240523 SE MM3 From Art History to Visual Culture (2023W)
Prüfungsimmanente Lehrveranstaltung
Labels
Participation at first session is obligatory!The lecturer can invite students to a grade-relevant discussion about partial achievements. Partial achievements that are obtained by fraud or plagiarized result in the non-evaluation of the course (entry 'X' in certificate). The plagiarism software 'Turnitin' will be used.The use of AI tools (e.g. ChatGPT) for the attainment of partial achievements is only allowed if explicitly requested by the course instructor.
An/Abmeldung
Hinweis: Ihr Anmeldezeitpunkt innerhalb der Frist hat keine Auswirkungen auf die Platzvergabe (kein "first come, first served").
- Anmeldung von Fr 01.09.2023 00:01 bis Mo 25.09.2023 23:59
- Abmeldung bis Mo 16.10.2023 23:59
Details
max. 25 Teilnehmer*innen
Sprache: Englisch
Lehrende
Termine (iCal) - nächster Termin ist mit N markiert
- Mittwoch 04.10. 11:30 - 13:00 Übungsraum (A414) NIG 4. Stock
- Mittwoch 18.10. 11:30 - 14:45 Übungsraum (A414) NIG 4. Stock
- Mittwoch 08.11. 11:30 - 14:45 Übungsraum (A414) NIG 4. Stock
- Mittwoch 22.11. 11:30 - 14:45 Übungsraum (A414) NIG 4. Stock
- Mittwoch 22.11. 16:45 - 20:00 Hörsaal A, NIG 4.Stock
- Mittwoch 13.12. 11:30 - 14:45 Übungsraum (A414) NIG 4. Stock
- Mittwoch 17.01. 11:30 - 14:45 Übungsraum (A414) NIG 4. Stock
- Mittwoch 31.01. 11:30 - 14:45 Übungsraum (A414) NIG 4. Stock
Information
Ziele, Inhalte und Methode der Lehrveranstaltung
Art der Leistungskontrolle und erlaubte Hilfsmittel
4.a Exam and certificate requirements- regular attendance and active participation in class
- general knowledge of core texts
- introduction and discussion of 1 core texts (per participant) on the course topics
- concepting and displaying a POWER POINT presentation on subject areas of the lecture-seminar course
- written seminar paper OR
- video clip or website/blog4.b Permitted tools and aidsBeing a creative course there are no restrictions – whatever contributes to the realization of the students’ final assignments is accepted.
- general knowledge of core texts
- introduction and discussion of 1 core texts (per participant) on the course topics
- concepting and displaying a POWER POINT presentation on subject areas of the lecture-seminar course
- written seminar paper OR
- video clip or website/blog4.b Permitted tools and aidsBeing a creative course there are no restrictions – whatever contributes to the realization of the students’ final assignments is accepted.
Mindestanforderungen und Beurteilungsmaßstab
5a. Percentage distribution of the students' obligations• introduction & discussion of 1 core texts (per participant) on the course topics: 15%
• attending the screening of video production examples 5%
• general knowledge of the core texts and participating in the plenary discussions: 10%
• conceptualizing and introducing the above mentioned PPP (-> 4a) and their discussion in the plenary (PPP): 20%
• written seminar paper, video clip or web blog: 50%5b. Required percentage for gradingSumming up the above mentioned (-> 5a)100% = SEHR GUT
90 % = GUT
80 % = BEFRIEDIGEND
70% = GENÜGEND
BELOW 70%: NICHT GENÜGEND
• attending the screening of video production examples 5%
• general knowledge of the core texts and participating in the plenary discussions: 10%
• conceptualizing and introducing the above mentioned PPP (-> 4a) and their discussion in the plenary (PPP): 20%
• written seminar paper, video clip or web blog: 50%5b. Required percentage for gradingSumming up the above mentioned (-> 5a)100% = SEHR GUT
90 % = GUT
80 % = BEFRIEDIGEND
70% = GENÜGEND
BELOW 70%: NICHT GENÜGEND
Prüfungsstoff
There will be no exam
Literatur
7. Bibliographywill be provided on moodle – sampling:BARASSI, V. 2013: Ethnographic Cartographies: Social Movements, Alternative Media and the Spaces of Networks. Social Movement Studies , 12 (1), 48–62. https://doi.org/10.1080/14742837.2012.650951
BAYM, N. 2010: Personal Connections in the Digital Age . Cambridge: Polity.
BERG, Ulla. 2015. Mobile Selves: Race, Migration, and Belonging in Peru and the U.S. NYU Press.
BOELLSTORFF, T., Nardi, B., PEARCE, C. and TAYLOR, T.L., 2012: Ethnography and virtual worlds: A handbook of method. Princeton University Press.
