Media Studies 80: Fall 2008
Video and Diversity

Time/Location: T/R, 1:15pm-2:30pm, screening T, 7:00pm-9:00pm; both in SC230

Instructor: Ming-Yuen S. Ma
Phone: x74319

Office + Hours:

• Scott 213
• Thursday 11:00am-12:00pm, Friday 11:00am-12:00pm
• Wednesday by appt.

Course Description
An introductory level course exploring video as a medium, particularly as it is utilized by women, people of color, lesbians and gays, grassroots activists, as well as other peoples who are under and/or mis-represented by dominant media. This class explores independent video production from historical as well as issue-oriented approaches. The history of video technology, from analog to digital, is studied with a focus on developments that made video an accessible and powerful tool for self-expression and political intervention. Issues around gender, race, class, and sexual politics are examined in relation to works from the above-mentioned communities. Bodies of work by individual makers and collectives are presented as case studies in how multiple issues can be addressed through singular oeuvres. No prerequisite.

Course Organization
Class activities include group discussion, student presentations, video screenings, writing assignments, and direct action. There may also be site visits and field trips, depending on our schedule and class size. Your participation in class activities will factor into your final grade. Throughout the semester, guest speakers, including film and video makers, media artists, programmers, etc., maybe invited to class and/or venues at the Claremont Colleges, so be prepared to attend out-of-class screenings.

Please turn off all cell phones and pagers during class. These and other diversions are not acceptable during class time, and will lower your grade. 

Course Requirements
1. Attend all classes
2. Participation in class discussions and presentations
3. Completion of all individual and group assignments



Attendance and participation of all classes is required. Do not miss class or arrive late! If you miss class 3 times without a proper excuse, (e.g. a doctor's note if you are sick) you fail the class. Absences must be cleared by me before or after (in case of emergencies only) the class you missed in order for it to not affect your final grade. Attendance is determined by when I take roll.

Class Participation
Your active, well-prepared participation in class discussions is essential to creating a dynamic (i.e. not boring!) learning environment. Although you will not receive a letter grade for class participation, it will figure into your final grade based on my observations.

We often study sexually explicit, political, and otherwise challenging material in this course. These are not included for shock value, but are legitimate investigations of controversial subject matters in media. You are certainly encouraged to explore difficult and complex subject matters in your work, and you should be prepared to consider these issues intellectually and emotionally. Our class is a safe space in which students can express their beliefs and opinions. You always have a voice, but please be respectful of others as well. Abusive language and behavior are not be tolerated. Open-mindedness is encouraged!


Class Assignments & Exams
Reading and writing assignments are not graded individually, but are averaged into your participation grade.

3 in-class exams - when we finish examining each historical period, (e.g. 1940s-1960s) there is an in-class exam, usually in the form of multiple choice questions and short essays discussing the information and issues we explored.
Diversity group action - affinity groups will each plan and stage an action that address the concerns of their group. A proposal for the action is due October 23. The action must be concluded by November 26. Go to DGA guidelines and groups.
Final research paper/project - each student will hand in a final research paper or project on December 11. This should engage with issues of video and diversity that are important to you. Possible paper/projects include: research paper on a movement and its video productions, an analytical paper on a video, video maker, or genre of video; a creative work addressing these themes. The content of your paper/project should not have been extensively discussed in class. Your paper/project must be approved upon by instructor by November 13, and is due on December 11.

Unless an extension is approved by myself in advance of the due date, your grade will be reduced by one letter grade (i.e. B to C) per class day your paper is late. You are encouraged to meet with me individually during my office hours to discuss your assignments, your grades, and your overall performance in class. I am always open to suggestions and feedback!


Reading Assignments
Required readings will be from the following textbooks (available at the Huntley Bookstore), and/or posted on the class web site. Suggested readings are available from Huntley in limited numbers, and will be posted on the web site and on Sakai ( You should be able to draw from these reading assignments during class discussions, exams, papers, other assignments.

Required Textbooks:
Maureen Adams, Warren J. Blumenfeld, Rosie Castaneda, Heather W. Hackman, Madeline L. Peters, Ximena Zuniga, eds., Reading For Diversity and Social Justice, Routledge, NY, 2000.

