Expressive Culture: Film
Class Code MAP-UA 9750
Instructor Details Dr Megan Carrigy
Phone: +61 2 8016 8202 Room 3.02 Consultation hour: TBD
Class Details Expressive Culture: Film
Attendance: 4hrs per week including film screening (Time and Location TBD)
Prerequisites [Click here and enter information]
Class Description How has Australian cinema engaged with significant and often contested historical, political and cultural events in the nation’s past? The films in this course offer critical perspectives on the history of colonisation in Australia; the legacies of the Stolen Generations; the controversies surrounding Australia’s role in World War One and the Vietnam War; as well as Australia’s relationships with its Pacific Asian neighbours. We will focus on films that have marked significant shifts in public consciousness about the past such as Gallipoli (1981), Rabbit-Proof Fence (2002) and Balibo (2009). We will also draw on films that have employed innovative narrative and aesthetic strategies for exploring the relationship between the past and the present such as Two Laws (1982) and The Tracker (2002). Throughout the course, students will develop their understanding of the basic methods and concepts of cinema studies. In particular, students will develop a critical vocabulary for analysing how filmmakers have approached the use of memory, testimony, re-enactment, researched detail, allegory and archives across a diverse range of examples. This includes restorations, revivals and re-imaginings of Australian cinema history such as the controversial restoration of Wake in Fright (1971) as an Australian classic; the reconstruction of Australia’s first feature film, The Story of the Kelly Gang (1906); and the revived interest in Ozploitation after the release of Not Quite Hollywood (2008).
Desired By the end of the course students will be able to: Outcomes • Apply the basic vocabulary of film form. • Grasp the mechanics of structuring a written argument about a film’s meaning. • Engage with different approaches to thinking and writing about cinema and film. • Reflect upon their viewing position and their application of interpretive strategies to films from diverse historical and cultural contexts. • Utilize a critical vocabulary for analysing representations of the relationship between the past and the present on film. • Critically analyse the ways that representations of the past shape and are shaped by their historical, political and cultural contexts.
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• Research and investigate aspects of the Australian cinema and communicate their findings in a coherent, well-structured written form. • Situate contemporary Australian cinema in its national, regional and international contexts.
Assessment Class Participation: (20% of final grade) Assessed throughout the semester. Components Sequence Analysis: 2-3 pages (10% of final grade) Due Week 5. Critical Paper: 4-5 pages (20% of final grade) Due Week 8. Final Paper: 10-12 pages (50% of final grade) Due Week 14 (outline due Week 10).
Failure to submit or fulfil any required course component results in failure of the class.
Class Participation Students are expected to demonstrate accountability and responsibility in their preparation for, and engagement with, the course. Students are required to engage in active discussion and to listen to and respect other points of view. Each student will select a week to lead discussion of the required readings and this discussion will contribute to their grade for class participation.
Sequence Analysis (Week 5) Students will identify a sequence from a film presented in the first four weeks of the course and critically analyse how the sequence reflects key themes, issues, concepts and/or aesthetic strategies introduced in Weeks 1 - 4. Students will pay close attention to the formal (stylistic and technical) qualities of the sequence, demonstrating their understanding of the specificities of film form, style and narration.
Critical Paper (Week 8) Students will select two of the readings from Weeks 1 - 7 and write a short critical essay in which they identify and analyse the key arguments, ideas, concepts and issues presented by the authors. Students may wish to compare and contrast the approaches taken by the different authors as well as offer their own assessment of the authors’ claims and conclusions. The critical paper should be written in an appropriate academic style with consistent scholarly referencing and bibliography.
Final Paper (Week 14) Questions for the final papers will be released in Week 8. Students are required to apply their analysis to specific, carefully selected case studies and examples and to demonstrate their critical thinking, analysis and evaluation skills. Students are expected to situate their argument in relation to the relevant required readings and undertake additional research and reading on their topic. Recommended research materials will be provided for each topic. In Week 10, students will submit a one-page outline (minimum 300 words) indicating how they intend to approach their chosen question.
