The spirit of the corrupt mob said to the objects: I am yours, take me! and hurled itself into the river of objects, let itself be swept along by them and perished in the flood.
INTRODUCTION TO THE COURSE
This course examines how the central questions posed in Core I continue to be addressed in a contemporary context. Through readings on the environment, historical development of human societies, current issues of social inequality, as well as personal and group identities and relationships, Core II explores some of the major issues facing humanity today.
Thomas Piketty’s Capital in the Twenty-First Century (2013) ushered in a wave of articles around the world that gave legitimacy to what millions of people had been discussing for years- the steadfast growth of inequality in their communities. The consequence of the income gap between the wealthy and the poor is felt with greater intensity today, as we witness the rise of repressive regimes around the globe. In this course, we will be exploring inequality and state-repression as a way to reflect upon the strengths and weaknesses of our social institutions. I hope the readings I have chosen will help us develop theoretical approaches to analyze the root causes of the increase in inequality and its dreadful consequences.
Hobsbawm, Eric. Age of Extremes: The Short Twentieth Century: 1914-1991.New
York: Vintage, 1996.
●Daily class reflections: You must buy a pack of flashcards and bring them with you to every class. At the end of each class period, I will give you 10 minutes to reflect on the reading/s and discussion. On your flashcards, please write down a few notes on the topic of discussion and/or transcribe one or two quotes from the readings (make sure you include first and last name of the author, title of the essay or book, and page number).
●Complete common readings and any additional readings assigned specifically to you
●Attendance and participation at film screenings
●3 Short Papers
●Abstract and outline of your final presentation
CR Common Readings- Every student needs to do the reading and prepare for
ARS Assigned Reading to 1 student: The student who is assigned the reading
must prepare a 10-minute presentation on the reading and prepare to
engage with other readings or films scheduled for that day.
Tuesday, February 7th 1:00- 2:30 p.m.
Inoue, Asao B. “Reading as a Mindful Practice.” (CR) 3 pages
Yates, Michael D. “Measuring Global Inequality.” Monthly Review. (CR) 9
Lenin, Vladimir. “Communism and the East: Theses on the National and Colonial
Questions.”Lenin Anthology. (ASR) 4 pages
Thursday, February 9th
Singer, Peter. “Common Objections to Giving.” The Life You Can Save: Acting
Now to End World Poverty. (CR) 10 pages
Stiglitz, Joseph E. “Inequality Is Not Inevitable.” (pgs 300-305). The Great
Divide: Unequal Societies and What We Can Do About Them. (ARS) 18 pages
Screening (in class): The Queen of Versailles. Dir. Lauren Greenfield, 2012.
Saturday, February 11th
Extra credit opportunity:Brothers Hypnotic. Dir. Reuben Atlas and Sam
Humanities 290-01 (1169) Digital Humanities, Spring 2017
When machines and computers, profit motives and property rights, are considered more important than people, the giant triplets of racism, extreme materialism and militarism are incapable of being conquered
Martin Luther King, The Riverside Church in New York, 1967
…nothing is so frightening as a labyrinth with no center.
Borges, citing G.K. Chesterton
This course explores the intersection between digital technology and media with academic research in the Humanities. In recent years, this area of studies has flourished into one of the most popular and well-funded fields of inquiry. The corporate takeover of the Internet has prompted researchers to reflect on the impact that social networks, digital archiving, computer interfaces, and online communication, has had and will have on academic research, publishing, and social relations in general. Most authors we will be reading and discussing this semester seem to agree that the each year the arrival of new technologies in the consumer market appears to be intensifying. These new technologies both threaten and enhance our understanding of the capacities of human beings to remember, preserve, reproduce and represent reality. I hope that this course will grant us the opportunity to better understand the challenges and high hopes that digital technologies bring to the global community.
●All assignments for this course must be uploaded to a blog. Your blog should be dedicated only to this course. You can upload images, videos, links, and files to your blog. Please keep in mind that all your assignments need to be uploaded by the deadline(10%)
●Complete common readings and any additional readings assigned specifically to you(20%)
●Attendance and participation at film screenings (20%)
●8 writing assignments (15% each)
●Abstract and outline of your final presentation (10%)
●Final presentation (10%)
●Final Paper (15%)
CRCommon Readings- Every student needs to do the reading and prepare for
ARSAssigned Reading to 1 student: The student who is assigned the reading
must prepare a 5-10 minutes presentation on the reading and prepare to
engage with other readings or films scheduled for that day.
