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Media Studies [clear]
| Title | Offering | Standing | Credits | Credits | When | F | W | S | Su | Description | Preparatory | Faculty | Days | Multiple Standings | Start Quarters | Open Quarters |
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Carrie Margolin and Michael Buse
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Program | FR–SOFreshmen - Sophomore | 16 | 16 | Day | F 12 Fall | W 13Winter | From Frankenstein to Freddy. From Groucho to Leno. For over 100 years, audiences have screamed in terror or roared with laughter at what Hollywood has presented.This program will look at the changes in what scares us, and what makes us laugh, over the course of American cultural history from the inception of filmmaking to present day. We will examine the psychology of fear, the psychology of humor, and the language and craft of filmmaking and other media used to convey these human emotions. We will focus on fear during fall quarter. Audiences in 1910 were terrified by . was a heart-pounder in 1925. Mass panic ensued in 1938 from the radio production of . What were the cultural and historical factors that made these so fear-inducing? Today, we need much more than monsters or aliens to give us goosebumps. It takes twisted psychological demons and graphic violence to startle and thrill. How has society changed in its response to what is considered scary? In winter quarter, we will switch to humor studies. As early as 1914, comedians such as Charlie Chaplin and the Keystone Kops provided merriment. Slapstick reigned supreme from the 1920s through the 1960s with the antics of The Three Stooges. Comedy branched out with the "Borscht Belt" stand-up comedians during that same era. Comedy continues into present day, from sit-coms to , with the acceptance of increasingly "off-color" and "dark" humor. The program format may include lectures, workshops, films, seminars, guest presentations and group and individual projects. We will focus on clarity in oral and written communication, critical thinking skills, and the ability to work across significant differences. | psychology, education and media studies. | Carrie Margolin Michael Buse | Freshmen FR Sophomore SO | Fall | Fall Winter | |||
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Julia Zay, Shaw Osha (Flores) and Kathleen Eamon
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Program | FR–SOFreshmen - Sophomore | 16 | 16 | Day | F 12 Fall | W 13Winter | - In this program, we want to think about art, and we want to think about work, but we want to think about them in a historically-specific sense. We will be talking about art and work as practices and discourses specific to “modernity,” and we will talk about modernity as marked by the emergence of art and work as distinct from the rest of social life. And we will ask what it means to live, work, and make art right now. Two broad disciplines, visual studies and philosophy, will orient us, and we will also look to the spirit of the (1919-1933) and its struggle to define a modernist art school curriculum as a way of making these questions concrete. We will work our own intellectual and theoretical capacities right alongside our skills and techniques in visual and time-based art. We will come to understand what it takes to have both intellectual and artistic , as well as how to produce our own intellectual and artistic . In terms of coverage, the program will offer foundational work in visual and cultural studies, art and media practice, as well as 18 -20 century European philosophy. We will study history in order to understand our own moment better. We will begin our study with important texts that respond to the gradual rise of industry as the dominant mode of production, and we will continue our examination into the eras that follow. We will trace the emergence of two tendencies that stand in some tension with one another: the idea of “work” undergoes some disenchantment with the rise of large-scale industry, but it also takes on a romantic aspect with the possibility of greater egalitarianism. “Art,” and its work, is also simultaneously both debased and exalted, thought of as both epitome and critic of commodity culture, a space apart from and the ironic fulfillment of the market economy. Following our study of the we will look to the rise of conceptualism in art in the 1960s and 70s and contemporary forms and institutions of art that are grappling with the question of art as labor and artists as workers under current economic pressures. All of these case studies will support our study of how the meaning and value of art has become invested in the everyday and uses labor as an organizing principle of the aesthetic. We will pursue our themes by thinking, looking, and making. In fall we will set our foundation by studying major philosophical and artistic movements and texts, basic skills in visual and time-based art, but also by developing our skills in reading, discussing, and writing about challenging texts in philosophy, cultural theory, and art history. In winter quarter, we will build on our foundation. One of our central aims will be to reconcile our own utopian aspirations, inspired by the struggles of the , by developing “schools” of our own. Each of our schools will be responsible for designing a curriculum around a specific discipline and for making collaborative “work” across those disciplines. We will study a range of theorists, artists, objects and practices. Authors include: G. W. F. Hegel, Karl Marx, Sigmund Freud, Michel Foucault, Pierre Bourdieu, Michel de Certeau, Judith Butler, Linda Nochlin, Julia Bryan-Wilson, and Miwon Kwon. Artists include: Joseph Albers, Walter Gropius and others affiliated with the Fluxus-affiliated artists, Robert Morris, Yvonne Rainer, Mika Rottenberg, Chantal Akerman, Charles Burnett, the Maysles Brothers, Fritz Lang and John Sayles. We will also read from a variety of sources in art and media history and theory, and social theory. Program work will include research, writing (both formal academic writing as well as writing experiments), and the making of visual and media art. | humanities, visual studies, gender studies, cultural studies, education and communications. | Julia Zay Shaw Osha (Flores) Kathleen Eamon | Freshmen FR Sophomore SO | Fall | Fall Winter | |||
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Andrew Buchman, Qi Chen, Paul McMillin and David Shaw
