying  to  understand  the  death  of  his  friend  to  gang  violence,   to   Kelly   Roman’s   The   Art   of  War,   a   graphic   novel   set   in   the   not   so  distant  future  whose  diegesis  constructs  a  militarized  Wall  Street  with  China  as  the  dominant   force   in  the  global  economy.   In  our  contemporary  moment,  we  understand  violence  to  be  inescapable,  historically  contingent;  and  ultimately,  we   understand   it   as   intrinsic   to   defining   the   human   experience.   How   we  aesthetically   document   and   record   our   response   to   institutional   violence,  whether  it  be  familial,  political,  or  religious,  is  both  an  aesthetic  project  as  well  as   a   project   and   product   of   “history.”   The   graphic   novel   then,   is   a   medium  through  which  we  try  to  give  voice  to  pain,  make  audible  the  ineffable,  through  visual  signs  and  signifiers.  This  course  asks  the  question  of  efficacy  of  resistance  when   representational   practices   and   discourses   themselves   are   inherently  

violent.  In  conversation  with  graphic  novels  that  explicitly  take  up  instances  of  institutional   violence,   you  will   familiarize   yourself  with   the   critical   vocabulary  necessary   to   critique   the   medium.   You   will   produce   analyses   of   narrative  techniques   particular   to   the   genre:   panel   layout,   interplay   between   text   and  image,  analysis  of  iconography,  and  intertextuality.  You  will  also  read  selections  from   political   and   philosophical   theorists   to   help   us   contextualize   these  aesthetic  forays  into  the  graphic  novel  medium  to  represent  violence,  trauma,  and  the  possibility  of  resistance:  Hannah  Arendt,  G.W.F.  Hegel,  Sigmund  Freud,  Thomas  Hobbes,  Frantz  Fanon,  René  Girard,  and  Elaine  Scarry  to  name  a  few.    LIT  391:  ADAPTATION  AND  PHILIP  K.  DICK  (3  credits)      001:  Tzarina  Prater,  W,  11:00AM-­‐1:50PM              Science  fiction,  like  “fantasy,”  is  preoccupied  with  limits.  Unlike  fantasy,  science  fiction  is  based  on  our  real  world  understanding  of  who  and  what  we  are,  what  is  materially  possible,  and  a  question  of  ontological  futurity,  what  it  will  mean  to   exist   in   the   future.   Whether   rendered   in   the   context   of   a   utopian   or  dystopian   future,   science   fiction   places   us   in   worlds   in   which   technological  marvels  such  as:  space  and  time  travel,  parallel  universes,  extraterrestrial   life,  and  humanoid  computers/robots  are  possible.  As  a  genre,  sci-­‐fi  is  preoccupied  with  the  consequences  of  scientific  exploration  and  innovation  and  as  a  result  often   functions   prophetically,   anticipating   and   providing   the   imaginative  foundation  for  actual  scientific  discovery.  One  need  only  consider  the  existence  of  “medical  tricorders”  currently  being  developed  and  refined  by  firms  such  as  Scanadu,   QuantuMDx   Group,   and   Ibis   Biosciences   and   the   offering   of   a   $10  million   dollar   prize   by   XPrize®   for   “turning   science   fiction   into   reality”   to   see  how   a   once   hypothetical   handheld   medical   scanning   device   wielded   by   the  fictional  Dr.  McCoy  of  Star  Trek  fame  has  materialized  and  will  be  available  on  the  market  in  the  near  future.  The  course  will  begin  with  the  first  science  fiction  novel,  Mary  Shelley’s  Frankenstein,  to  frame  our  discussion  of  the  relationship  between  science,  science  fiction,  embodiment,  and  belief.  We  will  consider  the  impact  science  fiction  has  on  the  epistemological,  what  we  know  and  how  we  know  it.  We  will  then  move  on  to  the  work  of  one  of  the  most  prolific  science  fiction   writers   of   the   20th   century,   Philip   K.   Dick,   whose   work   has   cinematic  interpretations  that  have  garnered  over  a  billion  dollars  in  box  office  revenue.    This  course  requires  students  to  think  through  questions  of  genre  and  platform,  what   it   means   to   attempt   to   cinematically   render   the   diegesis   of   a   science  fiction   literary   text.   Similar   to   the   thematic   concerns   of   these   texts,   we   will  occupy   ourselves   with   the   question   of   “limits”   and   our   seemingly  unquenchable  desire  to  get  beyond  them.      

