Teaching Media Quarterly Volume 5 Article 4 Issue 2 Teaching about (and with) Digital Games

2017 Twine as Alternative Media: Video Games, the Culture Industry and Social Change Benjamin evenin Brigham Young University, [email protected]

Follow this and additional works at: h8ps://pubs.lib.umn.edu/tmq Part of the Film and Media Studies Commons

Recommended Citation 7evenin, Benjamin. "Twine as Alternative Media: Video Games, the Culture Industry and Social Change." Teaching Media Quarterly 5, no. 2 (2017). h8ps://pubs.lib.umn.edu/tmq/vol5/iss2/4

Teaching Media Quarterly is published by the University of Minnesota Libraries Publishing. Thevenin: Twine as Alternate Media

Twine as Alternative Media: Video Games, the Culture Industry and Social Change

Overview

Videogames—and specifically interactive, text-based narratives like Twine—provide a potentially productive platform for individuals and communities to address social issues that affect them and challenge mainstream media’s dominant representations of these issues. The following lesson includes activities and discussions that will help students better understand the relationship between media and society. Students are introduced to terms like the dialectic, the culture industry and alternative media. They are guided through critical analyses of media texts including films and games as a means of recognizing the role of media in the dialectical process of social change. Lastly, they each create a Game for Change, in which they (1) select a social issue that interests/affects them, (2) research the social issue and evaluate how the issue has been represented in public discourse and mainstream media, and (3) use the platform Twine to create a text-based videogame that addresses their chosen social issue.

Rationale

Kellner and Share (2007) state that critical media literacy “involves a multi-perspectival critical inquiry of media culture and the cultural industries that address issues of class, race, gender, sexuality and power and also promotes the production of alternative counter-hegemonic media” (8-9). The following lesson combines critical analyses of media and power with the production of alternative media; instructor-directed analyses of media texts and student-directed research of social issues culminate in the students’ creation of the Game for Change.

To facilitate students’ critical engagement with the relationship between media and society, a few terms are particularly productive. The dialectic employed by philosopher G.W.F. Hegel provides an effective framework for understanding the role of human activity—and media, specifically—in the process of social change (see Maybee 2016). The concept of the culture industry, introduced by social theorists Theodor Adorno and Max Horkheimer (1947/2002), characterizes media’s role in this process as disruptive, distracting, and pacifying the public and thus preventing social progress. And lastly, alternative media function to challenge the dominant discourse within media culture, exposing contradictions within society, allowing marginalized communities to speak for themselves and advocating for positive social change.

While videogames are often perceived as entertainment, the lessons offered here explore their emancipatory potential. By inviting interaction, encouraging identification with characters, and immersing players in new environments, games may position the public in a unique way, exposing it to new situations and encouraging it to consider new perspectives. Bogost (2007) discusses games’ employment of procedural rhetoric as a particularly effective pedagogical process—players learn about the operations of power within a particular context as they make choices and experience consequences (ix). Bogost (2011) highlights games’ use of operationalized weakness—when certain choices are deliberately denied the player—as a means of highlighting certain inequities of power (21).

Produced by University of Minnesota Libraries Publishing, 2017 1 Teaching Media Quarterly, Vol. 5 [2017], Iss. 2, Art. 4

The rise in popularity of indie games, and the increased accessibility of game design software like Twine, have established videogames as a site where communities who have been traditionally marginalized within media culture can find a voice and share their experiences (see Hudson 2014). Women, LGBTQ persons, survivors of abuse and/or mental illness have used these new platforms to confront the issues facing their communities (see Dyer-Witheford and de Peuter 2009; Anthropy 2012; Shaw 2014). And continuing in the tradition of activist game developers like Games for Change (see www.gamesforchange.org) these game designers have made a positive impact not simply on their communities, but also on the game industry and larger media culture. The Game for Change assignment in the following lessons encourages students to explore videogames as a site to create counter-hegemonic media as a means of raising awareness and enacting change in the issues that matter to them.

Key Terms

videogames, culture industry, alternative media, social change, dialectic, social justice, critical media literacy, Twine

Timeline

The lessons are ideally taught in four, one- to two-hour sessions, allowing students time between sessions to complete the required readings, screenings, and playings.

Final Assignment Description: Game for Change

Introduce the students to the Game for Change assignment. Reference that the name of the assignment comes from a tradition of social activist-oriented game design (see www.gamesforchange.org). Describe the assignment to the students:

Each student will create a videogame using Twine (see twinery.org) that raises awareness about a particular social issue that they feel has been inadequately addressed in public discourse and mainstream media. Games will be accompanied by a 400-500 word “artist’s statement” which contextualizes the creative work within the concepts addressed in class. Artist statements must refer to at least 3 research sources that address this issue (including news stories, scholarly works, documentaries, etc.), and situate their game (the perspectives it represents and the experience it provides) in relation to these sources. Artist statements should also include a discussion of the aesthetic presentation of their ideas, the information provided, the ideological perspective(s) represented, and the way in which the game encourages engagement.

Lesson 1: Media & Society

Objective

By the end of the session, students should be familiar with the concept of the dialectical process of social change and recognize both the productive and counter-productive roles of media in this process.

https://pubs.lib.umn.edu/tmq/vol5/iss2/4 2 Thevenin: Twine as Alternate Media

Preparation

Prepare movie clips:

• Inception (2010) – The film follows Cobb, who leads a team of thieves in entering the dreams of their “mark” and planting an idea in his mind. In this particular scene, Cobb introduces to Ariadne the concept of dream-sharing. Ariadne realizes she is in a dream and the dreamworld collapses. • The Lego Movie (2014) – A Lego construction worker named Emmet, prophesized to be the chosen one, joins the quest to prevent Lord Business from gluing the Lego universe and preventing any thought or creativity. In this particular scene, Emmet wakes up and readies himself for the day, relying on his instructions to guide him through his morning routine.

Discussion: Media & Society

Ask students to discuss how the relationship between Media and Society are commonly characterized. According to popular discourse, what is the nature of the relationship of “media” and “society”?

• Media affects society. Examples may include conversations surrounding the observed effects of social media use or videogames on youths’ ability to interact with others, engage in pro-social behaviors, etc. • Media is a reflection of society. Examples may include conversations surrounding news media that reports on or entertainment media that responds to current events and/or issues.

Explain that this unit will address the dynamic relationship between media and society.

Demonstration: The Dialectic

Introduce the concept of the dialectic. Reference the term’s origin in classical Greece and subsequent use in various philosophical traditions: The dialectic refers to a type of reciprocal relationship between two concepts, characterized by their productive tension (see Maybee 2016). Explain that Prussian philosopher Hegel used the dialectic as a model to understand the process of social change:

Produced by University of Minnesota Libraries Publishing, 2017 3 Teaching Media Quarterly, Vol. 5 [2017], Iss. 2, Art. 4

Hegel’s analysis of human progress attributes positive social change to the dialectical relationship between universal ideas—like truth or freedom—and particular, practical efforts to realize these ideas—economic systems, political organizations, religious institutions, etc. Historically, individuals have identified the core values in their communities (universal) and then taken action to realize those values in their institutions, cultures, practices (particular). And then throughout history, communities have reflected on these particular efforts to realize their values in society, and determined what productive changes might be made to their values or subsequent realizations. It is when communities (1) recognize the contradictions between universal and particular, and (2) engage in a process of action and reflection, that they are able to create social change. (For a more in-depth explanation of Hegel’s dialectics, see Maybee 2016.)

Discussion: Media & Social Change

Prompt the students to consider media’s role(s) in the dialectical process of social change.

In what ways have media helped you recognize the difference between what “Is” happening in the world and what “Ought” to be happening?

• Students’ experiences watching documentary films that address particular social issues. • Students’ experiences reading articles shared on social media that helped them develop new political or ideological perspectives.

https://pubs.lib.umn.edu/tmq/vol5/iss2/4 4 Thevenin: Twine as Alternate Media

Explain that, especially as aspiring scholars and makers of media, we recognize the power of media to contribute to positive social change in the world. Suggest that mainstream media also often operate in a way that inhibits this dialectical process of social change.

Activity: Inception Analysis

Introduce the scene from Inception in which Cobb introduces to Ariadne the concept of dream- sharing. Ariadne realizes she is in a dream, and the dreamworld collapses. Invite the students to consider how Inception’s narrative—and this scene in particular—might be understood as a metaphor for the role media often plays in the dialectical process of social change. Watch the clip.

How might we understand this clip as a metaphor for the role media often play in the dialectical process of social change?

• Cobb is describing a process (Create & Perceive) similar to the process we’ve discussed (Act & Reflect). He even uses a similar diagram. • Cobb introduces a way of interrupting this process, which may represent the role media can play in this process.