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Program | FR–SRFreshmen - Senior | 16 | 16 | Day | F 12 Fall | During the 1930s, the capitalist world economy experienced a prolonged and severe economic depression. International trade fell by more than 50%. Unemployment in the U.S. rose to 25%. In this program, we'll explore the economic circumstances of the Great Depression, the social movements engendered and empowered in the U.S. during those years, and the music and theatre that those tough times inspired. These studies will shed light on our own era of economic crisis and increasingly radicalized political culture.We intend to look at competing theories of booms and busts, crises and crashes. We’ll review basic concepts of classical economics that proved inadequate to the situation, and look at some new economic ideas (Berle and Means, Keynes, Coase) that the Great Depression helped spawn. We'll look at ecological disasters like the Dust Bowl, and grand technological experiments with vast environmental consequences like the Grand Coulee Dam. These stories offer cautionary lessons to our own times around issues of sustainability.We'll examine political responses of the 1930s, including national initiatives, workers’ movements, Marxist critiques, and the rise of fascist and anti-fascist movements. Readings will include works by contemporary journalists, activists, revolutionaries, and documentarians who produced creative and insightful analyses of their age. We plan to trace the increasing influence of mass media and propaganda , and will investigate songs, films, shows, and photographs. Students will do close listening to pieces of music, analyzing them as one might a poem or painting. The music of Woody Guthrie and the photography of Dorothea Lange will be in the mix. Students should expect to become well-informed about the economic and political developments of the 1930s. They should be prepared to draw conclusions about the causes of economic crisis and the political, social, and aesthetic responses to crisis, and defend those conclusions in vigorous discussions with their classmates. This program will also prepare students for the winter quarter program, . | Andrew Buchman Qi Chen Paul McMillin David Shaw | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall | |||||
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Rose Jang
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Program | SO–SRSophomore - Senior | 16 | 16 | Day | S 13Spring | This program will take a journey through modern Chinese history by way of reading and viewing Chinese stories in fiction and film. The fiction of modern China found its first and most resounding voice in Lu Xun's short story, "The Diary of a Madman," in 1918, five years after the first independent screenplay was filmed in Shanghai, China. Since then, Chinese stories in the hands of many ingenious artists have enlivened life and documented modernization. Writers such as Ding Ling, Lao She, Mo Yan, Han Shaogong and Wang Anyi traced the joy, pain, suffering, dignity as well as everyday experiences of modern Chinese people, whose lives spanned some of the most turbulent and atrocious chapters of human history. Film directors Yuan Muzhi, Fei Mu, Zhang Yimou, Tian Zhuangzhuang, Jia Zhangke and Li Yu, leading the way for continuously emerging new-wave film makers, retold Chinese stories through the unique lenses and distinct aesthetics of each film generation.We will alternate between selective works of fiction and film, analyzing each work and genre independently as well as comparing them in aesthetic and thematic terms. Faculty will provide related historical and cultural information through lecture and additional readings. Students are required to analyze literary forms and film aesthetics and to explore their contents through reading, writing and seminar discussions. In addition to weekly papers in response to individual works, they will compose a final essay relating the artistic works of modern China to their historical and cultural contexts. | Rose Jang | Sophomore SO Junior JR Senior SR | Spring | Spring | |||||
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Greg Mullins
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Program | FR–SRFreshmen - Senior | 8 | 08 | Day, Evening and Weekend | Su 13Summer Session I | From the silent films of the 1920s to the French New Wave, in this course you will study classics of world cinema. We will watch films by directors such as Wiene, Eisenstein, Welles, Hitchcock, De Sica, Godard, and Kurosawa. We will focus on styles, movements, influences, and historical contexts. Please visit for more information. | Greg Mullins | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | |||||
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Naima Lowe
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Program | FR–SRFreshmen - Senior | 8 | 08 | Day | Su 13Summer Session II | How do documentaries tell stories? How do they tell the truth? Why do we believe in the truth that they tell? How do we create compelling documentaries that examine complex issues about the world we live in? Students will learn to use a variety of creative and critical strategies to make their own short video documentaries including video production, video editing, and documentary writing/scripting techniques. Students will read several critical texts about the history and theory of documentary filmmaking, and screen a wide variety of documentary films from the US and abroad. | Naima Lowe | Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
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Brian Walter, Susan Fiksdal and Sara Sunshine Campbell
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Program | FR–SRFreshmen - Senior | 16 | 16 | Day | F 12 Fall | W 13Winter | What can a poll tell us about the outcome of an election? Do test scores really indicate whether a public school is "good"? What do gas prices have to do with social equity? Why are food labels a social justice issue?Quantitative literacy is a powerful tool that allows one not only to understand complex real-world phenomena but also to effect change. Educator and social justice advocate Eric Gutstein says that reading the world with mathematics means "to use mathematics to understand relations of power, resource inequities, and disparate opportunities between different social groups and to understand explicit discrimination based on race, class, gender, language, and other differences."In this program, we will "read the world with mathematics" as we consider issues of social justice, focusing particularly on how quantitative as well as qualitative approaches can deepen our understanding. The program work will develop students' knowledge of mathematics and examine issues of inequity using quantitative tools. In addition, students will work on persuasive writing and develop a historical understanding of current social structures. Our goal for our students is to expand their sense of social agency, their capacity to understand issues related to equity, and their ability to take action and work toward social change.In fall, we will study presidential and congressional national elections in the United States. We'll look at quantitative