Assessment The Morse Academic Plan is designed to provide students with an intellectually rigorous general Expectations education in the liberal arts. Because MAP courses seek to stretch you beyond your previous schooling and major course of study, they will likely be among the most academically challenging experiences you undertake as an undergraduate. The following guidelines outline our common expectations concerning the evaluation of students’ work across the curriculum.
The grade of A marks extraordinary academic performance in all aspects of a course and is reserved for clearly superior work. In large lecture courses such as those in the MAP, it would be unusual for more than 20–25% of students to earn grades in this range, or more than 10% to merit marks of straight A.
As a faculty, we are similarly concerned to reserve the mark of B+ to signify very good work. It is our hope and desire that the majority of students will want and be able to do good work in their MAP classes, work in the B range. Because these courses are intended by design to foster your intellectual
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development, the difference between merely satisfactory and good work will frequently depend on outstanding effort and class participation. For this reason, class participation is typically a substantial component of the overall grade in MAP courses.
The grade of C denotes satisfactory work—regular attendance, ordinary effort, a minimum of demonstrated improvement across the semester. It is expected that every student is capable of and motivated to perform at least at this level. Grades below C are reserved for less than satisfactory and, in the D range, for poor work and effort, and mark a need for improvement.
The grade of F indicates failure to complete the requirements for a course in a creditable manner. It marks a judgment about the quality and quantity of a student’s work and participation—not about the student—and is therefore in order whenever a student fails to complete course requirements, whatever his or her intentions or circumstances may be.
The temporary mark of I (Incomplete) is given only when sudden and incapacitating illness, or other grave emergency, prevents a student from completing the final assignment or examination for a course. It must be requested by the student in advance; all other course requirements, including satisfactory attendance, must have been fulfilled; and there must be a reasonable expectation that the student will receive a passing grade when the delayed work is completed. Students must make arrangements with the faculty member to finish the incomplete work as soon as circumstances permit within the following semester. If not completed, marks of I will lapse to F.
Attendance NYU Sydney has a strict policy about course attendance for students. Faculty will not give students permission to be absent for any reason. Students should contact their instructors to catch up on Policy missed work but should not approach them for excused absences.
All non-medical absence requests must be presented by the student to the Assistant Director, Academic Programs. Non-medical requests should be made in advance of the intended absence. All medical-based absence requests MUST be presented to the Student Life Coordinator. In the case of illness, the student should contact the Student Life Coordinator within three days of the absence or as soon as practicable and provide medical documentation. Faculty will be informed of excused absences by the Student Life staff and Assistant Director, Academic Programs. Any absences of which faculty have not been informed by the NYU Sydney staff will be presumed to be unexcused.
Students are expected to arrive to class promptly both at the start of class and after breaks. Arriving more than 10 minutes late or leaving more than 10 minutes early will be considered an unexcused absence.
This attendance policy also applies for classes involving a field trip or other off‐campus visit. It is the student’s responsibility to arrive at the agreed meeting point on time.
The faculty will report all unexcused absences to the Assistant Director, Academic Programs, and students’ final grades will be negatively impacted by each such absence. Each unexcused absence will result in the deduction of 3 percentage points from the final grade. More than two unexcused absences will result in failure of the course.
There will be no adjustment of attendance records after the end of the semester. If you wish to contest an unexcused absence, you must do so before you leave Sydney. Contact the Assistant Director, Academic Programs to discuss the attendance record as soon as you think there may be a discrepancy about your attendance in class on a given day. Students observing a religious holiday during regularly scheduled class time are entitled to miss class
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without any penalty to their grade. This is for the holiday only and does not include the days of travel that may come before and/or after the holiday.
Students must notify their professor and the Assistant Director, Academic Programs in writing via email one week in advance before being absent for this purpose.
