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FILM 4090 Race and Media, Fall 2021 - Rusnak

Course guide for FILM 4090 Race and Media, Fall 2021 - Stacy Rusnak

Course Outline/Assessments

Course Outline/Assessments

Date

Topics

Tues., Aug. 10

Meet on Blackboard Collaborate

Course introduction

Thurs., Aug. 12

Meet on Blackboard Collaborate

Watch on Kanopy, What Are You? (2019, Richard B. Pierre)  {This is about 20 minutes} 

Due Sunday, August 17th: 2-3 page writing where you examine your own perspective on race. (Due by 11:59pm)

Fri., Aug. 15

Drop/Add Ends

Tues., Aug. 17

Meet on Blackboard Collaborate

Watch on Kanopy: White Like Me: Race, Racism & White Privilege in America (2013, Jeremy Young, Scott Morris, Sut Jhally, Tim Wise)

Read: “The Whites of their Eyes: Racist Ideologies and the Media,” Stuart Hall, Gender, Race, and Class in Media: A Text Reader. Edited by Gail Dines and Jean M. Humez, 1995, 18-22.  (Short reading!)  I”ll Email this reading to you. 

Thus., Aug. 19

Meet on Blackboard Collaborate

Read: “Understanding White Privilege,” Frances E. Kendall, Understanding Privilege: Creating Pathways to Authentic Relationships Across Race, 2013.  Chapter 4 in the online book.

Due Sunday, August 22nd: Discussion Post 1 (by 11:59pm)

Tues., Aug. 24

Meet on Blackboard Collaborate

Watch: Black Panther (Ryan Coogler, 2018) Swank

Read: “I Dream a World: Black Panther and the Re-Making of Blackness,” K. Feige, et. al., New Political Science 40:2, 2018, 421-427.

Thurs., Aug. 26

Meet on Blackboard Collaborate

Watch: Alvin Ailey: An Evening with the Alvin Ailey American Dance Theater (2001) Kanopy

Read: “Dancing in the Margins: Experiences of African American Ballerinas,” Journal of African American Studies, 15, 2001, 385-408.

Due Sunday, August 29th: Discussion Post 2 (by 11:59pm)

Tues., Aug. 31

Meet on Blackboard Collaborate

Read: “Fandom While Black: Misty Copeland, Black Panther, Tyler Perry and the Contours of US Black Fandoms,” Alfred L. Martin Jr., International Journal of Cultural Studies, 22:6, 2019, 737-753.

Guest Lecture: Dr. Williams

Thurs., Sept. 2

Meet on Blackboard Collaborate

Watch: Get Out (Jordan Peele, 2017) Swank

Read: “Archetype X: Visible and Invisible Otherness,” Sarah Nevin Welsh, Psychological Perspectives, 61, 2018, 517-528.

Due Sunday, September 5th: short writing commenting on the reading that has most impacted you to this point in the semester.  Be sure to include 3 things you’ve learned from the film.  Also discuss how these things have altered (or not) your understanding of race in media.  (Due by 11:59pm)

Mon., Sept. 6

Labor Day Holiday – No Class

Tues., Sept. 7

Meet on Blackboard Collaborate

Watch: 13th (Ava DuVernay, 2016) NETFLIX

Thurs., Sept. 9

Meet on Blackboard Collaborate

Read: “Black, White, and Blue: Bias, Profiling, and Policing in the Age of Black Lives Matter,” Bridgette Baldwin, Western New England Law Review, 40:40 (2018), 430-446.

Due Sunday, September 12th: Discussion Post 3 (by 11:59pm)

Tues., Sept. 14

Meet on Blackboard Collaborate

Watch: Straight Outta Compton (Gary Gray, 2015) Swank

Read: “Close-Up: Hip-Hop Cinema ‘True to the Game’: Straight Outta Compton Affirmation of White Supremacist Capitalist Patriarchy,” Adam Haupt, The New Series, 8:2, Spring 2017, 208-225.

