2008 Fall Media Studies Viewbook

MEDIA STUDIES
MASTER OF ARTS IN
CONTENTS
2 4 5 18 26 28 28 29 30 inside back cover Media Studies and The New School Degree Requirements Courses Faculty Resources Admission Financial Information Facilities and Student Services Eight Schools/One University Campus Map
ABOUT THE NEW SCHOOL

The New School is a unique urban university in New York Citys Greenwich Village. It was founded in 1919 by a group of wellknown progressive scholars including Charles Beard, John Dewey, James Harvey Robinson, and Thorstein Veblen. They described the New School for Social Research, as it was incorporated, as a center for discussion, instruction, and counseling for mature men and women. They intended their school to bring higher education out of the traditional universities, with an open curriculum, minimal hierarchy, and free discussion of controversial ideas. In 1933, The New School became a degreegranting institution when it gave a home to the University in Exile, a refuge for scholars forced from Europe by the Nazis. In 1934, this distinguished intellectual community was incorporated into The New School for Social Research as the Graduate Faculty of Political and Social Science, offering MA and PhD degrees. In the decades since, The New School has grown into a university of eight undergraduate and graduate schools enrolling more than 9,000 students in its degree programs. It also continues to enroll thousands of students annually in noncredit continuing education programs. It offers courses online as well as in the classroom. It is home to several distinguished research and policy institutes. From the earliest period, the university was always called simply The New School. In 2005, this simpler name was made official. At the same time, the eight academic divisions were renamed to reinforce their affiliation with The New School: Parsons The New School for Design, Milano The New School for Management and Urban Policy, Eugene Lang College The New School for Liberal Arts, Mannes College The New School for Music, The New School for Drama, The New School for Jazz and Contemporary Music; the founding division is now called The New School for General Studies, and the Graduate Faculty is now again The New School for Social Research. What is unchanged is the universitys commitment to breaking down the walls of traditional academic disciplines, its close connections to the cosmopolitan cultural and professional life of New York City, and its constant willingness to reinvent itself. Superbly adapted to the postmodern world of lifelong education for all citizens, The New School holds its place in the avant-garde of American universities. For the adventurous, the creative, those interested in a vocation as well as a career, The New School is a good place to be today, just as it was in 1919.
MEdiA STUdiES
UNdErSTANdiNg MEdiATEd CULTUrE
We live in a world where there is more and more information and less and less meaning. Jean Baudrillard At The New School, people learn how to make messages with meaning, producing both thoughtful work and engaged citizens. The New School has offered the Master of Arts degree in Media Studies since 1975, when Marshall McLuhans colleague John Culkin brought his Center for Understanding Media here. It was Media Studies the first degree of its kind. The notion of communication media as a subject of serious intellectual inquiry had only recently www.newschool.edu/mediastudies 70 Fifth Avenue, 12th floor New York, NY 10011 Information: 212.229.5630 nsadmissions@newschool.edu Linda dunne, Dean, The New School for General Studies Peter Haratonik, Chair, Department of Media Studies and Film dawnja Burris, Associate Chair Shannon Mattern, Director of Graduate Studies acquired legitimacy when McLuhans 1964 book Understanding Media caught public attention with his phrase the medium is the message. But The New School had been offering courses on the social impact of mass communication since the 1920s, and being a place where social theory and modern art were already intertwined, it was a natural laboratory for a graduate degree in a discipline still unheard of. The Media Studies MA program currently enrolls more than 450 graduate students from 30 states and 20 countries. Taking advantage of the natural laboratory of media industries in New York City and The New Schools tradition of interdisciplinary education, the Media Studies program has evolved into a complex and sophisticated curriculum, mingling cultural and technological history and social theory with media production and business. Students not in New York City can earn their masters degree onlinesee page 3 for more information about the New School online.
Marshall McLuhan, John Culkin
Media Studies
MEdiA STUdiES ANd THE NEW SCHOOL
attracted a wide range of pioneering spiritsartists, journalists, filmmakers, political activists, educatorseager to grasp the implications of McLuhans ideas and put them into practice. The connection of media theory and practice has been the core value of the program since its founding 30 years ago, although the discipline of media studies has changed in the intervening years, expanding to encompass corporate communications as well as cultural studies. In a world constantly redefined by rapidly changing technologies, the program remains open to change and respectful of the integrity and potential contributions of all academic disciplines and all media formats. Today it provides state-of-the-art instruction in audio, video, film, and multimedia as well as the latest media theory. Through a diverse student body and inclusive curriculum, it encourages awareness of the ethical imperatives of communication within the global village and sensitivity to the ways in which media theory and practice can contribute to intercultural understanding. Media studies thus endeavors to prepare students to be thoughtful and humane citizens in an increasingly mediated world and competitive contributors in a challenging media marketplace. Some recent thesis titles reveal the breadth of their ideas and creativity as well as the richness of media studies at The New School: A New Nationalism Promoted in Turkish TV Advertisements; Media Theory of Viral Marketing; A Case Study on the Effects of the Virtual Office on Interpersonal Relations; From the Screen to Stove: The Food Television Explosion; Total Theaters and Poly-Visionaries: Parallel Experiments in Cinematic Spatiality from 19231967; Beirut: Media, Geography and Identity; The Orality of Blogging; Sonic Heterotopias: Reimagining Public Space in the Modern City through Sound Performance; and Delicious Clouds: Examining Folksonomies through the Social Bookmarking Site del.icio.us. Student production theses have been screened at national and international festivals and venues including Sundance, the Tribeca Film Festival and the Museum of Modern Art, and many have won prizes, including the Student Academy Award. Rosario GarciaMonteros short narrative film Are You Feeling Lonely, screened at Sundance and won the Grand Jury Award at the 37th Annual New York Expo in 2003. Jordan Waids short film The Piece won a 1999 Student Academy Award in the Alternative Film category.
The New School was one of the first educational institutions to notice that new forms of communication were changing modern society. In 1926, pioneering film producer/editor Terry Ramsaye wrote a history of the cinema titled A Million and One Nights and offered a course at the New School on The Motion Picture, the first college course in the United States devoted to cinema studies. In the 1930s, one of the many migrs who found a haven from repression at The New School was Jean Benoit-Lvy, a documentary filmmaker, who offered the first filmmaking course here. In those days, The New School offered a variety of courses about the media, such as The Power of the Press (1928) and Radio: Today and Tomorrow (1940). Alexander Wolcott taught a course in the history of American journalism in 1936, and during World War II, a whole curriculum was developed devoted to investigation of mass communication, public relations, and propaganda. After the war, the avant-garde of communication theory and practice came to The New School. Ernst Kris, editor of Freuds Collected Works, taught The Psychology of Mass Communication. Charles Morris course, Meaning and Communication: Introduction to the Science of Signs, was an early venture in semiotics. Polling pioneers Louis Harris and Julien Woodward taught workshops on public opinion surveys. When Marshall McLuhans dictum the medium is the message made headlines in the 1960s, the media had been studied at The New School for almost 40 years. John Culkin was the man responsible for bringing Marshall McLuhan to teach in the United States in 1968. That partnership inspired Culkin to establish the Center for Understanding Media in 1969 and offer the first masters degree in media studies in the United States, which he brought to The New School in 1975. Committed to educating media generalists, the program was predicated on a belief in the relationship between theory and practicethat no one can really understand the mass media and their implications without having some hands-on experience making media. The MA in Media Studies was an innovative academic program, combining serious study of media theory with practical courses in the production of photographs, films, audio, and video, as well as newspapers, magazines, and books. Inspired by the tumultuous social, political, and technological changes of the time, this new discipline of media studies
www.newschool.edu/mediastudies
PrOgrAMS Of STUdy
MA iN MEdiA STUdiES
The graduate program in Media Studies is a 39-credit course of study leading to the Master of Arts degree. The degree may be pursued on a full-time (9 credits or more) or part-time (6 credits or fewer) basis, with most courses offered in the weekday evening
John Waters, artist-in-residence, and Jonas Mekas. dorothy H. Hirshon film festival 2004
hours. The academic year consists of fall and spring semesters and an intensive summer term. There are two options for earning the Master of Arts degree: the Thesis Option, which culminates in a written masters thesis or thesis project, and the Non-Thesis Option. During the first semester, students prepare with an advisor a plan of study that includes all degree requirements. Advisors help students consider the options according to their academic and professional backgrounds and goals. It is not necessary to formally select the Thesis or Non-Thesis Option until later in the program.
Arnold Eagle, 16mm filmmaking 1974
ONLiNE MA PrOgrAM Students can complete all required and
elective courses in theory and research via online coursework. A sequence in digital design, web design, or digital audio production can fulfill the production requirement. Degree candidates studying entirely online can choose the Thesis or Non-Thesis Option.
THE NEW SCHOOL ONLiNE

The New School was a pioneer of e-learning, and our cyberspace
Charlie rose 1993
campus at www.newschool.edu/online has been completely renovated and is better than ever. Students can enter the classroom from their homes, offices, even on the road, whenever they choose, 24 hours a day, seven days a week. All they need is a personal computer and access to the Internet. All learning materials are made available online, and instruction and group interaction are equivalent to the classroom experience. Whenever students come to class, they find a discussion in progress. The instructor lectures, provides resources, asks and answers questions, gives assignments, assesses progress, and offers
Spike Lee 1987
public and private feedback. To learn more, visit the website at www.newschool.edu/online.
gregory Bateson, Anthropology 1947 Kenneth Burke, Literary Criticism 1937
Media Studies
MA/PHd iN MEdiA STUdiES/SOCiOLOgy The New School for
Thesis Option Understanding Media Studies Media Studies: Ideas Media Practices: Concepts Methods Courses Seminar Courses Production Courses Media Practices: Time-based Media Practices: Film Form Media Practices: Interactive Thesis Proposal Supervision Thesis Tutorial Thesis Supervision Total Credits
Credits 3 3 3 3 1218 612
Social Research awards the PhD degree in Sociology with a Media Studies concentration. The MA in Media Studies can be incorporated into the PhD program for qualified students. For more information about the PhD track, speak to MA/PhD advisors at your earliest opportunity after admission to the MA program.
CErTifiCATE PrOgrAMS The Masters Program in Media Studies
offers graduate certificates in Documentary Media Studies and Media Management. All graduate credits earned with a grade of B or higher toward the Media Management or Documentary Media Studies certificate can be used to meet masters degree requirements.
1 1 1 39
Media Management Certificate: The Media Management Program (MMP) is a 12-credit graduate certificate program designed to provide current and prospective media professionals with a state-of-the-art education in the principles and skills necessary to become industry leaders. Content areas include Industry Perspectives, Media Economics, Media Management and Leadership, Information Technologies, Competitive Strategies, and Corporate Responsibility. Courses are taught by industry leaders. They are offered onsite and online. The certificate is awarded to students who successfully complete a total of 4 approved courses and write a synthesizing paper that applies the coursework to their career objectives. documentary Media Studies Certificate: This is an 18-credit graduate certificate program. Students take courses that engage them with the history and theory of documentary filmmaking and contemporary debates and practices while each works on an individual project, a short documentary video. The curriculum, including the final project, is designed to be completed in one year of full-time study.
MA dEgrEE rEqUirEMENTS
Non-Thesis Option Understanding Media Studies Media Studies: Ideas Media Practices: Concepts Methods Courses Seminar Courses Production Courses Media Practices: Time-based Media Practices: Film Form Media Practices: Interactive Project-based Courses Total Credits Transfer Credits: Students admitted to the Media Studies
Credits 3 3 3 3 1221 615
39
program can transfer a maximum of 6 graduate credits from other institutions. All transfer credit determinations are made on a case-by-case basis by a students academic advisor after matriculation in the program.
To earn the Master of Arts degree, a student must successfully complete 39 credits and fulfill degree requirements. All students are required to take Understanding Media Studies; Media Studies: Ideas; Media Practices: Concepts; three credits of Methods coursework, and a minimum of two production courses. Further information on the required courses, production courses, and thematic focus areas in the program may be found at www.newschool.edu/mediastudies.
THE MEdiA STUdiES CUrriCULUM
rEqUirEd COUrSES
Unless otherwise specified, all courses carry 3 graduate credits.

