Department of Media, Culture, and Communication

MCC-UE.1306 Global Media Flows

Instructor and Course Information
 Professor: Juan Piñón
 Class Meeting: Tu & Th. 11:00 AM – 12:15 PM
 Class location: 181 Mercer Street, Room 346
 Office hours: By appointment
 Office location: Greene St. 239 8th floor, Room 810
 Instructor Email jpinon@nyu.edu

Course Description
This class examines the intersecting dynamics of media genres and geo-linguistic cultural
markets in the configuration of global and regional media flows. It looks in particular at the way
media genres travel and how their circulation raises issues about the cultural power of certain
media narratives in specific historical, political and social conditions of consumption. We will
examine the battle for national, regional, and global media markets as a struggle for the
“legitimate” cultural and political view of the world expressed through information (news),
scientific discourse (documentaries), and popular culture (films, telenovelas, reality television,
music) to understand the complex global flow of television programs and films.

Learning Outcomes
 Define the defining characteristics of specific media genres
 Outline the particular global and regional flows of specific media genres
 Demonstrate the consequences of particular media flows on definitions of local and regional
culture
 Analyze broader power relations evident in how media genres and forms flow at
transnational levels
 Critique concepts of authentic and legitimate culture in relation to the global, regional, and
local meanings of specific media genres and products

Articles
Required readings will be available on the NYU Brightspace site.

Assignments

Class participation
 You are expected to complete the assigned reading before each class and to participate
actively in all class discussions. Your participation grade is based on quantity and quality of
 in-class participation. You are expected to come to class prepared and to discuss the
readings critically.

Responses (reaction papers)

 You are expected to write a critical response to the readings assigned for the class. At the
end of the semester, you should have written a total of twelve responses for the reading
assigned on twelve different class days. You can choose freely which classes you are
interested in writing a response to; however, the due date of the submission will be at
midnight of the day before in which the class is given. You need to write a response to at
least two of the readings of the chosen day. They should address the following questions:
what is the main idea supported by the author? Which concepts do you think are key? What
is the author’s methodology or approach? What kinds of sources support those arguments?
Finally, what is your reaction to the author’s work? Do you agree with the basic premises,
assumptions and methodologies? Why or why not? Think about these papers as reading
journals. It is expected at least one to one page and half long.

Leading class discussions

 You will be asked to lead a class discussion once during the semester. You need to bring to
the class a report/article from the news that allows you to illustrate the main argument of the
readings for that session. You also need to bring to class the questions posted by your
peers on the readings for that class session in the Discussion Section of Brightspace. Copy
them and bring them to our class session to start a vivid discussion with your peers about
the central ideas of the readings. Clarifying the main argument, its theoretical contribution as
well as its possible weakness will be part of the task.

2 short papers
 You will be required to write two short papers on the separate sections of the course. These
two papers will be guided critiques of media flows and the industrial and cultural dynamic of
media genres. In these papers you should show an in-depth involvement with the issues
addressed, and the capacity for building your reflections upon the readings.
 Papers should be typed, double-spaced, and 5-6 pages in length.
 Due Dates:
 Short paper 1: Sept. 29th
 Short paper 2: November 3rd

Final Paper / Project

 Each of you will also prepare an original research paper on a topic of your choice. I need to
approve your final project, and for that reason you need to make an appointment to talk
about it with me before November 18. Feel free to come to Office Hours to see me to
discuss your ideas. The final papers should be typed, double-space, and 12-14 pages long.
 Due date: December 17, 2023
 I recommend that you purchase at least one style manual which will help to improve the
organization and composition of your written work, and help ensure proper citation of
sources. There is a handy edition that you can carry by Hacker, D. (2020). A pocket style
manual (8th ed.). New York, NY: Bedford/ St. Martin’s.
Evaluation
Leading class discussion 5%
Class Participation 15%
Responses 20%
Two short papers 30%
Final essay 30%

Course Policies

Religious observances
 Students with religious observances that may interfere with the class schedule need to see
me at the beginning of the semester to talk about your schedule.
Academic dishonesty and plagiarism
 “Academic integrity is the guiding principle for all that you do […] you violate the principle
when you: cheat on an exam; submit the same work for two different courses without prior
permission from your professors; receive help on a take home courses without prior
permission from your professors; or plagiarize. You plagiarize when, without proper
attribution, you do any of the following: copy verbatim from a book, article, or others media,
download documents from the Internet; purchase documents; paraphrase or restate
someone else’s facts, analysis, and/or conclusions” (See School of Education Bulletin,
2004-6, p. 174)
 Cheating or plagiarism will not be tolerated under any circumstance and will result in a
failure of the assignment and possible failure of this class

