Tag Archives: Teaching

Course Zooming

Forget stupid: “Person, Woman, Man, Camera, TV”

Consider: Camera, Screen, Move, Variety, Experiment

2020! Yesterday I taught the final class of my NYU online summer course. Before the course began I had some anxiety over how online would work. I worried that students might not turn up, or speak, or engage with the course material. HOWEVER, while we had a couple of technical glitches in the first week, overall the experience proved overwhelmingly positive. I lucked out with students, who brought their A game to every class, and were a joy to meet. I shall miss them!

As mentioned, I was unnecessarily anxious so I’ve put together some pointers on what worked for me, hoping to help someone who is currently experiencing similar concerns.

Camera, Screen, Move, Variety, Experiment

This camera has lots of impressive technical features, but what I loved about it was how it freed me from sitting behind my laptop!

Camera

For my purposes the camera on my Mac laptop proved unsatisfactory: poor resolution, narrow field of view, and fixed in position. I purchased a Logitech C922 Pro Stream Webcam 1080P Camera for HD Video Streaming. I find the camera’s biggest advantage is that it’s not attached to my laptop, meaning I don’t need to be attached to my laptop! The camera gave me both the freedom to face a larger second screen, and to MOVE.

Camera mounted on larger second screen. My messy desktop with multiple windows open and ready for sharing.

Screen

Trying to see everyone in the class, while also keeping track of the class outline, while also occasionally sharing windows from the desktop is difficult to pull off using a tiny laptop screen. I beg-borrowed a second screen, which provided me with a lot more real estate. This allowed me to see all the students on one screen and freed up my laptop screen for other window activities. I mounted my camera on this second screen.

Move

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Topics in Streaming Media: “Strong Female Lead”

Looking forward to teaching my NYU summer course “Strong Female Lead.”

The course will analyze recent US-UK entertainment industry changes alongside the rise of women creatives, women-centric content, and the powerful role women are playing in the ‘streaming wars.’

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HBO: Aesthetics, Narratives, and Business Practices

Stoked to be teaching my HBO course at NYU in the fall. [taught fall ’18, and ’19]

Screen Shot 2018-03-01 at 10.08.44 PM

Over the past few decades the premium cable and satellite network, Home Box Office Inc. has developed American audience tastes and raised expectations for quality television programming. A long-term proponent of the “prestige show,” HBO repeatedly made the case that premium television was worth its monthly subscription fee; in doing so HBO laid the foundations for subscription streaming services such as Netflix, Hulu, and Amazon, all of which now also produce their own exclusive, original content. Responding recently to the growing competition from these sites, HBO restated its familiar rhetoric announcing it would focus even more on quality and exercise a greater selective content strategy.

What is a HBO show? And, why have HBO’s shows mattered so much in American cultural life? This course asserts that HBO produces a distinctive and recognizable brand. Beyond the boasted high production value evident in their often auteur controlled aesthetic, HBO’s shows share specific thematic concerns, narratives, and philosophy as they build a complex picture of US life, telling in long-form serials, stories from America’s past and present. Screenings will include some of the network’s most popular shows from a variety of genres, such as: The Wire, Girls, Entourage, Westworld, Game of Thrones, and Last Week Tonight. The class will also address the company’s changing corporate model and operating structure, along with its position in the global media market.

HBO Syllabus -Miller

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Around the World in 16 Weeks

Currently teaching at NYU my survey course: International Cinema: 1960 to Present

NYU International Cinema(Screenshots taken from three movies I adore: Cruel Story of Youth (Nagisa Oshima, 1960, Japan), Touki Bouki (Djibril diop Mambéty, 1973, Senegal), Close Up (Abbas Kiarostami, 1990, Iran)

Film scholar James Tweedie observes that in our “tendency to catalog films within familiar geographical, industrial, or linguistic boundaries,” we overlook “their most innovative and revelatory dimensions: their repetition and simultaneity in various locations and their resistance to the habitual attribution of local place-name.”

This course will oscillate between the national and the transnational to provide an overview of networks, trends, connections, and interactions within global cinema from 1960 onwards. The course will introduce key concepts and methods for approaching the study of world cinema. We will trace prominent national and transnational post-war movements that challenged Hollywood’s aesthetics and values. Many of the films we will watch in this course share similar thematic and aesthetic concerns. Concerns that cross borders include: postwar trauma and historical revisionism, the relationship between politics and aesthetics, intergenerational conflict and youth culture, post-colonialism and growing national consciousness, gender oppression and degrees of liberation, and the ambivalence towards or embrace of global capitalism. We will also consider the growing prestige of art cinema and film festival circuits.

By the end of this course you will have the knowledge and vocabulary required to analyze and write about international films within their broader cultural, historical, and aesthetic contexts, while remaining ever-mindful of the complexities and problematic nature of what it means to discuss “global cinema.”

Syllabus: NYU International Cinema 1960 to Present – Miller

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