approaches to polling and the electoral process, including study of the electoral college system, and qualitative approaches to campaign advertising and political speeches. We'll examine the changing role of media, such as radio, television, the Internet and social media, by studying past presidential campaigns and how they've impacted today's campaigns. This work will include workshops in statistics and other quantitative approaches; workshops in discourse analysis of ads, blogs and social media websites; writing workshops; lectures; films and other media; book seminars; synthesis seminars; and a final project including quantitative and qualitative analysis of some aspect of the 2012 national elections.In winter quarter, we will investigate common experiences students have with mathematical work by studying the U.S. education system and mathematics education in particular. Civil rights activist Bob Moses has said that mathematics education in our public schools is a civil rights issue. Economic access depends on mathematical literacy, yet many students are marginalized by the middle-class curriculum and teaching practices of our public schools. Our exploration of this issue will inform our learning as we develop our own mathematical literacy.There are no mathematics requirements for this program. It is designed specifically to accommodate students who are uncertain of their mathematical skills, or who have had negative experiences with mathematics in the past. It is an introduction to college-level mathematics in the areas of statistics, probability, discrete mathematics, geometry and algebra. The program will also provide opportunities for students who wish to advance their mathematical understanding beyond the introductory level in these areas. | Brian Walter Susan Fiksdal Sara Sunshine Campbell | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter | ||||
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Cheri Lucas-Jennings
Signature Required:
Winter Spring
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Contract | SO–SRSophomore - Senior | 16 | 16 | Day and Weekend | W 13Winter | S 13Spring | Individual studies offers important opportunities for advanced students to create their own course of study and research. Prior to the beginning of the quarter, interested individuals or small groups of students must consult with the faculty sponsor to develop an outline of proposed projects to be described in an Individual Learning Contract. If students wish to gain internship experience they must secure the agreement and signature of a field supervisor prior to the initiation of the internship contract.This faculty wecomes internships and contracts in the areas of environmental health; health policy; public law; cultural studies; ethnic studies; the arts (including acrylic and oil painting, sculpture, or textiles); water policy and hydrolic systems; permaculture, economics of agriculture; toxins and brownfields; community planning, intranational relations.This opportunity is open to those who wish to continue with applied projects that seek to create social change in our community (as a result of work begun in fall 2010 and winter 2011 "Problems to Issues to Policies;" to those begining internship work at the State capitol who seek to expand their experience to public agencies and non-profit institutions; and to those interested in the study of low income populations and legal aid. | American studies, art, communications, community studies, cultural studies, environmental field studies, gender and women's health, history, law and government and public policy leadership | Cheri Lucas-Jennings | Sophomore SO Junior JR Senior SR | Winter | Winter Spring | |||
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Walter Grodzik
Signature Required:
Fall
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Contract | SO–SRSophomore - Senior | 16 | 16 | Day | F 12 Fall | Individual study offers individual and groups of students the opportunity to develop self-direction, to learn how to manage a personal project, to focus on unique combinations of subjects, and to pursue original interdisciplinary projects without the constraints of an external structure. Individual and groups of students interested in a self-directed project, research or internships in Queer Studies or the Performing and Visual Arts should contact the faculty by email at | Walter Grodzik | Sophomore SO Junior JR Senior SR | Fall | Fall | |||||
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Anthony Zaragoza, Zoltan Grossman and Lin Nelson
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Program | SO–SRSophomore - Senior | 16 | 16 | Day | F 12 Fall | W 13Winter | S 13Spring | Social movements don’t just happen. They emerge in complex, often subtle ways out of shifting historic conditions, at first unnoticed or underestimated. Social movements--across the political spectrum--push us to examine a wide array of questions about ideas, communication and organization, and how people are inspired and mobilized to create change. In this program, we will explore what individuals and communities can do about whatever issues are of most concern to them.This program will examine methods of community organizing that educate and draw people into social movements, and methods of activism that can turn their interests and commitment into effective action. Key to this will be how movements construct and frame their strategies, using a toolkit of tactics. Our foundation will be the contemporary U.S. scene, but we’ll draw on historical roots and lessons from the past, as well as on models from other countries. It will be crucial for us to look at the contexts of global, national and regional movements, and how they shape (and are shaped by) events at the local scale.In fall quarter we’ll undertake a comparative exploration of strategies and tactics of various social movements in the U.S. and abroad, and critically analyze their effectiveness and applicability. We’ll explore movements based around class and economic equality (such as labor rank-and-file, welfare rights and anti-foreclosure groups), as well as those based around identities of race, nationality and gender (such as civil rights, feminist, Native sovereignty, LGBTQ, and immigrant rights groups). The program will also examine movements that focus on life’s resources, from environmental justice to health, education and housing. Our examinations and explorations will take us across the political spectrum, including lessons from how populist movements effectively reach and mobilize disillusioned people, including right-wing populist movements, such as the Tea Party, pro-life/anti-choice and anti-gay movements, and anti-immigrant, anti-indigenous, and other white supremacist groups.During winter quarter, we’ll explore the ways that movements emerge and