fOCUS ArEAS
Understanding Media Studies (On site/Online; required colloquium for all Media Studies students in their first semester) Every week, different members of the faculty and invited guests from the wider world of media studies and practice share their work and methods, introducing students to the many dimensions of media research and production. Over the course of the semester, students engage the faculty and colleagues with whom they will work throughout the masters program, become familiar with university and New York City resources, and develop skills and practices needed for successful graduate study. Students complete a variety of reflective and exploratory exercises leading incrementally toward completion of a personal comprehensive academic plan, which serves as an essential advising document. Grading is pass/fail. Media Studies: Ideas (On site/Online) This course must be completed in the first year of study. Students may take it either concurrently with or in the semester following Understanding Media Studies. The course is an overview of the major schools of academic thought that have influenced the field of media studies as pertains to three central themes: Media and Power, Media and Technology, and Media and Aesthetics. The historical and philosophical roots of the discipline are emphasized through a variety of readings, discussions, and academic writing assignments.
The New School masters program in Media Studies is characterized by its flexibility. With limited program requirements, students are encouraged to work with their faculty advisors to chart their own paths through the program while taking advantage of the myriad resources available at the university and in New York City. Students can choose to be generalists but are also invited to concentrate their coursework in areas of personal and professional interest that are supported by the curriculum. Typical areas of focus include: media theory and research; media and the urban environment; media and international affairs; documentary studies; social media and social change; media management studies; film form and practice; and sound studies and acoustic environments. Faculty advisors are always available to help you fine-tune your plan of study.
Media Studies
Media Practices: Concepts This course looks at the nature of different media forms, the relationship between forms, and guidelines for deciding how best to approach a communications project. Concentrating on design thinking, it is an experiential tour of the creative tool set and the foundation course for additional media practice- and project-based courses. Through a series of short projects,
Bob Kerrey, Julian Schnabel, Carol Wilder, Chuck Close, Laurie Anderson 2005
using simple digital tools, students work with sound, the digital still image, lighting and the moving image, and digital postproduction and distribution techniques. Additional software used professionally and in subsequent media practice and project-based courses is introduced; Saturday lab sessions provide additional instruction in production equipment and software. Each student completes a series of individual projects combining media formats, and a collaborative project using the groups choice of medium, to satisfy an assigned design problem. The goal is to connect media designers to their personal sources of creativity and orient them to the masters program Media Practice curriculum. Media Methods All students must complete a minimum of three credits in methodology. This requirement may be fulfilled by taking one three-credit pre-approved methodology course, a combination of one- and two-credit pre-approved methodology courses, or by substituting an elective methodology course or combination of courses approved by the students advisor. Students are advised
donald Spoto, The Art of Hitchcock 1979
Alan Kay, Teri McLuhan Marshall McLuhan Lecture 2002
to take these courses after theyve defined a specific independent study/project or thesis so that the methods courses can be applied in the completion of a specific project. Sample Methods courses: Sampling, Interviewing, Focus Groups, Discourse Analysis, Content Analysis, Audience Research, Oral History, Research for Media Activism, Ethnography, and New Media.
Walter Cronkite, Leonard Probst 1975
John Sculley 1995
MEdiA THEOry ANd rESEArCH
Emerging Media and Documentary Practice Elizabeth Ellsworth (Online; selected weeks on site) Emergent media forms and technologies (podcasting, locative media, video-blogging, broadband video, internet radio, cell phone audio and video, online social networks, collaborative online productions) both unsettle and extend the concepts and assumptions at the heart of documentary as a practice and as an idea. New media technologies allow documentary makers to collect and present stories in new ways, personalize and democratize media production, create and involve nontraditional audiences through innovative forms of distribution and exhibition. In this course, we explore how emerging media technologies are shaping new documentary practices and how new production, distribution, and reception practices are shaping emerging documentary forms. We consider how digital media present documentary makers with ways to catalyze surprising, as yet unlived forms of social relationality and cultural expression through media production practices that respond to events in-the-making. Ethnography and New Media Jason Pine This course provides a set of broad theoretical observations on the current new media ecology and develops a set of ethnographic research methodologies that account for them, based on five salient features that scholars have identified: The Posthuman, Design, Friction, the Network Society, and Force. Each feature comprises a course unit in which we: 1) study the theoretical works that describe this feature of the new media ecology, 2) discuss ethnographic accounts of how it is transforming the very constitution of the self, communication, cultural forms, political economy, and power, and 3) test a set of methods for performing ethnographic research under these new conditions. Course work consist of hands-on research projects and experiences, off- and on-line readings (theoretical and ethnographic), films, and discussions.
The Aesthetics of Editing Rafael Parra The aesthetics of editingthe choice of images, their timing and sequenceis the heart of film and video production. This course focuses on the analysis of structure and styles of editing of both fiction and nonfiction work. Major topics include rhythm, continuity editing, mise-en-scene, montage, and cinematic time and space. We discuss the creative relationship between editor and director how they interact to find the pace and structure of the film. Lectures and screenings of excerpts from selected films explore the strategies and techniques used by editors to connect images. Students are encouraged to apply the editing concepts learned in class in their own projects. The Design Process Diane Mitchell What is design? What underlies a designs good looks? How does design facilitate, synthesize, and contextualize ideas into effective communication? Design, in the broadest sense, creates order out of chaos. This is why the biggest challenge designers face is not mastering technologies but creating meaning. This combined seminar/workshop investigates the design process through experiments, case studies, theoretical readings, discussions, guest lectures, and critiques of student work. Whether you want to develop a television show, ad campaign, magazine, web page, art project, or totally original media project, this introduction to design principles and practices should help you. Documentary: Its Art and History Deirdre Boyle The documentary is one of the most challenging and influential forms of film and video. It touches, informs, and sometimes outrages millions of viewers seeking facts and insights in a complex world. This historical introduction to the genre begins with the earliest actuality films of the Lumiere brothers and ends with the latest postmodern explorations of film truth. The course examines how changing technology, shifting social and political realities, and the personalities and talents of influential individuals have continually redefined what documentary means. Ethical as well as aesthetic issues are considered. Weekly screenings include classics by Vertov, Flaherty, Grierson, Riefenstahl, Rouch, and Wiseman, as well as contemporary works.
Media Studies
Film Adaptation Michael Gillespie This course focuses on the major theories and strategies of the adaptation of literary works for film. Rather than judging individual films in terms of their successful fidelity to the source work, the class looks at a variety of films that collectively represent different kinds of literature. Students explore questions of the specificity of film narration while simultaneously developing an appreciation for the dialogue between film and literature. Through a careful framing of film theory in the historical and cultural contexts of the film and literary works studies, the course is also an opportunity to address the formal and textual properties of film. Globalization and Media Sumita Chakravarty The aim of this course is to conceptualize and explore the role of media in the process of globalization. We seek to clarify the ambiguities surrounding such issues of globalization as media and cultural imperialism, regionalization, homogenization, and hybridization; the changing relevance of time, place and space; and the role of new media technologies. We also explore and debate the impact of media coverage of international events and how these affect and constitute global, national, and local audiences. Some attention is also devoted to transnational cultural forms like Hollywood and Bollywood and how they construct new communities of meaning. Human Rights and Photography Peter Lucas This course focuses specifically on the crucial role that photography plays in the global human rights movement. Many photographers who once considered themselves to be working in a documentary tradition now also conceive of themselves as working within a human rights framework. In order to understand this change, we review historical and contemporary movements in documentary photography. We also explore critical issues surrounding the ethics and politics of photographic representation and the different media (such as traditional print media versus new media) used to express human rights issues. We carefully place photography and other visual representations within the wider field of human rights documentation. And finally, we study the historical impact of photographs on social change and the many possibilities for photography in future struggles for universal human rights.
Media and Architecture Shannon Mattern Despite the digital vanguards campaign to dematerialize our physical bodies and environments, we have not yet traded in corporeality for virtualitynor have we exchanged our brick-andmortar schools, churches, and communities for virtual versions. In fact, many argue that as our media have become more virtual, the design and development of our physical spaces have become even more important. This course examines the dynamic and complex relationship between media and architecture. We study architecture as mediasymbols and embodiments of particular ideas and valuesand the impact that communication media have had on the practice of architecture and the way we experience material environments. Media and Social Theory Jaeho Kang This course examines the relationship between the media and modernity. It explores the key contributions of a number of social theorists to the critical understanding of mass communication. It analyzes the substantive theoretical debates on the development of the media and its impact on the emergence and transformation of modern societies. We reexamine key concepts in social theories as applied to media phenomena, including ideology, hegemony, culture, and the public sphere: First, the key debates of Western Marxism over the rise of modern mass culture and consumption, specifically the relevant work of Gramsci, Lukcs, and the early members of the Frankfurt School; second, subsequent media theories developed by Harold Innis, Marshall McLuhan, and others, who explored how the media affect the spatial and temporal organization of power, globalization, and the body; third, important contributions to media theory made by more recent social theorists such as Foucault, Habermas, Bourdieu, and Baudrillard.
Media and Child Development Peter Haratonik While the media are presumed to have a social responsibility for their products, they exist within the framework of a highly competitive commercial marketplace. In the quest for media market share, children have become their most important audience, readership, and users. This course examines the media, both forms and institutions, and their impacts on the lives of children. We begin by surveying the current role of media in the lives of children and review the history of media-effects research and educational policies with regard to new technology. We review current research in media and child development and carefully probe selected media products especially produced for young audiences. We also study the role of adult media in the lives of children and consider the role that media education or media literacy should play in education. Individual case studies examine particular media in-depth. Particular emphasis is placed on the Internet and its emergent social and educational role. Museums as Media William Crow (Online) Cultural institutions such as art, science, and natural history museums, historical societies, and performance venues often assert the value of the authentic, original object or firsthand experience of live performance. Many of these institutions speak of the importance of the original work of art or primary source material in mission and vision statements regarding their interface with the public, as well as with funders. However, media experiences (web, digital imaging, audio production, interactive media) have become an increasingly present feature of these institutions, from websites to gallery installations, online instruction, and online resources for audiences. At times, the digital formats attempt to capture aspects of more traditional media (painting, sculpture, fossils, documents), and, at other times, the media presentation itself is the museum object. This seminar examines various facets of the role of digital media in contemporary museums and cultural institutions and how these institutions function as media themselves as they serve as interpretive repositories of objects that are valued in our culture and across cultures.
Other Music: Music and Difference Barry Salmon Jazz, blues, international popular and less than popular music;. so-called serious music, ambient, electronica, and dance forms; music for television commercials and background music; music at the fringes of mass mediated cultural experience: these other musics constitute about 80 percent of our musico-social experience. This course is concerned with expressions and cultural implications of music and difference, with music that circulates through discursive networks of alterity around the axes of race, gender, class, globalism, and high/low culture. From the chinoiserie of romantic classicism, to the jazz of Stravinsky and Copland, to the wholesale transposition of musical culture in pop, television, television commercials, and even broadcast journalism; from transcendent and authentic, to sinister, vulgar and fake, the course studies the ways in which we code and understand difference and representation in music, that most nonrepresentational of media forms, within a fractured postmodern global musical culture. Political Communication Carol Wilder Political communication can include any media or communication exchange having to do with the allocation of power and resources. In this seminar, we look at the nature and role of political communication in political campaigns, social movements, advertising, literature, and popular culture. We study alternative forms of political discourse such as theater, music, and direct action. We take a close look at contemporary media politics. While the course focuses on political communication in the United States, international students in the class are expected to contribute a global perspective.
Media Studies
Political Economy of Media Paolo Carpignano This course studies the relationship between two forms of mediation. The first is work, an activity said to mediate between human beings and nature. The second is communication, an activity that is preeminently understood as a form of social mediation. According to a commonly held view, these two types of activity refer to two different domains of production: to work is assigned the function of fabrication of objects, to communication the production of social relations. Usually associated with this notion of production are concepts such as subject and object, interiority and exteriority, individual and social. The course argues that these distinctions, and primarily that between work and communication, have been blurred by the development of new forms of production in which the distinction between work and communication is difficult to maintain. This transformation has been called variously postindustrialism, information society, economies of sign and space, postfordism, network society, cognitive capital, etc. Work is increasingly characterized by immateriality, by its knowledge content, and by the communicative network it generates, and social relations of communication are increasingly inseparable from the material conditions of their mediation. For these reasons, media are not simply means of communication but have to be seen as productive forces, and their analysis is central to the understanding of late capitalism and of its transformation.
The Producers Craft Kit Laybourne Producing is a high stakes game that encompasses an eclectic web of disciplines. The pace is fast, and a gap in knowledge can mean a projects failure. This utilitarian course offers survival skillsthe basic producer chopsrequired by television, film, advertising, and interactive environments. It is based on a fundamental assumption that collaboration works: in idea development, in project execution, and in amassing specific knowledge upon which success depends. With references to case studies and discussions with guest producers, the course tracks 10 steps in the realization of any large project: 1) conceptualization and pitching, 2) defining resources and deliverables, 3) building a production plan, 4) budgeting, 5) legal affairs and business deals, 6) staffing and gear, 7) creative management (including how to manage up), 8) production (studio and location), 9) posting and special effects, and 10) finishing (testing, archiving, press, marketing, etc.). Students partner up in developing and pitching a project of their own choosing. This yields a full proposal with complete production plan capable of immediate implementation. Students work in teams in a collective mapping of media industry sectors and career opportunities. Social Media and the Millennials Bob Berkman (Online) The generation born after 1985 is the first to have grown up fully immersed in digital media and the Internet from childhood. These digital natives, have been assigned a variety of generational titles: Gen Y, Millennials, and Generation Next, among others. But whatever the label, this cohort is noteworthy for finding innovative and novel approaches to navigating the Internet and immersion in digital media. In fact, this generations capability to create new forms of digital media online and its information seeking behavior are causing dramatic changes in the larger media landscape, from advertising and public relations to newspapers and other traditional forms of media and communications. This course describes, examines, and analyzes the media use and creation habits of the Millennial generation, exploring key themes such as identity construction on the Internet; multitasking and allotment of attention; media usage; and the emergence of new social norms.
10
Storytelling Through Visual Analysis Michelle Materre Whether you are a writer, director or producer, having a clear understanding of story structure and dramatic principles are essential tools of the trade. In narrative film, the script gives you an in-depth perspective of a storyline, its characters, dialogue, images and theme. In documentary filmmaking, you may have an idea of what the story could be, but whether it turns out as you expected is another story. Whichever mode you choose, finding your story involves developing good technique and storytelling principles. In this course, we examine the elements of good storytelling techniques, in documentaries, more mainstream Hollywood films, independent features and everything in between, including television and podcasting. We analyze how essential information is conveyed, how story elements are communicated through visual means, how a dramatic arc is built with cause and effect, how to create conflict, and what makes a character credible and complex. With these tools in hand, students are able to examine films critically and become more informed in developing their own film ideas and writing their own documentary treatments as well as screenplays. Visual Systems Vlad Nikolic Emphasis is on visualizing the script. By focusing on directing and screenwriting, we connect project conceptualization, film aesthetics, script-breakdowns, blocking and shot-coverage to the language of editing. We examine a variety of approaches to visual storytelling through scene-based assignments and directorial exercises, as well as discussions about scripts and films. We investigate dramatic structures, character development and scene arcs in relation to mainstream narrative conventions, as well as more direct, experimental, or improvisational approaches. While analyzing and applying various directing methods and techniques to create well-constructed and stylistically coherent projects, students develop and construct the style, tone and visual language of individual film and video projects, and through this process discover their own directorial voice.
