COURSE OUTLINE FOR POL128, Sec. 021, Politics and Film, Fall 2012, REVISE R!e"son Uni#e"sit!

$ e%a"tment o& Politics and P'(lic )dminist"ation* Inst"'cto"+ La'"inda ,a"tt-Fo'"nie", Department of Politics and Public Administration Email+ lhartt@politics.ryerson.ca Please Note: the email address begin with a lower case L NOT a #1 or a capital I. P.one+ !1"# $%$&'((() *+t. %(!" O&&ice: ,oom %(1) -orgenson .all O&&ice ,o'"s+ /ondays from ':(( pm to ":(( pm) 0hursdays from !:1( pm to ' pm and 2ridays from 1:1' to 3:1' beginning /onday 4ept. 1(th5 any changes will be announced on 6lac7board and in class. I can be reached at anytime by email if these office hours do not fit your schedule. Classes+ 0a7e place on T.'"sda!s in /,S201 &"om 10+10 am to noon $!o'" lect'"es a"e s.a"ed 1it. Sec. 021 o& t.is same co'"se* and on F"ida!s in TRS1030 &"om 10+10 am to 11 am $t.is is se%a"ate &"om Sec. 021, 1.ic. meets a di&&e"ent time on F"ida!s*. 6oth classes are of e8ual importance with the 2riday class a continuation of the 0hursday class) rather than being a tutorial# and attendance at both is re8uired. -------------------------------------------------------------------------------------------------Immediate )ttention Please: 9ertain Lower Le:el Liberal studies courses) due to their close relation to the professional fields) cannot be ta7en for Liberal 4tudies credit by students in certain programs. St'dents in all Politics %"o4"ams $incl'din4 Politics and 5o#e"nance, and Politics and P'(lic )dminist"ation*, and st'dents ma6o"in4 in Social 7o"8, ma! not ta8e t.is co'"se &o" Lo1e" Le#el Li(e"al St'dies c"edit. 9o' s.o'ld cons'lt 1it. !o'" %"o4"am o&&ice as soon as %ossi(le to con&i"m t.at !o' s.o'ld d"o% t.is co'"se and select anot.e" lo1e"-le#el li(e"al st'dies co'"se. C.ec8 t.e online 2012-2012 Unde"4"ad'ate Calenda" 'nde" :Li(e"al St'dies;, Ta(le ), &o" t.e list o& lo1e"le#el li(e"al st'dies co'"ses t.at a"e "est"icted in !o'" %"o4"am o" contact !o'" %"o4"am de%a"tment &o" assistance. $T.is is a co""ected #e"sion o& t.is anno'ncement 1.ic. %"e#io'sl! contained o'tdated "est"ictions*. &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& Please cons'lt <lac8(oa"d "e4'la"l! &o" co'"se anno'ncements and to do1nload and %"int co'"se doc'ments incl'din4 t.is co'"se o'tline, .ando'ts, st'd! s.eets &o" tests, and t.e occasional notes on some o& t.e &ilms. )n! c.an4es in sc"eenin4s, "eadin4s and lect'"e to%ics, etc. 1ill (e noted 'nde" )nno'ncements--!o' a"e e=%ected to note an! c.an4es !o'"sel& as t.e co'"se o'tline doc'ment itsel& 1ill not (e '%dated 'nless ma6o" c.an4es a"e "e>'i"ed. All students officially registered in a course ha:e access to 6lac7board) so ma7e sure you acti:ate and use your 6lac7board access if you ha:e not already. If you are registered in the course and still do not ha:e 6lac7board access for this course) contact the instructor immediately as it is your main source of course materials and announcements essential to the course. -------------------------------------------------------------------------------------------------Calenda" Co'"se esc"i%tion+ 2ilms often mirror society in both intentional and unintentional ways. 4ome are o:ertly political) some reflect changing :alues) and some are made purely for entertainment. 0his course will reflect on the :arious political perspecti:es which enable students to critically assess films. It will unra:el the relationship between politics and film. It will assess the role films play in reinforcing or debun7ing stereotypes. 0hese themes will be e+amined in the conte+t of the film industry in 9anada. &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& 5ene"al O#e"#ie1+ 0he film industry is an important part of a more comple+ web of media industries. 2ilms as well film and :ideo material on tele:ision and the internet# mirror society in both intentional and unintentional ways: some of these media products are o:ertly political) others are made for entertainment purposes) yet they all una:oidably and inherently reflect the e+isting and changing :alues of the society and era in which they were made. /o:ies are about creating) reinforcing and debun7ing stereotypes) including those of gender) race and

