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JOHN CABOT UNIVERSITY

COURSE CODE: "CMS/GDR 360"
COURSE NAME: "Race and Gender in Popular Media"
SEMESTER & YEAR: Summer Session I 2024
SYLLABUS

INSTRUCTOR: Nicholas Boston
EMAIL: [email protected]
 HOURS: MTWTH 9:00 AM 10:50 AM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Prerequisite: COM 220
OFFICE HOURS:
COURSE DESCRIPTION:
Using contemporary theoretical approaches, this course examines both Race and Gender as social constructions, and the role and function of Cinema and Television texts in circulating and contesting those constructions. Focusing on analyzing Cinema and Television texts for their construction of meaning, this course looks at the complex ideological operations at stake in the operations, maintenance, and resistance to meanings constructed around race and gender.
SUMMARY OF COURSE CONTENT:

Film and television reserve an enormous amount of power as sites through which social identities such as race and gender can and do get constructed and negotiated.  Multiple forces underpin or contextualize the meanings conveyed through film and television depictions.  This course explores contemporary film and television, primarily as entertainment media (as opposed to news), circa 1985 to the present.  We will examine the complexities of the representation of gendered and racial subjectivities unfolding on, behind and around the screen.  To do so, we will consider these media forms from four distinct, yet interrelated perspectives: their production in and by designated commercial industries such Hollywood; their consumption by audiences; their global or transnational circulation and reception; and, certainly, their aesthetic value as products of art and art making.  The course focuses on U.S. productions and positions American racial and sexual histories/politics as backdrop.  However, since some of the critical theory we will utilize in our explorations has come through other national contexts – British cultural studies, for example – we will endeavor to be expansive in our thinking.  Also, since we are in Rome, we will, during the final week of the class, turn our attention to some of the ways in which issues of “racialized gender” and “gendered racialism” have played out in recent Italian cinema and television.  Themes that will be addressed across the length of the course include:

·      Interracial intimacy

·      Stigmatized sexualities

·      The performance of femininities and masculinities in “music television”

·      Whiteness

And critical consideration will be given to the following genres, among others:

·      Blockbuster Hollywood cinema

·      Indie films

·      Reality television

·      Situation comedies (sitcoms)
LEARNING OUTCOMES:

At the end of this course students will be able to:

1. Identify and explain the possible racial and gendered meanings in media texts.

2. Identify specific media texts and genres and situate them within particular periods.

3. Articulate key concepts and approaches in the study of cultural production broadly.

4. Demonstrate enhanced oral, written and analytical skills.

TEXTBOOK:
NONE
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
   
Due dates are listed belowCourse grade will be determined by four “reading” quizzes (10% each at the end of Weeks 1, 2, 3, and 4), a final analysis paper (25% at the end of Week 3), and a final exam (20%). Attendance and participation are also key factors in the course (15%). See below for unexcused absences and tardiness policy. 

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the cou
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.
-ATTENDANCE REQUIREMENTS:
Attendance is mandatory.  
ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.
SCHEDULE

Week 1:

Power, Privilege and Discrimination

Gender, Sex and Sexuality

Week 2:

Semiotics: Popular Culture and Critical Media Literacy

Ideology and Hegemony

Week 3:

Stereotypes and the Active Audience

Political Economy and Consumer Culture

Week 4:

Gender Construction and Performance

Race, Gender and Sexuality in Digital Media Contexts

Week 5:

Media Activism

Conclusions and Review

READINGS: All readings will be made available as electronic resources and reserve readings. If you need information on the readings before the beginning of the course and the reading schedule that will be distributed please get in touch. [email protected]