Virtual Learning Environments Josephine Dorado (Online) How have current trends in technology, such as social media and virtual worlds, affected the processes and objectives of education? Virtual Learning Environments (VLEs) are designed information and social spaces that integrate multiple technologies and pedagogical approaches. In this course, we examine a variety of VLEs, ranging from text-based forms such as Blackboard to 3D immersive worlds like Second Life, with focus on optimizing virtual world platforms for learning experiences. We explore the collaborative and instructional processes, the kinds of collaboration possible, and the methods adapted to accommodate teaching, learning, and sharing in these socially engaged networked spaces. We examine how instruction and learning have evolved to include a more dynamic role for the student and, in general, how much instruction now involves blended forms of learning across different media and disciplines. We integrate these aspects, learning about VLEs from the inside, culminating in the development of an educational project for real-world implementation. Students collaborate with each other and with students concurrently enrolled in Social Marketing with Social Media, to create a multi-modal project conceptualized and developed in a virtual world while being implemented in real-world partnerships with international nonprofit organizations.
Media Studies
11
MEdiA MANAgEMENT
Media Industry Perspectives: Digital Media Ken Krushel Driven by the confluence of new technologies, creative ingenuity, increasing population and literacy, availability of capital, and government policies, the media have become the most influential and largest wealth-creating industry in America. Its influences, positive and negative, affect people and governments around the world. The purpose of this course, as the word perspectives in its title suggests, is to discuss varying views of the forces that have shaped the growth of the media and communications industry. These perspectives include the comparative impact of government policies, changing technology, and the entrepreneurial and managerial drive of the key individuals who have built the media companies. Media Management and Leadership Michael Weiskopf Dramatic changes in technology and the medias role in converging technologies require new management and leadership techniques and paradigms. This course surveys of some of the latest management and leadership theories, including those encouraging a new sense of social responsibility. It also gives students the opportunity to apply these theories to a number of different competitive, structural, motivational, strategic, and organizational issues in the media world by writing original case studies and solving problems in existing case studies.
Media, Corporate Responsibility, and the Law Lynn Oberlander This course provides an overview of media law, including constitutional, regulatory, and statutory schemes. The course is organized into thematic sections, and discussion is augmented by published court opinions and audiovisual materials as well as guest speakers from the media industry. By the end of the course, the students should be aware of the legal framework for the media industry generally, as well as the different manner in which the law treats print, broadcast, cable, and the Internet. Throughout the class, we focus on the interplay between the corporate ownership of mass media, the government, and the ramifications for the fourth estate. Does the label news unfairly protect plainly commercial enterprises from the costs and risks that other businesses face? Media Economics Steven Hammersly This course covers the financial components of a wide range of media industry segments and describes employment opportunities in media industries. It offers a comprehensive review of the economics of newspapers, direct mail, magazines, radio, television, book publishing, cable television, motion pictures, and on-line interactive media. Each medium is reviewed from the perspectives of the consumer, the advertiser, and the media owner. A view of the future growth of each segment is be presented and debated. There are guest lectures by media industry executives.
12
MEdiA PrOdUCTiON
Media practice cultivates understanding and proficiency with design and production. In this curriculum, students conceive real projects, develop individual design approaches, and utilize the technical tools to create them. These courses present media production formats as tools of communication as means to the end of creating aural and visual messages rather than promoting the mastery of particular equipment and software as an end in itself. Instruction in Media Practice courses frames the necessary technical training within a larger context of design and production conceptualization and research and promotes a cross-platform or comparative approach, that is, students discover how processes and tools translate between media, and those who are already proficient in particular production formats encounter the aesthetic and communicative possibilities of others. Instruction always includes the processes of preproduction (conception and design, writing, scheduling, budgeting); production (directing, shooting/image production, lighting, recording); and postproduction (logging, editing, sound mixing, compressing for distribution). Cameras, microphones, and audio recorders and digital editing workstations with current and appropriate software for postproduction are provided for all courses. In-class listening/ viewing, analysis and critique, and assigned readings provide support and context for production work. Media Practices: Concepts This is the foundation course for all Media Practice and projectbased courses and must be taken by all students in their first year of study. See the description on page 6.
Bill Viola 1998 Annie Howell and Vladan Nikolic
Barry Salmon
Media Studies
13
film
Video and Audio
Media Practices: Film Form Sam Ishii Gonzales In this hybrid theory/practice course, students are immersed in aesthetic questions that challenge them to think precisely and creatively about the properties of the medium. What are the fundamental structures at the basis of film? What role do these structures play in the spectators cognitive and affective engagement with a film? Rather than presume an answer derived from the other arts, students are encouraged to engage cinema on its own terms as a unique system of sign production. Through close study of selected films representing a variety of styles and genres (shorts and features, fiction and documentary, narrative and experimental) students are introduced to framing and perspective; open and closed forms of montage; movement- and time-image; on- and off-screen space (actual and virtual space); and audio-visual relations. Class discussion and analysis is supplemented by Saturday afternoon tech labs where students receive instruction in film (Bolex), sound (Flash), video (mini DV), and editing (FCP). Film Form Production Studio In this course, students plan and implement production of a short cinema project, originating on film or digital video. Projects may range from traditional fiction narratives to experimental or other nonclassical approaches. The emphasis is on collaboration all students must crew on each others productions in order to practice the cooperation necessary in filmmaking and optimize the learning experience. Topics include preproduction (budgeting, casting, scheduling, locations, permits, releases, film stocks), advanced directing (including script analysis and rehearsals), advanced camera and lighting (with professional equipment like the Arriflex SR camera, the Panasonic DVX 100B and Mole-Richardson and Lowel lights), sound (use of professional microphones and equipment like the DAT recorder), and editing (synching dailies and an editing approach). Students should expect to incur additional expenses. Projects developed for this course may be proposed as thesis projects.
Media Practices: Time -based The course expands beyond the core concepts and skills of producing and editing audio and video. Students learn professional production processes in both media, delving into the technical aspects of production and post-production. Aesthetic instruction addresses different ways in which a project may be conceived stylistically as well as how to solve particular communication issues. Exploring audio, students learn microphone techniques, recording, editing, and mixing skills. Exploring video, they learn lighting, framing, camera movement, recording, and digital editing techniques. The combination of the two media provides a production context for project work and prepares students to make time-based work in advanced-level courses. Projects in Digital Video Editing Students utilize computer-driven digital editing stations and current non-linear editing software (Final Cut Pro). The sophistication and capacity of this technology has changed the entire production process, from project inception and planning through to final broadcast. Work editing short assignments (35 minute videos) while learning the principles of random-access digital editing: theory of nonlinear editing, capturing video and audio, organizing and accessing rough footage, editing sync and non-sync material, assembling and trimming sequences, editing and mixing audio, adding effects, creating titles, color correction, and outputting work. Television and Ideas Deanna Kamiel Finding fault with television has become such an easy, comfortable activity for intellectuals at a loss for more difficult targets on which to test their enormous critical powers. To break new ground on the subject, you may enjoy, purely for the sake of argument, not only exploring televisions potential for thought but even making some thoughtful television of your own as well. This course shows you how to shape, shoot, and edit a kind of television that will reflect and provoke.
14
Audio Documentary Sound is an exhilarating, challenging and effective way to convey complex information about people, ideas and trends, including insight into other cultures and the to the intimate inner worlds of individuals, including ourselves. Through lectures, guest speakers, listening sessions, classroom discussion and assigned reading, students become familiar with audio documentary modes, including podcasts; sound-walk tours of travel destinations, museums or other sites; promotional and educational audio modules for websites and blogs; biographies and sound-rich docudrama memoirs; and bonus features for CDs and iTunes designed to enhance musical, poetic, or other artistic works or showcase a significant ethnic, immigrant or religious subculture through sound and reportage. The course examines the evolution of the theory and practice of audio documentary making over time, as well as advanced interviewing, recording and mixing techniques. Students design and produce several audio short documentaries of their own. Sound Objects Woody Sullender This course introduces possibilities and techniques for producing audio outside of the limitations of existing distribution media (CD audio, MP3, radio, etc.). Students work hands-on designing and constructing physical objects that will produce sound in unusual ways. We examine basic electronics, hacking pre-existing technology, using various types of sensors, creating devices to interface with computer software, etc. and apply this to a range of practices including sculpture, radio/transmission arts, installation, music, and things that defy easy categorization. (What does one call a pen constructed out of a tape head that allows users to write audio information on a sheet of magnetic tape?) To understand the history and context of these objects, we consider contemporary audio work by Alvin Lucier, Christina Kubisch, Michael J. Schumacher, Paul Demarinis, Achim Wollscheid, STEIM, Free103point9, and others.
Semiotics for Digital Producers Paul Ryan Semiotics is the formal study of signs (anything that represents something for somebody in some respect). In this course, we learn a tenfold sign system appropriate for digital video editing. This system grows out of a fundamental division of signs into icons (example, a drawing of a wind-blown tree), indexes (example, a weathervane showing the direction of the wind), and symbols (example, a poem titled The West Wind). Just as a painter learns how to compose a painting using a palette of colors, so digital editors learn to compose video using this palette of ten signs. The course combines theoretical readings with video editing exercises until students can apply their understanding of semiotics into original narrative, documentary, experimental, or artistic video productions, each accompanied by a paper explaining the use of semiotics for digital editing. WNSR Radio Lab Jim Briggs This modular classroom seminar gives equal attention to Web radio production and radio station operations. It solicits students from every division of The New School, graduates and highly qualified undergraduates, to create a diverse class environment with a wide array of skill sets. Students develop the skills necessary to maintain and grow and lead an emerging online radio station, including financial and business planning, major productions and production scheduling, radio principles and techniques, audience outreach and development, and current issues confronting Web radio and media at educational institutions. Projects in Media Advocacy Lydia Foerster Advocacy media is used to train, teach, motivate, shock, inspire, raise awareness, consciousness and funds. With more opportunities for independent journalists and activist groups to form global alliances, advocacy media is an increasingly powerful tool for social change. In this course, students interested in the potent intersection of media, action and society explore theoretical approaches to social change while they work on
Media Studies
15
exercises that extend and strengthen their production skills. We explore the advocacy potential of the production process as well as the product, including media training, witness and performance media, and alternative authorship approaches to traditional documentary and narrative. We also investigate the tactical potentials of various specific media, including mobile video, podcasting and flash mob activism. This course is meant to be a strategic approach to media advocacy as it relates to social issues today. Students are expected to make individual contact with nonprofits, special-interest groups, families, friends, or communities to collaborate on a final project. Radio Narratives Jason Schuman Radio narratives span a gamut of styles, from a single voice detailing an intimate story to layers of voices and sounds creating an impressionist cinema for the ear. We listen to a variety of styles that are broadcast on many outlets, from the familiar This American Life to international programs, online radio, and podcasts airing unconventional radio stories. Meanwhile, each student workshops a fully-produced narrative radio work, determining a subject and style and reworking it twice into a finished piece. Careful polishing of students narrative projects is the focus of classroom critiques. Short production experiments allow students to play with narrative forms before they tackle their original projects.
Multimedia
Carol Wilder, geraldine Laybourne, chairman, CEO, Oxygen Media, J. William grimes 2004 Peter Haratonik foundations of Media Theory 1983 Sumita Chakravarty
Media Practices: Design Exploring the principles of visualization, graphic design, typography and color theory, students learn to create designs that will have visual impact and communicative power. Instruction and class activities cover composition techniques, image editing, graphics creation, and file preparation for distributing projects using current professional software. Projects focus on creating designs for advocacy, branding, and digital art. This is a foundation for advanced-level courses in interactive design, motion design, publishing, and inter-media applications. Students are expected to research and develop solutions for weekly design problems and participate in regular critiques while building a digital design portfolio, including a final professional-quality visual presentation.
Elizabeth Ellsworth
deirdre Boyle
16
Media Practices: Interactive This course introduces design and production of interactive media for web-based and mobile environments. Approaches to navigation, interface, and narrative design are surveyed along with information architecture and Web 2.0 and dynamic databases. Instruction includes the fundamentals of coding, CSS, javascript, animation, streaming media file formats, platform and browser issues. Using appropriate software, students discover how to structure content and apply techniques to solve real world design problems. Producing skills for (digital, audio, or video) are assumed, and each student designs an original rich media website. Class activities and critiques help students build effective interactive presentations. Projects in Motion Design Diane Mitchell Motion graphics are utilized in documentaries, fine art, advertising, television logos, corporate presentations, promotions, etc. This course teaches design and production of motion graphics for television and film, exploring ways to enliven text and imagery and to generate visual messages with impact. Using Adobe AfterEffects, a 2D application for professional film and video production, each student creates three short broadcast-quality projects. Concepts and techniques of masking, compositing, key frame animation, interpolation, titling, special effects, and 3D space, are examined through lectures and class activities. Projects in Multisensorial Spaces Ernesto Klar The course is organized as a theory and production seminar in which students produce art installations that emphasize intersensory experience. Synaesthesia is broadly defined as the cross-wiring of sensory perceptions or as a synthesis of the arts. This is the foundation on which students design and produce innovative media works that explore our relationships to the built environment and the urban experience. Lectures and readings focus on models of perception, relational aesthetics, and phenomenological thought as these relate to synaesthetic inquiry. Works reviewed include examples of Neo-Concrete Art, Kinetic Art, Fluxus, and New Media Art, among others. Assignments include selected readings and group discussions, a series of cumulative digital media projects, and a final installation art piece for exhibition at the end of the term.
iNdiVidUALizEd OPTiONS
Independent Study (On site/Online) Qualified students who have defined a specific subject or problem that they would like to investigate can pursue a course of study independent of regular class structures, meetings, and assignments. The student must design the project with an interested faculty member who serves as advisor. Permission of both the faculty advisor and the Director of Graduate Studies is required. Independent Production (On site/Online) Designed to meet the needs of qualified students who wish to pursue advanced work in a particular medium. The student designs a project with approval from an interested faculty member who serves as advisor. Permission of both the faculty advisor and Director of Graduate Studies is required. The students must arrange for all necessary production facilities and equipment. Research Internship An internship is an opportunity to receive credit for supervised professional activities, working, for example, in archives, museums, libraries, TV stations, ad agencies, or production facilities. The interns primary responsibilities must be research oriented and a written report must be filed at the end of the internship. All internships must be approved and arranged by the department of Media Studies and Film. Production Internship An opportunity to receive credit for supervised activities in TV stations, cable facilities, art agencies, production facilities, schools, etc. The interns primary responsibilities must be production oriented, and a written report must be filed at the end of the internship. All internships must be approved and arranged by the department of Media Studies and Film. Thesis Proposal Supervision Students who plan to submit a thesis proposal must register for one-credit of Thesis Proposal Supervision with their Primary Thesis Advisor. Thesis Tutorial The tutorial is required for MA candidates planning to write or produce a thesis. Restricted to students who have completed a minimum of 27 credits. Thesis Supervision Students who have taken the Thesis Tutorial work to complete the thesis during the subsequent semester(s). For each subsequent semester needed to complete the thesis, the student registers for Thesis Supervision.
Media Studies
17
THE MEdiA STUdiES fACULTy