Doug Hall and Sally Jo Fifer, eds., Illuminating Video: An Essential Guide to Video Art, Aperture/BAVC, 1990.

Suggested Textbooks:
Amelia Jones, ed., The Feminism and Visual Culture Reader, Routledge, NY, 2003.

Alexandra Juhasz, ed., Women of Vision: Histories in Feminist Film and Video, University of Minnesota Press, MN, 2001.

Benjamin Shepard & Ronald Hayduk, eds., From ACT UP To The WTO: Urban Protest and Community Building in The Era of Globalization, Verso, NY, 2002.

Additional References (good sources for your research paper/project):
Most if not all of these titles are at the Honnold Library, if you want to purchase copies, go to,, etc .

Roy Armes, On Video, Routledge, NY, 1988.
Barbara Abrash & Catherine Egan, eds., Mediating History: The MAP Guide to Independent Video, New York University Press, NY, 1992.
Bad Object-Choices, eds., How Do I Look? Queer Film and Video, Bay Press, Seattle, WA, 1991.
Gina Dent, ed., Black Popular Culture, Bay Press, Seattle, WA, 1992.
Manthia Diawara, ed., Black American Cinema, Routledge, NY, 1993.
Frantz Fanon, Black Skin, White Masks, Grove Wiedenfeld, NY, 1967.
---, The Wretched of The Earth, Grove Wiedenfeld, NY, 1963.
Russell Ferguson, Martha Gever, Trinh T. Minh-ha, Cornel West, eds., Out There: Marginalization and Contemporary Culture, New Museum/MIT Press, NY, 1990.
Peter X. Feng, ed., Screening Asian Americans, Rutgers University Press, 2002.
Peter X. Feng, Identities in Motion: Asian American Film & Video, Duke University Press, 2002.
Coco Fusco, English is Broken Here: Notes on Cultural Fusion in The Americas, The New Press, NY, 1995.
---, The Bodies That Were Not Ours and Other Writings, Routledge, NY, 2001.
Roger Garcia, ed., Out of The Shadows: Asians in American Cinema, Olivares/Locarno Film Festival, 2001.
Martha Gever, John Greyson, Pratibha Parmar, eds., Queer Looks: Perspectives on Lesbian and Gay Film and Video, Routledge, NY, 1993.
Darrell Hamamoto & Sandra Liu, eds., Countervisions: Asian American Film Criticism, Temple University Press, 2000.
John Hanhardt, Video Culture: A Critical Investigation, Peregrine Smith Books, NY, 1986.
Thomas Harding, The Video Activist Handbook, Pluto Press, London & Chicago, 1997.
Alexandra Juhasz, AIDS TV: Identity, Community, and Alternative Video, Duke University Press, Durham, 1995.
Russell Leong, ed., Moving The Image: Independent Asian Pacific American Media Arts, UCLA Asian American Studies Center and Visual Communications, Los Angeles, 1991.
Laura U. Marks, The Skin of The Film: Intercultural Cinema, Embodiment, and the Senses, Duke University Press, Durham, 2000.
Cherrie Moraga & Gloria Anzaldua, eds., This Bridge Called My Back: Writings by Radical Women of Color, Kitchen Table Press, NY, 1981
Jose Munoz, Disidentification: Queers of Color and the Performance of Politics, University of Minnesota Press, MN, 1999.
Chon Noriega, ed., Chicanos and Film: Representation and Resistance , University of Minnesota Press, MN, 1992.
Michael Renov & Erika Suderburg, eds., Resolutions: Contemporary Video Practices, University of Minnesota Press, MN, 1995.
Ruby Rich, Chick Flicks: Theories and Memories of The Feminist Film Movement, Duke University Press, Durham, NC, 1998.
Ira Schneider and Berl Korot, Video Art: An Anthology, Harcourt Brace Jovanovich, NY, 1976.
Anthony Smith, ed., Television: An International History, Oxford University Press, UK, 1998
Fatimah Tobing Rony, The Third Eye: Race, Cinema, and Ethnographic Spectacle, Duke University Press, Durham, NC, 1996.
Ella Shohat & Robert Stam, Unthinking Eurocentrism, Routledge Press, NY, 1994.
Jun Xing, Asian America Through The Lens, AltaMira Press, 1998.

