Racial Ideas and The War of 1898

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PLAGIARISM:

Plagiarism is defined as “[t]he adoption or reproduction of ideas or words or

statements of another person as one’s own without acknowledgment.” This would include, for

example, copying or substantially restating the published, unpublished, or on-line work of

another person without appropriate attribution. Plagiarism can include insufficient paraphrasing, even if the source is attributed. For the purpose of this class, I will use an “eight word rule,” meaning that if eight consecutive verbatim words are taken from a text without direct quotes, I will consider that to be insufficient paraphrasing.

PROMPT: Racial Ideas and The War of 1898

Most Americans learn about the War of 1898 (also known as the Spanish-American War) from

the US perspective. School curriculums usually focus on the role of the “yellow” press in

declaring war, the mysterious explosion of the battleship Maine, and the debates that occurred

in the US congress about whether or not the US should become an imperialist nation.

This essay assignment asks you to think about the War of 1898 from a different angle. How

did ideas about race figure in the war? As we have discussed, Cuban patriots like José Martí

wanted the new Cuban nation to embrace racial equality. Both white and Afro-Cuban patriots

fought for the patriot cause. In the United States, the idea of race also played a role, especially

in how the United States saw itself as uplifting non-white peoples through its intervention.

For this essay you should draw on our textbook, the film clips, the essay about Jose Marti, and

political cartoons we viewed in class (also available on Classes) to give specific examples of

how you see ideas of race influencing the War of 1898.

Sources (please note that this option requires one very short additional essay):

Thomas C. Wright, Latin America since Independence: Two Centuries of Continuity

and Change Rowman & Littlefield, 2017.

Dionisio Poey Baro, “Race’ and Anti-Racism in José Marti’s ‘Mi Raza,’” Contributions in Black Studies, vol 12, 1994 (available on Classes)

Documentary film “Empire of Dreams” (link available on Classes)

Documentary film “Black in Latin America: Cuba, the Next Revolution” (link

avai

INSTRUCTIONS:

The purpose of this essay is to allow you to further engage with our assigned readings about the Wars of Independence and/or the War of 1898. Choose and answer ONE of

the prompts below

 

FORMAT:

The essay should be

3-4 pages long, in Times New Roman 12-point font, double-spaced, and in Word.

 

SOURCES:

For this essay you should use the textbook, the primary source, and any audiovisual

materials assigned in our class.

Do not use any outside sources without consulting me

 

CITATION:

Your essays must use proper in-text citation that demonstrates where your

information is drawn from. Remember that you need to use citation

even if you are not using a

direct quote.

For example, if you are paraphrasing a section of the textbook, you should still

include an in-text citation. When in doubt, provide citation.

You may use any style of citation you are most familiar with – such as MLA, APA or Chicago

style – as long as you use it consistently throughout the paper.

 

PLAGIARISM:

Plagiarism is defined as “[t]he adoption or reproduction of ideas or words or

statements of another person as one’s own without acknowledgment.” This would include, for

example, copying or substantially restating the published, unpublished, or on-line work of

another person without appropriate attribution. Plagiarism can include insufficient paraphrasing, even if the source is attributed. For the purpose of this class, I will use an “eight word rule,” meaning that if eight consecutive verbatim words are taken from a text without direct quotes, I will consider that to be insufficient paraphrasing.

 

PROMPT: Racial Ideas and The War of 1898

Most Americans learn about the War of 1898 (also known as the Spanish-American War) from

the US perspective. School curriculums usually focus on the role of the “yellow” press in

declaring war, the mysterious explosion of the battleship Maine, and the debates that occurred

in the US congress about whether or not the US should become an imperialist nation.

This essay assignment asks you to think about the War of 1898 from a different angle. How

did ideas about race figure in the war? As we have discussed, Cuban patriots like José Martí

wanted the new Cuban nation to embrace racial equality. Both white and Afro-Cuban patriots

fought for the patriot cause. In the United States, the idea of race also played a role, especially

in how the United States saw itself as uplifting non-white peoples through its intervention.

For this essay you should draw on our textbook, the film clips, the essay about Jose Marti, and

political cartoons we viewed in class (also available on Classes) to give specific examples of

how you see ideas of race influencing the War of 1898.

 

Sources (please note that this option requires one very short additional essay):

· Thomas C. Wright, Latin America since Independence: Two Centuries of Continuity

and Change Rowman & Littlefield, 2017.

