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THTRFLM 2CP3 Culture And Performance (C01)

Academic Year: Fall 2018

Term: Fall

Day/Evening: D

Instructor: Dr. Janice Hladki

Email: hladkij@mcmaster.ca

Office: Togo Salmon Hall 405

Phone: 905-525-9140 x 23942

Office Hours: Tuesdays 11:00-1:00



Course Objectives:

In addressing approaches to "performance art," the course examines performances that produce social and cultural thought. The focus is on particular performance practices and the strategies that performance artists use to structure and generate their work, especially in terms of challenges to artistic and social norms. These strategies may be aesthetic, conceptual, theoretical, technical, cultural, corporeal, and/or political. We will explore methods for interpreting concepts and practices of the performance art work we investigate. Students will acquire basic tools for analyzing the elements that performance practitioners deploy in order to offer potential theories, meanings, and questions about culture. The course is organized around the intersection of practices and theories, and methods and issues.

The term "performance" signals a number of meanings. 1) Performance may be understood broadly to refer to cultural practices in everyday life, such as eating, fashion, exercising, family rituals, and social and communal activities, such as parades, marches, fairs, dance marathons, sports events, political campaigns. 2) The concept of performance is also about ways we act in everyday encounters, e.g. patient-doctor relations, and ways to move, gesture, speak, dialogue, and dress. 3) The term performance may be understood to apply to what artist performers do, whether in live public performances such as theatre, performance events, or political contexts; to styles of acting; and to media performances, as in cinema and television. 4) As has been developed in contemporary critical theory, performance may also refer to how it is that we embody or enact aspects of cultural identity, including, for example, the "performance" of gender in our day-to-day lives. Course objectives focus predominantly on the two latter understandings: 1) forms of performance that artists create and 2) the performance of aspects of cultural identity.

The course draws extensively on artists' practices that are experimental, concerned with the importance of the human body for performance expression, address issues of social justice, and focus on making meanings about culture through performance. Another objective is to develop knowledge about Canadian-based performance work.

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


Textbooks, Materials & Fees:

Required Text of Readings:  THTR & FLM 2CP3 courseware pack

Required Theatre & Film Additional Expense:  Ticket to the Theatre & Film Studies major production. The dates include November 1, 2, 7, 8, 9, 10 (8:00 pm) and November 4 (2:00 pm). You will attend one performance on one of those dates.


Method of Assessment:

Assignments and Evaluations:

Participation                                             10%

In-class Test #1                                        20% (held in class Week 4, Thurs Sept 27)

In-class Test #2                                        25% (held in class Week 8, Thurs Oct 25)

In-Class Reflection                                   5% (held in class Week 12, Thurs Nov 22)

on the Theatre & Film Major Production

Final Exam                                               40% (scheduled by the Registrar’s Office)

Note: You will receive grades on assignments to meet the University regulations (20% of grades by Fri Nov 9).

 

Participation (10%):

This course includes experimental and atypical artistic 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. The expectations 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.

Participation in the class process is one of the indicators of your academic performance and potential demonstration of understanding the course material. The expectations 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 toparticipate 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, 5, 7, 8, 9, 10, 11, 12), I will take a record of your attendance. An attendance/sign-in sheet will be passed around towards the end of the class. Weeks 6 and 13 will not be counted (midterm recess; last class). Each of the 10 weeks is graded at 1 mark for a total of 10 marks.

In-Class Tests #1 (20%) and #2 (25%) #1: Week 4, Thurs Sept 27; #2: Week 8, Thurs Oct 25:

The tests are written in class. Test #1 is 30 minutes long; Test #2 is 60 min long. They consist of questions that involve interpretation and understanding about lectures, readings, and screened performances. The format of these questions could include short answer, matching, multiple choice, and/or best answer. Full details will be noted in class prior to the tests and will be posted on Avenue. Test #1 questions pertain to material in Weeks 2 and 3; Test #2 questions address Weeks 4, 5, and 7.

In-Class Reflection on the Theatre & Film Major Production (5%) Week 12, Thurs Nov 22:

You are required to attend one of the performances of the Major, which takes place on November 1, 2, 7, 8, 9, 10 (8:00 pm) and November 4 (2:00 pm). Please take notes after you have viewed the play so that you have material to draw from for your reflection assignment. Take notes based on the assignment questions below. You are welcome to bring your notes in hard copy format to the class for this assignment. 