Your final grade will be based on the following
Exams 30%
Research paper/project 25%
Diversity group action 25%
Class participation* 20%

* Your general performance in class including participation, writing assignments, attendance and punctuality, except in the special cases listed above, such as if you have more than 3 un-excused absences.

Generally, outstanding ('A') students in this class have good attendance and completed all their assignments on time. They are consistently well prepared for class, and actively participate in and advance our discussions with pertinent information, questions, and observations. Their work demonstrate their awareness of the issues at hand, the historical context for the film and videos they are discussing, as well as their ability to articulate their observations and analyses in a clear and concise manner. Only letter grades are given out in this class.

Academic honesty - all work done for this course must be the original work of the student submitting it, and should have been undertaken exclusively for this course. No work done prior to this class maybe used to fulfill the class assignments.

Extra credit - Students are encouraged to attend screenings, conferences, lectures, exhibitions and web events related to this course. Write a two-page (typed and double-spaced) report of the event or activity. Incorporate the event's relevance to the class as well as your personal responses to it. Proof of attendance is required (keep your ticket stubs, programs, etc.) Students are allowed two extra credit papers. Announcements for events of interest to this class are done in the first 5 mins. of each class.

* I try my best to make my grading criteria as clear as possible, and you are welcome to come and discuss your grades and your class performance with me. However, I only consider legitimate concerns, and be aware that your grade is as likely to go down as it is to go up after I reassess your assignment. I do not tolerate haggling, bribing, threats, and any other pointless arguments. I consider all aspects of your performance before I assign a grade, please respect my assessment as I respect your efforts.




Course Schedule:

Spetember 2 : Introduction

Class Introduction
Review Syllabus & Requirements:
__- Course Description
__- Course Organization/Expectations
__- Attendance Policy
__- Class Participation
__- Assignments
__- Grading Policy
Class discussion: What is diversity??
BEYOND BODY MEMORY (1992) by Neesha Dosanjh
Writing Assignment #1
After reading the assignment for week 1, respond to this question: What is your definition of diversity? and post your response (300-600 words) on Sakai ( under "Forums". You are encouraged to look at each other's responses before class on Thursday, bring a hard copy to class and be prepared to share!

September 4: Diversity Activity
Class diversity activity

Week 1 Reading Assignment
"Reflections on Liberation" by Suzanne Pharr and "Towards a New Vision: Race, Class, Gender as Categories of Analysis and Connection" by Patricia Hill Collins, in Reading For Diversity and Social Justice , pp. 450-462

No screening this week


September 9: Intro to Video Technology
Class defnition of diversity posted as a Wiki document on Sakai (, students will log in periodically throughout the semester to modify the document. First check-in will be in two weeks. Also look at the definition of diversity created by the Fall 2006 class.
Introduction to Video:
__- Video vs. film
__- Electromagnetic Composition
__- How it Works
__- Formats
__- Digital

Excerpt from FUSES (1964-67) by Carolee Schneemann
Excerpt from VERTICAL ROLL (1972) by Joan Jonas

September 11: Camera Demo

Introduction to Video:
__- Differences between video and film
__- Video formats & Media Making Process

Camera Demo - live:
__- Physical Attributes- Zoom, Focus, etc.
__- Aesthetic ­ Framing, Lighting, Sound
__- Defining Space ­ Visual Communication

Web Site
A totally whacky site on the history of video technology

Week 2 Reading Assignment

Aesthetics of Video Image by Roy Armes, in On Video, pp. 186-210
"10-Point Plan for Video" by Vito Acconci, "You are Consumed" by Richard Serra, "I Use Video as a Knife by Willoughby Sharp, all in Video Art: An Anthology.

