Al-Bab is a portal website designed to introduce non-Arabs to Arab culture by providing links to news sources, country profiles, articles, and a blog on Middle East current events. There are also specific links related to learning Arabic: dictionaries, language classes, textbooks, and other information pertaining to the study of Arabic. A free e-book, The Birth of Modern Yemen, is available for download.

This course focuses on novels and films from the last twenty-five years (nominally 1985–2010) marked by their relationship to extreme violence and transgression. Our texts will focus on serial killers, torture, rape, and brutality, but they also explore notions of American history, gender and sexuality, and reality television—sometimes, they delve into love or time or the redemptive role of art in late modernity. Our works are a motley assortment, with origins in the U.S., France, Spain, Belgium, Austria, Japan and South Korea. The broad global era marked by this period is one of acceleration, fragmentation, and late capitalism; however, we will also consider national specificities of violent representation, including particulars like the history of racism in the United States, the role of politeness in bourgeois Austrian culture, and the effect of Japanese manga on vividly graphic contemporary Asian cinema.
We will explore the politics and aesthetics of the extreme; affective questions about sensation, fear, disgust, and shock; and problems of torture, pain, and the unrepresentable. We will ask whether these texts help us understand violence, or whether they frame violence as something that resists comprehension; we will consider whether form mitigates or colludes with violence. Finally, we will continually press on the central term in the title of this course: what, specifically, is violence? (Can we only speak of plural “violences”?) Is violence the same as force? Do we know violence when we see it? Is it something knowable or does it resist or even destroy knowledge? Is violence a matter for a text’s content—who does what, how, and to whom—or is it a problem of form: shock, boredom, repetition, indeterminacy, blankness? Can we speak of an aesthetic of violence? A politics or ethics of violence? Note the question that titles our last week: Is it the case that we are what we see? If so, what does our obsession with ultraviolence mean, and how does contemporary representation turn an accusing gaze back at us?

Critical Language Service offers playlists with video lessons that explain the material in Alif Baa, Al-Kitaab 1 (through lesson 11), and a series on Egyptian vocabulary. Videos designed for the Alif Baa series focus on stories to illustrate new vocabulary while the series designed for Al-Kitaab explains grammatical concepts introduced in the books, and demonstrate proper pronunciation. They also offer a playlist of 60 cartoon episodes in Arabic.

By critically analyzing popular television programs, students develop an awareness of the messages that are portrayed through the media.

In this lesson, the students will summarize their experiences in the Amazon rainforest by developing and presenting a briefing for a T.V. evening news program.

Exploring Movie Construction & Production contains eight chapters of the major areas of film construction and production. The discussion covers theme, genre, narrative structure, character portrayal, story, plot, directing style, cinematography, and editing. Important terminology is defined and types of analysis are discussed and demonstrated. An extended example of how a movie description reflects the setting, narrative structure, or directing style is used throughout the book to illustrate building blocks of each theme. This approach to film instruction and analysis has proved beneficial to increasing students’ learning, while enhancing the creativity and critical thinking of the student.

In this activity, the students will develop a briefing for a T.V. evening news program that summarizes their experiences surviving in the Amazon rainforest. The students will have the opportunity to role play as interviewer and interviewee in presentations to the class.

This course concentrates on close analysis and criticism of a wide range of films, from the early silent period, classic Hollywood genres including musicals, thrillers and westerns, and European and Japanese art cinema. It explores the work of Griffith, Chaplin, Keaton, Capra, Hawks, Hitchcock, Altman, Renoir, DeSica, and Kurosawa. Through comparative reading of films from different eras and countries, students develop the skills to turn their in-depth analyses into interpretations and explore theoretical issues related to spectatorship.

This course examines representations of race, class, gender, and sexual identity in the media, with a particular focus on new media and how digital technologies are transforming popular culture. We will be considering issues of authorship, spectatorship, (audience) and the ways in which various media content (film, television, print journalism, blogs, video, advertising) enables, facilitates, and challenges these social constructions in society.

This course examines representations of race, class, gender, and sexual identity in the media, with a particular focus on new media and how digital technologies are transforming popular culture. We will be considering issues of authorship, spectatorship, (audience) and the ways in which various media content (film, television, print journalism, blogs, video, advertising) enables, facilitates, and challenges these social constructions in society.

The topic for Fall 2006 is short film and radio plays. This course investigates current trends and topics in German literary, theater, film, television, radio, and other media arts productions. Students analyze media texts in the context of their production, reception, and distribution as well as the public debates initiated by these works. The topic for Fall 2006 is German Short Film, a popular format that represents most recent trends in film production, and German Radio Art, a striving genre that includes experimental radio plays, sound art, and audio installations. Special attention will be given to the representation of German minorities, contrasted by their own artistic expressions reflecting changes in identity and a new political voice. Students have the opportunity to discuss course topics with a writer, filmmaker, and/or media artist from Germany. The course is taught in German.

The goal of this course is to review grammar and develop vocabulary building strategies to refine oral and written expression. Speaking and writing assignments are designed to expand communicative competence. Assignments are based on models and materials drawn from contemporary media (newspapers and magazines, television, Web). The models, materials, topics and assignments vary from semester to semester.

In this presentation from the Institute of Film and Television Studies' Ephemeral Media Workshops Charlie Mawer from Red Bee Media, discusses his company's work on the branding and promotion of television channels; from BBC channels through to new channels like Dave.

