“So as to give them courage we must teach people to be shocked by themselves.”


Scene Analysis (HUM303)

Pick a film. Watch it once. Take notes.

Think about the film as a whole. Do a free write.

Watch the film again.

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Hegemonies are never settled…

… but they don’t just disappear of their own volition.



# (HUM303/ HUM415)

303 and 415 students: if you go to the course filmography page you’ll note that all of the films available for the Sequence Analysis Assignment are marked with a #.

Instrumental Reason (HUM415)

Extra (HUM303)

If you want to take advantage of the astonishing offer made in class today here are the details again:

2-3 pages according to guidelines page of this blog

How does your 2nd play compare with RT? Think in terms of narrative discourse (plotting, diction, imagery, motif) and theme.

Due in class 4/2 hard copy.

Send in the Clowns (HUM415)



More than 350 arrested this morning at anti-austerity protests outside the € billion European Central Bank building in Frankfurt. We’ll hear about it because some police cars were burned.

Some Notes (HUM303)

In order for there to be a self-conscious genre of crime fiction there must be a social foundation in the form of a judicial/penal system. Even so, there are modern works of fiction featuring crimes and criminals that are generally not considered to be crime fiction. In the past, the distinction between these two forms– Zola’s Therese Raquin, say, and a John Grisham thriller– was ascribed to “literariness.” By definition, aesthetically accomplished texts did not fall into the category of mass-produced “entertainments” (as Graham Greene called his less “serious” novels) even if the scale of publishing operations was the same for both. Since the 1960s in particular, and with the advent of Modernism more generally such distinctions are no longer creditable.

All of the preceding is a way of thinking about the vexed issue of genre and questions of reception. The most useful critical commonplace concerning genre is that it functions less as a container encompassing various texts sharing specific (thematic, formal, production-related) features and more as  a spectrum of possible iterations and performances which always risk overspilling generic boundaries. (I.e., genres were made to be broken.) The question of genre– and even that genre is a question at all– indicates a specific stage (too teleological?) of socio-cultural development.

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Black Power Dialectics (HUM415)

Note that this clip is prefaced with a commercial. Does that mean consumer capitalism has won? That it contains the seeds of its own destruction?

In any case, consider these words:

The course of revolution is 360 degrees.

Understand the cycle that never ends.

Understand the beginning to be the end and nothing

in between but space and time that I make or you make

to relate or not to relate to the world outside my mind, your mind.

Speak not of revolution until you are willing to eat rats to survive.

What can you do with these lyrics?

Kirino or Beukes? (HUM303)

So which is it, Kirino or Beukes?


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