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	<title>Comments on: FMST 84: TV and New Media</title>
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	<description>Bob Rehak&#039;s Blog about Special Effects, Videogames, Film, and Television</description>
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		<title>By: Bob Rehak</title>
		<link>http://graphic-engine.swarthmore.edu/?p=1596&#038;cpage=1#comment-367831</link>
		<dc:creator>Bob Rehak</dc:creator>
		<pubDate>Sun, 11 Mar 2012 19:51:42 +0000</pubDate>
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		<description><![CDATA[*Sigh* You&#039;ve put your finger on one of the things I struggle with most in my teaching, which is where/how to address identity within the media domains I study and talk about. As you know from your experience in TV &amp; New Media as well as in Theory and History of Video Games (an updated syllabus for which I plan to post shortly), I tend to mark out a single week for looking directly at identity politics and representations of difference. And you&#039;re right -- this does run the risk of compartmentalizing the discussion and implying that such issues aren&#039;t as crucial to understanding media forms and practices at other points in the term. Part of this, I freely admit, comes from the fact that I&#039;m not as deft or comfortable in addressing these topics as I know I ought to be. Call it a case of straight-white-male guilt: foregrounding identity means confronting the privileged position from which I continuously, and more or less unconsciously, speak.

On the other hand, I&#039;ve been teaching long enough to know what works in my classroom: what my strengths and weaknesses are, and how best to play to/compensate for them. I&#039;ve become more forthright about interrogating certain identity categories -- race, gender, class, and sexual orientation among them -- on an ongoing basis as part of our overall exploration of a subject, and am fairly confident that students emerge from my classes with their own subject positions troubled and broadened. Too, I find that it&#039;s incorrect, and sometimes counterproductive, to assume that all students (even Swatties!) come into the room at equal levels of proficiency and readiness to tackle questions that arrow so precisely into the personal and political. One of my guiding pedagogical principles is to keep as many people as possible engaged in the conversation, denying them excuses to switch off; this sometimes means being less confrontational about hot-button issues than my own committedly liberal politics would dictate.

Short answer: in my experience, devoting a week to identity doesn&#039;t take the topic off the table at other points in the semester; if anything, it helps put us all on the same page by establishing a vocabulary we can use as we navigate things like genre. For the TV/NM class in particular, the readings we&#039;re working with do a good job of keeping those questions alive and important no matter what the week&#039;s focus.]]></description>
		<content:encoded><![CDATA[<p>*Sigh* You&#8217;ve put your finger on one of the things I struggle with most in my teaching, which is where/how to address identity within the media domains I study and talk about. As you know from your experience in TV &#038; New Media as well as in Theory and History of Video Games (an updated syllabus for which I plan to post shortly), I tend to mark out a single week for looking directly at identity politics and representations of difference. And you&#8217;re right &#8212; this does run the risk of compartmentalizing the discussion and implying that such issues aren&#8217;t as crucial to understanding media forms and practices at other points in the term. Part of this, I freely admit, comes from the fact that I&#8217;m not as deft or comfortable in addressing these topics as I know I ought to be. Call it a case of straight-white-male guilt: foregrounding identity means confronting the privileged position from which I continuously, and more or less unconsciously, speak.</p>
<p>On the other hand, I&#8217;ve been teaching long enough to know what works in my classroom: what my strengths and weaknesses are, and how best to play to/compensate for them. I&#8217;ve become more forthright about interrogating certain identity categories &#8212; race, gender, class, and sexual orientation among them &#8212; on an ongoing basis as part of our overall exploration of a subject, and am fairly confident that students emerge from my classes with their own subject positions troubled and broadened. Too, I find that it&#8217;s incorrect, and sometimes counterproductive, to assume that all students (even Swatties!) come into the room at equal levels of proficiency and readiness to tackle questions that arrow so precisely into the personal and political. One of my guiding pedagogical principles is to keep as many people as possible engaged in the conversation, denying them excuses to switch off; this sometimes means being less confrontational about hot-button issues than my own committedly liberal politics would dictate.</p>
<p>Short answer: in my experience, devoting a week to identity doesn&#8217;t take the topic off the table at other points in the semester; if anything, it helps put us all on the same page by establishing a vocabulary we can use as we navigate things like genre. For the TV/NM class in particular, the readings we&#8217;re working with do a good job of keeping those questions alive and important no matter what the week&#8217;s focus.</p>
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		<title>By: Yoel Roth</title>
		<link>http://graphic-engine.swarthmore.edu/?p=1596&#038;cpage=1#comment-367317</link>
		<dc:creator>Yoel Roth</dc:creator>
		<pubDate>Sun, 11 Mar 2012 03:36:06 +0000</pubDate>
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		<description><![CDATA[This syllabus has only gotten more exciting since I took the course in spring 2009 (has it really been that long?). The addition of Dayan and Katz is a particularly apt one.

I wonder how you&#039;ve handled, in structuring the syllabus, the question of the &quot;race week&quot; (or the &quot;gender&quot; week, or &quot;queer&quot; week, etc). In thinking about how, in the future, I&#039;ll develop courses of my own, I&#039;m always troubled by the possibility of dumping the identity stuff into a single week, for fear of ghettoizing it within the structure of the course. 

It seems like a lot of weeks in this course — particularly the genre-centric weeks in the second half of the course — could support topic-relevant identity-centric readings (e.g. Katherine Sender&#039;s &quot;Queens for a Day: Queer Eye for the Straight Guy and the Neoliberal Project&quot; or something from Sender and Kraidy&#039;s edited volume, The Politics of Reality TV). What do you think are the potential problems/benefits of having an explicitly identified &quot;Race/Ethnicity/Identity&quot; week?]]></description>
		<content:encoded><![CDATA[<p>This syllabus has only gotten more exciting since I took the course in spring 2009 (has it really been that long?). The addition of Dayan and Katz is a particularly apt one.</p>
<p>I wonder how you&#8217;ve handled, in structuring the syllabus, the question of the &#8220;race week&#8221; (or the &#8220;gender&#8221; week, or &#8220;queer&#8221; week, etc). In thinking about how, in the future, I&#8217;ll develop courses of my own, I&#8217;m always troubled by the possibility of dumping the identity stuff into a single week, for fear of ghettoizing it within the structure of the course. </p>
<p>It seems like a lot of weeks in this course — particularly the genre-centric weeks in the second half of the course — could support topic-relevant identity-centric readings (e.g. Katherine Sender&#8217;s &#8220;Queens for a Day: Queer Eye for the Straight Guy and the Neoliberal Project&#8221; or something from Sender and Kraidy&#8217;s edited volume, The Politics of Reality TV). What do you think are the potential problems/benefits of having an explicitly identified &#8220;Race/Ethnicity/Identity&#8221; week?</p>
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