Presentation produced/delivered: June/July 2009

Suitable for undergraduate study and community education

Charlie Mawer, Executive Creative Director, Red Bee Media

Charlie Mawer, after a spell of writing comedy, joined a fledgling BBC creative department eventually becoming Executive Creative Director. In 2005 he helped transform the company into Red Bee Media.

Since then he has overseen high profile work including the rebranding of BBC1, BBC3, Virgin1 and the network rebranding of UKTV including the IPA gold winning creation of Dave.

Red Bee Media works globally with media brands including Disney, Discovery, ESPN, Canal+, and has produced branding for CCTV – China Central Television’s Olympic channel, the host broadcaster for the Beijing Olympics.

This course provides a critical analysis of mass media in our culture. Various types of media such as books, films, video games, and online interactions will be discussed and reviewed. This course will also evaluate how information and ideas travel between people on a large scale.

Introduction to Media Studies is designed for students who have grown up in a rapidly changing global multimedia environment and want to become more literate and critical consumers and producers of culture. Through an interdisciplinary comparative and historical lens, the course defines “media” broadly as including oral, print, theatrical, photographic, broadcast, cinematic, and digital cultural forms and practices. The course looks at the nature of mediated communication, the functions of media, the history of transformations in media and the institutions that help define media’s place in society.
Over the course of the semester we explore different theoretical perspectives on the role and power of media in society in influencing our social values, political beliefs, identities and behaviors. Students also have the opportunity to analyze specific media texts (such as films and television shows) and explore the meaning of the changes that occur when a particular narrative is adapted into different media forms. We look at the ways in which the politics of class, gender and race influence both the production and reception of media. To represent different perspectives on media, several guest speakers also present lectures. Through the readings, lectures, and discussions as well as their own writing and oral presentations, students have multiple opportunities to engage with critical debates in the field as well as explore the role of media in their own lives.

Introduction to Media Studies is designed for students who have grown up in a rapidly changing global multimedia environment and want to become more literate and critical consumers and producers of culture. Through an interdisciplinary comparative and historical lens, the course defines “media” broadly as including oral, print, theatrical, photographic, broadcast, cinematic, and digital cultural forms and practices. The course looks at the nature of mediated communication, the functions of media, the history of transformations in media and the institutions that help define media’s place in society.
Over the course of the semester we explore different theoretical perspectives on the role and power of media in society in influencing our social values, political beliefs, identities and behaviors. Students also have the opportunity to analyze specific media texts (such as films and television shows) and explore the meaning of the changes that occur when a particular narrative is adapted into different media forms. We look at the ways in which the politics of class, gender and race influence both the production and reception of media. To represent different perspectives on media, several guest speakers also present lectures. Through the readings, lectures, and discussions as well as their own writing and oral presentations, students have multiple opportunities to engage with critical debates in the field as well as explore the role of media in their own lives.

Short Description:
MEDIAUCRACY: Why Canada hasn't made global hits and how it can is the story of the fiery collision between Canada's national TV policy and the global, online era. Featuring interviews with Hollywood showrunners, award-winning producers, and top policy leaders, it argues for a new goal -- globality -- policy that incentivizes global reach and popular content. Mediaucracy concludes with an original five-step, goal-driven, evidence-based, critical path including POM to COM, G-Score, and PM to AM. Called an "important, timely roadmap to a much-needed policy update," this 21st century tool kit will future-proof Canadian TV policy via the three key words in the TV biz: Audience, audience, audience.

Long Description:
MEDIAUCRACY: Why Canada hasn’t made global hits and how it can is the untold the story of the collision between Canada’s national TV policy and the global, online era. It argues for a new goal — globality — TV policy that incentivizes global reach and popular content. The book makes it case with interviews with top-tier creators, executives, and policy makers; an authoritative value chain analysis; a review of TV policy around the world; and a comprehensive history of Canadian TV policy, including Canada’s 4 recent federal inquiries on the same issue — the impact of digital disruption. MEDIAUCRACY concludes with an original five-step, goal-driven, evidence-based, critical path including POM to COM, G-Score, and PM to AM. Called an “important, timely roadmap to a much-needed policy update,” this 21st century tool kit will future-proof Canadian TV policy via the three key words in the TV biz: Audience, audience, audience.

Word Count: 68024

ISBN: 978-1-77417-023-6

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Pop culture and the classroom collide in this lesson when students go behind the scenes to analyze a television series for characterization to use in an original television show proposal.

This course explores the international trade in television text, considering the ways in which ‘foreign’ programs find places within ‘domestic’ schedules. Looking at the life television texts maintain outside of their home market, this course examines questions of globalization and national cultures of production and reception. Students will be introduced to a range of positions about the nature of international textual trade, including economic arguments about the structuring of international markets and ethnographic studies about the role imported content plays in the formation of hybrid national identities. Students will be encouraged to consider the role American content is made to play in non-American markets.

In this class we will come to understand the vast changes in Spanish life that have taken place since Franco’s death in 1975. We will focus on the new freedom from censorship, the re-emergence of movements for regional autonomy, the new cinema, reforms in education and changes in daily life: Sex roles, work, and family that have occurred in the last decade. In so doing, we will examine myths that are often considered commonplaces when describing Spain and its people.