SP20 Yanders

English 1135: Introduction to Film Art, “The Language of

Film”
Prof: Dr. Jacinta Yanders (aka Dr. J) | Pronouns: She/Her | Email: yandersj@cod.edu

IAI Number: | Class Time/Rooms: TH (BIC 1426), 1-3:50pm | Student Hours:

MW,12-3:30pm & F, 12-1:30pm (BIC 2444E)

Who is this space made

for?
We all have different learning
needs. In designing this class,
I've tried to account for many of
those needs. We’ll complete a
variety of activities and
assignments, for example,
because people thrive in different
areas. Similarly, we'll consume
information in various modes to
increase our collective
comprehension. Feel free to
stretch if you need to, stim, move “The function of art is to do more than tell it like it is — it’s to
around, doodle, etc. If there's imagine what’s possible.” - bell hooks
some way in which your access
and ability in this course could Do you like movies? Do you like thinking about movies? Do you have
additionally be supported, please an interest in understanding how movies work, not just from an
let me know. entertainment angle but also from production, communication,
and reception angles? If so, this class will probably be great for you!
In order to receive
In this class, we will watch several films together and analyze how they
accommodations from COD’s
are constructed. For the first half of the semester, we'll focus on formal
Center for Access and analysis, utilizing what's often referred to as "film language" to build our
Accommodations, you should understanding. The term film language to reflects the fact that films
visit them in the SSC 3249. You speak to us by way of their construction. After Spring Break, we'll turn
can also call them at our attention to other approaches, such as cultural and genre analysis,
which will provide us with the opportunity to further expand our
630-942-2154 or email them at
understanding of how films function. The modes of analysis being
access@cod.edu. If you’d like to utilized in this class are not – by any stretch of the imagination – the
learn more about what the only ways to make sense of film. But since we only have one semester
Center does, check out their together, we need to limit the scope of our focus somewhat.
website: www.cod.edu/access.  Even though we'll be focusing on different films and topics each week,
we'll also be looking for connections rather than just seeing the different
elements individually. You should be regularly attempting to
synthesize the knowledge you accumulate throughout the
semester. Ideally, your interests will be piqued, and you'll consider

1
SP20
How do we treat one
another in this space?
“Words mean things. Language
constructs reality.
Communication is political.
Word choice reflects intent.
Language defines social problems
& imagined solutions. In sum,
words mean things. Don’t let
anyone tell you words don’t mean
things.” - Sarah J. Jackson
We may encounter content in this
class that strikes you emotionally.
Some of the beliefs expressed may
challenge your views and/or be
contrary to your experiences. I
expect you to enter our discussions
with respect and generosity. Doing
so enables our classroom to be the
brave space we need it to be. Listen.
Try not to jump to conclusions. Ask
clarifying questions. Try to
understand what's being said before
responding. If you’re concerned
about types of content potentially
preventing you from engaging
healthily, please speak with me.
How we address one another
conveys respect. In addition to
abstaining from using slurs and
other forms of derogatory language
in this class, I expect you to refer to
one another by the correct names,
with the correct pronunciations,
and with the correct pronouns.
P.S. The devil does not need an
advocate.
Yanders
taking additional film classes that we offer, many of which explore
analytical lenses in more depth than we'll have the opportunity to do
here. You shouldn't expect to become a film expert in a single semester –
and if you become a film student caricature, I will be thoroughly
displeased – but Intro to Film Art will give you the necessarily building
blocks that you can use for any kind of future of film study that you
might engage in.
Ultimately, what we need to try to understand in this class is how
movies make meaning. This requires us to look beyond the explicit
messages that are obvious on the surface level and turn our attention to
the somewhat obscured choices that go into making movies. These
choices are rarely random. They are typically the result of careful
planning and intentionality. As students of film, we need to uncover
those choices if we wish to truly understand what we're watching.
Sometimes when taking this sort of deconstructive approach, students
come away thinking that the idea is to simply judge or outright dislike
films, but that isn't the goal. You can love a film and understand how it
works. You can (and should) also critique a film and still love it.
The idea isn't to stop enjoying films, but instead to begin engaging with
films differently. At the same time, you should approach each new film
we watch with openness and generosity. This should be the case
regardless of whether you like or dislike the genre, style, and/or story of
the film. Some of the stuff we watch for this class will be recent,
popular, and well-known. Other stuff we watch might be obscure,
unfamiliar, and/or older than your parents. Some will have subtitles and
some will be in black and white. While I have little to no regard for a
rigid "film canon," I do believe that it is important to have exposure to a
wide range of films in order to really understand film language. For our
purposes, understanding the film's construction takes priority over
personal enjoyment. Try to get a sense of why we're watching
something, even if it doesn't necessarily appeal to you. What does the
film have to offer us? I often tell my students to "read with the grain"
first. That doesn't mean you won't still end up having a negative
response to what you see, but it will help to ensure that you gave the
film its full chance. Remember that our focus in this class is on
analysis, rather than enjoyment or appreciation.
Sidebar: In this instance, I'm specifically talking about films you watch
for academic/professional reasons. If you want to reject something
outright in your personal viewing habits, I definitely support that -
signed, a person who took several days to completely watch Boyhood
because she found it aggressively boring.
Now you might still wonder if it's really necessary to understand how
movies are constructed. After all, they're just entertainment, right? We'll
delve more into this question very soon, but suffice it to say that movies
matter. Full stop. Like many other forms art and entertainment, movies
influence how we see the world around us as well as how we're seen by
other people. Movies don't just reflect culture as some sort of mirror.
They shape it simultaneously. What we want to figure out here is how
and why movies do this. We want to move past being passive consumers
of dominant ideas and figure out how to bring our own voices into the
discourse.
2
SP20 Yanders

