AustLit
Description
Students have the opportunity to study and write within one of the following forms: non-linear and interactive writing, poetry, critical and theoretical writing, or screenwriting for innovative film and image. This subject challenges students to create situations or events in which forms of culture are composed in such a way as to propel them into new situations, for instance to find new audiences. During the subject examples are given of how, in various other times and places, artistic and intellectual movements have gathered impetus and evolved as historical cultural forms. Students work in different workshops within these forms over the semester, sharing key readings and references. An emphasis is placed throughout the semester on original and innovative subject matter, on the capacity of the student to become familiar with and expert in the technical range of the chosen form of writing and to research its recent and longer term history.
Subject objectives/outcomes
At the completion of this subject, students are expected to be able to:
1. discuss a range of philosophical, inspirational and practical perspectives on innovative forms of cultural production
2. experiment with different forms of cultural production, which operate in transgressive ways
3. use a wide range of critical and creative texts, which analyse different experiments in cultural production
4. apply critiques of creative and critical texts to their own cultural practices
5. employ communication strategies to facilitate class discussion
Assessment
Assessment Item 1: Performance Exercise. Maximum 1,000 words (text 700 words + exegesis 300 words) + image/video/sound 30%; Assessment Item 2: Short Critical Essay. 1,500 words 30%; Assessment Item 3: Creative/Critical Project 3,000 words, or a creative multimedia project accompanied by a 1,000-word written exegesis 40%
Supplementary Texts
Andreotti, L. & Costa, X. (eds) 1996, Theory of the Dérive and Other Situationist Writings on the City, Museu d’Art Contemporani de Barcelona: Distribution, ACTAR, Barcelona.
Attfield, S. 2007, The Working Class Experience in Contemporary Australian Poetry, UTS Scholarship, viewed 24 May 2010, Banksy 2005, Wall and Piece, Century, London. Baudelaire, C. 2000, Artificial Paradise, trans. P. Roseberry, Harrogate, Broadwater House. Benjamin, W. 2006, On Hashish, trans. H. Eiland et al., Belknap Press of Harvard University Press, Cambridge, Mass. Boothroyd, D. 2006, Culture on Drugs: Narco-Cultural Studies of High Modernity, Manchester University Press, Manchester. Buchanan, I. & Swiboda, M. (eds) 2004, Deleuze and Music, Edinburgh University Press, Edinburgh. Chalfant, H. & Prigoff, J. 1987, Spraycan Art, Thames and Hudson, London. Coverley, M. 2006, Psychogeography, Pocket Essentials, Harpenden. Cubrilo, D., Harvey, M. & Stamer, K. 2009, Kings Way: the Beginnings of Australian Graffiti, Melbourne 1983-1993, Miegunyah Press, Melbourne University Publishing, Carlton, Vic. Dew, C. 2007, Uncommissioned Art: the A-Z of Australian Graffiti, Melbourne University Press, Carlton, Vic. Durr, R.A. 1970, Poetic Vision and the Psychedelic Experience, Syracuse University Press, Syracuse, N.Y. Fahey, W. 2000, Ratbags & Rabblerousers: a Century of Political Protest, Song and Satire, Currency Press, Strawberry Hill, NSW. Feldman, C.J. 2009, “We are the Mods”: a Transnational History of a Youth Subculture, Peter Lang, New York. Florida, R. 2005, Cities and the Creative Class, Routledge, New York. Gelder, K. & Thornton, S. (eds) 1997, The Subcultures Reader, Routledge, London and New York. Giorno, J. 1994, You Got to Burn to Shine, High Risk Books/Serpent’s Tail, New York. Gómez-Peña, G. 1993, introduction by R. Bartra, Warrior for Gringostroika: Essays, Performance Texts, and Poetry, Graywolf Press, St Paul, Minn. Hebdige, D. 1979, Subculture: the Meaning of Style, Methuen, London. Hodkinson, P. 2002, Goth: Identity, Style, and Subculture, Berg, New York and Oxford. Hodkinson, P. & Deicke, W. (eds) 2007, Youth Cultures: Scenes, Subcultures and Tribes, Routledge, New York. Kroker, A. & Cook, D. 1988, The Postmodern Scene: Excremental Culture and Hyper-Aesthetics, Macmillan, London. Lunn, M. 2006, Street Art Uncut, Craftsman House, Fishermans Bend, Vic. Monroe, A. 2005, Interrogation Machine: Laibach and NSK, MIT Press, Cambridge, Mass. Pritchett, L. 2009, Going Green: True Tales from Gleaners, Scavengers, and Dumpster Divers, University of Oklahoma Press, Norman, Ok. Sadler, S. 1998, The Situationist City, MIT Press, Cambridge, Mass. Simpson, C., Murawska, R. & Lambert, A. 2009, Diasporas of Australian Cinema, Intellect Books, Bristol. Smallman, J. & Nyman, C. 2005, Stencil Graffiti Capital: Melbourne, Mark Batty Publisher, New York. Stewart, J. 2009, Graffiti Kings: New York City Mass Transit Art of the 1970s, Melcher Media/Abrams, New York. Tangires, H. 2008, Public Markets, W.W. Norton in association with Library of Congress, New York. Zizek, S. 2000, Enjoy Your Symptom!: Jacques Lacan In Hollywood and Out, Routledge, New York. Zizek, S. (ed.) 1992, Everything you Always Wanted to Know about Lacan (But were Afraid to Ask Hitchcock), Verso, London and New York.
Other Details
Offered in:
2010
Current Campus:
City campus