PriNCiPAL fACULTy
Paolo Carpignano (PhD, University of Rome), associate professor. Writer, consultant, and producer for production companies in the United States, Brazil, and Italy. Author of Crisis and Workers Organization and The Formation of the Mass Worker in the USA, as well as numerous articles on international communication. Has taught Italian culture, sociology, and mass media at Hunter College, Queens College, and Fordham University. Affiliated faculty member, Department of Sociology, The New School for Social Research. Sumita S. Chakravarty (PhD, Lucknow University, India; PhD, University of Illinois, Urbana-Champaign), associate professor. Author, National Identity in Indian Popular Cinema (Texas, 1993); editor of The Enemy Within: The Films of Mrinal Sen (Flicks Books, 2000); essays in several anthologies, including Redirecting the Gaze (SUNY Press, 1998) and Cinema and Nation (Routledge, 2001). She holds a joint appointment with Eugene Lang College The New School for Liberal Arts, where she is chair of Cultural Studies. Elizabeth Ellsworth (PhD, University of Wisconsin), professor. Research and teaching areas include media theory and criticism, history and criticism of documentary film, media and social change, design of mediated learning environments, and uses of media to teach about and across social and cultural differences. Formerly professor of Educational Communications Technology at the University of Wisconsin-Madison; she was also a visiting professor in the philosophy and cultural studies programs at Columbia University Teachers College. She has published extensively and is the author of five books, including Places of Learning: Media, Architecture, Pedagogy (Routledge, 2004). Her current work draws from emerging theories of pragmatic action and change to address how humans use media to do things in the world. As a co-founder of a nonprofit media arts collaboration, www.smudgestudio.org, she is turning the results of her research and writing into a variety of media forms, exhibitions, and projects, such as ExtremeMediaStudies.org.
robert Berkman (MA, University of Montana), associate professor and online student advisor. In 1988, he founded and continues to edit the Information Advisor, an international monthly journal for professional researchers. He is the author of several books on media, research, and technology, including Digital Dilemmas: Ethical Issues for Online Media Professionals, with Chris Shumway (Blackwell, 2003); The Skeptical Searcher (CyberAge, 2004); and Find it Fast: How to Uncover Expert Information on Any Subject (HarperCollins, 5th ed. 2000). His current research is focused on social media. deirdre Boyle (MA, Antioch College; MSW, New York University), associate professor; media historian, critic, and curator. She is the author of eight books, including Subject to Change: Guerrilla Television Revisited (Oxford), and is writing a book on the work of Errol Morris. She has taught at New York University, Fordham University, Rutgers University, and City College/CUNY, and been guest curator for the Hong Kong Arts Centre, Brussels Video Festival, and The Museum of Modern Art, among others. Awards include the Universitys Teaching Excellence Award, a Guggenheim Fellowship, Fulbright Fellowship, Asian Cultural Council Fellowships, and Cable Ace Award for Best Documentary Series. Current research interests and classes focus on hybrid documentary; media, history, and memory; and media consumption and the body. dawnja Burris (MA, The New School; PhD candidate, European Graduate School), assistant professor and associate chair. Independent media producer since 1992, applying photography, film, and electronic media to marketing, consulting, entertainment, and performance projects. Faculty advisor for the Video Lab and producer of the Global Conversations series for United Nations University in New York. Former faculty member and producer, New York University/NYU-TV. Her work and research interests explore cultural and social practices through their representation in media.
18
Michael B. gillespie (PhD, New York University), assistant professor. Through the lens of cinema studies, his work frames the art of film as a multidiscursive consideration. His pedagogical motivation entails emphasis on critical thinking and writing, attention to the social and historical contexts in which media, as texts, appear, and a conviction that the critical theory informing research and study offers a vocabulary for students to use in developing a language to address of art and culture. He is working on a book, tentatively titled Significations of Blackness: American Cinema and the Idea of a Black Film. Peter L. Haratonik (MA, New York University), associate professor and chair; writer and consultant. His research interests include media education, the impact of technology on social institutions, and media and urban environments. He recent presented papers in Glasgow and Shanghai. He was previously director of Film/Video/Broadcasting at New York University and chair of Communication Arts and director of the Television Institute at Hofstra University. He is a past president of the Association of Communication Administration. Annie Howell (MFA, New York University), assistant professor. She has written and directed several short fiction and nonfiction films. Her work has been exhibited internationally on the film festival circuit, including SXSW, Newport, Full Frame, Clermont-Ferrand, MadCat and SilverDOCS. Her films have been shown on the Sundance Channel, PBS, and the Independent Film Channel. Her recent work includes a feature-length screenplay in development with Other Films, for which she received a 2005 Screenwriters Colony fellowship, and a webisode, Sparks (www.sparks-series.com). She taught previously in Duke Universitys film and video program and Center for Documentary Studies. Sam ishii gonzalez (doctoral candidate, New York University), instructor, teaches aesthetics and film history. He is the co-editor of two books on Alfred HitchcockHitchcock Centenary Essays (BFI, 1999) and Hitchcock, Past and Future (Routledge, 2004). He has published articles on Luis Buuel, David Lynch, the painter Francis Bacon, and the philosopher Gilles Deleuze. His dissertation examines the claims made by Deleuze in regards to the modern image of thought generated by neo-realist cinema
from Rossellini to Antonioni to Pasolini. He has several film projects in development and two book projects, tentatively titled Philosophers of Film and Being and Presence, or Non-Acting in the Cinema. Jaeho Kang (PhD, Cambridge University), assistant professor. He is Alexander von Humboldt Research Fellow at the Institut fur Sozialforschung at Frankfurt University. His research and teaching interests include critical theory of media; media and the city; political communication; and sociology of sports. He has published articles on the social theories of Walter Benjamin, Herbert Marcuse and Michel Foucault. He is now investigating Siegfried Kracauers critical theory of media and politics, focusing on film, propaganda, and the mediated public sphere. His current work expands the scope of his research by analyzing the interplay between media and urban spaces in East Asian cities like Shanghai, Tokyo and Seoul. Kit Laybourne (MA, UCLA), associate professor. One of the founders of the Media Studies program in the 1970s, he returned to The New School in 2002. He was for many years an independent producer in partnerships with Eli Noyes, Kathleen Minton, and Mickey Lemle. He was a cofounder and executive producer of Oxygen Media, LLC, a cable TV network targeting women, where he managed projects in animation, interactive programming, and DV-based documentaries. He is the author of The Animation Book (Crown, 1979; revised 1998) and creator of a rich-media web site, MediaChops.com. He lectures widely, and his productions have received many awards. Michelle Materre (MEd, Boston College), assistant professor. Her professional background is as an independent film and television producer, writer, arts administrator, outreach consultant, distribution/marketing specialist, and teacher. She was a staff writer/producer for Henry Hamptons Blackside Productions and an assistant story editor for MGM/UA. As a founding partner of KJM3 Entertainment Group, Inc., a film distribution and marketing company that specialized in multicultural film and television projects, she directly managed the positioning of 23 films, including the successful theatrical
Media Studies
19
release of Daughters of the Dust by Julie Dash and LHomme Sur les Quais (The Man By the Shore) by Raoul Peck. For many years, she has been the lead curator of the Creatively Speaking film series, known for introducing broad audiences to the work of independent filmmakers. She is an independent media consultant to filmmakers and film/video organizations for issues of distribution strategy, fundraising, marketing, outreach, and programming and production. Professor Materre received a University Distinguished Teaching Award from The New School in 2005 and the Pen and Brush Achievement Award for Women in the Arts in 2008. Shannon Mattern (PhD, New York University), assistant professor and director of graduate studies. Her teaching and research address relationships between media and spatial theory and practiceparticularly the links between mass media and architecture and urban planningand connections between media and contemporary art. Her work is motivated by a desire to look beyond the screen or page to the larger arena in which media operates, and to the fruitful convergences of media with other fields of creative production and scholarship. Recently a Mellon Postdoctoral Fellow in the History of Art at the University of Pennsylvania, she has also taught at New York University, Parsons The New School for Design, and Rutgers. She is the author of The New Downtown Library: Designing With Communities (University of Minnesota Press, 2007), which was supported by a grant from the Graham Foundation for Advanced Studies in the Fine Arts. Other work has appeared in the Journal of Architectural Education, Invisible Culture, The Senses & Society, In the Site of Sound, and Public Culture. diane Mitchell (MFA, Michigan State University), associate professor, is an artist and multimedia producer/designer of commercial and educational programs. She was previously a member of the faculty of Parsons The New School for Design. She is a recipient of grants from NEA and NYSCA for design advancement and from NYCH and private foundations for public history presentations, and of industry awards for multimedia productions for Fortune 500 companies and the United Nations. Her art projects are exhibited internationally and on the Web. .
Vladan Nikolic (MA, The New School), associate professor. Director, editor, writer and producer of feature films, documentaries, shorts, commercials, and music videos. He was formerly the Director for NTV Studio B, the first independent television network in Belgrade, Yugoslavia. He wrote and directed one of the first digitally produced feature films, Burn (Telluride Indiefest winner 2001). His feature film Love premiered at the 2005 Tribeca Film Festival, where he won the Best Director Award and critical acclaim. He most recent work includes a feature documentary, Fire Under the Snow, and a fictional feature, Here and There. rafael Parra (BA, Hunter College; Laureate, Universidad de Los Andes), assistant professor. A professional Avid editor, he is owner and senior editor of TimeLine Film & Video, Inc., a New York City post-production facility. Teaches digital audio and video editing at Film and Video Arts. Paul ryan, associate professor. Former McLuhan Fellow; his mentor in cybernetics was Gregory Bateson. Author of Cybernetics of the Sacred and Video Mind, Earth Mind: Art, Communications and Ecology. His video art has been shown in Japan, Turkey, Germany, Holland, France, and Spain, and throughout the United States. Other projects include the cybernetic design of a television channel dedicated to monitoring the ecology of a region, which was displayed at MoMA and at the U.N. Conference on Sustainable Cities. The Smithsonian Institution is archiving his papers and tapes. Barry Salmon (MA, The New School), associate professor, assistant chair for undergraduate studies. He is the composer of numerous film scores, as well as music for dance, theater, radio, and video art. Festival honors and awards include CINE Golden Eagle, Berlin, Brussels, Frankfurt, Sundance, Telluride, and Toronto film festivals; Chicago Museum of Broadcasting, the Museum of Modern Art. Performing and recording guitarist and record/CD producer.
20
Carol B. Wilder (PhD, Kent State University), professor. From 19952007, she was chair of the Department of Media Studies and Film and associate dean of The New School. From 1975 1995 she was a member of the Communication Studies faculty of San Francisco State University, including as professor and chair; she was named Professor Emerita in 1996. In 200708, she was a Fulbright Scholar at Hanoi University in Vietnam. She
dorothy H. Hirshon, benefactor dorothy H. Hirshon film festival
is the author of numerous articles and essays on communication theory, politics and the media, and the rhetoric of the VietnamAmerican war. She received the National Communication Association Book Award for Rigor & Imagination: Essays from the Legacy of Gregory Bateson.
AdJUNCT fACULTy
Margaret Lewis Bates (EdD, Columbia University Teachers College). Media consultant, most recently for Primedia Software on Demand; former director of new business development at AT&Ts Downtown Digital studio. James Briggs iii (MA, The New School). Sound editor, recording engineer, and composer for sonic, visual and physical media and performance. His credits include The Supreme Court and American Experience (PBS) and Dido/MTV Europe Awards; records by Paul Simon and R.E.M.; and scores for VIA Dance Collaborative. His work has been heard on records, broadcasts, and stages worldwide, and in exhibition at Contour-Mechelen Gallery (Belgium), Lower Manhattan Cultural Council Swing Space, and the Full Frame Documentary Film Festival. Andy Bobrow (MA, The New School). Executive producer and creative director at BioMedia, an award-winning producer of video, audio, and interactive multimedia programs. royal S. Brown (PhD, Columbia University). Professor of Film Studies, Queens College-CUNY and professor, CUNY Graduate Center; music editor of Fanfare magazine; author of Focus on Godard and Overtones and Undertones: Reading Film.
John Cameron Mitchell, artist-in-residence 2007
Media Studies
21
Mridu Chandra (MA, University of Chicago) has been producing social-issue documentaries and narrative films for more than 10 years. Four of her films have premiered at Sundance, and one of her documentaries was selected by the Academy of Motion Picture Arts & Sciences for their 2005 Contemporary Documentary series. Film credits include: Brother Outsider: The Life of Bayard Rustin (PBS/2003), Let the Church Say Amen (PBS/2004), Love Ludlow (2005), and The Dissection of Thanksgiving (in post production, 2007). Vinay Chowdhry (MFA, Bard College). Filmmaker, media arts director for LREI (Little Red School House and Elizabeth Irwin High School); he is finishing a documentary film, Personality, about the lives of struggling dancers in Bollywood. Sue Collins (PhD candidate, New York University). Her research interest include cultural history; political economy of media; celebrity and activism; cultural policy studies, media and globalization. Her dissertation, Bonding with the Stars: WWI and the Emergence of Star Political Authority, examines U.S. domestic propaganda during the first world war and the first use of film stars as a source of political validation. Ben Coonley, (MFA, Bard College), video/electronic media artist. His work has been exhibited at the Moscow Biennale of Contemporary Art, Sundance Film Festival New Frontier Program, Rotterdam International Film Festival, New York Underground Film Festival, Chicago Underground Film Festival, Cinematexas Film Festival, Robert Flaherty Film Seminar, the Corcoran Gallery, (Washington, D.C.), Pacific Film Archive, Impakt (Utrecht, Netherlands), Montreal Festival of New Cinema and New Media, and VideoEx (Zurich). His awards include the Barbara Aronofsky Latham Award in 2003 for Exceptional Emerging Video Artist and the Cinematexas Festival Directors Award in 2001. His films are distributed by Video Data Bank. William Crow (MFA, Hunter College CUNY) is an artist and educator. His art has been widely exhibited in New York City and elsewhere in the United States. He is currently a lecturer in the Education Department of the Metropolitan Museum of Art.