Explore the parallels between the film and the conversation about media’s role in the process of social change: The film follows Cobb and his crew as they use the technology of “dream-sharing” to enter into the consciousness of their “mark” and construct a reality in which they are in control as a means of persuading him to believe and do something that they desire.

How do media often work similarly to Cobb’s “inception”?

• Media CONSTRUCT realities that serve particular purposes. • Media INHIBIT reflection and action, by distracting us from social concerns or pacifying us. • Media PERSUADE us to think or act in certain ways.

Produced by University of Minnesota Libraries Publishing, 2017 5 Teaching Media Quarterly, Vol. 5 [2017], Iss. 2, Art. 4

Activity: The Lego Movie Analysis

Introduce the sequence from The Lego Movie in which Emmet wakes up and readies himself for the day, relying on his instructions to guide him through his morning routine. Invite the students to consider how the film uses satire to point out some potentially problematic ways in which media and power operate in our society. Watch the clip.

In what ways do media operate in this clip to CONSTRUCT, INHIBIT and PERSUADE?

• The song “Everything is Awesome” has the public literally repeating the sentiment that everything that IS happening, OUGHT to be happening. • The adherence to “following the instructions” prevents Emmet (and by implication, the whole community) from thinking and acting for themselves.

What parallels can you identify between the film’s representations of the relationship between media and society and your own perceptions and experiences?

• Entertainment media distract us from important social issues. • Media culture popularizes certain styles, trends, products, etc., and encourages certain attitudes and behaviors.

Lesson 2: The Culture Industry

Objective

By the end of the session, students should be familiar with the concept of the culture industry, its characteristics and the potential role of alternative media to challenge the culture industry.

Preparation

Prepare movie clip:

• Hiroshima Mon Amour (1959) – A French actress and a Japanese architect have an affair while in Hiroshima following World War II. In this opening scene, the lovers Elle and Lui embrace and share their memories of the bombing of Hiroshima.

Watch

“The Danger of a Single Story” by Chimamanda Ngozi Adichie. Author Adichie cautions against relying on single representations of peoples and cultures in forming our understanding of others.

Activity: WWII Brainstorm

Invite the students to name titles of media that represent World War II. List them on the board. Examples may include:

https://pubs.lib.umn.edu/tmq/vol5/iss2/4 6 Thevenin: Twine as Alternate Media

• Band of Brothers (2001) (miniseries) • Call of Duty (2003 and 2016, for example) (videogame franchise) • The Diary of a Young Girl (1947) by Anne Frank (memoir) • Captain America: The First Avenger (2011) • Saving Private Ryan (1998) • Night (1956) by Elie Wiesel (memoir) • Maus (1986) by Art Spiegelman (graphic novel)

Invite the students to identify the most popular (commercially & critically) titles. Circle these titles.

What patterns do you see in the representations of WWII we have identified here?

• The protagonists are often white, American soldiers. • In some cases, the protagonists are European Jews. • They feature representations of violence—on the battlefield or in concentration camps. • They are set in the conflict in Europe.

Discussion: The Danger of a Single Story

Help the students make the connection between the dominant representations of WWII that they identified and Adichie’s TED Talk.

According to Adichie what is the danger of a single story?

• Single stories privilege certain perspectives repeatedly and fail to feature a variety of experiences. • Single stories are unable to represent complex realities and often rely on stereotypes.

What implications does this have on our discussion of media representations of WWII?

• By repeatedly representing the experiences of white, American soldiers, other perspectives—those of women, civilians, people of different races, ethnicities, nationalities, etc.—are absent. • By reducing WWII to a fight between “good” and “bad” guys, the complexities of the conflict are unrepresented and the “bad” guys are often dehumanized.

Discussion: The Culture Industry

Introduce the culture industry: During WWII, a group of Jewish Marxist intellectuals fled Germany and came to the United States. Max Horkheimer and Theodor Adorno developed a concept called the culture industry (1947/2002). They asserted that contemporary popular culture served to inhibit the dialectical process of social change. Their arguments included:

1. UNIFORMITY: Culture is dominated by sameness. The WWII activity provides one example of sameness. Adichie’s talk further demonstrates this point.

Produced by University of Minnesota Libraries Publishing, 2017 7 Teaching Media Quarterly, Vol. 5 [2017], Iss. 2, Art. 4

What other examples of uniformity in pop culture can you identify?

• Endless remakes, reboots, sequels, prequels, covers and remixes • Dominance of genre television and films • Popular music that uses the same hook or structure

2. STYLE & SPECTACLE > SUBSTANCE: Culture is designed to distract from suffering within society.

In what ways do media use style and spectacle to distract audiences?

• The dominance of big-budget, action-oriented blockbuster movies in Hollywood • The cooptation of new stylistic movements for commercial purposes

3. UNITY WITH THE STATUS QUO: Culture serves to maintain a status quo characterized by inequality. It is a delivery mechanism for the dominant ideology.

How do media serve to reinforce the status quo?

• Media encourage consumption, serving corporate interests (and ultimately the maintenance of capitalism). • The dominance of narratives that end with the return to balance reinforces the notion that suffering is no longer an issue and “Everything IS Awesome.”

Activity: Hiroshima Mon Amour Analysis

Invite the students to consider whether there is an alternative to Adorno & Horkheimer’s culture industry thesis. Since Adorno & Horkheimer introduced the term, critical theorists and cultural scholars have debated whether the culture industry adequately characterizes media culture. For example, scholars, from the British cultural studies tradition, have explored the idea that audiences have greater agency than discussed by Adorno & Horkheimer and that through active interpretation and amateur production, the public can create and circulate new and potentially alternative meanings in media culture.

Introduce the concept of alternative media:

• They are produced independent of the industry. • They utilize structures, characters and aesthetics that confront the conventional. • They are counter-hegemonic—challenging dominant ideological perspectives and corporate control of media industries. • They allow marginalized communities to share their perspectives and experiences. • They shine a light on suffering as a means of promoting action and change.

https://pubs.lib.umn.edu/tmq/vol5/iss2/4 8 Thevenin: Twine as Alternate Media

Introduce the sequence in Hiroshima Mon Amour (1959) in which lovers Elle and Lui embrace and share their memories of Hiroshima. Invite the class to consider how the film might be understood as alternative media. Watch the clip.

What is the film doing, saying, showing that defies the pattern we identified in dominant representations of WWII? What is the significance of this representation?

• The film addresses the conflict in the Pacific, and specifically the US’s use of nuclear weapons on Japan, which are not often represented in the dominant representations of WWII. • The film privileges the perspective of the Japanese people, showing their suffering at the conclusion of the war, rather than focusing on an American victory.

Assignment: Social Issue

Assign the students to do some reflection and research on a social issue that (1) matters to them personally and (2) has been inadequately addressed in public discourse and mainstream media. Assign them to come to class with three research sources that address their chosen issue (including news stories, scholarly works, documentaries, etc.). Students can choose from a variety of social issues—from gender to the environment, political reform to religious tolerance, etc.—but ultimately should identify a contradiction between what IS happening and what OUGHT to be happening in the world.

Lesson 3: Videogames as Alternative Media

Objective

By the end of the session, students should understand how videogames might serve as alternative media and be prepared to start making their “Game for Change.”

Preparation

Prepare Twine game:

• Queers in Love at the End of the World by Anna Anthropy http://auntiepixelante.com/endoftheworld/

Play

Depression Quest by Zoe Quinn, Patrick Lindsey & Isaac Schankler http://www.depressionquest.com/

Demonstration: Twine

Visit twinery.org. Demonstrate to the class how to use the free, online software to create a simple, interactive text-based narrative. Direct students to the many Twine tutorials available on the

Produced by University of Minnesota Libraries Publishing, 2017 9 Teaching Media Quarterly, Vol. 5 [2017], Iss. 2, Art. 4

site’s wiki. Encourage the students to experiment with the software—changing text, font size, color, adding images, sounds, and video, etc. Answer questions about Game for Change assignment.

Discussion: Videogames and Social Change

Invite students to consider the possibilities that games provide players to identify contradictions within society and advocate for positive social change.

Videogames are commonly perceived as a distraction, so it may be counterintuitive to discuss games in relation to positive social change. How are games uniquely able to address social issues?

• INTERACTIVITY: Games require the player to make decisions, take action, positioning the player as an agent of change. • IMMERSION: Games often immerse players in new environments, allowing them to experience new situations. • IDENTIFICATION: Games often allow players to inhabit new subjectivities, allowing them to understand others’ perspectives. • PROCEDURAL RHETORIC: Games require players to make decisions and experience consequences and therefore introduce the player to the causal networks at play in an issue (see Bogost 2007).

Discussion: Depression Quest as Alternative Media

Invite the students to share their experiences playing and making sense of Depression Quest.

How does Depression Quest correspond with the definition of alternative media from last lesson?

