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THTRFLM 3N03 Artists'AltFilmAndVideo

Academic Year: Winter 2017

Term: Winter

Day/Evening: D

Instructor: Dr. Janice Hladki


Office: Togo Salmon Hall 405

Phone: 905-525-9140 x 23942

Office Hours: Tuesdays, 2:30-4:30

Course Objectives:

This course gives attention to the explosion of work by artists who produce film and video art outside of dominant institutions. “Alternative” refers to cultural work that engages critically with questions about social and cultural relations and provides alternatives to market-driven developments in contemporary media. The focus is on cultural production in the Canadian context.

A rich range of visual work is screened and discussed. We will examine the strategies that the artists use to invite spectators into their work and the ways that alternative film and video are situated in broader media contexts. We will consider how the films and videos are sites and practices where identities are asserted, contested, and negotiated. We will look at how filmmakers and videographers, who have developed film and video art in Canada, pursue autobiographical investigations; interrogate commercial developments; experiment with documentary approaches; develop video and short film techniques; and examine social relations of gender, race, sexuality, class, Indigeneity, and disability. The material raises questions about such issues as belonging, the body and body-image norms, memory, nation, the environment, Indigenous representation, local/global relations, and cultural colonialism.

Through an introduction to the films and videos of several important contemporary working artists, we will consider how these cultural producers re-imagine authoritative perspectives of form and content. We will examine readings that explore a history of thought about alternative film and video art.

Class discussion is an important part of the course, along with lectures, readings, and class screenings.

Textbooks, Materials & Fees:

Theatre & Film 3N03 courseware pack

Method of Assessment:

Assignments and Evaluations:

Participation: Attendance            10%

In-class Test # 1                          25%  (Week 5: Thursday, Feb 2)

In-class Test # 2                          25%  (Week 9: Thursday, March 2)

Response Paper                           5%   (Submitted in class, Week 11, Thursday, March 16)

Final Exam                                   35%  (scheduled by the Registrar’s Office)

Please note: You will receive feedback on the test to meet the University regulations (10% of grades by Fri March 10).

Participation (10%):

This course includes experimental cultural work. It is important for the classroom to be a space of openness to the material studied and one of mutual respect regarding different points of view.

Participation in the class process is one of the indicators of your academic performance and potential demonstration of understanding the course material. It is also a practice of collaboration with your peers, as we discuss questions, ideas, and analyses. The expectations regarding participation include: regular attendance, viewing and reading the assigned materials, contributing to class discussion, respectful listening, and engaging with others’ comments to further our understandings of the materials and thematics.

1) Weekly Discussion

This activity is NOT graded. However, each week, you will be asked to respond to the material screened with the intent to discuss and analyze. You will participate individually and/or in groups. Students are encouraged to participate in order to clarify ideas and to become comfortable in developing points of view.

2) Attendance (10%)

For 10 weeks of the course (Weeks 2, 3, 4, 6, 7, 9, 10, 11, 12, 13), I will take a record of your attendance. Weeks 5 and 8 will not be counted, due to the in-class test #1 and the midterm recess. An attendance/sign-in sheet will be passed around towards the end of class. Each of the 10 weeks is graded at 1 mark for a total of 10 marks.

In-Class Test #1 (25%) Wk 5, Thurs Feb 2:

The test is written in class, and it is 90 min long. It consists of short answers in point form that involve interpretation and understanding about the films and videos screened – in relation to course ideas as presented in lectures and readings. Further details will be discussed in class, prior to the test.

In-Class Test #2 (25%) Wk 9, Thurs March 2:

The test is written in class, and it is 90 min long. It consists of a short essay answer (4-5 pages) that involves interpretation/analysis and demonstrates understanding about the films/videos – in relation to course ideas. Further details will be discussed in class, prior to the test.

Response Paper (5%) DUE IN CLASS: Wk 11, Thurs March 16:


--Length: 1 page minimum. 2 pages maximum. (double spaced).

--Avoid writing more or less than the required length.

--Simply write your name, student number, and course code on ONE line at the top of the page. Do not take up your writing space with multiple lines for this information.

--Use 12pt Times New Roman font.

--Use regular margins (no more or less than 1 inch).


If you complete this assignment on the due date and do so according to the form, noted above, and the focus required, as stated below, you will automatically receive the 5%. Unless you do not follow the requirements, you will not receive commentary on this assignment. Completion of the response paper according to the requirements demonstrates your thoughtful engagement with the video art work and a commitment to explore and examine the material in the course.


