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Below are syllabi for courses I have taught.
Digital Television (Developing Television For New Media, graduate, Winter 2017)
Television programming options and ownership structures have changed significantly from the network era following the introduction of cable and Internet distribution. Yet series development — the selection, financing, production and marketing of new programs — has been slower to adapt to new technologies and viewing practices.
This course offers an overview of traditional and new practices in the development of television programs. Students will be exposed to changes in how corporate broadcast and cable networks select and finance scripted and unscripted series as well as how independent and corporate digital networks are reshaping the production and marketing of television in the 21st century.
Queer New Media (undergraduate, Winter 2017)
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 – at the sacrifice of music and performance/theater.
Contemporary Television (undergraduate, Spring 2016)
Television is dead; television is in a golden age. Can both statements be true? This course focuses on how the art and business of primetime television changed after the introduction of “new media,” from cable to the Internet. Readings will explore production, storytelling, identity and distribution of TV and web entertainment. Students will watch, analyze and have the option to pitch or produce television.
The goal of this course is to give students a deeper understanding of the complexity and ever-changing nature of a media business. Television is arguably the country’s most powerful medium, foundational to American culture and history in the post-WWII era. At first tightly regulated and controlled, television has fragmented, its networks folded into conglomerations and its programs spread across dozens of channels. Throughout the semester students are encouraged to question how changes in television production, regulation and distribution affects programming, culture and politics at large.
Creative Economy (graduate, Spring 2014)
How does culture circulate? Distributors – from film studios and television networks to search engines and social network sites – are integral but hidden agents in the production and reception of art in media. They connect producers (artists, creators) to consumers, allowing the former to profit from the latter. The rapid expansion of free-market capitalism and digital networking has made the study of distribution more pressing and complex. This course gives students an introduction to key texts in the growing field of “distribution studies” in the radio, television, film and digital media industries. Readings and screenings will explore historical and contemporary debates over how changes in the technologies, practices and regulation of cultural distributors affect art and texts, artists and workers, citizens and audiences across indices of identity, from race, citizenship, class, gender and sexuality.
The Politics of New Media Production (graduate, Spring 2013)
This course tracks the maturation of the Internet into a mass medium.
As broadband adoption grows and advertisers shift budgets online, web companies are growing richer, more popular and more powerful. This course explores the changing marketplace for online entertainment, focusing on video companies like YouTube angling to supplant television but incorporating the broader literature on the politics of production and distribution for companies like Facebook and Google. Readings will include studies of amateur/user production, corporate efforts to monetize web entertainment, independents creating innovative content — ranging from the early days of the Internet to the present.
Power in Entertainment (undergraduate, Fall 2013)
This course examines how power is created, sustained and challenged in entertainment media. Students will learn how and why individuals, groups and corporations achieve and maintain dominance in art, film, television, gaming and digital and social media. Readings will explore contemporary case studies and debates. Lectures will give theoretical and historical context.