Documenti di Didattica
Documenti di Professioni
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ARH 333, Fall 2014
Stony Brook University- Department of Art
Web Resources: Some assignments entail use of the Web, especially YouTube. Links will be provided under
Blackboard/Assignments, in folders keyed to the class topic. If you don't own a computer and modem, you
will need to use facilities on campus. Visit the SINC site on the first floor of the library, and they will assist you
in using the Web, Blackboard, and in obtaining an email account.
Screenings: Several of our classes explore early animation. I will be screening many of these short films
during the class period. (The screenings will generally take up only a portion of the class period. The rest of
the class will be devoted to lecture/discussion.) Many of the animated cartoons are available on YouTube, and
URL links will also be provided when available. You are expected to be able to discuss this material on your
quizzes and exams.
Anything that is not available on YouTube or Blackboard will be placed on reserve in the Library.
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Reserves and EReserves: Some of your readings are in books that I have placed on reserve in the Library,
3rd floor. They are listed as RESERVE. A number of your reading assignments have been placed on Ereserve
on Blackboard, and are indicated in your syllabus as ERESERVE. You will find them in Blackboard/
Documents. Some of your readings are journal articles, which you will find on the Librarys web page under
Ejournals. If you dont know how to access ejournals, please let Sierra or me know and we will show you how
to do so.
Grade Breakdown_______________________________________________________________________________%__
The following percentages represent the weight of each graded item in relation to the final grade:
Midterm Exam I
Midterm Exam II
Final Exam
Class Participation
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25%
35%
35%
5%
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k.(2001-2011) Contemporary
e. (1930-1939) Depression
Don't forget that the best exams are not just descriptive, but analytical. At the same time, the more specific
you can be, the better.
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OTHER: All mobile communication devices must remain off during class. During exams, all mobile
communications devices and computers must remain off and placed in backpacks or purses on the floor
underneath your seats.
ACADEMIC INTEGRITY: Each student must pursue his or her academic goals honestly and be personally
accountable for all submitted work. Representing another person's work as your own is always wrong. Faculty
are required to report any suspected instance of academic dishonesty to the Academic Judiciary. For more
comprehensive information on academic integrity, including categories of academic dishonesty, please refer
to the academic judiciary website at http://www.stonybrook.edu/uaa/academicjudiciary/
DISABILITY SUPPORT SERVICES (DSS) STATEMENT: If you have a physical, psychological, medical, or
learning disability that may affect your course work, please contact Disability Support Services (631)
632-6748 or http://studentaffairs.stonybrook.edu/dss/. They will determine with you what accommodations
are necessary and appropriate. All information and documentation is confidential.
Students who require assistance during emergency evacuation are encouraged to discuss their needs with
their professors and Disability Support Services. For procedures and information go to the following website:
http://www.stonybrook.edu/ehs/fire/disabilities/asp.
Critical Incident Management: Stony Brook University expects students to respect the rights, privileges, and
property of other people. Faculty are required to report to the Office of Judicial Affairs any disruptive behavior
that interrupts their ability to teach, compromises the safety of the learning environment, or inhibits students'
ability to learn. Faculty in the HSC Schools and the School of Medicine are required to follow their schoolspecific procedures.
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Civic Art, Public Culture at the Turn of the Century
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August 25:
Introduction
August 27:
Public arts and urban culture, circa 1900 I
Michele H. Bogart, Public Sculpture and the Civic Ideal in New York City, 1890-1930 (Washington DC:
Smithsonian Institution Press, 1997), 3-48; 56-59, 89-96. RESERVE
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Commercial Cultures and the Expansion of Art Work
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October 6:
Early Animation II, 1915-1928
Kanfer, Serious Business, 33-53, 55-57.
View Katzenjammer Kids (1918), Path/IFS at http://memory.loc.gov/ammem/oahtml/oahome.html.[or
on The In-class viewing: Bobby Bumps Beanery (Animation: Beginning), Tantalizing Fly,
Bubbles,(1915-20), Kokos Earth Control (28) [on video Koko the Clown]
October 8:
Uncle Sam Wants YOU!: the Visual Culture of World War I
Jennifer Wingate, Over the Top: The Doughboy in World War I Memorials and Visual Culture,
American Art 19, no. 2 (2005): 27-47. in EJOURNALS/University of Chicago Press.
For discussion:
1. What does this phrase refer to?
2. What is a "doughboy" What were some of the different types? Why were certain types popular?
What was the political impetus for some of them?
3. How did gender come into play?
4. How do you think Wingate's article complicates the meaning and significance of "the World War
I memorial."
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Commerce, Consumerism, and the American Way of Life
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October 13:
Fighting Depression: Animated Cartoons in the 1930s
Kanfer, Serious Business, 69-75, 95-99, 101-108, (113-118 recommended).
The Fleischer Studio website: http://www.fleischerstudios.com/
Animating Music: The Fleischer Era, http://www.wnyc.org/shows/soundcheck/2011/aug/22/
animating-music-fleischer-era/
In class viewing: a) Van Beuren Studio, In a Cartoon Factory b) Max Fleischer Studio, Bimbos
Initiation (1931), Red Hot Mama (34) [Betty Boops Definitive Collection, v. 3] Betty for
President (1932), [Betty Boops Definitive Collection video, v. 2]; Jazz Singer.