In class, on Week 12, Thurs Nov 22, you will write a reflection on the play. Write TWO pages, double spaced, in sentences and not in point form.

We will spend approximately 20 min on this assignment. You are to critically discuss the play as follows:

--What are the key ideas in the play? (approx. ½ page)

--What performance strategies does the production utilize? Describe how they serve to illuminate the ideas. Discuss at least two strategies, which could include: acting methods, the use of multimedia, staging and space, lighting, sound, costume, etc.. (approx. 1.5 pages)

Your reflection is NOT: a review of the play, as you would find in a theatre critic’s review; a summary of the narrative; a description of why you “like” or “dislike” the play or why you “agree” or “disagree” with it. The reflection is a scholarly written assignment that provides a critical discussion about the play.

If you complete the assignment as required (according to the questions and expectations noted above), you will automatically receive the full grade of 5%.

Final Exam (40%):

You will be asked to discuss some of the key ideas in the course. The final exam will include Best Answer, Completion, and Short Answer formats. Further details will be discussed in class, closer to the exam (Weeks 12 and 13). Please note that exams are scheduled by the Registrar’s Office during the exam period and cannot be changed. Please be advised that, as required, a deferred exam will be somewhat different from the scheduled exam.


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:

If you miss a test, it cannot be made up without official documentation for your absence (e.g. MSAF; medical documentation) for your absence. Contact me immediately because *I will schedule ONE time for a make-up test for Test #1 and ONE time for a make-up test for Test #2. The make-up tests are scheduled within two weeks of the original in-class test dates. If you do not attend at a scheduled time for a make-up test, then you will write a short essay worth the same amount (20% for Test #1; 25% for Test #2).

In-Class Reflection:

The reflection is written in class and submitted directly to the course instructor in the scheduled class. Otherwise, if you miss the class, you are required to provide official documentation (e.g. MSAF; medical documentation) for your absence such that I can approve an accommodation, or a mark of zero will be assigned.

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 www.mcmaster.ca/academicintegrity

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 mcmaster.ca/msaf/. 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 sas@mcmaster.ca. 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:

Week 1: Thurs Sept 6.  Course Introduction

Week 2: Thurs Sept 13.  Introducing Performance and Performance Art

READING:

Carlson, Marvin. (1996). What is Performance? In Michael Huxley & Noel Witts (Eds.), The Twentieth Century Performance Reader  (2nd ed.) (pp. 146-153). London: Routledge.

Stucky, Nathan, & Wimmer, Cynthia. (2002). Excerpt from: “Introduction: The Power of Transformation in Performance Studies Pedagogy.” In N. Stucky & C. Wimmer (Eds.), Teaching Performance Studies (pp. 10-16). Carbondale and Edwardsville: Southern Illinois University Press.

Stiles, Kristene. (1996). Performance Art. In Kristen Stiles & Peter Selz (Eds.), Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings (pp. 679-694). Berkeley: University of California Press.

PERFORMANCE:

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

Tschinkel, Paul. (2001). Laurie Anderson – On Performance. Part 1 & II [Excerpt]. USA. 58 min.

Anderson, Laurie (1982). O Superman. 8:26 min. https://www.youtube.com/watch?v=Vkfpi2H8tOE

Wenders, Wim. (2011). Pina [Excerpt]. Germany. 103 min.

Week 3: Thurs Sept 20.  Experimentation

DISCUSSION OF IN-CLASS TESTS.

#1 HELD NEXT WEEK, WEEK 4, THURS SEPT 27.

READING:

Diamond, Elin. (2000). Excerpt from: Performance and Cultural Politics. In Lizbeth Goodman & Jane de Gay (Eds.), The Routledge Reader in Politics and Performance (pp. 66-68). New York: Routledge.

Hill, Leslie. (2000). Excerpt from: Suffragettes Invented Performance Art. In Lizbeth Goodman & Jane de Gay (Eds.), The Routledge Reader in Politics and Performance (pp. 150-155). New York: Routledge.

Potkin, Helen. (2000). Performance Art. In Fiona Carson & Claire Pajaczkowska (Eds.), Feminist Visual Culture (pp. 75-88). Edinburgh: Edinburgh University Press.

PERFORMANCE:

Akers, Matthew. (2012). Marina Abramović: The Artist is Present [Excerpt]. USA. 106 min.