class. 0hey embody and reflect our constitutional rights and freedoms) such as the right to free speech5 they are both an outlet for artistic e+pression and promoters and sustainers of ideologies. 6ut they are also about business) demographics) corporate industry and public policy. In 9anada) mo:ies are about our national identity) while at the same time they are about hiring people) go:ernment funding) ta+ subsidies and go:ernmental encouragement and protection of a domestic industry in the face of the omnipresent and per:asi:e international power of the American film industry. Co'"se O(6ecti#es+ To pro:ide an understanding of and the relationship between politics and film. To enable students to understand and interpret mo:ies as a comple+ blend of business) art) entertainment) and ideology and as the reproducer of dominant :alues. To introduce students to the political) economic and cultural challenges facing the mo:ie industry in 9anada. To e8uip students with the s7ills to critically and ideologically analy;e and assess films from a :ariety of political perspecti:es) thereby enhancing their understanding of the power of film and other :isual media that e+tends beyond art) aesthetics and philosophy into the realm of the social and political. To encourage students to become more acti:e and enlightened in their understanding of and response to the films and tele:ision programs that they see) and the ideologies they promote. &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& EV)LU)TION and )SSI5N?ENTS $1it. 'e ates and 5"ade 7ei4.ts*+ Pa"tici%ation $0@* and )ttendance $0@* 10@ In-Class Test A 1 $B0 min. ?C and one S)*, F"i. Oct 0t. 20@ Ta8e-,ome Test $)#aila(le online Oct. 0t.C d'e online o" (! email, Oct. 2D* 20@ In-Class Test A 2 $B0 min. ?C and one S)*, F"i. No#. 1Dt. 20@ Ta8e-,ome Final E=am $%osted online No#. 2Et., d'e ec. 10t. online o" (! email* 20@ -------------------------------------------------------------------------------------------------REFUIRE TEGT+ Canadian National Cinema+ Ideolo4!, i&&e"ence and Re%"esentation, by 9hristopher *. <ittings London: ,outledge) 1((1. I46= (&!1'&1!1>1&1. Appro+. ?!(. )V)IL)<LE at R9ERSONHs <oo8sto"e, under P@LI0I94 =@0 under 2ilm or Image Arts#. Please Note: In past versions of this course, a course reader printed at Alicos was required BUT this is no longer the case, so if you are purchasing your texts used, fro past students, please purchase only the !ittings text" &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& O#e"all Co'"se St"'ct'"e and Fo"mat+ T.e co'"se is de%endent on a lect'"eIsc"eenin4Idisc'ssion &o"mat, and e#al'ation 1ill (e t."o'4. t."ee tests $One o& 1.ic. 1ill (e a ta8e-.omeC t.e ot.e" t1o a"e in-class* and a &inal Ta8e-,ome E=am $disc'ssed in class at %osted No#. 20t., d'e online ec. 10t.*, as 1ell as in-class disc'ssion %a"tici%ation and attendance $(ot. o& 1.ic. 1ill (e disc'ssed in detail in t.is co'"se o'tline*. 7it. a s%lit class &o"mat and d'e to t.e len4t. o& some o& t.e &ilmed mate"ials, (ot. classes a"e essential and #e"! &e1 classes 1ill .a#e time &o" a si4ni&icant ("ea8, so %lease 8ee% t.at in mindC eac. class 1ill (e4in at 10 min'tes a&te" t.e .o'" $allo1in4 time &o" class c.an4in4* ('t 1ill li8el! end "i4.t at t.e .o'", "at.e" t.an (e&o"e. T.at means t.e T.'"sda! classes a"e 1 .o'" and 00 min'tes, sta"tin4 at 10+10 and &"e>'entl! 4oin4 "i4.t '% 'ntil noon, and F"ida!s sta"tin4 a 10+10 and 4oin4 's'all! "i4.t '% to 11 am--i& !o' .a#e to lea#e ea"l!, t"! to seat !o'"sel& nea" a doo" &o" eas! de%a"t'"e. Unless a c.an4e is anno'nced in class and on <lac8(oa"d, t.e c'""ent %olic! &o" t.is co'"se is t.at t.e 4"ades &o" eac. test and &inal e=am 1ill not (e %osted on <lac8(oa"d, so it is essential t.at !o' %ic8 '% eac. test 1.en it is "et'"ned $t.e e=am 1ill not (e "et'"ned ('t !o' ma! in>'i"e a(o't it (!

email o" in %e"son* so !o' 1ill 8no1 1.e"e !o' stand and also to o(tain !o'" ma"8 as 1ell as m'c.needed &eed(ac8. At the end of the term) a&te" !o'" Final 5"ade .as (een %osted on R)?SS, the instructor will send you an email with a complete <rade brea7down of all mar7s obtained in the course in its :arious elements. &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& Conce"nin4 9o'" Email )dd"ess+ 9OU )RE EGPECTE TO )CTIV)TE, USE OR CONSULT 9OUR R9ERSON E?)IL )IL9 T,ROU5,OUT T,IS COURSE. It is a #ital so'"ce on contact "elated to t.is and an! ot.e" R!e"son co'"ses !o' ta8e, as 1ell as 1it. !o'" %"o&esso" and R!e"son administ"ation. )ll R!e"son "elated matte"s 1ill (e dealt 1it. t."o'4. !o'" R!e"son email o" <lac8(oa"d anno'ncements onl!, so i& !o'" email o" <lac8(oa"d access is not acti#ated o" not &'nctionin4 %"o%e"l!, !o' need to loo8 into t.is immediatel!. &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& )(o't )ttendance and Pa"tici%ation+ 9o'" attendance ma"8 $1o"t. 0@* will depend on your signing in to e:ery class you attend an attendance sheet will be passed around at the start of each class) (ot. T.'"sda! and F"ida!) from wee7 1 onward#. *ach class begins at 10 min'tes a&te" t.e .o'", s.a"%, with announcements) possible additional handouts rare5 most AhandoutsA are posted under 9ourse Documents on 6lac7board#) discussion and lectureBscreening content. It is 9OUR RESPONSI<ILIT9 to ENSURE t.at !o' si4n t.e attendance s.eet &o" eac. class !o' attend an easy way to earn 'C for attendance#, .o1e#e" (e a1a"e t.at it is conside"ed c.eatin4 $a &o"m o& academic miscond'ct* i& !o' si4n in &o" someone else o" allo1 anot.e" %e"son to si4n in &o" !o'J I& !o'" name 1as not on t.e class list &o" t.e &i"st &e1 classes d'e to late en"olment, !o'" attendance ma"8 calc'lation 1ill e=cl'de t.ose classes. Con#e"sel!, i& !o'" name IS on t.e en"olment list and !o' miss t.e &i"st class o" t1o, !o' 7ILL lose ma"8s to1a"ds attendance. Remem(e" t.at <OT, T.'"sda! and F"ida! classes a"e o& e>'al im%o"tance $F"ida! is not a t'to"ial ('t a contin'ation o& T.'"sda!Hs class, incl'din4 contin'ation o& sc"eenin4s, lect'"e and disc'ssions* and attendance at eac. is "e>'i"ed and 4"aded as %a"t o& !o'" attendance ma"8. 9o'" %a"tici%ation ma"8 $1o"t. 0@* will depend on your attenti:eness in class including the a:oidance of tal7ing during films or lectures#) how fre8uently you participate in the white cards 8uestionBanswer acti:ities described below) how you impro:e or not# o:er the course of the term in the :arious graded elements) your demonstrated commitment to the course and understanding of the course content) and whether you as7 for assistance a good thing# if you are struggling for any reason. Although participation will be assessed separately from attendance) a perfect attendance record does not mean a perfect participation mar75 in fact) if you attend e:ery class and yet maintain a 9 le:el or less in your tests and e+am) this is a red flag that you are struggling and need assistance) so if you do not come forward and as7) it might impact negati:ely on your participation mar7. New this ter + Pa"tici%ation 1ill incl'de t.e "e4'la" &illin4 o't o& &ilm and "eadin4-"elated comment and >'estion ca"ds $&ile ca"ds* t.at 1ill (e made a#aila(le &o" d'"in4 eac. and 1ill (e disc'ssed in detail d'"in4 class one. T.ese ca"ds 1ill o&&e" !o' an o%%o"t'nit! to as8 >'estions "elated to eac. &ilm and disc'ssion, and to ans1e" s%eci&ic >'estions as8ed o& !o' (e&o"e eac. sc"eenin4. T.e! 1ill not (e 4"aded indi#id'all!, ('t 1ill (e a %a"t o& !o'" %a"tici%ation 4"ade in t.at t.e! 1ill "e#eal !o'" le#el o& inte"est $.o1 "e4'la"l! !o' as8 o" ans1e" >'estions* and inte"action in t.e co'"se. Please ma8e s'"e to 1"ite !o'" name $and date as 1ell* on eac. ca"d& s'(mitted. -----------------------------------------------------------------------------------------------------------In-Class Tests, Ta8e-,ome Test, and Ta8e-,ome Final E=am 4tudy sheets outlining in detail the re8uirements of each of the 2 In-Class Tests $F"ida! Octo(e" 0t. and F"ida! Octo(e" 1Dt.*, eac. consistin4 o& se#e"al ?'lti%le C.oice $?C* >'estions and one s.o"t