Grading
 Late papers and assignments will be graded down 5 points for every day late. Papers and
assignments will not be accepted once they are more than 5 days late and will automatically
result in a grade of F (0%).
 Participation in class is required, based on the completion of readings / video assignments
before class.
 Your grade will decrease by a full point for every two classes you miss (i.e. from B to B-).
You must notify me in advance if you are going to miss a class or a deadline, and you will
need a legitimate excuse.

Students with disabilities

 Students with special needs, either with physical and/or learning disabilities, should register
with the Moses Center for Students with Disabilities at 212-998=4980, 240 Greene street,
www.nyu.edu/csd.

Student Resources
 Academic accommodations are available for students with disabilities. Please contact the
Moses Center for Students with Disabilities (212-998-4980 or mosescsd@nyu.edu) for
further information. Students who are requesting academic accommodations are advised to
reach out to the Moses Center as early as possible in the semester for assistance.
 Writing Center (Washington Square): 411 Lafayette, 4th Floor. Schedule an appointment
online at https://nyu.mywconline.com or just walk-in.

Schedule of Classes
Week 1 – Introduction: Globalization and Media flows

Tu. Sept. 5: Introduction to class. Globalization

 Pieterse, J.N. (2004). Consensus and controversies. In Globalization and Culture. Lanham,
MD: Rowan & Littlefield, pp. 7-22.

Supplementary bibliography
Chalaby, J. (2005). From internationalization to transnationalization. Global Media and
Communication 1(1), pp. 28-33.

Thu. Sept. 7: The global cultural economy

 Appadurai, A. (2005) “Disjuncture and Difference in the Global Cultural Economy,” In
Modernity at large. Cultural dimensions of globalization (pp. 27-47). Minneapolis, MN:
Minnesota Press
 Thussu, D. (2007). Mapping media flow and counter-flow. In D. Thussu (Ed.). Media on the
Move: Global Flow and Contra-Flow (pp. 11-32). New York, NY: Routledge

Supplementary bibliography
Christensen, M. (2013). TransNational Media Flows: Some Key Questions and Debates.
International Journal of Communication 7, 2400-2418

Week 2 –Political Economy and NeoClassic Approach

Tue. Sept. 12: Political Economy perspective in media flows

 Schiller, H. (1991). “Not Yet the Post-Imperialist Era," Critical Studies in Mass Communication 8, pp.
13-28.
 Mosco, V. (2009). The Political Economy of Communication. Thousand Oaks, CA: Sage.
Ch. 6 The political economy of communication today (pp. 104-126)
Ch. 7 Commodification: content, audiences, labor (pp. 128-155)

Supplementary bibliography
 McChesney, R. (2000). The political economy of communication and the future of the field.
Media Culture & Society, 22(1): 109-116

Thur. Sept. 14: Neoclassic Economic Approach

 Hoskins, C., & Mirus, R. (1988). “Reasons for the U.S. dominance of the international trade
in television programs.” Media, culture and society 10, pp. 499-515.
 Hoskins, C. and McFayden, S. (1991). “The U.S. Competitive Advantage in the Global
Television Market: Is it Sustainable in the new Broadcasting Environment,” Canadian
Journal of Communication 16, pp. 207-224.

Supplementary bibliography
Doyle, G. (2002). Introduction to media economics. In Understanding media economics (pp. 1-
15). New York, NY: Sage.
Week 3 – Cultural Studies, Cultural Proximity and Geolinguistic Markets

Tue. Sept. 19: Cultural Studies and the relevance of cultural proximity
 Straubhaar, J. (1991). “Beyond Media Imperialism: Asymmetrical Interdependence and
Cultural Proximity," Critical Studies in Mass Communication 8, 1-11.
 La Pastina, A. and Straubhaar, J. (2005). Multiple proximities between television genres and
audiences. Gazette: The International Journal for Communication Studies, 67(3), 271-288