Tuesday, February 7th
Digital Humanities, why should we care?
Liu, Alan. The Meaning of Digital Humanities: What is the meaning of the
digital humanities to the humanities? (CR)11 pages
Mande, Joe. How I Learned To Game Twitter. The New Yorker (CR)
Final essay due by midnight (Date to be announced)
Digital Humanities Bibliography
Aiden, E., & Michel, J. (2013). Uncharted: big data as lens on human culture. New York: Riverhead Books, a member of Penguin Group (USA).
Amichai-Hanburger, Y. (2005). The Social net: understanding human behavior in cyberspace. Oxford: Oxford University Press.
Baudrillard, J. (1994). The illusion of the end. Stanford, CA: Stanford University Press.
Baym, N.K. (2010). Personal connections in the digital age. Cambridge, UK: Polity.
Blikstein, P. (1992). Introduction. Travels in Troy with Freire.
Boyd, D. (2014). It’s Complicated: The Social Lives of Network Teens. London: Yale University Press.
Cadwalladr, C. (2016). Google, democracy and the truth about internet search. The Guardian. Retrieved December 5, 2016, from http://www.theguardian.com/
Ceruzzi, P. E. (2003) A history of modern computing. London, Eng.: MIT Press.
Freire, P. (1973). Society in Transition. Education for Critical Consciousness. New York: Seabury.
Friend, Tad. (2017). “Silicon Valley’s Quest to Live Forever.” The New Yorker.
Morville, Peter. “The Sociosemantic Web.” Ambient Findability.
Galloway, A. R. (2012). The interface effect. Cambridge, UK: Polity.
Garbaudo, P. (2012). Tweets and the streets: social media and contemporary activism. London: Pluto Press.
Golumbia, D. (2014). Death of a Discipline. A Journal of Feminist Cultural Studies, 25(1), 156-176. Duke University Press.
Hayles, K. (2008). The Future of Literature. Electronic Literature: New Horizons for the Library (pp. 159-186). Notre Dame: University of Notre Dame.
Heller, N. (2016). The Failure of Facebook Democracy. The New Yorker. Retrieved November 22,2016.
Herrera, Linda. (2014). Revolution in the Age of Social Media: The Egyptian Popular Insurrection and the Internet. Verso.
Jenkins, H. (2006). Converge culture: where old and new media collide. New York: New York University Press.
Kaplan, Jerry. (2015). Humans Need Not Apply: A Guide to Wealth and Work in the Age of Artificial Intelligence. Yale University Press.
Liu, A. (2013). The Meaning of the Digital Humanities. The Changing Profession, 128 (10), pp 409-423.
Mande, J. (2016). How I learned to Game Twitter. The New Yorker. Retrieved November 29, 2016.
Manovich, Lev. (2001). “What New Media Is Not.” The Language of New Media. The MIT Press.
Margalit, R. (2016). Should Auschwitz Be a Site for Selfies?. The New Yorker. Retrieved January 9, 2017.
Marwick, A. E. (2013). Status update: celebrity, publicity, and branding in the social media age. New Haven: Yale University Press.
Mone, G. (2016). What’s Next for Digital Humanities. Society, 59(6), 20-21.
Morville, Peter. “The Sociosemantic Web.” Ambient Findability.
Negroponte, N. (1995). Being Digital. New York: Knopf.
Rainie, H., & Wellman, B. (2012). Networked: The New Social Operating System. Cambridge, MA: MIT Press.
Segovia, Kathryn and Jeremy N. Bailenson. (2013). ”Identity Manipulation What Happens When Identity Presentation is Not Truthful.” The Social Net: Understanding our online behavior. Ed. Yair Amichai-Hamburger.
Shirky, C. (2018). Here comes everybody: the power of organizing without organizations. New York: Penguin Press.
Thomas, D. (2002) (Not)Hackers: Subculture, Style, and Media Incorporation. Hcker culture (pp. 141-171). Minneapolis: University of Minnesota Press.
Vaidhyanathan, S. (2011). The Goolization of everything: (and why we should worry). Berkley: University of California Press.
van Dijck, J. (2007). Mediated Memories as a Conceptual Too Mediated Memories in the Digital Age. Stanford University Press.