You are to submit a discussion/analysis of ONE of FOUR video art works, as listed below, that are scheduled for screening in class, Week 12, March 23. You will need to view the works at Mills, where they are on course reserve. The four video art works are all short at approximately 5-6 minutes. You could EITHER decide to view some of or all of the four works and make a decision about which film you will write about OR you could simply pick one film and write about it. When you view, keep a record of your ideas to assist you in the development of your response paper.

You are to demonstrate a thoughtful engagement with the work by analyzing how it engages meanings that are significant in relation to course ideas/issues/problematics. The paper is neither a summary of the visual text nor a description of why you “like” or “dislike” the work. The assignment is a scholarly paper that provides a sustained discussion of the video art work in relation to course ideas. This is a very short paper, so I strongly advise you to focus closely on a particular idea/issue/problematic. You cannot address everything there is to say about the artist’s work. Be selective and keep to the point. Review your paper to edit out tangential and/or irrelevant material. 

You are not required to refer to literature for this paper, but you can do so if you wish. If you choose to reference a reading (or another film/video), you will need to provide a reference list at the end of the paper.

When I return your response papers on Week 12, you can use the ideas in your papers for our class discussion about the video art works. We will be viewing the four video art works as well as others.


1) Access:

--You will need to view the works at Mills, where they are on course reserve.

--The call numbers are listed below. If you do not have this information when you go to Mills, that is not a problem. Simply provide the course name and request the film by its title at the Circulation Desk.

--If you do not have a laptop that plays DVDs, the library has DVD players that you can connect to your laptop.

--If you wish to view one or more of the works in the company of friends/fellow students, instead of viewing individually, you can book a study room at the library. There are five rooms on the third floor: two rooms accommodate twelve people and three rooms accommodate six people. You can pre-book a room online two weeks prior to your viewing day. Go to:

2) Video Art Works:

--You will select one of the following four video art works for your discussion/analysis:

--Bradley, Maureen. (1998). What I Remember. 6 min. (one of the films in the Maureen Bradley Compilation; FILM 1123 in Mills).

--Claxton, Dana. (1994). I Want to Know Why. 6:20 min. (one of the films in the Dana Claxton Compilations; E 78 .C2 D36 2006 in Mills).

--Mitchell, Allyson. (2003). precious little tiny love. 3 min (one of the films in Freeshow Seymour; PN1995.9 .W6 .F74 2004 in Mills).

--Yael, b. h. (2001). (of)fences. 5:30 min (one of the films in the compilation Blah, Blah, Blah: (re) Viewing Quebec; NX 460 .5 .V53 .B53 2001 in Mills).


Please see the commentary above under “Academic Dishonesty Statement” and note the following website for information on how to avoid plagiarism:

*Please be advised that I cannot accept papers via email.

*Please retain a copy of your submitted paper.

Consultation About Assignments:

If you have questions about the assessment of an assignment and you would like to discuss how to do better in future work, you may consult with me (or a teaching assistant, if there is one for the course) after the assignment has been returned to you. For such consultation, you need to come prepared as follows: 1) reread your assignment with the grading criteria in mind, 2) read and think through any commentary and recommendations, and 3) bring written notes to the meeting about what in particular you would like to discuss and further understand. With these practices, you develop abilities to better evaluate your own work and to better understand how to make improvements for future projects in your University studies and/or in employment contexts.

Final Exam (35%):

You will be asked to discuss some of the key ideas in the course. Further details will noted in class, closer to the exam. Please note that exams are scheduled by the Registrar’s Office during the exam period and that the schedule cannot be changed.

Policy on Missed Work, Extensions, and Late Penalties:

Missed or Late Assignments; Extensions, and Requests for Relief for Missed Academic Term Work:

Students are expected to complete the assignments on the specified due dates. Please note that extensions will not be granted and late penalties will not be waived except in exceptional circumstances and on an individual basis. Computer or printer problems, conflicting due dates, and a busy schedule are not considered suitable reasons for extensions. **In all cases, it is YOUR responsibility to follow up with the instructor immediately to see if an extension or other accommodation will be granted, and what form it will take. There are NO automatic extensions or accommodations.

In-Class Tests #1 and #2: If you miss a test, it cannot be made up without official documentation (e.g. MSAF; medical documentation) for your absence. For each of the tests, I will schedule ONE time for a make-up test. If you do not attend at that time, then I will determine another assignment (e.g. a short essay) worth the same amount.