Thur. Sept. 21: Geolinguistic markets and media capitals

 Sinclair, J. (2004). Geo-linguistic region as global space. The case of Latin America. In R.
Allen and A. Hill (Eds.). The television studies reader. pp. 130-138, New York, NY:
Routledge
 Curtin, M. (2003). Media Capital: Towards the Study of Spatial Flows. International Journal
of Cultural Studies 6; 202

Week 4 – Cultural Economy Approach and Regions: East Asia

Tue. Sept. 26: Cultural Economy Approach

 Havens, T. (2002). “It’s still a white world out there”: the interplay of culture and economics
in international television trade. Critical Studies in Media Communication 19(4), 377-397
 C. Lee Harrington and Denise D. Bielby (2005). Global Television Distribution Implications of
TV “Traveling” for Viewers, Fans, and Texts. American Behavioral Scientist, 48(7), 902-920

Supplementary bibliography
 Havens, T. (2006). Studying global television merchants, In Global television marketplace
(pp. 1-11). London, UK: British Film Institute.
 Bielby, D. and Harrington L. (2008). The continued relevance of genre. In Global TV
exporting television and culture in the global market. New York, NY: NYU Press

Thur. Sept. 28: Regions: East Asia

 Iwabuchi, K. (2008). Culture of Empire: Transnational media flows and cultural
(dis)connections in East Asia. In P. Chakravartty and Y. Zhao (Eds). Global
communications. Toward a transcultural political economy (pp. 143-162). Lanham, MD:
Rowman & Littlefield.
 Iwabuchi, K. (2002). Localizing Japan in the Booming Asian media markets. Recentering
globalization. Popular culture and Japanese transnationalism. Durham, NC: Duke University
Press.
 Thusu, D. (2018). The globalization of Chinese Media: The global context. In D. Thussu, H.
de Burgh, and A. Shi (eds). China’s Media Go Global (pp. 17-33). New York, NY: Routledge.

Supplementary bibliography
 Zhu, Y. (2008). Transnational circulation of Chinese language television dramas. In
Television in Post-Reform China: Serial dramas, Confucian leadership and the global
television market (pp. 101-125). New York, NY: Routledge.

Short Paper 1: “Main theoretical approaches to the concept of media flows” Sept. 29th

Week 5 – World regions: South Asia, the Middle East and Africa

Tue. Oct.. 3: Regions: South Asia and The Middle East

 Krady, M. (2007). Reality television, politics and the democratization of the Arab world. In I.
Blankson, and P. Murphy, (2007). Negotiating democracy. Media transformation in
emergent democracies. Albany, NY: State University of New York.
 Kishan Thussu, D. (2005). The transnationalization of television: the Indian experience, In J.
Chalaby, (Ed.). Transnational television worldwide. Towards a new media order. London
and New York: I.B. Tauris
 Wahid, Z. (2007). Emergence of Satellite Television and Enigmatic Geo-Political Strategy of
Bangladesh government. Bangladesh e-Journal of Sociology, 4(1), 73-88

Supplementary bibliography
 Abu-Lughod, L. (2002). Egyptian melodrama, Technology of the modern subject. In F.
Ginsburg, L. Abu-Lughod, B. Larkin (Eds.) Media worlds: anthropology on new terrain (pp.
115-133). Berkeley, CA: UC Press.
 Salamandra, C. (2011). Spotlight on the Bashār al-Asad Era: The Television Drama
Outpouring. Middle East Critique, 20(2), 157-167
 Gilboa, E. (2008). Evolution of the Israeli Media. Middle East Review of International Affairs,
12(3), 88-101

Thur. Oct. 5: Regions: Africa

 Mytton, G., Teer-Tomaselli, R., and Tudesq, A.J (2005). Transnational Television in Sub-
Saharan Africa. An interdisciplinary Journal of Communication Studies, 2: 32-55
 Teer-Tomaselli, R., Wasserman, H. and De Beer, A. (2007). South Africa as a regional
media power. In Thussu, (ed.). Media on the move, Global flow and contra-flow (pp. 153-
164). London and New York: Routledge.

Supplementary bibliography
 Sparks, C. (2009). South African media in transition. Journal of African Media Studies, 1(2),
195-220
 Mano, W. (2005). Exploring the African view of the global. Global Media and
Communication 1(1): 50-55.