• It was produced independent of the industry. • It utilizes structures, characters, and aesthetics that confront the conventional. • It is counter-hegemonic—challenging dominant ideological perspectives. • It allows marginalized communities to express themselves. • It shines a light on suffering as a means of promoting action and change.

What characteristics of videogames discussed earlier does it use in order to introduce the issue of living with depression to the player?

• INTERACTIVITY • IMMERSION • IDENTIFICATION • PROCEDURAL RHETORIC

An interesting characteristic of the game—and one often employed in social issue-oriented videogames—is the restriction of player choice. Bogost (2011) identifies this as operationalized

https://pubs.lib.umn.edu/tmq/vol5/iss2/4 10 Thevenin: Twine as Alternate Media

weakness. Rather than empower the player, the game limits the player’s abilities in order to give some sense of the inequality inherent to the issue.

Depression Quest is a particularly complicated example of alternative media because, while the game was produced independent of the industry and sought to represent the experiences of a marginalized community, it became caught up in an attack against marginalized communities within the game industry and culture. Proponents of “Gamer-Gate” used the game as part of their efforts to attack women, LGBTQ people, people of color, even going so far as to attack the game’s co-creator, Zoe Quinn.

Activity: Queers in Love at the End of the World Analysis

Ask for a student volunteer to play the game (http://auntiepixelante.com/endoftheworld/) in front of the class. If the student chooses to do so, allow them to play the game multiple times with various outcomes. Contextualize the game for the class—Queers in Love at the End of the World was created by Anna Anthropy, a transgender game designer, as a means of addressing the existential crisis experienced by so many within the LGBTQ community. Along with Anthropy, the most prominent developers using Twine today are women and queer people who use the platform to address issues that face their communities (including mental illness, abuse, and discrimination).

Invite the students to reflect on how the game makes them feel and what elements of the game they feel effectively communicates the existential crisis faced by the LGBTQ community.

• The great variety of choices provided to the player of how they might express their love to their partner before the end of the world is juxtaposed with the 10-second timer that acts as an ominous reminder of the futility of any choice made. • The fact that the player is never able to escape death is a departure from mainstream games in which players must live to win. This speaks to the inevitability of death— regardless of who we are—but also to the ill-fated end that so many LGBTQ persons (and relationships) have experienced and continue to experience.

Workshop: Social Issues

Invite the students to work in groups of two to share the reflections and research they did on their chosen social issues. Encourage them to engage in a dialogue about:

• Their motivations for selecting a social issue • The information they found in their research • The dominant representations of the issue in public discourse and mainstream media—what patterns emerge from the student’s research. • Their reflections on these sources, as well as their own experiences with the issue • The development of their personal perspective on the issue • Some possible narrative, aesthetic, and thematic approaches they might take in creating their Twine game

Produced by University of Minnesota Libraries Publishing, 2017 11 Teaching Media Quarterly, Vol. 5 [2017], Iss. 2, Art. 4

Lesson 4 – Playing & Reflecting

Objective

By the end of the session, students should have shared their Games for Change, provided feedback on their projects, reflected on the assignment, and determined actions that they might make next.

Activity: Sharing Time

Invite students to work in groups of two and share their Games for Change. Encourage students to play each other’s games, ask questions, provide feedback, and reflect on the issues being addressed. After working in one group, have students switch partners and work in a second group, completing the same activity. Then invite students to share their experiences and observations with the class:

• What new information/insights did you encounter in the assignment? • How has your perspective on the social issue developed through the assignment? • What were some challenges that the assignment presented to you? • How will you approach your creative work differently based on the assignment? • How will you engage with the social issue differently because of the assignment? • What have you learned about the relationship between Media and Society as a result of this unit? • Are there ways in which the assignment could be improved to make it more engaging/effective?

Bibliography

Adichie, Chimamanda Ngozi. 2009. “The Danger of a Single Story.” Lecture, TEDGlobal, July 2009. https://www.ted.com/talks/chimamanda_adichie_the_danger_of_a_single_story

Anthropy, Anna. 2012. Rise of the Videogame Zinesters: How Freaks, Normal, Amateurs, Artists, Dreamers, Drop-outs, Queers, Housewives, and People Like You are Taking Back an Art Form. New York: Seven Stories Press.

Bogost, Ian. 2007. Persuasive Games: The Expressive Power of Videogames. Boston: MIT Press.

------2011. How to Do Things with Videogames. Minneapolis: University of Minnesota Press.

Depression Quest. Created by Zoe Quinn, Patrick Lindsey & Isaac Schankler. 2013. The Quinnspiracy, online. http://www.depressionquest.com/

Dyer-Weatherford, Nick and Greg de Peuter. 2009. Games of Empire: Global Capitalism and Videogames. Minneapolis: University of Minnesota Press.

Hiroshima Mon Amour. Directed by Alain Resnais. 1959. Argos Films, 2013. DVD.

https://pubs.lib.umn.edu/tmq/vol5/iss2/4 12 Thevenin: Twine as Alternate Media

Horkheimer, Max and Theodor Adorno. 2002. Dialectic of Enlightenment: Philosophical Fragments. Stanford: Stanford University Press.

Hudson, Laura. 2014. “Twine, the Video-game Technology for All.” The New York Times, November 19. http://www.nytimes.com/2014/11/23/magazine/twine-the-video-game- technology-for-all.html?_r=1

Inception. Directed by Christopher Nolan. 2010. Warner Bros, 2011. DVD.

Kellner, Douglas and Jeff Share. 2007. “Critical Media Literacy, Democracy, and the Reconstruction of Education. In Media Literacy: A Reader edited by Donald Macedo and Shirley R. Steinberg, 3-23. New York: Peter Lang.

The Lego Movie. Directed by Phil Lord and Chris Miller. 2014. Warner Bros, 2014. Blu-Ray.

Maybee, Julie E. 2016. "Hegel's Dialectics.” In The Stanford Encyclopedia of Philosophy. https://plato.stanford.edu/archives/win2016/entries/hegel-dialectics/

Queers in Love at the End of the World. Created by Anna Anthropy. 2013. Auntiepixelante. Online. http://auntiepixelante.com/endoftheworld/

Shaw, Adrienne. 2014. Gaming at the Edge: Sexuality and Gender at the Margins of Gamer Culture. Minneapolis: University of Minnesota Press.

Biography

Benjamin Thevenin Brigham Young University [email protected]

Benjamin Thevenin, Ph.D. (benjaminthevenin.com) is an Assistant Professor of Media Arts and the Critical Studies Area Head at Brigham Young University's Department of Theatre and Media Arts. He received his PhD from the University of Colorado in Boulder. Benjamin’s studies focus on the relationships between youth, media, and politics, and in particular, how we can better prepare young people to become thoughtful citizens, consumers, and creators of media. He teaches classes on creativity, children’s media, new media, and media education. Benjamin also leads the Hands on a Camera project, a service-learning program in which BYU students teach media production and analysis skills to local youth. Benjamin lives with his wife and three boys in the beautiful Wasatch mountains.