Lastly, sometimes students sign up for film classes expecting an easy, "bird course" (if you don't know that reference,
you should definitely watch Sister Act 2 as soon as possible). If that type of class is what you're aiming for here, this
probably isn't a great fit for you. To do well in this class requires quite a bit of critical thinking, a fair
amount of reading, and a whole boatload of writing. It isn't difficult in the most conventional ways, but it
does require you to put a high level of work into it.

What's the philosophy of this “Always ally yourself with those on the bottom, on the margins,
class? and at the periphery of the centers of power. And in doing so,
In the words of Clint Smith III, "read
critically, write consciously, speak you will land yourself at the very center of some of the most
clearly, tell your truth." important struggles of our society and our history.” - Keeanga-
Yamahtta Taylor
How does this class work?
As noted above, this class requires A LOT of thinking. Yes, you have to read and write just like you might do in any
other class. However, surface level thinking will not get you very far here. In order to move beyond seeing
movies solely as entertainment, you'll need to commit to push past minimal engagement with the
course material. I'm here to support you in this. Meet me halfway.

You may have come into this class expecting to be tasked with writing "traditional research papers” or taking a
bunch of quizzes. We won’t be doing that. You will be writing quite a bit, which is one of the best ways to share our
questions, ideas, and understandings. But you’ll also be tasking with a creative project as well as a collaborative
assignment as part of the work of this course. Ideally, working with film in all sorts of ways will provide you with
ample opportunities to apply what we’re learning.

Some of the work for this class will occur online. Much of it will also occur face-to-face. I recognize that not
everyone likes to speak in front of the entire class for various reasons. Bearing this in mind, I've compiled an
assortment of different activities that will provide opportunities to participate beyond large group discussion. That
being said, I encourage reluctant speakers to challenge themselves to voluntarily speak out at least once a week.
Speaking out doesn't have to be providing an answer. In fact, I would love it if speaking out involved posing
questions to the class. We always need more questions. I also may call on you sometimes, even if your hand isn't
raised. This isn't to trip you up, and it's ok if you don't always have the "right" answer or a fully coherent answer. We
still want to hear from you. For my talkers, you already know how to speak up, but I'm going to challenge you to
help me out and pay extra attention to how our discussions are going. If you're constantly responding and other
people aren't, consider pulling back a little bit. You might also help me to with encouraging your classmates to join
us in conversation. Ideally, I do not want our discussions to be between me and individual students. Instead, I want
us to truly engage in discussion as a class with the understanding that we're in this space to learn and grow together.
That doesn't mean we always agree, but it does mean that we listen and respond with generosity, grace, and care.