ans1e" $S)* >'estion* will be posted on 6lac7board no later than a wee7 before each test and will be discussed in general terms in class in 7ee8s 1 and 2. ) Sam%le Test 1ill (e %osted at t.e same time as t.e st'd! s.eets a"e %osted $o" (e&o"e i& %ossi(le*. T.e Ta8e ,ome Test and t.e Ta8e-,ome Final will consist of one multi&part multiple choice 8uestion and two short essay answers =@0 formal research essays# that will be posted online on 6lac7board) and will be discussed in class after they are posted and before they are due#) in order to help you understand what is e+pected of your answers. 0he Ta8e-,ome Test 1ill (e %osted on <lac8(oa"d in t.e e#enin4 o& Oct. 0 $!es, t.e same da! as !o'" &i"st in-class test* and is d'e to (e s'(mitted elect"onicall! on o" (e&o"e Octo(e" 1Et. eit.e" (! email o" t."o'4. <lac8(oa"d IF t.at ca%a(ilit! .as (een set '% in time. T.e Ta8e ,ome Final E=am 1ill (e %osted on <lac8(oa"d on T.'"sda! No#em(e" 2Et. and 1ill (e d'e $online o" (! email* (! 11+0E %m ecem(e" 10t., 2012. T.e 4"adin4 t'"na"o'nd time &o" t.e tests in t.is co'"se is 's'all! one to t1o 1ee8s, de%endin4 on t.e com%le=it! o& t.e test--&o" e=am%le, t.e t1o in-class tests mi4.t (e "et'"na(le in one 1ee8C t.e ta8e .ome ma! ta8e t1o o" e#en %ossi(l! t."ee*. T.e t."ee tests 1ill (e "et'"ned in class, so it is im%o"tant &o" !o' to %ic8 t.em '% %"om%tl! not onl! to lea"n !o'" 4"ade, ('t to lea"n &o"m t.e &eed(ac8 t.at is al1a!s %"o#ided and 1ill .el% 1it. t.e ne=t test o" t.e &inal e=am. Final e=ams a"e not "et'"ned, ('t t.e 4"ade 1ill (e made a#aila(le as noted else1.e"e in t.is doc'ment, and !o' can as8 &o" &eed(ac8 and cla"i&ication o& .o1 !o' did in te"ms o& content &eed(ac8 $ot.e"1ise no &eed(ac8 1ill (e o&&e"ed e=ce%t t.e ma"8*. I?PORT)NT+ )LL TESTS $T)/E-,O?E OR IN-CL)SS* )N T,E FIN)L T)/E ,O?E EG)? )RE ESI5NE TO <E ONE IN IVI U)LL9, NOT )S S,)RE PROKECTS. T,EREFORE+ It is !o'" "es%onsi(ilit! to ac>'aint !o'"sel#es 1it. and to ad.e"e to t.e Uni#e"sit!Ls Policies on )cademic ?iscond'ct $incl'din4 %la4ia"ism and e=am (e.a#io'"* so ma8e s'"e !o' .a#e cons'lted !o'" C.an4 Sc.ool co'"se calenda" o" t.e a%%"o%"iate a"ea on t.e R!e"son Uni#e"sit! 1e(site. ---------------------------------------------------------------------------------------------------Co'"se Polic! Re4a"din4 Tal8in4, Te=tin4, I-%.one and La%to% $)(*Use+ As the #lass Begins+ 7.en t.e %"o&esso" a%%"oac.es t.e %odi'm and (e4ins to s%ea8, t.e class .as (e4'n, so %lease sto% tal8in4 so s.e doesnHt .a#e to s.o't o" !o'" nei4.(o'"s .a#e to S,,, !o'. $uring %ectures, $iscussions and &creenings: I& !o' .a#e somet.in4 to sa! to !o'" nei4.(o'", %ass t.em a .and1"itten note. I& !o' a"e "es%ondin4 to >'estions %osed (! t.e %"o&esso" o" ot.e" st'dents d'"in4 in-class disc'ssions, o" .a#e a >'estion to as8 t.e %"o&esso" d'"in4 disc'ssions, "aise !o'" .and. La%to%s a"e %e"mitted &o" note-ta8in4 onl! and I-%.ones and la%to%s can (e 'sed to sea"c. &o" co'"se-"elated doc'ments o" in&o <UT T,)THS IT. Ot.e"1ise, t.e"e is Me"o tole"ance &o" tal8e"s, as 1ell te=te"s and %.one 'se"s $5O OUTSI E T,E CL)SSROO?*. 'e to %ast com%laints &"om st'dents dist"acted (! tal8e"s, te=te"s and la%to% 'se"s %la!in4 4ames o" en4a4ed in social net1o"8in4 in class, i& !o' a"e s's%ected o& doin4 so, !o' 1ill (e as8ed $sometimes im%atientl!* (! t.e %"o&esso" to sto%. T.e ne=t time $e#en in t.e same class* !o' 1ill (e as8ed to lea#e t.e class 'ntil ne=t class. PERIO .

