FACULTY OF CREATIVE AND CRITICAL STUDIESDEPARTMENT OF CRITICAL STUDIES

2015 Winter Term ISTUDIES IN THE LOCAL, PROVINCIAL, AND NATOINAL:

REGULATING THE ANGLO CANADIAN SUBJECT IN BRITISH COLUMBIA (3 credits)

ENGL 493 (3/9) d Topics in Popular Culture & CULT 400 (3/9) d Topics in Popular Culture

I propose the adoption of the rainbow as our emblem. By the endless variety of its tints the rainbow will be given an excellent idea of the diversity of races, religions, sentiments, and interests of the different parts of the Confederation. By its slender and elongated form the rainbow would afford a perfect presentation of the geographical configuration of the Confederation. By its lack of consistency—an image without substance—the rainbow would represent aptly the solidity of our Confederation. An emblem we must have, for every great empire has one; let us adopt the rainbow.

Spoken in 1865 during the Confederation debates of Quebec by French member of the legislature Henri Joly (from D. L. B. Hamlin’s The Price of Being Canadian 12)

Instructor: Dr. Daniel KeyesOffice and Office Hours: CCS 344, Monday 10:00-11:00 a.m. and Wednesday 10:00– 11:00 a.m. or by appointment.Phone: (250) 807 9320 ext. 79320 I can best be reached via Blackboard Connect’s e-mail system. [Blackboard is the web based educational software used by UBC] Lectures: Thursday 12:30 a.m.- 3:20 p.m.

Academic Calendar Entry

ENGL 493 (3/9) d Topics in Popular CultureFocus on media such as music, film, music video, television, advertising, and the Internet. No more than 9 credits in total will be granted for ENGL 493, CULT 400, or any combination thereof. [3-0-0]Prerequisite: 9 credits of 300-level ENGL.Equivalency: CULT 400.

CULT 400 (3/9) d Topics in Popular CultureFocus on media such as music, film, music video, television, advertising, and the Internet. No more than 9 credits in total will be granted for CULT 400, ENGL 493, or any combination thereof. [3-0-0]Prerequisite: 3 credits of 200-level CULT. CULT 210, CULT 211, and/or CULT 270 recommended.Equivalency: ENGL 395D.

Course Format

The course is offered via three hours seminar with the expectation that students will participate individually in and formal and informal group work.

This particular version of the course piggy backs on a graduate level course that will be delivered simultaneously. The course will involve lecture, group seminars delivered by undergraduate students on core readings and seminar delivered by individual graduate students on readings that supplemental to the undergraduate readings. The course will involve a field trip to a local museum as it seeks to acquaint students with archival research. Students are expected to read the assigned weekly material in order to engage in lively analytical conversations that should culminate in them producing analytical research papers informed by the theoretical content of the course.

I aim to average about 50 pages of assigned readings a week for the undergraduate version of this course and 100 pages for assigned readings a week for the graduate version with the expectation that graduate students may lead and inform discussion of core texts by referring to the readings that are assigned for graduate students. For some weeks, audio visual texts will be assigned. Most of the feature length films will be available in video format (mainly DVD) in the library on reserve.

This course is structured on an inquiry-based model where I assume students are curious about the subject and willing to do the heavy lifting of researching topics that interest them within the critical framework established by the course’s readings. The reading for this course trace a loose chronological narrative about Canadian modernity from World War II to today that I hope may launch your own research trajectory.

There is a final exam for the undergraduate version of the course.

Course Overview, Content and ObjectivesThe course is informed by Michelle Foucault’s Discipline and Punish. We will link Foucault’s discursive analysis of the modern prison systems to a study of Anglo Canadian nationality from post-World War II to today, in order to explore how difference as deviance operates and is regulated by cultural national institutions and how cultural others defy and resist these discursive frameworks.

The course examines how Canadian cultural nationalism after the Second World War is shaped by elite state sponsored institutions like the CRTC, CBC, NFB, and Canada Council that work with and against the global hegemony of transnational media, and by local and provincial forms of heritage. It will necessarily trace the influence of American and British colonialism on the construction of Canadian and British Columbian identity as a series of "not that" statements that regulate identity within a discourse that tends to erase the legacy of the settler/colonialist. This historical reading of cultural nationalism will examine primarily Western Canadian film, theatre, pageants, popular histories, and the federal “elitist" institutions used to shape culture and identity. It will examine issues of whiteness, regionalism, assimilation, race, ethnicity, gender, and official multiculturalism. The course aims to give students the opportunity to generate research that challenges the ongoing narrative of colonization that persists in Canadian nationalism and regional identities in the Okanagan.