Late Submission Written work due in class must be submitted during class time to your instructor. Students are of Work expected to retain copies of their work until a final grade has been received for the course. Instructors are not obliged to accept late work and may assign a failing or reduced grade to such assignments.
Students who encounter sudden and incapacitating illness or another comparably grave circumstance that prevents them from completing the final examination or assignment in a course may request a temporary mark of Incomplete from the course instructor. To receive an Incomplete, students must have completed all other requirements for the course, including satisfactory attendance, and there must be a strong likelihood they will pass the course when all work is completed.
Late work should be submitted in person to the Assistant Director, Academic Programs during regular office hours (9:30‐5:00, Monday‐Friday).
Work submitted after the submission time without an agreed extension receives a penalty of 2 points on the 100-point scale for each day the work is late.
Written work submitted beyond five (5) weekdays after the submission date without an agreed extension fails and is given a zero.
Plagiarism Policy As a student at New York University, you have been admitted to a community of scholars who value free and open inquiry. Our work depends on honest assessment of ideas and their sources; and we expect you, as a member of our community, likewise to maintain the highest integrity in your academic work. Because of the central importance of these values to our intellectual life together, those who fail to maintain them will be subject to severe sanction, which may include dismissal from the University.
Plagiarism consists in presenting ideas and words without acknowledging their source and is an offense against academic integrity. Any of the following acts constitutes a crime of plagiarism. • Using a phrase, sentence, or passage from another person’s work without quotation marks and attribution of the source. • Paraphrasing words or ideas from another’s work without attribution. • Reporting as your own research or knowledge any data or facts gathered or reported by another person. • Submitting in your own name papers or reports completed by another. • Submitting your own original work toward requirements in more than one class without the prior permission of the instructors.
Other offenses against academic integrity include the following. • Collaborating with other students on assignments without the express permission of the instructor.
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• Giving your work to another student to submit as his or her own. • Copying answers from other students during examinations. • Using notes or other sources to answer exam questions without the instructor’s permission. • Secreting or destroying library or reference materials. • Submitting as your own work a paper or results of research that you have purchased from a commercial firm or another person.
Required Text(s) Behrendt, Larissa, Rabbit-Proof Fence. Sydney: Currency Press, 2012. Kaufman, Tina, Wake in Fright. Sydney: Currency Press, 2010. Bordwell, David & Kristin Thompson, Film Art: An Introduction (10th Edn) McGraw-Hill, 2013.
Supplemental Adams, Brian and Graham Shirley, Australian Cinema: The First Eighty Years. Sydney: Currency Press, 1983. Texts(s) (not Attwood, Bain & Fiona Magowan, (eds) Telling Stories: Indigenous History and Memory in Australia. required to Sydney: Allen & Unwin, 2001. purchase) Bertrand, Ina and William D. Routt, ‘The Picture that Will Last Forever’: The Story of the Kelly Gang. Melbourne: The Moving Image ATOM, 2007. Bliss, Michael, Dreams within a Dream: The Films of Peter Weir. Southern Illinois University, 2000. Cherchai Usai, Paolo, The Death of Cinema: History, Cultural Memory and the Digital Dark Age, London: BFI, 2001. Collins, Felicity and Therese Davis, Australian