Taking a communication perspective, this course examines the nature of conflict in American society and offers alternatives to unilateral power based strategies of conflict resolution. Students are introduced to theories about the nature and kinds of conflict, as well as differing models for managing conflicts. They learn to map and analyze real life conflict situations in interpersonal, inter-group, and organization contexts and work with skills and models for conflict resolution. This course addresses ethical issues across media platforms in news, entertainment, public relations and advertising.
Students think through ethical challenges such as the use of anonymous sources in journalism, editing images in advertising and crisis management. Students will conduct case study analyses of ethical dilemmas in the media.
This course explores the innovation and rise of social media in our personal, social, political and economic relationships. Students will learn to critically analyze the subversive power of comedy in exploring issues of race, gender, sexual orientation and class in American media. SS, DN. This course explores the cultural myths about race, gender and technology found in science fiction television and film and what they say about our past, present, and future. From musical mash-ups to video parodies, disputes about authorship, remixes, and copyright have become increasingly prominent in our digital media landscape.
This course takes a humanistic approach to explore questions about originality and derivation in art and cultural production and the place of copyright and intellectual property in laying the groundwork for creative culture. We will examine ideas about and legal approaches to authorship and intellectual property from historical and philosophical perspectives; we will also look closely at contemporary controversies regarding piracy, file-sharing, culture jamming, sample-based art, and equally controversial efforts on the part of policymakers and corporations to limit or curtail these practices.
We will not only discuss remix and the digital tools that are enabling a profusion of new expressive forms, but students will use some of these very tools to create media projects that analyze and comment upon contemporary debates. This course examines the theoretical and historical underpinnings of how we think about freedom of expression and its importance to societies organized around the idea of democracy.
The course will contrast two intellectual approaches to the role of expression in Western society: the classical liberal and the romantic. We will explore the historical development of these ideas, analyze how they were applied in landmark cases, as well as challenge ourselves to apply these systems of logic to contemporary speech controversies.
We engage current concerns such as corporate power, digital media, and free speech on campus. This course will explore how social movement activists have sought to engage popular media to promote social change as well as to change media structures themselves.
What kind of tactics and strategies have different movements developed to influence corporate media? What strategies have they developed for creating alternative media and public forums? While we will focus mostly on media savvy U. There is no prerequisite for this course. This course explores theories and research on gender, ethnicity and communication, with a particular focus on African American culture.
Students will use two research methods to study the relationship between gender, ethnicity and communication: a discourse analysis and an autoethnography. The reading, writing, and discussions in the course will encourage students to cultivate more reflective communicative practice. This class explores how the meaning and value of childhood is negotiated in screen media. The course takes a chronological approach, beginning with literature and portraiture before moving to cinema, television, and gaming.?
It is? In written papers and presentations? Four hours per? This course considers the relationship between the voice and identity in order to examine how voices are interpreted in a variety of cultural contexts. We will examine voices floating on the airwaves of talk radio, belting from stages of televised singing competitions, occupying the soundtracks of the cinema, coughing in the lecture hall, pranking with the telephone, soaring at a football game, and soothing the nerves through a podcast late at night. Students will produce projects that engage with questions of vocal representation, creating media texts that demonstrate standard modes of constructing the mediated voice and suggest routes for destabilizing these rules.
We will also analyze and write about voices, our own and those of others, situated in the present and beyond the grave. An examination of media within the global community. National media systems are analyzed within the context of the cultural, political and economic environments in which they developed and now operate. Technological advances in communication systems will be explored as the forces behind the recent growth of a global media system. Students will examine the role of transnational media ownership, globalization of culture especially in non-western nations and the vital role of new media technology in the rise of international terrorist organizations.
An examination of face-to-face communication between people of different cultural backgrounds. Case studies are analyzed to identify differences in expectations, practices, and interpretations. Topics include cross-cultural comparisons of conversational style, power relations, language, and perception in educational, organizational, and social settings. This course may be a particular interest to students preparing to study abroad as well as those planning to work in international business, education, and politics.