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In o"de" to do 1ell in t.is class, it is essential+ 1* T.at !o' T)/E NOTES d'"in4 e#e"! lect'"e and sc"eenin4, &"om 7ee8 1 to t.e end, no matte" .o1 tem%tin4 it is to 6'st sit, listen and 1atc.. St'dents 1.o ta8e ca"e&'l notes 's'all! do #e"! 1ell on tests and t.e e=am. NOTE+ i& !o' en"ol late $a&te" t.e &i"st second o" t.i"d classes* !o' a"e "e>'i"ed to catc. '% 1it. missed lect'"es, sc"eenin4s and notes. Late en"olment does not e=c'se !o' &"om t.e mate"ial co#e"ed in t.e B &i"st classes in 1.ic. 1e e=%lo"e t.e (asic conce%ts t.at 1ill (e a%%lied t."o'4.o't t.e "est o& t.e co'"se. $)lt.o'4. !o' a"e not e=c'sed &"om co'"se content d'e to late en"olment, !o' 1ill (e e=c'sed, attendance-1ise* &"om t.e classes !o' missed d'e to late en"olment--see )ttendance*. 2* T.at !o' cons'lt !o'" co'"se o'tline "e4'la"l!--it is t.e &i"st %lace to 4o i& !o' .a#e a >'estion a(o't co'"se %olicies, st"'ct'"e, content and sc.ed'lin4. Almost e:erything you need to 7now is there and then some from what te+tboo7 is needed) to what films we will be watching in each wee7 of the course#. T.e"e is a "eason 1.! it is 1o"d!. onHt 6'st toss it aside and come to me instead. ItHs 1o"d! ('t clea" &o" t.e most %a"t, and in&o"mati#e. ItHs essentiall! t.e co'"se .and(oo8. ItDs there to help answer most of your 8uestions and to define what is e+pected of you in the course) and should be consulted before you as7 me any course&related 8uestions&&you might find the answer there and sa:e yourself some time in waiting in line to tal7 to me. )lso, !o' a"e e=%ected to 'se it as a 4'ide &o" class %"e% $1.at to "ead* and to t.e &ilms 1e sc"een in class $t.e di"ecto"sH names and t.e title o& t.e &ilms (ein4 s.o1n in eac. class a"e t.e"e*, so !o' 1ill 8no1 1.at &ilm !o' a"e 1atc.in4 and 1.en it 1as made, e#en i& I donHt 1"ite t.e name on t.e (oa"d. 2* T.at !o' c.ec8 <lac8(oa"d "e4'la"l!, es%eciall! t.e e#enin4 (e&o"e eac. class, &o" anno'ncements and to do1nload $and RE) co'"se doc'ments* which range from re8uired reading the course outline) online class Ahandouts)E and study sheets for each test and the final e+am) and sample tests and e+am 1ill (e a#aila(le onl! on <lac8(oa"d#. B* T.at !o' do t.e REFUIRE RE) IN5S &o" eac. class as noted in t.e detailed sc.ed'le o& classes in t.is o'tline so t.at !o' can acti#el! %a"tici%ate in class disc'ssions a(o't t.em and so t.at t.e lect'"es and sc"eenin4s 1ill .a#e 4"eate" meanin4 to !o'. 0* T.at !o' as8 >'estions and %a"tici%ate in class disc'ssions $incl'din4 t.e "e4'la" &illin4 o't o& t.e &ile ca"ds disc'ssed ea"lie" in t.is o'tline* and as8 &o" assistance i& !o' do not 'nde"stand a conce%t o" "eadin4 in t.e co'"se and t.at !o' do not dist"act ot.e"s (! tal8in4 o't o& t'"n o" d'"in4 sc"eenin4s o" 'sin4 !o'" elect"onics &o" te=tin4 and social net1o"8in4 o" %la!in4 4ames d'"in4 class. D* T.at !o' UN ERST)N co'"se content, conce%ts and "eadin4s and donHt sim%l! memo"iMe in&o"mation &o" eac. testC 3* ?OST I?PORT)NT+ T.at !o' come to me $incl'din4 t."o'4. email contact, a&te" class, o&&ice .o'"s* i& !o' a"e enco'nte"in4 an! %"o(lems $%e"sonal, o" ot.e"1ise*t.at a"e inte"&e"in4 1it. !o'" 'nde"standin4 o& t.e co'"seC I am .e"e to .el% !o'. &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& I?PORT)NT )TES $En"olment, T"ans&e" and 7it.d"a1al eadlines*+ F"ida! Se%tem(e" 1Bt. , 2012+ final date to drop an undergraduate class to be eligible for a full refund of fees5 final date to FaddD or FswapD undergraduate classes for full and part&time students5 F"ida! Octo(e" 0t.+ final date to drop a 2all undergraduate class and be eligible for a '(C refund5 F"ida! No#em(e" 1Dt., 2012+ 2inal date to officially drop a 2all undergraduate class and remain in good

Academic 4tanding. -----------------------------------------------------------------------------------------------------------------Re4a"din4 Lateness, ?issed Classes, and Res%onsi(ilit! &o" /ee%in4 U%-to-date 1it. Co'"se Content $Lect'"es and Sc"eenin4s* and Class )nno'ncements+ It is e=%ected t.at !o' ta8e detailed notes on lect'"es, disc'ssion and sc"eenin4s &"om t.e #e"! &i"st da! on1a"d all are eligible for e+am 8uestions later# and ma8e note o& an! anno'ncements made at t.e sta"t o& eac. class. 6eing late or absent doesnGt e+empt you from this material&&you must 7eep up) perhaps with the help of a study associate or HbuddyH who fills you in on what you missed but do so during the brea7 of after class) not during the session#. If you are not certain about the specifics of an announcement new due date etc.# always chec7 with the professor =@0 your fellow students# to clarify. Please Note+ I& !o' .a#e missed o" 8no1 !o' 1ill miss a class o" classes o" a test d'e to a "eli4io's o(se"#ance, %lease in&o"m t.e inst"'cto" o& t.is as soon as %ossi(le. S'c. a(sences 1ill not (e co'nted a4ainst !o' in !o'" attendance ma"8 and most mate"ials !o' miss s.o'ld (e o(taina(le &"om ot.e" st'dents $lect'"e notes*, online $o'" class site &o" notes and anno'ncementsC some o& t.e &ilms a"e a#aila(le online as 1ell* o" t."o'4. t.e inst"'cto" $1.o .as some ('t not )LL 8e! &ilms a#aila(le to loan '%on "e>'est. &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& Re4a"din4 ?issed In-Class TestsC If you /NO7 you are going to be away on a crucial date in&class test#) contact t.e inst"'cto" as soon as %ossi(le. If you miss a crucial date for an assignment or e+am due to illness) a docto"Ls note m'st (e s'(mitted to support a ma7e&up test or late submission of the ta7e&home test or final e+am. 0here is no need for a doctorGs note simply for a single missed class5 if you are away for a more e+tended period of time) then a doctorDs note will help reduce but may not completely eliminate# the impact on your attendance portion of your mar7. --------------------------------------------------------------------------------------------------------------Re4a"din4 Sc.ed'led Lect'"e To%ics, isc'ssion Foc's and Sc"eenin4s+ Although the topics and scope of each wee7Ds classes will remain largely as presented in the following pages) t.e listed sc"eenin4s ay change or 'e rescheduled due to :arious circumstances) including time constraints) a:ailability of prints and e8uipment failures as well the need to offer fle+ibility and freedom in terms of in&class discussion and interaction) es%eciall! in li4.t o& c'""ent e#ents t.at ma! need to (e add"essed as t.e! "elate to t.e co'"se. ?a8e s'"e !o' 8ee% t"ac8 o& 1.at sc"eenin4s 1e"e act'all! s.o1n in eac. session. $NOTE+ 9o' s.o'ld ma8e note o& an! c.an4es in &ilm sc"eenin4s and .ando't mate"ials to (e "ead, (! 1"itin4 t.em do1n on !o'" co%! o& t.e co'"se o'tline.* @@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@ 7EE/ 1 -- T.'"sda! Se%tem(e" Dt. and F"ida! Se%tem(e" 3t., 2012 -- Section I+ Int"od'ction 0his first wee7 introduces the course and presents some of the :arious political and analytical framewor7s and perspecti:es which inform the study of the relationship between mass media and society. It will locate the film and tele:ision and now internet# industries as parts of a larger media industry) and encourage you to e+plore the AfilmBpoliticsE relationship more closely. 2ilm) tele:ision) d:d :ideos) internet :ideos e:en the homemade 7ind# are made to draw as wide an audience as possible) underlined by an increasing emphasis on the creation of mo:ies designed to appeal to as wide an audience as possible. 0his in turn means that media products another name for mo:ies and 0I programs#) li7e the products of other media industries) are also being impacted by the changing pattern of ownership and mar7eting on a global scale a 7ey economic aspect of Aglobali;ationE# which places e:en more emphasis on the need to appeal to a wider and di:erse audience both nationally in the country