TELEVISION DELIVERS PEOPLE (1973) or BOMMERANG (1974) by Richard Serra

No Screening This Week


WEEK 3 : 1940-1950
September 16: 1940s-50s
Discuss Diversity Action Group assignment, and forming Diversity Action Groups
1940s-1950s Historical Perspective
Post- WW2 activity

September 18: 1940s-50s
MovieTone Reels ­ oppressed images, censored, controlled.
Social Change ­ read, heard, still images.

TELEVISION DELIVERS PEOPLE (1973) or BOMMERANG (1974) by Richard Serra

Week 3 Reading Assignment
The Importance of Being Ernie: Taking a Close Look (and Listen) by Bruce Ferguson, in Illuminating Video, pp. 349-265.
The American Networks by Les Brown, in Television: An International History, pp. 147-160.

No Screening This Week


WEEK 4: 1950-1960
September 23: 1950s
Television broadcast history: timeline 1, timeline 2, Portapak image
Educational films and social engineering in the 1950s
The production of a "critical audience" - Ernie Kovacs
Educational films: DUCK AND COVER (1951), THE TROUBLE WITH WOMEN (1959)
Excerpts from the ERNIE KOVACS SHOW
Web Site
Our Show of Shows

September 25: Late 50s-1960s
Late 1950s/early '60s Historical Perspective
Early 1960s mass media and issues of diversity
Videos & Films:
Excerpts from SAYONARA (1957) Directed by Joshua Logan
Excerpts from FLOWER DRUM SONG (1961) Directed by Henry Koster

Week 4 Reading Assignment
The Cold War Origins of the Model Minority Myth by Robert Lee, in Orientals: Asian Americans in Popular Culture, Temple Univ. Press, Philadelphia, 1999, pp. 145-179.

Writing Assignment #2
Prime Time Survey (1 page) Look at this year's Fall prime time (8pm-11pm) schedule. Break down each network and program's cast and characters in terms of race/ethnicity, gender, sexual identity. Determine patterns. Choose one night during this or next week (to coincide with the Fall season launch) to conduct your survey, report during class.

Week 4 Screening (Tuesday, September 23, 7pm, SC230)
GUESS WHO"S COMING TO DINNER? (1967) Directed by Stanley Kramer


WEEK 5: EXAM #1, 1960-1970
September 30: 1960s
Early 1960s mass media and issues of diversity
Counterculture and diversity - happenings, love-ins, and the politics of "groovy-ness"
Videos & Films:
Excerpts from GUESS WHO"S COMING TO DINNER? (1967) Directed by Stanley Kramer
Excerpt from BERKELEY IN THE SIXTIES (1990) Directed by Mark Mitchell

October 2: Exam #1 (1940s-1960s)

In-class exam - study on
__- The characteristics of video technology, difference between film and video, video aesthetics, etc.
__- Early broadcast history, genres, etc.
__- 1950s-60s Hollywood and diversity

Week 4 Screening (Tuesday, September 26, 7pm, SC230)
Episodes from the ERNIE KOVACS SHOW (Optional)


WEEK 6: 1960-1970
October 7: Late '60s-Early '70s
Late 1950s/early 1960s Historical Perspective
Counter culture gendered representations
Gendered representations: proto-feminist artists
The material manipulation of film vs. the electronic manipulation of video
Videos & Films:
Excerpt from FUSES (1964-67) by Carolee Schneemann
Excerpt from VERTICAL ROLL (1972) by Joan Jonas

October 9: Susan Mogul Screening, 1:30-3:30, Avery Auditorium

Meet in classroom and we will go over to Avery together, stay after class if you can for Q&A with the artist

Week 6 Reading Assignment
Interview with Carolee Schneemann in Women of Vision, pp. 61-75
Why Have There Been No Great Women Artists? by Linda Nochlin in The Feminism and Visual Culture Reader, pp. 229-233
"Night to His Day": The Social Construction of Gender by Judith Lorber, The Conundrum of Difference by Sandra Lipsitz Bem, in Reading For Diversity and Social Justice , pp. 203-213, 228-232

Week 6 Screening
(Tuesday, October 7, 7pm, SC230)
FUSES (1964-67) by Carolee Schneemann
VERTICAL ROLL (1972) by Joan Jonas
BERKELEY IN THE SIXTIES (1990) Directed by Mark Mitchell (Optional)


