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Syllabi — Aymar Jean Christian. Intersectionality & New Media How do sexuality, race, gender, and class shape new media? This course explores the role of intersectional identity in technological transformations in media, focusing on the transition from analog to digital. Students will read historical case studies and theoretical essays on such topics as how social media affect how queer users interact and self-identify and how race influences cable TV distribution. The course is organized into three key areas of inquiry — culture, organization, and technology — with the goal of understanding the complex ways they interrelate. It is rooted in black feminism and queer of color critique but introduces a range of epistemologies.

It focuses on visual media – art, television, film, games, and social media. The goal of this course is expose students to how changes in the art and business of media affect the representation of identity. . – How sexuality intersects with race, gender, class, and disability in art and media — E. Syllabi — Aymar Jean Christian. Turn your unused videos into an awesome vidblog on Vimeo. Since cameras are now as ubiquitous as hands, a bunch of us end up recording tiny moments from our daily lives on video. But between clips of a BFF’s wedding dance and being caught in the middle of a Times Square flash mob (godspeed if this happens to you), you may realize you’ve got an abundance of unused footage. So maybe you chose to capture a moment through video. But now what? Don’t ask me, I don’t know! What is a vidblog and why should I make one? Vidblogs comes from the Latin “video blogs” (or memory banks, as some of us call them), and they are an easy way to repurpose videos that would otherwise collect digital dust bunnies in your Camera Roll.

I happen to work with a few folks who have been uploading their own vidblogs to Vimeo for years, and together, we’re going to help you take those languishing files and create something rad to share — in a way that’s as simple or as fancy as you’d like. Here’s what our friends have to say about why they choose to make vidblogs: Convinced? Weekend Challenge: self-portrait on Vimeo. In one of our first few Weekend Challenges (then called Projects), we asked you to create a self portrait to introduce yourself to the community. It’s been nine years and this group has grown by ~24,000 members, so we can probably take a little time to reintroduce ourselves. Here’s a great example from a previous winner, Dana Yurcisin: You can make whatever you want within the project’s time limit — three minutes — but there’s one additional caveat: you can’t show yourself talking to the camera.

Why? Because you’re more than a talking head. You’re a whole person full of guts and emotions! You can show yourself in the frame or speak in a voiceover, but we don’t want to watch you talking to your webcam (do people call them webcams still?). Aesthetically, one of my favorite video portraits is this Josef Kubota Wladyka’s video from his series of “one-shot stories”: The Rules: The Prizes: The winner will receive a free Vimeo Plus membership for one year! It was nice to meet you all! Untitled. Untitled. Untitled. Untitled. Untitled. MCC UE 1 001 Intro to Media Studies Brunton. MCC UE 1571 SampleSyllabus. MCC UE 1413 SampleSyllabus. MCC UE 1412 SampleSyllabus.

MCC UE 1408 SampleSyllabus. MCC UE 1402 SampleSyllabus. E59.1352 Empire Revolution Media. E59.1352 Empire Revolution Media. MCC UE 1031 SampleSyllabus. E59.1025 Race and Media. MCC UE 1022 SampleSyllabus. MCC UE 1019 SampleSyllabus. MCC UE 1017 SampleSyllabus. MCC UE 1012 SampleSyllabus. MCC UE 1011 SampleSyllabus. MCC UE 1003 SampleSyllabus. Undergraduate Courses. This umbrella number encompasses topics-based courses offered at NYU global campuses & other international locations that examine the social, political and economic dynamics of media & culture in specific national, regional & historical contexts.

Note: The courses listed below count under one Field of Study: Global and Transcultural Communication. Pop Culture and Power. In Jonathan Franzen’s 2001 novel, “The Corrections,” a disgraced academic named Chip Lambert, who has abandoned Marxist theory in favor of screenwriting, goes to the Strand Bookstore, in downtown Manhattan, to sell off his library of dialectical tomes. The works of Theodor W. Adorno, Jürgen Habermas, Fredric Jameson, and various others cost Chip nearly four thousand dollars to acquire; their resale value is sixty-five. “He turned away from their reproachful spines, remembering how each of them had called out in a bookstore with a promise of a radical critique of late-capitalist society,” Franzen writes. After several more book-selling expeditions, Chip enters a high-end grocery store and walks out with an overpriced filet of wild Norwegian salmon.

Anyone who underwent a liberal-arts education in recent decades probably encountered the thorny theorists associated with the Institute for Social Research, better known as the Frankfurt School. Benjamin took a different tack. MCC UE 1 001 Intro to Media Studies Brunton. 100 Killer Ideas For Your Social Media Content. Library | Product Tags Video Production. Creative Workshop. Making Waves: A Guide to Cultural Strategy | The Culture Group. Making Waves: A Guide to Cultural Strategy from The Culture Group explains the concept of cultural strategy—how it works, and why it matters. We include historical and contemporary examples to bring the theories and concepts to life, and offer practical steps for initiating and deploying cultural strategy.

This reference guide is now available to advocacy organizations, foundations, organizers, and artist activists who want to effectively integrate these practices into their social change work. We can arrange for bulk orders of the book as well as presentations based on materials from the guidebook as a training for advocacy organizations, foundations, funder affinity groups, and others interested in learning more about cultural strategy for social change.

