Art is a subject that can be discussed over and over again, each time a new conclusion being reached. Everybody has a different opinion about what art is; this is why the subject of art is so hard to define.Art is something that is universal; it has many meanings and many faces, not mattering where in the world it takes place, there is always someone who knows what it is.
If I was asked this question a few years ago I probably would have told you that art is something that cannot be defined, everybody has their own opinion and with this can choose what art is or isn’t. Now I believe that art is anything that influences the public and takes creativity to produce.Art provokes an emotional response whether positive or negative and makes people think. Art can be anything there are no limitations, an example of this is music that has been composed or the architecture of a building. Art doesn’t have to be conventional as most art isn’t. There is art around us at all times we just have to think outside of the conventional limitations to discover what it is.
Many people don’t understand art, they only know what they like and dislike. Someone can look at a Monet and not understand the art but know there is something about it that makes them want to stand and stare for hours. This is true for most art, many people may not get the message that the artist is trying to portray but know that something about it that makes them stop and think.
If someone asked me to define a work of art I don’t think I would be able to. What I believe is art is completely different to what someone else thinks. Many artists struggle their entire lives to get recognition a lot of times without success. It is this reason alone that I would not want to be responsible for defining what is or isn’t art.
I believe that art can be anything that is expressive, creative and influential. This being said there are certain things that are not art. I believe that it is up to personal preference to make this definition. I personally do not think that scrap metal that is lying along the side of the road is art. Just because it is arranged in a certain way it doesn’t take away from the fact that it is a pile of junk. Everybody will define what art is differently, the important thing is art will always be art .
The word culture can be defined as that which is excellent in the arts. But what exactly is art? In our society, defining art is an on-going discussion and the exact definition will never be absolute. Defining art is challenging as it is very personal, and it is open to interpretation. Luckily, our culture is open to different types of art and the varying definitions for the word. For the purpose of this essay, the definition of art will be defined as a creative and/or imaginative piece of work that evokes emotion, causes controversy (at times), and is cherished by one or more persons.
Art is more than an image, written word, performance, or song; art is anything that evokes raw emotion. No one knows exactly why art evokes such emotions from human beings, but a beautiful piece of art can reduce the strongest man to tears. Every person is different and has experiences that are just as unique as they are; therefore the interpretation of art is open. Psychiatrists have been using art as a therapy technique for patients to express their pain and heal their emotional wounds. The American Art Therapy Association (AATA) defines art therapy as "a human service profession that utilizes art media, images, a creative art process, and patient/client responses to the created products as reflections of an individual's development, abilities, personality, interests, concerns, and conflicts." Children and adults, who have been exposed to unspeakable trauma, as well as those suffering from depression, anxiety, and other serious mental illnesses, can benefit from art therapy. Art therapy uses paint, paper, images, and colors to symbolically express the depth and intensity of a patient’s emotional pain.
The great artist Salvatore Dali used his art to symbolize the depth and intensity of his emotions; however Dali was very misunderstood as an artist. He had many critics; some call the painting The Persistence of Memory -- the “crazy” landscape with the droopy clocks. However, Dali is revered as one of the most influential artists during the surreal movement. He was often ridiculed and called insane, but Dali himself declared, "The only difference between myself and a madman, is that I am not mad! The world will admire me. Perhaps I'll be despised and misunderstood, but I'll be a great genius, I'm certain of it." Dali was often declared controversial as thought his art was pornographic, but it is still considered art.
Music and its performers are not exempt from controversy within the art world. In 1956, Elvis Presley was heavily criticized for his performance when he danced to the rhythm and beat of his own music. This form of artistic dance was viewed as vulgar and his music and live performances were banned from the public airwaves. Presley was a true artist and did not shy away from his craft or the controversy. He set the standard for rock and roll in our society; allowing other musical artists to follow in his footsteps. Ozzy Osborne was nicknamed “the Prince of Darkness” due a performance stunt where he bit the head off of a live bird during a meeting regarding his music publication. Madonna was publicly ostracized when her video for “Like a Prayer” debuted on MTV; causing one of the largest musical controversies in the network’s history. She went on to defend herself by stating, ““I stand for freedom of expression, doing what you believe in, and going after your dreams. I am my own experiment. I am my own work of art.” Her expression of freedom and her devotion to art has made her one of the most powerful, one of the most recognized, and one of the wealthiest artists in the world.