Cinema after Mabo. Cambridge University Press, 2004. Cunningham, Stuart, The Cinema of Charles Chauvel. Sydney: Allen & Unwin, 1991. Goldsmith, Ben and Geoff Lealand, Directory of World Cinema: Australia & New Zealand Vol. 1 & 2. Bristoll: Intellect, 2010; 2013. Donald, James and Michael Renov (eds), The Sage Handbook of Film Studies. Sage, 2008. Gammage, Bill, The Broken Years: Australian Soldiers in the Great War. Canberra: Australian National University Press, 1974. Harris, Paul, Not Quite Hollywood. Based on the film by Mark Hartley. Melbourne: Madman Entertainment, 2008. Hodgkin, Katharine and Susannah Radstone (eds), Contested Pasts: The Politics of Memory. New York: Routledge, 2003. Hooper, Chloe, The Tall Man: The Death of Doomadgee, New York: Scribner, 2009. Jolliffe, Jill, Balibo. Melbourne: Scribe, 2009. Landy, Marcia (ed), The Historical Film: History and Memory in Media. London: The Athlone Press, 2001. Landsberg, Alison, Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York: Columbia University Press, 2004. Langton, Marcia, ‘Well, I heard it on the Radio and I saw it on the Television…’ An essay for the Australian Film Commission on the politics and aesthetics of filmmaking by and about Aboriginal people and things. Sydney: Australian Film Commission, 1993. Macleod, Jennifer (ed), Gallipoli: Making History. New York: Taylor & Francis, 2004. Maniaty, Tony, Shooting Balibo: Blood and Memory in East Timor. Melbourne: Viking, 2009. Mayer, Geoff and Keith Beattie (eds), The Cinema of Australia & New Zealand. London: Wallflower Press, 2007. Mills, Jane, Jedda. Sydney: Currency Press, 2012. Murdoch, Keith, The Gallipoli Letter. Allen & Unwin, 2010. Murray, Scott (ed), Australia Cinema. Sydney: Allen & Unwin, 1994. Nichols, Bill, Representing Reality: Issues and Concepts in Documentary. Bloomington: Indiana University Press, 1991. Pike, Andrew and Ross Cooper, Australian Film: 1900-1977. Oxford: Oxford University Press, 1998.
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Reade, Eric, History and Heartburn: The Saga of Australian Film 1896-1978. Rutherford, NJ: Fairleigh Dickinson University Press, 1979. Sabine, James (ed), A Century of Australian Cinema. AFI, 1995. Sobchack, Vivian (ed), The Persistence of History: Cinema, Television and the Modern Event. New York: Routledge, 1995.
Journals: • Australian Humanities Review • Australian Historical Studies • Indigenous History • Memory Studies • Metro Magazine • Studies in Australasian Cinema • Screening the Past: http://www.screeningthepast.com/ • Senses of Cinema: http://sensesofcinema.com/
Session 1 Gallipoli – Historical Film and National Myth
Film: Gallipoli (dir. Peter Weir, Australia, 1981)
Required Reading: • Robert Rosenstone, ‘The Historical Film: Looking at the Past in a Postliterate Age,’ in Marcia Landy (ed), The Historical Film: History and Memory in Media. London: The Athlone Press, 2001, pp. 50-66. • David Bordwell & Kristin Thompson, ‘The Significance of Film Form,’ Film Art: An Introduction (10th Edn) McGraw-Hill, 2013, pp. 50-71.
Recommended Reading: • Michael Bliss, ‘The Death of a Nation,’ Dreams within a Dream: The Films of Peter Weir. Southern Illinois University, 2000, pp. 81-93. • Keith Murdoch, ‘Facsimilie of the Gallipoli Letter,’ The Gallipoli Letter, Allen & Unwin, 2010, pp. 71-98.
Session 2 The Sapphires – Indigenous History, Nostalgia and the Vietnam War Movie
Film: The Sapphires (dir. Wayne Blair, Australia, 2012)
Required Reading: • Bain Attwood & Fiona Magowan, ‘Introduction,’ Telling Stories: Indigenous History and Memory in Australia. Sydney: Allen & Unwin, 2001. • Christine Sprengler, ‘The Nostalgia Film in Practice and Theory,’ Screening Nostalgia: Populuxe Props and Technicolour Aesthetics in American Film. Oxford; New York: Bergham Books, 2011 [2009] pp. 67-92. • David Bordwell & Kristin Thompson, ‘The Shot: Mise-en-Scene,’ Film Art: An Introduction (10th Edn) McGraw-Hill, 2013, pp. 112-153.