D, GN. This course will examine the role of stars in the history of Hollywood film. In addition to considering how stars function within the film industry, we will also study celebrity culture more broadly. While our primary focus will be on film stars, we will also consider music and television as star-making platforms.
This course studies the development and proliferation of films and television programs? This class focuses on the dynamics between communication technologies and culture and asks three questions: How are communication technologies revolutionary? How are they continuities of traditional media in terms of content, audiences, advertising, and corporate ownership? Do cultural changes determine advancements in communication technologies or do changes in communication technologies determine cultural changes?
Persuasion: Critical studies in Advertising and Propaganda. Every day, each of us is the targets of countless media messages meant to persuade us and change our behavior. This course explores the workings of media persuasion with a special focus on advertising, political campaigning, and propaganda. We will examine the modern historical development of these forms and explore critical theories attempting to understand their social significance, while building skills for analyzing and decoding advertising and propaganda messages in various guises.
A critical exploration of news culture. Students work with quantitative and qualitative methodologies to explore issues related but not limited to race, gender, class, and nationality in the production and consumption of American news. This class explores uses of new communication technology in political and social organizing, with particular attention to subgroups within the US population and how issues of race, class, and gender interact with the opportunities and constraints of our digital democracy.
This course will focus on a specific topic at an advanced theoretical or critical level within media and communication studies not covered in the other courses in the curriculum.
ISBN 13: 9780415094719
H Offered during U. An off-campus work experience under the supervision of a faculty adviser and an on-site supervisor. Includes periodic meetings with the faculty adviser and completion of a work log and a final poster presentation. Open to juniors and seniors. The term during which the internship work is performed will be noted by one of the following letters, to be added immediately after the internship course number: A fall , B winter , C spring , or D summer.
Internships undertaken abroad will be so indicated by the letter I.
The Internet Gives Television a Second Act
The intern must complete a minimum of hours of work. Prerequisites: major or minor in MCS, three courses completed in the department, and approval of a faculty internship adviser. Three semester hours. Independent research under the supervision of a faculty adviser. A final product and an oral presentation to the department on a specific topic in media and communication studies is required. Prerequisites: eight credits of course work MCS in media and communication studies, demonstrated competence in the specific area of a study, a written project proposal, and permission of a department faculty member who will serve as project adviser.
Offered in the fall semester. Four semester hours XLP.
Political Economy of the Media - Oxford Research Encyclopedia of Communication
Content, prerequisites, and requirements are the same as MCS Offered in spring semester. Advanced individual work in media production. Prerequisites: eight credits of course work in media and communication studies between MCS , demonstrated competence in the specific area of production, a written project proposal, and permission of a department faculty member who will serve as project adviser.
Students study the theories and practices of media criticism, applying them to historical or contemporary texts, such as popular music, films, news reportage, and fictional television. Students engage in research and writing and make an oral presentation of their findings.
Senior standing or permission of instructor. Students work with ethnographic methods as a means to explore the communicative patterns and processes of groups, organizations, and institutions. Students will conduct fieldwork, analyze data, and write a research paper as well as make an oral presentation of their findings. Students work with survey methodologies to explore relationships between audiences and media use.
How do we balance the relationship between creative gut feeling and using data for good stories? How does social data analysis differ from conducting focus groups with those audiences? By analysing the social data, you find invaluable things about them that they might not know themselves; we can see en masse what they like, what they respond to, what they value, what makes them laugh, and what their overall personality traits are.
You can then use that understanding to inform your writing, and see if your interpretation of that data tallies with the audience in real life.
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Take a look at the most Tweeted about moment and contestants from last night's episode of TheBachelor pic. Do you think that senior executives in the entertainment industry are ready for this? Legendary Pictures use data like this all the time, as do MGM as one of their investors is a big data guy. So in order to attract an audience you have to do extraordinary things, and really work hard to prove you're valuable.