Produced by University of Minnesota Libraries Publishing, 2017 13

THEATRE & MEDIA ARTS 295 CONTEMPORARY SCREENS sive media including mixed reality, videogames, web-art, interactive fction, digital,immer to and networked,related interactive practices creative as well as concepts and traditions theoretical various examine will Students Description: Course Email: TA: Email Offce Hours Offce: Instructor website:Course F-233 HFAC TTh 9:00-10:50am Sec 001-Fall2018 Screens: TMA 295-Contemporary andPractice Theories spond to a single study question. Responses should be about 300 words 300 about be question.should study Responses single a to spond re to asked be will reading,students assigned each class.For of outside with engage will students that reading assigned an include will unit Each Study Questions(12X10pts =120pts) (Totally/Somewhat/Barely/None) inclassontheassigned duedates. Homefun the completed they not or whether report will go).Students to want you hole rabbit the down far how on more,depending (maybe minutes 30 about take probably will Explorations class. of outside plore ex will students that text media new assigned an include will unit Each Homefun (12X5pts=60pts) screenings, class, useof electronicsduring inappropriate andtardiness. during attentive and awake stay to discussions,failure class in participate to failure points: participation of loss the in result will behaviors lowing fol session. The each participate and attend to expected are Students Attendance/Participation (80pts) Assignment Descriptions: All readingswillbeavailable Suite. onlineviaLearning Texts: etc. MarKaye Hassan : [email protected] [email protected] HFAC F526 : Benjamin Thevenin : 1-3pm Th tma295fall2018.blogspot.com - - - - class. the for created has he/she that blog a on project creative each post will projects.Students mini-creative in class in discuss we that analysis media and expression artistic of concepts the practice will Periodicallystudents Creative Projects Suiteandaredueby 8am.tions andresponseswillbeviaLearning and demonstrate the student’s comprehension of the reading. Study ques narrative inanewway.narrative about think them made has approach/platform this how of discussion a character,action,include mood,should aesthetics,statements etc.). Artist setting,to attention (paying narrative a developing while GIF the of ture struc circular/repetitive the story. a embrace should Students’screations to 12 animated GIFs (drawn, digitally-created or video-recorded) that tell 8 of series a create to partner a with or individually work will Students GIF Cinema(20pts) statement.chosen pieceofmusic intheirartist their to link a include music.also of will piece Students chosen their with correlate creations their of etc.) narrative, (representation, content and color, (line,etc.) composition, form the both how of discussion a clude photos.mission from sampled (not Snooze!). in should statements Artist assignment the of purpose the for created be must and Images) Google created digitally, but must be the creation of the student (not thieved from folks). scores.drawn,flm maybe Images painted,Sorry or photographed a piece of musicinstrumental (‘instrumental’ means without lyrics. Also, no Each student will create a series of 8 - 12 images that visually complement Music Mosaic(20pts.) Creative projectsinclude: text ofclassdiscussions/readings, aswell asmediaandculture. con in product and process creative the examining essay well-organized thoughtful, a as read should and itself, project creative the as same the work and one element from the reading. creative The statement artist’s student’sis weighed the between contrasts) (or connections draw should statement units. artist’s corresponding The the during class in addressed concepts the within work creative the contextualizes which statement’ word‘artist’s 400-500 a by accompanied be will project creative Every - - - - THEATRE & MEDIA ARTS 295 CONTEMPORARY SCREENS will turn the entry into the instructor (rather than post it on their blog).their on it post than (rather instructor the into entry the turn will exerciseand this after and during experienced they that impressions and vited. about the thoughts, entry feelingsa journal Then students will write questions when appropriate, their ownsharing thoughts and feelings if in ing of the story, students are empathy--listeningto practice intently, asking understanding of the assignment and agree to participate). During the tell a diffcult trial that he/she about has faced. (***This story someone will need a to haveshare an to them to close someone ask will student Each Exercise inEmpathy(20pts.) identity. his/her of aspect this of representation historical this and etc.) practices, (perspectives, ‘self’ his/her between contradictions and correlations of the discussion a include should statements Artist media. in represented negotiation of this aspect of their identity and how it has been historically their demonstrates creation new their that so representation the remix will student.Students the than older be should it video, musicetc.—but photograph, visual art, poetry, literature, advertisement, news song,article, identifes.he/she which medium—flm,any in be may representation The ture / / race ethnicity / gender / nationality / religion / subculture, etc. with cul existing,the an of choose representation will mediated student Each Textual Poaching (20pts.) the digitalandphysical. between relationship the on refect should (one-per-partnership) ments state ways.interesting/playfulArtist in community and/or spaces,places tive, require players to move their bodies and invite them engage with the geo- location technologies.utilizes Games should that be organized around game a theme/narra a develop to partner a with work will Students Geo-Game (20pts) oftheaudience. and theexperience cussion of the relationships between the aesthetic of characteristics a text forexperience immersive the user.an statements should create include a Artist dis to images and design, sound design, visual language, scriptive de to) limited not (but including elements aesthetic incorporate should Students mood. particular a represent/recreate to attempts emphasizes (using Twine)that ‘poem’text-based interactive an create will Students Twine (20pts) Poetry ------tdn’ promne f (oeo-es srpe soy accompanied story, scripted (more-or-less) a of performance student’s the include will chat has.freside he/she The that belief some addresses that performance interactive an perform and prepare will student Each Fireside Chat(80pts.) ofempathy practice a personal as assignment the consider must story--students his/her of details any or must not include the name or relation of the someone entry The journal sinet wl b acpe fr n we atr h due the late. after date, losing10%perday week one for accepted be will Assignments S missclass. Don’t this folks. about serious I’m etc.). B+; to A- A-; to (A grade letter tial alty. Each additional absence will result in the a loss par of pen without absences unexcused 2 permitted are Students should bewell-prepared andinteresting. and give their presentation at the beginning of the semester. Presentations report their in turn to for up class.sign the will with Students refections reading/ their share will they which in presentation minute 5 a prepare and learning in the class. experiences personal They will post their this analysis on with their blog.issues these Then they connects will and culture in which they discuss how the book addresses 2 issues within new media book the of analysis word 750 a write entirety.will its Students in book professor).the byapproved the if read book will another They (or labus Students will select a book from the Options”“Book Report list in the syl (40pts) Book Report food,asked tobring andfamily toenjoy friends theevening. at an undetermined day and time and share these stories. Students will be location undetermined an at meet will Students performance. their with comfortable become to elements accompanying and story the rehearse to are Students element. design other audio,visual,or audio-visual, a by tudents are expected to complete each assignment on time. not anexploitationofanother’s struggles. - - - THEATRE & MEDIA ARTS 295 CONTEMPORARY SCREENS T -Sep18 Th -Sep13 T -Sep11 Th -Sep6 T -Sep4 pared todiscussreadingsandsharetheirworks-in-progress. times.indicated bythe Suite Each Learning Wed,pre be should students via submitted and completed be should indicated.Assignments day the semester.forthe byon completed classtime be should readings Assigned activities readings,class indicates and followingschedule assignments The Schedule: Course Total Fireside Chat Book Report Exercise in Empathy Textual Poaching Geo-Game TwinePoetry Cinema GIF Music Mosaic Study Questions Homefun (12X5) Attendance/Participation Point Breakdown:

Narrative I Narrative Politics. 1: Part Creativity” Promise Culture of and Contemporary the Participatory II Authorship I Authorship Introduction II Introduction I (12X10) Music Mosaic dueby8am Homefun: Study Question#2dueby 8am Reading: Homefun: Study Question#1dueby 8am ing Videogame Criticism” Reading:

Bogost, “Nobody Asked for a Toaster Critic: Do- Banet-Weiser et al. “Participations: Dialogues on Howling Dogs Empire Uncut

120 60 80 20 20 20 20 20 80 40 20 Points 500

4 4 4 4 24 12 16 Percentage 100 16 8 4 4

- Th -Sep27 T -Sep25 Th -Sep20 T -Oct23 Th -Oct18 T -Oct16 Th -Oct11 T -Oct9 Th -Oct4 T -Oct2

Community / Collaboration I Community /Collaboration II /Literacy Learning Homefun: appofyour choice alearning I /Literacy Learning II /Immersion Interactivity I /Immersion Interactivity II /Structure Platform I /Structure Platform Aesthetics II Aesthetics I II Narrative Homefun: Study Question#7dueby 8am Learning” Reading: Twine Poetry dueby8am Study Question#6dueby 8am Reading: Homefun: Study Question#5dueby 8am ly Questioned Answers” Reading: GIF Cinemadueby8am Homefun: Study Question#4dueby 8am Reading: Homefun: Study Question#3dueby 8am Reading: Bogost & Montfort,“Platform Studies:Bogost & Montfort,“Platform Frequent- Ito etal., “New Media’s RoleinConnected Murray, “Immersion” Bridle, “Waving atMachines” Manovich, Forms” “The Highrise Interactive Haiku Thunderpaw Sword andSworcery THEATRE & MEDIA ARTS 295 CONTEMPORARY SCREENS T -Nov 6 Th -Nov 1 T -Oct30 Th -Oct25 T -Nov 27 Th -Nov 22 T -Nov 20 Th -Nov 15 T -Nov 13 Th -Nov 8

Identity I Citizenship / Activism II Citizenship / Activism I II Community /Collaboration Spirituality I Spirituality NO CLASS- THANKSGIVING NO CLASS-FRIDAY INSTRUCTION Empathy II Empathy I Identity II Homefun: Study Question#9dueby 8am cal Remix Video” Reading: dueby8am Geo-Game Homefun: Study Question#8dueby 8am ger Ourselves” Than Reading: Textual Poaching dueby8am Homefun: Study Question#10dueby 8am Online?” Reading: Exercise inEmpathydueby8am Homefun: Study Question#11dueby 8am Reading: McIntosh, “Building a Culture Critical with Politi- McGonigal, “Becoming of Something Big A Part boyd, “Identity: Why Do Teens SeemStrange Brown, “The Power of Vulnerability” Humanae Feminist Hacker Barbie Mormon Channel Mormon Listening isan Act ofLove , The Whiteness Project , Insight Timer T -Dec4 Th -Nov 29 Donovan, Tristan. Doctorow, Cor.y. Doctorow, Cory. Day, Felicia. Cline, Ernest. boyd, danah. Bogost, Ian. Bogost, Ian. Bissel, Tom. Anthropy, Anna. Ansari, Klinenberg.Aziz andEric Selection, Viewing and CreationPolicy (below) for moreinformation. ences, and as such, may include content for mature readers. See the TMA audi adult for written are texts these of many mind,that in ment. Keep assign Report’ ‘Book their fulfll to professor) the by approved if book another (or options book following the of one for up sign will Students Options Book Report Th -Dec13 W -Dec12 T -Dec11 Th -Dec6 You are Taking Backan Form Art Like People and Housewives, Queers, Dropouts, Dreamers, ateurs,Artists,