Week 4: Thurs Sept 27.  Theatre Perspectives; Performance Sites

*IN CLASS TEST # 1 TODAY (30 MIN) (Based on weeks 2 and 3)

READING:

Barlizo, Marie-Leofeli R. (2009). Cultural Diversity in Play. Canadian Theatre Review, 139, 50-55.

Rose, Richard. (2003). The Significance of Theatre: A Commencement Address. In Kathleen Gallagher & David Booth (Eds.), How Theatre Educates: Convergences and Counterpoints (pp. 231-238). Toronto: University of Toronto Press.

PERFORMANCE:

Rosler, Martha. (1975). Semiotics of the Kitchen. USA. 7 min. In Lyn Blumenthal (Producer), What Does She Want? Fact is Stranger Than Fiction. https://www.youtube.com/watch?v=ZuZympOIGC0

Peebles, Sarah. (1996). “Strange Nature” Excerpts. Canada. 12 min.

Shannon, Bill. (2006). Crutch. 4 min www.youtube.com/watch?v=_zjfpdRlbbA

Shannon, Bill. (2007). Work it Out. 3 min. www.youtube.com/watch?v=Js9dZwPl8p4

Shannon, Bill. (2009). VISA commercial. 1 min. www.youtube.com/watch?v=I6RGyJirL3g

Shannon, Bill. (2016). Maker Moves. 1 min. https://www.youtube.com/watch?v=WN5DK3KVnhM

Week 5: Thurs Oct 4.  Some Canadian Histories

DISCUSSION OF IN-CLASS TEST #2. (HELD ON WEEK 8, THURS OCT 25)

READING:

Robertson, Clive. (1991). Performance Art in Canada 1970-1980: Tracing Some Origins of Need. In Clive Robertson & Alain-Martin Richard (Eds.), Performance au.in Canada 1970-1990 (pp. 8-19). Toronto: Coach House Press and Quebec: Editions Intervention.

Robertson, Clive. (2004). Excerpt from: Lillian Allen: Holding the Past, Touching the Present, Shining Out to the Future. In Tanya Mars & Johanna Householder (Eds.), Caught in the Act: An Anthology of Performance Art by Canadian Women (pp. 102-106; 108-110). Toronto: YYZ Books.

Conley, Christine. (2004). Excerpt from: May Chan: Coming into Her Own. In Tanya Mars & Johanna Householder (Eds.), Caught in the Act: An Anthology of Performance Art by Canadian Women (pp. 140-142). Toronto: YYZ Books.

PERFORMANCE:

Allen, Lillian. Limbo Dancer. 2:09 min. http://www.youtube.com/watch?v=pcCDtSX6Vj4

Allen, Lillian. What is Dub Poetry? 6.56 min. http://www.youtube.com/watch?v=nWrvzUMc2al

Allen, Lillian. No Home. 3:25 min. https://www.youtube.com/watch?v=xls5ipbU4UA

Mangaard, Annette. (2008). General Idea: Art, AIDS, and the Fin de Siècle [Excerpts]. Canada. 47:50 min.

Week 6: Thurs Oct 11.  

*NO CLASS: MIDTERM RECESS

Week 7: Thurs Oct 18.  Indigenous Challenges 

*IN CLASS TEST # 1 REVIEWED AND RETURNED.

DISCUSSION OF IN-CLASS TEST #2. (HELD NEXT WEEK)

READING:

Weintraub, Linda, Danto, Arthur, & McEvilley, Thomas. (1996). James Luna: A Native American Man. In L. Weintraub et al., Art on the Edge and Over: Searching for Art’s Meaning in Contemporary Society 1970s-1990s (pp. 97-102). Litchfield, CT: Art Insights Inc.

Young-ing, Greg. (2005). The Indigenous Tradition / New Technology Interface. In Transference, Tradition, Technology: Native New Media Exploring Visual and Digital Culture (pp. 179-187). Banff, Alberta: Walter Phillips Gallery Editions.

PERFORMANCE:

Luna, James. (1997). Bringing it all Back Home [Excerpt]. USA. 55:12 min

Luna, James, & Merritt, David J. (2001). Take a Picture With a Real Indian. USA. 12:10 min. http://www.jamesluna.red/pacific-tavern/     

Monkman, Kent. (2010). Dance to Miss Chief. Canada. 4:50 min.