in which they are made# and internationally in the wider range of countries in which they are seen#. As a result) the concept of a AnationalE cinema is under pressure in terms of what ideologies are con:eyed that distinguish a 9anadian film from an American film or a film made in India. Is a distinct national :oice dying in cinema and 0I and the internet and being replaced by a globali;ed samenessJ Is this a good thing or bad in terms of films that help us understand who we are as a nationJ Int"os, Re#ie1 o& Co'"se O'tline $downloaded from 6lac7board class site5 itFs under 9ourse Documents#) lect'"e, disc'ssion, and int"od'ction o& some (asic conce%ts $%olitics, ideolo4!, .e4emon!, national cinema*, and sc"eenin4Idisc'ssion o& t.e &ollo1in4+

Brea(away 9anada) dir. ,obert Lieberman) 1(11) $$ mins.#

Re>'i"ed Readin4 &o" T.is 7ee8 and Ne=t 7ee8+ K Online+ Co'"se O'tline $<lac8(oa"dICo'"se oc'ments*: read through it carefully) especially the introductory pages5 K 5ittin4s Co'"se Te=t: :Int"od'ction+ Canadian National Cinemas--Ideolo4!, i&&e"ence and Re%"esentation; %a4es 1-D. K Online $<lac8(oa"dICo'"se oc'ments*+ $efinitions of Things Political under 9ourse Documents#5 K Online $<lac8(oa"dICo'"se oc'ments*+ )ac( %ayton*s %ast %etter under 9ourse Documents#5 K Online $<lac8(oa"d*ICo'"se oc'ments+ :Notes on )lt.'sse"Hs T.eo"! o& Inte"%ellation, 5"amsciHs T.eo"! o& ,e4emon!, St'a"t ,allHs T.eo"! o& Encodin4 and ecodin4, and T"aits o& t.e Classical ,oll!1ood Na""ati#e Film St!le; by Laurinda .artt&2ournier5 ------------------------------------------------------------------------------------------------------------------------7EE/ 2 -- T.'"sda! Se%tem(e" 12t. and F"ida! Se%tem(e" 1Bt., 2012-- Section II+ Film, TV and Ideolo4! 0his wee7 and section loo7s more deeply at what roles film and tele:ision play in political life. Do the :arious politicalBanalytical framewor7s and perspecti:es e+plored in the pre:ious section assist us in understanding the Afilm&politics relationshipEJ Are most mo:ies made purely for entertainment) or do they ha:e hidden subte+ts and meaningsJ Are mo:ies ideologically loadedJ 9an or e:en should# the :iewer separate the content of a film from the way it was presentedJ Do mo:ie&ma7ers intentionally or otherwise use their craft for ideological and political purposesJ Are films made about politics the only political filmsJ Lect'"e, disc'ssion and a%%lication o& "e>'i"ed "eadin4s to t.e sc"eenin4 and disc'ssion o& + K +onsters, Inc" L4A) Pi+arBDisney) dir. Pete Docter) 1((1) $1 mins#. Re>'i"ed Readin4 &o" Ne=t 7ee8+ K Online$<lac8(oa"dICo'"se oc'ments*+ :Notes on t.e Fi#e Filte"s o& Ne1s ?ediaAC K Online $<lac8(oa"d*+ ,ight +a-or +edia #o panies with .orldwide /each and &o e of their 0oldings" ------------------------------------------------------------------------------------------------------------------7EE/ 2 --T.'"sda! Se%tem(e" 20t. and F"ida! Se%tem(e" 21st, 2012-- Section III+ ?ass ?edia as C'lt'"e and Ente"tainment Ind'st"ies--Unde"standin4 t.e ?ass ?ediaISociet! Relations.i% Unde"standin4 t.e ?ass ?ediaISociet! Relations.i% 0his wee7 and section introduces and applies the basic concepts of film language) and the power and impact of mo:ing images5 the basic concepts of politics power) authority) the role of the go:ernment and other power groups such as corporations#5 the role and impact of media in our society5 and the relationship between media and politics and how that relationship can be understood. .a:e the media played a role in

