I need APA 6th edition!
**please see the file “Instructions” for more detailed information!
Module 1: Process Relational Approaches to Media
(i)Watch: Stalker. Dir. By Andrei Tarkovsky, 1979. Russian Federation.
(ii)Read: Ivkhiv, A. (2013). “Ecology, Morphology, Semiosis: A Process Relational Account of Cinema.” Ecologies of the Moving Image: Cinema, Affect, Nature. Wilfrid Laurier University Press.
(i)Watch: Paris, Texas. Dir. Wim Wenders, 1984. France/West Germany.
(ii)Read: Ivkhiv, A. (2013). “Territory: The Geomorphology of the Visible..” Ecologies of the Moving Image: Cinema, Affect, Nature. Wilfrid Laurier University Press.
(iii)Thoughts for reflection: Landscape, trauma, faces, masculinity, family, nature, movement, perception, enframing, imagination…
Module 2:Totality & Geopolitics
(i)Watch: Bacurau. Dir. By Kleber Mendonca Filho and Juliano Dornelles, 2019. Brazi/France
(ii)Read: Jameson, Fredric. “Totality as Conspiracy.” The Geopolitical Aesthetic: Cinema and Space in the World System. Bloomington, Ind: Indiana University Press, 1992.
(i)Watch: The Last Angel of History, Dir. John Akomfrah, 1996. United Kingdom.
[YouTube https://www.youtube.com/watch?v=AorKl-FmCLA&ab_channel=ARodriguez ] (ii)Read: Pisters, Patricia. “The Open Archive: Cinema as World History” The neuro-image: A Deleuzian film-philosophy of digital screen culture. Stanford University Press, 2012.
(iii)Short Interview with John Akomfrah: https://www.thewire.co.uk/about/artists/john-akomfrah/john-akomfrah_the-nine-muses
(iv)Thoughts for reliction: technology, communications, music/sound, race, history, speed, repetition, hyper-, openness/enclosure…
Nomads & Contact:
(i)Watch: Atanarjuat the Fast Runner. Dir. Zacharias Kunuk. 2000.
(ii)Read: Robins, Dylan. “Introduction: The Body is a Resonant Chamber” and STRONGLY SUGGESTED “Intergenerational Sense, Intergenerational Responsibility.” Both in: Arts of Engagement: Taking Aesthetic Action In and Beyond the Truth and Reconciliation Commission of Canada Waterloo, Ontario: Wilfrid Laurier University Press, 2016.
Some things to consider for the module reflection might include:
1. The intellectual contexts of the readings and their relationship to the films? What information is key? What images are key? What stood out to you? What other research is this paper or chapter building on across the module? Or conversely, how are the films putting theory into practice? What is the main question or problem addressed in the reading?
2. How is the media constructed? How is montage at work in the film? How is mise-en-scène deployed? What surprised you the most about the film or the reading?
3. What are your main takeaways of the modules? What kinds of morphologies in your understanding of the topic have changed? What are you curious to learn more about?
4. If the material is hard or unfamiliar how should you go about having a better handle on it? What was hard? Why was it hard?
5. What did you find easy? What did you find hard? What can you do with what you know now?
**These are suggestions and not prescriptions. The reflection is formal in the sense that it is graded but informal in that the topics can be freewheeling and should reflect your interests.
I need APA 6th edition!