FALL 2017


Go to http://tritonlink.ucsd.edu for more important enrollment 
and registration information for 2016-2017

For course descriptions please visit the UCSD catalog at:

Junior Seminars

COMM 190
Instructor: Kelly Gates
Title: The Police and the Media
Description: This course considers the relationship between two social institutions—the Police and the Media—looking closely and critically at important dimensions of this relationship: news coverage of the police; representations of the police in popular media; marketing and promotion of police media technologies; police media strategies; police media technologies and media work; policing and social media; cop-watching and activist media. The central questions concern struggles over the legitimacy of police authority in a democratic society, the proper extent and limits of police power, and the role of media in supporting or challenging police activity and authority. How has the relationship between the Police and the Media changed as our media institutions and technologies have changed? What kinds of old and new media practices are involved in police work? What kinds of media practices are supportive of the police, and what kinds of media practices challenge police authority? Students will engage in reading, discussion, writing, and collaborative activities that provide opportunities to reflect on these questions. They will gain a greater understanding of the practices that sustain these institutions and the dynamic relationship between them.

COMM 190 
instructor: Yelena Gluzman 
Title: Neuroscience Meets Theater
While theater and neuroscience are seen as radically different pursuits,they have a long history of mutual fascination. This class looks at each practice through the lens of the other, asking what assumptions, fantasies and questions about human consciousness emerge in theatrical treatments of neuroscience, and in neuroscientific studies of theater. By reading theater texts about science, and comparing them to science texts about theater, students will consider what assumptions (e.g., about representation, empathy, cognition and embodiment) get enacted acrossdisciplines. In the final part of the course, we will explore recent collaborations between scientists and theater makers, and explore how these interdisciplinary projects might impact some of the dominant paradigms in both theater and neuroscience.

COMM 190
Instructor: Brian Goldfarb
Title: Cultures of Exhibition and Display
Description: In this junior seminar we will critically examine institutions and practices of public exhibition and display as modes of communication. Weekly readings, screenings and discussion topics will explore historical and contemporary forms of display and their social, ethical, political and organizational dimensions. We will consider a range of examples of visual presentation including: exhibitions of art and artifacts, modes of commercial display (from store windows to billboards to runway), and the re-conceptualization of these as digital forms. Participants will also visit exhibitions and other sites of display that we will discuss in seminar. While focusing attention on critical analysis of practices of display as a site of research, the course will also consider alternative approaches to curatorial practice and engage participants in rethinking exhibition strategies.

Intermediate Electives - Topics

COMM 113T: Intermediate Topics in Communication
Instructor: Patricia Ahn
Title: K-Pop
This course offers an overview of Korea’s contemporary global music industry, known also as K-Pop. We examine how Korean idols have been marketed to audiences across Asia and now the U.S., all while tracing the genre’s visual and sonic origins to the sights and sounds of American pop songs that entered the country through the U.S. military bases that have been stationed throughout South Korea since the Korean War (1950-present). 

Advanced Electives - Topics

COMM 132 - Advanced Topics in Communication
Instructor: Benjamin Medeiros
Fake News: Past, Present, Future

Description:  This class grapples with the phenomenon of "fake news." What are its different meanings and why has it taken up a prominent role in the cultural lexicon in the past year? While the term might seem novel, it can be situated using some history and theory that is familiar to Communication scholars and others in the humanities and social sciences. The aim of the course is to introduce students to a broad range of these frameworks. To be clear: this means that the course will not be a ten-week harangue about how fake news is bad or about how any particular political ideology is to blame.

The class will begin by establishing some core concepts in journalism and the function of the press. These include notions of journalistic objectivity, news literacy, commercial versus non-commercial news production, and the evolution of political news coverage. We will, of course, also cover some recent social science research on the spread of fake news during the 2016 election season. We will then turn our attention to history and theory. For historical background, we look at early 20th century propaganda and other scandals in the history of American journalism (such as the reporting on the run up to the Iraq war). For theory, we discuss how some key social and political theories help us analyze the relationship between technology and the idea of fake news. These include postmodernism and other philosophical notions of "truth," technological determinism, and contemporary critical theory. The penultimate unit of the course considers the responsibilities of technology platforms like Facebook and the difficulty of legally or algorithmically regulating "fake news." Finally, we close the course by looking at possible future developments (such as advances in digital manipulation of video) and the adaptations in media consumption habits that might occur.


COMM 146 - Advanced Topics in Cultural Production
Instructor: Gavin Halm
Title: Virtual Reality
Students will learn about the history of virtual reality (VR) from its origins in “Experiential Theatre”, early “hypermedia” experiments, and military technologies, to today’s explosion of consumer-grade, head-mounted displays and “mobile-VR” platforms, such as Google Cardboard. This course will also center its discussion on “live-action”, cinematic VR as both an extension of traditional filmic modalities, as well as being an entirely new approach to the cinematic, especially with regards to VR-driven journalistic/documentary productions. We will do the best to allow students the opportunity to create a short 360 VR film, and the complex technical requirements and processes needed for VR production and post-production will be covered.