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What does a liberatory film pedagogy look like? In situated speculations from around the world, this volume explores the teaching of film as a practice of freedom. Widening its focus beyond the university classroom, Course Projections visits lecture halls and festivals, archives and encampments shadowed by scholasticide, fascism, ecocide, surveillance, attacks on academic freedom, and hate-based exclusion. Against this backdrop of unfreedoms, contributors consider the stakes of film education, experimenting with genres—from the satirical screenplay to the teaching diary, the personal essay to the roundtable conversation—and recuperating teaching archives as diverse as coffee-stained syllabi and customized course questionnaires. Together, these writings posit pedagogy as a field where media theories are tested and revised, histories of the moving image are made and remade, and new communities are forged around screens, opening up horizons of possibility for our collective futures.
Kartik Nair is Associate Professor of Film Studies at Temple University in Philadelphia and author of Seeing Things: Spectral Materialities of Bombay Horror.
Karen Redrobe is Elliot and Roslyn Jaffe Professor of Cinema and Media Studies at the University of Pennsylvania. Her most recent book is Undead: (Inter)(in)animation, Feminisms, and the Art of War. In 2025, she received the SCMS Distinguished Pedagogy Award.
Contents
Week 1: Introduction
Introduction
Kartik Nair and Karen Redrobe
Week 2: Projections, Refusals, Collectivities
1. Toward a Free Cinema: A Conversation
Selma Shaban and Patricia White
2. Student Protest, Mediating Transference, and the Pedagogical Unconscious
Cassandra X. Guan
3. Meaning-Making in Twenty-First-Century Classrooms: Identification, Mediation, and Spectatorship
Nicole Erin Morse
Week 3: Pasts and Futures of the Teaching Archive
4. Studying the Syllabi: Reading Syllabi as Archival Objects in Cinema Studies
Carmel Curtis
5. Trans Film and Media Pedagogy
Laura Horak
6. Recall and Review: Black Film Studies
Courtney R. Baker
Week 4: Covert Designs and Canon Debates
7. The Small Bang Theory
Jane Simon and Stefan Solomon
8. Unsettling Film and Media Pedagogy Toward Horizons of Liberation: A Teaching Diary
Usha Iyer
9. Story First: Roundtable Conversation with Faculty in the Department of Cinematic Arts at the Institute of American Indian Arts, Santa Fe
James Lujan, Kahlil Hudson, Ben Shedd, Liam Lockhart, and Anthony Deiter
Week 5: Unteachable and Untaught
10. Unteachable Honeyland: Eco-Cinema, Amnesia, Moralism
Jean-Thomas Tremblay
11. Kannywood in the Classroom: Issues in Pedagogy and Praxis
Rukayat N. Banjo
Week 6: Transmissions
12. Finding Ourselves at the Movies: Teaching Toward the Definition of Black Women’s Diasporic Cinema
Ellen C. Scott
13. A Pedagogy of (Mediated) Wonder
Jaimie Baron
Week 7: Programming Visions
14. Teaching Cinema in Latin America: Challenges and Opportunities for a Critical Pedagogy
María Paz Peirano
15. Accessing the Middle East: Area Studies and the Touristic Gaze
Blake Atwood
16. The Film Festival as Classroom: A Conversation
Maori Karmael Holmes and Patricia White
Week 8: Pedagogical Environments
17. Teaching Cinema Studies: A View from the Global South
Ranjani Mazumdar
18. Cinematic Travels in the Trans-Asian City
Arnika Fuhrmann
Week 9: Freedom and Film Genres
19. Reading from “the Outside”
Jason Livingston
20. Decolonizing World Cinema as Pedagogy
Rosalind Galt
Acknowledgments
Notes
Bibliography
Contributors
Index