HUM 38B Roots and Routes: Narrative Geographies of the Americas
Two-quarter sequence. Colonialism, transnationalism, migration and immigration, and gender and language in the Americas through novels and shorter pieces from the Latin American, Chicano/a, and Latino/traditions. (Brotherston, Rosa, Yarbro-Bejarano)
HUM 25A,B. Art and Ideas: Performance and Practice
Two-quarter sequence. Issues in aesthetics and performance through examples from the classical age to the present. Concepts of art and practice intersecting with topics such as imitation, instruction through pleasure, the creative process, perception, social analysis, and embodiment as a form of knowledge. Texts and performances from drama, dance, music, visual arts, and performance art practices that reflect aesthetic ideas. GER:IHUM-2,3 IHUM 25A. 5 units, Win (Rayner) IHUM 25B. 5 units, Spr (Ross)
HUM 46. Visions of Mortality
Anyone reading this is alive, and so will someday die. Issues arising from these facts of life and death beginning with the most fundamental questions arising from the first-person confrontation with thoughts of one’s own mortality. Is death bad for a person, and if so, why? What can the badness or the indifference of death tell us about what makes life good? If death is the permanent end of existence, does this make human choices arbitrary, and life meaningless? GER:IHUM-1 5 units, Aut (Barrett, Bobonich)
HUM 62. Conflict, Cooperation, and Human Nature
Forms of social interaction and their relationship with what makes people human. The focus is on the construction of family systems, warfare, and slavery as uniquely human activities. How people manipulate classifications such as the nonhuman in an effort to define a potential spouse, an opponent in war, or a slave. Sources include anthropology, history, and comparative perspectives. GER:IHUM-1 5 units, Aut (Hilde, Jones)
HUM 8A,9A. Myth and Modernity: Culture in Germany
Two-quarter sequence. The tension between tradition and progress through an examination of German cultural history. The experience of modernity typically involves overcoming or denying the past, but that same past can return to haunt the present in the form of myths. The interplay of myth and modernity, the irrationality of narrative, and the reason of progress, through the example of German culture, especially in literature, from the heroic epics of the medieval era through the catastrophes of the last century. GER:IHUM-2,3 IHUM 8A. 5 units, Win (Berman) IHUM 9A. 5 units, Spr (Eshel, Strum)
Investigación y guión para el desarrollo de documentales
8 clases – Workshop – Clínica de guiones – Fragmentos de documentales – Textos complementarios y entrevistas con los cineastas – Campus virtual con Foro y chat (no requiere la instalación de ningún programa) – Se otorgan certificados
Dictado por: Tomás Crowder-Taraborrelli y Javier Campo Cierre de inscripción: 14 de marzo de 2014. Comienzo: 17 de marzo de 2014. Informes e inscripción:
Universidad Nacional del Centro de la Provincia de Buenos Aires
Facultad de Arte
Seminario de posgrado
CINE, CRÍMENES DE LESA HUMANIDAD Y GENOCIDIO: Estrategias de documentación y representación
Prof. Tomás Crowder-Taraborrelli*
Días y horarios: Miércoles 10, Jueves 11 y Viernes 12 de julio de 9 a 13 hs. y 15 a 19 hs.
Lugar: Sede de la Facultad de Arte (9 de julio 430, Tandil)
Se adjunta Programa.
*Tomás Crowder-Taraborrelli: Profesor de la Universidad Soka, California. Productor asociado de ITVS, la televisión pública norteamericana. Co-editor de la sección de cine de la revista Latin American Perspectives.
SEMINARIO NO ARANCELADO. CUPOS LIMITADOS. Inscripción previa: firstname.lastname@example.org
Organiza: Departamento de Historia y Teoría del Arte- Facultad de Arte UNICEN
Más información: Secretaría de Investigación y Posgrado, 9 de julio 430, Planta Alta, Tel (0054) – 249 – 440631 int. 210
Abstract: This paper explores the cultural dimensions of regional integration that could result from the regional trade pact of the Latin American Southern Cone called MERCOSUR. The aim of this study is to understand whether cultural industries such as film can be aided by state policies that work to erase borders between neighbouring countries and to facilitate interchange and trade through regional integration. Despite grassroots mobilization by filmmakers, this cultural dimension of MERCOSUR has not been realized in any material fashion. This research explores the various reasons for the failure of this policy. The Uruguayan film industry serves as a case study of some of the obstacles to cultural integration.