Monkman, Kent. (2013). Miss Chief: Justice of the Piece. Canada. 31 min.

Week 8: Thurs Oct 25.  Performer/Provocateur

*IN CLASS TEST # 2 TODAY (60 MIN) (Based on weeks 4, 5, and 7)

READING:

Gómez-Peña, Guillermo. (2000). Excerpt from: La Migrant Life. In G. Gomez-Pena, Dangerous Border Crossings: The Artist Talks Back (pp. 7-12). London: Routledge.

Gómez-Peña, Guillermo. (2000). Excerpt from: Ethno-cyborgs and Genetically Engineered Mexicans. In G. Gómez-Peña, Dangerous Border Crossings: The Artist Talks Back (pp. 45-52; 54-57). London: Routledge.

Gómez-Peña, Guillermo. (2000). Excerpt from: The Dangers of Being a Biracial Kid. In G. Gómez-Peña, Dangerous Border Crossings: The Artist Talks Back (pp. 243; 245-246). London: Routledge.

PERFORMANCE:

Gómez-Peña, Guillermo. (1998). Borderstasis: The Many Lives of an End of the Century Bandit. USA. 25:30 min.

Oregon Public Broadcasting. (1997). A World of Art: Works in Progress: Guillermo Gómez-Peña (Tape 2). USA.

IMPORTANT NOTICE: *REQUIRED ATTENDANCE AT ONE OF THE PERFORMANCES OF THE MAJOR PRODUCTION OF THE THEATRE & FILM STUDIES PROGRAM. THIS IS IN PREPARTION FOR AN ASSIGNMENT.

THE PERFORMANCES TAKE PLACE:

PREVIEW: THURS NOV 1, 8:00 PM

OPENING: FRI NOV 2, 8:00 PM

OTHER SHOWS: SUN NOV 4, 2:00 PM; WED NOV 7, THURS NOV 8, FRI NOV 9, SAT NOV 10. NOV 7-10 ARE AT 8:00 PM.

YOU ARE REQUIRED TO ATTEND ONE OF THE PERFORMANCES. DETAILS ABOUT THE PLAY (E.G. THEMES; HOW TO OBTAIN TICKETS) AND THE ASSIGNMENT WILL BE DISCUSSED IN CLASS. *YOU WILL WRITE A SHORT REFLECTION ON THIS PERFORMANCE EVENT IN CLASS ON WEEK 12, NOV 22 (5%).  

THE 2018 FALL MAJOR PRODUCTION EXPLORES IDEAS ABOUT DEMOCRACY AND DISSENT.

Week 9: Thurs Nov 1.  Provocations

READING:

Bradley, Jessica. (2004). Excerpt from: Rebecca Belmore: Art and the Object of Performance. In Tanya Mars & Johanna Householder (Eds.), Caught in the Act: An Anthology of Performance Art by Canadian Women (pp. 120-122; 124-129). Toronto: YYZ Books.

Ritter, Kathleen. (2008). The Reclining Figure and Other Provocations. In Daina Augaitis & Kathleen Ritter (Eds.), Rebecca Belmore: Rising to the Occasion (pp. 53-65). Vancouver: Vancouver Art Gallery. 

PERFORMANCE:

Belmore, Rebecca. (2002). Vigil. 7 min. www.rebeccabelmore.com/performances

Belmore, Rebecca. (2000). Bury My Heart. 8 min. www.rebeccabelmore.com/performances

Belmore, Rebecca. (2010). Worth. 14 min. http://www.youtube.com/watch?v=Cv9DfVAzok4

Week 10: Thurs Nov 8.  Resistance and Intervention

*THIS WEEK, THERE WILL BE A GUEST INSTRUCTOR FOR 11:30-12:20.

DR. PETER COCKETT, A PROFESSOR FROM THEATRE & FILM STUDIES AND THE DIRECTOR OF THE MAJOR PRODUCTION, WILL BE SPEAKING TO THE CLASS ABOUT THE PLAY, WHICH YOU WILL BE WRITING ABOUT IN CLASS IN TWO WEEKS TIME. THIS IS AN IMPORTANT GUEST EVENT THAT WILL ASSIST YOU WITH THAT ASSIGNMENT.

*IN CLASS TEST # 2 REVIEWED AND RETURNED.

No readings this week.