shaping the nature and 8uality of political thought) acti:ity and debate in 9anada and the Lnited 4tatesJ Lect'"e, sc"eenin4 and disc'ssion o& t.e &ollo1in4+ K E=ce"%ts &"om The Insider L4A) dir. /ichael /ann) 1$$$) 1!> mins.) starring ,ussell 9rowe and Al Pacino#5 K *+cerpts from #B& /eports: 0arvest of &ha e L4A.) 964) *+ec. Prods. *dward ,. /urrow and 2red 2riendly) 1$"(#. Readin4 &o" Ne=t 7ee8+ K 5ittin4s+ C.. B, :Na""atin4 NationsI?a"8in4 i&&e"ences,; onl! t.e section titled :E=te"nal and Inte"nal Colonialism,; %a4es 102-110 end a&te" the A/elodramaA subsection which concludes at top of page 11'# and 1BE onl! subsection introducing and defining the A,oad /o:ieA genre#. -----------------------------------------------------------------------------------------------------------------7EE/ B -- T.'"sda! Se%tem(e" 23t. and F"ida! Se%tem(e" 28t., 2012----- Section IV+ T.e Canadian Film Ind'st"!, Pa"t One--T.e Iss'e o& National and Pe"sonal Identit! in En4lis. Lan4'a4e Canadian Cinema Lect'"e, sc"eenin4, and disc'ssion o&+ K 1ne .ee( 9anada) dir. /ichael /c<owan) 1((>) $! mins) with -oshua -ac7son as 6en 0yler#. Re>'i"ed Readin4 &o" Ne=t 7ee8+ K 5ittin4s+ e=ce"%ts &"om C.. 1, :Immi4"ation and Em%i"e <'ildin4+ Film as a ColoniMin4 isco'"se,; %a4es 3 to 10Calso t.e s'(section entitled :$rylanders and Ideolo4!; $20 to 21* and es%eciall! t.e s'(section :Bac( to !od*s #ountry; $21-22*C K 5ittin4s+ e=ce"%ts &"om C.. 2, :P"od'cin4 ) National Cinema; 3D-3E incl'din4 section, :Le4islatin4 a National Cinema; $33-3E*, :Esta(lis.in4 t.e National Film <oa"d o& Canada; $3E to 8D, incl'din4 disc'ssion o& t.e &ilm Peoples of #anada* 81-8DC and :Post1a" Sc.emes and Inde%endence; $8D-88*C K Online $<lac8(oa"d*+ St'd! S.eets &o" In-Class Test 1. &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& 7EE/ 0--T.'"sda! Octo(e" Bt., and F"ida! Octo(e" 0t., 2012-- IN-CL)SS TESTA1 and Section IV+ T.e Canadian Film Ind'st"! Pa"t T1o -- T.e ,isto"! o& Film in Canada and Iss'es o& Canadian Identit!+ IN-CL)SS TEST ONE+ F"ida! Octo(e" 0t. , 10+10 am to 10+ 00 am in o'" F"ida! class"oom TRS1030 B0 min'tes, m'lti%le c.oice and one s.o"t ans1e" >'estion*, on co'"se "eadin4s, conce%ts, and sc"eenin4s disc'ssed in lect'"es &"om Sessions 1 t."o'4. B. $St'd! s.eets and a sam%le test 1ill (e %osted on <lac8(oa"d (e&o"e o" d'"in4 7ee8 B. Please Note+ 9o'" Ta8e-,ome Test $d'e online o" (! email (! 11+0E %m, F"ida! Octo(e" 2D t.* 1ill (e %osted on <lac8(oa"d, F"ida! Octo(e" 0t., and 1ill (e disc'ssed in t.e classes o& 7ee8 D. 0he remaining wee7s of the course in:ol:e the e+amination of the history) themes) realities and politics of the 9anadian film industry and its films. 6eing close to the most powerful mo:ie industry in the world has had a profound impact on the 9anadian mo:ie industry. @:er the years) the 9anadian go:ernment has passed protectionist legislation and pro:ided numerous ta+ benefits or Ata+ brea7sE and subsidies in order to ensure the continued life of a home grown mo:ie industry. 0he creation of the =ational 2ilm 6oard of 9anada in 1$3$ was a :ery important response to the growing power of the American industry in the late thirties. .ow has the 9anadian go:ernmentDs attitude to and funding of the =26 changed in recent years and with what resultJ Mhat role should go:ernment play in protecting and nurturing a 9anadian film industry andBor a distinctly 9anadian A:oiceE in filmJ Is there any such thing as a distinctly 9anadian filmJ And how ha:e political issues influenced the content of films made by 9anadian filmma7ers. 0hese issues are e+plored in the remaining wee7s of the course) as

we apply the s7ills and 7nowledge gained thus far) in a special and specific loo7 at film in 9anada. Lect'"e, disc'ssion o& "e>'i"ed "eadin4, and anal!sis o& t.e &ollo1in4+ K Bac( to !od*s #ountry 9an.) dir. Da:id /. .artford) co&written by and starring =ell 4hipman) 1$1$#5 K Possi(le $i& time %e"mits* e=ce"%ts from :arious =26 film shorts) 1$3$&1$'$#. Re>'i"ed Readin4 &o" Ne=t 7ee8+ K Online $<lac8(oa"d*+ Ta8e ,ome Test $1ill (e %osted Oct. 1D and is d'e Oct. 2E t.* K 5ittin4s+ E=ce"%ts &"om C.. 2 :P"od'cin4 a National Cinema;--:T.e NF< and Feat'"e P"od'ction; $%a4e 8E*, :F'ndin4 i&&e"ences at t.e NF<+ Re4ionaliMation, St'dio and Ne1 Initiati#es in Film; $8E-E2*C :State Inte"#ention+ T.e Le4islation o& a Canadian Feat'"e Film Ind'st"!; $E2-ED*C :T.e Ta= S.elte" <oom and CanadaNs ,oll!1ood Feat'"es; $ED-E8*C Tele&ilm Canada $E8-EE*C K 5ittin4s+ C.. B, :Na""atin4 NationsI?a"8in4 i&&e"ences,; onl! t.e section titled :E=te"nal and Inte"nal Colonialism,; %a4es 102-11B, %a4es 11B-11E about the film genre of melodrama and the film +on 1ncle Antoine#)1BE about the A,oad /o:ieA genre#) and 108-1D2 discussion of !oin* $own the /oad); ---------------------------------------------------------------------------------------------------T,ERE 7ILL <E NO CL)SSES ON T,URS )9 OCTO<ER 11t. and FRI )9 OCTO<ER 12t. OR OFFICE ,OURS UE TO T,E F)LL STU 9 7EE/ $ URIN5 7,IC, I C)N <E RE)C,E <9 E?)IL* -----------------------------------------------------------------------------------------------------7EE/ D -- T.'"sda! Octo(e" 18t. and F"ida! Octo(e" 1Et., 2012--Section IV+ T.e Canadian Film Ind'st"!--Pa"t T."ee+ T.e Iss'e o& National Identit! in En4lis. Lan4'a4e and F"enc. Canadian Cinema+ Is there a distinctly 9anadian identity that emerges in the films made by 9anadians in both the 1$%(s andBor beyond#J 9an we tal7 of a A2rench 9anadianE or Nuebecois identity as distinct from an A*nglish 9anadianE identity in filmJ .ow has go:ernment public policy influenced the 9anadian film identity and the 9anadian film industryJ 0o what e+tent ha:e broader political issues of regionalism) national unity) national identity and constitutional rights and freedoms influenced the type of films madeJ Oou should apply these 8uestions to the film shown in the first wee7 of the course Brea(away#) as well as last wee7) this wee7) and the ne+t few wee7s) 7eeping in mind what you ha:e read in the assigned reading. Lect'"e, sc"eenin4 and disc'ssion o& Ta8e ,ome Test $d'e ne=t 1ee8* as 1ell as disc'ssion o&+ K E=ce"%ts &"om +on 1ncle Antoine =26BNuebec) Dir. 9laude -utra) 1$%(#5 K !oin*$own the /oad 9anada) dir. Don 4hebib) 1$%() $( mins.#. Re>'i"ed Readin4 &o" Ne=t 7ee8+ K 5ittin4s+ E=ce"%ts &"om C.. 2; 7.o is Et.no4"a%.ia(le; 22- BD, 1it. s%eci&ic em%.asis on %a4e 22 and also t.e disc'ssion o& :0ot Ice,2 %a4es 2B-28 in t.e s'(-section :7.ite Et.no4"a%.ies+ NSome 7.ite Peo%le )"e 7.ite" T.an Ot.e"s,; %a4es 2B to to% o& BD.C K Online $<lac8(oa"d*+ Notes on +aurice /ichard3 The /oc(et di:ided into two notes5 includes basic cast and info on /aurice ,ichard and former Nuebec Premier /aurice Duplessis#. ----------------------------------------------------------------------------------------------------------7EE/ 3 -- T.'"sda! Octo(e" 20t. and F"ida! Octo(e" 2Dt., 2012 -- Section IV+ T.e Canadian Film Ind'st"!--Pa"t Fo'"+ T.e Iss'e o& National Identit! in F'e(ec and in F"enc. Canadian Cinema T,E T)/E ,O?E TEST IS UE T,IS FRI )9 OCTO<ER 2Dt. $online o" (! email--t.is 1ill (e cla"i&ied in t.e Ta8e ,ome itsel&*, no late" t.an 11+0E %m. Lect'"e, Sc"eenin4 and disc'ssion o&+

