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JOHN CABOT UNIVERSITY

COURSE CODE: "DMA/CMS 399"
COURSE NAME: "Special Topics in Media Studies/Digital Media Arts: Editing: Archives, Found Footage and Critical Media Practice"
SEMESTER & YEAR: Spring 2026
SYLLABUS

INSTRUCTOR: Adele Tulli
EMAIL: [email protected]
 HOURS: T 9:00 AM 11:45 AM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES:
OFFICE HOURS:
COURSE DESCRIPTION:

Special topics.

 
SUMMARY OF COURSE CONTENT:
The course focuses on the variety of new forms of critical engagement with audiovisual media --transformative remix videos, mash-ups, re-cuts, vids and the ‘video essay’. All of these formats entail the appropriation and reutilization of pre-existing audiovisual footage — pulled from films, television programs, commercials, music videos, and so forth — in a way that deconstructs, questions, critiques, subverts or analyzes its aesthetic construction and cultural meaning. Students will expand their conceptual and technical skills by engaging these emerging forms of critical media practice, both by tracing their historical development and their relation to preceding trends in avant-garde cinema and contemporary art, and by creating their own political remix videos and analytical video essays.  The course will investigate the key qualities and approaches to experimental film dealing with the concept of archive and how these methods can be applied in analyzing and making audiovisual works today. Weekly lessons will combine historical overviews with screenings of significant works with practical workshops. Film analysis, and exhibition/ visits will provide research material for class discussions, providing insight regarding the films and filmmakers presented. Students will be required to participate during in-class exercises and to do projects outside of class in order to explore and build their creative ideas and skills in editing and storytelling. These creative works will all be dealing with the idea of what is an archive today, both personal and historical. Lastly the students will be asked to apply to Unarchive film festival in Trastevere, as part of their student's program
LEARNING OUTCOMES:

By the end of the course, students will:

• Gain an understanding of the history and theory of archival experimental cinema and ways to edit.

• Strengthen the ability to develop a visual language using space and time as materials in creative works

• Expand personal concepts and methods regarding the creative process within film and research-based projects

• Reach greater technical, analytical and curating skills related to the production and exhibition of moving image-based works

 
TEXTBOOK:
NONE
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Individual non-narrative project 30
Final narrative project 30
Response Texts 20
Attendance, participation and contribution 20
   

-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 course.
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 REQUIREMENTS AND EXAMINATION POLICY You cannot make-up a major exam (midterm or final) without the permission of the Dean’s Office. The Dean’s Office will grant such permission only when the absence was caused by a serious impediment, such as a documented illness, hospitalization or death in the immediate family (in which you must attend the funeral) or other situations of similar gravity. Absences due to other meaningful conflicts, such as job interviews, family celebrations, travel difficulties, student misunderstandings or personal convenience, will not be excused. Students who will be absent from a major exam must notify the Dean’s Office prior to that exam. Absences from class due to the observance of a religious holiday will normally be excused. Individual students who will have to miss class to observe a religious holiday should notify the instructor by the end of the Add/Drop period to make prior arrangements for making up any work that will be missed. The final exam period runs until ____________ 
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

SCHEDULE // TUE 9:00 - 11:45 AM

Week 1: Course Introduction Introduction / course overview / viewings

Due Next Class: readings & viewings

Week 2: Avantgarde /experimental films

Due Next Class: Individual non-narrative project proposal

Week 3: Project 1 Pitch

Due Next Class: research and edit project 1 + Reading: "In Defense of the Poor Image" by Hito Steyerl's (2009)

Week 4: Hyto Steyerl

Due Next Class: rough cut screening

Week 5: Project 1 rough cut screening and discussion

Due Next Class: Project 1 final cut

Week 6: Memory, history and Media Critique

Due Next Class: in pairs narrative project proposal (Using archive as a space for media archaeology and critical commentary)

Week 7: Site Visit to AAMOD ARCHIVE + Project 2 Proposals Review and discussion

Due Next Class: Project 1 submission and Response Text + readings

SPRING BREAK

Week 8: Project 2 Pitch

Due Next Class: Project 2 research & recordings

Week 9: Biopic Due Next Class: Project 2 research & recordings + Readings

Week 10: First Person/Diary Due Next Class: Project 2 assembly edit

Week 11: Digital Landscapes Due Next Class: Project 2 rough cut edit

Week 12: Project 2 rough cut screening and discussion

Week 13: Project 2 Final Editing

Week 14: Project 2 Screening

Due Next Class: Project 2 Response text

Exam Week: