Class Schedules

This course introduces students to the intellectual roots and contemporary applications of cultural studies, including critical media studies, focusing on the theoretical bases for analyses of power and meaning in production, texts, and reception. It includes primary readings in anti-racist, feminist, modern, postmodern, and queer cultural and social theory, and compares them to traditional approaches to the humanities. Designed as preparation for intermediate and advanced work grounded in cultural studies, the course is writing intensive, with special emphasis on developing skills in critical thinking and scholarly argumentation and documentation. Completion of or enrollment in MCST 110 is the prerequisite for majoring in media and cultural studies.

General Education Requirements:
Writing WA

Distribution Requirements:
Humanities

Course Materials

This course introduces the aesthetics of film as well as selected issues in contemporary film studies. Its aesthetic approach isolates the features that constitute film as a distinct art form: narrative or non-narrative structure, staging, cinematography, editing, and sound. Topics in contemporary film studies that might be considered include one or more of the following: cultural studies and film, industrial organization and globalization, representations of gender and race, and theories of authorship, horror, and spectatorship. Several papers, a test covering basic film terms, and a short video project emphasizing abstract form are required. Suitable for first year students.

General Education Requirements:
U.S. Identities and Differences

Distribution Requirements:
Fine arts

Course Materials

This course introduces the aesthetics of film as well as selected issues in contemporary film studies. Its aesthetic approach isolates the features that constitute film as a distinct art form: narrative or non-narrative structure, staging, cinematography, editing, and sound. Topics in contemporary film studies that might be considered include one or more of the following: cultural studies and film, industrial organization and globalization, representations of gender and race, and theories of authorship, horror, and spectatorship. Several papers, a test covering basic film terms, and a short video project emphasizing abstract form are required. Suitable for first year students.

General Education Requirements:
U.S. Identities and Differences

Distribution Requirements:
Fine arts

Course Materials

The theorization of difference is an important aspect of cultural theory. In this class we will look at the role of difference as it is understood through ideas of representational and aesthetic politics as well as through the practice and production of knowledge. We want to examine the turn to difference within cultural studies and how this move has shifted how we think about power relations and meaning making in society. We will look at the foundational work of critical race and ethnic studies in cultural theory as well more recent scholarly work that focuses on the administration of difference through surveillance technology and social media. The class will expose students to a range of material including print, digital media, film, television, and internet and social media.

General Education Requirements:
U.S. Identities and Differences

Distribution Requirements:
Social science

Course Materials

Strengths in Action combines exploration of self with the opportunity to participate in project-based learning through community partnership. In the first half of this course, students will foster both abstract and practical self-awareness using strengths-based activities and assignments with a particular emphasis on career development. The second half of the course will focus on creating a proposal that helps meet a need or solve a problem for the Northeast Minneapolis Arts Association (NEMAA), facilitators of Art-A-Whirl, the largest annual open artist studio tour in the U.S. Designed specifically for first years and sophomores, this course can serve as a launching point for students to pursue, and be prepared for, more robust professional and academic opportunities (internships, research opportunities, fellowships, etc.).

General Education Requirements:

Distribution Requirements:

Course Materials

Global media collectively have tremendous influence in how many see and comprehend the world and therefore on the information and beliefs upon which they feel or act. While media are central to the continued production of a sense of "the world" at large or the "global" scale, media industries are situated geographically, culturally and institutionally. Even if they promise worldwide coverage or are multinational companies, there is much to be gained from studying how media are produced and distributed differently according to specific social, political, economic and historical conditions. This course considers media industries around the world with a focus on the relationships between the labor and infrastructures behind representations in a broad range of media (television, radio, cinema, news, telecommunications, internet).

General Education Requirements:
Internationalism

Distribution Requirements:
Humanities

Course Materials

Global media collectively have tremendous influence in how many see and comprehend the world and therefore on the information and beliefs upon which they feel or act. While media are central to the continued production of a sense of "the world" at large or the "global" scale, media industries are situated geographically, culturally and institutionally. Even if they promise worldwide coverage or are multinational companies, there is much to be gained from studying how media are produced and distributed differently according to specific social, political, economic and historical conditions. This course considers media industries around the world with a focus on the relationships between the labor and infrastructures behind representations in a broad range of media (television, radio, cinema, news, telecommunications, internet).