WEEK 7: 1970s
October 14: Late 1960s—1970s
Late 1960s / early 1970s Historical Perspective, 1965-1973 (Presenters: Lily Burgess, Ti'esh Ni'kol)
__- End of Viet Nam War, Watergate, impeachment of Nixon
__- Arts Movement - predominately white males exhibited
__- People of Color - still organizing, still developing, lacked access to video technology
Technological advances
__- Technology more advanced - video mixer, special effects, chroma-key, etc.
__- Editing is available but very expensive
__- 3/4" becomes the standard
__- New cameras and portapak
Excerpt from GOOD MORNING, MR. ORWELL (1984) by Nam June Paik
Excerpt from TECHNOLOGY/TRANSFORMATION (1978)  by Dara Birnbaum

October 16: Late 1970s-1980s
New documentary: video activism, street videos
Video collectives
Historical Perspective, 1974-1980 (Presenters: Michele Kaufman, Jaclyn Mena)
Technological Advances
__- The Betacam Changes Broadcast TV formats
__- The Camcorder ­ consumer version available
__- Editing still costly
__- Public Access usage goes up
Excerpt from MEDIA BURN (1976) by Ant Farm & T.R. Uthco

Week 7 Reading Assignment
La Vie, Satellites, One Meeting—One Life by Nam June Paik, in Video Culture, pp. 219-222
Truth or Consequences: American Television and Video Art by David Ross, in Video Culture, pp. 167-178
Video: Shedding The Utopian Moment by Martha Rosler, in Illuminating Video, pp. 31-50
A Brief History of American Documentary Video by Deirdre Boyle, in Illuminating Video, pp. 51-69

Week 7 Screening (Tuesday, October 14, 7pm, SC230)
4 MORE YEARS (1972)  by TVTV 
ETERNAL FRAME (1976) by Ant Farm & T.R. Uthco



WEEK 8: FALL BREAK, 1980-1990
October 21: Fall Break - No Class

October 23: 1980s, Diversity action proposals due
The Women's Movement and early feminist video
Presentation by each affinity group on their diversity actions - 5 min. .

Week 8 Reading Assignment
Feminist Media Strategies for Political Performance by Suzanne Lacy & Leslie Labowitz in The Feminism and Visual Culture Reader, pp. 302-313
Reading For Diversity and Social Justice
, pp. 238-260

No Screening This Week - but you are highly encouraged to attend the Resolution 3 Symposium on Friday, October 24 (in Claremont), Saturday October 25 and Sunday October 26 (in Hollywood). Vans will be available to take students from campus to Symposium site at LACE and back, details TBA.


WEEK 9: 1980s
October 28: Feminist Videos
Feminist videos in 1980s
Public access and community video
ALWAYS LOVE YOUR MAN by Carla DeVito (1975)

October 30: Feminist Videos & Video Activism
Feminist videos in 1980s
1980s Historical Perspective (Presenters: Amanda Miller, Mellanie Moore)
Public access and community video
Technological advances
Video activism

Excerpt from LOVE TAPES by Wendy Clarke (1981)
MADE FOR TV by Anne Magnuson and Tom Rubinitz (1984)
Excerpt from JOAN DOES DYNASTY by Joan Braderman (1986)

Week 9 Reading Assignments
The Feminism Factor: Video and its Relation to Feminism by Martha Gever, in Illuminating Video, pp. 226-241
Significant Others: Social Documentary as Personal Portraiture in Women's Video of the 1980s by Christine Tamblyn, in Illuminating Video, pp. 405-417
Interview with Kate Horsfield, Susan Mogul in Women of Vision, pp. 95-106, 183-194
What is Video Activism? by Thomas Harding in The Video Activist Handbook, pp. 1-13

Week 9 Screening (Tuesday, October 28, 7pm, SC230)
LOVE TAPES by Wendy Clarke (1981)
JOAN DOES DYNASTY by Joan Braderman (1986)



WEEK 10: EXAM #2, 1980s-90s
November 4 : 1980s, Public Access and Video Activism
Technological advances
Video activism