  18  

Literature    LIT  395:  TRANSGENDER  LITERATURE  (3  credits)      001:  Traci  Abbott,  M/R,  12:30-­‐1:50PM  –  D,  SL4,  LSM-­‐AS,  LSM-­‐MS      “Trans”   literally   means   “across   or   beyond.”   This   course   surveys   recent  American   literature   to   ask   how   people   journey   across   or   beyond   gender  categories.   Are   terms   like   “masculine”   and   “feminine,”   “heterosexual”   and  “homosexual,”   and   “male”   and   “female”   always   mutually   exclusive?   Or   can  they  be  negotiated?  Who  defines  someone’s  gender,  the  individual  or  society?    These   stories,   novels,   poetry   and   films   use   drama,   humor,   and   real   lives   to  show   us   what   transgender   people   and   those   around   them   experience,  including  cross-­‐dressers,  transsexuals,  and  people  who  live  as  one  gender  even  though  they  are  genetically  another. LIT  395:  AMERICANS  ABROAD  (3  credits)      E01:  Patricia  Peknik,  T,  6:30-­‐9:10PM            This  is  an  interdisciplinary  course  in  which  we  look  at  America  through  the  eyes  of  both  American   intellectuals   and   foreign  observers   in  order   to  examine   the  history   of   ideas   about   America’s   role   and   image   in   the   world.   America   and  Americans   have   been   alternately   idealized   and   criticized   by   foreign   political  commentators  and  social  critics  who  have  written  about  American  democracy,  business   and   culture.   And   Americans   –   constantly   engaged   in   asking  themselves  what   it  means   to   be   American   –continue   to   demonstrate   a   deep  concern   for   the  way  American  principles  and   systems  are  understood  around  the   world.    Our   goal   is   to   explore   American   identity   by   comparing   what  international  and  American  writers  have  said  about  American  politics,  wealth,  art   and   society   with   the   varied   observations   of   international   commentators.  We  will   read   about   the   American   expatriate   experience   through   the   eyes   of  Henry   James   and   Ernest   Hemingway   and   compare   that   to   the   experience   of  foreign  visitors   to   the  United  States   from  Tocqueville   to  Dickens.  And  we  will  look  at   the  United  States  through  the  eyes  of   Indian,  Chinese,  Middle  Eastern  and  Asian  critics  of  American  culture,  foreign  policy  and  social  life.    

Media  and  Culture  

MC  200:  INTRODUCTION  TO  MEDIA  THEORY  (3  credits)  001:  Randy  Nichols,  T/R,  5:00-­‐6:20PM  –  LSM-­‐MS        The  course  emphasizes  the  continuity  between  principles  and  practice,  and  the  connections   among   the   core   courses   in   the  major.   Focusing   on   the   essential  conceptual  frameworks  for  analyzing  the  media,  students  learn  how  to  become  sophisticated  analysts  of  media  culture  in  multiple  contexts  (from  structures  of  television   broadcasting   to   alternative   web-­‐casting,   for   example).   This   course  provides   a   basic   theoretical   foundation   for   understanding   how   media  industries,  texts,  and  audiences  interact.  Because  it  seeks  to  emphasize  media  culture,   the   course   also   explores   the   relationships   between   and   among  producers,   funders,   distributors   and   consumers,   particularly   with   respect   to  issues  of  class,  race,  gender,  and  ethnicity.   MC  220:  INTRODUCTION  TO  MEDIA  PRODUCTION  (3  credits)    001:  Elizabeth  LeDoux,  T/F,  11:00AM-­‐12:20PM  –  C,  SL4,  LSM-­‐MS      Serving   as   a   foundation   to   media   practice,   this   course   offers   a   broad  introduction   to   media   production   through   hands   on   projects   involving  components  of  digital  photography,  animation,  video  and  audio  production,  as  well   as   elements   of   design.   Students   will   have   the   opportunity   to   explore  various   media   formats   and   methods   of   distribution   through   the   course’s  emphasis  on  the  fundamentals  of  visual  language  and  the  creative  process.  The  overarching  framework  for  a  study  of  media  is  provided  in  the  course:  analysis  (theory,   interpretation)   and   synthesis   (production,   creative   process)   are  emphasized   as   projects   evolve   throughout   the   stages   of   conceptualization,  visualization,  production,  and   reception.   Issues   in   the  culturalization  of  media  work,   professional   identity,   and   corporate   media   control/concentration   are  central   themes   to   this   course.   It   is   important   to   become   familiar   with   the  mainstream  and   independent  structures  of  media  production  and  distribution  and   its   role   in  shaping  public  policies,  government  regulation  or  deregulation,  and   its   impact   on   citizenry   and   democracy,   specifically   in   the  U.S.,   as   this   all  directly  affects  one’s  production  process  as  a  media  practitioner  and  citizen.      