grow, focusing on themes that cut across organizations, and developing practical skills centered on these themes. Our discussions will include how movements reflect and tell people’s stories (through interviews, theater, etc.). Central to our work will be an examination of ways to communicate with people from different walks of life, using accessible language and imagery (through personal interaction, popular education, alternative media, etc.). We’ll critically examine how groups use mainstream institutions to effect change (such as press releases, research centers, legislative tactics, etc.). We’ll examine and critique the use of the internet and social media in networking people, and share innovative uses of culture (film, audio, art, music, etc.). We’ll assess the effectiveness and creativity of actions at different scales (rallies, direct actions, boycotts, etc.). Finally, we will look at relationships between social movements with different organizing styles, and how they have built alliances, as well as the internal dynamics within organizations.Spring quarter will be a time for in-depth work through different types of projects: comparative critiques of movement strategies, critical social history of a movement, direct work with a local or regional movement, critical exploration of movement literature, or development of media, including such possibilities as social media, short film pieces, photography, web pages, photovoice, and podcasting. Throughout the program, our work will be shaped by a range of community organizers, activists and scholars. Projects will use community-based research and documentation, with a view toward the sharing and presenting of work, in connection with partners and collaborators. | Anthony Zaragoza Zoltan Grossman Lin Nelson | Sophomore SO Junior JR Senior SR | Fall | Fall | |||
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Naima Lowe and Peter Randlette
Signature Required:
Fall
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Contract | JR–SRJunior - Senior | 16 | 16 | Day | F 12 Fall | W 13Winter | S 13Spring | The Electronic Media internships provide opportunities for in-depth learning of a variety of media skills and concepts. They require a year-long commitment for fall, winter and spring quarters. Interns enroll for 12-16 credits per quarter with room for a 4-credit part-time class or other academic components. Interns work 30 to 40 hours a week and are paid 15 to 19 hours a week, depending on credit distribution. The intern's primary responsibilities are focused on supporting instruction, maintenance and administration for specific labs, facilities and production needs under the supervision of the staff. The interns meet weekly as a group to share skills, collaborate on projects, and to facilitate working together on productions and cross training between areas. All interns will be working in the Center for Creative and Applied Media, the rebuilt HD video and 5.1 surround audio production studios. For specific descriptions of the internships, please refer to . | Naima Lowe Peter Randlette | Junior JR Senior SR | Fall | Fall | |||
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Laurie Meeker, Anne de Marcken (Forbes) and Marilyn Freeman
Signature Required:
Fall
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Program | SO–SRSophomore - Senior | 16 | 16 | Day | F 12 Fall | W 13Winter | S 13Spring | This is the foundational program for moving image practices at Evergreen. This program will continue to emphasize the study of media technology and hands-on production practices along with the study of film/video history and theory. This year our work as filmmakers will be placed in the service of both sustainability and justice. A number of academic programs have begun to center their inquiry on important issues facing us and our planet--climate change, environmental justice, the relationship between people and the land, the sustainability of human and natural communities--issues that are vital to our well-being and the health of the planet. How do we engage these issues as filmmakers and artists? Can our work make a difference?Engaging media history and theory will be central to developing strategies of representation in our own work as producers of media. We will examine the history of documentary filmmaking to explore the strategies filmmakers have developed to represent "reality." We will study non-fiction filmmaking practices through screenings, readings, research projects, writing, and seminar discussions. One thread of our inquiry will focus on media addressing sustainability and justice--how have filmmakers placed their work in the service of political struggle, sustainability, justice, and the environment? Another thread of our inquiry will address critical alternatives to mainstream media, including autobiography, the history of experimental film and video art, and essayistic video. We will also address the politics of representation in relation to race, class and gender. Most people agree that media has the power to educate, as well as influence attitudes and behavior. Can media artists contribute to social change? As artists, how do we enter the debates around social and political justice, around energy, the environment and climate change? How does political media function in the discourses surrounding these issues?During fall and winter, students will develop media production skills as they engage a series of design problems thematically related to sustainability and justice, which provides a context for our work. The "sustainability and justice" framework will be broadly defined, and students can expect to create work that uses a variety of representational strategies, from documentary, to essayistic, to personal and autobiographical. We will explore a variety of production techniques, including a focus on audio production, an exploration of the image through cinematography, and the study of digital media production. Collaboration, a skill learned through practice, will be an important aspect of this learning community. Students will be expected to commit to a number of collaborative projects as well as working independently. The spring quarter will be devoted to developing independent media projects through research, proposal writing and media production.This program will link with other academic programs studying sustainability and justice, and we will work to develop collaborative projects addressing issues under the sustainability and justice umbrella. | Laurie Meeker Anne de Marcken (Forbes) Marilyn Freeman | Tue Wed Thu | Sophomore SO Junior JR Senior SR | Fall | Fall | ||
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Mark Harrison and John Baldridge