· Dionisio Poey Baro, “Race’ and Anti-Racism in José Marti’s ‘Mi Raza,’” Contributions in Black Studies, vol 12, 1994 (available on Classes)

· Documentary film “Empire of Dreams” (link available on Classes)

· Documentary film “Black in Latin America: Cuba, the Next Revolution” (link

available on Classes)

Presentation On Threats To The Global Environment (Powerpoint)

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  1. Overview
    Congratulations! The members of the United Nations found great value in the two analyses you provided. They are now asking you to develop a PowerPoint presentation that addresses four of the most critical threats to the global environment. Critical threats include:

    • Energy sources.
    • Globalization.
    • Lack of educational opportunities.
    • Inappropriate use of technology.
    • Civil war.
    • Poor health of entire population.
    • Cultural taboos.
    • Climate change.
    • Instructions
      Step I. Narrow the List from Eight to the Four Most Critical Threats
      To complete this step, complete the following tasks in order:
    1. Review research on each of the eight threats.
    2. Determine what you believe to be the current and potential future impacts of each threat on the global environment.
    3. Choose the four threats that you see as the most critical by considering which pose the greatest or most immediate risk.
    4. Step II. Create the PowerPoint Presentation
      The completed version of this presentation will include a minimum of 16 slides. Your audience consists of the United Nations General Assembly.
      PPT Content and Structure
    5. Title Slide: Include your name, course title, current date, and the name of your instructor.
    6. Introduction Slide: List the four threats you chose, and in the Notes section offer a brief narrative justifying these choices
    7. Body Slides: The slide content is listed in the outline below. For each body slide you develop, please include a paragraph in the Notes section explaining how the details you have provided in the slide are pertinent to the United Nations’ discussion on selecting and prioritizing goals.
      1. For your first threat (this is the threat you consider to be the greatest risk/highest priority):
        • One slide on a brief history and assessment of the threat.
        • One slide on the countries most affected by the threat, and how those countries are affected (please give examples).
        • One slide on the effects of this threat on the world population as a whole.
        • One slide including a chart, graph, or compelling visual that relates to the content you present in body slides a–c.
      2. For your second threat (this is the threat you consider to be the second greatest risk/second highest priority):
        • One slide on a brief history and assessment of the threat.
        • One slide on the countries most affected by the threat, and how those countries are affected (please give examples).
        • One slide on the effects of this threat on the world population as a whole.
        • One slide including a chart, graph, or compelling visual that relates to the content you present in body slides a–c.
      3. For your third threat (this is the threat you consider to be the third greatest threat/highest priority):
        • One slide on a brief history and assessment of the threat.
        • One slide on the countries most affected by the threat, and how those countries are affected (please give examples).
        • One slide on the effects of this threat on the world population as a whole.
        • One slide including a chart, graph, or compelling visual that relates to the content you present in body slides a–c.
      4. For your fourth threat (this is the threat you consider to be the fourth greatest threat/highest priority):
        • One slide on a brief history and assessment of the threat.
        • One slide on the countries most affected by the threat, and how those countries are affected (please give examples).
        • One slide on the effects of this threat on the world population as a whole.
        • One slide including a chart, graph, or compelling visual that relates to the content you present in body slides a–c.
    8. Conclusion Slide: Summarize your findings for the Assembly.
    9. (Optional) Reference Slide: You can include full-text citations in the Notes section of each slide or provide a reference slide at the end of the presentation with the full citations of your sources.
    10. Note:
    • Please discuss the threats in order of priority as described above, so the threat you consider the greatest should be discussed first in the presentation and so on.
    • Please use at least five credible sources to back up your discussion.
    • The body slides should summarize your key takeaways, whereas the notes section of each body slide should discuss the evidence and the details that support your takeaways. The content in both the notes and body sections requires citations and sources.
    • This course requires the use of Strayer Writing Standards. For assistance and information, please refer to the Strayer Writing Standards link in the left-hand menu of your course. Check with your professor for any additional instructions.
      Success Tip
      For more information and help in creating a PowerPoint, review the content found in the LinkedIn Learning course, PowerPoint 2019 Essential Training: The Basics.
      The specific course learning outcome associated with this assignment is as follows:
    • Assess the current threats to the global environment.
  2. By submitting this paper, you agree: (1) that you are submitting your paper to be used and stored as part of the SafeAssign™ services in accordance with the Blackboard Privacy Policy; (2) that your institution may use your paper in accordance with your institution’s policies; and (3) that your use of SafeAssign will be without recourse against Blackboard Inc. and its affiliates.