PERFORMANCE:

Lerner, Mike and Maxim Pozdorovkin. (2013). Pussy Riot: A Punk Prayer. (88 min)

Week 11: Thurs Nov 15.  Identity/ies and/in Performance

No readings this week.

PERFORMANCE:

Dempsey, Shawna, & Millan, Lorri. (1999). A Live Decade [Excerpts]. Canada. 45 min.

Dempsey, Shawna, & Millan, Lorri. (1994). Arborite Housedress [Excerpt]. Canada. 22 min. https://vimeo.com/131843342

Bowen, Deanna. (2010). sum of the parts: what can be named. Canada. 20 min. http://www.deannabowen.ca/sum-of-the-parts-what-can-be-named/

Dylan, Bob. (1965). Subterranean Homesick Blues. 2 min. https://www.youtube.com/watch?v=MGxjIBEZvx0

Berry, Chuck. (1958). Johnny B. Goode. 2.30min. https://www.youtube.com/watch?v=nLahNa1P8ZU

Week 12. Thurs Nov 22.  Posthuman?

*ASSIGNMENT: IN-CLASS REFLECTION ON THE THEATRE & FILM MAJOR PRODUCTION

*EXAM PREPARATION

READING:

Stelarc. (1998). From Psycho-Body to Cyber-Systems: Images as Post-Human Entities. In Joan Broadhurst Dixon & Eric J. Cassidy (Eds.), Virtual Futures: Cyberotics, Technology and Post-Human Pragmatism (pp. 116-123). London: Routledge.

Kusahara, Machiko. (2000). Presence, Absence, and Knowledge in Telerobotic Art. In Ken Goldberg (Ed.), The Robot in the Garden: Telerobotics and Telepistemology in the Age of the Internet (pp. 199-212). Cambridge, MA: The MIT Press.

PERFORMANCE:

Selected performances at http://stelarc.org/video/?catID=20258

“The Body is Obsolete.” Interview. http://www.youtube.com/watch?v=OKEfjRe4uys. 4 min

Week 13. Thurs Nov 29.  Concluding

Overall notes on the course.

*EXAM PREPARATION

IN-CLASS WRITING EXERCISES RETURNED


Other Course Information:

McMaster Statement:

McMaster recognizes and acknowledges that it is located on the traditional territories of the Mississauga and Haudenosaunee nations, and within the lands protected by the "Dish with One Spoon" wampum agreement.

Screenings:

Thursdays during class time. *The films of the performances are central to the course, and it is expected that all students will be present for the in-class screenings.

Films of the performances 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 four hours. DVDs can be played on most personal laptops, and there are five DVD players for a four-hour loan. Computers and DVD players are open access, i.e., first-come first-serve. Students may also book a room in Lyons (L-418) to watch DVDs using the   online booking form on the Lyons' home page, http://library.mcmaster.ca/lyons. To get access to the films and DVD players, and to headphones if required, please see the Library Services desk. If you have any problems or questions about access to the films, please direct them to the staff at the Library Services desk.

Please note that there is nudity in a few of the films of the performance works we view, and some of them can raise questions about difficult issues. In introducing each film prior to screening, I will inform you of potential concerns.

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. You should not be on the internet, email, Facebook, or text messaging during class. This is distracting to your colleagues. Handwritten notetaking is recommended. If you require a device for notetaking, please sit within the first 5 rows of the classroom. 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:

Please see in this document: “Academic Accommodation of Students with Disabilities”

In addition, please note:

Students with disabilities receive accommodations to assist them in completing their programs successfully. With regard to course work, there is assistance with note-taking, assignments, and tests and exams. Please contact Student Accessibility Services (SAS), in the Centre for Student Development, for advice and for arranging accommodations. Appointments can be booked online, in person at the SAS office (MUSC B107), or by phone, ext. 28652. (http://sas.mcmaster.ca/). 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.”

*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), the second area in the Centre for Student Development, 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. (http://wellness.mcmaster.ca/)

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

Avenue to Learn:

In this course, we will be using Avenue to Learn. In the week following the class, the lecture notes will be posted on Avenue. Details about assignments and any necessary announcements will also be posted. 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.

Consultation:

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 and/or files on Avenue, which provide 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 (hladkij@mcmaster.ca), 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.

Note-Taking and Critical Analysis:

Take notes on your readings, the lectures, screenings of the performance material, 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.