Learning OutcomesThe learning outcomes are as follow, students will

develop a sophisticated and critical sense of Canadian, British Columbian invader-settler identity as a product of modernity,

grasp how discursive formations operates to shape space, law, and citizens, appreciate how British Columbian provincialism articulates with Canadian cultural nationalism in

a way that contains traces of British civility,

grasp how Canadian cultural nationalism strives to erase the settler/colonial mentality by constructing Canadian identity around “bush” gardens,

hone abilities to critically read complexity in screen images and scholarly argument, grasp the historical and material forces at play in the rise of Canadian nationalism, official

multiculturalism with the province of British Columbia and more specifically within the Okanagan,

hone a variety of presentation and writing skills generating cultural criticism based on assessments in a number of different forms (seminar, critical reflection, research essay, etc.),

become acquainted with archival research and research methods, hone synthetic reasoning skills in an interdisciplinary manner, practice the Modern Language Association 7th Edition documentation system, and work cooperatively and effectively in small groups.

Additional Course RequirementsAs mentioned above, one field trip to a local museum in anticipated. Students are expected to arrange transportation to the museum.

Evaluation Criteria and Grading

Written individual work is graded on a numeric scale that corresponds to UBC’s standards for Percentage (%)90–100 A+85–89 A80–84 A-76–79 B+72–75 B68–71 B-64–67 C+60–63 C55–59 C-50–54 D 50% constitutes a pass.0–49 F (fail)

On the next page is a rubric that will be used to evaluate written assignments in the course that corresponds to the above scale for grading. The four categories of 1. content, 2. organization, 3. style and 4. mechanics (grammar, spelling, mechanics) are not divided in a strict percentage since quite often in student writing these criteria are interrelated.

Grade Content Organization Style Grammar, Spelling,

MechanicsA

Excellent

The paper demonstrates innovative thought, originality of interpretation, and sound critical insight. The author intelligently uses primary and secondary sources while adhering to the MLA format.

The structure is readily apparent. The paper is logical and coherent throughout. Paragraphs are unified, coherent, and carefully developed. Transitions between sentences, paragraphs, and sections are smooth.

The paper wonderfully articulates the voice of the author, while adhering to the rigour and structure of academic writing style.

These errors are at a minimum.

B

Competent

Two types of papers fall into this classification: this paper (1) is above average, but lacks brilliance or even distinction or (2) with more rigour could be an “A” paper.

This paper is carefully organized, but lacks the cohesion of the “A” work. It uses concrete, well-supported detail that is relevant to the given topic. The paragraphs are unified, coherent, and fairly well developed. Transitions are clear.

This paper demonstrates some originality in expression. It is carefully crafted and avoids clichés. More complex grammatical structures are handled. The vocabulary is less extensive than an “A” paper but still mature, varied, and accurate.

Errors are few and mostly subtle in nature. (E.g., comma, semicolons)

C

Satisfactory

This paper takes “the road most travelled;” it demonstrates little or no originality. The topic is covered superficially. The ideas are sound, but their logical presentation is flawed.

The structure is visible but mechanical. Facts are often irrelevant or poorly supported. There is a tendency to offer the reader generalizations, repetition, and truths obvious to a 10-year old. Paragraphs are reasonably unified and developed, but may be rather loose, uneconomical and have vague transitions.

This paper is technically competent, but mechanical in overall effect. Weak and vague phrases hamper expression. Sentences are sound, but basic in structure. Word choice is accurate, but with no evocative power and limited range. There is occasional confusion of meaning.

These elements are usually correct but erratic. They detract from the paper’s flow and logic.

D

Minimal Pass

This paper demonstrates below average ideas and/or effort. A weak student or a lazy student may produce such efforts. Discussion of the topic is thin, vague, and incomplete. Ideas are usually unsupported by concrete, relevant details.

The organization is scattered and/or flimsy: Various tangents are pursued with no final summation offered and/or conclusion does not reflect the thesis statement, introduction, or body of paper. Paragraphs are unclear or awkwardly developed.

The style is unclear and ineffective. It is not illiterate, but technically poor or careless: transitions are ineffective; structures are basic; terms are ill or loosely defined.

Considerable errors in this paper make it difficult for the reader to grasp the argument. Sentence fragments, run-on sentences, inappropriate word choice and spelling errors muddle the sense of the paper.

F

Fail

This paper demonstrates either gross carelessness or inability. The topic treatment is superficial.

The paper is incoherent and/or illogical. No visible plan is offered. Paragraphs are totally undeveloped. Transitions are ineffective or non-existent.

There is no sense of formal academic prose style. Diction is inept and limited in range.

These elements are poor. They verge on or indicate illiteracy.Plagiarized papers automatically receive an “F” (0%).

Students will be graded numerically for all assignments.