Recommended Reading: • Gary Nunn, ‘The Sapphires: Where are they Now?’ Australian Geographic, September 5 2012: http://www.australiangeographic.com.au/journal/in-conversation-with-the-real- sapphires-movie.htm
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• Rose Capp, ‘Seriously Funny: History and Humour in The Sapphires and other Indigenous Comedies,’ July 8 2012, MIFF Dossier, Senses of Cinema, Issue 63: http://sensesofcinema.com/2012/63/seriously-funny-history-and-humour-in-the- sapphires-and-other-indigenous-comedies/
Session 3 Balibo – Historical Reconstruction and Researched detail
Film: Balibo (dir. Robert Connolly, Australia, 2009)
Required Reading: • Jean-Louis Comolli, ‘Historical Fiction: A Body Too Much,’ Screen, Vol. 19 No. 2 (1978): 41-54. • Philip Rosen, ‘Detail, Document and Diegesis in Mainstream Film,’ Change Mummified: Cinema, Historicity, Theory. Minneapolis: University of Minnesota Press, 2001, pp. 147-200. • David Bordwell & Kristin Thompson, ‘Narrative Form,’ Film Art: An Introduction (10th Edn) McGraw-Hill, 2013, pp. 74-93.
Recommended Reading: • Jill Jolliffe, ‘Prologue,’ Balibo. Melbourne: Scribe, 2009, pp. 1-10. • Tony Maniaty, Shooting Balibo: Blood and Memory in East Timor. Melbourne: Viking, 2009, pp. 3-21.
Session 4 The Tall Man – Documentary Reconstruction and Contested Pasts
Film: The Tall Man (dir. Tony Krawitz, Australia, 2011)
Required Reading: • Katharine Hodgkin and Susannah Radstone, ‘Introduction,’ Contested Pasts: The Politics of Memory. New York: Routledge, 2003, pp. 1-16. • Bill Nichols, ‘Telling Stories with Evidence and Arguments,’ Representing Reality: Issues and Concepts in Documentary. Bloomington: Indiana University Press, 1991, pp. 107-133. • Chloe Hooper, ‘The Death’ & ‘The Investigation,’ The Tall Man: The Death of Doomadgee, New York: Scribner, 2009, pp. 19-44.
Session 5 Rabbit-Proof Fence – The Stolen Generations and Prosthetic Memory
Film: Rabbit-Proof Fence (dir. Phillip Noyce, Australia, 2002)
Required Reading: • Larissa Behrendt, Chapters 1, 2, 3 and 6, Rabbit-Proof Fence, Currency Press, 2012. • Alison Landsberg, Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York: Columbia University Press, 2004, pp. 18-32.
Recommended Reading: • Doris Pilkington/Nugi Garimara, ‘Introduction,’ Follow the Rabbit-Proof Fence. St Lucia: University of Queensland Press, 2012 [1996], xi-xiv. • David Bordwell & Kristin Thompson, ‘The Classical Hollywood Cinema,’ Film Art: An Introduction (10th Edn) McGraw-Hill, 2013, pp. 97-99.