+aurice /ichard3The /oc(et NubecB9anada) dir. 9harles 6inam) 1((') 111 mins#.

. Lect'"eIdisc'ssion o& t.e .isto"! o& t.e F"enc. in Canada, incl'din4 ea"l! coloniMation and con&lict 1it. t.e <"itis., t.e '%lessis !ea"s, T.e F'iet Re#ol'tion, T.e Octo(e" C"isis, T.e 7a" ?eas'"es )ct o& 1E1B and t.e Uni#e"sal ecla"ation o& ,'man Ri4.ts and an int"od'ction to ne=t 1ee8Ls &ilm+ %es 1rdres" Re>'i"ed Readin4 &o" Ne=t 7ee8+ K Online $<lac8(oa"d*+ Octo(e" C"isis C."onolo4!5 K Online $<lac8(oa"d*+ %es 1rdres in&o s.eet 5 K Online $<lac8(oa"d*+ T.e United NationsH Uni#e"sal ecla"ation o& ,'man Ri4.ts K 5ittin4s+ ORe%"esentin4 t.e FLF C"isis)H 13D-1E0) in C.. B, :Na""atin4 NationsI?a$"*8in4 i&&e"ences.; --------------------------------------------------------------------------------------------------------------------7EE/ 8--T.'"sda! No#em(e" 1st and F"ida! No#em(e" 2nd, 2012-- Section IV+ T.e Canadian Film Ind'st"! --Pa"t Fo'"+ T.e Iss'e o& National Identit! in F'e(ec and in F"enc. Canadian Cinema, contin'ed 0his wee7Ds main focus will be on a screening of the independently produced Nuebecois film) %es 1rdres NuPbec) Les Productions Prisma5 written) directed and co&photographed by /ichel 6rault) 1$%!# and its depiction of the 1$%( @ctober 9risis as it relates to the topics listed abo:e. %es 1rdres appro+. 11( mins# 1ill (e sc"eened in its enti"et!. Immediatel! a&te" t.e sc"eenin4 $1.ic. 1ill (e t.e &oc's o& t.e test t.e (e4innin4 o& ne=t 1ee8Ls session*, t.e &ilm 1ill disc'ssed in detail as it "elates to t.e T.e Uni#e"sal ecla"ation o& ,'man Ri4.ts $so (e %"e%a"ed (! "eadin4 t."o'4. t.e ecla"ation and ("in4in4 a .a"d o" so&t co%! 1it. !o' to classJ*+

%es 1rdres NuPbec) Les Productions Prisma5 written) directed and co&photographed by /ichel 6rault) 1$%!) 1(% mins.#

T,E FIL? )N LECTUREI ISCUSSION PERT)ININ5 TO LES OR RES )RE /E9 ELE?ENTS IN T,E COURSE )N ON <OT, T,E IN-CL)SS TEST 2 $NEGT 7EE/* )N ON T,E T)/E ,O?E FIN)L EG)? $d'e ec. 10t.* , SO )TTEN )NCE at T,IS SESSION IS OF 5RE)T I?PORT)NCE J Re>'i"ed Readin4 &o" Ne=t 7ee8+ K Online $<lac8(oa"d*+ T.e United NationsH Uni#e"sal ecla"ation o& ,'man Ri4.ts as it relates to the film %es 1rdres5 K 5ittin4s+ C.. 2 :7.o Is Et.no4"a%.ia(leP; %a4e 22, s'(section :&aving the &agas: &alvage ,thnography,2 BD-0BC K 5ittin4s+ C.. 0 :Vis'aliMin4 Fi"st Nations,; 1ED-1EE and :Ret'"nin4 t.e 5aMe+ )(o"i4inal Film ?a8e"s and ecoloniMation,; 210-220 which includes a discussion of ne+t wee7Fs film) 4anehsata(e: 567 8ears of /esistance#. &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& 7EE/ E -- T.'"sda! No#em(e" 8t. and F"ida! No#em(e" Et., 2012 -- Section IV+ T.e Canadian Film Ind'st"! --Pa"t Fi#e+ Film and Identit! Politics --O ecoloniMationITa8in4 <ac8O and t.e Eme"4ence o& :Ne1O Voices Concl'sion o& t.e disc'ssion o& %es 1rdres" In 9anada) the L.4. and) increasingly in nations around the world) there is considerable political debate o:er how women) aboriginal people and people of colour are depicted in the media) especially on film and tele:ision. Mhether consciously or otherwise) mo:ies and 0I programming often reproduce national)

