| CODE | AAH3129 | ||||||||||||||||
| TITLE | Mediterranean Identities: Issues of Representation and Multimodal Narrative Constructs | ||||||||||||||||
| UM LEVEL | 03 - Years 2, 3, 4 in Modular Undergraduate Course | ||||||||||||||||
| MQF LEVEL | 6 | ||||||||||||||||
| ECTS CREDITS | 4 | ||||||||||||||||
| DEPARTMENT | Art and Art History | ||||||||||||||||
| DESCRIPTION | By looking at a vast array of audio-visual examples from the world of cinema, visual arts, advertisement, tourism, social media, and other platforms where the 'Mediterranean' is represented, students will be guided to critically evaluate the representational types and narrative tropes attached to the region. An analysis of the ways people and ideas travelled in the region will serve as the basis for challenging established political, religious, economic and personal narratives. This reflection will provide the foundation for a personal critical approach to artistic production (and the biases - historical or otherwise - attached to particular media, artistic forms and modes of public engagement) and multimodal narrative development. Study-Unit Aims: - To develop a critical reflexive approach to narrative representation through a general understanding of the history of representing the Mediterranean and the main reasons driving this industry; - The unit will provide an overview of the historical background and legacy attached to the Mediterranean coasts, the different associations with the sea, the motivations behind the Grand Tour and how the same or similar exoticising narratives feed the present tourism industry and how the Mediterranean basin served as the playground for political and religious powers. Learning Outcomes: 1. Knowledge & Understanding: By the end of the study-unit the student will be able to: - Differentiate between different types of representations attached to the Mediterranean; - Challenge reductive methods of representation through a critical understanding of the power of the medium, the form and the choice of context in which a work is exhibited; - Critically reflect on the creative process and the ethical responsabilities of contemporary art production. 2. Skills: By the end of the study-unit the student will be able to: - Creatively apply their audio-visual skills to challenge established methods of representation; - Understand and define contemporary artistic production as a necessary contribution to ongoing socio-cultural debates about diversity and the representation of others; - Devise different modes of engaging the public through art. Main Text/s and any supplementary readings: - John Baldacchino, Makings of the Sea: Journey, doubt and nostalgia, on Mediterranean aesthetics, Volume 1, Piscataway, NJ : Gorgias P., 2010; - Hakim Abderrezak, Ex-Centric Migrations: Europe and the Maghreb in Mediterranean Cinema, Literature, and Music, Indiana University Press, 2016; - Nick Cass, Gill Park and Anna Powell, Contemporary Art in Heritage Spaces, Routledge, 2022; - Paul O’Kane, History in Contemporary Art and Culture, Routledge, 2022; - William V Harris (Ed.), Rethinking the Mediterranean, Columbia University, 2005; - Thomas Fillitz, Paul van der Grijp (Eds.), An Anthropology of Contemporary Art Practices, Markets, and Collectors, Routledge, 2018; - Jamie Mackay, The Invention of Sicily: A Mediterranean History, Verso, 2021; - Aine O’Healy, Migrant Anxieties: Italian Cinema in a Transnational Frame (New Directions in National Cinemas), Indiana University Press, 2019; - Michela Ardizzoni Valerio Ferme (Eds.), Mediterranean Encounters in the City: Frameworks of Mediation Between East and West, North and South, Lexington Books, 2015. |
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| STUDY-UNIT TYPE | Lecture | ||||||||||||||||
| METHOD OF ASSESSMENT |
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| LECTURER/S | Gilbert Calleja |
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The University makes every effort to ensure that the published Courses Plans, Programmes of Study and Study-Unit information are complete and up-to-date at the time of publication. The University reserves the right to make changes in case errors are detected after publication.
The availability of optional units may be subject to timetabling constraints. Units not attracting a sufficient number of registrations may be withdrawn without notice. It should be noted that all the information in the description above applies to study-units available during the academic year 2024/5. It may be subject to change in subsequent years. |
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