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Program | FR–SRFreshmen - Senior | 8 | 08 | Evening and Weekend | F 12 Fall | W 13Winter | With the US presidential election season as backdrop, we will engage with American politics, both local and national. We will delve deeply into the use and construction of political power—how it leverages cultural trends and reflects the geography of the electorate. We will examine how tactics of performance are employed to create images that have purchase on the political stage. Rhetoric, "spin," appeals to values, the invocation of class struggle, portrayals of the Constitution, bi-partisanship, race relations, gender rights—all of these will be part of our curriculum. What roles do citizens play, particularly in relation to changing social and environmental realities, the Internet, popular culture and the media? We will develop a set of critical questions, issues, and case studies that will guide our program. We will critique the campaigns as they unfold in real time—political ads, talking points, debates and damage control. And we will analyze plays, narrative and documentary films, and other forms of art and entertainment to determine how they have historically reflected or shaped political action and thought. In fall quarter we will follow the campaigns as they develop and culminate in the election. We will analyze what the election results tell us about the state of American politics. In winter quarter we will analyze and track the Inaugural Address of the next president and the start of a new US Congress. What do "lame duck" politicians hope to accomplish? How do continuing politicians frame their plans for the future? What can we, as an informed electorate, anticipate from the next political cycle? Students who enroll in this program should expect to do independent research on the elections, participate in political rhetoric and events, conduct statistical analyses of polls and election results, and dig into the elections cycle and results. | Mark Harrison John Baldridge | Wed Sat | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter | |||
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Lawrence Mosqueda and Lori Blewett
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Program | FR ONLYFreshmen Only | 16 | 16 | Day | F 12 Fall | W 13Winter | This program focuses on the issue of Power in American society. In the analysis we will investigate the nature of economic, political, social, military, ideological and interpersonal power. The interrelationship of these dimensions will be a primary area of study. We will explore these themes through lectures, workshops, films, seminars, journal writing, oral presentations, short papers, and group media projects.The analysis will be guided by the following questions, as well as others that may emerge from the discussions: What is meant by the term "power"? Are there different kinds of power and how are they interrelated? Who has power in American society? Who is relatively powerless? Why? How is power accumulated? What resources are involved? How is power utilized and with what impact on various sectors of the population? How are personal and collective identities shaped by systems of power and privilege? What characterizes the struggle for power? How does communication (including political language, art, and media) frame our perceptions of power? How do social movement structures and persuasive strategies influence citizen resistance to power? How does domestic power relate to international power? How is international power used? How are people affected by the current power structure? What responsibilities do citizens have to alter the structure of power? What alternative structures are possible, probable, necessary or desirable?In this time of war and economic, social and political crisis, a good deal of the program will focus on international relations in a systematic and intellectual manner. This is a serious class for serious people. Please be prepared to work hard and to challenge your and others' previous thinking. | Lawrence Mosqueda Lori Blewett | Tue Wed Thu | Freshmen FR | Fall | Fall Winter | |||
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Sally Cloninger
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Program | SO–SRSophomore - Senior | 16 | 16 | Day | S 13Spring | This program is designed primarily for students interested in exploring visual literacy, television production, performance and media criticism. Students will be introduced to both media deconstruction and media production skills through a series of lecture/screenings, workshops and design problems that focus primarily on collaborative multi-camera studio production. No prior media production experience is required.We will take a critical, performative and historical approach as we examine and even emulate the production style and lessons from the early history of 20th century live television. Students will be expected to perform in front of as well as behind the camera and will explore the logistics and aesthetics of multi-camera direction and design. We will investigate the aesthetics and implications of live performance and multi-camera production for new media as well.This program will also examine the politics of representation, i.e., who gets the camera, who appears on the screen, and who has the power. Therefore, students who choose to enroll should be vitally and sincerely interested in the issues and ideas concerning the representation of gender, race, ethnicity, class and sexual orientation in the media. Activities will include training in the CCAM, a multi-camera TV studio facility, instruction in basic performance and writing for television, and a survey of visual design principles. In addition to a series of studio exercises, students will complete a collaborative final project that combines media analysis, research, performance and production about broadcast content and ideology. | Sally Cloninger | Wed Thu Fri | Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
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Frances V. Rains
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Program | FR–SRFreshmen - Senior | 16 | 16 | Day | W 13Winter | This program will address historic and contemporary images and misrepresentations of Indians in a variety of media. Indian images from films, photographs, language, mascots, popular culture and commercial interests will be deconstructed and analyzed for meaning, significance, power, representation and issues of authenticity. Colonialism, U.S./Indian history, geo-politics, and economics will be decolonized through the lenses of Native resistance, Native sovereignty and Native political and economic issues. Essential to this exploration will be an investigation of the dynamics of "self" and "other."Learning will take place through readings, seminars, lectures, films and workshops. Students will improve their research skills through document review, observations and critical analysis. Students will also have opportunities to improve their writing skills through weekly written assignments. Verbal skills will be improved through small group and whole class seminar discussions, and through individual final project presentations. Options for the final project will be discussed in the syllabus and in class. | art, cultural studies, education, geography, history, media studies, Native studies and political science. | Frances V. Rains | Mon Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter | |||