Extra Lives: Why GamesMatter.Video You’re Never Weird (Almost): ontheInternet A Memoir How toDo Things with Videogames Howto Talk About Videogames

It’s Complicated: The SocialLivesofNetworked Teens

Ready Player One: A Novel Rise of the Zinesters:Videogame How Freaks, Normals, Am Final Refections Fireside Chat Fireside Chat Workshop Culture Creativity inContemporary Culture Creativity inContemporary Redemption through(Better)Gaming” II Spirituality Study Question#13dueby 8am -sequence” Reading: Homefun: TBA Study Question#12dueby 8am Reading: Pirate Cinema For the For Win Replay: of The History Games. Video Anthony, Kombat:“ImMortal Confict, Chaos& Forbes, “The Power inan Age ofCon ofStory . 2010. . 2013. Modern Romance Modern . 2012. . 2012. . 2015. . 2011. 2011. . 2016. 2010. . 2015. . 2016. - - - THEATRE & MEDIA ARTS 295 CONTEMPORARY SCREENS Gibson, William. Fernandez-Vara, Clara. Eggers, Dave. Duffet,Mark. [students] to lifelong learning and service. [students] to lifelong learning strengthening, (2) intellectually enlarging, (3) character building, (4) leading spiritually be:(1) should curriculum Arts Media the and with Theatre es with media/theatre. as a framework, experiences With these principles students experienc building character and intellectual with students vide Education. The of BYU Department Theatre BYU and Media a seeks byof to Arts pro guided Aims The and Gospel the of framework the within structured is media/performance of creation and viewing selection, The Selection,Theatre andMedia Arts Viewing, andCreationPolicy Turkle,Sherry. Turkle,Sherry. Shirky,Clay. Shaw, Adrienne. Rushkoff, Douglas. Rushkoff,Douglas. Rowell, Rainbow. Jane.McGonigal, Lessig, Lawrence. Jenkins, Henry, Mimi Ito & danah boyd. Ford.Sam & Jenkins, Henry Henry.Jenkins, Ito, Mimi et al. Heffernan, Virginia. Fan Culture 2016. Less fromEachOther. laborators of GamerCutlure Age. They CanChangethe World omy Era: on A Conversation Youth, Learning, CommerceandPolitics. Culture in Networked 2008. withNew Media Learning . 2008. 2011. . 2011. Cognitive Surplus: How Technology Makes Consumers into Col into Consumers How Surplus:MakesTechnology Cognitive . 2013. Understanding Fandom: An Introduction to the Study of Media of Study Fandom:the to Understanding Introduction An The Circle Hanging Out, Messing Around and Geeking Out: Kids Living and Reclaiming Conversation:Reclaiming Powerof The Digital TalkAge the in Alone Together: Why We Expect More from and TechnologyMore Alone Together:Expect WeWhy ovrec Clue hr Od n Nw ei Collide Media New and Old Culture:Where Convergence Neuromancer Gaming at the Edge: Sexuality and Gender at the Margins Margins the at Gender and Edge:Sexuality the at Gaming Reality is Broken: Why Games Make Us Better and How and Better Us Make Broken:Games is Why Reality Fangirl Remix: Making and Art Commerce in Thrive a Econ Hybrid Present Shock: HappensNow When Everything Program or Be Programmed:Be or Program Digital Tena for Commands . 2015. Magic &Loss: as The Internet Art . 2013. Introduction toGame Analysis . 2014. 2012. . 2013. . 2013. SpreadableMedia: Creating ValueMeaning and . 2011. . 1984. Participatory Culture in Participatory a Networked . 2016. . 2014. 2015. . 2014. - - - - . . without spiritually-grounded critical, theoretical and practical skills, critical,practical well and spiritually-grounded as theoretical without leaves s/he if education an Aims receivedhave not will graduate BYU A truth. of discernment and for search their in vigorous be to learn must importantly,students More texts. media and theatre contemporary and Media students Arts must know and be conversant with relevant historical become both spiritually strong as well as intellectually students literate. help Theatre to and opportunities seek members faculty end TMA Tothis ih h calne o itgaig utrl sus n vle wti the within values and issues cultural integrating of challenges the with gospel setting. a As students examine critically and create,within they will grapple theatre and media visual create students as continues process processes.The and texts,ideas, relevant studying critically of process a understanding, strength of character and charity, students must go through within theories the context of the gospel of Jesus Christ. In order to build concepts,ideas,and understand to student the allows that environment educational an media/theatre.is visual key of The creation the as well as our students by balancing the secular with the spiritual in both the viewing As TMA faculty, our goal is to raise the standard of viewing and creation in students willbeable to: and faculty media/theatre, of the creation in and discussion,viewing, touchstones selection, as principles central four document’s Aims the ing criteria.Us clear, within appropriate stewardships and relevant spiritually creative and intellectual our fulflling in higher reach to us challenges that The Aims document provides faculty and students with a set of principles stylistic elementsinmedia/theatretexts. as practice in interpreting and evaluating the complex aesthetic, moral and heightened senseofresponsibilityfrombothfacultyand students. a requiring by agency spiritual and freedom intellectual Strengthen o todebilitatingconfict; together withclearcriteria, withoutresorting reason can students and faculty which within framework a Develop o ofways;its way intothehomeinavariety fnds but movietheater the or stage the to restricted longer no is that media digital and publicof performance onslaught the with Contend o munity; com BYU educational the of Media and members Arts Theatre other with partnership in self-reliant and open-minded, tolerant, becoming by platitudes and answers easy beyond moving in other each o Assist ative strengtheningsetting; issuesinaspiritually historical,complex social,with wrestle and political,Explore o cre and - - - THEATRE & MEDIA ARTS 295 CONTEMPORARY SCREENS ited to, thefollowing. lim not are include,but behavior unprofessional of place.Examples frst the in apply to allowed not or major her/his from dropped be also may class in behavior unprofessional consistently demonstrate who Students Unprofessional Behavior appeal thisdecision. This processfollows the Policy.TMA Grievance tor to be in violation of this cheating and policy plagiarism has the to right chair. department the with rests decision instruc byfoundthe student A program. to apply to a theatre or media arts denied the opportunity This the major. from Any theatre student or foundpre-media dismissal arts cheating might be in result automatically subsequently, will or concurrently honesty,done academic whether of violation second be.A may student be removed from her/his major – no matter how close the to graduation and/or associate chair. If the offense is suffciently serious, the student may tion, the offending student’s case will be reviewed by the chair department Offce. Execution of this policy will be at the instructor’s discretion. In addi Code Honor the to referred maybe and course the in mayE receivean involved,assignment the for zero a receive will plagiarism, and cheating to regard with Code, Honor University the or of violation in class found project a TMA in participating or major/minor a TMA in student Any Cheating andPlagiarism Ethical ConductPolicy for Students Theatre andMedia Arts growth inbothparties. processes and discussions fruitful that allow for charity, understanding, and Studying this document together, faculty and students can engage in direct Guidelines for Selecting and the Teachingstudy and Literacy to students Visual at Materials BYU. encourages faculty the TMA occasions, these on produced in these educational settings. to prevent In contention an effort or selected texts theatre or media the of beneft the about disagree ally learning,mayoccasion forstudents goals and clear faculty these Despite navigate thisprocessinaccordancewithan Aims education. student the help to here are Faculty gospel. the of framework spiritual o Playing computer games during class o Playing computer gamesduring class during material o Readingnon-course o Chronictardiness o Sleepinginclass behavioro Disruptive o Excessive absences - - - - Cruelty and Cruelty Abuse o nae ih h lann o ter tdns Hwvr i differences However, if encourage to resolved,intended be are cannot followingprocedures the students. their of learning the with engage to want and hours offce regular hold Faculty frst. instructors their to talk to encouraged strongly are teacher.Students and student the between informally resolved amicably be can opinion faculty.of the differences such by Usually evaluated inadequately or unfairly been has conduct or work academic her/his believes student a when occasions be may There Policy Grievance Theatre andMedia Arts she shouldfollow theproceduresoutlinedin Policy.TMA Grievance the student wishes to appeal the decision at any point of the process, he/ law process. enforcement forfeitand university and Offce warning the If Code Honor the through action immediate warrant may cases Severe lowing procedureshouldbeobserved: If an feels instructor he/she has a student in violation of this policy, the fol Policy Enforcement law enforcement.Code Offceanduniversity reviewed through and academic maychannels to be the reported Honor abuse of other students or a faculty member are unacceptable and will be digital,as such physicalstalking,verbalmatters or or serious More cruelty instructor. the with arrangements making without early class leaving Regularly o class o Usingcellphoneortext-messagingduring orothers belongingtotheuniversity o Damagingproperty class o Checkingsocialmediaduring class o Checkinge-mailduring will beplacedinthestudent’s fle. and involved those by signed be must decision the explaining letter A arts. media or theatre to assigned follow.chair will associate decision A the and/or chair department the to presented be will case the of sides Both department. the from removal for reviewed be will student the the chair or associate chair assigned to theatre or media arts). (either At this time, department the from come will Warning: Second This • may beinvolved immediately.partment behavior.enough,unprofessionalde excessive of the is violation the If issues the resolve to conducted be will student the and instructor the First • Warning: instructor.the from come will This betweenmeeting A - - THEATRE & MEDIA ARTS 295 CONTEMPORARY SCREENS Notes procedure. formal of minimum a with grievances academic of resolution satisfactory or who has a legitimate need to know regarding the processing and processing the regarding know to need legitimate a has who or students,evaluate academically to university the by authorized dividual policy,in this other of or purposes teacher 2.anyFor “faculty”means Offce. Equal Opportunity unlawfully against discriminated or been sexually should harassed contact havethe they believe who policy.Persons this by covered not are petitions Offce,or Code Honor the by ments,administered discipline endorse university, ecclesiastical the to admissions to relating ations Evalu reasons. academic for transcripts on notation special or of ing and/or revocation of a diploma for academic reasons, and the withhold dishonesty,withholding,academic the of incidents from arising actions missal from the university or a university program for academic reasons, dis programs, academic university in participation limiting restrictions, 1. Academic evaluations which are subject to this policy include grading, grievance. the review may dean applicable requested,the is review formal a 5.If chair’s decision. written the department applicablethe to review forquest college,the of dean formal following re unresolved,4.still written is a matter submit maythe student If the the faculty member within 30 days after receiving the student’s request. make a decision, which shall be given in to writing both the student and lution as a group. If this is not possible to resolve the issue, the chair will 3. chair The will department meet with in all order parties to seek reso chair. department the to review further for review for material supporting all and request written a submit may student satisfactorily,the solved member,re faculty not the is to it addressed and is grievance 2.the If records/ferpa.php) Act.