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Session 6 The Tracker – Historical Allegory, Traumatic Memory and the Road
Film: The Tracker (dir. Rolf de Heer, Australia, 2002)
Required Reading:
• Felicity Collins and Therese Davis, ‘Backtracking After Mabo,’ Australian Cinema After Mabo. Cambridge University Press, 2004, pp. 3-9. • Collins, Felicity and Therese Davis. ‘Remembering Country, Disputing History in The Tracker and Rabbit-Proof Fence,’ Australian Historical Studies 128 (2006): 35-54. • Fiona Probyn-Rapsey, ‘The Ethics of Following: Trackers, Followers and Fanatics,’ Australian Humanities Review No. 37 (December 2005) http://www.australianhumanitiesreview.org/archive/Issue-December- 2005/Probyn.html
Session 7 Beneath Clouds - Historical Memory and the Road Movie
Film: Beneath Clouds (dir. Ivan Sen, Australia, 2002)
Required Reading: • Tony Birch, ‘Surveillance, Identity and Historical Memory in Ivan Sen’s Beneath Clouds,’ in Scott McQuire and Nikos Papastergiadis (eds.), Empires, Ruins +Networks: The Transcultural Agenda in Art, Carlton: Melbourne University Press, 2005, pp. 185-201. • Adam Gall and Fiona Probyn-Rapsey, ‘Ivan Sen and the Art of the Road.’ Screen Vol. 47 No. 4 (Winter 2006): 425-439. • David Bordwell & Kristin Thompson, ‘Film Genres,’ Film Art: An Introduction (10th Edn) McGraw-Hill, 2013, pp. 328-333.
Session 8 Ten Canoes – Collaborative Histories and the Archive
Film: Ten Canoes (dir. Rolf de Heer & Peter Djigirr, Australia, 2006)
Required Reading: • Therese Davis (2007) 'Remembering our Ancestors: Cross-Cultural Collaboration and the Mediation of Aboriginal Culture and History in Ten Canoes', Studies in Australasian Cinema, Vol. 1, No. 1: 5 - 14. • Terry Janke, Pathways and Protocols: A Filmmaker’s Guide to Dealing with Indigenous People, Culture and Concepts, Screen Australia, 2009, pp. 9-50.
Recommended Reading: • David Bordwell & Kristin Thompson, ‘Framing,’ Film Art: An Introduction (10th Edn) McGraw- Hill, 2013, pp. 178-210. • Mike Walsh (2006) ‘Ten Canoes: Interview and Review’, Metro Magazine, Issue 149, pp. 10-17.
Session 9 Two Laws - Collaborative Histories and Re-enactment
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Film: Two Laws (dir. Alessandro Cavadini & Carolyn Strachan, Australia, 1982)
Required Reading: • Jonathan Kahana, ‘Re-staging Two Laws: An Interview with Alessandro Cavadini and Carolyn Strachan,’ Framework Vol. 50, No. 1 & 2 (Spring & Fall 2009): 61-81. • James Roy MacBean, ‘Two Laws from Australia, One White, One Black: The Recent Past and the Challenging Future of Ethnographic Film,’ Film Quarterly Vol. 36, No. 3 (1983): 30-43.
Session 10 Jedda and Night Cries – Cinema History, Intertextuality and Re-Imagining
Films: Jedda (dir. Charles Chauvel, Australia, 1955) & Night Cries (dir. Tracey Moffatt, Australia, 1990)
Required Reading: • Stuart Cunningham, The Cinema of Charles Chauvel. Sydney: Allen & Unwin, 1991, pp. 156- 164. • Katrina Schlunke, ‘Imaging the Imagined: Stories of Jedda,’ The Olive Pink Society Bulletin. Vol. 5, No. 2 (1993): 9-13. • Meghan Morris, ‘Beyond Assimilation: Aboriginality, Media History and Public Memory.’ Rouge 3 (2004) http://www.rouge.com.au/3/beyond.html • Karen Fox, ‘Fosalie Kunoth-Monks and the making of Jedda,’ Aboriginal History. Vol. 33 (2009): 77-92.
Session 11 Australia - Cinema History, Intertextuality and the Historical Epic
Film: Australia (dir. Baz Lurhmann, Australia, 2008)
Required Reading: • Mitchell, Peta and Jane Stadler, ‘Imaginative Cinematic Geographies of Australia: The Mapped View in Charles Chauvel’s Jedda and Baz Lurmann’s Australia,’ Historical Geography. Vol. 30 (2010): 27-51. • Vivian Sobchack, ‘“Surge and Splendor”: A Phenomenology of the Hollywood Historical Epic,’ Representations. No. 29 (Winter 1990): 24-49.