Week 6 – World regions: Europe

Tue. Oct. 10: Monday’s Schedule

(no classes)

Thu. Oct. 12: Regions: Europe

 Morley, D. (1998). Media fortress Europe: Geographies of exclusion and the purification of
the cultural space. Canadian Journal of Communication, 23(3), 341-358.
 Kuipers, G. (2011). Cultural Globalization as the Emergence of a Transnational Cultural
Field: Transnational Television and National Media Landscapes in Four European
Countries. American Behavioral Scientist, 55(5): 541–557

Supplementary bibliography
 Steemers, J. (2016). International Sales of U.K. Television Content: Change and Continuity
in “the space in between” Production and Consumption. Television & New Media, 17(8):
734–753.
 Imre, A. (2017). The Imperial Legacies of Television within Europe. Television & New Media,
18(1): 3–18
Papathanassopoulos, S. (2005). Europe: an exemplary landscape for comprehending
globalization. Global Media and Communication 1(1), 46-50
Week 7 – World regions: Latin America; Entertainment I: Music

Tu. Oct. 17: Regions: Latin America

 Cupples, J. (2013). Communicating Latin American development: media and popular
culture. In Latin American development (pp. 202-230). New York, NY: Routledge.
 Shaw, D. (2007). Introduction. Latin American cinema today: A qualified success story. In D.
Shaw (Ed.). Contemporary Latin American Cinema: Breaking into the global market (pp. 1-
10). Lanham, MD: Rowman & Littlefield Publishers, Inc.

Supplementary bibliography
 Piñón, J. (2014). “A multilayered transnational broadcasting television industry: The case of
Latin America.” International Communication Gazette 76(3): 211-236
 Sinclair, J. (2008). Latin American Commercial Television: “Primitive Capitalism.” Wasko, J.
(Eds.). Companion to Television. Malden, MA: Wiley-Blackwell.

Thur. Oct. 19: Entertainment: Music

 Fung, A. (2006). ‘Think globally, act locally’ China’s rendezvous with MTV. Global Media
and Communication 2(1), pp. 71-88
 Juluri, V. (2002). “Music television and the invention of youth culture in India.” Television
and New Media, 3(4), 367-386.
 Bishell, E. (2020). Affective (Re)constructions of the Imaginary Caribbean and Caribbean
Imaginary in Reggaeton Music Video: The Cases of Calypso and La Gozadera. Spanish
and Portuguese Review, 6, pp. 23-39

Supplementary bibliography
 Tsambu, L. (2015). Transnationalism and transculturalism as seen in Congolese music
videograms. Journal of African Media Studies, 7(1), 51-68
 Schulz, D. (2003). Music videos and the effeminate vices of urban culture in Mali. In T.
Miller, (Ed.), Television. Critical concepts in media and cultural studies (pp. 157-184). New
York: Routledge.

Week 8 – Fiction - Film flows

Online Session
Tue. Oct. 24: Film flows I: Bollywood
 Govil, N. (2007). Bollywood and the friction of global mobility. In D. Kissan (Ed.). Media on
the Move: Global Flow and Contra-Flow (pp. 76-89). New York, NY: Routledge
 Tyrrell, H. (2004). Bollywood vs Hollywood. In F. Lechner, and J. Boli, (Eds.). The
globalization reader. Malden, MA: Blackwell Publishing.

Supplementary bibliography
 Rajadhyaksha, A. (2008). “The Bollywoodization of the Indian Cinema” in Kavoori and
Punathambekar, Global Bollywood. New York, NY: NYU Press
Online Session
Thur. Oct. 26: Film flows II: Hong Kong Cinema and Nollywood
 Teo, S. (2005). Wuxia Redux: Crouching Tiger, Hidden Dragon as a Model of Late
Transnational Production. In M. Morris, S. Li, and S. Ch. (Eds.). Hong Kong connections
 transnational imagination in action cinema (pp. 191:204). Hong Kong, CH: Hong Kong
University Press.
 Miller, J. (2012). Global Nollywood: The Nigerian movie industry and alternative global
networks in production and distribution. Global Media and Communication, 8(2) 117–133

Supplementary bibliography
 Curtin, M. (2018) The new geography of the global blockbuster. Wanda scales up. In M.
Keane, B. Yecies, T. Flew, (eds). Willing collaborators: Foreign partners in chinese media.
Lanham, MD: Rowman & Littlefield
 Morris, M. (2004). Transnational imagination in action cinema: Hong Kong and the making
of a global popular culture. Inter-Asia Cultural Studies, 5(2): 181-19
 Marston, S., Woodward, K. & Jones, J. P. (2007). III Flattening Ontologies of Globalization:
The Nollywood Case. Globalizations March 2007, Vol. 4, No. 1, pp. 45–63.