(FERPA: Privacy http://registrar.byu.edu/registrar/and Rights tional Educa Family the under privacy to right student’s the to regard due with and necessary reasonably as matter the regarding others consult to right havethe shall chair chair.department or member faculty (The student may submit the grievance directly the result,to maythe applicable department retribution that or fairly with dealt be not will matter the believe to reason valid a has student the unavailableor is member ulty member responsible, requesting review and resolution. If the faculty 1. The student should initially address the grievance in writing to the fac ------lowing procedureshouldbeobserved: If an feels instructor he/she has a student in violation of this policy, the fol Policy Enforcement “Student Assignment of and Ownership Nondisclosure Agreement”a sign form, students the have should projects work scholarly their ployed,in property. Faculty using students, whether volunteer, non-employed, or em exploit,to license irrevocable use, intellectual resulting sublicensethe and or use university resources, a nonexclusive, perpetual, royalty-free, paid-up, university, as a condition of being allowed to in participate the project and/ research program or activity agrees to grant and hereby does grant to the this policy or (ii) using substantial university resources in connection with a to subject activity or program a with connection in member faculty a of and direction under developmentthe supervision of intellectual property dent not employed by the university, but either (i) engaging in research or personnel. university situated However, similarly as manner same any stu the in treated be will university the by employed contrary.Students the from result not their employment at does BYU and/or where there is no written agreement property to intellectual the when property such to tion in of programs study at the will university retain the rights ownership participa their of out arising independentlydevelop property intellectual Students (a “student” is a enrolled person in BYU for courses credit) who ofIntellectualProperty: Student Ownership she shouldfollow theproceduresoutlinedin Policy.TMA Grievance the student wishes to appeal the decision at any point of the process, he/ law process. enforcement forfeitand university and Offce warning the If Code Honor the through action immediate warrant may cases Severe of unprofessional behavior.enough,unprofessionalde excessive of the is violation the If issues the resolve to conducted be will student the and instructor the First • Warning: instructor.the from come will This betweenmeeting A disposition ofanacademicgrievance. will beplacedinthestudent’s fle. and involved those by signed be must decision the explaining letter A arts. media or theatre to assigned follow.chair will associate decision A the and/or chair department the to presented be will case the of sides Both department. the from removal for reviewed be will student the the chair or associate chair assigned to theatre or media arts). (either At this time, department the from come will Warning: Second This • may beinvolved immediately.partment - - - - - THEATRE & MEDIA ARTS 295 CONTEMPORARY SCREENS icy seeflm.byu.edu orvisittheBYUCreative Works offce(3760HBLL). For additional information of the PolIntellectual department’s Properties willmeettodiscusshow revenue orshared. isdistributed parties distribute a student’s project with the purpose of gaining revenue,to likethe wouldtwo Department the or Student the either that event the in If Services. available fromIntellectualProperty - THEATRE & MEDIA ARTS 458 MEDIA LITERACY EDUCATION on pol diy aiae h mdae wrd hy r afce by affected are world.They mediated the navigate daily people Young Description: life. about fellowmen,and our about ourselves, about attitude our refects caring Real craftsmanship, regardless of the skill involved, refects real caring, and real Email Offce Hours Offce: Instructor website:Course Tue 5:00-8:50pmF556HFAC Sec 001-Fall2018 Education TMA 458-MediaLiteracy they createand teachamediacurriculum. which from standards pedagogical personal develop (4) school and programs; after and outreach media global and local examine and discuss practice;education (3) media of strategies and theories education media sidering media personal presence as well as the global media; (2) examine In this class students will (1) investigate at large, the mediated world con Outcomes: Learning totheendofcourse. prior should talkwiththeinstructors semester winter during project the in participating in interested Students Project. Camera a on Hands BYU’sfor prerequisite a also is course This the mediatedexperience. in light and truth identify students help to responsibility primary our is it their lives. Finally, as teachers and parents leaving Brigham Young University, to help them identify mediated in commerce images at as work industrial skills the with people young provide also can experience learning same designs.That site web or commercials, television flms, in contributions artistic value to them helps media,which the of understanding aesthetic an with students equip can experience messages.learning ated quality A medi these of power the understand students help that tools provide to is educators media as job Our evaluate. or understand to prepared be not might they messages to exposed and inspires media the trends : [email protected] HFAC F523 : Benjamin Thevenin : 1:00-3:00pm Thu [email protected] - Spencer W. Kimball - - expected to thoughtfully respond to each of the study questions, dem questions, study the of each to respond thoughtfully to expected are week.Students that readings assigned the for guide study a a plete Before class each Tuesday (unless otherwise indicated), students will com Study Guides(10X20pts. =200pts.): Assignment Descriptions All readingswillbemadeavailable online. Texts: will share their stories and briefy discuss their statements in class on the on class in statements their discuss briefy and stories their share will issue.Students social chosen their on student’sresearch the within work the contextualizes which statement’ ‘artist/activist’s word 500-750 a by fan-fction, flm, story, fan-art, short radio etc. will be accompanied Stories comic,web-comic,a of form the take may stories.Students’ their stories folklore, flm, television, video games, or other existing to narratives create theatre,upon literature, draw may issue. Students social chosen their on of/commentary critique a with stories) (or story favoritecultural popular a from elements combines creatively which story a create will Students for Change(150pts): Story Suiteby Oct13at4pm. onlineviaLearning submit theirbibliographies to their study and their developing perspectives on the issue. Students will of havethey that research selected, body sources’the discuss wellas as relevance the survey will students which in introduction word 500-750 a include will points.bibliography main fnal work’s The the summarizing (using entry proper citation methods), each students will write Below a (3-5 paragraph sentences) information. statistical or sources), reputable (from posts blog documentaries,books, articles, academic stories, news issue. Bibliographies are to consist of at least 10 entries, which may include social chosen their on bibliography annotated an complete will Students Annotated Bibliography (100pts): sources)andincludeaudio/visualelements. bibliographic 2 least at (including issue the on research previous demonstrate should in rehearsed,and address prepared be to are Change.Presentations for and Story their research to intend they that issue social the introduce will they which in pitch minute 5-10 a deliver and prepare will Students Big Idea(50pts): the 4pm deadlineeach before Tuesday. Suite) Learning Latesubmissionswillnotbeaccepted. (via electronically submitted be will Guides Study reading. the from concepts the with engagement their onstrating : - - THEATRE & MEDIA ARTS 458 MEDIA LITERACY EDUCATION personal perspective on and approach to media education.media to approach and on perspective writ Student personal their outlines which document word 750-1000 a prepare will Students Teaching Philosophy (100pts): SuiteonNov.online viaLearning it 17by 4pm. submit and experience their of discussion word 500-750 a write will signifcant.be to classroom,Students fnd the they whateverof or design style,teacher-studentteaching work,instructor’s interactions,the student class,the of assignments, discussion,class structure the the on notes take and to payattention should experience. Students classroom the observe and classes education media designated the of one attend will Students (50pts): Classroom Observation 6. Nov. 6 by 4pm. class on Nov.Student presentations will take place during on Suite Learning via online submitted be will Change for hand.Stories before rehearsed and prepared be to are date.presentations due The sence will result in the loss of a partial lettergrade (Ato sence will resultinthe lossofapartial A-;ab A- toB+;additional etc.) Each penalty. without absences two permitted are Students screenings, class, useofelectronicsduring inappropriate andtardiness. during attentive and awake stay to discussions,failure class in participate to failure points: participation of loss the in result will behaviors lowing fol session. The each participate and attend to expected are Students Attendance/Participation (100 pts): class ontheday ofthefnalexam(Dec 15). Students will prepare a 10 minute presentation of their experiences in the time.exam fnal scheduled the by Suite Learning via online submitted be will essays and plans Lesson course. the in experiences learning their as well as experience, teaching their upon refect will they which in essay of the lesson. Students will submit their lesson plan along with a 750-1000 the semester. They should their incorporate own for Story Change as part students’during the upon creativelearning drawn and should conceptual media education classes on the topic of designated for Change.’‘Stories the Lesson plans of one in plan lesson a teach and prepare will Students Teaching &Refection(250pts): Experience 1 by 4pm. Teaching Suite on Dec.Philosophies will be submitted online via Learning learning.and teaching with experiences and on thoughts their own their into course the in readings relevant from concepts integrate should ing - - - -

