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HU Credits:
2
Degree/Cycle:
1st degree (Bachelor)
Responsible Department:
Communication & Journalism
Semester:
2nd Semester
Teaching Languages:
Hebrew
Campus:
Mt. Scopus
Course/Module Coordinator:
Dr. Lillian Boxman-Shabtai
Coordinator Office Hours:
Tuesday 12:00-13:00
Teaching Staff:
Dr. Lillian Boxman-Shabtai
Course/Module description:
What differentiates “the critic” from critical members of the audience? How does the television critic use printed press to articulate her commentary? Is remix the future of media criticism? This course reviews different forms of media criticism – about the media, in the media, and through the media. Drawing on a tradition of criticism and interpretation in literary and media studies and on sociological theories of tase and distinction, the course will explore the manners with which critics perceive their role and articulate critique and the factors that empower and limit their authority as critics.
Course/Module aims:
Learning outcomes - On successful completion of this module, students should be able to:
* characterize different forms of media criticism
* describe the various agents of media criticism and their relationship with media institutions
*analyze communicative norms and values embedded in media criticism
* produce an original media criticism
Attendance requirements(%):
Teaching arrangement and method of instruction:
Course/Module Content:
literary roots: hermeneutics of suspicion
sociological roots: judgment and evaluation
critics as cultural intermediaries
criticism of the press
media scandals
the amateur critic
news criticism and alternative journalism
criticism and consumerism
criticism from the fringe: from canceling to trolling
tough love criticism: fan fiction/art
criticism and technological rivalry
satire and parody
Required Reading:
Hall, S. (2013) The work of representation. In: Hall, S., Evans, J. and Nixon, S. (eds.) Representation; Cultural Representations and Signifying Practices. Sage
Venrooij, A.V and Schmutz, V. (2010). The Evaluation of Popular Music in the United States, Germany and the Netherlands: A Comparison of the Use of High Art and Popular Aesthetic Criteria.” Cultural Sociology 4 (3): 395–421.
Mendelsohn, D. (August 28, 2012) A Critic’s Manifesto. The New Yorker. http://www.newyorker.com/books/page-turner/a-critics-manifesto.
כהן, א. (2013). ״הסיפור האזרחי של החדשות: היום שהיה עם גיא זהר״ מסגרות מדיה 10, 64-95
Daskal, E. and Kampf, Z. (2015). Stop Griping, Start Complaining: How Public Discontent Can Trigger a Change in Broadcast Entertainment Content. Media, Culture & Society 37(8): 1226–43.
Tomasena, J.M.(2019) Negotiating Collaborations: BookTubers, The Publishing Industry, and YouTube’s Ecosystem. Social Media + Society 5(4): 1-12.
Vos, T.P, Craft, S. and Ashley, S. (2012). New Media, Old Criticism: Bloggers’ Press Criticism and the Journalistic Field. Journalism 13(7): 850–68.
Jaakkola, M. (2018). Vernacular Reviews as a Form of Co-Consumption: The User-Generated Review Videos on YouTube. MedieKultur: Journal of Media and Communication Research 34(65): 10–30.
פרימו, ר. (2022, 2 בפברואר). גם אמהות צריכות למות: איך הפכה ג’יי־קיי רולינג מסופרת נערצת לאדם שכולם שונאים. הארץ. https://www.haaretz.co.il/magazine/the-edge/.premium.HIGHLIGHT-1.10585156
Romano, A. (2020, June 11). Harry Potter and the Author Who Failed Us. Vox https://www.vox.com/culture/21285396/jk-rowling-transphobic-backlash-harry-potter.
Mishan, L (2020, December 3). The Long and Tortured History of Cancel Culture. The New York Times. https://www.nytimes.com/2020/12/03/t-magazine/cancel-culture-history.html.
Ng, E. (2018). Reading the Romance of Fan Cultural Production: Music Videos of a Television Lesbian Couple. Popular Communication 6(2): 103–21.
Affleck, B. (Director). (2012). Argo. [Film]
Weir, P. (Director).
(1998). The Truman Show [Film]
Baym, G., and Jones, J.P (2012). News Parody in Global Perspective: Politics, Power, and Resistance. Popular Communication 10(1-2): 2–13.
Additional Reading Material:
Course/Module evaluation:
End of year written/oral examination 0 %
Presentation 0 %
Participation in Tutorials 15 %
Project work 85 %
Assignments 0 %
Reports 0 %
Research project 0 %
Quizzes 0 %
Other 0 %
Additional information:
The final version of the syllabus will be uploaded to the course's website on Moodle
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