When you get to the schedule below, you'll notice that it doesn't include day-to-day homework. Instead, it only lists
major submission due dates. Does this mean you don't have any homework in this class? Nah. However, I've
come to the conclusion that laying out a full schedule at the start of the semester that we stick to with little room
for flexibility is probably not the most productive approach. As such, each day, I will post an agenda for that day's
class on Blackboard. The agenda will include the work we completed in class on that day, any slides that were used,
and any homework that needs to be completed. Approaching our work this way will allow me to easily shift gears if
needed, depending on how our classroom interests unfold. Additionally, if you have to be absent for any reason,
you'll be able to easily sign into Blackboard and review the agenda to see what you missed without having to ask
anyone. In addition to regularly checking the agenda on Blackboard, I also expect you to regularly check your COD
email. I acknowledge that email is almost nobody's favorite form of communication, but it's what we have. If I need
to make significant schedule changes or cancel class or anything like that, I'm going to send an email.

You need to have access to assigned readings and your notes in every class. I don't suspect that most people want or
are able to print out all of the readings, so that's not necessary. However, you should be able to access them in some

3
SP20 Yanders

capacity. The first thing you should do when you come to our class meetings is take out/pull up your notes and
readings.

What's Dr J's approach to teaching?

I put a lot of thought into planning out a somewhat
"We don’t come together to perform what we loose trajectory of where I think we'll go in a given
semester. That being said, I believe that both
already know how to do. We come together to be teaching and learning are collaborative. We all
unlovely and take ourselves apart, in order to have something (plenty of somethings, in fact) to
mutually construct even more difficult ideas. It’s bring to our classroom space, and by the end of the
semester, we'll also have taken away quite a bit. What
not supposed to be easy. The labor is what makes it
else should you know about me? I'm a nerd (especially
beautiful." - Kyla Wazana Tompkins when it come TV, film, and pop culture), I can be silly,
I can be sarcastic, and I can be cheesy as all get out.
Like all of you, I'm teeming with life experiences,
values, and beliefs, especially about human rights. This means you should not expect me to be neutral, just like I
don't expect you to be neutral. We can disagree and debate, but keep in mind that this is a research class. I expect
you to support your claims, and you should expect the same from me. Please don't hesitate to ask questions or to
reach out if you want to chat.

How should we write for this class?

You'll find that I'm not extremely contrarian about most things, but I am about this:

There's no such thing as “correct” or “proper” English.

There is a thing that can be referred to as standardized English, which has been designed and propagated by the
powers that be, but that isn't the only English or the “right” one.

As far as I can tell, the Conference on College Composition and Communication had it right in 1972 when they
declared that students have a right to their own language. They noted that "Language scholars long ago denied
that the myth of a standard American dialect has any validity" and "The claim that any one dialect is unacceptable
amounts to an attempt of one social group to exert its dominance over another. Such a claim leads to false advice for
speakers and writers, and immoral advice for humans" and most importantly " A nation proud of its diverse heritage
and its cultural and racial variety will preserve its heritage of dialects." I don't know you all that well yet, but I do
know that as a group, you likely bring an assortment of dialects and languages – including variations of English – to
our class. I welcome the deliberate usage of language variation in our work. Also, in this class, you can use "I." You
can use personal narrative. You won't necessarily do all of these things in every composition (and we'll talk about
why you might want to avoid certain approaches in particular instances), but we also don't need to avoid them just
for the sake of avoiding them. You don't need to give up your identity,
your voice, or your persona to be in this class. Instead, we'll talk about
when and how to use different approaches and how those choices might "To the fans of everything
impact the audience experience. FWIW I tend to think the best writing everywhere... You’re not nostalgic
combines the critical and the creative. It tells a story, even when it's for the time before art was
incorporating research and other seemingly formal writing components.
political. Art has ALWAYS been
I challenge you to always strive to make your compositions interesting
and alive. You have stories in you that only you can tell. So tell them. political. You’re nostalgic for the
time before *you* were political.
How will we watch movies? So move forward, not backward!
We'll screen movies in class each week. While I don't doubt that you all Embrace complex and challenging
are capable of watching movies outside of classes, there's also quite a bit art! It’s fun!" - William Bibbiani
of value to communal viewing. This isn't always possible for every film
class, but since we have enough time in ours, we're going to take

4
SP20 Yanders

advantage of it. During screenings, I expect you to give your full attention to the movies and to take careful and
comprehensive notes. These notes will help you with the work we'll be completing for this class and with building
your understanding of films in general. Because we'll be screening films, we won't be taking a break like you might do
in other types of 3-hour classes. As such, I strongly recommend coming to class having already gone to the
bathroom, filled up your water bottle, grabbed a snack, etc. You're certainly still allowed to step out during the
screenings if necessary, but as you may know if you've ever had to take a bathroom break at the movie theater,
leaving even for just a few minutes can disrupt your ability to understand what's happening in the movie.