ramu dhara (MA, The New School). Founding director of IIS Visionworks, New Delhi, India, producers of CD-ROMs, Web productions, and digital video. Josephine dorado (MA, The New School). Fulbright scholarship recipient and an artist-in-residence at Waag Society for Old and New Media in Amsterdam. She is a is a New York-based media artist, performer, and educator. Josephine is also a technical trainer and consultant; her clients include Banc of America Securities, HSBC, and the United Nations. Pete dorogoff, founder and president of iPro Communications, is a new media consultant and marketing communications strategist in the media and high-tech industries. Clients have included Reuters New Media division, Microsofts Worldwide Small & Midmarket Solutions and Partners division, and Overture/AltaVista during its merger with Yahoo!. Lydia foerster (MA, University of Texas). Videographer and producer; most recently, associate producer of an independent documentary about women and politics. Laura forlano (Master of International Affairs, Columbia), received a Diploma in International Relations from the Johns Hopkins University and is a PhD candidate in Communications at Columbia. She is a currently Visiting Fellow at the Information Society Project of Yale Law School. Lauhona ganguly (PhD candidate, American University). Her doctoral research in international relations examines the significance of private satellite television and global media processes as a socio-political force in India. Lauhona has worked in the television industry in the United States and India and with non-profit groups in designing communication strategies in support of social justice and development programs. Steven Hammersly (MA, The New School), is a vice president and director of strategic alliances at Pearson Education; his work has involved the creation of co-publishing entities with IBM, Apple, Nokia, H-P, and Adobe, and the development of Pearsons e-book initiative.
22
Eric Hopper (MA, New School) is a musician, sound artist, videographer, and editor. His music has been recorded by Sony/ Columbia, Treehorn, Doghouse, and Flat Earth Records. His films and videos have been featured in the Durango Independent Film Festival, Full Frame Film Festival, Cinequest, Margaret Mead Film Festival, and Chicago Underground Film Festival. Philip Kain (MPS, New York University). Multimedia performance artist. deanna Kamiel is a senior producer for PBS and documentary writer and director; author of The Lace Ghetto. Shari Kessler (MA, The New School). Editorial photographer and visual media consultant; studied fine art photography with guru Minor White. Ernesto Klar (MFA, Parsons The New School for Design). Artist; solo and group shows include Eyebeam, Chelsea Art Museum, BAP Lab Festival in New York City, ICA Boston, CCCB in Barcelona, and FILE Sao Paulo in Brazil. Honors include grants, fellowships, and commissions from the New York Foundation for the Arts, Massachusetts Cultural Council, and the Lower Manhattan Cultural Council. Kenneth Krushel (BA, Amherst College) is president of Citizenews, Inc., an Internet video platform that aggregates reports by international video journalists. Mara Kurtz (MA, The New School), a graphic designer, illustrator, and photographer, is also a member of the faculty of Parsons The New School for Design. Marlon Lipschutz (MA, New York University) writes, directs and produces documentary films. She and her partner, Rose Rosenblatt, are currently working on a film set on the Pine Ridge Sioux Reservation, supported by the Sundance Documentary Fund. Films include The Education of Shelby Knox, which won awards at the Sundance Film Festival, SXSW, Miami Gay & Lesbian Film Festival, and Full Frame Emerging Pictures, and which led off the 2005 PBS series Point of View. Other works include Life Free or Die (POV), Fatherhood USA (PBS), The Abortion Pill (PBS) and The Trenchcoat Gang (Court TV).
Peter Lucas (PhD, New York University). His research and teaching has focused on school violence and school safety, peace education in the schools, international human rights education, the role of visual media in human rights witnessing, and small-arms disarmament education in the U.S., Brazil, and Turkey. His recent studies include Viva Favela: Photojournalism, Visual Inclusion, and Human Rights in Brazil, forthcoming from Umbrage Editions. Chris Mann (DiplEd, University of LaTrobe). Composer working in compositional linguistics; former member of Machine for Making Sense. david E. Marcinkowski (MA, The New School) is associate director of technology and program development at Pratt Manhattan. He is a free-lance web designer and teacher. His Interests include bridging the gap between technical and design aspects of the Internet. Brian McCormick (MA, The New School). Journalist, dance critic, writing instructor; arts editor of Gay City News; managing director of Nicholas Leichter Dance. Helena Medina (PhD, Columbia University). TV scriptwriter and script advisor to the prestigious Media Plus Programme of the European Union. douglas Morrione (MA, The New School). Award-winning film and video editor and producer; recently worked with Stick Figure Productions on the series Family Bonds, for HBO. Jrg Mller (PhD, European Graduate School, Switzerland). Independent web developer; credits include interactive directory at DoubleYou for Creative Web Communications. Lynn Oberlander (JD, Columbia University). General counsel for The New Yorker; formerly editorial counsel at Forbes Inc. and senior media counsel at NBC, Inc. Aras Ozgun (MS, Middle East Technical University in Ankara, Turkey; MA, The New School). Scholar and video artist; co-founded Pyromedia Media Arts Collective, producers of experimental media works.
Media Studies
23
Mario Paoli (BMus, Berklee College of Music). Electronic music composer, video artist/producer, media educator, was an original company member of Mobius Performing Group in Boston; staff teacher and editor at Film and Video Arts Inc. Bill Phillips (PhD candidate, New York University) is writing a dissertation on the impact of digital technology on music production. He is a musician and music producer and is the co-author of the Encyclopedia of Heavy Metal Music and Culture (forthcoming from Greenwood Press). Jason Pine (PhD, University of Texas at Austin) teaches anthropology at SUNY at Purchase. He has conducted several years of ongoing videotaped ethnographic research on aesthetic practices, shadow media, and organized crime in Naples, Italy. John Plenge (MA, The New School). ASCAP, NYSCA, and OBIE award winning composer, sound artist, and music producer. Phillip robertson has been covering the wars in Afghanistan and Iraq for Salon.com since 2001. He has also reported for Time magazine, BBC World Service Radio, National Public Radio in the United States, and the Christian Science Monitor. Peter Schnall, a six-time Emmy Award winner, was senior producer of the long-running National Geographic Television series Explorer. He formed Partisan Pictures in New York City, producers of Russia, Land of the Tsars (2003), The French Revolution (2004), Titanic Revealed (2004), and Inside the Secret Service (2004). His film credits also include a documentary made for The White House, Air Force One, and a film about Oprah Winfreys trip to southern Africa to draw attention to the plight of children with AIDS. Joan Schuman (MFA, San Jose State University). Award-winning independent producer of narrative radio broadcasts in the United States, Europe, Australia, Canada, online; print journalist
MM Serra (MA, New York University). Executive director of New American Cinema Group/The Film-Makers Cooperative; experimental film and multi-media producer and distributor. Ethan Spigland (MA, University of Paris; MFA, New York University). Award-winning filmmaker and screenwriter; his film, The Strange Case of Balthazar Hyppolite, was nominated for an Academy Award for Best Short Subject; studied philosophy with Derrida and Lyotard. ralph Woody Sullender (MFA, Bard College) is a digital media artist, composer, and performer. Most recently, he has created video, audio, websites, etc. for the New York Times, New York University, JetBlue, and the Video Data Bank. reiko Tahara (MA, The New School) is an independent documentary filmmaker. Her films have been shown in various venues including the Margaret Mead Festival, SXSW, Japan Society, Hawaii International Film Fest, and many Asian American festivals. She has received multiple production grants from NEA, NYSCA, Jerome Foundation, Japan-US Friendship Commission, and CAAM (Center for Asian American Media). She received a Japanese government Overseas Grant for 200708 for Experimental Documentary. Tom Veltre (PhD, New York University). As a producer/ cinematographer, his work has been broadcast by PBS, Discovery Channel, National Geographic Channel, CNN, BBC, NHK (Japan). He holds an undergraduate degree in Music Education from the Crane School of Music at SUNY-Potsdam. Angie Waller (MFA, University of California Los Angeles). Artist. Her work has exhibited at Sundance Film Festival, Edith Russ Site for Media Art (Oldenburg, Germany), Contemporary Museum of Baltimore, International Symposium for Electronic Art (Walker Art Center, Minneapolis), Shanghai Duolon Museum of Modern Art,; Walter Phillips Gallery at the Banff Centre (Alberta, Canada); Impakt Online (Utrecht, Netherlands), and Biennale of the Moving Image (Geneva). Awards include the 2001 HT-Telecommunication Art Award at the Split Film Festival (Croatia).
24
Charles Warner is the author of Media Selling, the most widely used sales textbook in the field, and a companion book, Media Sales Management. He is a blogger on MediaCurmudgeon.com. He was Goldenson Endowed Professor and is now Goldenson Chair Emeritus at the University of Missouri School of Journalism, where he created and ran the annual Management Seminar for News Executives. He left Missouri to become Vice President of AOLs Interactive Marketing division until he retired in 2002. He is currently a volunteer teaching assistant in the Metropolitan Museum of Art family program as well as teaching at The New School. He has served as a management and sales consultant and trainer for CBS, ABC, ESPN, MTV, TCI, Fox, AH Belo, Hearst Magazines, Microsofts MSN, and Cox Cable, has been VP General Manager, of WNBCAM (now WFAN) in New York, WMAQ-AM and WKQX-FM in Chicago, WWSW-AM, WPEZ-FM in Pittsburgh, and CBS Radio Spot Sales. Michael Weiskopf (BA, Montclair State University). Founder and chairman, Lifestyle Ventures (now Lifestyle Media), an independent privately held company consisting of ten magazines; former executive VP and publisher, Chemical Week Assocs.; publisher of Personal Computing Magazine; group VP of Reed Exhibitions, and advertising director of East Coast Rocker. Virgil Wong (BFA, Rhode Island School of Design, European Honors Program, University of Rome Medical School). Multimedia artist; head of Web services for New York-Presbyterian Hospital and Weill Medical College of Cornell University. Bilge yesil (PhD, New York University). Her work examines technology and political dynamics, visual culture, consumer society and advertising, and has appeared in Cultural Studies, Media History, Journal of Popular Culture, and M/C Review.
Media Studies
25
rESOUrCES
New York is the communications capital of the world, and the Media Studies Program fully enjoys the advantages inherent in its urban setting. Professional internship opportunities are available in broadcast television stations; cable operations; film, video and audio production companies; research programs; and corporate communication facilities, among others. A network of media professionals is maintained through the large representation of communications experts on the faculty and in the student body. Media Studies students are invited to the many public lectures, seminars, conferences, film series, and other special events offered regularly by the Department of Media Studies and Film and other departments of The New School for General Studies.
MEdiA PrOdUCTiON fACiLiTiES THE ArNHOLd HALL MULTiMEdiA LABOrATOry This state-of-the-
SPECiAL EVENTS ANd STUdENT ACTiViTiES
Every year, the Media Studies program organizes a number of special events for students including seminars with representatives from various media organizations and lectures and presentations by notable scholars and media professionals. The department also sponsors student shows and other studentproduced events. Media Studies students present their own work to packed houses in film shows, video programs, an audio and media design show, and the annual juried multi-format show, Mixed Messages, a showcase of the years best work in film, video, audio, and multimedia. Since 2003, the Dorothy H. Hirshon Film Festival, a two-week series of screenings and panel discussions endowed by a late trustee of The New School, offers students a chance to work with distinguished artists-in-residence and culminates in the annual New School Invitational Film Show, a juried show featuring the best student films of the academic year. Hirshon artistsin-residence to date are D.A. Pennebaker and Chris Hegedes (2003), John Waters (2004), Laurie Anderson (2005), Academy Award-winning director (Hearts and Minds) Peter Davis, (2006), John Cameron Mitchell (2007), and Cynthia Wade (2008). There is an annual student-produced academic conference, Critical Themes in Media Studies. Recent themes include globalization, popular culture, the public sphere, cyberspace, representation, identity, media theory, and visual culture. Immediacy is a student-produced online journal that functions as an ongoing forum for the discussion of ideas about media and culture. The website at www.newschool.edu/mediastudies provides up-todate faculty and course information, a calendar of events, and a rich archive of student work. Also on the website is Media Matrix, an online resource for Media Studies students and faculty. Graduate students may apply for a personal website on the university server.
art technical facility occupies 12,000 square feet at 55 West 13th Street. It houses classrooms equipped for computer, video, and sound presentations; multimedia computer classrooms; Final Cut Pro digital video editing stations; ProTools digital audio production and mixing suites; a large open lab with Macintosh and Windows workstations; an equipment center including Sony and Panasonic DVCams, Tascam Audio Flash recorders, Nikon digital cameras, and lighting and sound equipment. Media Studies students have access to this facility and any equipment required by their courses.
MEdiA PrOdUCTiON CENTEr Located at 66 Fifth Avenue.
Graduate students registered for film production courses have access to the facility, which provides professional filmmaking equipment, including Arriflex SR and Eclair NPR cameras, Mole-Richardson and Lowel lights, Nagra 4.2 audio recorders, and analog and digital editing equipment.
26
LiBrAriES
The New School operates three libraries, which are open to all university students. Each library concentrates on specific subjects: The Raymond Fogelman Library collection is weighted toward the social sciences and philosophy. Its extensive reserve collection is utilized by the entire university. The Adam and Sophie Gimbel Design Library at Parsons The New School for Design
iMovie U High School Movie-Making Project National Arts Club President O. Aldon James
holds an extensive collection of materials relevant to applied and fine arts. The Harry Scherman Library serves Mannes College The New School for Music and specializes in European and American classical music.
THE rESEArCH LiBrAry CONSOrTiUM Of SOUTH MANHATTAN
In addition to its own libraries, The New School is a member of the Research Library Association of South Manhattan. Other consortium members are New York University, the Cooper Union for the Advancement of Science and Art, and the New
Chuck Kesl, Carol Wilder, Associate dean and Chair, Jon Alpert, Mixed Messages 1997
York Library of Interior Design. This is one of the largest interuniversity library consortia in the countryNYUs Elmer Holmes Bobst Library alone houses more than three million volumes. Most holdings of the consortium libraries are listed in BobCat, a user-friendly online catalog that can be accessed over the Internet or by direct dial-in. All the libraries provide information resource training and orientations for students, normally at the beginning of every semester. New School students also have reading access to materials at the nearby Cardozo Law School of Yeshiva University. Through a membership in the Metropolitan Reference and Research Library Agency, students have access to more than 300 other libraries in the New York City area. For more information about university libraries and consortium privileges, visit the website at www.newschool.edu/library.
ACAdEMiC COMPUTiNg
University Academic Computing currently operates three general access facilities for students. Each facility offers a wide variety of software such as word processing, spreadsheet, database, electronic mail, graphics, and statistical packages. Students using the centers are supported by a full-time staff and assisted by lab aides. Training seminars and documentation are available on supported software and hardware. Each facility is fully networked and has access to the Internet.
Media Studies
27
AdMiSSiON POLiCiES ANd PrOCEdUrES