One does not need to be famous to have their art recognized however; creating art cannot be done without original thought and imagination. It is a creative reflection of a person’s life regardless of age or station. A two-year old can take three crayons and make a masterpiece that will be cherished by his mother for years to come. His imagination and thought process is reflected in the wax and on the paper, ultimately reflecting his personality. Although he may not be able to communicate verbally what his creation means, his creation is still a masterpiece that can never be duplicated. That same child may write a poem for his mother when he turns five or compose a symphony when he is 50. A person does not have to be trained to produce art. Natural skill must be instilled in artist, so they can begin the process of perfecting their craft. Developing an artistic craft can be self taught, but it can also be developed through practice, professional instruction, and life experience. Each creative piece of work that a person develops can be defined as art regardless of their skill level or station in life.
If you asked me to define art ten years ago, I would have given you a simple answer. It probably would have been along the lines of, a painted picture or a crafted vase of clay. I have always loved the concept of art. I did ballet until I was in 7th grade, dabbling in modern dance and jazz along the way. I would not have considered my dancing art then, but now I most definitely include dance in the realm of art. I also took painting and piano classes when I was younger. I would never have considered myself an artist back then though. I have opened my mind to new forms of art since then. I have broadened my horizons and have learned to appreciate different art forms, even if I don’t necessarily understand them. That being said; I consider art to be the execution of one’s creative ideas and thoughts.
Art can be a painting, and although a painting may be considered one of the simplest forms of art, the deconstruction of that painting can tell a story. For example, every aspect of the painting is vital to its meaning, from the colors, the medium, the method in which it was done, the time period it was painted, the time it took to complete the painting, must all be considered when deciphering the painting’s purpose. For example, in 1937 Pablo Picasso was commissioned by the Spanish Republican government to create a piece of art for the Spanish display at the World’s Fair in Paris., Picasso painted a mural titled, Guernica. When you first look at his mural, it seems like a muddled cluster of people and animals in blue, black and white. It does not have the beautiful aesthetic of say, Van Gogh’s starry night. But if you break down what Picasso was depicting, the painting takes on a whole new meaning. Picasso was depicting the bombing of the town of Guernica in 1937, when the Germans tested their bombs on the city for two hours. The blue, black and white colors convey the feeling of sadness and loss. The composition of the painting is chaotic, much like that day in Guernica. The figures in the painting include a Mother with a dead child in her arms, there are daggers and corpses strewn about the painting. All in all, the context of the painting itself gives it a deeper meaningand solidifies its place as a valued work of art.This was Picasso’s expression of his emotional reaction to the bombing of Guernica, his feelings painted into a mural.
Art is a universal language, it can be appreciated no matter where it originated from. For example, the Mona Lisa is one of the most well-known works of art across the globe. It does not matter where you are from, you know and can appreciate the Mona Lisa for its beauty. Also, operas are sung in a many different languages, however, even if the opera you are watching is sung in Italian and you speak English, you can still understand the emotion of the music and the singing.I am not one to say what is art and what isn’t art, I think it varies from person to person depending on their taste and preference. It all comes down to the context of the art and how it is interpreted. For example, there was a period of art called the “Dada” period. This was a time after the first world war and artists wanted to capture the chaos and destruction in their work. Their art portrayed anti-war attitudes and anti-establishment. The Dada period was a period of protest for the most part. Some would look at the art from the era and see nothing more than a collage of images that don’t make sense, in theory that is what the artists were going for. But was this movement in fact art, or nothing more than an act of rebellion whose purpose was to stir things up and get a rise out of people? That is not for me to decide.