We’ll be watching the following films in class:

What assignments will we have in this class?

• 14 Discussion Board Posts

• 3 Self-Assessments

• 3 Student Hours Visits

• 1 Film Analysis Exam

• 1 Film Remix

• You will also be tasked with completing homework assignments in your notebook. I will collect some, but not all
of these assignments. You should have them in class during each class meeting.

“Labor is work the body does over time. Labor in the writing
classroom is the experience of languaging. No matter what our
pedagogical assumptions are about learning or literacy, about
grades or how to evaluate student writing, we all take for granted
that our students must labor in order to learn. They must read or
write, take notes or discuss. All pedagogies ask students to labor,
to do something in order to gain something else. However, typical
grading systems rarely account for students’ labor in any
way...Because labor is neglected in such conventional grading
systems, they often are unfair to diverse groups of students.
They [labor-based grading contracts] open a space for practices
that can fail or miss the mark, allowing students the freedom to
take risks, and try new things in their writing without the fear of
losing points or failing the course.” - Asao Inoue
final grades reflect what you do in a class or what you already knew and were able to do before the class?
How do I get an “A”?
Let's say we have two students who come
into a writing class, and one has usually
gotten good grades in writing while the
other has struggled to maintain a C average.
After 16 weeks in the same class, the first
student hasn't changed their writing very
much at all, but they've been able to
maintain the same quality of work that they
had before they started the class.
Meanwhile, the second student still
struggles somewhat with writing, but has
put in full effort and shown tremendous
growth throughout the semester. Even
though they may not yet have the same
writing quality as the first student, should
the second student receive a lower final
grade simply because they started the
semester with a different experience? Should

What if I told you that letter grades actually do much more to hinder learning than to support it and that there's
actual research to support this claim?

(True story: https://www.alfiekohn.org/article/degrading-de-grading/)

There are many problems with grades (see the slide to the left from Jesse Stommel for a short list). Thus, you won't
get letter grades on individual assignments you submit for this class. Work that meets the requirements laid out in
assignment prompts will be marked as complete. Anything that doesn't meet the requirements as well as any
assignments that aren't submitted at all will be considered incomplete until the necessary requirements are met.

5
SP20 Yanders

Throughout the semester, you will receive feedback on

your work from both myself and your classmates.
Feedback is a much more critical component of the
learning process, and as such, we will dedicate
significant attention to it. I won't always give you easy
answers because I think it's important for you to
understand how to find some answers for yourself, but
I do spend a lot of time considering my feedback. I'll
ask you questions, provide resources when relevant,
and tell you what I enjoy about your submissions. From
there, it's your responsibility to assess the feedback,
determine what revisions you want to make, and
continue to develop throughout the semester. Please
ask questions whenever you're unsure about feedback
you've received and/or need some clarification.

Because the college does require me to submit final grades

at the end of the semester, we do have to have a way to
determine final grades. We'll utilize a labor agreement to
achieve this goal. While I will be observing and assessing
your in-class labor and submissions throughout the
semester, you will also have the opportunity to assess
yourselves and make your labor known to me. In this way,
you and I will be collaborating on your final grade. Part of
the goal of a labor agreement like this one is to make the
often unclear mechanics behind grading transparent.
Hopefully, this reduces stress and enables you to take more
risks in your work. Writing is a process, and it's often not
linear. We start, stop, circle back, move laterally,
recalibrate, etc. Your earliest iterations should be messy
and explorative. Embrace the mess.

We'll talk more about how all of this will work in class, but the gist is that your final grade will be determined by
how many points you accumulate throughout the semester. You might be wondering here how this differs from
other point systems you've encountered previously, and the answer is that you will receive points based upon
completion of whole labor tasks rather than individual assignments. There are 300 labor points available, and your
final grade will correspond with the following scale based on the points you've collected:

• 300 labor points = A

• 250-299 labor points = B

• 200-249 labor points = C

• 150-199 labor points = D

• 149 or less labor points = F

You can earn points in the following ways:

• 150 labor points: Submitting all course work and receiving a completion marker from Dr. J on everything

• This refers to drafts, revisions, proposals, and anything else you're asked to submit as part of course
assignments. If you're missing a draft, for example, you will not earn these points at the end of the semester.