  19  

Media  and  Culture  

MC  222:  DIGITAL  PHOTOGRAPHY  (3  credits)    001:  Casey  Hayward,  W,  11:00AM-­‐1:50PM  –  D,  EMB,  SL4,  LSM-­‐MS      Seeing  the  world  photographically  and  learning  to  interpret  and  craft  images  is  a   contemporary   imperative.   This   course   is   focused   on   communicating  effectively   and   visually   through   digital   imagery.   Students   examine   four  important   facets   of   visual   communication   in   the   rapidly   expanding   digital  world:  the  art  of  photography,  image  manipulation,  applications  for  and  ethical  implications   of   digital   images.   Students   will   shoot   and   edit   their   own   digital  photographs,  provide  written  responses  to  topic  questions,  and  create  a  Web-­‐based  portfolio  of  their  work.    MC  224:  VIDEO  PRODUCTION  (3  credits)    001:  Jeff  Stern,  M,  2:00-­‐4:50PM  –  LSM-­‐MS            This   course   is   designed   to   give   students   a   complete   overview   of   the   video  production  process  in  a  hands-­‐on,  collaborative  environment.  From  generating  a  good  idea,  to  scriptwriting,  to  storyboarding,  to  location  scouting,  to  casting,  to   cinematography,   to   audio   recording,   to   editing   and   finally   to   output   and  distribution,   students   will   learn   about   every   stage   of   movie   production   by  making   movies.   In   addition   to   the   practical   and   technical   aspects   of  moviemaking,  we  will  discuss  issues  of  aesthetics  and  meaning  as  they  pertain  to  the  moving  image.  The  goal  is  for  students  to  come  away  from  this  class  with  an   understanding   of   how  movies   are   made   and   the   ability   to   think   critically  about  what  they  mean.    MC  250:  GLOBAL  MEDIA  INDUSTRIES  (3  credits)    001:  Ben  Aslinger,  M/W,  9:30-­‐10:50AM  –  I,  LSM-­‐MS        This  course  looks  at  international  media  industries,  products  and  audiences  to  investigate   how   forces   behind   globalization   as   well   as   transnational   and  translocal   flows   impact   media   styles,   production   norms,   and   usage   and  consumption   patterns.   It   pays   particular   attention   to   the   ways   that  infrastructures,  distribution  networks,  and  technologies  alter  the  global  media  landscape.   We   will   explore   the   logic,   strategies,   and   struggles   of   media  institutions  around  the  world.  Topics  include  global  media  governance,  piracy,  the   transnational   television   trade,   the   role  of   state  and  private   investment   in  national  broadcasting  systems,  and  mobile  media  design  and  use.  

 

MC  300:  FILM  AND  TV  ADVERTISING  (3  credits)    001:  Jennifer  Gillan,  W,  6:30-­‐9:10PM  –  C,  D,  LSM-­‐MS          This  class  combines  close  textual  analysis  of  advertising-­‐themed  television  and  film  with  a  study  of  the  workings  of  the  promotional  screen  industries.  It  begins  with  analysis  of  the  cinematography  and  cultural  messaging  in  TV  programs  and  film  that  depict  the  advertising  industry.  Through  the  lens  of  these  and  other  visual  media,  the  class  analyzes  promotional  strategies  in  the  film,  television,  or  magazine  publishing  industries.  A  second  grouping  of  texts  highlights  a  range  of  established  and  emerging  promotional  strategies.  The  final  section  of  the  class  focuses  on  title  sequences,  film  trailers,  episode  promos,  web  shorts,  and  other  forms  of  “promo-­‐tainment.”  Before  looking  at  emergent  strategies  in  these  areas  of  media  production,  the  class  offers  mid-­‐century  case  studies  of  short-­‐form  content-­‐promotion  hybrids  produced  by  Walt  Disney,  title  sequences  created  by  Saul  Bass  (e.g.,  for  North  By  Northwest),  and  iconic  advertising  campaigns  that  parallel  the  faux  campaigns  depicted  in  AMC’s  Mad  Men.      MC  320:  ADVANCED  PRODUCTION:  DIRECTING  (3  credits)    001:  Jeff  Stern,  R,  2:00-­‐4:50PM  –  LSM-­‐MS          Everyone  has  an  image  of  a  film  director.  Many  of  us  picture  a  man  or  woman  in  a  beret  with  a  bullhorn,  sitting   in  a  “director’s  chair”,  barking  “action!”  and  “cut!”  But  –  beyond  being   in  charge   -­‐  what  does  a  director  actually  do   in   the  real  world  of  filmmaking?  What  are  his  or  her  responsibilities?  In  this  course  we  will  attempt  to  define  the  role  of  the  director  both  through  study  and  through  hands   on   experience.     The   topics   will   include   visualization   &   storyboarding,  script   breakdowns,   casting   &   working   with   actors,   location   scouting,   shot  planning  and  film  grammar,  on-­‐set  procedures  and  the  director’s  role   in  post-­‐production.   The   first   half   of   the   semester   will   give   students   a   foundation   in  directing  through  readings,   lectures,   film  analysis  and  exercises.   In  the  second  half,   the   class   will   be   broken   up   into   small   film   crews.   Working   from   short  scripts,  each  student  will  take  a  turn  in  the  director’s  chair.  What  will  emerge  is  a   set   of   short   films   in  which   each  member   of   the   class   has   directed   a   scene.  Whenever   possible,   the   class   will   engage   with   the   greater   Boston   film  community,   including   the   opportunity   for   Bentley   students   to   direct  professional   actors   and   speak  with  members   of   the   local  media   industry.  No  prerequisite  is  necessary  in  order  to  enroll.        