T -Sept11 T -Sept4 • Assignment Point Breakdown for oneweek aftertheduedate, losing10%perday late. accepted be will assignments Other spare. to time with responses their submit to Study sure be time.should students so on late, accepted be assignment not will Guides each complete to expected are Students Late Policy: • Unit 1: IntroductiontoMediaLiteracy Education Schedule: Course Total Teaching &Refection Experience Classroom Observation Teaching Philosophy for Change Story Annotated Bibliography Big Idea Study Guides Attendance/Participation

matters to them and with which they would like to engage during the during engage to like would they which with and them to matters social,a identify will Students cultural, that issue economic or political and civicengagement. eracy of concept the with familiar become will Students

semester. , and in particular the relationship between media participation participation media between relationship the particular in ,and

bates in the Media Literacy Movement”bates intheMediaLiteracy ofEducation” andtheReconstruction racy In-class screening: Study Guide#1dueby 4pm reading:Supplementary Reading: Superheroines American Reading: syllabus Course Introduction tocourse, classmates, instructor In-class screening: :

Kellner & Share “Critical Media Literacy, Democ-

This isMedia Wonder Women: of The UntoldStory (2012) Hobbs, “The Seven GreatDe- (2015) 1000 250 50 100 150 100 100 200 Points 50

critical media lit media critical 100 25 5 10 15 10 5 20 10 Percentage

- THEATRE & MEDIA ARTS 458 MEDIA LITERACY EDUCATION T -Oct16 T -Oct9 T -Oct2 T -Sept25 • • • Unit 2: Critical ofMedia&Culture Theories T -Sept18

social issue. Students will begin to develop a personal perspective on their chosen ofitscomplexities. to develop anunderstanding begin and issue social chosen their on research review will Students Students will become familiar with critical theories of media & culture.

the Network Society” the Network Competency for EngagedCitizenship inParticipatory Social issuepresentations 8 bibliography due entries Television: The Case of Reading: 6 bibliography due entries Study #3dueby 4pm MediaLiteracy” Critical Annotated bibliography dueby4pm Study Guide#5 dueby 4pm In-class screening: reading:Supplementary Democracy” Reading: Study Guide#4dueby 4pm In-class screening: reading:Supplementary In-class screening: reading:Supplementary Reading: 4 bibliography due entries Studies:Cutlural Reconciliation orDivorce?” Study Guide#2dueby 4pm In-class screening: reading:Supplementary Reading: 2 bibliography entriesdue Big IdeaMeeting Big Ideadue Adorno &Horkheimer,Adorno “The CultureIndustry” Mihailidis & Thevenin, as a Core “Media Literacy Hall, “The Spectacle oftheOther” McRobbie, “Postfeminism and Popular Culture” Ai WeiWei: Never Sorry Blackish Lemonade Brigsby Bear Brigsby

Cosby Luke, “Feminist Pedagogy and Castells, “Changing the World in Lewis, “The Power ofPopular Garnham, “Political Economy & OR (2016) ” (2017) Atlanta (2012) T -Nov 20

• • • Unit 3: for Change Stories T -Nov 13 • • • Unit 4: Critical ofPedagogyTheories T -Nov 6 T -Oct30 T -Oct23

acters/iconography toaddresstheirchosensocialissue. acters/iconography Students that will uses create popular narratives/char a cultural story politics. texts and between popular Students cultural will identify correlations andsociety.the relationshipbetween story of understandings historical some with familiar become will Students Students will begin to develop a personal teachingphilosophy.Students willbegintodevelop apersonal inaclassroomsetting. mediaeducators Students willobserve pedagogy. ofcritical Students willbecomefamiliarwiththeories

NO CLASS(FRIDAY INSTRUCTION) Study Guide#8dueby 4pm In-class screening: sity ofLife” reading:Supplementary ; Oppressed Reading: for Change Presentation ofStories Study Guide#7dueby 4pm for Changeworkshop Story Culture,” “Differences in Value--and “Values”” the Digital Age: Towards aRadicalMediaPedagogy” Workshop Write: andthe MediaLiteracy ofFolk&Fairy Theories Tales Reading: Story forChangedueby4pm reading:Supplementary Reading: Study Guide#6dueby 4pm In-class screening: reading:Supplementary Freire, Ch. 1of Zipes, from Jenkins, “Empowering Childrenin ; ; “The Democratic ConceptioninEducation” “The Democratic Ch. 2of Resolved RIP! A RemixManifesto Pedagogy oftheOppressed Breaking theMagicSpell: Radical Lessig, “RW Culture Versus RO Jenkins, “Why HeatherCan Pedagogy ofthe Dewey, “Education asaNeces (2008) Harry Potter Harry (2009) Wars”

-

THEATRE & MEDIA ARTS 458 MEDIA LITERACY EDUCATION stewardships within clear, spiritually relevant and appropriate criteria.Us clear, within appropriate stewardships and relevant spiritually creative and intellectual our fulflling in higher reach to us challenges that The Aims document provides faculty and students with a set of principles stylistic elementsinmedia/theatre texts. as practice in interpreting and evaluating the complex aesthetic, moral and skills, critical,practical well and spiritually-grounded as theoretical without leaves s/he if education an Aims receivedhave not will graduate BYU A truth. of discernment and for search their in vigorous be to learn must importantly,students More texts. media and theatre contemporary and Media students Arts must know and be conversant with relevant historical become both spiritually strong as well as intellectually students literate. help Theatre to and opportunities seek members faculty end TMA Tothis andservice. [students] tolifelong learning strengthening, (2) intellectually enlarging, (3) character building, (4) leading spiritually be:(1) should curriculum Arts Media the and with Theatre es with media/theatre. as a framework, experiences With these principles students experienc building character and intellectual with students vide Education. The of BYU Department Theatre BYU and Media a seeks byof to Arts pro guided Aims The and Gospel the of framework the within structured is media/performance of creation and viewing selection, The Selection,Theatre andMedia Arts Viewing, andCreationPolicy T -Dec11 T -Dec4 T -Nov 27