If I considered something to be art and someone challenged me on that thought, I would attempt to understand why they thought this way. For example, I just recently learned about the form of art known as installations. I love these because it is like stepping into a work of art, you can immerse yourself and get inside the artist’s head. For example, one installation I like was done in Norway this past year. It was an interactive LED display wall called the Stromer constructed by Stig Skjelvik, Snohette architects and Rasmus Hildonen. It was a pedestrian walkway that would turn shadows into light.People would walk through and the lights would turn on leaving light trials behind them as they walked. I never actually saw it in person but it sparked my interest and looks beautiful. If someone did not consider this art, I would explain to them that I think it is art because it is an expression as well as a transformation of something ordinary into something extraordinary. Taking something simple and turning into something better is art in my book.
Art cannot be specifically defined. Art has no boundaries, no rules, no strict format it must fit into. I think that is why I love it so much. I think that if you put your heart and soul into your craft, with the intention of making something, the result can be art. As long as it means something to someone, it is art.
You will create a Visual Essay with a subject related to our studies.It can be about the work of an individual, an historical movement, the analysis of a visual style, etc.In short, it can be about anything we have discussed or anything significantly related to those subjects.The presentation can be in any visual format you choose and should be no shorter than 5 minutes, no longer than 10.Remember, this exercise is about “seeing”, so words should be kept to a minimum; the fewer the better.These projects will be presented in front of the class during the final seven sessions of the semester.I will need a one page proposal from you no later than April 5th.Presentations start on April 19th.I am willing to review your progress as needed.Fridays are a good time to do this.
I promised you a list of 200 suggested films for viewing by students who are interested in expanding their knowledge of film history and the study of cinema. This list was compiled two years ago at the request of several students. It reflects my ideas of what is good, what has been influential and what is representative of genres, styles, great directors and historical movements. The titles were pulled only from movies I have in my personal collection. There are many other deserving films that I don't own and probably some on this list that others might not agree with. I hope this can serve as a guide to you for a source of inspiration and enjoyment.
2001: A Space Odyssey 39 Steps, The 8 ½ Adventures of Robin Hood, The Akira Alexander Nevsky Alien Alphaville American in Paris, An Annie Hall Apartment, The Apocalypse Now Asphalt Jungle, The Augirre: the Wrath of God Bad and the Beautiful, The Bad Day at Black Rock Battleship Potemkin Beauty and the Beast (’46) Bicycle Thief, The Birth of a Nation, The Black Cat, The Blade Runner Blow-Up Blue Velvet Bonnie and Clyde Brazil Bride of Frankenstein Bridge on the River Kwai Bringing Up Baby Cabinet of Dr. Calagari, The (‘20) Casablanca Cat People (’42) Chinatown Citizen Kane City Lights Clockwork Orange Conformist, The Conversation, The Crouching Tiger, Hidden Dragon Crowd, The Day the Earth Stood Still, The Detour (’45) Diary of a Country Priest Die Hard Die Nibelungen Dirty Harry Discreet Charm of the Bourgeoisie, The Do the Right Thing Double Indemnity Dr. Strangelove Dracula (’31) Duck Soup Duel Easy Rider Eraserhead Exorcist, The Eyes Without a Face Fall of the House of Usher, The Fantasia Fargo Flash Gordon (serial) Fleischer Studios – animation Footlight Parade Forbidden Planet Freaks French Connection General, The (’27) George Meilies – films Ghostbusters Gladiator Godfather, The Gojira Gold Rush, The Goldfinger Gone With the Wind Good, the Bad and the Ugly, The Graduate, The Grand Illusion, The Grapes of Wrath, The Greed Gun Crazy (’50) High Noon High Sierra His Girl Friday Hitch-Hiker, The Hud Hustler, The I Am a Fugitive From a Chain Gang Ikuru In the Heat of the Night Intolerance Invasion of the Body Snatchers (’56) It Happened One Night It’s a Wonderful Life Jason and the Argonauts Jaws Jules