gender) racial) ethnic and class stereotypes. 0o what e+tent can generali;ations be made QustifiablyJ In this and the final sessions of the course) we will encounter the often contradictory processes of stereotyping as it relates to gender) race) culture and class# both in society and in the media and what should be and is being done about it. Lect'"e, sc"eenin4 and disc'ssion o& t.e &ilm and t.e "elated assi4ned "eadin4s+ K E=ce"%ts &"om 4anehsata(e: 567 8ears of /esistance 9anadaB=26 documentary feature about the @7a 9risis of 1$$() dir. Alanis @bomsawin) released in 1$$3#5 K E=ce"%ts &"om 9th :ire 9anada) 969) 1(11#. Re>'i"ed Readin4 &o" Ne=t 7ee8+ K 5ittin4s+ e=ce"%ts &"om C.. 0 :Vis'aliMin4 Fi"st Nations,; not "ead in %"e#io's assi4ned "eadin4+ t.e s'(sections :7.itin4-O't T.e Inde4ene; $discussions of Blac( /o'e , .indigo, #learcut, +ap of the 0u an 0eart and $ance +e 1utside; 1EE-210 and #harley &quash !oes to Town and0oney +occasin 220-220. K 5ittin4s+ E=ce"%ts &"om C.. D, :?'ltic'lt'"al Fields o& Vision;+ 221-22B and 200-2D1C K Online $<lac8(oa"d*+ St'd! S.eets &o" In-Class Test 2. ----------------------------------------------------------------------------------------------------------------------7EE/ 10--T.'"sda! No#em(e" 10t. and F"ida! No#em(e" 1Dt. 2012--INQCL)SS TESTA2 )N Section IV--Section IV--T.e Canadian Film Ind'st"! --Pa"t Fi#e+ Film and Identit! Politics -- ecoloniMationITa8in4 <ac8O and t.e Eme"4ence o& :Ne1O Voices, contin'ed IN-CL)SS TEST T7O on F"ida! No#em(e" 1Dt. + 10+10 am to 10+ 00 am in o'" F"ida! class"oom TRS1030 B0 min'tes, m'lti%le c.oice and one s.o"t ans1e" >'estion*, on co'"se "eadin4s, conce%ts, and sc"eenin4s disc'ssed in lect'"es &"om 7ee8s 3 t."o'4. E. $St'd! s.eets 1ill (e %osted on <lac8(oa"d (e&o"e o" d'"in4 7ee8 E. Lect'"e, sc"eenin4 and disc'ssion o& anal!tical essa! assi4nment 4'idelines, t.e sc"eenin4 and assi4ned "eadin4s "elatin4 to t.e &ollo1in4+ K ,li-ah 9anada) dir. Paul Lnwin) wr. 9raig 9orbet) 1((%) >> mins.#5 K Possi(le Sc"eenin4 o& e=ce"%ts &"om &pea(ers for the $ead 9anadaB=26) dirs. -ennifer .ollness and Da:e 4utherland) 1((() !$ mins.#. Re>'i"ed Readin4 &o" Ne=t 7ee8+ K !ittings: :Sec"ets o& C.inato1n+ T.e ?onst"o's Et.no4"a%.ic; %a4es 0B-0E, in C.a%te" 2;7.o is Et.no4"a%.ia(leP; K 5ittin4s+ :+oving the +ountain; %a4es 22B-22E and :$ou'le 0appiness2 pages 5<=>5?@ in C.a%te" D, :?'ltic'lt'"al Fields o& Vision.; K 5ittin4s+ C.a%te" 3+ :Sc"eenin4 5ende" and Se='alit!; 2D2-2E0. -----------------------------------------------------------------------------------------------------------7EE/ 11-- T.'"sda! No#em(e" 22nd and No#em(e" 22"d, 2012--Section IV--T.e Canadian Film Ind'st"! --Pa"t Fi#e+ Film and Identit! Politics -- ecoloniMationITa8in4 <ac8O and t.e Eme"4ence o& :Ne1O Voices, Pa"t T1o+ ?'ltic'lt'"al, Immi4"ant, 5ende" and Se='al Identities 9anada is considered one of the most racially and culturally di:erse countries in the world. Immigrants ha:e historically played a 7ey role in shaping A9anadian culture.E 0his wee7 e+plores how the immigrant e+perience has been translated into film and tele:ision programming) in both the documentary and feature form. Lect'"e, sc"eenin4 and in-class disc'ssion o& t.e &ollo1in4 &ilms, incl'din4, i& %a"tici%ants a"e 1illin4, t.e s.a"in4 o& %e"sonal o" &amil! e=%e"iences and %e"ce%tions o& t.e immi4"ant e=%e"ience in Canada $can (e 1"itten on t.e 1.ite &ile ca"d &o" t.is class o" ne=t i& !o' 1is.*+ K In the &hadow of !old +ountain =26) dir. Raren 9ho) 1((!) !3 mins#5 K $ou'le 0appiness 9an.) wr.Bdir. /ina 4hum) starring 4andra @h) 1$$') >% mins#. Re>'i"ed Readin4 &o" Ne=t 7ee8+

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Online $<lac8(oa"d*+ Notes on nurse"fighter"'oyA 5ittin4s+ s'(section on t.e &ilm /ude, in C.. D+ ?'ltic'lt'"al Fields o& Vision %a4es 200-2D2C Online $<lac8(oa"d*T)/E ,O?E FIN)L EG)? to be discussed ne+t wee7 and due for submission online or by email by /onday December 1(th) 11:'$ pm at the latest. -------------------------------------------------------------------------------------------------------------7EE/ 12--T.'"sda! No#em(e" 2Et. and F"ida! No#em(e" 20t., 2012-- Section V+ Co'"se Concl'sion and Re&lections As the course ends) we return to some 7ey 8uestions: Are mo:ies and tele:ision and internet programming# made purely for entertainmentJ 0o what e+tent do all these :isual media forms) especially mo:ies) mirror the political times in which they are madeJ 0o what e+tent does a ApoliticalE or AideologicalE analysis of a film or tele:ision program ma7e senseJ Do film) tele:ision and the internet merely gi:e audiences Awhat they wantE or do audiences actually get mo"e than they want or need: are they being manipulated by what they see and e+perience in these :isual mediaJ In a world such as ours) it is not too difficult to argue that mo:ies and tele:ision and the internet are big business) but can they also be agents of changeJ Do 9anadian films continue to offer a distinctly 9anadian A:oiceE or its it a :oice being stilled by the need to reach a globali;ed mar7etJ )s t.e co'"se ends 1e s.o'ld "e&lect on 1.e"e 1e 4o &"om .e"e. Is a1a"eness eno'4.P Lect'"e, sc"eenin4 and disc'ssion o& Final Ta8e ,ome E=am and o&+ K nurse"fighter"'oy $9anada) dir. 9harles @fficer) 1((>) $3 minutes#. &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& 9OUR T)/E ,O?E FIN)L EG)? $a#aila(le on <lac8(oa"d (! T.'"sda! No#em(e" 2Et. * IS UE onlineI(! email ECE?<ER 10T, (! 11+0E %m. &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&