An applicant to the Media Studies MA program must hold a bachelors degree from a regionally accredited college or university. A statement of purpose, official transcripts of all undergraduate and graduate work, a rsum, and two letters of recommendation (from academic and/or professional references) are required of all applicants. International applicants must submit official transcripts of all undergraduate and graduate studies, with English translations, and a WES course-by-course credential evaluation (www.wes.org). If English is not the students native language, a minimum TOEFL score of 100 on the internet-based test (250 on the computerbased test) is required for admission. To apply online or download an application go to www.newschool. edu/mediastudies. For more information, contact the New School Office of Admission, 66 West 12th Street, room 401, New York, NY 10011; 212.229.5630; email: nsadmissions@newschool.edu.
APPLiCATiON dEAdLiNES Students are admitted to the Media
BACHELOrS/MASTErS STATUS Students in certain undergraduate
programs of The New School, upon completion of 60 credits (including at least 12 credits earned at The New School), may apply for bachelors/masters status. If approved, they may take selected graduate courses in Media Studies and apply up to 12 graduate credits towards the bachelors degree requirements. Upon successful completion of the undergraduate degree and admission into the Media Studies Program, those 12 credits will also be applied to the credit requirements for the masters degree. Interested undergraduates should speak to their academic advisors.
fiNANCiAL iNfOrMATiON
Media Studies tuition for the 200809 academic year is $1,020 per credit. Full payment of tuition and fees is normally due at the time of registration. New tuition and fee schedules are posted on the University website in advance of each academic year.
fiNANCiNg yOUr EdUCATiON
Financial aid is available to MA candidates and graduate certificate students. No one should decide against applying for admission to the Media Studies program for financial reasons. A variety of financial assistance is available to qualified students. Assistance is granted on the basis of need and merit with financial need determined in accordance with federal formulas. The New School participates in the full range of federal and New York State financial assistance programs (see Student Financial Services). It is not necessary to have an admission decision to begin the financial aid process. All applicants should file the Free Application for Federal Student Aid (FAFSA), which is available on line at www.fafsa.ed.gov. Priority deadlines for filing FAFSA are March 1 for fall applicants and November 1 for spring applicants. The FAFSA school code is 002780.
Studies program for either the fall or spring semester. The fall application deadline is february 15. The deadline for the spring semester is October 15. It is the responsibility of the applicant to ensure the receipt of all admission materials by the published deadline. An offer of admission is valid for the semester specified in the letter of acceptance. A non-refundable tuition deposit is required to hold a place in a class. If unusual circumstances require a change in plans, an admitted applicant may request admission deferral for up to two semesters. Departmental scholarships and other financial aid awards are not deferrable; you must reapply.
28
department Assistantships Assistantships and fellowships require recipients to meet specific requirements or work a certain number of hours for the department or with a faculty member. Any hours worked under the College Work Study program or other on-campus employment program are in addition to, and may not be combined with, the work requirements of any Media Studies stipend. Course Assistant ($1,500) Assists a teacher in a course. Applicants must be available 4 hours per week during the academic year. Research Associate ($3,000) Assists a member of the faculty in an area of academic research. Research and writing skills are required. Applicants must be available 9 hours per week during the academic year. Technical Associate ($3,000) Must demonstrate specific technical expertise in a production area and have an interest in teaching. A technical associate assists the department in producing media shows or may be assigned to provide in-class assistance to an instructor. Applicants must be available 9 hours per week during the academic year. Graduate Fellowship ($7,500) A graduate fellow works 12 hours per week during the academic year with a member of the Media Studies faculty or the administrative staff. Responsibilities vary. This award is available only to students who have completed at least 15 credits in the MA program. University Scholarships Graduate students may be eligible for various university scholarships and awards. All graduate students who file a financial aid application are considered for all applicable scholarships. Student financial Services Details about financial aid programs and all forms and instructions are available from the Student Financial Services Office, 65 Fifth Avenue, New York, NY 10003; 212.229.8930; sfs@newschool.edu. Students are entitled to receive all information and application documents in paper format on request, or these can be downloaded from the Financing Solutions Guide at www.newschool.edu/admin/finaid.
THE NEW SCHOOL: A UNiVErSiTy