Extra Credit Assignment(s) due Final Presentations Reading: Educational Philosophy: FromClassicalMarxismtoCriti- and aPedagogy ofPossibility” Reading: Teaching Experience&Refection due Teaching Philosophydue Study Guide#10dueby 4pm ing” reading:Supplementary Answer?” Classroom Observation dueby4pm Study Guide#9dueby 4pm cal Pedagogy” reading:Supplementary Scheibe &Rogow, “When Are Questionsthe Giroux &Simon, “Schooling, Popular Culture, Thevenin, “Media Arts: Connect- Kellner, “Marxian Perspectives on - - - students willbeable to: and faculty media/theatre, of the creation in and discussion,viewing, touchstones selection, as principles central four document’s Aims the ing n suet n M mjrmnr r atcptn i aTA ls or class a TMA in participating or major/minor a TMA in student Any Cheating andPlagiarism Ethical Conduct Policy for Students Theatre andMedia Arts growth inboth parties. processes and discussions fruitful that allow for charity, understanding, and Studying this document together, faculty and students can engage in direct Guidelines for Selecting and the Teachingstudy and Literacy to students Visual at Materials BYU. encourages faculty the TMA occasions, these on produced in these educational settings. to prevent In contention an effort or selected texts theatre or media the of beneft the about disagree ally learning,mayoccasion forstudents goals and clear faculty these Despite navigate thisprocessinaccordancewithan Aims education. student the help to here are Faculty the gospel. the within of framework values spiritual and issues cultural integrating of challenges the with gospel setting. a As students examine critically and create,within they will grapple theatre and media visual create students as continues process processes.The and texts,ideas, relevant studying critically of process a understanding, strength of character and charity, students must go through within theories the context of the gospel of Jesus Christ. In order to build concepts,ideas,and understand to student the allows that environment educational an media/theatre.visual is key of The creation the as well as our students by balancing the secular with the spiritual in both the viewing As TMA faculty, our goal is to raise the standard of viewing and creation in other members of the BYU Theatre and Media Arts educational com BYU educational the of Media and members Arts Theatre other with partnership in self-reliant and open-minded, tolerant, becoming by platitudes and answers easy beyond moving in other each o Assist ative strengtheningsetting; issuesinaspiritually historical,complex social,with wrestle and political,Explore o cre and heightened senseofresponsibilityfrombothfacultyandstudents. a requiring by agency spiritual and freedom intellectual Strengthen o todebilitatingconfict; together withclearcriteria, withoutresorting reason can students and faculty which within framework a Develop o ofways;its way intothehomeinavariety fnds but movietheater the or stage the to restricted longer no is that media digital and publicof performance onslaught the with Contend o munity; - - - THEATRE & MEDIA ARTS 458 MEDIA LITERACY EDUCATION Students who demonstrate consistently unprofessional behavior in class in behavior unprofessional consistently demonstrate who Students Unprofessional Behavior appeal thisdecision. This processfollows the Policy.TMA Grievance tor to be in violation of this cheating and policy plagiarism has the to right chair. department the with rests decision instruc byfoundthe student A program. to apply to a theatre or media arts denied the opportunity This the major. from Any theatre student or foundpre-media dismissal arts cheating might be in result automatically subsequently, will or concurrently honesty,done academic whether of violation second be.A may student be removed from her/his major – no matter how close the to graduation and/or associate chair. If the offense is suffciently serious, the student may tion, the offending student’s case will be reviewed by the chair department Offce. Execution of this policy will be at the instructor’s discretion. In addi Code Honor the to referred maybe and course the in mayE receivean involved,assignment the for zero a receive will plagiarism, and cheating to regard with Code, Honor University the of violation in found project lowing procedure should beobserved: If an feels instructor he/she has a student in violation of this policy, the fol Policy Enforcement law enforcement.Code Offceanduniversity reviewed through and academic maychannels to be the reported Honor abuse of other students or a faculty member are unacceptable and will be digital,as such physicalstalking,verbalmatters or or serious More cruelty and Cruelty Abuse ited to, thefollowing. lim not are include,but behavior unprofessional of place.Examples frst the in apply to allowed not or major her/his from dropped be also may o Playing computer games during class o Playing computergamesduring class during material o Readingnon-course o Chronictardiness o Sleepinginclass behavioro Disruptive o Excessive absences instructor. the with arrangements making without early class leaving Regularly o class o Usingcellphoneortext-messagingduring orothers belongingtotheuniversity o Damagingproperty class o Checkingsocialmediaduring class o Checkinge-mailduring - - - - procedure. formal of minimum a with grievances academic of resolution satisfactory differences However, if encourage to resolved,intended be are cannot followingprocedures the students. their of learning the with engage to want and hours offce regular hold Faculty frst. instructors their to talk to encouraged strongly are teacher.Students and student the between informally resolved amicably be can opinion faculty.of the differences such by Usually evaluated inadequately or unfairly been has conduct or work academic her/his believes student a when occasions be may There Policy Grievance Theatre andMedia Arts she shouldfollow theproceduresoutlinedin Policy.TMA Grievance the student wishes to appeal the decision at any point of the process, he/ law process. enforcement forfeitand university and Offce warning the If Code Honor the through action immediate warrant may cases Severe sides of the case will be presented to the department chair and/or the and/or chair department the to presented be will case the of sides Both department. the from removal for reviewed be will student the the chair or associate chair assigned to theatre or media arts). (either At this time, department the from come will Warning: Second This • may beinvolved immediately.partment behavior.enough,unprofessionalde excessive of the is violation the If issues the resolve to conducted be will student the and instructor the First • Warning: instructor.the from come will This betweenmeeting A supporting material for review for further review to the department department the to review further for review for material supporting all and request written a submit may student satisfactorily,the solved member,re faculty not the is to it addressed and is grievance 2.the If records/ferpa.php) Act.(FERPA: Privacy http://registrar.byu.edu/registrar/and Rights tional Educa Family the under privacy to right student’s the to regard due with and necessary reasonably as matter the regarding others consult to right havethe shall chair chair.department or member faculty (The student may submit the grievance directly the result,to maythe applicable department retribution that or fairly with dealt be not will matter the believe to reason valid a has student the unavailableor is member ulty member responsible, requesting review and resolution. If the faculty 1. The student should initially address the grievance in writing to the fac will beplacedinthestudent’s fle. and involved those by signed be must decision the explaining letter A arts. media or theatre to assigned follow.chair will associate decision A - - - - THEATRE & MEDIA ARTS 458 MEDIA LITERACY EDUCATION lowing procedureshouldbeobserved: If an feels instructor he/she has a student in violation of this policy, the fol Policy Enforcement Notes or who has a legitimate need to know regarding the processing and processing the regarding know to need legitimate a has who or students,evaluate academically to university the by authorized dividual policy,in this other of or purposes teacher 2.anyFor “faculty”means Offce. Equal Opportunity unlawfully against discriminated or been sexually should harassed contact havethe they believe who policy.Persons this by covered not are petitions Offce,or Code Honor the by ments,administered discipline endorse university, ecclesiastical the to admissions to relating ations Evalu reasons. academic for transcripts on notation special or of ing and/or revocation of a diploma for academic reasons, and the withhold dishonesty,withholding,academic the of incidents from arising actions missal from the university or a university program for academic reasons, dis programs, academic university in participation limiting restrictions, 1. Academic evaluations which are subject to this policy include grading, grievance. the review may dean applicable requested,the is review formal a 5.If chair’s decision. written the department applicablethe to review forquest college,the of dean formal following re unresolved,4.still written is a matter submit maythe student If the the faculty member within 30 days after receiving the student’s request. make a decision, which shall be given in to writing both the student and lution as a group. If this is not possible to resolve the issue, the chair will 3. chair The will department meet with in all order parties to seek reso chair. A letter explaining the decision must be signed by those involved and involved those by signed be must decision the explaining letter A arts. media or theatre to assigned follow.chair will associate decision A the and/or chair department the to presented be will case the of sides Both department. the from removal for reviewed be will student the the chair or associate chair assigned to theatre or media arts). (either At this time, department the from come will Warning: Second This • may beinvolved immediately.partment behavior.enough,unprofessionalde excessive of the is violation the If issues the resolve to conducted be will student the and instructor the First • Warning: instructor.the from come will This betweenmeeting A disposition ofanacademicgrievance. ------Student Ownership ofIntellectualProperty: Student Ownership she shouldfollow theproceduresoutlinedin Policy.TMA Grievance the student wishes to appeal the decision at any point of the process, he/ law process. enforcement forfeitand university and Offce warning the If Code Honor the through action immediate warrant may cases Severe icy seeflm.byu.edu orvisittheBYUCreative Works offce(3760HBLL). For additional information of the PolIntellectual department’s Properties willmeettodiscusshow revenue orshared. isdistributed parties distribute a student’s project with the purpose of gaining revenue,to likethe wouldtwo Department the or Student the either that event the in If Services. available from IntellectualProperty “Student Assignment of and Ownership Nondisclosure Agreement”a sign form, students the have should projects work scholarly their ployed,in property. Faculty using students, whether volunteer, non-employed, or em exploit,to license irrevocable use, intellectual resulting sublicensethe and or use university resources, a nonexclusive, perpetual, royalty-free, paid-up, university, as a condition of being allowed to in participate the project and/ research program or activity agrees to grant and hereby does grant to the this policy or (ii) using substantial university resources in connection with a to subject activity or program a with connection in member faculty a of and direction under developmentthe supervision of intellectual property dent not employed by the university, but either (i) engaging in research or personnel. university situated However, similarly as manner same any stu the in treated be will university the by employed contrary.Students the from result not their employment at does BYU and/or where there is no written agreement property to intellectual the when property such to tion in of programs study at the will university retain the rights ownership participa their of out arising independentlydevelop property intellectual Students (a “student” is a enrolled person in BYU for courses credit) who will beplacedinthestudent’s fle. - - - -