ENGLISH 449, Spring 2002, version 2
_________________
ASIAN AMERICAN LITERATURE: Professor Viet Nguyen
This course poses a single question: “how do we tell stories about America?” In the
case of Asian Americans, we find that in many cases American stories—fictional and
historical—exclude Asian Americans. Asian American literature exists to a great
extent because writers wanted to fill in the gaps of “the” American story. In this
course, students will not only read and write about Asian American literature but also
attempt to answer the question of “how do we tell stories about America?” for
themselves through multimedia projects that center on the literature and
experiences of Asian Americans. They will be trained in multimedia technology and
will integrate their classroom learning and/or personal experiences into these
projects that will tell their own American stories. Training will occur in a separate lab
section with a series of rotating teaching assistants.
COURSE WEBSITE
Can be found at http://www-rcf.usc.edu/~vnguyen/index.html. Assignments, useful
links, and past student projects are available there.
GRADING AND ASSIGNMENTS
Participation & Attendance
Unannounced Quizzes
Lab
Midterm Paper
Midterm Multimedia Project
Final Paper/ Project
Team Multimedia Project
10%
10%
10%
20%
10%
20%
20%
details below
a 5-7 page paper
multimedia version of midterm paper
5-7 page paper or multimedia project
to be determined by team
Attendance in both class and lab is mandatory. Only excused absences are allowed.
Participation is both verbal and written; besides classroom participation, students are
also expected to post weekly on TOTALE, an electronic resource for the course, at
http://learn.usc.edu/. You can sign on with your USC userid and password. Post a
comment or a response to the “Discussion Board” of no less than 100 words once a
week, directed to the readings or discussion.
Unannounced quizzes will cover only factual questions that are related to the
reading. The reading will be paced proportionally by the number of allotted days.
Papers and projects will be described in separate handouts.
REQUIRED TEXTS
Theresa Cha, Dictee
David Henry Hwang, M. Butterfly
Maxine Hong Kingston, The Woman Warrior
Bharati Mukherjee, Jasmine
Derek Nguyen, Monster [field trip]
John Okada, No-No Boy
Lois-Ann Yamanaka, Blu’s Hanging
English 449 – page 2
REQUIRED TEXTS from non-multimedia English 449
Carlos Bulosan, America Is In the Heart
Theresa Cha, Dictee
Jessica Hagedorn, Dogeaters
Le Ly Hayslip, When Heaven and Earth Changed Places
David Henry Hwang, M. Butterfly
Maxine Hong Kingston, The Woman Warrior
Li-Young Lee, The City In Which I Love You
Bharati Mukherjee, Jasmine
Course reader with essays, poems, short stories
SCHEDULE
Date
Class
Claiming America
WK 1 Jan 8 Tuesday
Introduction: What is an Asian
American?
WK 1 Jan 10 Thursday
John Okada, No-No Boy
Lab
Project Development: Research & Citation
Software: Macintosh OS, FTP program
Hardware: Zip drives and Zip disks
Homework: Review a web site critically
Tasks: Hand out Multimedia Survey
Readings: Josh Beggs and Dylan Thede, Designing
Web Audio (excerpts); How to perform an oral history
interview (handout)
WK 2 Jan 15 Tuesday
John Okada, No-No Boy
Interviewing Your Subjects
WK 2 Jan 17 Thursday
John Okada, No-No Boy and September
11
Software: ProTools
Hardware: Digital Audio Recorders, Digital Still
Camera
Homework: conduct an interview using digital audio
and cut the interview in ProTools
Readings: McCloud’s Understanding Comics
(excerpts); Berger’s Ways of Seeing (excerpts);
Domenic Stansberry, “Multimedia: Notes Toward an
Aesthetic”
WK 3 Jan 22 Tuesday
John Okada, No-No Boy and September
11
WK 3 Jan 24 Thursday
Bharati Mukherjee, Jasmine
WK 3 Jan 24 Thursday
The Third Annual Student Screening of
the Multimedia Literacy Project (SGM
124, 5-6:30, Attendance MANDATORY)
Thinking Visually: 2D Media Acquisition, & Design
Software: Fireworks
Hardware: Scanner, Digital Camera
Homework: Create a layered document, and change
the meaning of a scanned image
Readings: Sturken and Cartwright, Practices of
Looking (excerpts); The Design of Everyday Things
(excerpts); John Hart, The Art of the Storyboard
(excerpts); Twentieth Century Type; Roger Pring,
www.type; Handouts on color
English 449 – page 3
WK 4 Jan 29 Tuesday
Bharati Mukherjee, Jasmine
Thinking Visually Part II
WK 4 Jan 31 Thursday
Bharati Mukherjee, Jasmine
Software: Fireworks continued, beginning
Dreamweaver
Homework: Complete Project on No-No Boy
Readings: Another excerpt from McCloud;
Peter Lunenfeld, “Hypertext: The
Alphanumeric Phoenix”; Jeff Carlson,
“Navigation Now”
WK 5 Feb 5 Tuesday
WK 5 Feb 7 Thursday
Postnational Identities
Maxine Hong Kingston, The Woman
Warrior
Maxine Hong Kingston, The Woman
Warrior
Hypertext-Linear Vs. Non-Linear Narrative
Navigation, Linking, Storyboarding
Software: Fireworks and Dreamweaver continued
Hardware: NONE
FIRST PROJECT DUE on No-No Boy
Readings: TBA
WK 6 Feb 12 Tuesday
Maxine Hong Kingston, The Woman
Warrior
WK 6 Feb 14 Thursday
Maxine Hong Kingston, The Woman
Warrior
MIDTERM PAPER DUE ONLINE on
February 15 by 5PM
WK 7 Feb 19 Tuesday
PAPER RETURNED
Theresa Cha, Dictee
