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THTRFLM 3M03 Analyzing Entertainment Cltre

Academic Year: Fall 2015

Term: Fall

Day/Evening: D

Instructor: Prof. Simon Orpana


Office: Chester New Hall 313

Phone: 905-525-9140 x

Office Hours: Tuesdays 2:30-3:30 pm, or by appointment TSH 434

Course Objectives:

Screenings, lectures, discussions, readings, and assignments will aid students in developing critical understandings of forms of entertainment culture that permeate everyday life. We will look at a number of visual texts, primarily from the last three decades, including a number of Hollywood blockbusters. Alongside these filmic “events,” we will study contemporary horror and sci-fi genres, independent film and the rise of computer generated imagery. We also address alternatives to, and contestations of, normative studio practice; advertising; television culture; and fans and fandom. Acknowledging that popular entertainment reflects and reinforces, but might also help to change social and cultural meanings, ideologies and forms of “common sense,” we will explore how popular pleasures work through a variety of genres and formats, and how the form and history of these productions relates to the social and political agency of fans and viewers.

Questions we will explore include: how does entertainment function as a complex activity and industry shaped by personal, political, social, aesthetic, economic, and local/global political factors? How do popular ideas, power relations, and struggles over meaning work in and through our favourite forms of entertainment? How are dreams and hopes manufactured in entertainment culture? Whose dreams and desires are represented? For whom are they produced? Is critical viewing part of the pleasure of entertainment? Does the contemporary industry’s anticipation of these critiques help or hinder the revolutionary potential of popular culture?

Textbooks, Materials & Fees:

Required Materials: 

THTR & FLM 3M03 / CMST 3SS3 courseware pack, available at the Campus Store

Required Screenings:

Tuesdays during class time. *The films are central to the course, and it is expected that all students will be present for the in-class screenings. NOTE: due to length, students will be expected to watch The Hunger Games (2012) prior to the class on November 17th. 

Films are housed at the Library Services desk, Mills Memorial Library, and may be borrowed for test, essay and exam preparation: regular loans are 48 hours for students; films on Course Reserve are 4-hour loans. DVDs can be played on most personal laptops and any iMac computer in the Library (Learning Commons and the 2nd floor, as well as the ones in Lyons, L-411). DVDs and 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. 


Method of Assessment:

Participation: Attendance                                                5%  (see below for breakdown)

In-class Film Responses and Peer Feedback  (2)         10% (Wk 4, Tues Sept. 29 & Wk 10, Tues Nov. 10)

In-class Test                                                                   25% (Wk 5, Tues Oct. 6)

Essay                                                                            25% (due in class Wk 10, Tues Nov 10)

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 Nov 13).

Participation - Discussion and Attendance (5%):

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.

2) Attendance (5%)

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

3. In-Class Film Responses and Peer Feedback (10%):

  1. Wk 4.  (Tues Sept. 29)   The Yes Men Fix the World
  2. Wk 10.              (Tues Nov. 10)               They Live

Each week’s response is worth 2.5 marks and each week’s feedback is worth 2.5 marks. We will spend approximately 20 minutes of class time on this assignment. It is designed to develop skills in critical thinking, film analysis, writing, and collaborative learning.

Written Response:

On each of the two different weeks as noted above, you will focus on the film screened that week, and you will write up to a one-page response, in class following the screening. You are to critically analyze the film in relation to the following question or to one that I will pose to you that week. Write in sentences and not in point form.

  • What discourses (or ideologies or values) are generated and/or challenged by the film? Briefly describe at least one scene or element of the film that reinforces your reading.

Peer Feedback:

For the second part of the assignment, you will work with a partner and exchange your written responses. You will work with a different partner for each of the two weeks. You need to do both parts of the feedback for the grade.

  1. Read your partner’s response and then 1) underline a key idea that is clear and well expressed and 2) circle another idea that you think could benefit from further development/elaboration/explanation. Beside the clear idea you have underlined, add a brief comment, noting one or more criteria, such as: thoughtful, well-developed, insightful, original, well argued. In determining the idea that could benefit from further development, you are offering a brief comment on an idea that could be made clearer and/or addressed in more depth.
  2. Next, you discuss verbally with each other why each of you underlined and circled those particular aspects of the written response.

The names of both students and the student numbers are to be printed on each response, *making clear who wrote the response and who provided the feedback. I will collect all the responses with their feedback notations. For each of the two response/feedback activities: If you complete both components of the assignment, you will get a full grade, i.e. 5 marks out of 5.