Course Schedule which Includes Required and Supplementary Readings

Week Theme and Readings and Screenings1

ThursdaySeptember

15

Introduction

I will present this article in the model I would like us to use for the student directed seminars:

Milz, Sabine. “Canadian University, Inc., and the Role of Canadian Criticism.” The Review of Education, Pedagogy & Cultural Studies 27.2 (2005): 127-39.

We will then look at a number of short documents:

Memorial to Sir Wilfred Laurier 1910 Sir Wilfred Laurier

O Canada and the Okanagan Song in Harmony - Harmony Day 2016

Newspaper Clipping from the Kelowna Courier January 1953 (paper copies distributed)

“Five Indians Arrested After Series of Fights.” Kelowna Courier 6 Jan. 1953: 1.

“Says Racial Discrimination is Less Prevalent Than 50 Years Ago, But It Still Exists to Certain Degree.” Kelowna Courier 26 Jan. 1953: 1.

We will Screen 49th Parallel (1942) We will discuss how this film offer a curious example of disciplining the national subject next week in a way that negotiates Canada’s hegemonic Anglo-Franco heritage in the face of fascism.

2Thursday

September 22

Disciplining the National Subject(s) Part IFoucault, Michelle. Discipline and Punish: The Birth of the Prison. Trans. Alan Sheridan.

New York: Vintage, 1979.

The following sections of this text will be presented in relation to the Canadian National, British Columbian and Okanagan regional imaginaryIntro 1-34. Docile bodies 135-169.

Ahluwalia, Pal. “When Does a Settler Become a Native? Citizenship and Identity in a Setter Society.” Pretexts: literary and Cultural Studies 10.1 (2001):64-73. .pdf

We will discuss these texts in relation to The 49th Parallel.3

Thursday September

29

Disciplining the National Subject(s) Part IISection of Foucault’s Discipline and Punish Panopticonism 195-230.

Massey, Vincent. What’s Past is Prologue; the Memoirs of the Right Honourable Vincent Massey, C. H. London: Macmillan, 1963. [read first chapter (1-15) and chapter 14 recounting his time as Governor General (491-531)]

We will screen bits of Richard Fung, John Greyson and Ali Kazimi’s Rex vs Singh (2008).Supplemental Readings

Week Theme and Readings and ScreeningsBrydon, D. “Introduction: Reading Postcoloniality, Reading Canada (introduction to issue.”

Essays on Canadian Writing. 56.1 (1995). Web.

Coleman, Daniel. “White Civility: The Literary Project of English Canada.” White Civility: The Literary Project of English Canada. Toronto: U of Toronto P, 2006. 1-45. Web.

Dean, Misao. Inheriting a Canoe Paddle: The Canoe in Discourses of English-Canadian Nationalism. London, Buffalo, and Toronto: University of Toronto Press, 2013. Web.

Haig-Brown. Celia. “Chapter 21: Resistance and Renewal: First Nations and Aboriginal Education in Canada.” Race and the Racialization: Essential Readings. Eds. Tania Das Gupta, Carl E. James, Roger C. A. Maaka, Grace-Edwads Galabuzi, and Chris Anderson. Toronto: Canadian Scholar Press, 2007. 74-82. 168-78. Web.

Henderson, Jennifer. “How Janey Canuk Became a Person.” Topia 13 (Spring 2005):73-86. Web.

Henshaw, Peter. “John Buchan and the British Imperial Origins of Canadian Multiculturalism.” Canadas of the Mind: The Making and Unmaking of Canadian Nationalisms in the Twentieth Century. Ed. Norman Hillmer, and Adam Chapnick. McGill-Queen’s UP, 2007. 191-213. Print.

Vance, Jonathan. A History of Canadian Culture. From Petroglyphs to Product, Circuses to the CBC…. Ontario: Oxford UP, 2009. 1-23. Web.

4Thursday October

6

Field Trip to one of the local museums to be determined: Okanagan Heritage

This week we will tour an archive and museum to explore possible projects that engage discursive analysis.

Roy, Patricia. Chapter 11: Provincialism and Nationalism: A British Columbia Case Study” Canadas of the Mind: The Making and Unmaking of Canadian Nationalisms in the Twentieth Century. Eds. Hillmer, Norman, and Adam Chapnick. Montreal: McGill-Queens's University Press, 2007. Print. 234-259.

5ThursdayOctober

13

Canada the Multicultural Nation and Border Security

Screen clips from National Geographic channel’s Border Security

Mahtani, Minelle. “Interrogating the Hyphen-Nation: Canadian Multicultural Policy and ‘Mixed Race’ Identities.” Social Identities 8.1 (2002): 67-90. Web.

Mitchell, Katharyne. “In Whose Interest?: Transnational Capital and the Production of Multiculturalism in Canada.” Global/Local: Cultural Production and the Transnational Imaginary. Eds. Rob Wilson and Wimal Dissanayake. Durham; London: Duke UP, 1996. 219-51. Web.