Week 9 – Fiction – TV Dramas I and II

Tue. Oct. 31: TV Dramas I: European high quality and Public Service Broadcasters
 Hochscherf, T., and Philipsen, H. (2013). Speaking for and the nation. Borgen and the
cultural viability of public service broadcasting in Denmark and Germany. Journal of Popular
Television, 1(2), 240-253.
 Chapman, J. (2014). Downton Abbey: Reinventing the British costume drama. In J. Bignell
and S. Lacey (Eds). British television drama. Past, present, and future (pp. 131-142)

Supplementary bibliography
 Buonanno, M. (2013). The transatlantic romance of television studies and the ‘tradition of
quality’ in Italian TV drama. Journal of Popular Television, 1(2): 175–189
 Cooke, L. (2015). British television drama in the digital age, 2002-14. In British television
drama. A history (pp. 213-249). London, UK; BFI Palgrave.

Thur. Nov. 2: TV Dramas II: Korean dramas and Korean Wave

 Lin, A. and Tong, A. (2008). Re-imagining a cosmopolitan ‘Asian Us’: Korean media flows
and imaginaries of Asian modern femininities. In C. Huat. and K. Iwabuchi (Eds). East Asian
pop culture. Analyzing the Korean Wave (pp. 91-126). Hong Kong, CH: Hong Kong
University Press.
 Mori, Y. (2008). Winter Sonata and cultural practices of active fans in Japan: considering
Middle-Age women as cultural agents. In C. Huat. and K. Iwabuchi (Eds). East Asian pop
culture. Analyzing the Korean Wave (pp. 127-142). Hong Kong, CH: Hong Kong University
Press.

Short Paper 2: “Media regions: industrial dynamics, and media flows” Nov. 3rd

Week 10 – Fiction – TV Dramas III and IV

Tue. Nov 7: TV Dramas III: Latin American telenovelas

 La Pastina, A., Rego, C. and Straubhaar, J. (2003). The centrality of telenovelas in Latin
America’s everyday life: Past tendencies, current knowledge and future research. Global
Media 5, 359
 Lewkowickz, E. (2011). Beyond the happy ending. Re-viewing female citizenship within the
Mexican telenovela industry. Unpublished Doctoral Dissertation. University of New South
Wales. Sidney Australia.
Supplementary bibliography
 Lewkowickz, E. (2014). Rebel love: transnational teen TV vs. Mexican telenovela tradition.
Continuum: Journal of Media & Cultural Studies, 28(2): 265-280
 Artz, L. (2015) Telenovelas: television stories for our global times. Perspectives on Global
Development and Technology, 14 (1-2): 193-226

Thur. Nov. 9: TV Dramas IV: Turkish drama

 Kraidy, M. & Al-Ghazzi, O. (2013). Neo-Ottoman Cool: Turkish Popular Culture in the Arab
Public Sphere, Popular Communication, 11(1), 17-29
 Yesil, B. (2015). Transnational of Turkish dramas: Exploring the convergence of local and
global market imperatives. Global Media and Communication, 11(1): 43-60

Week 11 – News and information

Tue. Nov. 14: News agencies and the battle for information
 Figenschou, U. (2010). A voice for the voiceless? A quantitative content analysis of Al-
Jazeera English’s flagship news. Global Media and Communication, 6(1): 85–107
 Hu, Z., Ji, D. and Gong, Y. (2018)., From the outside in: CCTV going global in a new world
communication order. In D. Thussu, H. de Burgh, and A. Shi (eds). China’s Media Go
Global (pp. 67-78). New York, NY: Routledge

Supplementary bibliography
 Rai, M. and Cottle, S. (2007). Global mediations. On the changing ecology of satellite
television news. Global Media and Communication, 3(1): 51–78
 Chalaby, J. (2009). The sun always shines on global news TV networks. In Transnational
Television in Europe: Reconfiguring Global Communications Networks (pp. 173-192).
London, UK: I.B. Tauris.
 Gilboa, E. (2005). Global Television News and Foreign Policy: Debating the CNN Effect.
International Studies Perspectives 6, 325–341.

