Students are responsible for insuring that your selected courses meet the program requirements stated in the Calendar. If, however, you feel that you need additional information or guidance please contact us. Our Graduate Administrator (kristopher.waddell@carleton.ca), will be able to advise you on all administrative matters.
Fall 2023/Winter 2024
- FILM 5002F Media and Emotion - Fall Term
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- PROFESSOR: Aubrey Anable
- DESCRIPTION: This graduate seminar will consider the ways that emotion figures in theoretical and historical accounts of film and related audio-visual media. Questions about emotion and “affect” are at the root of contemporary debates about identity, subjectivity, politics, and representation. Yet, the body—its sensual capacities and vulnerabilities—is often figured as that which media technologies and those who study them must overcome or entirely deny. Our primary concern
will be tracing this intellectual history and the ways contemporary media culture and recent theoretical shifts reframe the relationship between media and emotion. We will use screenings and readings as materials to think (and feel) with. - METHOD OF EVALUATION: TBA
- CROSS-LISTED WITH: TBA
- FILM 5010F Film Theory, Historiography and Critical Methodologies - Fall Term
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- PROFESSOR: Gunnar Iversen
- DESCRIPTION: This course offers a rigorous orientation to the discipline of Film Studies. We will think critically about and practice key methodologies of the discipline, ranging from interpretation and close analysis, to building arguments, conducting research, and formulating original research project proposals. We will also explore the genealogies of key concepts in Film Studies, including national cinema, genre, and authorship. In the course, students will work on their analytic, writing, research, and communication skills.
- METHOD OF EVALUATION: Essays and Oral Presentations
- READINGS: All readings will be available on Brightspace
- FILM 5020F Film Theory, History, and Critical Methodologies II - Winter Term
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- PROFESSOR: Malini Guha
- DESCRIPTION: This course continues where FILM 5010 left off in offering an advanced orientation to some of the longstanding debates in the discipline of film studies in an Anglophone context while also introducing students to more contemporary methods of analysis. Topics to be studied in this course include: film’s enduring relationship to reality; the question of how we might disrupt the Western-centric nature of the discipline; revisiting and rethinking the gaze; interdisciplinary methods of analysis.
- METHOD OF EVALUATION: TBA
- READINGS: Readings will be available via Brightspace.
- FILM 5109W: Topics in Film and Philosophy: Cinematic Representation and the Problem of Depiction - Winter
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- PROFESSOR: Marc Furstenau
- DESCRIPTION: We live in a world of pictures—of images, visual representations, or depictions—that are increasingly complex in form and function, combining various audio-visual components, distributed through a wide variety of means. In this course students are introduced to the concept of depiction, to the philosophical debates about the nature and effects of pictures, which can be traced back to the very beginnings of Western philosophy. The most basic debate is about the relation between the depiction and what is depicted, between the picture or image and the objects or events being represented—between visual representation and the world, image and reality. We will trace the history of these philosophical debates, considering photographic and cinematic depiction specifically, in relation to older forms such as drawing, painting, and sculpture, but also new ones, such as computer-generated images and virtual reality.
- METHOD OF EVALUATION: Choice of various optional assignments: Reading Reports (25%); Discussion Groups (25%); or Essay (50%).
- READINGS: Various on-line readings — book chapters and essays.
- FILM 5506F: Queer Cinema –Fall
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- PROFESSOR: Laura Horak
- DESCRIPTION: This course investigates cinema by, for, and about queer people in Canada and around the world.
- METHOD OF EVALUATION: Screening questions (20%), Close analysis essay (20%), Presentation (20%), Final essay (40%).
- READINGS: Online Readings
Fall 2022/Winter 2023
- FILM 5002F Digital Humanities, Media & Social Justice - Fall
- PROFESSOR: Laura Horak
- DESCRIPTION: This course will introduce students to the theories and methods of intersectional feminist, Black, Indigenous, queer, and trans digital humanities. It will bring together the insights of critical race studies, Indigenous studies, feminism, queer, and transgender studies with new digital methods, and explore the ways that scholars are using new digital tools to work collaboratively for social justice. We will investigate the ways that colonialism, race, gender, sexuality, and ableism shape the digital technologies we use our everyday lives (e.g. Google, Facebook, Wikipedia, etc.) as well as how Indigenous, Black, queer, and trans scholars and activists are using digital tools to reconnect with ancestors, reveal unseen patterns governing everyday life in the past and the present, and create new forms of community. We will examine a range of digital humanities projects through the lens of intersectional digital humanities, examining how they work in terms of: power (e.g. What kinds of power do team and community members bring to the table? Who is not in the room? How is the project governed?); labor (e.g. Who does what kind of labor? How are they recognized? How fairly and quickly are they compensated? How sustainable are these ways of working?); value (e.g. Who benefits?); credit (e.g. Who get credit for their labor? Who is cited?); privacy (e.g. What kind of things should not get put online? What are the appropriate protocols for sharing things with various people?); and harm (e.g. Does the work leave people vulnerable to harm? Does it gravely misrepresent them?). We will also explore the challenges of capturing the complexities of identity in data structures.