City Life In The United States Since 1880

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Reading Response Week 7: E.B. White’s “Here is New York” and “The World of Tomorrow”

Directions : This reading response is intended to get you to practice analyzing primary sources. Some questions will require a longer response than others, but be sure to fully answer each question. Draw directly from lecture and the readings. Include quotes and specific examples from both the reading and lecture to support your points (please provide page numbers for quotes). Save and upload your responses as a Word Document on Blackboard – do not type your response into Blackboard directly. Also, make sure it is clear which question you are answering, either by typing your responses under the questions or by numbering your answers with corresponding numbers. Be sure to run your work through spell check, and read it over carefully before submitting.

1. What is E.B. White’s impression of the 1939 New York World’s Fair in “The World of Tomorrow”? How does his description of the Fair’s exhibits (like GM’s Futurama) highlight the urban planning ideas of the 1930s I spoke about in lecture this week? Please use specific examples and quotes from “The World of Tomorrow” as well as specific examples from lecture to support your points.

 

2. What are some of the main characteristics of life in New York City (both positive and negative) E.B. White highlights in “Here is New York”? What does he mean when he says there are “roughly three New Yorks” (pg 152)? Please use specific examples and quotes from “Here is New York” to support your points.

 

 

3. Based on these essays, do you think E.B. White would support the movements in urban planning I mentioned in lecture this week? In other words, do you think he would look forward to the kind of city envisioned at the World’s Fair (in Futurama, Democracity or the film “The City”)? Would he be in favor of the kind of urban planning initiatives that Lewis Mumford and the Regional Planning Association of America supported? Why or why not? Please use specific examples and quotes from “Here is New York” and “The World of Tomorrow as well as specific examples from lecture to support your points.

Thirdworld Cinema Final Response

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choose some sources from appropriate sources in the syllabus supplemental/suggested readings.

*Attempt only two questions.

*Question # 1, Section A, is compulsory.

*Choose one more question from Section B.

*Keep your answers clear, concise and analytical.

*Address your responses to the specific demands of each question.

*Limit your answers to 4 (double-spaced, 12-pitch font) pages per question. *Illustrate your answers with pertinent references, and cite key sources consulted.

*No haphazard submission of papers or excuses for late papers would be accepted.

*Your answer script must include the questions chosen, your name, and be submitted in PDF. QUESTIONS: SECTION A

1) Distinguishing between the terms, ‘Third World’ Cinema and Third Cinema, discuss the aims and context of the latter’s emergence, and its significance for the study of global cinema cultures. SECTION B

2) Examine, with attention to each film’s context, the interplay between culture, community, taboos and relationships in shaping the narrative trajectories of The Salesman and Masaan.

3) Discuss how the exchanges between personal and national histories shape the political and allegorical inflections of The Cemetery of Splendor and The Great Kilapy.

4) With reference to the film’s aesthetic strategies and key characters, analyze how the themes of identity, family, anxieties, loss and trauma undergird the narrative dynamics of The Photograph.

GOOD LUCK KEEP SAFE, HEALTHY AND ENJOY YOUR SPRING BREAK! EXAM GRADING CRITERIA

‘A’ GRADE RANGE = 90%-100% * Answered all aspects of the questions.  * Cogent application of lectures and readings.  * Cited other relevant materials appropriately.  * Identified characters, directors and situations aptly.  * Clear, engaging and scholarly analyses.  * Avoided pointless summaries of films.  * Hardly any spelling or grammatical errors.  * No colloquialisms (slangs and informal language).  * Kept responses within specified page limits.  * No attempts to ‘stretch’ paper, unduly (through creative pagination, font sizes, etc)

‘B’ GRADE RANGE = 80%-89% * Answered most aspects of the questions.  * Mediocre applications of lectures and readings.  * Cited other relevant materials unevenly.  * Identified characters, directors and situations aptly.  * Fairly clear, engaging and scholarly analyses.  * Had some pointless summaries of films.  * Occasional spelling and grammatical errors.  * Few, if any, colloquialisms (slangs and informal language).  * Kept responses within specified page limits.  * Probable attempts to ‘stretch’ paper, unduly (through creative pagination, font sizes, etc).

‘C’ GRADE RANGE = 70%-79% * Answered some aspects of the questions.  * Scant application of lectures and readings.  * Trivial use, if any, of other relevant materials.  * Misidentification of characters, directors and situations.  * Lacked clear, engaging and scholarly analyses.  * Indulgent and artless summaries of films.  * Plentiful spelling and grammatical errors.  * Rife with colloquialisms (slangs and informal language).  * Resourceless use of specified page limits.  * Flagrant attempts to ‘stretch’ paper, (through creative pagination, font sizes, etc)

‘D’ GRADE = 60%-69% *Gross deficiencies, in range and scope, of a ‘C’ paper. ‘F’ GRADE = 59% and below * Overwhelming attributes, in range and scope, of a ‘D’ paper.  NOTE: For finer differentiations, a plus (+) or minus (-) will be applied to passing grades, only

Black Studies 161 Winter Quarter, 2021.

‘THIRD WORLD’ CINEMA

INSTRUCTOR: Dr. Jude G. Akudinobi Lectures: Online, Tues. & Thurs., 8:00am-9:15am, PST/Calif. Time, as scheduled on GOLD. Location: Virtual classroom, through ZOOM, using valid link, ID or access code to participate. Film Lab: Virtual, screening on Wednesdays, through GauchoCast, before Thursday lectures. Office Hours: Online, Tuesdays and Thursdays 11:00am – 12: 30pm, PST/California Time and, when practical, by special arrangements. OUTLINE: As a generic term, the ‘Third World’ includes Africa, the Middle East, the Caribbean, Latin America and Asia (excluding Japan and, depending on your yardstick, China). Despite their differences, these societies, cultures, peoples are, in dominant ‘understanding’, homogeneously marked as backward, exotic, chaotic, and even, dangerous. Interestingly, these cliches about the Third World not only constitute the preponderant elements of its Western filmic representations but, more importantly, foster rigid frameworks which define dominant spectatorial expectations and interpretations. This course will, therefore, explore the social constructions of ‘Third World’ ‘realities’ from their own (Third World) perspectives, the relationship of ‘Third World Cinema’ to dominant (Hollywood) cinema, globalized popular culture, new media technologies, post- colonial diasporas, and so forth.

FORMAT: Instruction and communications will be synchronous, through ZOOM, engendering a real-time presence, connections with each other, comments, and feedback that approximates face-to-face communications, and recreates the classroom experience, virtually, in ways that foster vibrant atmospheres for pedagogical rapport, instantaneous thinking and effective learning.

In this panoramic survey, we will, through lectures and discussions, not only examine the representational territories of the ‘Third World’ but also establish links between it and the larger history/cultural politics of the West. As such, sample films from the regions indicated above, articulating the Third World ‘realities’, will be scrutinized to illuminate the social relations the films (in)form, their internal logic and the distinct forces which constitute them. In tandem with social, cultural and aesthetic analyses, the class will contemplate the complex dynamics through the ‘Third World’ constructs notions of society, identity and representation, as well as theoretical developments in the analyses of ‘Third World Cinema’.

REQUIREMENTS: Attendance of all lectures, viewing scheduled films, familiarity with assigned materials before class meetings, and conscientious class participation. Other requirements include (1) mid-term (2) final examination (3) term paper of about 8 pages which must be finely edited, using brief quotations used to support the thesis, include full bibliographical annotations, using the MLA format, show originality and demonstrate mastery of pertinent issues on a specified or, approved, chosen topic.

 

 

GRADING: Evaluations will be according to the following percentages: consistent attendance, informed and thoughtful class participation 25%, mid-term 25%, final exam 25%, and term paper 25%. All categories are weighed equally. Penalty will be exacted for irregular class attendance and missed exams, except in the event of a natural disaster, religious obligation, ill-health (doctor- certified), proven extenuating circumstances or unforeseen personal calamity.

REQUIRED TEXT: Course Reader. Santa Barbara, CA: SB Printer, UCEN, 2021. Course Reader. @ SB Printers, Santa Barbara, CA, and available for purchase through https://sbprinter.myshopify.com/products/bl-st-161-akudinobi

SUPPLEMENTARY TEXTS: Armes, Roy. Roots of New Arab Film (Bloomington, IN: Indiana Univ. Press, 2018). Devasundaram, A. I. Indian Cinema Beyond Bollywood (NY & London: Routledge, 2020). Langford, Rachel. Film Genres and African Cinema (London & New York: Bloomsbury Academic, 2020). Tierney, Doroles. New Transnationalisms in Latin American Cinema (Edinburgh, UK: Edinburgh University Press, 2019).