Thurs., Sept. 16

Meet on Blackboard Collaborate

Watch: All Day and a Night (Joe Robert Cole, 2020) NETFLIX

Read: “from angry boys to angry men,” bell hooks in We Real Cool: Black Men and Masculinity, 2004.

Tues., Sept. 21

Meet on Blackboard Collaborate

Watch: Watermelon Woman (1996, Cheryl Dunye) Kanopy

“Queering the Mammy: New Queer Cinema’s Version of an American Institution in Cheryl Dunyes’ The Watermelon Woman,” Clitha Mason, Film Journal, 8:2, Spring 2017, 50-74.

Thurs., Sept. 23

Attend Career Navigation Series for CMAP from 2:00-3:15 (Extra Credit)

Meet on Blackboard Collaborate

Read: “Fashionable ‘Formation’: Reclaiming the Sartorial Politics of Josephine Baker, Jennifer Sweeney-Risko, Australian Feminist Studies, 33:98, 2018, 498-514.

Due Sunday, September 26th: Your short story of race.  This can be based on a life event or can be made up.  (Due by 11:59pm)

Monday, September 27 Mid-Term Grades Due

Tues., Sept. 28

Meet on Blackboard Collaborate

Read: “Visible Black Motherhood is a Revolution,’ Danielle Fuentes Morgan, Biography 41:4, Fall 2018, 856-875.

Watch: In Our Mothers’ Gardens (Shantrelle P. Lewis, 2021) NETFLIX

Wed., Sept. 29

Last Day to Withdraw with “W”

Thurs., Sept. 30

Meet on Blackboard Collaborate

Watch: Latinos Beyond Reel: Challenging a Media Stereotype (Sun Chyng  and Miguel Parker, 2012) Kanopy

Due Sunday, October 3rd: Discussion Post 4 (by 11:59pm)

Fri., Oct. 1

Deadline to apply for graduation for Spring/Summer 2022

Tues., Oct. 5

Meet on Blackboard Collaborate

Watch: Maid in America (Anayansi Prado, 2005) Kanopy

Read: “Globalizing the Care Chain: Representations of Latinas in Maid in America,” Irune del Rio Gabiola, Chasqui, 42:1, May 2013, 119-130.

Thurs., Oct. 7

Meet on Blackboard Collaborate

Presentations, 1-4

Tues., Oct. 12

Meet on Blackboard Collaborate

Watch: Real Women Have Curves (Patricia Cardosa, 2002) Swank

Read: “Adolescence and the Risk of Stereotypes: Real Women Have Curves (2002)”

Thurs., Oct. 14

Meet on Blackboard Collaborate

Presentations, 5-8

Tues., Oct. 19

Meet on Blackboard Collaborate

Watch: Zoot Suit (Luis Valdez, 1981) Netflix

Read: “Zoot to Boot: The Zoot Suit as Both Costume and Symbol,” Studies in Latin American Popular Culture, 28, 2010, 112-131.

Thurs., Oct. 21

Meet on Blackboard Collaborate

Presentations, 9-12

Due Sunday, October 19th: Discussion Post 5 (by 11:59pm)

Tues., Oct.26

Meet on Blackboard Collaborate

Watch: Raising Victor Vargas (Peter Sollett, 2002) Netflix

Read: “Caribbean Transnational Films and National Culture, or How Puerto Rican or Dominican Can You Be in ‘Nueba Yol’?,” Naida García-Crespo, Centro Journal, 28:1, Spring 2016, 146-175.  Just read pages 146-151, 166-171.

Thurs., Oct. 28

Meet on Blackboard Collaborate

Watch: Edward Said On Orientalism (Jeremy Smith, Sanjay Talrej, Sut Jhally, 1998) Kanopy

Tues., Nov. 2

Meet on Blackboard Collaborate

Due: Rough Draft of Paper

Peer Review:  Due Wednesday, November 3 by 11:59PM.