Supplemental Readings

Week Theme and Readings and ScreeningsAndrjevic, Mark. “Managing the Border: Classed Mobility on Security-Themed Reality

TV.” Reality Television and Class. Eds. Helen Wood and Beverly Skeggs. London: BFI, 2011. 60-72. Web.

Chung, Andrew. “The Pecularity of Eracism: Mixed Race and the Nonbeloonging in the Multicultural Nation. Canadas of the Mind: The Making and Unmaking of Canadian Nationalisms in the Twentieth Century. Ed. Norman Hillmer, and Adam Chapnick. McGill-Queen’s UP, 2007. 300-310. Print.

Gunew, Sneja. Haunted Nations: The Colonial Dimensions of Multiculturalisms. London; New York: Routledge, 2004. Print.

Hughes, Peter. Governmentality, Blurred Boundaries and Pleasure in the Docusoap Border Security. Continuum: Journal of Media & Cultural Studies. 24:3 (2010): 439-449. Web.

Said, Edward W. Culture and Imperialism. New York: Alfred A. Knopf, 1993. Print.

Taylor, Charles. Chapter 2: The Politics of Recognition.” Multiculturalism and "The Politics of Recognition”. Ed. and Intro. Charles Taylor and Amy Gutmann. New Haven: Princeton UP, 1994. 25- 75. Web.

Weisman, Adam Paul. "Reading Multiculturalism in the United States and Canada: The Anthropological vs. the Cognitive." University of Toronto Quarterly 69.3 (2000): 689-715. Web.

6ThursdayOctober

20

Performing the Canadian Subject in the Okanagan

Crown Imperial (1953 Pageant Performed in Kelowna War Memorial Arena. Script in Kelowna archive.)

Simpson, Sharon, J. The Kelowna Story: An Okanagan History. Madiera Park, BC: Harbour Publishing, 2011. Print. Introduction. Print. 9-41

Koroscil, Paul. The British Garden of Eden: Settlement History of the Okanagan Valley, British Columbia. Burnaby: SFU Press, 2003. Introduction. Print.

Supplemental Internet Material“Canada’s New Queen” CBC Archive. 26 Oct. 2006.<http://archives.cbc.ca/IDD-1-69-70/life_society/new_queen/>. This archive provides a number of intriguing expressions of how Canadian nationalism works in conjunction with the new Queen. See this lesson plan developed for high school: http://www.cbc.ca/archives/lesson-plan/for-teachers-the-queen-of-canada

Supplemental Readings

Week Theme and Readings and ScreeningsGlassberg, David. American Historical Pageantry: the Uses of Tradition in the Early

Twentieth Century. Chapel Hill: U. of North Carolina P, 1990. Print.

Massey, Vincent. “The Prospects of Canadian Drama.” Canadian Theatre History. Ed. Don Rubin. Toronto: Copp Clark, 1996. 50-63. Print.

---. Speaking of Canada: addresses by Vincent Massey. London: MacMillan, 1959. Print.

Koch. Frederick. “Okanagan Folk Play.” Carolina Play-book 13.4 (1940): 154. Print.

---. “Canadian Frontier Theatre.” Carolina Play-book 13.4 (1940): 16-170. Print.

---.” Folk Drama Defined.” Carolina Play-book 12.3 (1939): 78. Print.

Hendry, Tom. “The Masseys and the Masses.” Canadian Theatre History. Ed. Don Rubin. Toronto: Copp Clark, 1996. 189-192. Print.

James, Matt. “Neoliberal Heritage Redress.” Reconciling Canada: Critical Perspectives on the Culture of Redress. Eds. Jennifer Henderson and Pauline Wakeman. Toronto: U of Toronto P, 2013.

Spillman, Lyn. Nation and Commemoration: Creating National Identities in the United States and Australia. Cambridge: Cambridge UP, 1997. Print.

“The Massey Commission 1949-1951.” Canadian Theatre History. Ed. Don Rubin. Toronto: Copp Clark, 1996. 153-193. Print.

“Stratford Festival Debut.” CBC Archive. 26 Oct. 2006.<http://archives.cbc.ca/IDC-1-68-178-991-11/on_this_day/arts_entertainment/stratford_festival_debut>.

7

ThursdayOctober

27

Performing BC, 1958, 1967, 1971. BC Three Centennial Celebrations and First Nation’s performance

Primary Text

Pageant: From Wilderness to Wonderland. BC government. 1958 and 1971 editions. We will likely select the 1971 edition of this ghost written play

Supplemental Readings

Battiste, Marie. “Unfolding the Lessons of Colonialization.” Unhomely States: Theorizing English-Canadian Postcolonialism. Ed. Cynthia Sugars. Peterborough: Broadview, 2004. 209-220.