General Education Requirements:
Internationalism

Distribution Requirements:
Humanities

Course Materials

This course is designed as a basic introduction to digital video production. The objective of the class is to familiarize students of film theory and history with the language of cinema from the standpoint of production in order to deepen your appreciation and knowledge of the technical aspects of film/video and to develop your capacity to use video as a tool for research and communication. In this way, the course will be a combination of technical instruction, critical engagement, and creative exploration. We will analyze and employ a variety of filmmaking techniques as well as constructing narrative and non-narrative strategies for doing so. The focus of the course will be to familiarize you with some basic conventions of experimental, documentary, and narrative cinema. In each assignment, you will be encouraged to think about how formal decisions enhance and further narrative or thematic elements. We will thus pay very close attention to formal aspects of cinematic production: mise-en-scene. cinematography, editing, and sound design. In addition to this attention to form, success in the class will be dependent on a commitment to working through the technical aspects of video production (camera operation, lighting, editing software) in order to create short, original video pieces.

General Education Requirements:

Distribution Requirements:
Fine arts

Course Materials

Taught in English; there is an optional German component for those who want to have the course count toward their German-taught courses. In this case, students must do the reading and writing assignments and some of their oral presentations in German. In this course we focus on the exchanges and influences among French, German, and American cinematographers within the genre of road movies. We begin with a couple of 1940s-1950 American films that cut across the genres of road movie and film-noir and had an impact on the French nouvelle-vague director Jean-Luc Godard, whose films, in turn, inspired American road movies during their acme in the 1960s-1970s (Dennis Hopper, Bob Rafelson). We shall then turn to the German director Wim Wenders to focus on the relation of his 1970s-1980s road movies to both the German literary canon and American cinematography, notably Jim Jarmusch. The course will conclude with the German director of Turkish descent, Fatih Akin, who complicates the above exchanges by intertwining them with the significant German-Turkish cultural exchange. Students will gain insight into film as an aesthetic, ideological, and political medium, and into specifics of the culture of the countries involved. No pre-knowledge required; appropriate for all students.

General Education Requirements:

Distribution Requirements:
Humanities

Course Materials

This course is designed to be a critical look at an often-unexamined medium, television. We will approach TV as an industry, a medium or mode of culture, a sometimes-maligned object of discourse, and a site of textual, social, and political practices. Our guiding principle will be that TV matters. And we will ask not just what ideas and practices it produces, but, importantly, how it produces them and how they have changed over time. Starting in the postwar period, we will trace the emergence of television culture, mostly within the United States, and think about how this particular media institution shaped, and was shaped by, its social and historical context. Specifically, this portion will focus on how the television was constructed as a domestic appliance and was used as an instrument for producing and policing the ideal or normative family. Then, the course will examine the history and politics of racial representation on television, starting with the symbiotic relationship between the civil rights movement and television news institutions in the mid-20th century. We will follow this into the present, with particular emphasis on television's role in molding ideas about policing, protest, and racism. Throughout, we will consider the distinct textual, aesthetic, and stylistic aspects of individual television programs as well as the larger discursive environment in which they operate. Screening these episodes along with theoretical, historical, and analytical readings, this course will use class discussion, lecture, and written assignments to develop critical frameworks for understanding TV.

General Education Requirements:

Distribution Requirements:
Humanities

Course Materials

All readings and class taught in English; no pre-knowledge required. For thousands of years value has been scrutinized in philosophy, art history, and economic analysis, as it cuts across three constitutive aspects of social, cultural, and political life: economy, aesthetics, and ethics. Not only do we have and impose on the world our moral, aesthetic, and exchange values, but these three fields often become difficult to distinguish, as is evident in the slippery flexibility of words that allow us to say as much "this painting is bad or worthless" as "I think this person is bad or worthless," or "this is a bad, or worthless, remark" and "this is a bad or worthless check." This course will focus primarily on influential accounts of value in aesthetic theory, while also examining the ways in which aesthetic value demarcates itself from or implicates its moral and economic counterparts, and what the interplays among the three fields entail for aesthetic value. Our readings will focus on the formation of modern aesthetic theory-from the early eighteenth century through the Enlightenment and Romanticism to high modernism, the Frankfurt School, and postmodernism.