- METHOD OF EVALUATION: Writing assignments, an in-class presentation, and a final project.
- READINGS: All readings are available online through Ares and Brightspace. Readings include works by Moya Bailey, Roopika Risam, Jacques Wernimont, Elizabeth Loth, Amanda Phillips, Alexis Lothian, Ruha Benjamin, Safiya Umoja Noble, Sasha Costanza-Chock, Max Liboiron, Jennifer Wemigwans, Catherine D’Ignazio, Lauren F. Klein, TL Cowan, Jasmine Rault, Bo Ruberg, Kelly Fritsch, Aimi Hamraie, Eve Tuck, Wayne Yang, Kimberly Christen, Jessica Marie Johnson, Kim Gallon, Kara Keeling, Cait McKinney, Miriam Posner, and the Digital Alchemists.
- FILM 5010F Film Theory, Historiography and Critical Methodologies 1 - Fall
- PROFESSOR: Gunnar Iversen
- DESCRIPTION: This course offers a rigorous orientation to the discipline of Film Studies. We will think critically about and practice key methodologies of the discipline, ranging from interpretation and close analysis, to building arguments, conducting research, and formulating original research project proposals. We will also explore the genealogies of key concepts in Film Studies, including national cinema, genre, and authorship. In the course, students will work on their analytic, writing, research, and communication skills.
- METHOD OF EVALUATION: Essays
- READINGS: All readings will be available on ARES or on Brightspace.
- FILM 5107 Cine-Archival Theory and Practice - Winter
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- PROFESSOR: Aboubakar Sanogo
- DESCRIPTION: This interdisciplinary seminar will explore theories, histories and practices pertaining to the archival, with the moving image as its point of entry and focus, while in conversation with other relevant media and fields concerned with the archival (museums, libraries, etc.). It will revisit some of the most important theories of the archival along with lesser known ones. It will critically retrace the history of the moving image archiving movement. It will also explore the major debates and issues pertaining to archival practice including safeguarding, preservation, restoration, heritage, collecting, cataloguing, access, curating and programming, policy, the analog vs digital, as well as the significance of race, gender, sexuality and the national, etc. Past contributors have included both Canadian and international archival institutions, organizations and projects: Library and Archives Canada, the International Federation of Film Archives (FIAF), the Media Ecology Project, the Film Heritage Foundation, etc.
- METHOD OF EVALUATION: Evaluation: Discussion leading, position paper, term paper (Tentative)
- READINGS: TBA
- FILM 5203F Cinema and 'The World' - Fall
- PROFESSOR: Malini Guha
- DESCRIPTION: World cinema has become a veritable sub-field within the discipline of film studies over the last decade. This course investigates the ‘world cinema turn’ in film studies by returning to earlier historical moments that similarly attempted to globalize and de-westernize the discipline while also investigating the limitations of this turn and alternative scholarly responses to it. Our approach to this material is interdisciplinary in nature, given that numerous Humanities disciplines have undergone their own ‘turns to the world’ and there are considerable overlaps as well as sharp differences between these approaches. We will explore the question of why the world is at stake in the present moment across the Humanities while also putting pressure on this turn by considering terms such as ‘the postcolonial’, ‘the border’ and so on.
- METHOD OF EVALUATION: TBA
- READINGS: All materials will be available via Brightspace
- FILM 5209W Critical Perspectives on Canadian Cinema - Winter
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- PROFESSOR: Kester Dyer
- DESCRIPTION: This course examines the history of debates and more recent discursive tendencies that have characterized the scholarly assessment of cinema in Canada. It looks at constructions of nationhood that have taken place through debates on what Canadian cinema is and what it should be, developments in canon formation, the influence of key institutions such as the NFB, innovative programs like Challenge for Change/Société nouvelle, notable film movements, predominant genres, and policies impacting the Canadian film industry. Considering influential approaches like auteurism, feminism, and queer theory, and emphasizing attempts to move beyond the “two founding cultures” binary in Canadian film studies, the course stresses local contexts as well as the diversity of film cultures across Canada, notably the dynamism of Indigenous and diasporic filmmaking in this context. Overall, the course adopts a decolonial perspective that interrogates the extent to which approaches to Canadian film studies depart from Eurocentric paradigms.
- METHOD OF EVALUATION: TBA
- READINGS: Online readings.
Previous Years
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