If you do not write a response, a grade of zero is assigned. If you write a response and do not participate in the peer feedback component, you will receive half of the grade, i.e. 2.5 marks.

4. In-Class Test (25%) Wk 5, Tues Oct. 6:

The test is written in class, and it is 60 minutes long. It consists of questions that involve interpretation and understanding re: lectures, readings, and films screened. Further details will be discussed in class, prior to the test.

5. Essay (25%) Due in class Wk 10, Tues Nov 10:

Length: 5 pages.

Avoid writing more or less than the required length.

You are to submit a critical discussion/analysis of one (1) OR two (2) of the films screened in class, focusing on the meanings or ideas generated by the film/s about a particular course idea/issue/problematic. You can select a film or films that we have viewed to date, but you are also welcome to choose the film/s from the weeks ahead. You may choose the focus of your critical analysis, but you need to demonstrate a sustained, thoughtful engagement with the film/s; avoid discussing a broad topic and only occasionally referencing the film/s. If you choose to focus on two films, you need to make connections between them rather than discussing them one at a time. Your weekly notes on the films and readings can provide a basis for your paper.

To inform your analysis, you are also asked to work with/draw upon two (2) courseware readings in relation to the film/s. You may work with any readings from the courseware pack. The purpose of this component is to encourage you to work with the ideas and arguments in your chosen readings such that they inform your critical analysis. When integrating a quotation or idea, ensure that it makes sense in relation to your analysis.

This is a short essay, which is challenging. I strongly advise you to focus closely on a particular aspect of the film/s. After outlining the course idea you are focusing on, you might choose to discuss one or two key scenes, themes, or elements (such as plot, character, lighting, cosutme, sound, dialogue, etc.) explaining how these support your reading of the film(s). You cannot address everything there is to say about the film/s. Be selective and keep to the point. Review your paper to edit out tangential and/or irrelevant material. In your introduction, clearly explain what you are going to address and your intended line of argument so that you can focus and structure your essay.

With respect to documentation, I do not have a particular requirement. That is, you may use Chicago, MLA, or APA, etc.: Use whichever style guide is most familiar to you and that enables you to focus on the substance of your paper. Nevertheless, your paper needs to be consistent with regard to the citation and reference practices, and you need to acknowledge all sources. Make sure that you provide a reference notation according to scholarly citation practices whenever you use an author’s idea, whether you use that idea by directly quoting or by paraphrasing. When paraphrasing, you must re-write the author’s idea in completely different language. Please see the following website for information on how to avoid plagiarism:

The essay is not: a review of the film/s, as you would find in a film critic’s review of a popular film; a summary or description of the narrative; or a description of why you “like” or “dislike” the work. The essay is a scholarly paper that provides a sustained critical discussion of the film/s in relation to course ideas. 

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

*Please retain a copy of your submitted paper.

Writing Practices:

Your first draft should not be your submitted paper, so allow for enough time to revise. In rewriting, pay careful attention to the clarity and expression of your ideas and to those components that can benefit or disadvantage your analysis, such as a sustained argument, overall flow and organization, sentence structure, word choice, and punctuation. Developing the habit and skill of rewriting and editing is an important component in producing a strong paper.

If you would like individual help on improving writing skills, please contact the Student Success Centre, which offers Writing Support Services through Peer Mentor and Writing Assistant appointments and the Writing Process Workshop. The Centre is located in Gilmour Hall 110 (x24254).

For assistance with academic writing, you can also book an appointment with a Peer Helper at The Writing Clinic in the Mills Learning Commons.


-Your paper should be 5 pages double-spaced (approximately 1500 words). Avoid writing a paper shorter or longer than the required length. Pages over the required length will be evaluated, and they will not lower the grade. However, a paper of 4.5 pages or less will be considered underwritten. The marks will be deducted as follows: 2.5 marks from the grade out of 100 for a paper ½ page short; 5 marks from the grade out of 100 for a paper 1 page short, etc.. *Please pay attention to the following problems that can contribute to an underwritten paper: a large margin at the top of page 1 (because no cover page has been provided), oversize margins at the sides and/or bottom of the page, excessive spacing between paragraphs, oversize font, and numbering your cover page as page 1.  

-*Include a cover page with your name, course name and number, and the title of your paper. (If you do not include a cover page and you put this information at the top of page 1, your top margin will be large and will contribute to the calculation of a short paper.)

-Number the pages.

-Use 12pt Times New Roman font.

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

-A reference list, with both the film and the readings, must be included. It is to be placed at the end of the paper and titled “References.” The reference list includes only those secondary sources cited in the paper and not materials you may have read to develop your thinking. The reference page does not count as one of your five essay pages.