and Jim King Kong (’33) Kiss Me Deadly L’Aventura La Dolce Vita La Strada Last Laugh, The Last Year at Marienbad Laura Lawrence of Arabia Lord of the Rings, The (Jackson) Lost Horizon Luis Bunuel – early films Lumiere Brothers – films M (’31) Maltese Falcon, The Manchurian Candidate, The Manhattan Metropolis (’27) Mr. Hulot’s Holiday My Man Godfrey Network Night of the Living Dead North by Northwest Nosferatu (‘22) Nothing But a Man Notorious On the Waterfront Once Upon a Time in the West One Flew Over the Cuckoos Nest Onibaba Out of the Past Passion of Joan of Arc, The Peeping Tom Persona Phantom of the Opera (’25) Place in the Sun, A Playtime Psycho Raging Bull Raiders of the Lost Ark Ran Rashomon Rear Window Rebecca Rebel Without a Cause Red Shoes, The Repulsion Road Warrior, The Rome: Open City Rules of the Game, The Sacrifice, The Salt of the Earth Scarface (‘32) Searchers, The Set-Up, The Seven Samurai, The Seventh Seal, The Shadows Shock Corridor Silence of the Lambs Sin City Singin’ In the Rain Snow White and the Seven Dwarfs Some Like It Hot Sons of the Desert Spirited Away Stagecoach Stalker (Tarkovsky) Star Wars Straw Dogs Sullivan’s Travels Sunrise Sunset Boulevard Taxi Driver Terminator, The Texas Chainsaw Massacre, The Thief of Bagdad (’24) Thief of Bagdad (’40) Third Man, The Throne of Blood To Be or Not To Be (’42) To Kill a Mockingbird Top Hat Touch of Evil Treasure of the Sierra Madre, The Triumph of the Will, The Ugetsu Unforgiven Vampyr Vertigo Videodrome Wages of Fear, The Warner Bros. cartoons – Chuck Jones West Side Story White Heat Wild Bunch, The Wild Strawberries Wind, The Winsor McKay – films Wizard of Oz, The Wolf Man, The Woman Under the Influence, A Yojimbo
Below are details of the assignments, along with due dates. All learning exercises are to be turned in hardcopy form (and stapled, if more than one page), with your name clearly printed on the first page.
I also encourage you to post these papers on our blog at http://vislit7.blogspot.com and to freely critique and comment on the work of your classmates.This is part of your participation grade.
Be sure you communicate any questions, problems, or issues regarding the assignments.
Suggested readings – Although there are no required textbooks for this course, two of the following assignments draw directly from these works:
Nick Lacey – “Image & Representation: Key Concepts in Media Studies”
Susan Sontag – “On Photography”
You can find them at the library or at reduced prices on Amazon.com.I encourage you to buy them if you can.
NOTE: I am more than happy to read drafts of papers and/or help you produce quality work. This can be done by email, by appointment or during “writing” Fridays in the classroom.
CRITICAL ANALYSIS, REVIEW AND RESPONSE PAPERS
You will write six 2-3 page papers which are detailed below.There is also a seventh paper topic available for extra credit.This will only be accepted if all of the other six assignments have been completed.Writing should be focused, whenever possible, on class readings, visual theory and/or outside texts or articles.General grading criteria for the papers are insightfulness, organization, focus, use and engagement of sources and clarity of writing.
What is Art? - Due: Feb. 1
Answer these questions: What is art? Is art universal? What isn’t art? How might you defend a work as art if someone took exception to your view? Give specific examples for each.
To be clear: Leave your dictionary and other texts unopened. You answer these questions.
Close analysis of an image - Due: Feb. 10
This assignment asks you to do a close reading of an image of your choice. Be sure to first read Nick Lacey’s “Introduction to Image Analysis” from Image and representation: Key Concepts in Media Studies.
First, pick any kind of public image you deem noteworthy or significant (people, of course, do not need to be present in the image). By “public,” I mean any image that is publicly available (and not necessarily commercial). It can be a painting found in a museum or on the side of a building; a photograph in a newspaper or in a glossy magazine; an image used as part of an advertisement or one that perhaps seeks to criticize commercialism. (Be sure the paper briefly explains where the image was/is found, its significance, and why it is worth studying)
Next, clearly distinguish your analysis on two levels: content and composition. Lacey’s chapter will prove helpful here.
