Course:	ARTS 208  Understanding Social Media
Professor:	Fahmid Haq
CRN:	15928		Schedule/Location:		Mon  Wed     11:50 AM - 1:10 PM Henderson Computer Ctr Annex 106
Distributional Area:		AA Analysis of Art
Credits: 4						Class cap: 20
Crosslists: Experimental Humanities

Doing social media projects practically and analyzing their role critically are two main objectives of the course. This course will raise some critical question that evolve around social media which will include – surveillance and privacy, labor, big data, misinformation, cyborg and cyberfeminism. Topics will include the socio-historical perspectives regarding technology and society, the nature and characteristics of different social media such as Facebook, YouTube, Instagram, snapchat and more, big data capitalism and imperialism, civic engagement through digital platforms, mainstream media’s compelling realities to be more ‘social’, misinformation, racism and right-wing authoritarianism in social media, the role of social media influencers, branding and social media marketing and an exploration for a true social media. The course will draw from a broad range of social theory including communication and cultural theories, political economy and media anthropology to critically evaluate the impact of social media on human relationships, activism, branding, politics, news production and dissemination and identity formation. Theoretical notions such as hyperreality by Jean Baudrillard, network society by Manuel Castells and digital labor by Christian Fuchs will be discussed in the class. As ‘prosumers’, students will create social media projects and analyze some trendy cases evident in different platforms.

 

Course:	ARTS 309  Vibrant Matter: Archives of Contestation and Reanimation
Professor:	Krista Caballero
CRN:	15926		Schedule/Location:		Wed     3:30 PM - 6:30 PM New Annandale House
Distributional Area:		PA Practicing Arts
Credits: 4						Class cap: 12
Crosslists: America Studies; Experimental Humanities; Human Rights

This advanced course will investigate the “aliveness” of archives and collections and what political theorist Jane Bennett describes as vibrant matter – that capacity of things “to act as quasi agents or forces with trajectories, propensities, or tendencies of their own.” We will take up this idea of archives and collections as a kind of lively, vibrant matter while simultaneously exploring ways they reveal which bodies and whose histories matter. Students will work in the media of their choosing to create artwork utilizing archives as a tool for both contestation and reanimation. Alongside this creative making will be an examination of key theoretical texts with emphasis on those that center indigenous scholarship and BIPOC artists. As such, course readings, active participation in class discussions as well as group critique will be key to our investigation. Topics will include: collective memory and erasure; repatriation and decolonization; fragmentation and digital accumulation; the collection and indexing of other species; agency and control. An integral component of this course will also include site-visits to both on and off-campus archives such as the Associated Press in NYC, Hudsonia at the Bard College Field Station, and local historical societies. Prerequisite: at least one 200 level practicing arts course.

 

Course:	ARTS 314  Beyond Bollywood: Mapping South Asian Cinema
Professor:	Fahmid Haq
CRN:	15927		Schedule/Location:		Tue  Thurs    10:10 AM - 11:30 AM OSUN
Distributional Area:		AA Analysis of Art
Credits: 4						Class cap: 16
Crosslists: Experimental Humanities

South Asian Cinema is nearly synonymous with Indian Cinema to the international audience, though other South Asian countries such as Pakistan, Bangladesh, Sri Lanka and Nepal have developed strong film cultures too. The objective of the course is mapping the cine profile of the South Asian countries and examining Bollywood’s hegemonic presence in the region. This seminar course will study some cases across a range of South Asian Cinema cultures by exploring their common as well as different cultural backgrounds, historiography, and sociopolitical realities. Topics will include both historical and contemporary cinematic practices in South Asian countries such as the Partition of India in South Asian Cinema, cinematic representation of the Liberation War of Bangladesh, Bollywood’s cultural influence in other South Asian countries, portrayal of Kashmir in Indian cinema, diasporic Indian cinema and ‘other Bollywood’ cinema. Films by directors such as Raj Kapoor, Satyajit Ray, Ritwik Ghatak and Anurag Kashyap from India, Zahir Raihan, Alamgir Kabir and Tareque Masud from Bangladesh, Sharmeen Obaid-Chinoy and Shoaib Mansoor from Pakistan, and Lester James Peries from Sri Lanka will be studied closely. This is an OSUN class and is open to Bard students as well as students from multiple OSUN partner institutions.