Chrisjohn, Roland, and Sherri Young with Michael Maraun. The Circle Game: Shadows and Substances in the Indian Residential School Experience in Canada. Penticton, BC: Theytus, 1997. Print.

Week Theme and Readings and ScreeningsDavies, Megan. "Make-Believing White Civility: Historical Re-Enactments at Fort

Langley, British Columbia." Canadian Theatre Review 161.1 (2015): 55-9. Web

Francis, Daniel. The Imaginary Indian: the Image of the Indian in Canadian Culture. Vancouver, BC: Arsenal Pulp, 1992. Print.

Goldie, Terry. “Semiotic Controls: Native People in Canadian Literature in English.” Unhomely States: Theorizing English-Canadian Postcolonialism. Ed. Cynthia Sugars. Peterborough: Broadview, 2004. 191-203. Web.

Haig-Brown, Celia and David A. Nock. With Good Intentions: Euro-Canadian and Aboriginal Relations in Colonial Canada. Vancouver: UBC Press, 2006. Print.

Henderson, Jennifer, and Pauline Wakeham. Reconciling Canada: Critical Perspectives on the Culture of Redress. Toronto and Buffalo: University of Toronto Press, 2013. Print.

Lawson, Alan. “Postcolonial Theory and the Settler’ Subject.” Unhomely States: Theorizing English-Canadian Postcolonialism. Ed. Cynthia Sugars. Peterborough: Broadview, 2004.151-64. Print.

Root, Deborah. "White Indians": Appropriation and the Politics of Display.” Borrowed Power: Essays on Cultural Appropriation. Rutgers UP, New Brunswick, NJ, 1997. 31-51.

8

ThursdayNovember

3

Theatre: Performing the Canadian in Canada Council Supported Theatre and “Canonically Canadian” Drama in the Okanagan

This week we will focus on one of three mid-century Canadian white playwrights who produce theatre engaged with First Nation themes in the 1950-1960s:

1. Socialist Summerland resident George Ryga or2. Gwen Pharis Ringwood, American born dramatist who lived in Williams Lake and

produced theatre with the help of the Banff School of Fine Arts or3. Lister Sinclair, radio presenter for CBC’s radio program Ideas who in an early

incarnation as a Vancouver dramatist created his own version of a Jacobean revenge tragedy with Salish characters.

Ringwood, Gwen Pharis. The Collected Plays of Gwen Pharis Ringwood. Ottawa:

Borealism 1982. Read 1959 play “Maya or Lament for a Harmonica”. Graduate students can focus on two of her other short plays in this volume

Wagner, Anton. “Gwen Pharis Ringwood Rediscovered.” Canadian Theatre Review. 5 (1975): 66-123.

Sinclair, Lister. The World of the Wonderful Dark. n.p.1958.

Ryga Material

Week Theme and Readings and ScreeningsCarson, Neil. “George Ryga and the Lost Country.” Dramatists in Canada: Selected

Essays. Ed. William New, Vancouver: U of British Columbia P, 1972.

Hoffman, James. The Ecstasy of Resistance: A Biography of George Ryga. Toronto: ECW, 1995.

Ryga, George. The George Ryga Papers. Eds. Juanita Walton and Sandra Mortensen, Calgary, U of Calgary P, 1995.

---. The Ecstasy of Rita Joe. Vancouver: Talonbooks, 1990.

Maitland, Michael. Dir. The Political Playwright [videorecording]: the Life of George Ryga. Victoria: Pan Productions/Harbinger Films, 2005.

Ryga, George and Ann Kujundzic. Summerland. Vancouver: Talonbooks, 1992. 9

ThursdayNovember

10

Cree’s Hybrid Heritage Performance in Kamloops

Primary TextHighway, Thomson. Ernestine Shuswap Gets Her Trout. Talonbooks, 2005. Print.

Percy, Owen D. "Ernestine Shuswap Gets Her Trout." Canadian Ethnic Studies Journal 38.2 (2006): 211-212. Web.

Supplementary Readings

Schafer, Henning. "A Celebration of Impurity? Locating Syncretism and Hybridity in Native Canadian Theatre." Textual Studies in Canada.17 (2004): 79-84. Web.

Hoffman, Jim. "Political Theatre in a Small City: The Staging of the Laurier Memorial in Kamloops." The Small Cities Book: On the Cultural Future of Small Cities. Vancouver: New Star, 2005.

Supplemental VideoTomson Highway Gets His Trout. Bravo, September 2004.