The New School is a member of the Association of American Colleges and Universities. The university and its degrees are accredited by the Commission on Higher Education of the Middle States Association of Colleges and Secondary Schools. A privately supported institution, The New School is chartered as a university by the Regents of the State of New York. The New School maintains the following institutional information on its website at www.newschool.edu: FERPA (Family Education Rights and Privacy Act), financial assistance information (federal, state, local, private, and institutional need-based and nonneed-based assistance programs, Title IV, FFEL, and direct loan deferments), university policy information (fees, refund policies, withdrawing from school, Title IV grant and loan policies, academic policies, policies for international students, and disability services), and the Campus Security Report. To request copies of any of these policies or reports, contact the appropriate office. Equal Employment and Educational Opportunity The New School is committed to creating and maintaining an environment of diversity and tolerance in all areas of employment, education, and access to its educational, artistic, and cultural programs and activities. The New School does not discriminate on the basis of age, race, color, sex or sexual orientation, religion, mental or physical disability, national or ethnic origin, citizenship status, or veteran status.
fACiLiTiES ANd STUdENT SErViCES
The New School is located in New York Citys Greenwich Village, a historic residential neighborhood that supports an exciting mix of intellectual, artistic, and commercial activity. The landmark Alvin Johnson Building at 66 West 12th Street was designed as the home of The New School in 1930 by noted Bauhaus architect Joseph Urban. Most other facilities are located within a few blocks of the Johnson Building. There is a neighborhood map on the inside back cover of this catalog.
HOUSiNg Student housing offers graduate students convenient
living and learning spaces with amenities suitable for diverse needs and budgets. Residence hall and apartment facilities are fully furnished and professionally staffed. There is 24-hour security coverage in all our residences, and our staff is trained to handle emergencies.
Media Studies
29
For students who wish to navigate the metro New York real estate market, the Office of Student Housing offers assistance in searching for off-campus accommodations. Printed and electronic listings for rental properties, shared apartments, sublets, and short-term accommodations are available in the office. For more information, visit www.newschool.edu/studentservices.
STUdENT LifE The New School offers many kinds of workshops,
EigHT SCHOOLS/ONE UNiVErSiTy THE NEW SCHOOL fOr gENErAL STUdiES The founding school
of the university has never neglected its original mission. It continues to serve the intellectual, cultural, and professional needs and interests of adult students through its unique bachelors degree program for continuing students, graduate degree programs that integrate theory and practice in original ways, and a broad and serious curriculum open to non-credit students. The New School for General Studies offers the following degrees, Bachelor of Arts and Bachelor of Science in Liberal Arts; Master of Arts and Master of Science in International Affairs, Master of Arts in Media Studies, Master of Fine Arts in Creative Writing, and Master of Arts in TESOL, as well as graduate- and undergraduate-level certificates. The pioneer of lifelong education in the United States is still a center of innovation and imagination in American higher education.
THE NEW SCHOOL fOr SOCiAL rESEArCH The New School for
lectures, and other programs throughout the academic year designed to enrich the students experience. Student services activities reflect the diversity of our student population intellectually, artistically, culturally, and socially. Students are encouraged to become involved in recognized student organizations and leadership programs. Student services also include a recreation program. For more information, visit www.newschool. edu/studentservices. Graduate students can participate in the governance of their programs and of the university by serving on student advisory committees, which have been established by most academic departments, and on several university committees that include student representatives.
iNTErNATiONAL STUdENT SErViCES The New School is authorized
Social Research, the graduate faculty of social and political science, was established in 1934 by the scholars of the University in Exile. It has been a seat of world-class scholars since then, in an academic setting where disciplinary boundaries are easily crossed. It justly retains the proud name of The New School for Social Research. This graduate school awards masters and doctoral degrees in anthropology, economics, philosophy, political science, psychology (including clinical psychology), and sociology, and terminal MA degrees in historical studies and liberal studies.
PArSONS THE NEW SCHOOL fOr dESigN Parsons was founded in
under federal law to enroll non-immigrant alien students. The mission of International Student Services is to help these students reach their fullest potential and have positive experiences at The New School. It offers workshops, printed materials and other media, and individual advice and support. Before registering, all international students are required to attend an orientation and report individually to International Student Services so that the university can confirm that they have been properly admitted into the United States, and explain their rights and responsibilities and U.S. government regulations. International Student Services offers individual advising throughout the year by appointment. For more information, visit www.newschool.edu/studentservices.
1896 by the noted artist William Merritt Chase. In the 1930s, it was named Parsons School of Design for its long-serving president, Frank Alvah Parsons, whose career was dedicated to merging visual art and industrial design. Today, it is one of the preeminent design schools in the world. Its graduates contribute to the quality of life through beautiful products, built environments, and visual communications. Parsons offers the bachelor of fine arts degree in architectural design, communication design, fashion design, fine arts, illustration,
30
interior design, photography, product design, and its integrated design curriculum; the Bachelor of Business Administration in design and management, and the Bachelor of Science in Environmental Studies (New York State approval pending). Masters degrees are offered in architecture, lighting design, history of decorative arts, fine arts (painting and sculpture), interior design (New York State approval pending), photography, and design and technology. Parsons also offers a postbaccalaureate AAS degree and a continuing education program.
EUgENE LANg COLLEgE THE NEW SCHOOL fOr LiBErAL ArTS
MANNES COLLEgE THE NEW SCHOOL fOr MUSiC Founded in 1916
by David Mannes, this distinguished conservatory became a division of The New School in 1989. Mannes offers aspiring young musicians an unusually comprehensive conservatory curriculum in a supportive setting, training students in instrumental and vocal performance, composition, conducting, and music theory. The college offers the degrees and credentials: Bachelor of Music, Bachelor of Science, Diploma, and Master of Music and Professional Studies Diploma. Unique among New Yorks conservatories, Mannes remains true to its origins as a community music school via its Extension Division and childrens Preparatory Division.
THE NEW SCHOOL fOr drAMA Ever since Erwin Piscator brought
This is The New Schools four-year college for traditional-age undergraduates. Emphasis is on small, seminar-style classes. Innovative interdisciplinary areas of study lead to the Bachelor of Arts degree. These include literature and writing; arts in context; visual arts, theater; dance; environmental studies; religious studies; social and historical studies; psychology; philosophy; science, technology and society; education studies; urban studies; and cultural studies and media. Qualified students can earn a dual bachelor of arts/bachelor of fine arts degree at Parsons The New School for Design or The New School for Jazz and Contemporary Music. There are accelerated bachelors/masters degree options in association with several graduate programs. The school began in 1973 as an experimental program. It became a full division of the university in 1985 thanks to a generous gift from New School trustee Eugene Lang, the well-known educational philanthropist.
MiLANO THE NEW SCHOOL fOr MANAgEMENT ANd UrBAN POLiCy
his Dramatic Workshop to The New School in the 1940s, the university has had a close association with the theater. Since 1994 The New School has been training actors, writers, and directors side-by-side in a coherent graduate curriculum. The training is rooted in the Stanislavski Method. This full-time, three-year program leads to the Master of Fine Arts degree in acting, directing, or playwriting.
THE NEW SCHOOL fOr JAzz ANd CONTEMPOrAry MUSiC
The New School for Jazz and Contemporary Music offers young musicians a unique, mentor-based course of study with a faculty of professional artists and close links with the renowned jazz world of New York City. It is a program for students who expect to make a living from their music. Traditionally, jazz was not learned in schools but was handed down from one musician to another. The New School keeps that heritage alive. Its students profit from direct exposure to jazz traditions and the latest professional practices in an intellectual context that encourages exploration and innovation. The New School for Jazz and Contemporary Music offers the Bachelor of Fine Arts degree in jazz performance and jazz composition and arranging. Qualified students may pursue a dual BA/BFA degree in collaboration with Eugene Lang College The New School for Liberal Arts.
Originally the Graduate School of Management and Urban Professions, since 1975 its graduate programs have been developing the analytical, managerial, and leadership skills of working professionals with the goal of facilitating positive changes in communities, governments, and corporations, locally, nationally, and globally. The school is named for late university trustee Robert J. Milano who generously supported its mission. Milano offers the Master of Science degree in urban policy analysis and management, nonprofit management, health services management and policy, and organizational change management and a PhD degree in public and urban policy.
Media Studies
31
The information published here represents the plans of The New School at the time of publication. The university reserves the right to change without notice any matter contained in this publication, including but not limited to tuition, fees, policies, degree programs, names of programs, course offerings, academic activities, academic requirements, facilities, faculty, and/or administrators. Payment of tuition or attendance in any classes shall constitute a students acceptance of the administrations rights as set forth in the above paragraph. Published 2008 by The New School. Produced by Communications and External Affairs, The New School Photography: Sara Barrett, Paula Giraldo, Graham Haber, Don Hamerman, Ryan Blum-Kryzstal, Joe Schuyler, Jerry Speier, Matthew Sussman, Edwin Tse; also: Arlene Avril, Betsy Bell, Stephanie Berger, Bjorg, Ralph Crane, Laima Druskis, Carla Gahr, Peter Moore, Jose Picayo, Paul Seligman, Stan Seligson, Kosti Ruohoma, Star Black, Karen Zebulon, The New School University Archives, Corbis-Bettmann, FPG, PhotoDisc; also courtesy of T.S. McLuhan, University of Pennsylvania Libraries.
Amsterdam Ave.
dway
Columbus Ave.
Sixth Ave.
W. 42
W. 86
B C
Broadway
Bryant Park
Broa
W. 41
W. 19 W. 85 W. W. 18 84
Mannes Building
150 W. 85 St.
W. 40
Schwartz Fashion Center
560/566 Seventh Ave.
Goldmark Practice O W. 65 Center
W. 66
Park Ave. South
B D F V 7
Central Park W.
Columbus Ave.
Seventh Ave.
1 2 3 7 N R Q S W
Bro ay adw
E. 18 Fifth Ave.
E. 19
37 W. 65 St.
E. 18
Sixth Ave.
W. 17
E. 17
W. 21
Ninth Ave.
W. 19
W. 15
E. 15
Irving Place
Union Square W.
20th Street Residence