Please contact View and download by clicking the image above or here. Making Waves: A Guide to Cultural Strategy © 2014 Revolutions Per Minute. The PEOPLE'S CREATIVE TOOLKIT - Rogue Citizen. 14 Defining Characteristics of Fascism. Are Trump and the Republican party trying to implement fascist policies in the United States? You have to understand how fascists behave to determine that. Here are some hints. If you don’t think they are flirting with Fascism which of these are they trying to implement? What are the distinguishing characteristics of a… The 14 Defining Characteristics of Fascism Dr. 1. 2. 3. 4. 5. 6. 7. Breitbart National Security Section 8. Trump’s Vision of Religious Freedom is a Total Nightmare 9. 10. 11. 12. 13. 14. How fascist is Donald Trump? The Rights of Human Predators Wikipedia entry on Fascism 7 Fascist Regimes Enthusiastically Supported by America Quotes about Fascism Famous Fascist Tyrants Adolf Hitler Benito Mussolini Francisco Franco Donald Trump?

Like this: Like Loading... Log In - New York Times. Log In Don't have an account? Sign up here » Facebook Google or Forgot password? Lesson: The Power of Images. Sometimes a single photograph can have a far greater emotional impact than words alone could. This emotional potential makes photography a prime candidate for interpretation based on confirmation bias. As illustration, this lesson includes an interview with St. Louis Post-Dispatch photojournalist David Carson in which he describes a photograph that was interpreted entirely differently by two groups of people.

In a separate activity, students step into the role of news editor to choose the lead image that will run on the front page, based on a different scenario faced by the Post-Dispatch. Some of the imagery used by the media as part of their coverage of Ferguson was itself the subject of debate. The Philadelphia Daily News was a case in point in the speed with which 21st-century image parsing can occur. Images capture moments; they are seldom comprehensive or entirely representative.

Log In - New York Times. A multimedia assignment checklist | The Designer's Corner. In 2012 a writing professor from CU Boulder and I co-hosted several teaching-with-multimedia workshops. Our audience was composed primarily of faculty from Colorado community colleges and our goal was to effectively walk attendees through the process of creating a working multimedia assignment. With any choices in how an assignment might be defined come cautions, opportunities, and considerations.

To help our group see as many foreseeable variables as possible, we used a flowchart to give form to the process of creating a solid media-based assignment. Let's look at that presentation here, in checklist form. The assignment What, exactly, will you ask your students to do? Service-learning or outreach; Having your class work for real clients can be a real pain... but worth the effort nonetheless.

Figure1; A student-designed poster promoting a local non-profit cinema A response to an artifact; Can you show us how The Things They Carried affected your views concerning the Viet Nam War? Connexions • international professional communication journal | connexions • international professional communication journal (ISSN 2325-6044) Critical Thinking Skills and Higher Learning Program | Macat. Blog Grading Rubric | Steve Fox's Multimedia Journalism Class. Diversity Style Guide – Helping media professionals write with accuracy and authority.

Popular Education | practicing freedom. Workshop at the Teachers for Social Justice Conference Practicing Freedom provides workshops, curriculum design, coaching and training for trainers in Popular Education “We believe that we can build our collective power through participation in popular political education and organizing collective action” ~ Peoples Movement Assembly US Social Forum Food Sovereignty Declaration What is Popular Education? Popular education is education as a practice (or praxis) of freedom. It is an approach to education where participants engage each other and the educator as co-learners to critically reflect on the issues in their community and then take action to change them. Principles of Popular Education: These following principles were mostly created by both paraphrasing sections of Pedagogy of the Oppressed by Paulo Freire, The Long Haul by Myles Horton, class notes from the Popular Education course taught at Berkeley by John Hurst, and personal experiences working with groups.

Workshops: L Holding Up Our Vision. 2.1FindingCommonGround. Public Domain ~ Free Media for Creative Projects | Pond5. Library | WITNESS Human Rights Video Training. Library | WITNESS Human Rights Video Training. How to Be An Activist Filmmaker: An Interview with Chris Rogy of Witness. The use of video recording and live social networking in the last year of protests has left us with a very modern conundrum: Even as video becomes more important in protest, we still focus on the content we are gathering, and not how the tools we use shape content.

With the rise of the citizen journalist, whatever is recorded becomes fact, and we take for granted that spontaneity equals a lack of craft or strategy. The camera becomes a second eye, but rarely do we think about how we control it or where we point it. This is what Witness, an international nonprofit organization founded in 1992, has set out to change with the recent release of a five-part video guide called How to Film Protests: A Video For Change Guide. It’s meant to be a training tool to spark the use of video as a critical protest tool, as opposed to simply a handy gadget that happens to record raw footage.

Witness just put out a guide of sorts on how to shoot videos that witness human rights violations. 1. 2. 3. 4. 5. 101 Tips. Transom - A Showcase and Workshop for New Public Radio. Declaration of Dependence: Building the Bridge Between Newsroom and Community. How to Shake Up the Discussion Board in Your Online Class. 8 Takeaways from Moving Journalism from the Classroom to the Community. UW-Madison senior Daniel Harrigan edits with a high-school student at the Simpson Street Free Press. Photo by Sue Robinson. The student looked vexed as she lingered outside my office door. “Come on in,” I said, smiling at her with what I hoped was my most welcoming you-can-talk-to-me-I-promise-not-to-judge expression. Students were encouraged to think of sources not as punctuation points, but as bridges into communities.

It was the middle of the semester and the young woman was in my new Journalism For Racial Justice: Amplifying Marginalized Voices in Local Community class that ran in Spring 2016 at the University of Wisconsin-Madison. After pleasantries, she launched into it: “I find myself nervous because it is so different from how I’ve been taught up until now. Though from an expression of distress, her words filled me with a sense of gratification. 1. UW-Madison senior Brianna Johnson edits audio with a student at the Lussier Community Education Center’s radio show. 2. 3. Prof. 4. 5.