CIN340H1F Special Topics in Cinema as Social and Cultural Practice: Media and the Cultural Landscape

 

Instructor: Naomi Angel

Mondays 9-12, Wednesdays 9-11

Prerequisite: CIN105Y1

DR=HUM; BR=1 (1) Creative and Cultural Representations

 

Course Description:

In this course, cinema is contextualized as one way in which cultural meanings are produced. Television, print media and music also play a role in this process. This course investigates the dominant critical perspectives that have contributed to our understandings of media and focuses on tactics to engage that media critically. To that end, we will watch, discuss, and write about a variety of media products including television, music, film, print and online content. By the end of this class you should gain insight into how popular culture contributes to individual and social meaning-making, feel comfortable with a variety of theoretical approaches to media criticism, and strengthen your own ideas about the significance of popular culture to our everyday lives.

CIN320H1S Special Topics in Genre and Modes:

Memory and Film

 

Instructor: Naomi Angel

Mondays 9-12, Wednesdays 9-11

Prerequisite: CIN105Y1

DR=HUM; BR=1 (1) Creative and Cultural Representations

Course Description:

Film has been described as a “technology of memory.” Cinematic productions play a role in deciding what and who is to be remembered. National cinemas project particular forms of cultural memories. More intimate recollections in family dramas play out as memoires rendered on film. Drawing on diverse theories from Memory Studies, Media and Cultural Studies, and Cinema Studies this course examines the ways in which memory is negotiated through film. In looking at how the past figures in contemporary film, the course includes sections on film as memoire, representations of historical trauma, and the relationship between national cinemas and memory. The organizing questions for this course include: What role does film play in the witnessing of events? How are memory and history intertwined in filmic representations? And in what ways are both intimate and national bonds created or challenged when memories are projected on film?

 

 

 

 

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