When evaluating the content of the image, analyze a range of possible readings. What is the “preferred” reading of the image? Are there other ways the image could be “read?” Why or how? Does the image try to convey a message, idea, or theme? Be sure to address not only how you see the picture, but how others would/might see it as well.
When evaluating the image’s composition, pay attention to the formal features of the image. In what ways do the formal features influence how we “read” the image? Also, do an internet search for “the rule of thirds” and read about this compositional “rule.” In what way does the image fit (or not fit) here? Does this influence how we “read” the image?
Most importantly when dealing with composition, clearly explain thesignificance of these formal and compositional features in relation to the image. What do they do, suggest, and/or mean?
To be clear: I am looking for you to use, cite, and engage the piece by Nick Lacey for this paper. The most important part here is for these papers to demonstrate an understanding of the relationship between composition and content (and Codes, in Lacey’s and others’ term) – and how these two aspects work together to inform a reading?
Finally, along with the paper, be prepared to talk about the image and your analysis in class. If you can, please bring a copy of the image on a USB drive or CD/DVD disk.
Film review of Blow Up - Due: Feb. 22
On February 15th and 17th, Michelangelo Antonioni’s film Blow Up will be shown in class. You should consider bringing some paper and a pen or pencil to class, since you’ll want to take notes about the film.
This assignment asks you to write a critical review of the film, attending to any aspect of the film you deem important and/or noteworthy. You need to draw from and cite other reviews of the film, but the central point/observation you make about the film should be your own. (There are a number of decent reviews of the film, which you should be able to easily find on-line. I’ll also post some reviews to the blog this week as well.)
Make sure the paper has a thesis and/or a very specific point/observation about the movie. The best papers will be ones that have an overreaching argument – each paragraph will advance your analysis and point(s).
Image and Reality - Due: Mar. 15
Address these questions: Are there any limits to visual or photographic knowledge? Are some subjects better communicated through photographs opposed to written or spoken words? What examples would you cite?
Responses that engage Susan Sontag’s On Photography in relation to the questions above are particularly encouraged.
The relationship between movies and society - Due: March 29
The “classic” period of film noir is generally located from the 1940s to late 1950s. Largely associated with a genre of movies made in America, the U.K., Europe, and Japan, these films are commonly characterized by a distinct visual style that has roots in German Expressionism, but, more importantly, these movies are also widely recognized as arising from and speaking to the aftermath of WWII, the budding Cold War, and alienation in a bureaucratic, military, and/or increasingly commercialized society. With this in mind, in what ways do more recent films (say, since 2001) speak to contemporary society? Is there a “type” or genre of film (or maybe “media,” broadly defined) that is emblematic of American society right now? Are there themes or subjects or even visual aesthetics that speak to modern-day (or postmodern-day) life?
A single, fleshed-out point or observation with specific examples will work best here. The paper needs to cite scholars, regarded texts, and/or respected reviews of films (that is, reviews from New York Times and the like, not I-Think-Film-Is-Cool.com). If you’re not familiar with it, MetaCritic is an excellent place to find reviews: http://www.metacritic.com/
Don’t over think this. Start with a specific film that you think is popular for some reason. If you think it is popular simply because it is entertaining, then ask yourself why entertainment of this kind is even socially popular? Why this film over others? Once you have a specific movie or two in mind, think about how that movie (or movies) “speak to” modern society. For example, the “Saw” movies have been exceptionally popular. These films are often considered “horror,” but they’re also suspense films. They’re films that seek to both scare people and keep them in anticipation, on the edge of their seat, waiting to see what happens. In many ways these are films that fit perfectly with today’s media-saturated young people, who often feel like they’ve seen everything and tend to be cynical. Horror and suspense films serve as shocks from their routines. These films are pure emotion, which may be a big reason they’re so popular, since other kinds of media, like TV and the web, maybe dull our emotions.
Analysis of Juliet of the Spirits - Due: April 12
On April 5th and 7th, we will watch Federico Fellini’s Juliet of the Spirits. While watching the film, pay close attention to the construction of each and every frame and scene, as this assignment asks you to write a close analysis of the film’s visual elements.