Response Paper:

-I will accept papers in person only, in class, in hard copy format. Do not slip an essay under my door. Please be advised that I cannot accept assignments submitted via email.

-A paper is considered late if it is not handed directly to the course instructor in the scheduled class (Week 11).

-Papers should not be handed into either the School of the Arts or Communication Studies and Multimedia offices.

-Students are advised to budget enough time to accommodate for unforeseen last-minute difficulties such as computer or printer failure. *Since computer problems are not considered suitable reasons for extensions, I strongly advise you to save your work regularly and to back-up all versions of your response paper. Email yourself a copy of the file.

-The response paper is due in class on Week 11, Thurs March 16. If you submit this assignment on the due date and write it according to the requirements, as stated below, you will automatically receive the 5%. A late paper has to be submitted in the next class, Week 12, Thurs March 23, in order to receive a grade of 2.5%. After this date, a grade of zero will be assigned.

-Ensure that you keep copies of all submitted work. If the paper is lost, you are responsible for providing a copy.

Using the McMaster Student Absence Form (MSAF) on-line self-reporting tool (on MOSAIC):

This is a self-reporting tool for undergraduate students to report absences due to minor medical situations that last up to 3 days and provides the ability to request accommodation for any missed academic work worth less than 25% of the final grade. Please note, this tool cannot be used during any final examination period.

You may submit a maximum of one Academic Work Missed request per term. It is your responsibility to follow up with your Instructor immediately (normally within two working days) regarding the nature of the accommodation. Failure to do so may negate the opportunity for relief. It is the prerogative of the instructor of the course to determine the appropriate relief for missed term work in the course. If you are absent for reasons other than medical reasons, for more than 3 days, or exceed one request per term you MUST visit your Associate Dean's Office (Faculty Office). You may be required to provide supporting documentation. This form should be filled out immediately when you are about to return to class after your absence.

Please note these regulations have changed beginning Fall 2015. If you have any questions about the MSAF, please contact your Associate Dean’s office.

Please Note the Following Policies and Statements:

Academic Dishonesty

You are expected to exhibit honesty and use ethical behaviour in all aspects of the learning process. Academic credentials you earn are rooted in principles of honesty and academic integrity.

Academic dishonesty is to knowingly act or fail to act in a way that results or could result in unearned academic credit or advantage. This behaviour can result in serious consequences, e.g. the grade of zero on an assignment, loss of credit with a notation on the transcript (notation reads: "Grade of F assigned for academic dishonesty"), and/or suspension or expulsion from the university.

It is your responsibility to understand what constitutes academic dishonesty. For information on the various types of academic dishonesty please refer to the Academic Integrity Policy, located at

The following illustrates only three forms of academic dishonesty:

  1. Plagiarism, e.g. the submission of work that is not one’s own or for which other credit has been obtained.
  2. Improper collaboration in group work.
  3. Copying or using unauthorized aids in tests and examinations.

Email correspondence policy

It is the policy of the Faculty of Humanities that all email communication sent from students to instructors (including TAs), and from students to staff, must originate from each student’s own McMaster University email account. This policy protects confidentiality and confirms the identity of the student.  Instructors will delete emails that do not originate from a McMaster email account.

Modification of course outlines

The University reserves the right to change dates and/or deadlines etc. for any or all courses in the case of an emergency situation or labour disruption or civil unrest/disobedience, etc. If a modification becomes necessary, reasonable notice and communication with the students will be given with an explanation and the opportunity to comment on changes. Any significant changes should be made in consultation with the Department Chair.

McMaster Student Absence Form (MSAF)

In the event of an absence for medical or other reasons, students should review and follow the Academic Regulation in the Undergraduate Calendar Requests for Relief for Missed Academic Term Work. Please note these regulations have changed beginning Fall 2015. You can find information at If you have any questions about the MSAF, please contact your Associate Dean's office.

Academic Accommodation of Students with Disabilities

Students who require academic accommodation must contact Student Accessibility Services (SAS) to make arrangements with a Program Coordinator. Academic accommodations must be arranged for each term of study. Student Accessibility Services can be contacted by phone 905-525-9140 ext. 28652 or e-mail For further information, consult McMaster University's Policy for Academic Accommodation of Students with Disabilities.

Academic Accommodation for Religious, Indigenous and Spiritual Observances

Students requiring academic accommodation based on religion and spiritual observances should follow the procedures set out in the Course Calendar or by their respective Faculty. In most cases, the student should contact his or her professor or academic advisor as soon as possible to arrange accommodations for classes, assignments, tests and examinations that might be affected by a religious holiday or spiritual observance.