General Education Requirements:
Internationalism

Distribution Requirements:
Humanities

Course Materials

This discussion-based course is entirely focused on Bruce Lee, the actor and leading martial arts icon of the 20th century. Using American Studies and Critical Race Studies frames to examine the construction of racialized and gendered bodies, we will discuss Bruce Lee in terms of his biography, identities, politics, philosophy, and filmography. We will take time to appreciate the entertainment value and athleticism that Bruce Lee brought to his work, but we will also learn to distinguish the commercialized, commodified Bruce Lee (from t-shirts to posters to action figures) from the serious historical figure who symbolized the spirit of cultural independence and political sovereignty around the world. Among the required books and movies: The Tao of Jeet Kune Do, and "Way of the Dragon" (1972).

General Education Requirements:
U.S. Identities and Differences

Distribution Requirements:
Social science

Course Materials

Building from previous course offerings on Local News Media Institutions and Environmental issues and the Media, this course seeks to explore community networks of information and communication concerning local environmental issues and concerns. Following an overview of prevalent patterns of environmental journalism and environmental news coverage, informed by readings and class discussions regarding prominent issues affecting environmental communication within local communities, class members will develop individual research projects involving case studies of media representation, local journalism coverage, and community networks of communication and information diffusion in specific neighborhoods or local communities. This may specifically involve the impacts of global issues at the local level, discussions of local resource and land management, energy debates, environmental risk communication and public health, environmental activism and advocacy campaigns, and various aspects of environmental justice. The second half of the term will largely be spent developing specific questions and research plans for student projects. Projects will be presented to the class and “published” in some form (physically or online) for a larger community audience. Work will involve considered decisions about research methods, communication strategies, target audiences, and forms and venues of presentation. Media and Cultural Studies majors will be able to use the development and execution of this research project for MCST 294 as fulfillment of the MCST 388 Advanced Research Topics major requirement. This means you can choose to substitute this class for MCST 388 on your major plan. (Note: this does not affect the senior capstone requirement - MCST 488 Advanced Topics Seminar).

General Education Requirements:

Distribution Requirements:
Social science

Course Materials

Varies by semester. Consult the department or class schedule for current listing.

General Education Requirements:

Distribution Requirements:
Fine arts

Course Materials

Cultural heritage sites, including libraries, archives and museums, have existed in some shape or form for a very long time. Computers, on the other hand, have only been a part of these institutions for about sixty years. Although technologies offer more efficient and cost-effective ways to store and disseminate information and promise greater accessibility to materials, that doesn’t necessarily mean that they successfully facilitate the missions of these cultural heritage sites or the needs of their visitors. Why is this the case? Do digital technologies truly have the potential to decentralize and democratize these spaces? What can they tell us about what we value, as a culture? In this interdisciplinary course, we will reflect on the impact of digital technologies on cultural heritage sites, and museums in particular, starting in the 1960s and continuing through the present, including discussion of how museums responded to the COVID-19 pandemic. Among other things, students will learn how to collect, curate, and digitize objects, write and design an object label, and create an online exhibition. No prerequisites.

General Education Requirements:

Distribution Requirements:
Social science

Course Materials

In this course, students will gain hands-on podcasting experience, including brainstorming ideas, researching, interviewing, writing, editing, and producing their own podcast segment. They will also learn industry terminology, access music and archival databases, work with standard audio software, and learn to pitch their stories to media outlets. By the end of the semester, students will have created their own nonfiction audio story from start to finish.

General Education Requirements:

Distribution Requirements:
Fine arts

Course Materials

This course considers surveillance as a social formation, inseparable from the theory and exercise of power. On the one hand, it takes up the pressing questions surveillance raises, from the development of cutting-edge technologies to the complex work of international regulation. On the other hand, it situates surveillance historically as central to projects of imperial conquest, state formation, and colonial rule. Engaging with theoretical works, primary sources, empirical studies and artistic renderings, students will grapple with problems of surveillance and power across geographic and historical contexts.