10

ThursdayNovember

17

Radio, Television, and the CBC and NFB: Disciplining the Nation

Video clips from: (script)City Under Siege: The Okanagan Mountain Fire FC 3849 .K4 C59 2003“Salute to BC.” National School Broadcast 14 Nov. 1958. (SCRIPT)

Eamon, Ross A. “Putting the ‘Public’ into Public Broadcasting.” Seeing Ourselves: Media Power and Policy in Canada. Eds. Helen Holmes and David Taras. Toronto: Harcourt Brace Jovanovich, 1992. 58-76.

Grierson, John. “A Film Policy for Canada.” Documents in Canadian Film. Ed. Douglas Fetherling. Peterborough, ON: Broadview. 51-67.

Week Theme and Readings and ScreeningsSupplemental Readings

Brodie, Janine. “Citizenship and Solidarity: Reflections on the Canadian Way.” Citizenship Studies 6.4 (2002): 377-394. Web.

Charland, Maurice. “Technological Nationalism.” Canadian Journal of Political and Social Theory 10.1-2 (1986): 196-220. Web.

Cormier, Jeffrey. The Canadianization Movement: Emergence, Survival, and Success. Toronto: U of Toronto P, 2004. Web. http://site.ebrary.com/lib/ubc/docDetail.action?docID=10226450

Eamon, Ross A. “Putting the ‘Public’ into Public Broadcasting.” Seeing Ourselves: Media Power and Policy in Canada. Eds. Helen Holmes and David Taras. Toronto: Harcourt Brace Jovanovich, 1992. 58-76. Print.

Hackett, Robert, Richard Pinet, and Myles Ruggles. “From Audience-Commodity to Audience Community: Mass Media in B.C.” Seeing Ourselves: Media Power and Policy in Canada. Eds. Helen Holmes and David Taras. Toronto: Harcourt Brace Jovanovich, 1992. 10-20. Print.

Berlin, Berry. The American Trojan Horse: U.S. Television Confronts Canadian Economic and Cultural Nationalism. New York: Greenwood Press, 1990. Print.

Litt, Paul. The Muses the Masses and the Massey Commission. Toronto: U of Toronto P, 1992. Print. Introduction

Miller, Mary Jane.“The CBC and its Presentation of the Native Peoples of Canada in Television Drama.” Screening Culture: Constructing Image and Identity. Ed. Heather Norris Nicholson. Lanham, Md.: Lexington Books, 2003. Print.59-75.

Miller, Mary Jane. Rewind and Search: Conversations with the Makers and Decision-makers of CBC Television. Montreal, QC: McGill-Queen’s UP, 1996. Web. http://site.ebrary.com/lib/ubc/docDetail.action?docID=10135091

---. Turn Up the Contrast: CBC Television Drama Since 1952. Vancouver, UBC Press and CBC, 1987. Web. http://site.ebrary.com/lib/ubc/docDetail.action?docID=10134774.

Palys, Ted. “Histories of Conveniences: Images of Aboriginal People in Film, Policy, and Research.” Screening Culture: Constructing Image and Identity. Ed. Heather Norris Nicholson. Lanham, Md.: Lexington Books, 2003. 19-34. Web.

Romanow, Paula ."’The Picture of Democracy We Are Seeking’: CBC Radio Forums and the Search for a Canadian Identity, 1930–1950.” Journal of Radio Studies 12.1 (2005): 104-119. Web.

Smythe, Dallas Walker, 1907-1992. Royal Commission on Broadcasting: Canadian

Week Theme and Readings and ScreeningsTelevision and Sound Radio Programmes. Ottawa, E. Cloutier, Queen's printer, 1957. Print.

Teachman, G. The Portrayal of Canadian Cultural Diversity on English-language Canadian Network Television: a Content Analysis. Toronto: PEAC Developments, 1980. Print.

The CBC’s archives have clips from various programs. Here is a very tentative list of intriguing materials from http://archives.cbc.ca/ that will help contextualize the work of Litt, Filewod, etc. I will draw on this archive throughout the course, but for this unit on the CBC, we will perform an active exploration of this site in reference to the institutional reproduction and dissemination of knowledge.

http://archives.cbc.ca/IDD-1-68-1150/arts_entertainment/canadian_content/ CBC ruling the airwaves segment.http://archives.cbc.ca/IDD-1-73-1265/politics_economy/lester_b_pearson/ Pearson memorialhttp://archives.cbc.ca/IDD-1-73-1181/politics_economy/federal_elections/ Campaigning for Canadahttp://archives.cbc.ca/IDC-1-110-1263-7090/1940s/1948/clip1 Indian Conference on Radiohttp://archives.cbc.ca/IDCC-1-69-1462-9713/life_society/myths_and_legends/ Ogopogo feud between Kelowna and Vernon. 1956.