BOGLE, Donald 2005, Bright Boulevards, Bold Dreams. The Story of Black Hollywood. New York, Random House.
BURGESS, Jean & GREEN, Joshua 2018: YouTube: Online Video and Participatory Culture. John Wiley & Sons.
COUSINEAU, L. S., OAKES, H., & Johnson, C. W. (2019). Appnography: Modifying ethnography for app-based culture. In D.C. Parry, C.W. Johnson, & S. Fullagar (Eds.) Digital Dilemmas: Transforming gender identities and power relations in everyday life, (pp. 95-117). Basingstoke: Palgrave Press.
EDGAR, Ian R. 2004: Defining the imagework method. In: Edgar, Ian R.: Guide to Imagework. Imagination-based Research Methods (p.6-11). London & New York: Routledge.
FOTOPOULOU, Aristea. (2016). Feminist Activism and Digital Networks: Between Empowerment and Vulnerability. Palgrave Studies in Communication for Social Change. London: Palgrave Macmillan.
FRIEDMAN, Elisabeth. (2017). Interpreting the Internet: Feminist and Queer Counterpublics in Latin America. Univ of California Press.
GILLIAN, Rose 2012: Visual Methodologies. An Introduction to researching with visual material, Sage Puclications, London.
GRASSENI, Christina 2008: Learning to See: World-views, Skilled Visions, Skilled Practice. In: Halstead, Narmala / Hirsch, Eric / Okely, Judith (Eds.): Knowing How to Know. Fieldwork and the Ethnographic Present (p.151-172). New York & Oxford: Berghahn Books.
GRAY, Gordon 2009: Cinema: A Visual Anthropology (Key Texts in the Anthropology of Visual and Material Culture). Berg Publishers.
GRIMSHAW, Anna 2022: Does Ethnographic Film (Still) Matter? Reflections on the Genre in a World of Multimodality. Visual Anthropology 35:2, pages 120-137.
GUZMAN, Elena H./HONG, Emily 2022: Feminist Sensory Ethnography. Vis Anthropol Rev, 38: 184-210. https://doi.org/10.1111/var.12273
HINTON, S. and HJORTH, L. 2013: Understanding Social Media, London: Sage.
KOZINETS, R. 2019: Netnography: The essential guide to social media research. Sage publications
LANGE, Patricia G. 2020: Hey Watch This! Sharing the Self Through Media. Ethnographic Film. https://vimeo.com/394007182
LEON-QUIJANO, Camilo 2022: Why Do ‘Good’ Pictures Matter in Anthropology? Cultural Anthropology 37, no. 3: 572–598. https://doi.org/10.14506/ca37.3.11.
LITT, E. and HARGITTAI, E. 2016: The Imagined Audience on Social Network Sites. Social Media + Society, January-Marchpp.1-12.
McGOWAN, Kate 2007: Key Issues in critical and cultural theory, Open University Press, New York
MITCHELL, W. J. Thomas 2005: What do pictures want? Chicago: The University of Chicago-Press.
MIRZOEFF, Nicholas 2006: The visual culture reader. Second edition, London/New York: Routledge.
PINK Sara 2007: The future of visual anthropology. Engaging the senses, New York: Routledge.
SVENINGSSON, M. 2001: Creating a Sense of Community. Experiences from a Swedish Web Chat. Linköping: Linköping Studies in Art and Science.
WATKINS, Craig 2018: The Digital Edge: How Black and Latino Youth Navigate Digital Inequality. New York University Press.
BAYM, N. 2010: Personal Connections in the Digital Age . Cambridge: Polity.
BERG, Ulla. 2015. Mobile Selves: Race, Migration, and Belonging in Peru and the U.S. NYU Press.
BOELLSTORFF, T., Nardi, B., PEARCE, C. and TAYLOR, T.L., 2012: Ethnography and virtual worlds: A handbook of method. Princeton University Press.
BOGLE, Donald 2005, Bright Boulevards, Bold Dreams. The Story of Black Hollywood. New York, Random House.
BURGESS, Jean & GREEN, Joshua 2018: YouTube: Online Video and Participatory Culture. John Wiley & Sons.
COUSINEAU, L. S., OAKES, H., & Johnson, C. W. (2019). Appnography: Modifying ethnography for app-based culture. In D.C. Parry, C.W. Johnson, & S. Fullagar (Eds.) Digital Dilemmas: Transforming gender identities and power relations in everyday life, (pp. 95-117). Basingstoke: Palgrave Press.