Criteria for grading:

-Development of insightful understandings about the film. (This aspect includes considerations such as the following: Do you work with ideas introduced in the course? Is the paper introduced clearly, i.e. are the focus and approach evident? Is the paper focused throughout, i.e. are all parts of the essay relevant? Are the ideas/arguments focused, well developed/elaborated, and avoid generalization? Are the arguments well stated and expressed? Is the critical analysis thoughtful, insightful, and/or imaginative?)

-Incorporation of course materials (scholarly literature). (This aspect includes considerations such as the following: Are the sources well chosen in relation to your arguments? Are they properly cited? Is it evident that the course materials have been read and understood in your use of them? Do you engage with the ideas in the readings to inform and develop your arguments?)

-Organization and grammar (This aspect includes considerations such as the following: Correct length of paper; paragraph construction; sentence construction; word choice; punctuation; spelling; typos, etc.)

An overall grade is provided.

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

Consultation: If you have questions about the assessment of your essay and you would like to discuss how to do better in future writing projects, you may consult with me after the essay has been returned to you. For such consultation, you need to come prepared as follows: 1) reread your paper with the grading criteria in mind, 2) read and think through the 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 writing and to better understand how to make improvements for future writing projects in your University studies and/or in employment contexts.

*Please retain a copy of the final draft of your paper.

6.Final Exam (35%):

You will be asked to identify and discuss some of the key ideas of the course. Further details will be 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.

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. Tues. Sept 8.  Course Introduction: Why is Curtis a Shut-In?

McKellar, Don. (1999) “I Slept with my Mother.” Twitch City. Canada, 30 mins.

Week 2. Tues. Sept 15.  “It’ll be a sensation!”: Life as Entertainment / Entertainment as Life

Donan, Stanley and Gene Kelly. (1952). Singin’ in the Rain. USA. 103 min.

Gabler, Neal. (1998). The Republic of Entertainment. In N. Gabler, Life: The Movie: How Entertainment Conquered Reality (pp. 11-52). New York: Vintage Books.

Week 3. Tues. Sept 22. It’s The End of the World As We Know It (and I’m going to the movies): Film Products, Media Empires, and the Business of Media Entertainment

Emmerich, Roland. (2004). The Day After Tomorrow. USA, 124 mins.

King, Geoff. (2002). New Hollywood, Version II: Blockbusters and Corporate Hollywood. In G. King, New Hollywood Cinema: An Introduction (pp. 49-84). New York: Columbia University Press.

Elsaesser, Thomas. (2001). The Blockbuster: Everything Connects, but not Everything Goes. In Jon Lewis (Ed.), The End of Cinema as We Know It: American Film in the Nineties (pp. 11-22). New York: New York University Press.

Zizek, Slavoj.(2009) “The Family Myth of Ideology.” From In Defense of Lost Causes (pp. 56-59). New York: Verso.

Week 4.  Tues. Sept 29.  Utopia, Carnival and Political Humour: Countering the Corporate and Hollywood Models


Bicklbaum, Andy and Mike Bonanno. (2009) The Yes Men Fix the World. USA 87 min.

Zimmerman, Patricia. (2000) Pirates of the New World Image Orders. In P. Zimmerman, States of Emergency: Documentaries, Wars, Democracies. (pp. 154-197) Minneapolis, MN: University of Minnesota Press.

Week 5. Tues Oct 6. 



Week 6. Tues. Oct 13“The selling of the dream”: Television Cultures and Audiences

Riggs, Marlon. (1991). Color Adjustment: Blacks in Prime Time. USA. 86 min

Spigel, Lynn. (2001) “From Domestic Space to Outer Space: the 1960s Fantastic Family Sitcom.” In Welcome to the Dream House: Popular Media and the Postwar Suburbs. Duke University Press, (pp. 107-136).

Gamson, Joshua. (1998). Why I Love Trash. In J. Gamson, Freaks Talk Back: Tabloid Talk Shows and Sexual Nonconformity (pp. 3-26). Chicago & London: The University of Chicago Press.

Week 7. Tues. Oct 20.  The Force is Strong with These Ones: Fans

Editz, Mark. (2010) Jedi Junkies. USA, 75 mins.

Jenkins, Henry. (2006). “Quentin Tarantino’s Star Wars?: Grassroots Creativity Meets the Media Industry” Convergence Culture: Where Old and New Media Collide. (pp. 135-176). New York: New York University Press.