SAMPLE SUGGESTED READING: Armes, Roy. New Voices in Arab Cinema (Bloomington, IN: Indiana Univ. Press, 2015). Armes, Roy. Third World Film Making and the West (Berkeley: U. Of Calif. Press, 1987). Armes, Roy and Lizbeth Malkmus. Arab and African Filmmaking (London and New Jersey: Zed Books, 1991). Barlet, Olivier. African Cinemas: Decolonizing the Gaze (London: Zed Books, 2000). Braziel, Jana and Anita Mannur. Theorizing Diaspora: A Reader (Oxford: Blackwell, 2003). Ciecko, Anne Tereska. Contemporary Asian Cinema (Oxford & New York: Berg, 2006). Chakravarty, S. S, National identity in Indian Popular Cinema (Austin,TX: University of Texas Press, 1993). Bonetti, Mahen and Prerana Reddy (eds.) Through African Eyes: Dialogues with Directors (New York: African Film Festival, 2003). Cham, Mbye ed., Ex-iles: Essays on Caribbean Cinema (Trenton, NJ: Africa World Press, Inc., 1992). Chanan, Michael. Chilean Cinema (London: British Film Institute, 1976). Dabashi, Hamid. Close Up: Iranian Cinema Past, Present and Future (London: Verso, 2001). De la Mora, Sergio. Cinemachismo: Masculinities and Sexuality in Mexican Film (Austin, TX: University of Texas Press, 2006). Devasundaram, A. I. India’s New Independent Cinema (NY & London: Routledge, 2016). Downing, John D. H. Film and Politics in the Third World (New York: Autonomedia, 1986). Dwyer, Rachel. Filming the Gods: Religion and Indian Cinema (London: Routledge, 2006). Esfandiary, Shahab. Iranian Cinema and Globalization: National, Transnational and Islamic Dimensions (Chicago & London: Intellect Books, 2012). Garritano, Carmela. African Video Movies and Global Desires: A Ghanaian History (Athens, OH: Ohio Univ. Press, 2013). Givanni, June (ed.) African Cinema: Symbolic Narratives (London: BFI, 2000). Gokulsing, K. Moti, & Wimal Dissanayake (eds.). Routledge Handbook of Indian Cinemas

 

 

(New York and London: Routledge, 2013). Guneratne, Anthony (ed.) Rethinking Third Cinema (London: Routledge, 2003). Hillauer, Rebecca. Encyclopedia of Arab Women Filmmakers (Cairo: American U. Press, 2005). Kaur, Raminder and Ajay J. Smith. Bollyworld: Popular Indian Cinema Through a Transactional Lens (Thousand Oaks and London: SAGE Publications, 2005). King, John. Magical reels: A History of Cinema in Latin America (London: Verso, 2000). Krings, Matthias, & Onookome Okome (eds.). Global Nollywood: The Transnational Dimensions of an African Video Film Industry (Bloomington, IN: Indiana Univ. Press, 2013). Lal, Vinay and Ashis Nandy.(Oxford and New York: Oxford University Press, 2006). Manjunath, Pendakur and John Lent. Indian Popular Cinema: Industry, Ideology, and Consciousness (Hampton Press, 2003). Mirbakhtyar, Shahla. Iranian Cinema and the Islamic Revolution (Jefferson, NC: McFarland and Company, 2006). Nagib, Lucia. The New Brazilian Cinema (London and New York: I.B. Tauris, 2003). Naficy, Hamid. An Accented Cinema: Exile and Diasporic Filmmaking (Princeton, NJ: Princeton University Press, 2001). Noble, Andrea. Mexican National Cinema (London & New York: Routledge, 2005). Pfaff, Francoise. Focus on African Films. (Bloomington, IN: Indiana Univ. Press, 2004). Pines, Jim & Paul Willemen, Questions of Third Cinema (London: BFI Publishing, 1989). Shohat, Ella, Israeli Cinema: East-West & the Politics of Representation (Austin,TX: University of Texas Press, 1989). Rego, Calcida. M, & Carolina Rocha (eds.). New Trends in Argentine and Brazilian Cinema (Chicago & London: Intellect Books, 2011). Shohat, Ella & Robert Stam, Unthinking Eurocentrism (London & New York: Routledge, 1994). Smith, Paul J. Mexican Screen Fiction (Cambridge, UK: Polity, 2014). Tapper, Richard. The New Iranian Cinema: Politics, Representation and Identity (London: I.B Tauris & Co Ltd, 2002). Teo, Stephen. Asian Cinema Experience (New York and London: Routledge, 2014). Tsika, Noah A. Nollywood Stars (Bloomington, IN: Indiana Univ. Press, 2015). Ukadike, Nwachukwu F., Black African Cinema (Berkeley: Univ. of California Press, 1994). Vasudevan, Ravi (ed.) Making Meaning in Indian Cinema (Oxford: Oxford U. Press, 2000). Viola, Shafik. Arab Cinema: History of Cultural Identity (Cairo: American U. Press, 1999). Warner, Keith Q. On Location: Cinema and Film in the Anglophone Caribbean (London: Macmillan Education, 2000). Wayne, Mike. Political Film: The Dialectics of Third Cinema (London: Pluto Press, 2001). Witt, Emily. Nollywood: The Making of a Film Empire (New York, NY: Columbia Global Reports, 2017).