11

ThursdayNovember

24

Haunting Imperial Popular Contemporary Film: the Work of Paul Gross and Afghanistan

We will discuss to feature films focusing on Canada’s role in Afghanistan: Paul Gross nationalist’s Hyena Road (2015) and Trailer Park Boys, director and writer Paul Clattenburg’s Afghan Luke (2011) filmed in the Okanagan. The readings for this week are slight:

Harcourt, Peter. "Speculations on Canadian Cinema." Queen's Quarterly 111.2 (2004): 236-237. Web.

Sugars, Cynthia. “Chapter 1: Local Familiars: Gothics Infusion and Settler Imagination.” Gothic Literary Studies: Canadian Gothic: Literature, History, and the Spectre of Self-Invention. Cardiff, GBR: University of Wales Press, 2014. ProQuest ebrary. Web. 1 January 2016. 20-48.

Supplemental Readings

Bodroghkozy, Aniko. “As Canadian a Possible: Anglo-Canadian Popular Culture and The American Other.” Hop on Pop: the Politics and Pleasures of Popular Culture. Eds. Henry Jenkins, Tara McPherson, and Jane Shattuc. Durham, NC: Duke UP, 2004. 566-588. Web.

Butler, Melanie. "Canadian Women and the (Re)Production of Women in Afghanistan." Cambridge Review of International Affairs 22.2 (2009): 217-34. Web.

Mohanram, Radhika. “Chapter 5: Mourning and Melancholia: The Wages of Whiteness.”

Week Theme and Readings and ScreeningsImperial White: Race, Diaspora, and the British Empire. Minneapolis and London: U of Minneapolis P, 2007. 122- 138. Web. [relates to Gross’s engagement with militarism]

O'Connell, Mary Ellen. "Responsibility to Peace: A Critique of R2P." Journal of Intervention and State Building 4.1 (2010): 39. Web.

Wilson, Ross. "Sad Shires and No Man’s Land: First World War Frames of Reference in the British Media Representation of the Iraq and Afghanistan Wars." Media, War & Conflict 7.3 (2014): 291-308. Web.

Urquhart, Peter. "You Should Know Something-Anything-about this Movie. You Paid for it." Canadian Journal of Film Studies 12.2 (2003): 65-80. CBCA Complete. Web. 18 Oct. 2012. Web.

12

ThursdayDecember

3

Friday, 2 December 2016Last day of classes for most faculties.

The Nation Looking Forward

Ahluwalia, Seema. "Stolen Generosity and Nurturance of Ignorance: Oh Canada, Our "Home" is Native Land." Canadian Issues (2012): 46-52. Web.

Khan, Sarah, et al. "Paying our Dues: The Importance of Newcomer Solidarity with the Indigenous Movement for Self-Determination in Canada." Canadian Journal of Native Studies 35.1 (2015): 145-153. Web.

Supplementary

Dean. Amber. “Public Mourning and the Culture of Redress: Mayerthorpe, Air India, and Murdered or Missing Indigenous Women. Reconciling Canada: Critical Perspectives on the Culture of Redress. Toronto and Buffalo: University of Toronto Press, 2013. Print. 181-199.

Ray, Lana, and Paul Nicolas Cormier. "Killing the Weendigo with Maple Syrup: Anishnaabe Pedagogy and Post-Secondary Research." Canadian Journal of Native Education 35.1 (2012): 163-176,221, 224. Web. (a return to the question of pedagogy)

Important: this is the fine print portion of this course outline.1. Given this course’s focuses on screen texts, it will inevitably deal with different ways of

seeing. We will conduct the class in a respectful manner that acknowledges and respects others’ views and is mindful of the politics and power of cinematic vision and respectful pedagogy. We must work together to ensure the lecture hall and online forum for this course operate as civil spaces.

2. In this course, term papers and discussion posts may be checked for plagiarism.3. If a compliant arises over fairness and /or accuracy in the grading of an assignment, the

student must provide written documentation of this complaint that is supported with evidence indicating what the marker may have missed and book a meeting with the instructor.

4. You will be expected to attend and to participate in all classes; poor attendance and

participation will affect your grade. Ensure that you have viewed/read the appropriate work for each class in advance.

5. Final examination times will be posted by UBC toward the end of the semester.6. You must complete ALL of the assigned work to receive a grade. If you fall behind, contact

me as soon as possible to discuss how to get you back on “track.”7. Mechanical errors (i.e. spelling, grammar, etc.) will count.8. Anything you write in this course may appear on Connect or the screen at the front of the

lecture hall without your name associated with it. When we do “quick” group work in class, write your names on one side of the sheet and your response on the other side of the sheet, so anonymity is preserved. Other types of group work will be submitted via Connect.