Week 10 Reading Assignments
Unpacking the Revolution In A Box by John Walden, I want to read more!
"Video Art: What's TV Got To Do With It?" by Kathy Rae Huffman, Illuminating Video, pp. 81-90

Web Site
Paper Tiger Television
Deep Dish TV
Freespeech TV
Indymedia Centers

November 6: Exam #2 (1965-1986)

In-class exam - study on
__- Social/cultural history: the impact of '60 counter-culture, rebellion and anti-establishment, Vietnam War, awareness of media hegemony; 1970s and the US Women’s Movement; 1980s and reactionary politics
__- Tech history: portapak, video synthesizers, video compositing (blue-screen), consumer video – camcorders and VCR; video technology became more and more available
__- The Women's Movement and Feminist video art – precursor: Carolee Schneemann and Joan Jonas, 1st generation: Dara Birnbaum, Martha Rolser, Carla De Vito, 2nd generation: Anne Magnuson, Joan Braderman, Wendy Clarke
__- Video activism – from street videos to public access: TVTV, Ant Farm, Paper Tiger TV, Deep Dish TV
__- Other artists – Nam June Paik, Peter Campus

No Screening this Week - Study for Exam #2


WEEK 11: LATE 1980s-1990s
November 11: AIDS Activist Videos
AIDS activist videos
KISSING DOESN'T KILL (1990) PSAs by Gran Fury
Selected SAFER SEX SHORTS (1987-90) various directors, produced by GMHC

Web Site
(Damned Interfering Video Activists)
ACT UP Oral History Project

November 13: Late 1980s-1990s
Research paper abstract due - 1 page summary of paper topic and bibliography, typed and double-spaced
AIDS activist videos
Excerpt from VOICES FROM THE FRONT (1992) by Testing the Limits
Excerpt from LIKE A PRAYER by DIVA TV (1991) by DIVA TV
Excerpt from THEY ARE LOST TO VISION ALL TOGETHER (1988) by Tom Kalin

Week 11 Reading Assignments
Reading For Diversity and Social Justice
, pp. 324-340
"So Many Alternatives" The Alternative AIDS Video Movement by Alexandra Juhasz, in From ACT UP to the WTO, pp. 298-305
On The Make: AIDS Activist Video Collectives by Catherine Saalfield, in Queer Looks, pp. 21-37
Interview with Carol Leigh, Juanita Mohammed in Women of Vision, pp. 197-222

No Screening This Week because of Exam #2


WEEK 12: 1990s
November 18: Multiculturalism and Identity Politics, Research paper abstract due
1990s Historical Perspective (Presenters: Thania Murillo, Acadia Tucker, Emily Ziegler)
Desert Storm
Clinton Era
Rodney King and the LA Uprising
Identity politics
ANIMAQUILADORA by Alex Rivera & Lalo Lopez (1997)

Writing Assignment #4
Write a personal ad for yourself. Bring 2 copies, one with your name, which you will hand in, and one without your name, which will be presented in class.

November 20: Queer Nation?
NEA and censorship - debate federal funding for the arts (Mapplethorpe, 2 Live Crew, NEA4, etc.)
Identity politics
Technological Advances
History of Public Television
ME AND RUBY FRUIT by Sadie Benning (1989)

Week 12 Reading Assignments
marginality as site of resistance by bell hooks in Out There, pp. 341-344
Ethnicity, Politics, and Poetics: Latinos and Media Art by Coco Fusco, in Illuminating Video, pp. 304-316
Video Art: What's TV Got To Do With It? by Kathy Rae Huffman, in Illuminating Video, pp. 81-90
Interview with Valerie Soe in Women of Vision, pp. 249-260

Radical Queers or Queer Radicals? by Liz Highleyman, in From ACT UP to the WTO, pp. 106-120
Interview with Cheryl Dunye
in Women of Vision, pp. 291-304

