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University of California Irvine Making Media after Covid19 Discussion


Students will work collaboratively in groups of 2-4 members (all with the same TA) to conceive and write their own manifesto to define what matters to them in media production today. Students will need to determine if their manifesto is based on politics, ideology, identity, aesthetics, technology, infrastructure, distribution, or another facet of film and media. They will determine what actions they advocate for film and media makers and if there are specific rules for adherents of the manifesto.

Suggested manifesto topics:

Best practices for reducing environmental impact of media production and distribution

Inclusive practices in production

New models of distribution in the age of digital networks and streaming

Making media after #MeToo

Making media after COVID-19

Alternative financing for media

Thinking beyond the auteur theory

Thinking beyond the national cinema framework

Thinking beyond the feature-length film

It is students’ responsibility to forge their own groups; it is not the TAs’ or professor’s responsibility to assign groups. Group members must all have the same TA but may be in different sections for the same TA.

Manifestos will be between 200 and 1000 words, as needed. Groups may opt to create a moving-image manifesto (under 10 minutes in length) instead of a written one, but it must clearly articulate its goals and cite any sources.

Grading Rubric

Total points possible: 10

Clarity of argument/purpose: 5 points possible

Creativity: 2 points possible

Attention to medium specificity, form, (infra)structure, etc that makes this a film and media manifesto: 2 points possible

Relevant and/or timely: 1 point possible


Grammar and spelling mistakes: -1

Not citing sources where relevant: -1

Submitting a solo (rather than collective) manifesto: -1

Late submission: -1 per day

Questions to consider for your manifesto:

What are your manifesto’s motivation, goals, and guidelines? Are these clearly explained?

Why do these matter to you?

Why is your manifesto relevant beyond you?

Are you focusing on preproduction, production, post-production, distribution, and/or reception?

Is your manifesto motivated by a political agenda? If so, what is it?

Are you arguing for something or against something?

Who is your manifesto speaking for?

Who is your manifesto speaking to?

What is the scale of your manifesto: for a small collective of filmmakers or for changing film conventions and industry practices at large?

Sample manifestos:

Assigned readings:

Julio García Espinosa, “For an Imperfect Cinema” (Cuba, 1969)

Fernando Solanas and Octavio Getino, “Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World” (Argentina, 1969)

FECIP, “Manifesto for a Non-Sexist Cinema” (Canada, 1974)

Feminists in Media, “Womanifesto” (USA, 1975)

Additional manifestos:

Francisco X Camplis, “Towards the Development of a Raza Cinema” (1975)

Film Quarterly dossier on contemporary manifestos (spring 2019): (Links to an external site.)


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