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Nancy Parkes
Signature Required:
Winter
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Program | FR–SRFreshmen - Senior | 8, 12, 16 | 08 12 16 | Evening and Weekend | F 12 Fall | W 13Winter | Students will learn many foundational aspects of journalism over two quarters including interviewing techniques, news reporting, and investigative techniques. We will study the history, present, and future of journalism, including its role or failure as a watchdog of government and advocate for community. In addition to producing portfolios of written work using traditional journalistic techniques and story modes, we will engage in blogging, advocacy writing, literary journalism, and community-based journalism tied to independent media as well as techniques for electronic publishing. We will also examine the history of journalism and media, including questions such as who has controlled or owned various mediums. Finally, we will consider the political economy of new media and traditional media, and examine possibilities that will work for independent and underrepresented voices.Questions we will consider include the following: Why is journalism regarded as the "fourth estate?" Is this still true as readership of print diminishes? What level of training do today's electronic journalists have, and how does this affect the role of investigatory journalism? What are the differences between "straight" news/analysis and advocacy journalism, and where do each work best? As more journalists become unpaid reporters, does this set up a system where more privileged people become the purveyors of information because they can afford to donate time? How can the United States have both trained journalists and independent media? What role will the power of social media play in shaping the future of media? In the future, what will be the role of corporate sponsored media, and what will be the role of independent media?In winter, students may also apply for in-program media internships and seek faculty approval for an additional 4 or 8 credits. This will allow students to be enrolled for 8, 12, or 16 credits in winter. Fall quarter participation is a prerequisite for winter internships. | Nancy Parkes | Wed Sat | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter | |||
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Marianne Bailey
Signature Required:
Fall
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SOS | FR–SRFreshmen - Senior | 2, 4 | 02 04 | Day | F 12 Fall | This SOS will allow students having completed an Intermediate or second year French course to continue to build their fluency at a High Intermediate or Advanced level. The SOS participants will determine a time and place for their weekly meetings for conversation, discussion of texts and films, and peer editing of writings in French. They will meet with their professor once weekly as a group to present their week's work, and to discuss problems in French which have arisen. Each participant is also expected to develop a personal plan for fluency in consultation with their professor, considering grammatical weaknesses and other problem areas in their French skills which they contract to address through individual work over the quarter. This SOS exists as a forum in which students can build oral fluency through discussion and conversation, and an increased vocabulary as well as compositional skill, through keeping a journal in French throughout the quarter. | Marianne Bailey | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall | |||||
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Amjad Faur
Signature Required:
Winter
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SOS | JR–SRJunior - Senior | 16 | 16 | Day | W 13Winter | This program is intended for advanced students in photography and two-dimensional art, who are ready to create a fully realized body of work in their chosen field. Since this will not be an instructional class, students should be fully versed in the materials and processes of their chosen mediums. Through a supportive environment that includes regular weekly meetings, we will focus on the critical thinking and formal/conceptual problem-solving processes needed to produce a singular body of work. We will also address the many tangled tendrils that emanate from such an endeavor.Weekly seminars on various critical readings regarding the nature of contemporary image and object making will inform and guide the work. Though there will be a required book list, we will collectively select additional readings for the quarter during the first week. The visiting artist lecture series held every Wednesday from 11:30 - 1:00 is a required part of the program. Critiques will be held as a whole group every other week. Students will be expected to fully engage in critiques and critically evaluate their own work and the work of their peers.Students will work in small research groups to facilitate a robust and engaged process of inquiry. These groups will research the historic and contemporary context of the materials and process of their work and summarize their findings in a paper and presentation. Students will spend the quarter developing a written artist’s statement that reflects process and intent. Students will also document the stages of research, development and execution of the final body of work. This documentation will be turned in at the end of the quarter in the form of a final paper along with a final body of work and finalized artist's statement. | Amjad Faur | Junior JR Senior SR | Winter | Winter | |||||
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Gilda Sheppard and Carl Waluconis
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Program | FR–SRFreshmen - Senior | 8, 16 | 08 16 | Day | Su 13Summer Full | This program will explore the role that movement, visual art, music, and media can play in problem solving and in the resolution of internalized fear, conflicts, or blocks. Through a variety of hands-on activities, field trips, readings, films/video, and guest speakers, students will discover sources of imagery, sound, and movement as tools to awaken their creative problem solving from two perspectives—as creator and viewer. Students interested in human services, social sciences, media, humanities and education will find this course engaging. This course does not require any prerequisite art classes or training.Students may attend either day or evening sessions. | Gilda Sheppard Carl Waluconis | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