This study explores the ways in which cultural industries such as film are affected by state policies in the Latin American Southern Cone. The essential purpose of these policies, implemented under the regional trade pact MERCOSUR, is to erase borders between neighbouring countries and to facilitate interchange and trade through regional integration. By promoting a network of cross-border film co-operation, this effort could potentially contest (or, in an ideal world, circumvent) Hollywood’s dominance in the areas of film production, exhibition, and distribution. Despite grassroots mobilization by filmmakers of the member countries (Argentina, Brazil, Paraguay, and Uruguay), however, this cultural dimension of MERCOSUR has not been realized in terms of any definitive, active institutionalized co-production initiatives. This paper examines the various reasons for the failure of this policy. Uruguay and its audiovisual industry demonstrate why the implementation of regional audiovisual policies has not worked under the regional trade agreement MERCOSUR. My research suggests that film production in Uruguay has been aided more on both local and pan-Ibero-American levels than on a regional level.
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Latin American Film Industry May Receive Boost in the Global Recession
FEBRUARY 13, 2009by Danielle Renwick
In the last few months conventional wisdom has said that all bets are off when it comes to investments. While most sectors of the economy are starving for cash and credit, Latin American film makers are hoping to attract foreign investors looking to lower costs by investing in non-U.S. projects.
Andres Calderón, executive producer at Dynamo capital, was in New York last week to test that hypothesis. Calderón, who worked as an investment banker for eight years before joining the Colombian production firm Dynamo, is hoping that the credit crunch affecting Hollywood will provide new opportunities for Latin American movie makers.
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span style=”font-family: Arial, Helvetica, sans-serif;”> Latin pic marts sizzle: Markets flourish, boosted by buying spree
Sat., Apr. 9, 2011 By JOHN HOPEWELL, JAMES YOUNG
GUADALAJARA, Mexico — One decade ago, most Latin American national film industries were struggling for survival.
Now, after production levels have boomed in most territories — Argentina alone made 154 features last year — they’re battling for the keys to further growth.
A dynamic clutch of dedicated national, mini-regional and pan-Latin American film markets are aimed at boosting exports and co-productions for young, but fast-maturing local production sectors.
Mexico’s Guadalajara mart, under 2006-10 director Jorge Sanchez, built up its Film Market and Ibero-American Co-production Meeting, and imported Cannes’ Producers Network and a Guadalajara Construye rough-cut section.
This week’s Buenos Aires’ Bafici Festival boasts a prestigious works-in-progress section, a BAL co-production forum and Puentes, a Europe-Latin America meet.
Buenos Aires’ Ventana Sur, a custom-built mart for Latin American pics combining the strength of its organizers, Cannes’ Film Market and Argentina’s Incaa film institute, has taken Latin American film markets to the next level.
At least 300 buyers and 1,960 non-Latin American participants attended the second edition of Ventana Sur in December.
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Globalisation, national identity and the demise of political filmmaking
This article stems from concerns I have about the label “Latin American film,” or “Latin American cinema,” because the films to which it refers are so diverse, but the label homogenises them – and, by extension, the cultures from which they emerge. My concern is not primarily about the use of the term by people interested in film and culture – such as community members on this site! – but by the global film industry and by cultural theorists (where the former have vested interests in the label, and the latter should know better). In presenting some of these concerns, I describe changes that have lead to the widespread use and acceptance of this label, as well as aspects of the history of films and filmmaking in Latin American countries that makes such a label problematic for me and more generally.
Some recent developments in “Latin American cinema”
It’s no exaggeration to claim that what we currently call “globalisation” has since the 1990s changed the production and distribution of films from several Latin American countries almost beyond recognition and, as a result, changed the very perception of what is now generally termed “Latin American cinema” or “Latin American film.” And terminology is crucial here – both to the issues I discuss, and to the concerns I raise. Especially significant is that while many of the countries I’m discussing were until recently called “developing countries,” they’re now termed “emerging markets” – something that’s happened as free-trade ideas and practices spread across the subcontinent and its governments lessen their involvement in filmmaking. The term “emerging markets” immediately shifts the identities at issue from national to commercial ones – something perhaps especially significant in the context of Latin American countries, for which the expression of national identities has been so important and so central to filmmaking, and for which commercial success was until comparatively recently neither a crucial aim nor a particular indicator of success.
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