9. Submit your essay in proper format or expect a lower grade. If you have challenges writing a university level research essay, see the Centre for Scholarly Communications located in the foyer of the library and/or book an appointment with me. Acceptable essays written at home must

a. adhere to the guidelines for each assignment (length, style, etc.),b. be double-spaced,c. be typewritten/ word processed in Times New Roman 12 pt. font,d. be written on one side of the paper only,e. have adequate margins (one inch all around),f. be formatted for 8.5 X 11 inch paper,g. use MLA 7th ed. style documentation. See this link for a template for all

assignments: https://owl.english.purdue.edu/media/pdf/20090701095636_747.pdf10. Keep this course outline. This contract outlines our mutual obligations and responsibilities.

A Clean, Safe Workspace1

Students are expected to clean up everything they have used before leaving the work space. This includes all spaces used by the Faculty of Creative and Critical Studies. If you do not do this, you will receive one warning. If the problem persists there will be a penalty and privileges such as Salto access and/or the use of equipment may be revoked for a period of time determined by the Head. The purpose of this policy is to ensure that all students can work in a space that is clean and tidy.

Final Examinations:The examination period for Term 1 of Winter 2016 is 5- 20 December 2016 inclusivei. Except in the case of examination clashes and hardships (three or more formal examinations scheduled within a 24-hour period) or unforeseen events, students will be permitted to apply for out-of-time final examinations only if they are representing the University, the province, or the country in a competition or performance; serving in the Canadian military; observing a religious rite; working to support themselves or their family; or caring for a family member. Unforeseen events include (but may not be limited to) the following: ill health or other personal challenges that arise during a term and changes in the requirements of an ongoing job.

Further information on Academic Concession can be found under Policies and Regulation in the Okanagan Academic Calendar http://www.calendar.ubc.ca/okanagan/index.cfm?tree=3,48,0,0 .

1 Note, in this course you will not be given a workspace for sculpting, painting, etc. My faculty has approved this boiler plate language for all courses.

Academic Integrity: The academic enterprise is founded on honesty, civility, and integrity.  As members of this enterprise, all students are expected to know, understand, and follow the codes of conduct regarding academic integrity.  At the most basic level, this means submitting only original work done by you and acknowledging all sources of information or ideas and attributing them to others as required.  This also means you should not cheat, copy, or mislead others about what is your work.  Violations of academic integrity (i.e., misconduct) lead to the breakdown of the academic enterprise, and therefore serious consequences arise and harsh sanctions are imposed.  For example, incidences of plagiarism or cheating may result in a mark of zero on the assignment or exam and more serious consequences may apply if the matter is referred to the President’s Advisory Committee on Student Discipline.  Careful records are kept in order to monitor and prevent recurrences.

A more detailed description of academic integrity, including the University’s policies and procedures for dealing with academic misconduct, may be found in the Academic Calendar athttp://okanagan.students.ubc.ca/calendar/index.cfm?tree=3,54,111,0.

UBC Okanagan Disability Resource Centre The Disability Resource Centre ensures educational equity for students with disabilities, injuries or illness. If you are disabled, have an injury or illness and require academic accommodations to meet the course objectives, please contact Earllene Roberts, the Diversity Advisor for the Disability Resource Centre located in Commons Corner in the University Centre building (UNC 227).UNC 227A 250.807.9263email earllene.roberts@ubc.ca Web: students.ok.ubc.ca/drc

UBC Okanagan Ombuds Office The Ombuds Office offers independent, impartial, and confidential support to students in navigating UBC policies, processes, and resources, as well as guidance in resolving concerns related to fairness.UNC 227B 250.807.9818email: ombuds.office.ok@ubc.caWeb: http://ombudsoffice.ubc.ca/ubc-okanagan-2/

UBC Okanagan Equity and Inclusion Office UBC Okanagan is a place where every student, staff and faculty member should be able to  study and work in an environment that is free from discrimination and harassment. UBC prohibits discrimination and harassment on the basis of the following grounds: age, ancestry, colour, family status, marital status, physical or mental disability, place of origin, political belief, race, religion, sex, sexual orientation or unrelated criminal conviction. If you require assistance related to an issue of equity, discrimination or harassment, please contact the Equity and Inclusion Office. UNC 227C 250.807.9291email: equity.ubco@ubc.caWeb: http://www.ubc.ca/okanagan/equity/welcome.html

Health & Wellness UNC 337 250.807.9270Web: students.ok.ubc.ca/health-wellness/welcome.html

FCCS Calendar of EventsFCCS will host many great events this academic year. Please bookmark this page for future reference:http://fccs.ok.ubc.ca/news-events/calendar.html

SAFEWALK

Don't want to walk alone at night?  Not too sure how to get somewhere on campus?  Call Safewalk at 250.807.8076. For more information, visit: http://security.ok.ubc.ca/welcome.html

i Source: http://senate.ubc.ca/okanagan/termdates