General Education Requirements:
Internationalism

Distribution Requirements:
Humanities

Course Materials

In the capstone seminar, students working on an independent project in line with the theme of the seminar share their scholarship, integrating what they have learned in the major, emphasizing knowledge gained in their focus area, as well as presenting their work at a concluding mini-conference. The capstone experience involves close analysis of cultural artifacts that examine at a higher level issues first raised in the introductory course. The department plans to offer two seminars every year, at least one in media studies, enabling students to select the seminar most relevant to their intellectual development. In exceptional cases, students with sufficient preparation may take the seminar prior to their senior year. Students may take more than one MCST senior seminar as long as content varies. Recent seminar topics have included: Image/Text: Metaphor, Myth and Power; Advanced Film Analysis; Advanced Studies in War and Media; Postmodernism, Identity and the Media; Whiteness and the Media; Advanced Queer Media. Prerequisite(s): MCST 110 - Texts and Power: Foundations of Media and Cultural Studies or permission of instructor. MCST 128 - Film Analysis/Visual Culture recommended for film studies seminars. Non-majors are welcome if they have taken MCST 110 or a comparable course.

General Education Requirements:

Distribution Requirements:

Course Materials

This course introduces students to the intellectual roots and contemporary applications of cultural studies, including critical media studies, focusing on the theoretical bases for analyses of power and meaning in production, texts, and reception. It includes primary readings in anti-racist, feminist, modern, postmodern, and queer cultural and social theory, and compares them to traditional approaches to the humanities. Designed as preparation for intermediate and advanced work grounded in cultural studies, the course is writing intensive, with special emphasis on developing skills in critical thinking and scholarly argumentation and documentation. Completion of or enrollment in MCST 110 is the prerequisite for majoring in media and cultural studies.

General Education Requirements:
Writing WA

Distribution Requirements:
Humanities

Course Materials

This course introduces the aesthetics of film as well as selected issues in contemporary film studies. Its aesthetic approach isolates the features that constitute film as a distinct art form: narrative or non-narrative structure, staging, cinematography, editing, and sound. Topics in contemporary film studies that might be considered include one or more of the following: cultural studies and film, industrial organization and globalization, representations of gender and race, and theories of authorship, horror, and spectatorship. Several papers, a test covering basic film terms, and a short video project emphasizing abstract form are required. Suitable for first year students.

General Education Requirements:
U.S. Identities and Differences

Distribution Requirements:
Fine arts

Course Materials

The theorization of difference is an important aspect of cultural theory. In this class we will look at the role of difference as it is understood through ideas of representational and aesthetic politics as well as through the practice and production of knowledge. We want to examine the turn to difference within cultural studies and how this move has shifted how we think about power relations and meaning making in society. We will look at the foundational work of critical race and ethnic studies in cultural theory as well more recent scholarly work that focuses on the administration of difference through surveillance technology and social media. The class will expose students to a range of material including print, digital media, film, television, and internet and social media.

General Education Requirements:
U.S. Identities and Differences

Distribution Requirements:
Social science

Course Materials

What makes some jokes so funny? Why do we laugh? A well-timed joke can have the power to transform our reality—to disrupt through surprise, to change the rules of society through reversal and truth-telling, or, at the very least, to blow off steam and build communities through joyous laughter. But can comedy actually create lasting social changes? Or is laughter just catharsis—a therapeutic release of personal and social discontent? And what about mean-spirited or offensive jokes? What is the line between comedy and injury? And who gets to decide what is funny in the first place? Comedy is so much more than a light-hearted genre: it now invades every level of discourse in our society, from the fine arts to presidential politics. Comedy punctuates our attention, structures our everyday perceptions and habits, facilitates our communication and expression, and has a profound influence on all of our lives and experiences.In this course, we will approach the topic of comedy from every angle, while also keeping the funny alive. (As many have demonstrated, there is no surer way to ruin a joke than by explaining it.) We will read philosophies and theories of comedy, satirical newspapers, and social histories of stand-up. We will watch funny movies, TV shows, Internet memes, viral videos, and talk about them. And, of course, we will write and perform our own comedy in the classroom. By studying the history and formations of comedy—from the devices of comedic gags to the social politics of laughing bodies—we will think about how jokes can help us to reconcile with the past, survive the present, and reshape the future.

