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At the Limit: Violence in Contemporary Representation
OCW Master Course Number
CMS.840
OCW Linked Course Number
21L.435
Fall 2013
OCW_LOMv1.0
Author
Brinkema, Eugenie
2020-12-25
OCW Course Topics
Fine Arts
Media Studies
OCW Course Topics
Fine Arts
Visual Arts
Film and Video
OCW Course Topics
Humanities
Literature
American Literature
contents/index.htm.xml
At the Limit: Violence in Contemporary Representation
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At the Limit: Violence in Contemporary Representation
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cms-840f13-th.jpg
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cms-840f13.jpg
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Lecture Notes
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Assignments
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Paper Two Topics
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Paper One Topics
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Final Paper Topics
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Syllabus
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Further Reading
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Further Viewing
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Calendar and Readings
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How to Watch a Film
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Violence - Terms, Concepts, and Etymology
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Guide to Scholarly Writing
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Session 7 - The Underclass and the Marginalized
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Session 8 - Girls, Women, & Psychic Assault
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Session 11 - Postmodern Graphic - Gore, Humor, Cartoons
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Session 4 - Serial Killers II - Boredom & Blankness
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Session 6 - White Masculinity at the End of the Century
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Session 5 - Serial Killers III - Portraits & Signs
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Session 12 - Regarding the Pain of Others
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Session 10 - Television, Reality, Culpability
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Session 13 - Is it the Case that We Are What We Watch
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Session 9 - Sex, Desire, & Fragmentation
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Session 1 - A Brief History of Violence
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Session 2 - America the Violent
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Session 3 - Serial Killers I - Repetition & Commodities
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Legal Notices
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Privacy Statement
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Trademark Notices
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contents/calendar-and-readings/MITCMS_840F13_Violence.pdf.xml
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contents/assignments/index.htm.xml
contents/assignments/MITCMS_840F13_PrOneTopics.pdf.xml
contents/calendar-and-readings/MITCMS_840F13_Session_13.pdf.xml
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contents/calendar-and-readings/MITCMS_840F13_Session_12.pdf.xml
contents/calendar-and-readings/MITCMS_840F13_Session_3.pdf.xml
contents/calendar-and-readings/MITCMS_840F13_Session_9.pdf.xml
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contents/calendar-and-readings/MITCMS_840F13_Session_2.pdf.xml
contents/calendar-and-readings/MITCMS_840F13_Session_8.pdf.xml
contents/lecture-notes/index.htm.xml
PK ܚQ~3! cms-840-fall-2013/ReadMe.txtThis zip package contains the HTML pages and files associated with the course.
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MIT OpenCourseWare | Welcome
Welcome to MIT Open Course Ware. You will be automatically redirected to Home. If you aren not forwarded to the new page, Click here to access the home page of the downloaded Click Here
PK Q[B [B - cms-840-fall-2013/contents/cms-840f13.jpg.xml
cms-840f13.jpg
Violence! by Riccardo Cuppini. Courtesy of Riccardo Cuppini. Used with permission.
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This site (c) Massachusetts Institute of Technology 2020. Content within individual courses is (c) by the individual authors unless otherwise noted. The Massachusetts Institute of Technology is providing this Work (as defined below) under the terms of this Creative Commons public license ("CCPL" or "license") unless otherwise noted. The Work is protected by copyright and/or other applicable law. Any use of the work other than as authorized under this license is prohibited. By exercising any of the rights to the Work provided here, You (as defined below) accept and agree to be bound by the terms of this license. The Licensor, the Massachusetts Institute of Technology, grants You the rights contained here in consideration of Your acceptance of such terms and conditions.
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OCW Master Course Number
CMS.840 At the Limit: Violence in Contemporary Representation Fall 2013
This course focuses on novels and films from the last twenty-five years (nominally 1985–2010) marked by their relationship to extreme violence and transgression. Our texts will focus on serial killers, torture, rape, and brutality, but they also explore notions of American history, gender and sexuality, and reality television—sometimes, they delve into love or time or the redemptive role of art in late modernity. Our works are a motley assortment, with origins in the U.S., France, Spain, Belgium, Austria, Japan and South Korea. The broad global era marked by this period is one of acceleration, fragmentation, and late capitalism; however, we will also consider national specificities of violent representation, including particulars like the history of racism in the United States, the role of politeness in bourgeois Austrian culture, and the effect of Japanese manga on vividly graphic contemporary Asian cinema. We will explore the politics and aesthetics of the extreme; affective questions about sensation, fear, disgust, and shock; and problems of torture, pain, and the unrepresentable. We will ask whether these texts help us understand violence, or whether they frame violence as something that resists comprehension; we will consider whether form mitigates or colludes with violence. Finally, we will continually press on the central term in the title of this course: what, specifically, is violence? (Can we only speak of plural "violences"?) Is violence the same as force? Do we know violence when we see it? Is it something knowable or does it resist or even destroy knowledge? Is violence a matter for a text's content—who does what, how, and to whom—or is it a problem of form: shock, boredom, repetition, indeterminacy, blankness? Can we speak of an aesthetic of violence? A politics or ethics of violence? Note the question that titles our last week: Is it the case that we are what we see? If so, what does our obsession with ultraviolence mean, and how does contemporary representation turn an accusing gaze back at us?
