240523 SE Visual and digital approaches in the field of (forced) migration (P4) (2020S)
- Registration is open from Sa 01.02.2020 00:01 to Tu 25.02.2020 23:59
- Deregistration possible until Th 30.04.2020 23:59
Classes (iCal) - next class is marked with N
Aims, contents and method of the course
Assessment and permitted materials
- active participation and discussion in class (during the period of distance learning, submit assignment)
- presentation and discussion of the compulsory literature (this may have to be adjusted if the distance learning period is prolonged after the Easter holiday).
- poster (visualization of findings) and poster presentation (this may have to be adjusted if the distance learning period is prolonged after the Easter holiday).
Minimum requirements and assessment criteria
20% of the final grade: presentation and discussion of the compulsory literature (and/or assignments during distance learning period).
40% of the final grade: poster (this may have to be adjusted if the distance learning period is prolonged after the Easter holiday).
20% of the final grade: poster presentation (this may have to be adjusted if the distance learning period is prolonged after the Easter holiday).NEW REQUIREMENTS/GRADING DUE TO DISTANCE LEARNING:
Assignment 1: 20%
Assignment 2: 20%
Assignment 3: 10%
Assignment 4: 10%
Final paper: 40%Please be aware that all of the above-listed assignments are required in order to receive a positive evaluation.Grading scale:
91 - 100 points = 1 (sehr gut)
81 - 90 points = 2 (gut)
71 - 80 points = 3 (befriedigend)
61 - 70 points = 4 (genügend)
0 - 60 points = 5 (nicht genügend)
Arendt, Hannah. The Origins of Totalitarianism. New York: Harcourt Brace, 1973 .Baldassar, Loretta, Mihaela Nedelcu, Laura Merla and Raelene Wilding. “ICT-based Co-presence in Transnational Families and Communities: Challenging the Premise of Face-to-face Proximity in Sustaining Relationships”. Global Networks: A Journal of Transnational Affairs 16, no. 2 (2016): 133–144.Banks, Marcus. Visual Methods in Social Research. London: Sage, 2001.Collin, Simon. “ICTs and Migration: The Mapping of an Emerging Area of Research”. The International Journal of Technology, Knowledge and Society no. 2 (2012): 65–78.Darcey, Alexandra. “Digital storytelling as transformative practice: Critical analysis and creative expression in the representation of migration in Ireland.” The Journal of Media Practices, 9:2 (2008): 101-112.Horst, Heather A. and Daniel Miller. Digital Anthropology. London: Bloomsbury, 2012.Köhn, Steffen. Visual Anthropology in the Age of Migration. New York: Columbia University Press, 2016.
Leurs, Koen. “Communication rights from the margins: politicising young refugees’ smartphone pocket archives.” The International Communication Gazette. Vol. 79, No 6-7, (2017): 674–698.Leurs, Koen and Kevin Smets. “Five Questions for Digital Migration Studies: Learning From Digital Connectivity and Forced Migration In(to) Europe”. Social Media + Society (2018): 1–16.
Madianou, Mirca and Daniel Miller. “Polymedia: Towards a new theory of digital media in interpersonal communication”. International Journal of Cultural Studies. 16, No 2, (2013): 169–187.
Madianou, Mirca and Malika Wyss. “‘Doing Family’ at a Distance: Transnational Family Practices in Polymedia Environments”. In The Routledge Companion to Digital Ethnography, edited by Larissa Hjorth et al., 102–111. New York: Routledge, 2017.
Miller, Daniel and Jolynna Sinanan. Webcam. Cambridge: Polity Press, 2014.Nedelcu, Mihaela and Malika Wyss. “‘Doing Family’ through ICT-mediated Ordinary Co-presence: Transnational Communication Practices of Romanian Migrants in Switzerland”. Global Networks 2 (2016): 202–218.Underberg, Natalie and Elayne Zorn. Digital ethnography: Anthropology, narrative and new media. Austin, Tex: University of Texas Press, 2013.Pink, Sarah. The Future of Visual Anthropology: Engaging the senses. London, New York: Routledge, 2006.Risam, Roopika. “Now you see them: Self-representation and the refugee selfie.” In Popular Communication. The International Journal of Media and Culture. 16:1 (2018): 58-71.