General Education Requirements:
Writing WC

Distribution Requirements:
Humanities

Course Materials

This introductory-level course approaches the youth-oriented Hunger Games series as a “map and mirror” for our times and a platform for launching adult, scholarly conversations about systems of extraction and exploitation, surveillance and the politics of Reality TV, environmental justice and public health, trauma due to war, and the possibilities for building a Culture of Peace. We will take an interdisciplinary American Cultural Studies approach as we read and watch everything in the Hunger Games series (the trilogy + two prequels) in the first half of the semester. In the second half of the semester, we will connect to various texts including: Parable of the Sower (Octavia Butler), The Autobiography of Mother Jones, Ministry for the Future (Kim Stanley Robinson), and The Future Earth: A Radical Vision for What’s Possible in the Age of Warming (Eric Holthaus). A major goal of the course is to open up our hearts and minds, and to discover more precisely what we hunger for—as scholars, citizens, and human residents of the planet Earth.

General Education Requirements:
U.S. Identities and Differences

Distribution Requirements:
Humanities

Course Materials

Varies by semester. Consult the department or class schedule for current listing.

General Education Requirements:

Distribution Requirements:

Course Materials

Media have a tremendous influence on how we see and know the world. But while media is central to the production of a sense of "the global," media industries are materially, culturally, and geographically placed. Exploring some of these sites, and their complex interconnections, can help us to better understand our own media environments as well as some of the pressing issues that media systems worldwide face today: Who owns the media and who regulates it? How have its centers of power shifted over time? How do media systems located in different political, economic, and historical conditions result in different kinds of products? What is the impact of media industries on the earth? In this course we will follow a wide range of media forms (telegraph, radio, film, television, social) across time and space, focusing on questions of labor, infrastructure, and ownership. Course assignments will help you to make connections between past moments and contemporary questions, in relation to some of the media that matters most to you.

General Education Requirements:
Internationalism

Distribution Requirements:
Humanities

Course Materials

This course is designed as a basic introduction to digital video production. The objective of the class is to familiarize students of film theory and history with the language of cinema from the standpoint of production in order to deepen your appreciation and knowledge of the technical aspects of film/video and to develop your capacity to use video as a tool for research and communication. In this way, the course will be a combination of technical instruction, critical engagement, and creative exploration. We will analyze and employ a variety of filmmaking techniques as well as constructing narrative and non-narrative strategies for doing so. The focus of the course will be to familiarize you with some basic conventions of experimental, documentary, and narrative cinema. In each assignment, you will be encouraged to think about how formal decisions enhance and further narrative or thematic elements. We will thus pay very close attention to formal aspects of cinematic production: mise-en-scene. cinematography, editing, and sound design. In addition to this attention to form, success in the class will be dependent on a commitment to working through the technical aspects of video production (camera operation, lighting, editing software) in order to create short, original video pieces.

General Education Requirements:

Distribution Requirements:
Fine arts

Course Materials

All readings and class taught in English; no pre-knowledge required. Marx's contribution to the theorization of the function of the imaginary in both the constitution of subjectivity and the mechanisms of politics and economy-usually referred to as ideology-cannot be overestimated. The first part of this course traces Marx's gradual conceptualization of the imaginary throughout his work-as well as further Marxist theoreticians, such as Louis Althusser, Étienne Balibar, and Slavoj Žižek-while exploring how the imaginary enabled Marx's discovery of three further crucial concepts: structure, the unconscious, and the symptom, all of which are central in the analysis of culture and ideology. In the second part of the course, we shall focus on the logic and mechanisms of power in contemporary neoliberalism, including the claim that today Marx's theory is no longer relevant (readings will include Friedrich Nietzsche, Michel Foucault, Gilles Deleuze, Maurizio Lazzarato, McKenzie Wark).