Week 12 Screening (Tuesday, November 18, 7pm, SC230)
DOCTORS, LIARS, AND WOMEN: AIDS ACTIVISTS SAY NO TO COSMO (1988) by Jean Carlomusto and Maria Maggenti for the LIVING WITH AIDS public access TV show
TONGUES UNTIED by Marlon Riggs (1989)

Suggested Viewing
SHE DON'T FADE by Cheryl Dunye (1991)

November 25: Identity Politics
Multiple identities
Claiming a voice: self-representation and autobiography

Suggested Reading
Reading For Diversity and Social Justice , pp. 267-318

No Screening This Week

November 27: Thanksgiving Holiday - No Class Meeting



WEEK 14: 1990s-2000s
December 2: Appropriation & Fair Use
Technological advances: digital revolution (non-linear editing, all media on the same platform)
Appropriation and Fair Use
__- Desert Storm: Gulf War 1991
__- Rodney King and the 1992 LA Uprising
__- Columbus Bicentennial - the "discovery of America
IRAQ CAMPAIGN 1991 by Phil Patiris (1992)

December 4: Culture Jamming
  Diversity Action evaluation - 2-3 page narrative and reflection on the action performed by your group. Each student must hand in an evaluation to receive a grade for the group action project.
2000-Present Historical Perspective (Presenters: Acadia Tucker, Jaclyn Mena, Ti'esh Ni'kol)
The Battle of Seattle and WTO protests
Culture Jamming
VIDEO PRESS RELEASE by Barbie Liberation Organization

Reading Assignments
Articles on Detournement by Guy Bedford, Gil J. Wolman, Rene Vienet, in The Situationist International Anthology, pp. 8-14, 55-56, 213-216
"Who's Doin' The Twist? Notes Toward A Politics of Appropriation," by Coco Fusco, in English is Broken Here, pp. 65-77
Excerpts from Culture Jam by Kalle Lasn, Quill/Harper Collins, New York, 2000; pp. 29-35, 123-136

Suggested Reading
Pixel Vision: The Resurgence of Video Activism by Rachel Rinaldo
Also read sidebar articles: Video Precursors: 1965-Present and Free Speech TV: Ahead of Its Time & Defining the Curve
Article on CBS attempt to censor Phil Patiris
Article on Fair Use

Web Sites
Modern TV (Phil Patiris' web site)

DIY media

Guerilla Girls
Adbusters Media Foundation

Week 14 Screening (Tuesday, December 2, 7pm, SC230)
CULTURE JAMMER'S VIDEO by Adbusters Media Foundation
COUPLE IN THE CAGE (1997) by Paula Heredia & Coco Fusco, performance by Coco Fusco &
Guillermo Gomez-Pena

Suggested Viewing
INTRODUCTION TO THE END OF AN ARGUMENT by Jayce Saloum & Elia Suleiman (1990)
MEDIA KILLA by Matt MacDaniel (1992-98)

December 9:
Exam #3 (1990s-Present)

In-class exam - study on
__- Topics: video activism, AIDS activism, multiculturalism and identity politics, lesbian and gay/queer movements and politics, anti-globalisation/anti-corporate activism;
__- Concepts: Agit prop, marginality, censorship, detournement, appropriation, fair use, cultural jamming;
__- Technology and formats: popularization/commercialization of media technology, camcorders, public access TV, hi-tech vs. lo-tech, digital revolution;
__- Artists: Gran Fury, DIVA TV, Tom Kalin, Testing The Limits, GMHC, Living With AIDS Public Access TV, Valerie Soe, Alex Rivera & Lalo Lopez, Marlon Riggs, Sadie Benning, Adbusters, Coco Fusco & Guillermo Gomez Pena, Guerilla Girls, RTMark

December 11:
Diversity Action evaluations due
Class party - we will meet at 12 noon for lunch at the Grove House, outdoor classroom if it is nice, or the meeting room in back
Hand in research paper today if you can, final deadline is Tuesday, 12/16, by 5pm - leave a hardcopy in my mailbox in Scott Hall (outside PZ Registrar) or slide it under my door.
Diversity group action presentations - 5 to 10 mins. from each group, discuss your action and it's results, show video, photo, web/blog documentation
Class evaluation
Revisiting our class definition of diversity

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