*** Other articles on specific films/issues may be given weekly or placed on GauchoSpace.

FILM SCHEDULE AND ASSIGNED READING:

WEEK 1/ Jan. 06: THE SECOND MOTHER (Anna Muylaert, 2015, Brazil) Read: Rego, pgs. 204-211; Dennison, pgs. 131-144 pgs; Pinho, pgs. 103-128.

 

 

WEEK 2/Jan. 13: HELI (Amat Escalante, 2013, Mexico) Read: Campbell, pgs. 60-77; Lantz, pgs. 253-269; Bunker & da Gruz, pgs. 702-716.

WEEK 3/Jan. 20: THE HARDER THEY COME (Perry Henzell, 1973, Jamaica) Read: Paddington & Warner, pgs. 91-108; Gaztambide-Fernandez, pgs. 353-376.

WEEK 4/Jan. 27: SUGAR CANE ALLEY (Euzhan Palcy, 1983, Martinique) Read: Demissiea, pgs. 101-110; Ebrahim, pgs. 146-152; Gaudry-Hudson, pgs. 478-493.

WEEK 5/Feb. 03: WADJDA (Haifaa Al-Mansour, 2014, Saudi Arabia) Read: Sakr, pgs. 214-233; Deb, pgs. 521-532; Garcia, pgs. 34-37.

WEEK 6/Feb. 10: THE PHOTOGRAPH (Nan Triveni Achnas, 2007, Indonesia) Read: Hanan, pgs. 107-121; Hughes-Freeland, pgs. 417-444; Michalik, pgs. 378-396.

WEEK 7/Feb. 17: THE CEMETERY OF SPLENDOR (Apichatpong Weerasethakul, 2015, Thailand) Read: Harrison, pgs. 321-338; Teh, pgs. 595-609; Marshall, pgs. 230-241.

WEEK 8/Feb. 24: THE SALESMAN (Asghar Farhadi, 2016, Iran) Read: Ganjavie, pgs. 11-20; Reichle, pgs. 64-76; Rugo, pgs. 173-187.

WEEK 9/Mar. 03: MASAAN (Neeraj Ghaywan, 2015, India) Read: Kumar, pgs. 1-14; Ray, pgs. 23-43; Chatterjee, pgs. 195-221.

WEEK 10/Mar. 10: THE GREAT KILAPY (Zeze Gamboa, 2012, Angola) Read: Apa 253-266; Stewart, pgs. 255-269; Buchsbaum, pgs. 153-166.

IMPORTANT ADVISORY: 1) To facilitate participation and collaborative learning, the class may be divided into caucuses or break-out rooms. Each member must belong to a caucus. All caucuses must, either collectively or through a spokesperson of their choice, present a ‘position paper’ each week covering the assigned film, readings and other pertinent issues they want to raise or share with the class. Non-membership in a caucus, or perfunctory participation in caucus or class affairs will earn the erring member grade point deductions.