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Gilda Sheppard and Carl Waluconis
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Program | FR–SRFreshmen - Senior | 8, 16 | 08 16 | Evening | Su 13Summer Full | This program will explore the role that movement, visual art, music, and media can play in problem solving and in the resolution of internalized fear, conflicts, or blocks. Through a variety of hands-on activities, field trips, readings, films/video, and guest speakers, students will discover sources of imagery, sound, and movement as tools to awaken their creative problem solving from two perspectives—as creator and viewer. Students interested in human services, social sciences, media, humanities and education will find this course engaging. This course does not require any prerequisite art classes or training.Students may attend either day or evening sessions. | Gilda Sheppard Carl Waluconis | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
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Naima Lowe, Anne de Marcken (Forbes), Marilyn Freeman and Joli Sandoz
Signature Required:
Winter Spring
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Program | SO–SRSophomore - Senior | V | V | Day, Evening and Weekend | W 13Winter | S 13Spring | This is an opportunity for students to work with faculty from a diverse set of disciplines on creative and scholarly projects. Students will come away with invaluable skills in library and archival research practices, visual arts studio practices, laboratory practices, film/media production practices, critical research and writing, and much more. Critical and Creative Practices is comprised of a diverse group of artists, theorists, scientists, mathematicians, writers, filmmakers and other cultural workers whose interdisciplinary fields of study sit at the crossroads between critical theoretical studies and creative engagement. uses creative writing and digital media production as methods of inquiry. Her process-based work results in short stories, personal essays, longer hybrid narratives, time-based forms of these things (films and videos), and sometimes web environments. Her current areas of inquiry include climate change and the interactions of place and identity, in particular as related to the idea of home. Students working with Anne will have opportunities to work on one or more literary projects in the early development phase. Activities will include concept development, research, preliminary structuring, proposal writing, grant writing, and critique of early draft creative writing. Students may also work with Anne to continue development of an internet-based project related to climate change. (writing and media arts) is an interdisciplinary artist working primarily with time-based art for the page, the screen, and installation. Presently, Marilyn is particularly focused on the video essay as an ascendant form for creative and critical experiments with text, sound, and image. Her immediate projects include two video essay productions and a book— (University of Chicago Press, 2014). These projects provide opportunities for advanced students to assist with research and to enhance media arts skills through working directly with Marilyn in preproduction, production, and post-production of the video essays. (creative nonfiction) draws from experience and field, archival and library research to write creative essays about experiences and constructions of place, and about cultural practices of embodiment. She also experiments with juxtapositions of diagrams, images and words, including hand-drawn mapping. Students working with Joli will be able to learn their choice of: critical reading approaches to published works (reading as a writer), online and print research and associated information assessment skills, identifying publishing markets for specific pieces of writing, or discussing and responding to creative nonfiction in draft form (workshopping). Joli’s projects underway include a series of essays on place and aging; an essay on physical achievement and ambition; and a visual/word piece exploring the relationship of the local to the global. (experimental media and performance art) creates films, videos, performances and written works that explore issues of race, gender, and embodiment. The majority of her work includes an archival research element that explores historical social relationships and mythic identities. She is currently working on a series of short films and performances that explore racial identity in rural settings. Students working with Naima would have opportunities to learn media production and post-production skills (including storyboarding, scripting, 16mm and HD video shooting, location scouting, audio recording, audio/video editing, etc) through working with a small crew comprised of students and professional artists. Students would also have opportunities to do archival and historical research on African-Americans living in rural settings, and on literature, film and visual art that deals with similar themes. Please go to the catalog view for specific information about each option. | Naima Lowe Anne de Marcken (Forbes) Marilyn Freeman Joli Sandoz | Sophomore SO Junior JR Senior SR | Winter | Winter Spring | ||||
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Anne de Marcken (Forbes)
Signature Required:
Winter Spring
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Research | SO–SRSophomore - Senior | V | V | Day, Evening and Weekend | W 13Winter | S 13Spring | This is an opportunity for students to work with faculty from a diverse set of disciplines on creative and scholarly projects. Students will come away with invaluable skills in library and archival research practices, visual arts studio practices, laboratory practices, film/media production practices, critical research and writing, and much more. Critical and Creative Practices is comprised of a diverse group of artists, theorists, scientists, mathematicians, writers, filmmakers and other cultural workers whose interdisciplinary fields of study sit at the crossroads between critical theoretical studies and creative engagement. uses creative writing and digital media production as methods of inquiry. Her process-based work results in short stories, personal essays, longer hybrid narratives, time-based forms of these things (films and videos), and sometimes web environments. Her current areas of inquiry include climate change and the interactions of place and identity, in particular as related to the idea of home. Students working with Anne will have opportunities to work on one or more literary projects in the early development phase. Activities will include concept development, research, preliminary structuring, proposal writing, grant writing, and critique of early draft creative writing. Students may also work with Anne to continue development of an internet-based project related to climate change. | Anne de Marcken (Forbes) | Sophomore SO Junior JR Senior SR | Winter | Winter Spring | ||||