CIP
230701
violence
serial
killer
psycho
masculinity
white
sex
rape
assault
underclass
boredom
repetition
America
Ellis
Palahniuk
fight
club
Cooper
frisk
Sontag
pain
ultraviolence
squib
metaphor
Fargo
Coen
Benjamin
commodities
blankness
beast
Manson
portraits
signs
Henry
Se7en
Pitt
Fincher
desire
fragmentation
television
TV
reality
culpability
Bazin
Resevoir
Tarantino
postmodern
gore
cartoon
humor
Oldboy
Haneke
PK Q8t@ t@ ( cms-840-fall-2013/contents/index.htm.xml
At the Limit: Violence in Contemporary Representation
This course focuses on novels and films from the last twenty-five years (nominally 1985–2010) marked by their relationship to extreme violence and transgression. Our texts will focus on serial killers, torture, rape, and brutality, but they also explore notions of American history, gender and sexuality, and reality television—sometimes, they delve into love or time or the redemptive role of art in late modernity. Our works are a motley assortment, with origins in the U.S., France, Spain, Belgium, Austria, Japan and South Korea. The broad global era marked by this period is one of acceleration, fragmentation, and late capitalism; however, we will also consider national specificities of violent representation, including particulars like the history of racism in the United States, the role of politeness in bourgeois Austrian culture, and the effect of Japanese manga on vividly graphic contemporary Asian cinema. We will explore the politics and aesthetics of the extreme; affective questions about sensation, fear, disgust, and shock; and problems of torture, pain, and the unrepresentable. We will ask whether these texts help us understand violence, or whether they frame violence as something that resists comprehension; we will consider whether form mitigates or colludes with violence. Finally, we will continually press on the central term in the title of this course: what, specifically, is violence? (Can we only speak of plural "violences"?) Is violence the same as force? Do we know violence when we see it? Is it something knowable or does it resist or even destroy knowledge? Is violence a matter for a text's content—who does what, how, and to whom—or is it a problem of form: shock, boredom, repetition, indeterminacy, blankness? Can we speak of an aesthetic of violence? A politics or ethics of violence? Note the question that titles our last week: Is it the case that we are what we see? If so, what does our obsession with ultraviolence mean, and how does contemporary representation turn an accusing gaze back at us?
OCW Master Course Number
CMS.840
OCW Linked Course Number
21L.435
en
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Fall 2013
OCW_LOMv1.0
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Brinkema, Eugenie
2020-12-25
2014/05/12 13:07:18.792 GMT-4
2018/04/17 07:52:01.953 GMT-4
/courses/comparative-media-studies-writing/cms-840-at-the-limit-violence-in-contemporary-representation-fall-2013/index.htm
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This site (c) Massachusetts Institute of Technology 2020. Content within individual courses is (c) by the individual authors unless otherwise noted. The Massachusetts Institute of Technology is providing this Work (as defined below) under the terms of this Creative Commons public license ("CCPL" or "license") unless otherwise noted. The Work is protected by copyright and/or other applicable law. Any use of the work other than as authorized under this license is prohibited. By exercising any of the rights to the Work provided here, You (as defined below) accept and agree to be bound by the terms of this license. The Licensor, the Massachusetts Institute of Technology, grants You the rights contained here in consideration of Your acceptance of such terms and conditions.
CIP
230701
violence
serial
killer
psycho
masculinity
white
sex
rape
assault
underclass
boredom
repetition
America
Ellis
Palahniuk
fight
club
Cooper
frisk
Sontag
pain
ultraviolence
squib
metaphor
Fargo
Coen
Benjamin
commodities
blankness
beast
Manson
portraits
signs
Henry
Se7en
Pitt
Fincher
desire
fragmentation
television
TV
reality
culpability
Bazin
Resevoir
Tarantino
postmodern
gore
cartoon
humor
Oldboy
Haneke
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