Thur. Nov. 16: Documentaries

 Selznik, B. (2008). Global Truths: Documentaries for the world. In Global Television. Co-
producing culture pp. 146-175. Philadelphia, PA: Temple University Press.

Supplementary bibliography
 Fürsich, E. (2003). Between credibility and commodification Nonfiction entertainment as a
global media genre. International Journal of Cultural Studies, 6(2): 131–153
 Bondebjerg. I. (2014). Engaging with and investigating reality: the social and political
documentary. Chicago, IL: Intellect.

Week 12 – Entertainment: Sports

Tue. Nov. 21: Sports

 Miller, T., Lawrence, G., McKay, J. and Rowe, D. (2001). Globalization and sport: playing
the world. London, UK: Sage Publications
o Ch. 1 The “G-Word” meets the “S-Word”
o Ch. 2 National symbolism and the global exchange of sporting bodies.

Supplementary bibliography
 Giulianotti, R. and Robertson, R. (Eds.). (2009). Globalization and sports. Malden, MA:
Blackwell Publishing.
o Ch. 5 Recovering the social: globalization, football and nationalism.
 Losifidis, P. and Smith, P. (2016). Television sports rights: between culture and commerce.
In K. Donders, C. Pauwles, and J. Loisen. Private television in Western Europe (pp. 136-
150). Content markets policies. Hampshire, UK: Palgrave, Macmillan.

Thur. Nov. 23: Thanksgiving

No classes scheduled

Project proposal: “The case for a specific regional/worldwide media flow” Nov. 18th

Week 13 – Digital I and II

Tue. Nov. 28: Digital I: SVoD digital platforms and the new order
 Lobato, R. (2018). The infrastructures of streaming. In Netflix nations. The geography of
digital distribution (pp. 73-106). New York, NY: NYU Press
 Lobato, R. (2018). Content, catalog, and cultural imperialism. In Netflix nations. The
geography of digital distribution (pp. 135-162). New York, NY: NYU Press.

Thur. Nov. 30: Digital II: Digital media and transnational fandom
 Hellekson, K. (2012). "Creating a Fandom Via YouTube: Verbotene Liebe and Fansubbing."
In B. Williams & A. Zenger (Eds.). New Media Literacies and Participatory Culture across
Borders (pp. 180-193). New York: Routledge
 Huat, C. (2012). Layers of audience communities. In Structure, audiences and soft power in
East Asian Pop Culture (pp. 103-118). Hong Kong, CH: Hong Kong University Press.

Supplementary bibliography
 Moe, H., Poell, T. and van Dick, J. (2016). Rearticulating audience engagement: Social
media and television. Television & New Media 17(2): 99-107
 Pérez-González, L. (2012). Co-creational subtitling in the digital media: transformative and
authorial practices. International Journal of Cultural Studies, 16(1): 3-21
Creeber, G. (2011). It’s not TV, it’s online drama: The return of the intimate screen. International
Journal of Cultural Studies, 14(6): 591–606

Week 14 – Adaptation I and II

Tue. Dec. 5: Adaptations and localization I: Transculturation

 Chan, J. M. (2002). “Disneyfying and globalizing the Chinese legend Mulan: A study of
transculturation.” In J. M. Chan & B. T. McIntyre (Eds.), In search of boundaries:
Communication, nation-states and cultural identities (pp. 225-248). Westport, Conn.: Ablex
Pub
 Ferrari, C. (2009). "Dubbing The Simpsons: Or How Groundskeeper Willie Lost His Kilt in
Sardinia." Journal of Film and Video, 61(2), 19-37.

Thur. Dec. 7: Adaptation and localization II: Industrial and cultural translators
 Kohen, M. (2013). This was a melodramatic crapfest’: American TV critic’s reception of The
Killing. Journal of Popular Television, 1(2), 257-272
 Piñón, J. (2011). “Ugly Betty and the emergence of Latina/o producers as cultural
translators” Communication Theory 21(4), 392-412

Week 15 – Adaptation II

Tue. Dec. 12: Presentations

 Individual project presentations

Thur. Dec. 14: Presentations

 Individual project presentations

Final Paper due date: December 17th, 2023