Eighth Ave.
Union Square Park

4 5 6 L N Q R W
Union Square E.
300 W. 20 St.
6 East 16th Street 79 Fifth Avenue D

W. 16
31 Union Square West Residence
E. 17
E. 16
E. 15
1 2 3
F L V
W. 14
Seventh Avenue
13th Street Residence
118 W. 13 St.
55 W. 13 St.
Arnhold Hall
G Fanton Hall 72 Fifth Ave. H
80 Fifth Avenue
List Hall
65 Fifth Ave.
E. 14
E
25 E. 13 St. Parsons East Building
E. 13
2 W. 13 St.
W. 12
Sheila C. Johnson Design Center Alvin Johnson/J.M. Kaplan Hall
N M 68 Fifth Ave.
66 Fifth Ave.
66 W. 12 St.
E. 12 Fifth Ave.
University Pla ce
y dwa Broa
Loeb Residence
West Side Hwy.
Washington St.
Hudson River
Drama Building
151 Bank St.
Bank
Sixth Ave.
ee nw Bethune W.c 3 St. i h Av
e.
W. 10
E. 10
W. 11 0 .1 W
W. 9
E. 9
Wanamaker Place
R
5 W. 8 St. Marlton Residence
e av W
E. 8
N R
Fou
6
Gr
64 C LangW. 11 St. Annex
r th
65 W. 11 St.
W. 11
E. 11
Ave
Eugene Lang College Building
nue
St. Vincents Hospital
A B
135 E. 12 St.
Greene Street
Mercer Street
MacDougal Alley
Place
Washington Mews
Washington Square West
Washington Squ are East
1 Sheridan Square
A C E V
B D F
Washington Square Nort h
Waverly Place
Broadway
to As
rP
lac
Cooper Union
61 Grove Street Washington Place U Apartments

South Avenue
Washington Square Park
Nassau
et
W. 4
r ly
A C J M Z 2 3 4 5
Fulton
Washington Place
John
re
Ma
et
William
Gr
Washington Square Sout h
ov
Ln
re
MacDougal
Seventh
Thompson
LaGuardia
Sullivan
W. 4
Libe
Ba
er
r ro
St
re
Albert List Academic Center . . . . . . . . . . . . . . . . . . . . . . . . . . . F Alumni Relations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .D Alvin Johnson/J .M . Kaplan Hall . . . . . . . . . . . . . . . . . . . . . . . . .A Arnhold Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I Dorothy H . Hirshon Suite . . . . . . . . . . . . . . . . . . . . . . . . . . . I Theresa Lang Community & Student Center . . . . . . . . . . . . . I Tishman Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I Auditoria Edward Swayduck Auditorium . . . . . . . . . . . . . . . . . . . . . . . . F John L . Tishman Auditorium . . . . . . . . . . . . . . . . . . . . . . . . . .A Parsons Auditorium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .N Building Affiliates Beth Israel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317 E . 17 St . Cardozo Law Library . . . . . . . . . . . . . . . . . . . . . . 55 Fifth Ave . Cooper Hewitt Museum . . . . . . . . . . . . . . . . . . . . . . 2 E . 91 St . Cooper Union Library . . . . . . . . . . . . . . . . . . . . . . .Cooper Sq . Elmer Holmes Bobst Library . . . . . . . . . . . . . . . . .Wash . Sq . S . Cafeterias . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .B, F, I Centers and Institutes Center for New York City Affairs . . . . . . . . . . . . . . . . . . . . . . .H India China Institute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .N International Center for Migration, Ethnicity & Citizenship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .D Parsons Institute for Information Mapping . . . . . . . . . . . . . . . I Schwartz Center for Economic Policy Analysis . . . . . . . . . . . .D Transregional Center for Democratic Studies . . . . . . . . . . . . .G University Writing Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . F Vera List Center for Art & Politics . . . . . . . . . . . . . . . . . . . . . .A Wolfson Center for National Affairs . . . . . . . . . . . . . . . . . . . .N Computing Centers Academic Computing Center . . . . . . . . . . . . . . . . . . . . . . . . . F Digital Resource Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . I Fashion Computing Center . . . . . . . . . . . . . . . . . . . . . . . . . .K Knowledge Union . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I University Computing Center . . . . . . . . . . . . . . . . . . . . . . . . . I
et
Co
Bl
ee
St
ck
W. 3
Pine Bond Street 2 3 W all
et
re
rn
eli
Eugene Lang College The New School for Liberal Arts . . . . . . . .B Admissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .B Lang Annex . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .C Lang Writing Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .B Fanton Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .H Human Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .D Libraries Raymond Fogelman Library . . . . . . . . . . . . . . . . . . . . . . . . . . F Adam & Sophie Gimbel Design Library . . . . . . . . . . . . . . . . .N Kellen Archives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .N Harry Scherman Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . J Mannes College The New School for Music . . . . . . . . . . . . . . . . J Admissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J Goldmark Practice Center . . . . . . . . . . . . . . . . . . . . . . . . . . .O Milano The New School for Management and Urban Policy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .H Admissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .H The New School for Drama . . . . . . . . . . . . . . . . . . . . . . . . . . . . Z Admissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Z Theater . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Z The New School for General Studies . . . . . . . . . . . . . . . . . . . . .A Admissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .A International Affairs Program . . . . . . . . . . . . . . . . . . . . . . . . .A Media Studies Program . . . . . . . . . . . . . . . . . . . . . . . . . . . .N TESOL Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M Writing Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .A The New School for Jazz and Contemporary Music . . . . . . . . . . I Admissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I The New School for Social Research . . . . . . . . . . . . . . . . . . . . .D Academic Affairs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .D Admissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F
Parsons The New School for Design . . . . . . . . . . . . . . . .D, E, K, N Admissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F Arnold & Sheila Aronson Galleries . . . . . . . . . . . . . . . . . . . . .N David Schwartz Fashion Education Center . . . . . . . . . . . . . . .K Sheila C . Johnson Design Center . . . . . . . . . . . . . . . . . . M, N Residence Halls 13th Street Residence . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Q 20th Street Residence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Y Grove Street Apartments . . . . . . . . . . . . . . . . . . . . . . . . . . . .U Loeb Residence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .S Marlton Residence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .R Union Square West Residence . . . . . . . . . . . . . . . . . . . . . . . T William Street Residence . . . . . . . . . . . . . . . . . . . . . . . . . . . V Student Services (university-wide) Career Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F Health Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .S Higher Education Opportunity Program (HEOP) . . . . . . . . . . .D Housing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .D Intercultural Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F International Student Services . . . . . . . . . . . . . . . . . . . . . . .D Ombuds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .D Records . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .D Registrars Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .D Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F Student Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I Student Disability Services . . . . . . . . . . . . . . . . . . . . . . . . . .D Student Financial Services . . . . . . . . . . . . . . . . . . . . . . . . . . F Student Rights and Responsibilities . . . . . . . . . . . . . . . . . . .D University Administration . . . . . . . . . . . . . . . . . . . . . . . . A, D, G, I
Not shown: Anderson Residence: Anderson Hall, Manhattan School of Music, Claremont Ave. & W. 122nd St.; Stuyvesant Apartments: 1st Ave. & E. 14th St.; 23rd Street Apartments: 225 W. 23rd St.
The New School is undergoing expansion and renovation . Watch for updated maps each semester . Published 8/15/08 .
Pearl
ne
Jo
St
r ty Cedar
St
re
et
Gold
St
84 William Street Residence Pl id

en
att
The New School Office of Admissions 66 West 12th Street, Rm 401 New York, NY 10011

2008 Fall Media Studies Viewbook

Загружено:

Сведения о документе

Исходное описание:

Авторское право

Доступные форматы

Поделиться этим документом

Поделиться или встроить документ

Параметры публикации

Этот документ был вам полезен?

Это неприемлемый материал?

Авторское право:

Доступные форматы

2008 Fall Media Studies Viewbook

Загружено:

Авторское право:

Доступные форматы

MEDIA STUDIES

ABOUT THE NEW SCHOOL

Marshall McLuhan, John Culkin

MEdiA STUdiES ANd THE NEW SCHOOL

Arnold Eagle, 16mm filmmaking 1974

ONLiNE MA PrOgrAM Students can complete all required and

THE NEW SCHOOL ONLiNE

Spike Lee 1987

gregory Bateson, Anthropology 1947 Kenneth Burke, Literary Criticism 1937

MA/PHd iN MEdiA STUdiES/SOCiOLOgy The New School for

Credits 3 3 3 3 1218 612

Credits 3 3 3 3 1221 615

THE MEdiA STUdiES CUrriCULUM

Unless otherwise specified, all courses carry 3 graduate credits.

donald Spoto, The Art of Hitchcock 1979

Alan Kay, Teri McLuhan Marshall McLuhan Lecture 2002

Walter Cronkite, Leonard Probst 1975

John Sculley 1995

MEdiA THEOry ANd rESEArCH

Video and Audio

THE MEdiA STUdiES fACULTy

SPECiAL EVENTS ANd STUdENT ACTiViTiES

AdMiSSiON POLiCiES ANd PrOCEdUrES

BACHELOrS/MASTErS STATUS Students in certain undergraduate

THE NEW SCHOOL: A UNiVErSiTy

MANNES COLLEgE THE NEW SCHOOL fOr MUSiC Founded in 1916

Schwartz Fashion Center

560/566 Seventh Ave.

Goldmark Practice O W. 65 Center

Park Ave. South

20th Street Residence

Union Square Park

6 East 16th Street 79 Fifth Avenue D

31 Union Square West Residence

13th Street Residence

G Fanton Hall 72 Fifth Ave. H

Sheila C. Johnson Design Center Alvin Johnson/J.M. Kaplan Hall

West Side Hwy.

151 Bank St.

ee nw Bethune W.c 3 St. i h Av

64 C LangW. 11 St. Annex

Eugene Lang College Building

St. Vincents Hospital

Washington Square West

Washington Squ are East

Washington Square Nort h

61 Grove Street Washington Place U Apartments

Washington Square Park

Washington Square Sout h

Pine Bond Street 2 3 W all

84 William Street Residence Pl id

Вам также может понравиться