EDGAR, Ian R. 2004: Defining the imagework method. In: Edgar, Ian R.: Guide to Imagework. Imagination-based Research Methods (p.6-11). London & New York: Routledge.
FOTOPOULOU, Aristea. (2016). Feminist Activism and Digital Networks: Between Empowerment and Vulnerability. Palgrave Studies in Communication for Social Change. London: Palgrave Macmillan.
FRIEDMAN, Elisabeth. (2017). Interpreting the Internet: Feminist and Queer Counterpublics in Latin America. Univ of California Press.
GILLIAN, Rose 2012: Visual Methodologies. An Introduction to researching with visual material, Sage Puclications, London.
GRASSENI, Christina 2008: Learning to See: World-views, Skilled Visions, Skilled Practice. In: Halstead, Narmala / Hirsch, Eric / Okely, Judith (Eds.): Knowing How to Know. Fieldwork and the Ethnographic Present (p.151-172). New York & Oxford: Berghahn Books.
GRAY, Gordon 2009: Cinema: A Visual Anthropology (Key Texts in the Anthropology of Visual and Material Culture). Berg Publishers.
GRIMSHAW, Anna 2022: Does Ethnographic Film (Still) Matter? Reflections on the Genre in a World of Multimodality. Visual Anthropology 35:2, pages 120-137.
GUZMAN, Elena H./HONG, Emily 2022: Feminist Sensory Ethnography. Vis Anthropol Rev, 38: 184-210. https://doi.org/10.1111/var.12273
HINTON, S. and HJORTH, L. 2013: Understanding Social Media, London: Sage.
KOZINETS, R. 2019: Netnography: The essential guide to social media research. Sage publications
LANGE, Patricia G. 2020: Hey Watch This! Sharing the Self Through Media. Ethnographic Film. https://vimeo.com/394007182
LEON-QUIJANO, Camilo 2022: Why Do ‘Good’ Pictures Matter in Anthropology? Cultural Anthropology 37, no. 3: 572–598. https://doi.org/10.14506/ca37.3.11.
LITT, E. and HARGITTAI, E. 2016: The Imagined Audience on Social Network Sites. Social Media + Society, January-Marchpp.1-12.
McGOWAN, Kate 2007: Key Issues in critical and cultural theory, Open University Press, New York
MITCHELL, W. J. Thomas 2005: What do pictures want? Chicago: The University of Chicago-Press.
MIRZOEFF, Nicholas 2006: The visual culture reader. Second edition, London/New York: Routledge.
PINK Sara 2007: The future of visual anthropology. Engaging the senses, New York: Routledge.
SVENINGSSON, M. 2001: Creating a Sense of Community. Experiences from a Swedish Web Chat. Linköping: Linköping Studies in Art and Science.
WATKINS, Craig 2018: The Digital Edge: How Black and Latino Youth Navigate Digital Inequality. New York University Press.
Zuordnung im Vorlesungsverzeichnis
Letzte Änderung: Di 03.10.2023 16:28
Thus Visual Anthropology provides basic theoretic insight and methodological concepts for new anthropological fields such as performance studies, anthropology of emotions, anthropology of communication, anthropology of space, design anthropology etc.In this combined lecture-seminar Visual Culture AND the conceptual implementation possibilities of Visual Anthropology will be discussed along with current technological trends, which are, in turn, reflected in the discourses of Visual Culture (digitalization of visual media, amalgamation of media in cyberspace, iconic turn etc.) and (re)define the term 'media'. Given a practical focus, the above-mentioned processes which are of current significance when examining Visual Culture will be illustrated by regional examples in past and presence.2. Course aimThe students will learn about the history and development of Visual Culture, the various terms and discourses as well as the current trends within the field. Furthermore, the connection to Visual Anthropology, (a.o. film theory and media analysis) will be discussed.
The intention is to present the broad spectrum of research opportunities both of Visual Culture and Visual Anthropology and to enable the students to develop a critical view of new media, given that the socio-ethnic dimension – the social aspect of ethics – at times falls by the wayside because of fast technological progress (e.g. the surveillance technologies and their inherent impact of reducing constitutional and civil rights as already executed in China, Korea, Singapore etc.).
Furthermore the students may conceptualize their research questions visually as a film /video production or as website/blog (-> 4. Exam and certificate requirements)3. Teaching methodswill consist of:• multi-media presentation of the contents (film, video, audio samples, PowerPoint-based lecture)
• presentation of video productions of students from former courses (screening)
• student input (1): reading, working with and discussion of required reading material (dossier)
• student input (2): presentation and demonstration of graphic material and visual media (film/video, slides/photographs – digital & analog) on a self-chosen anthropological topic
• option to work in groups or individually
• discussion of the problems and questions arising