Topics and Readings:

Schedule of Classes:

Week 1: Thurs Jan 5.  Course Introduction

Week 2: Thurs Jan 12.  Video Art

Turnbull, Ross [Compilation Director]. (1999). Independent Images. 14 min.

Drummond, Jeremy. (2000). Spit. 2:27 min.

Mitchell, Allyson. (1998). Cupcake. 3 min. (In: Allyson Mitchell Film and Video Compilation)

Mitchell, Allyson. (1997). Chow Down. 3 min. (In: Allyson Mitchell Film and Video Compilation)

Lovejoy, Margot. (1997). Video: New Time Art. In M. Lovejoy, Postmodern Currents: Art and Artists in the Age of Electronic Media [Second Edition] (pp. 96-153; 289-292). Upper Saddle River, NJ: Prentice Hall.

Week 3: Thurs Jan 19.  Cultural Critique in Short Film and Video

Claxton, Dana. (1997). Buffalo Bone China. 10 min. (In: Dana Claxton Compilations)

Garland, Christy. (2001). Dual Citizen. 13 min.

Hew, Carolynne. (1996). Bangs. 8 min.

Mainguy, Barbara. (1997). The Front Seat. 4 min.

Selections from Blah, Blah, Blah Collective (2001). Blah, Blah, Blah:  (re) Viewing Quebec:

            Greyson, John. Packin’. 4 min.

            Officer, Charles. Vocal Demonstration. 4 min.

Zyrd, Michael. (2002). A Report on Canadian Experimental Film Institutions, 1980-2000. In William Beard and Jerry White (Eds.), North of Everything: English-Canadian Cinema Since 1980 (pp. 392-401). Edmonton: The University of Alberta Press.

Tuer, Dot. (1995). Mirroring Identities: Two Decades of Video Art in English Canada. In Janine Marchessault (Ed.), Mirror Machine: Video and Identity (pp.107-125). Toronto: YYZ Books.

Week 4: Thurs Jan 26.  Revisionings

Householder, Johanna, & Yael, b.h. (2001). December 31, 2000. [from Approximations]. 7:20 min.

Householder, Johanna, & Yael, b.h. (2000). The Mission. [from Approximations]. 4:21 min.

Yael, b. h. (1996). Fresh Blood, A Consideration of Belonging. 55 min.

Gagnon, Jean. (1996). Video - One Little Word for a Many Faceted Thing. In Peggy Gale & Lisa Steele (Eds.), Video re/View: The (best) Source For Critical Writings on Canadian Artists’ Video (pp. 137-143). Toronto: Art Metropole.

Gale, Peggy. (1995). A History in Four Moments [Excerpt]. In Janine Marchessuault (Ed.), Mirror Machine: Video and Identity (pp. 55-58). Toronto: YYZ Books.

Boyle, Deirdre. (2000, Fall). Video and the Afterlife: Millenial Thoughts about an Art Medium. Millenium Film Journal, 35/36, 73-78.

Steele, Lisa. (1996). On the Teaching of Video Art. In Peggy Gale & Lisa Steele (Eds.), Video re/View: The (best) Source For Critical Writings on Canadian Artists’ Video (pp. 15-16). Toronto: Art Metropole.

Week 5: Thurs Feb 2


 (No Lecture)

Week 6: Thurs Feb 9.  Bodies at Risk

Steele, Lisa. (1974). Birthday Suit with Scars and Defects. 12 min.

Steele, Lisa, & Tomczack, Kim. (1997). The Blood Records: written and annotated. 52 min.

Hoolboom, Mike (2000). Ghost Stories. In Steve Reinke & Tom Taylor (Eds.), Lux: A Decade of Artists’ Film and Video (pp. 273-279). Toronto: YYZ Books.

Russell, Catherine. (2002). The Lisa Steele Tapes: Investigation and Vision. In William Beard and Jerry White (Eds.), North of Everything: English-Canadian Cinema Since 1980 (pp. 430-445). Edmonton: The University of Alberta Press.

Week 7: Thurs Feb 16.  Explorations of Memory

Claxton, Dana. (2004). Gun Play. 2:45 min. (In: Dana Claxton Compilations)

Claxton, Dana. (2004). The Hill. 3:45 min. (In: Dana Claxton Compilations)

Fleck, Paula. (2001). Remembrance. 19 min.

Fleck, Paula. (2000). Passengers. 15 min.

Longfellow, Brenda. (1987). Our Marilyn. [In What is a Documentary]. 26 min.