• 50 labor points: Active participation

6
SP20 Yanders

• This refers to contributing to in-class activities, completing homework tasks such that you are prepared to
discuss the material in class, being actively involved in peer review and revision activities, etc. Simply being in
the room will not be enough to earn these points.

• 50 labor points: Completing all self-assessments, student hours visits, and conference

• To earn these points, you must complete three self-assessments, two students hours visits, and the end-of-
semester conference. More information will be given in class about the expectations and timing of each of
these items.

• 25 labor points: Applying feedback and revising

• Throughout the semester, you will receive feedback on your ideas and drafts. If it's evident that you're
reading, listening to, and working with the feedback you're receiving while attempting to revise your work,
you will receive these points. If not, you won't.

• 25 labor points: Timeliness and Attendance

• To earn these points, you must be present and on-time (in the room within the first three minutes of class)
for at least 80% of our class meetings. Put another way, if you want these points, you should not be absent or
late more than 6 times. It's your responsibility to keep track of your absences for your own knowledge.

What do I need for this class?

• No textbooks…
“I tell my students, ‘When you get these jobs that
• ...But there will be materials posted on Blackboard you have been so brilliantly trained for, just
regularly that you are expected to read/watch/listen
to and take notes on remember that your real job is that if you are free,
you need to free somebody else. If you have some
• To that end, you need a dedicated notebook for this
class. I don't particularly care whether it's digital or power, then your job is to empower somebody
analog. Use whatever suits you. At any rate, make else.’” - Toni Morrison
sure you're taking notes and completing homework
in your notebook unless specifically told to do
otherwise. Also, make sure you bring your notebook to each class. (Note: even if you primarily use a digital
notebook, there may be times in class where I ask you to write on paper, so it's a good idea to always have paper
and pens/pencils on hand)

• Storage. Again, I don't particularly care what you use, but I recommend having at least one type of physical
storage (flash drive, portable hard drive, etc) and one type of cloud storage (Google Drive, Dropbox, etc). Device
failures are inevitable. They come for all of us eventually. Save your work early, often, and in multiple places.

• Sometimes we may be listening to audio or watching video individually in class, so if possible, it's a good idea to
have basic earbuds/headphones on hand. Remember that if we're working in the lab, wireless headphones may not
be compatible with the computers.

Can we use technology in this class?

It would be very strange if I didn’t let you use technology in this class. That being said, in the often (mis)quoted
words of Uncle Ben, “With great power comes great responsibility.” While I do not believe 100% undivided
attention is a realistic goal, it’s important to be thoughtful about when and how you use technology in class. After
all, a good deal of research indicates that none of us are as good at multitasking as we think we are. Please be
respectful of the people around you, some of whom may become distracted by what’s on your screen.

7
SP20 Yanders

What are Student Hours aka The Artist Formerly Known as Office Hours?
It's evident to me that there are barriers that prevent students from coming to see professors. Those particular
barriers may vary from student to student, but what I'm hoping to convey with this name change is that these hours
are times I've set aside each week when you all are more than welcome to come see me in my office. These hours are
**for you**. They don't require an appointment. They don't require a draft. They can be about anything. You can
come in with ideas, questions, confusion, or even just to chat. Also, sometimes I have snacks. Come see me.

What do we do about sources?

At this point in your academic careers, you all
probably have some sense that plagiarism is wrong. "Art is our human birthright, our most powerful
That being said, you might not be entirely sure about means of access to our own and another’s
what plagiarism is. That's completely understandable. experience and imaginative life. In continually
In the simplest terms, plagiarism is deliberately taking
someone else's ideas, words, and/or materials without rediscovering and recovering the humanity of
giving proper credit. Any time you take from someone human beings, art is crucial to the democratic
else, it should be cited in some way. This is certainly vision...There is no simple formula for the
true when directly quoting, but also when
relationship of art to justice. But I do know that
summarizing and paraphrasing info, borrowing video
and/or audio, etc. It's never ever cool to just straight art--in my own case the art of poetry--means
up take someone else's work without nothing if it simply decorates the dinner table of
acknowledgement, but it is cool to build upon and power which holds it hostage." - Adrienne Rich
remix the work of other people (with credit).
Remember that citation is an act of both power and
respect. This applies to both the literal act of including citations as well as selecting the sources we want to use. In
the words of Dan Martin (Assistant Professor and Director of Composition and Writing in the Disciplines at
Central Washington University), citations are "textual DNA." They show us where you've been, where you're going,
and who helped you to get there. By acting intentionally in our citation practices, we can help to promote
marginalized communities who are always already speaking out and doing the work but likely have a hard time
getting their voices heard by dominant structures.