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Marilyn Freeman
Signature Required:
Winter Spring
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Research | SO–SRSophomore - Senior | V | V | Day, Evening and Weekend | W 13Winter | S 13Spring | This is an opportunity for students to work with faculty from a diverse set of disciplines on creative and scholarly projects. Students will come away with invaluable skills in library and archival research practices, visual arts studio practices, laboratory practices, film/media production practices, critical research and writing, and much more. Critical and Creative Practices is comprised of a diverse group of artists, theorists, scientists, mathematicians, writers, filmmakers and other cultural workers whose interdisciplinary fields of study sit at the crossroads between critical theoretical studies and creative engagement. (writing and media arts) is an interdisciplinary artist working primarily with time-based art for the page, the screen, and installation. Presently, Marilyn is particularly focused on the video essay as an ascendant form for creative and critical experiments with text, sound, and image. Her immediate projects include two video essay productions and a book— (University of Chicago Press, 2014). These projects provide opportunities for advanced students to assist with research and to enhance media arts skills through working directly with Marilyn in preproduction, production, and post-production of the video essays. | Marilyn Freeman | Sophomore SO Junior JR Senior SR | Winter | Winter Spring | ||||
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Naima Lowe
Signature Required:
Winter Spring
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Research | SO–SRSophomore - Senior | V | V | Day, Evening and Weekend | W 13Winter | S 13Spring | This is an opportunity for students to work with faculty from a diverse set of disciplines on creative and scholarly projects. Students will come away with invaluable skills in library and archival research practices, visual arts studio practices, laboratory practices, film/media production practices, critical research and writing, and much more. Critical and Creative Practices is comprised of a diverse group of artists, theorists, scientists, mathematicians, writers, filmmakers and other cultural workers whose interdisciplinary fields of study sit at the crossroads between critical theoretical studies and creative engagement. (experimental media and performance art) creates films, videos, performances and written works that explore issues of race, gender, and embodiment. The majority of her work includes an archival research element that explores historical social relationships and mythic identities. She is currently working on a series of short films and performances that explore racial identity in rural settings. Students working with Naima would have opportunities to learn media production and post-production skills (including storyboarding, scripting, 16mm and HD video shooting, location scouting, audio recording, audio/video editing, etc) through working with a small crew comprised of students and professional artists. Students would also have opportunities to do archival and historical research on African-Americans living in rural settings, and on literature, film and visual art that deals with similar themes. | Naima Lowe | Sophomore SO Junior JR Senior SR | Winter | Winter Spring | ||||
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Naima Lowe
Signature Required:
Winter
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Program | JR–SRJunior - Senior | 16 | 16 | Day | F 12 Fall | W 13Winter | S 13Spring | This is an opportunity for advanced students with a background in a variety of art forms to build on their skills in the history, theory and creation of visual, performance and media art with the support of a learning community. Our focus will be on the exploration of Video Art and Performance Art as forms that have histories and practices that simultaneously draw upon traditions of experimental film and avant-garde theater while staking unique allegiances to the worlds of sculpture, photography, painting, spoken word and experimental music. We will explore these practices as creative practitioners, curators, and theoreticians of Video and Performance Art. In we will study the intertwined histories of Video (including Video Installation Art) and Performance Art from the 1960s to the present. We will centrally ask: How do Performance and Video Artists uniquely explore issues of race, gender, interactivity, place and the body? We will read, screen and discuss the work of artists and art historians who will help us put Video and Performance Art into historical and theoretical context. These explorations will be accentuated by creative exercises in performance and video, as well as short papers and collaborative research assignments. We will end Fall Quarter with a retreat during which students and faculty will work together to determine further areas of skill building and research to explore during Winter and Spring Quarters. will be made up of technique workshops, guest artists and longer form projects in which students will explore their own creative practices in depth. Lectures, seminar readings and a 10-15 page research paper will deepen our engagement of the material. The content of the technique workshops will be developed during the fall retreat, and include Vocal Performance, Interactive Computing (Arduino/MaxMSP), Lighting for Film/Video, Costuming, Video Installation, etc. By the end of Winter Quarter each student will complete a proposal for a Spring Quarter project that will be exhibited for the Evergreen community. Students will also collectively curate and organize a screening and performance series that will take place during the Spring Quarter. Winter Quarter will also include a While in New York, we will also visit other museums, galleries and performance spaces such as The Studio Museum in Harlem, The Kitchen, The Coney Island Museum, and PS 122. We will visit several locations as a group, as well as having opportunities for exploring the city independently. will be primarily dedicated to independent work and work-in-progress critiques of the final project, as well as the organization of the screening and performance series. For more information: | Naima Lowe | Junior JR Senior SR | Fall | Fall Winter |