Hoolboom, Mike. (1998). Eight Thoughts on Short Films. In M. Hoolboom, Plague Years: a life in underground movies (pp. 154-157). Toronto: YYZ Books.

Hoolboom, Mike. (1998). Festival. In M. Hoolboom, Plague Years: a life in underground movies (pp. 120-125).  Toronto: YYZ Books.

Kuhn, Annette. (1995). The Little Girl Wants to be Heard. In A. Kuhn, Family Secrets: Acts of Memory and Imagination (pp. 21-39). London: Verso.

Steven, Peter. (1993). Brenda Longfellow. “A medium with impact …”. In P. Steven, Brink of Reality: New Canadian Documentary Film and Video (pp. 166-175). Toronto: Between the Lines.

Week 8: Thurs Feb 23. 


Week 9: Thurs March 2. 


(return to class following the break after the test)


Week 10: Thurs March 9.  Embodied Knowledges

Fung, Richard. (2000). Sea in the Blood. 26 min.

Fung, Richard. (1991). Out of the Blue [In Fresh Looks 1]. 28 min.

Steven, Peter. (1993). Richard Fung: “The names have been changed to protect the guilty”. In P. Steven, Brink of Reality: New Canadian Documentary Film and Video (pp. 138-146). Toronto: Between the Lines.

Harcourt, Peter. (2001, January). Diversity or dumb realism: Selections on Canadian Film and on Sea in the Blood by Richard Fung. Cineaction, 54, 52-56.

Fung, Richard. (1996). Colouring the Screen: Four Strategies in Anti-Racist Film and Video. In Peggy Gale & Lisa Steele (Eds.), Video re/View: The (Best) Source For Critical Writings on Canadian Artists’ Video (pp. 256-264). Toronto: Art Metropole.

Week 11: Thurs March 16.  Independent Documentary Feature


Obomsawin, Alanis. (1993). Kanehsatake: 270 Years of Resistance. 119:14 min.

Adkin, David. (1993). Interview with Alanis Obomsawin. [In Voices of Experience, Voices for Change Part 1]. 8 min.

Smyth, Heather.  (2000, Spring). The Mohawk Warrior: Reappropriating the Colonial Stereotype. Topia: A Canadian Journal of Cultural Studies, 3, 58-80.

Pick, Zuzana. (1999). Storytelling and Resistance: The Documentary Practice of Alanis Obomsawin. In K. Armatage et al. (Eds.), Gendering the Nation: Canadian Women’s Cinema (pp. 76-93). Toronto: University of Toronto Press.

Week 12: Thurs March 23.  Excerpts From Fierce Exhibition

Bradley, Maureen. (2004). Stranded. 3.52 min. (In: Maureen Bradley Compilation)

Bradley, Maureen. (1998). What I Remember. 6 min. (In: Maureen Bradley Compilation)

Claxton, Dana. (2006). Anwolek Regatta City. 4:37 min. (In: Dana Claxton Compilations)

Claxton, Dana. (1994). I Want to Know Why. 6:20 min. (In: Dana Claxton Compilations)

Mitchell, Allyson. (2008). Afghanimation. 6 min

Mitchell, Allyson. (2003). precious tiny little love. 3 min (In: Freeshow Seymour)

Yael, b. h. (2001). (of)fences. 5:30 min (In: Blah, Blah, Blah:  (re) Viewing Quebec)

Yael, b. h. (2008). Trading the Future. 59 min. [excerpt]

Hladki, Janice. (Ed.). (2010). “arrives asking demanding something of us. In Janice Hladki (Ed.), Fierce: Women’s Hot-Blooded Film/Video (pp. 9-22). McMaster Museum of Art.

Week 13: Thurs March 30.  Indigenous Representation and Questions of Identity

Niro, Shelley. (2003). The Shirt. 6 min.

Niro, Shelley. (1998). Honey Moccasin. 49 min.

Niro, Shelley. (1997). Overweight With Crooked Teeth. 5 min.

Masayesya, Victor. (2000). Indigenous Experimentalism. In Jenny Lion (Ed.), Magnetic North: Canadian Experimental Video (pp. 229-239). Minneapolis, MN: University of Minnesota Press.

Gittings, Christopher E. (2002). Honey Moccasin. In C. Gittings, Canadian National Cinema (pp. 226-230). London: Routledge.

Week 14:  Thurs April 6.  Concluding

Other Course Information:

Required Screenings:

The films are central to the course, and they will be screened during class time. It is expected that all students will be present for the in-class screenings. For test, reflection assignment, and exam purposes, you will also need to review the films.