2) The caucus presentations are opportunities for you to apply or critically engage all assigned materials, including films, and, preferably, initiate debate. As such, aim for discernment and be prepared to take questions afterwards (as the class is expected to critique or evaluate your presentation). You may, also, illustrate certain critical issues or apply materials pertinent to the class, in skits, for example, to stimulate further critical reflection. Overall, your presentations would be judged on content, perceptiveness, and contributions to prevailing issues or materials

3) Your term-paper must be organized around the concerns of the syllabus. In analyzing a film or group of films, for instance, pay attention to how the narrative unfolds – structure, thematic concerns, stylistic devices, dramatic shifts, gender roles, characterizations, etc. – substantive

 

http://www.palgrave-usa.com)

 

issues raised in the film(s) and demonstrate sophisticated understandings of the historical, cultural, political and aesthetic considerations which frame the film(s). Studies of distinguished directors, specific national cinemas, as well as the interactions and exchanges between the disparate film cultures that constitute ‘Third World Cinema’ are, especially pertinent. As such, ‘Third world’ films not in the current roster are encouraged for term-papers. Since this is not a ‘film appreciation’ class, whether you like or dislike a particular film, director or country, for example, is peripheral.

4) Your paper should embody perspectives that are original; in other words, be capable of engendering fresh understandings. Hence, while ideas from the class, readings and/or other sources may be used as premises or supporting materials for the paper, premium should be placed on exploring the not-so obvious. The library has a trove of online research resources, scholarly journals, and databases like Google Scholar, Project Muse, Art Full Text, MLA, JSTOR, Proquest, Academic Search Complete, International Index to Film Periodicals (FIAF), etc.

5) The term paper fulfils the university’s writing requirement. So, please, acknowledge and reference all materials derived elsewhere (other than own original ideas). Copying or using other people’s ideas, works, sentences, even phrases, without proper acknowledgment is plagiarism.

Further, your term paper must derive from individual effort and cannot be jointly-authored. Passing off someone else’s work as yours, whether bought from online term-paper mills, obtained for free or traded as a favor constitutes cheating and carries very serious penalties.

Hence, any work, plagiarized or proven not to have been an original endeavor of the student would receive an automatic failing grade as well as be reported to the appropriate administrative quarters for further disciplinary sanctions. Referencing and properly citing all appropriated works, in writing a paper, is a valued feature of discerning scholarship.

6) Papers and take-home assignments (if given) are due on the specified dates and by email. In other words, any work received via other means or portal, irrespective of reasons, will NOT be accepted or graded.

7) Your papers, whether term-paper or responses to take-home exams (when applicable), must be typed in 12-point Times New Roman fonts and double-spaced, with one inch margins. All term-papers must have titles. In each instance, your papers must be paginated, collated and stapled, with your name on the cover page (at least).

8) For very practical purposes, particularly of keeping up with assigned materials, all are advised to keep their copies of the syllabus, securely; more so, as subsequent requests, given the current circumstances, would be denied.

9) It is each student’s responsibility to view all assigned films prior to class meetings. As the syllabus shows, each film’s screening is virtual and as scheduled. A second screening may, at the instructor’s discretion, be arranged as a courtesy to help consolidate issues raised in class but NOT as an option for the initial, Wednesday evening, screening of which commitment is required, especially for class, the next day. The Film Studies and Black Studies Departments do

 

 

not consider requests for extra screening or videos (if any) from their libraries. So, please, utilize all scheduled, virtual, screening.

10) A $16 lab fee is required and must be paid by the drop deadline, Monday, February 01, 2021. This one-time fee covers you for all film classes this quarter. Missing the deadline, however, would result in $16 charged to your account for each film class.

11). Talking on cell phones, text messaging, or emailing on laptops during class is expressly prohibited. Similarly, NO recording (taping, filming, or photographing) of class proceedings, whether by camera, cell phone, or other means, without prior and express permission, will be allowed, as they may be distractive, infringe on privacy, copyrights, and a conducive learning atmosphere. Use of electronic devices during class is, therefore, restricted.

12. This class satisfies the following GE requirements: Area F (Arts), and World Culture.

13. All Black Studies courses must be taken for letter-grades. As such, the P/NP option is unavailable for this course, not even by petition.

IMPORTANT DATES: Midterm: Thursday, February 04, 2021. Paper topic due: Thursday, February 11, 2021. Term-paper due, by email: Thursday, March 11, 2021. Final Exam: 8:00am – 11:00am, Thursday, March 18, 2021.

PLEASE, STAY SAFE, HEALTHY, AND KEEP OUR INTELLECTUAL

FLAG FLYING, GAUCHOS!