October 15:
Public Images of Race
October 20:
Public Images of Race
Patricia Turner, Ceramic Uncles and Celluloid Mammies: Black Images and Their Influence on
Culture (New York: Anchor Books, 1994), 9-30, 41-54. E-RESERVE. Be prepared to discuss
her argument.
Kanfer, Serious Business, 134-5.
View on your own: Bobby Bumps Starts a Lodge in Origins of American Animation, Library of
Congress, American Memory <http://memory.loc.gov/ammem/oahtml/oahome.html>
In class viewing: Sullivan Studio, Felix Saves the Day; Max Fleischer Studio, Minnie the Moocher
(1932) and Ill be Glad When Youre Dead You Rascal You (1932) [Betty Boop Definitive
Collection video, v. 2].
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October 22:
Mickey Mouse History: The Art of Walt Disney
Kanfer, Serious Business, 57-65, 77-86, 118-123, 125-131, 139-143, 149-155, 177-182.
Recommended: View on your own Fantasia (November 1940) (through 1:07, Sound Track),
Pinocchio (February 1940) on reserve in library, or check out from Netflix or viewingyour local
CD store
In class viewing: Mickey Mouse, Band Concert; Thru the Mirror, Three Little Pigs [Walt Disney video].
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October 27:
World War/Cold War
Karal Ann Marling, Willie Gillis Goes to War, Norman Rockwell (New York: Abrams, 1997), 91-109.
E-RESERVE. Be prepared to discuss how Rockwell represents the War and American culture.
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October 29:
World War/Cold War
Remington, American Modernism: Graphic Design 1920-1960, 84-101.
Kanfer, Serious Business, 131-147, 169-172. How does animated propaganda compare with that of
World War I? How are patriotism and nationalism represented?
Recommended: Four Freedoms Posters exhibition http://www.nara.gov/exhall/powers/freedoms.html
Powers of Persuasion: Posters from WWII, online exhibition:http://www.archives.gov/exhibits/
powers_of_persuasion/powers_of_persuasion_intro.html
View in class: Scrap Happy Daffy, Spirit of '43, Gerald McBoing Boing; If time: Coal Black (1943).
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You do not have to know or understand every detail, but be prepared to compare and contrast
the authors two points of view keeping in mind the following questions:
1. Both writers propose that American culture has reached a fork in the road and steps must be
taken immediately to aid in the formation of present and future culture. How would you summarize
the steps which they propose?
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4. Both writers discuss the rise of modern mass culture/public arts in comparison to art of the past.
Based on what we have studied so far in this course, what were the factors which contributed to the
rise of modern public arts/culture and what are the defining characteristics of modern mass culture?
5. Compare MacDonalds viewpoint to Seldes what type of actions does MacDonald propose to
elevate culture? Whose hands does MacDonald place the fate of mass culture into? What does
MacDonald propose or imply must be done in regards to mass culture?
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6. How can we compare MacDonald and Seldes views of the common man? What kind of public
do these two writers address?
For MacDonald also think about the following:
What were the forces that led to the development of mass culture? What are the
differences between mass culture and Folk Art? What is kitsch? What are the ways in which kitsch
homogenizes culture?
*****We remind you that your grade is based in part on participation in class discussion which is
considered in part as an assessment of your mastery of class material, just as an exam is.*****
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November 5:
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2. Who are some of the key artists, graphic designers, and art directors associated with the
different developments
3. What are some of the notable stylistic innovations?
4. What are some of the most notable corporate logos and identities
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5. When, according to some commentators, does "modern" graphic design seen to end?
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Come fully prepared to articulate each of the different perspectives on Tilted Arc that Senie
presents. The class will be divided into four-arbitrarily chosen groups, each of which will describe
the perspective that Senie puts forward (The Art Historical Context, The Public Art Context, The
Public Space Context, The Public Policy Context). After that, instructor will open up the class for
discussion/debate about your opinions about Tilted Arc and its impact.
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Reflect on the following as we go along: What does it mean to talk about arts for the public in this day and
age? How have its enterprises changed from the turn of the century, both in terms of ideals and aesthetics,
and in terms of production and reception? Can public art continue to express an ideal of an unified civil
society? Or must it invariably express social, cultural, political, and economic differences? What is its
relationship to public culture? The state? The multinational corporation? Individual self expression? What is
its connection to commercial popular culture? What do you envision will be the public arts of the future? Who
will the public be? Do advertising design and animation continue to be arts for the public in the way that they
aspired to be at the turn of the century? Are public art and popular culture one and the same? Has one
supplanted the other?
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December 3: Art Bytes: The Impact of the Digital Realm (digitally animated cartoons, web design,
apps, and web art)
Kanfer, Serious Business, 215 (The events leading up to Oliver...)- 235.
Select articles on John Lasseter of Pixar. See Blackboard/Documents
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Final Exam: Tuesday, December 16, 2014, 8:00-10:45 AM am period, covers from
November 10.
Take note
Complete each reading BEFORE the lecture.
The order of topics and or/duration of coverage may change during the semester.
Exam dates are fixed.
Additional readings or assignments might be given during the semester.
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