  20  

Media  and  Culture  

MC  323:  ANIMATION  PRODUCTION  AND  MOTION  DESIGN  (3  credits)    001:  Elizabeth  LeDoux,  T/F,  12:30-­‐1:50PM  –  SL4,  LSM-­‐MS        Graphic   elements   operate   as   powerful   forms   of   communication   in   various  media   systems.   This   course   provides   a   focused   study   in   animation,   motion  design,   and   visual   effects   for   time-­‐based   media   narratives.   The   fundamental  aspects   of   graphic   design   are   examined   in   a   range   of   electronic   and   digital  media   through   theoretical   readings,   demonstrations,   screenings,   hands-­‐on  production   assignments,   which   will   include   2D   and   3D   animation,   and   an  individual  culminating  project.  Examples  of  time-­‐based  media  approaches  to  be  explored   include   animation,   interactive   comics,   narrative   film   and   video,  videogames,   and   some   forms  of   video   art.   Elements  of   design,   such   as   color,  light,   typography,  2D/3D  space,   time,  and  motion,  are  analyzed   through  class  discussions  and  critiques  of  student  work  produced  throughout  the  semester.    MC  342:  MEDIA  INDUSTRY  CONVERGENCE  (3  credits)    001:  Jennifer  Gillan,  M/W,  3:30-­‐4:50PM  –  C,  LSM-­‐MS        This   course   considers   the   changes   to   the   structure   and   scope   of   Hollywood  studio   and   television   network   operations,   especially   in   response   to   the  emergence   of   new   technologies,   cross-­‐media   conglomerates,   transnational  patterns   of   circulation,   and   new   distribution   platforms   (e.g.,   Blu-­‐ray/DVD,  iTunes,  Netflix).    Our  analysis  of  the  millennial  media  industries  is  grounded  in  two   case   studies   of   midcentury   Disney   and   Warner   Brothers.   Through  comparison  to  current  conglomerate  practices  and  recent   films  and  television  programs,   these   studio   case   studies   provide   historical   foundations   for   an  examination  of  convergence  culture—the  technological,  industrial,  cultural  and  social   changes   to   the   way   media   circulate   in   and   among   cultures.   This  intersection   of   media   practices   also   impacts   how   media   industries   pursue  national  and  global  audiences.  To  that  end,  we  study  trailers,  posters,  promos,  and   engagement   campaigns   associated  with   blockbuster   and   niche   films   and  television   series.   We   analyze   particular   forms   of   visual   communication   and  address   the   limitations   of   that   communication   given   studio,   network,   and  corporate  practices  and  priorities  as  well  as   cultural,   social,  and   technological  constraints.  The  course  combines  seminar-­‐style  discussion,  group  assignments,  and  written  response.  Screenings  are  held  outside  of  class.  

   MC  420:  MEDIA  CAPSTONE  PROJECT  (3  credits)    Prerequisite(s):  Senior  standing  and  approval  of  department  chair      Undertaken   in   the   last   year   of   coursework   in   Media   and   Culture,   the   final  project   requires   students   to   write   a   media   analysis   or   produce   an   original  media  text  (for  example,  a  video  or  website).  If  a  student  chooses  to  produce  a  creative  work,  he  or   she  must  also  write  an  essay  explaining  how   the  project  reflects   his   or   her   understanding   of   and   engagement   with   key   issues   and  categories  of  the  study  of  Media  and  Culture.    MC  421:  MEDIA  INTERNSHIP  (3  credits) Prerequisite(s):  Junior-­‐  or  senior-­‐level  standing  –  LSM-­‐MS  Corequisite(s):  Internship  coordinator's  permission          Introduces  the  student  to  some  aspect  of  the  media   industry;  emphasizes  the  particular   operations   of   a   media   company   by   assigning   a   student   to   a  professional   in   the   field  under  whose   supervision   the   intern  undertakes   tasks  and  participates   in  analyzing   the  practical  applications  of  media   theories.  The  intern’s  progress  is  monitored  and  evaluated  jointly  by  the  field  supervisor  and  the  faculty  coordinator  during  the  semester  internship.