For your paper, do a critical analysis of some aspect of the overall story and the film’s way of visually treating the story. The paper may choose to address the relationship between film, the subconscious, and reality (all of which the film quite clearly addresses), or the paper may also choose to address a particular point about Surrealism as an art form in relation to the film. Be creative and cogent at the same time. Regardless, be sure your analysis addresses at least onespecific shot or scene and be sure your paper attends to the overall surrealistic elements in/of the film. More than anything, I am looking for your ownconsidered analysis. You need to, however, absolutely look to and cite readings related to Surrealism as an art form. You don’t need to go crazy here. Just find something that relates to your own analysis. Google “surrealist film” and you’ll find more than you want. I’ll also post some links to the Blackboard discussion forum.
Extra Credit Paper – Due anytime before Apr. 30
This topic is about the adaptation of written works (novels, short stories, etc.) to the motion picture medium (TV included).You will read an original work in its entirety and watch its filmed version.This should be something you have not read or seen.I can give you suggestions if you wish.Here are some of the possible areas you might choose to cover:
What are the similarities and differences between the two? Was the original easy or difficult to adapt?What is the attraction of the original and was that realized in the film version?Was the whole of the written version used or just part of it?Was anything added or subtracted in the process that helped or hindered the film version?Does the film version stand on its own as an artistic accomplishment?Is it greater or less than the original?Is that last question a generally valid one to ask?
The same standards apply to this paper as the other six.
Class lesson plans and project outlines will follow.
COM 232: VISUAL LITERACY
SPRING 2010 / MWF 10:00AM to 11:10AM
Professor: Tom Hammond
Office: TBA
Office Hours: MWF by appointment
Phone: 813-900-4759
Email: thammond1946@yahoo.com
This syllabus is a general plan for the course; deviations may be necessary.
COURSE DESCRIPTION:
It is one of the great ironies of contemporary existence that we are beset, informed, controlled and constructed by images, yet we receive almost no formal training in understanding and creating visual communication. … Considering ideas from art history, photography, film, mass media and cultural studies, students are asked to analyze visual rhetoric, begin to see critically, articulate meaning, and author visual rhetoric of their own.
COURSE OBJECTIVE:
This course provides an introduction to the varied ways of understanding, analyzing, and theorizing visual culture. We will cover a few major concepts and debates in the broadly defined field of visual studies while exploring a number of key works and traditions in the visual arts.
COURSE GOALS:
The goals of this class are to learn to “read” visual images at a sophisticated level and to articulate your own informed ideas about visual communication, in both written and oral form.
READINGS:
You do not need to purchase any books. Readings will be posted at http://vislit7.blogspot.com or distributed in class. You are responsible for getting your readings and bringing them to class.
LEARNING EXERCISES:
There are four major learning exercises.
(1) Critical Analysis and Review Papers: two to four page critical analysis and reviews of specific topics, readings, and films. (4 papers, 30% of final grade)
(2) Response Papers: one to two page responses to questions put forward. (4 responses, 20% of final grade)
(3) Research Project. There are two choices here: (1) An analysis of a specific genre’s, director’s, producer’s, artist’s, or photographer’s visual aesthetic and its social role and meaning – OR – (2) a visual essay on a chosen topic/theme. Both assignments include a proposal, a final paper and class presentation. (3 parts, 30% of final grade)
(4) Participation. You should regard class participation and attendance as an assignment. Participation is required and is a component of your final grade. Consider this a seminar and come prepared to contribute. Come to every class ready to thoughtfully discuss the topic and material. (20% of final grade)
GRADING:
All learning exercises are given a letter grade.
100-94AOutstanding
93-87A/BExcellent
86-81BVery Good
80-76B/CGood
75-70CAverage
69-74C/DBelow Average
63-60DPass, Unsatisfactory
59-0FFailure
The final course grade is composed of:
30% critical analysis/review papers (four in total, all weighted equally)
20% response papers (four in total, all weighted equally)
30% research paper and presentation (three parts in total – 10% for the proposal, 40% for the paper, and 50% for the presentation)
20% thoughtful and prepared class participation
ASSIGNMENT POLICIES:
There are no make-ups for in-class work and discussions.