What happens if I can't turn in an assignment on time?

Our assignments will have due dates, and you should aim to submit your work in accordance with those due dates.
Your assignments will build upon one another, so you’ll want to have feedback sooner rather than later. Also, I
typically provide less feedback for work that’s significantly late because we’ve moved on to new work. I’m amenable
to extensions, but (a) you need to discuss the possibility with me as soon as you think you might not need it and (b)
you should know that the closer we get to the end of the semester, the less wiggle room will be available. Try not to
fall behind, but ALWAYS reach out if you do.

Do we really have to be here?

Being present in class improves your grasp on the material, increases the likelihood that you will be able to apply
your learning to your work, and allows me to observe and provide feedback on your growth, development, and
participation in the course. Sometimes life gets in the way, but aim to be in our classroom as much as you can be.

What if my basic needs aren't being met?

If you're in this class and you're hungry or worried about where you're going to sleep tonight, it's probably going to
be difficult to even begin thinking about school work. I do not expect you to leave your humanity at the door. If you
find yourself faced with life challenges, please do know that you can talk to me, and we can work together to find
helpful resources. On our course Resources page on Blackboard, I'll provide information about resources that I
think could be potentially useful for a variety of circumstances. I also want to note here that COD does require me

8
SP20 Yanders

(as well as the rest of your professors) to report disclosures of sexual violence to our Title IX office (https://
www.cod.edu/dean-of-students/title-ix.aspx). I want to be upfront about that because while I absolutely do want to
provide support in such instances, I also know that a student may not wish to trigger an automatic report for various
reasons, and I believe it's important for you all to have that information before making the decision to disclose.

Course Description and Objectives

Description: 

Introduces the basic elements of film as an art form, including cinematography, mise-en-scene, movement, editing,
and sound. Social and media contexts of film will also be considered. Through screening, discussion, and critical
evaluation of selected films, students develop an ability to interpret cinema through close examination of the
relationship between its form and content.

Objectives: Upon successful completion of the course the student should be able to do the following: 

• Practice active rather than passive spectatorship of film

• Identify various film types and genres by their characteristics and conventions

• Discuss critical writing about individual films and film movements obtained through research

• Articulate important stages in the development of film as a mass medium and impact on spectatorship

• Analyze elements of film related to both form and content

• Evaluate films according to their social and historical contexts

Assignment Schedule: The agenda for each class meeting and homework tasks will be
posted on Blackboard.
Due Date Assignment Due

Thursday, January 30 Discussion Board Post #1

Thursday, February 6 Discussion Board Post #2

Thursday, February 13 Student Hours Visit #1, Self-Assessment #1, & Discussion Board Post #3

Thursday, February 20 Discussion Board Post #4

Thursday, February 27 Discussion Board Post #5

Thursday, March 5 - Student Hours Visit #2 & Self-Assessment #2

Thursday, March 19

Thursday, March 5 Discussion Board Post #6

Thursday, March 12 Discussion Board Post #7

Thursday, March 19 Discussion Board Post #8

Thursday, March 26 Discussion Board Post #9

Thursday, April 9 Discussion Board Post #10

9
SP20 Yanders

Due Date Assignment Due

Thursday, April 16 Discussion Board Post #11

Thursday, April 23 - Student Hours Visit #3 & Self-Assessment #3

Thursday, May 7

Thursday, April 23 Discussion Board Post #12

Thursday, April 30 Discussion Board Post #13

Thursday, May 7 Film Analysis Exam & Discussion Board Post #14

Thursday, May 14 Film Remix

"Critical media studies centers on the critical analysis of texts – not texts in isolation, but as they are
produced by industries and institutions, and received by audiences and societies." - Michele Hilmes

10