CSCL Final Review

CSCL Final Review - CSCL Final Review MAUS Because theres a...

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CSCL Final Review MAUS - Because there’s a selecting subject (subjectivity): all fiction is a species of lying - History is neither objective or neutral Hegelian History - “Idealist” or “Hegelian” history: “grand narratives” & a “reflective” method of rep objective methods - Grand narrative: marry, have children, live together till old: how can we do a good history better than true history - “It’s the state that first presents a subject matter that not only is adapted to the prose of history but involves the production of such history in the progress of its own being” - Locates history in the public sphere associated w/ the activity of men & excludes the domestic sphere - History is “political history,” unconcerned w/ activities of everyday life - History written solely from view pt of most pwrful, serves interest of those in pwr & reinforces mythology that only they make history History - Episteme/regime of truth: “partial truth” - Visual rhetoric, intertextuality, materiality = production & consumption, humanism, essentialism, ideology Ideology - Shape us w/o our consciousness. There’s no space outside of ideology: the question is how to reveal it Rhetoric - What we are doing - How do the rep that surround us “construct our sense of what’s logical, natural, and believable”? Rhetoric of Crash - What’s troubling in this film? Controlling Questions: - How do the representations that surround us ‘construct our sense of what’s logical, natural, and believable?’ - Sites: Crash, Press, Journalism, and Public Rhetoric Rhetorical Questions: - Subjectivity: How can we read popular rhetoric to understand our collective and individual consciousness? - Agency: Can there be an effective politics of representation? Can write, talk, sing, speak, or shoot (as in film) anything that will change peoples minds? - Ethics: What constitutes ‘good’ rhetoric? How can rhetoric ‘go bad’? - Ideology: How can we describe the political/ideological positions advocated by representation? How might we push back? Seeing Rhetoric in Film: - Seeing interpellates us, but meaning and interpretation are provisional (seeing helps make us what we are, our responses may strengthen/weaken our beliefs Leppert)
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- Every picture tells a story, films (and all images) offer a narrative which we form from formal elements of the image and from our knowledge and beliefs - The film has narratives, along with individual scenes Western Art: - has beginning, middle, and end Crash: - Robin think the movie is brilliant BUT it’s a degrading, retrograde, immoral film - Cutting is different because sound from one scene doesn’t go through to the next - St. Christopher: white police (Tom Hansen) kills a nice black boy hat goes to same church - Detective Graham Waters turns Ria (Puerto Rican/El Salvador) to white to make mother mad. Ria mad: withhold sex from detective - Best Friends: Sandra and her maid vs. Jean the bitch - Father & son vs. Shaniqua & Ryan (“Don’t mess w/ me you white racist Irish boy”)
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This note was uploaded on 10/01/2008 for the course CSCL 1001 taught by Professor Brown during the Spring '08 term at Minnesota.

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CSCL Final Review - CSCL Final Review MAUS Because theres a...

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