In addition, please follow these guidelines on all work turned in for evaluation:
1) All assignments must be typewritten or done on a computer. No hand-written assignments will be accepted. Assignments more than one page in length must be stapled!
2) Hardcopies of work is preferred, but if you’re going to miss the class meeting that an assignment is due, you may email a Word copy of your work. Do NOT consider the assignment “accepted” by me until you receive an email message from stating that I’ve received the document. If you do not get an email acknowledging receipt, you can assume I did not get your paper. In other words, the excuse “I sent it to you via email” is unacceptable unless you can prove that I replied to your message.
3) Towards fairness to all students, assignments must be turned in at the beginning of the session at which they are due, with a one-full-grade-per-day penalty for those that are late. Emailed assignments received after the class start-time in which they are due are considered late. No exceptions here.Plan your semester accordingly. Also know that I do not provide comments or feedback on late papers – I only evaluate them and assign a grade.
4) Grades are posted on Blackboard. It is your responsibility to make sure I’ve received your assignments. A “0” in any column means I did not receive the assignment (letter grades are assigned to all work). Know that “0s” turn to “Fs” a week after an assignment is due, though I may not change the mark in Blackboard until the end of the semester.
ATTENDANCE:
Attendance is linked to the “class participation” portion of the final grade. No distinctions are made between excused and unexcused absences.
TARDINESS:
Class begins at 10:00am. Late arrivals will be noted. Any such pattern will negatively effect you grade.
GETTING HELP:
I’m more than happy to talk to you about the course, any assignments, general ideas, surviving school, academia in general, careers, or anything else that is on your mind. Currently, my office hours are MWF by appointment before and after class.Contact me in class or email me to schedule a time.
HONOR CODE:
All written work submitted in this class must be solely your own product.I expect that you know what plagiarism is and how to avoid it.If you have questions regarding this policy, error on the side of caution and raise them with me prior to turning in an assignment. Cheating, plagiarism, copying and any other behavior that is contrary to University standards of behavior will not be tolerated. Students found guilty of such offenses will be given an "F" as a final course grade and appropriate action taken with the University.
DISABILITIES STATEMENT:
If there is any student who has special needs because of a disability, please go directly to the Academic Center for Excellence in North Walker Hall. You may phone 813-258-7251, or e-mail jdelvalle@ut.edu to report your needs and provide documentation of your disability for certification. Jennifer Del Valle is the associate director of the Academic Center for Excellence, Student Disability Services. Please feel free to discuss this issue with me in private if you need more information.
SCHEDULE
Listed below is the tentative reading and assignment schedule, subject to change as our semester together progresses.
A NOTE ABOUT MOST FRIDAYS:
As you’ll see, many Fridays are designated “Writing Days.” These days are provided for you to advance writing assignments or to confer with me individually in the classroom.We will not meet as a class these days. I reserve a right, however, to hold class any of these days in order to cover missed material and/or continue a discussion with designated individuals or the class as a whole. Should I/we elect to meet, I will notify you in class or via email.
A NOTE ABOUT THE MEDIA SHOWN IN CLASS:
We will be watching media clips and/or entire films in almost every class meeting. While we can (and will) ask whether something is “good” or “bad” and whether we found it enjoyable or were bored, it is crucial to keep in mind that we’re not here to be entertained. We’re here as students and scholars. We’re here to move beyond the surface of things and to ask “why” and “how?” Given that a few of the films shown in this class deliberately seek to subvert if not oppose traditional forms of “entertainment,” I suspect that some of you may find a work or two difficult to watch. Keep in mind, though, that there is nothing shown in this class that hasn’t been greatly regarded by a number of people and, in almost every case, hasn’t been deemed significant by respected scholars and critics. If you’re bored or even offended by a film, I hope you’ll replace that first (perhaps very valuable response) by asking why someone else might find the work interesting and by thoughtfully considering the film’s visual content and techniques.