General Education Requirements:

Distribution Requirements:
Humanities

Course Materials

In this course, we will consider films that provoke horror, fear, disgust, shock, terror, panic, and revulsion and ask about their political, philosophical, and cultural effects and potentials. As a genre organized around visceral experiences, both on-screen (gore, violence, monstrosity, terror) and in the audience (jump scares, trembling, squirming, fright), horror reminds us of the embodied dimension of existence, our living, material, and creaturely side and its entanglement with other people and the non-human world. In this manner, horror films can be privileged sites for working out ideas about gender, race, and sexuality, in ways that often reproduce existing power dynamics, but can sometimes subvert them. We will also consider the horror film as a potential mode of theory or philosophy itself, one attuned to the unthinkable or occult dimensions of our existence. Organized around detailed engagements with individual films, we will pay careful attention to their formal and aesthetic properties. Additionally, our work will be both historical and intertextual, moving between canonical examples and more contemporary films. Finally, as our course is designed around a genre, we will pay special attention to the ways that genres work. This will mean thinking critically about intertextual connections and how considering films together changes their individual meanings. And we will practice using these intertextual links and categories as interpretative and analytical tools in our written assignments and class discussions. Some of the films we will address: Peeping Tom (Michael Powell, 1960), The Thing (John Carpenter, 1982), Pulse (Kiyoshi Kurosawa, 2001), Raw (Julia Ducournau, 2016). Counts as an elective in the Critical Theory concentration.

General Education Requirements:

Distribution Requirements:
Humanities

Course Materials

Cultural heritage sites, including libraries, archives and museums, have existed in some shape or form for a very long time. Computers, on the other hand, have only been a part of these institutions for about sixty years. Although technologies offer more efficient and cost-effective ways to store and disseminate information and promise greater accessibility to materials, that doesn’t necessarily mean that they successfully facilitate the missions of these cultural heritage sites or the needs of their visitors. Why is this the case? Do digital technologies truly have the potential to decentralize and democratize these spaces? What can they tell us about what we value, as a culture? In this interdisciplinary course, we will reflect on the impact of digital technologies on cultural heritage sites, and museums in particular, starting in the 1960s and continuing through the present. Interwoven throughout the course, we will discuss decolonization, digital repatriation, obsolescence, cultural heritage and AI, and collective remembering. You will come out of the class with a focused digital project.

General Education Requirements:

Distribution Requirements:

Course Materials

This course examines visual methods, particularly those employed by Black women artists and thinkers work in visual practices as forms of resistance, survival, and world-building. Through critical engagement with photography, film, installation art, and experimental media, we explore how Black feminist visual strategies challenge dominant regimes of representation while imagining otherwise possibilities. The course traces visual genealogies that refuse the violence of hypervisibility while simultaneously confronting erasure, navigating what Saidiya Hartman calls "the visual field of black captivity and its afterlife." Students will analyze works by artists who transform the very grammar of visuality, developing critical frameworks to understand how Black feminist aesthetics rework time, space, and embodiment. Through both analytical and creative projects, we will consider how these visual practices serve as methods of theorizing that expand beyond conventional academic boundaries, offering provocations for imagining and enacting more liberatory futures.

General Education Requirements:

Distribution Requirements:
Fine arts

Course Materials

In the capstone seminar, students working on an independent project in line with the theme of the seminar share their scholarship, integrating what they have learned in the major, emphasizing knowledge gained in their focus area, as well as presenting their work at a concluding mini-conference. The capstone experience involves close analysis of cultural artifacts that examine at a higher level issues first raised in the introductory course. The department plans to offer two seminars every year, at least one in media studies, enabling students to select the seminar most relevant to their intellectual development. In exceptional cases, students with sufficient preparation may take the seminar prior to their senior year. Students may take more than one MCST senior seminar as long as content varies. Recent seminar topics have included: Image/Text: Metaphor, Myth and Power; Advanced Film Analysis; Advanced Studies in War and Media; Postmodernism, Identity and the Media; Whiteness and the Media; Advanced Queer Media. Prerequisite(s): MCST 110 - Texts and Power: Foundations of Media and Cultural Studies or permission of instructor. MCST 128 - Film Analysis/Visual Culture recommended for film studies seminars. Non-majors are welcome if they have taken MCST 110 or a comparable course.

General Education Requirements:

Distribution Requirements:

Course Materials