Session 12 The Story of the Kelly Gang - Reconstructing Cinema History and the Ned Kelly Story
Film: The Story of the Kelly Gang (dir. Charles Tait, 1906; restored NFSA 2006)
Required Reading: • Ina Betrand and William D. Routt, Chapter 1, The Story of the Kelly Gang, Melbourne: The Moving Image ATOM, 2007, pp. 3-19. • Anthony Buckley, ‘The Story of the Kelly Gang: A Post-Mortem,’ Metro Magazine No. 158 (2008): 90-92. • Paolo Cherchai Usai, The Death of Cinema: History, Cultural Memory and the Digital Dark Age, London: BFI, 2001, Preface; I-X. • Ian Jones, Ned Kelly: A Short Life, Melbourne: Lothiathan, 2003, pp. 337-340.
Session 13 Not Quite Hollywood – Ozploitation Revisited: Taste and Nostalgia
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Film: Not Quite Hollywood (Mark Hartley, 2008)
Required Reading: • Alexandra Heller-Nicholas, ‘Ozploitation Revisited: Not Quite Hollywood’, Metro Magazine No. 158 (2008): 14-17. • Tom O’Regan, ‘Chapter 5: Formations of Value,’ Australian National Cinema. New York: Routledge, 1996, pp. 111-144. • Mark Hartley, ‘Director’s Statement & Background Notes,’ Not Quite Hollywood, Press Kit Madman Cinema and Magnet Releasing, pp. 3-6.
Session 14 Wake in Fright - Then and Now: Restoring a Cinema Classic
Film: Wake in Fright (dir. Ted Kotcheff, Australia/USA, 1971)
Required Reading: • Tina Kaufman, Chapters 2, 3 and 4, Wake in Fright, Sydney: Currency Press, 2010. • D. N. Rodowick, ‘Film Begets Video; The Death of Cinema and the Birth of Film Studies,’ The Virtual Life of Film. Cambridge, Massachusetts: Harvard University Press, 2007, pp. 26-31.
Classroom The classroom is a space for free and open inquiry and for the critical evaluation of ideas, and it should Etiquette be free of personal prejudice. Students and instructors alike have an obligation to all members of the class to create an educational atmosphere of mutual trust and respect in which differences of opinion can be subjected to deliberate and reasonable examination without animus.
As a matter of courtesy to their fellow students and instructors, students should arrive at class promptly, prepared and ready to participate. Students are reminded particularly to shut off all cellular telephones and pagers and, except in cases of emergency, to remain in the classroom for the duration of the lecture or section meeting. If it is necessary to leave or enter a room once class has begun, students should do so quietly and with as little disruption as possible. Under University policy, disruptive classroom behavior may be subject to faculty review and disciplinary sanction.
Note that it is within the discretion of individual faculty members to establish other classroom policies such as prohibiting the use of laptop computers.
Suggested Co- Friday on My Mind at AFTRS (Australian Film Television and Radio School) curricular Guest Speakers at 5pm every Friday (February to November) Activities AFTRS Theatre 130 Bent St The Entertainment Quarter Moore Park
Your Instructor
Throughout her career, Megan Carrigy has been engaged in public programming, education and academic research. At the University of New South Wales she was awarded the Best Doctoral Thesis Prize in the Faculty of Arts and Social Sciences for her PhD thesis titled Performing History, Troubling Reference: Tracking the Screen Re- enactment. She has published in Screening the Past and in the 24 Frames series for Wallflower Press. She has taught film and media studies at the University of New South Wales and the University of Technology, Sydney. Before becoming the Assistant Director, Academic Programs at NYU Sydney, she was the Education Projects
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Manager at the Australian Film Television and Radio School (AFTRS). For four years, Megan programmed the annual Mardi Gras Film Festival and queerDOC film festival in Sydney, building partnerships with local and international distributors, filmmakers, festivals and community organisations.
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