Thurs., Nov. 4

Meet on Blackboard Collaborate

Read: “Anna May Wong: Navigating Asian American Racial Identity in Early Hollywood,” Sarah Kazuko Chow, Film Matters, 11:1, March 2020, 50-61.

Due Sunday, November 7th: A short poem that expresses your emotional response to any of the films from this class.

Tues., Nov. 9

Meet on Blackboard Collaborate

Watch: Always Be My Maybe (Nahnatchka Khan, 2019) NETFLIX

Read: “Asian American Men’s Body Image Concerns: A Focus Group Study,” Kelly Yu-Hsin Liao, et all, Psychology of Men & Masculinities, 21:3, July 2020, 333-344.

Thurs., Nov. 11

CREATE Symposium (Extra Credit)

Meet on Blackboard Collaborate

Watch: Lucky Grandma (Sasie Sealy, 2019) Swank

Due Sunday, November 14th: 2-3 writing on your perspective of race after taking this class.  (Due by 11:59pm)

Mon., Nov. 15

Classes end

Final Paper is due on our scheduled exam day: TBA

Final Exam Details

The final research paper will be due during the scheduled exam week.  The date and time of the final exam is set by the registrar and will be posted at midterms. The exam schedule cannot be changed at the convenience of the student. This is a firm deadline once set, as I have to have ample time to grade your papers and submit all final grades to the registrar.

Course Expectations

Participation: You are expected to actively participate in this class and to use your camera to engage with your classmates and your instructor online.  You are expected to be prepared, having read the assignments and/or watched the screenings.  If you have done this, then it will be impossible to discuss the topics.

Syllabus: Secondly, check the syllabus!  If you don’t check the syllabus, you’ll miss important deadlines.

Attendance: You are expected to attend all face-to-face meetings.  We cover a lot of important information in these meetings.  If you miss one, then you risk missing important activities, deadlines, announcements, etc.  Should you find that you miss a class, you should reach out to a classmate and ask what we covered during the session.  Over the course of the semester, each students is permitted 3 unexcused absences.  What you do with those is up to you, but I would reserve them for unavoidable or emergency situations.  After you have reached your 3 unexcused absences, the attendance portion of your participation grade will begin to decrease.  I tally the number of days possible to attend (say 25), and then tally how many days you attended (say 17).  17/25 =68%.

Behavior: You are expected to behave in a manner fitting to college students. Any disrespectful, harmful or threatening behavior towards your classmates or your professor will not be tolerated and the appropriate action will be taken against you. It is also important to note that some of the films, film clips and other material may contain controversial and potentially offensive material. This material does not reflect my attitudes or those of Georgia Gwinnett College. Some films and film clips contain violence, sexuality, obscenities, drug and/or alcohol use, and issues related to race, class, politics, religion, gender, sexuality, nationality and ethnicity. If you are sensitive to such issues, offend easily, and/or you are unwilling to handle this content in a mature way, then you may wish to reconsider taking this course.

Important Dates

August 9, 2021 Classes Begin (Full Session and Session A)

August 15, 2021 Drop/Add Period Ends (Full Session)

September 6, 2021 Labor Day Holiday

September 23, 2021 Career Navigation Series for CMAP 2:00-3:15 (Extra Credit)

September 27, 2021 Midterm Grades Due

September 29, 2021 Last Day to Drop a Class with a W (by 5:00 p.m.)

October 1, 2021 Deadline to apply for spring/summer graduation

November 11, 2021 CREATE Symposium (Extra Credit to present at the event)

November 15, 2021 Last Day of Classes

November 16-22 Final Exam Period

December 7, 2021 Commencement

December 10, 2021 Grades Available in Banner

Course Changes

This course syllabus provides a general plan for this course. The instructor reserves the right to make changes to the syllabus, including changes to assignments, projects, examinations, etc., in order to accommodate the needs of the class as a whole and fulfill the goals of the course.