Week 8. Tues Oct 27.  Do Teenagers Exist?: Challenging the Commoditization of Youth

Michael, Lehmann. (1988) Heathers. USA, 103 mins.

Driscoll, Catherine (2011) “‘The Little Shopgirls Go to the Movies’: The Age of Cinema.” In, Driscoll, C. Teen Film, A Critical Introduction. (pp, 10-13) New York: Berg.

Coulter, Natalie. “From Toddlers to Teens: The Colonization of Childhood the Disney Way.” Jeunesse: Young People, Texts, Cultures. 4.1 (Summer 2012) pp.146-158.

Long, Scott. (1990) “Nightmare in the Mirror: Adolescence and the Death of Difference.” Social Text no. 24. (pp. 156-166)

Week 9. Tues. Nov 3.  The Uncanny Home: Nuclear Family Meltdown and the Significance of Horror

Guest Lecturer: Dr. Emily Hill

Hooper, Tobe. (1982) Poltergeist. USA 114 min. 

Kellner, Douglas. (1983) “Fear and Trembling in the Age of Reagan: Notes on Poltergeist.” Socialist Review 69 (pp. 121-131).

Brophy, Philip. (2000). Horrality – The Textuality of Contemporary Horror Films. In Ken Gelder (Ed.), The Horror Reader (pp. 276-284). London: Routledge.

Week 10: Tues. Nov 10. Branding, Corporations and Commodity Culture



Carpenter, John. They Live (1988) USA, 93 mins.

Sturken, Marita, & Cartwright, Lisa. (2009). Advertising, Consumer Cultures, and Desire. In M. Sturken & L. Cartwright, Practices of Looking: An Introduction to Visual Culture (pp. 265-306). New York: Oxford University Press.

Week 11: Tues. Nov 17. Watching Them Watch Us: Neoliberal Spectacles of Survival

Ross, Gary. (2012) The Hunger Games. USA 142 mins.

Keller, James. “Meta-Cinema and Meta-Marketing: Gary Ross’ Hunger Games: an Allegory of its Own Making.”  Studies in Popular Culture 35.2 (Spring 2013) pp. 23-42.

Fisher, Mark. “Precarious Dystopias: The Hunger Games, in Time, and Never Let Me Go.” Film Quarterly 65.4, Summer 2012 (pp. 27-33)

Week 12: Tues. Nov 24. New Directions: Beyond the Colonization of our Dreams?

McNally, Scott. (2010) Monsters. UK 94 min.

Dixon, Wheeler, Winston. (2001). Twenty-five Reasons Why Its All Over. In Jon Lewis (Ed.), The End of Cinema as We Know It: American Film in the Nineties (pp. 356-366). New York: New York University Press.

Goodyear, Jason. (2012) “Sci-fi on a Shoestring.” Engineering and Technology. 7.8 (pp. 36-37)

Week 13: Tues. Dec 1. Conclusions: Course Evaluation & Exam Review

McKellar, Don. (2000) Twitch City “The Planet of the Cats” Canada, 30 mins.

*All films are on reserve for four-hour loans at Mills Library circulation desk. Viewing facilities are available at Mills Library.


Other Course Information:

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 discuss 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 their course work, including for example, 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. ( Note that students must register annually. All information is treated confidentially. 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 CSD accommodation letter, preferably by the second week of classes.

Student Wellness:

The Student Wellness Centre (, 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.

Student Success:

The Student Success Centre provides services to assist students in improving skills for academic success (e.g. ESL, academic development, writing support). The Centre is located in Gilmour Hall 110.

Academic Dishonesty Statement:

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 consists of misrepresentation by deception or by other fraudulent means and 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 kinds of academic dishonesty please refer to the Academic Integrity Policy, specifically Appendix 3, 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. (Receiving a group grade for a presentation without having done an equal amount of work on the project.)

3. Copying or using unauthorized aids in tests and examinations.

McMaster University Statement Regarding Courses:

The instructor and university reserve the right to modify elements of the course during the term.  The university may change the dates and deadlines for any or all courses in extreme circumstances.  If either type of modification becomes necessary, reasonable notice and communication with the students will be given with explanation and the opportunity to comment on changes.  It is the responsibility of the student to check their McMaster email and course websites weekly during the term and to note any changes.

Statement Regarding Email Policy for the Faculty of Humanities:

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 the student’s own McMaster University email account. This policy protects

confidentiality and confirms the identity of the student. The School of the Arts’ instructors will delete messages that do not originate from a McMaster email account.

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.


If you have a question about the class or assignments, don’t forget to review the course outline.

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 McMasterUniversity 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.