Films are on Course Reserve. They are housed at the Library Services desk, Mills Memorial Library, and may be borrowed for review and assignment preparation. The loans are for 4 hours. DVDs can be played on most personal laptops and any iMac computer in the Library (Learning Commons and the 2nd floor). VHS can be played on the TV systems on the 4th floor lobby. These computers and TVs are open access, i.e., first-come first-serve. Students may also book a room in Lyons (L-416) for VHS and DVD using the on-line booking form on the Lyons' home page, If you have any questions about access to the films, please direct them to the staff at the Library Services desk.

Class Etiquette and Electronic Devices:

Lectures and Discussions: Overall, respect should guide your participation in class. Please arrive on time for lectures. If you have to leave the class early, do so quietly. Refrain from leaving or starting to pack up your things at the end of the class before the lecture ends, as this is disruptive to other students. Please show consideration for your fellow students by listening attentively during lectures and discussions.

Be prepared to focus on the readings and the films. Bring your course readings to class.

Electronic Devices: Students are required to turn off all personal electronic devices. If you need your cell phone on because you have children or need to remain in contact with someone because of a medical emergency, please inform me at the beginning of the class and please leave the cell phone on vibrate. Laptops must be closed for all screenings. Students who consult non-course related content on laptops during class will be required to close their laptops for the duration of the class. 

Accommodations for Students With Disabilities

Students with disabilities receive accommodations to assist them in completing their programs successfully. Please contact Student Accessibility Services (SAS) as soon as possible and then follow up by providing me a copy of your accommodation letter. Appointments can be booked online, in person at the SAS office (MUSC B101, Student Wellness Centre reception area), or by phone, ext. 28652. ( Note that students must register annually. Self-identification is voluntary, all information is treated confidentially, and access to information must be approved by the applicant. Please consult the following policy, “The McMaster University Policy for Academic Accommodation of Students with Disabilities,” which recognizes that the University has an obligation “to make its services available in a manner that does not discriminate.” StudentsWithDisabilities.pdf.

I am in full support of accommodation arrangements, so please make sure I receive a copy of your SAS accommodation letter, preferably by the second week of classes.

Student Wellness and Student Success:

The Student Wellness Centre (MUSC B101) emphasizes the importance of “wellness in mind, body, and spirit” for realizing one’s academic potential. The Centre offers medical and health services as well as personal counseling. (

The Student Success Centre provides services to assist students in terms of “academic support,” “personal growth,” and “professional development.” The Centre is located in Gilmour Hall 110. (x24254).

Note-Taking and Critical Analysis:

Take notes on your readings, the lectures, screenings of the films and videos, and post-screening discussions. Keep a record of your critical understandings. This record will assist you with assignments and with participation in class discussions. The establishment of note-taking practices and a written vocabulary of your understandings will contribute to the development of critical analysis skills.

Avenue to Learn:

In this course we will be using Avenue to Learn. The course outline, details about assignments, any necessary announcements, and some notes will be posted on Avenue. Students should be aware that, when they access the electronic components of this course, private information such as first and last names, user names for the McMaster e-mail accounts, and program affiliation may become apparent to all other students in the same course. The available information is dependent on the technology used. Continuation in this course will be deemed consent to this disclosure. If you have any questions or concerns about such disclosure please discuss this with the course instructor.


If you have a question about the class or assignments, don’t hesitate to ask for my assistance. But please remember to review the course outline, which provides considerable information about the course. If you wish to speak to me outside of class time, please feel free to drop by during my office hours. I will try to arrange another time with you if these hours do not suit. I prefer to discuss important matters in person and in the exchange of conversation. This includes questions about assignments and evaluations. I am happy to handle brief, logistical questions via email, but I cannot provide an in-depth response. If you have a question that may be helpful to other people in the course, such as a general query about course requirements, I encourage you to ask that question during class time.

If you need to email me (, please note that your email must originate from your official McMaster University email account. See the Faculty of Humanities policy above. I will do my best to respond to email within 48 hours. Messages received Friday to Sunday will be answered no later than Tuesday. Please note that consultation emails need to follow professional protocols: compose your email using professional language and avoid informal language and casual modes of address.

Course Evaluation:

Your feedback is important. You will have the opportunity to complete an online course evaluation near the end of the term. Information about when and how to complete the evaluation will be shared in class. I encourage you to take the time to complete evaluations for all of your courses.