WK 7 Feb 21 Thursday
Theresa Cha, Dictee
Review
Review No No Boy Projects in Class and Previous
Midterm Projects
Homework: for next week, bring in assets (ideas,
images, research, links) for midterm project
translation of midterm paper
Workshop
Workshop ideas for midterm project, work on
midterm project
Software: Fireworks and Dreamweaver
Homework: Storyboard for Midterm Project
Readings: TBA
WK 8 Feb 26 Tuesday
Theresa Cha, Dictee
Putting It All Together: Project Troubleshooting
WK 8 Feb 28 Thursday
Theresa Cha, Dictee
Students pitch storyboards
Software: Fireworks and Dreamweaver
Homework: turn your 5-7 page paper
into a Flash project
Readings: TBA
WK 9 Mar 5 Tuesday
David Henry Hwang, M. Butterfly
Project Troubleshooting
WK 9 Mar 7 Thursday
David Henry Hwang, M. Butterfly
Software: Fireworks and Dreamweaver
Hardware: None
MIDTERM MULTIMEDIA PROJECTS
DUE on March 8 by 5 PM
English 449 – page 4
New and Non-Asian Americans
WK 10 Mar 19 Tuesday
Midterm Multimedia Project
Presentations
WK 10 Mar 21 Thursday
Edward Said, from Orientalism
(handout)
Thinking Contextually: Knowing Your Audience
Archiving/organizing student projects
Software: Final Cut Pro
Hardware: Still Cam and Digital Video
Homework: Brainstorm Group Projects
Readings: TBA
WK 11 Mar 26 Tuesday
Theresa Cha, Dictee
Final Cut Pro, continued
WK 11 Mar 28 Thursday
Theresa Cha, Dictee
Final groups are formed
WK 12 Apr 2 Tuesday
Theresa Cha, Dictee
Final Cut Pro, continued
WK 12 Apr 4 Thursday
Lois Ann Yamanaka, Blu’s Hanging
Group ideas submitted and approved
WK 13 Apr 9 Tuesday
Lois Ann Yamanaka, Blu’s Hanging
Working on final projects in lab
WK 13 Apr 11 Thursday
Lois Ann Yamanaka, Blu’s Hanging
WK 14 Apr 16 Tuesday
Derek Nguyen, Monster (play)
Pitching final projects in lab
WK 14 Apr 18 Thursday
Derek Nguyen, Monster
Task: Handout Multimedia Survey
Cover how to archive student projects
Student lab reflections
WK 15 Apr 23 Tuesday
Evaluations
Working on final projects in lab
WK 16 Apr 29 Monday
GROUP MULTIMEDIA PROJECT DUE
by 5PM
WK 16 May 6 Monday
FINAL PAPER OR PROJECT
DUE by 5PM
WK 17 May 7 Tuesday
MULTIMEDIA PROJECT SCREENING
11-1 PM @ LEAVEY AUDITORIUM,
ATTENDANCE MANDATORY
MIDTERM MULTIMEDIA PROJECT
Your midterm multimedia project will be due on Friday March 8 by 5pm, the last day before spring break. This
is a deadline for your benefit, but if you wish to turn it in a day or two late, that’s fine.
The multimedia project will be a translation of your midterm paper into an internet document. This means
that you do not simply take the text of your paper and paste it into a web page. You must translate a linear
5-7 page paper into a visual document and take into account the new medium with its different end user. For
the purposes of the midterm project, you should worry mostly about integrating text with photos, still images,
animation, rollovers, hypertext links, and sound.
Such a translation can involve various things. You can: have a visual interface as an introduction to your
paper; break up your 5-7 paper into different sections; put hyperlinks into your text that will lead to more
information; integrate visual images, either as illustrations of your argument or as components of a visual
argument in and of itself; streamline your text by having core ideas and peripheral ideas, so that the user can
English 449 – page 5
pick and choose his/her way through the paper; and you must edit your text into fewer words and more
condensed ideas to make it more user friendly.
One of the most important decisions you must make, of course, is whether you will use a linear or non-linear
structure, or some mix of the two.
The other key decision you must make is to answer the following question: how will I pitch my project to a
general audience? The project must speak to a general audience, not to the class, and therefore you must
figure out how to balance the specific types of analyses you do in the paper with the “hook” for the general
audience. For the most part, all of you have an important topic that speaks to a larger audience—e.g.,
immigration changes gender roles—and that can be foregrounded in the title/topic page, and used to structure
your project (see below).
REQUIREMENTS
All requirements listed are the minimum for the project; you can, of course, do more.
The midterm project must have at least 8 pages, including:

A title, topic, and author page. This page can have no more than 100 words of text, and preferably
less, the fewer the better. It will serve as your hook for a general audience, foregrounding your topic
(and not necessarily your issue or argument). Make it sexy! Remember that you only have a moment
to catch the attention of a typical web surfer. Also, include your name and how to contact you. A
biography and photo are not required, but you certainly can include them. If necessary, you can have
the author page separate.

Works cited and sources page. This page is the same as your bibliography, but must also include all
the information in terms of where you found your additional assets (images, pictures, sound files) for
the multimedia project.

Explanation page. This page is your rationale for why you designed your project the way you did.

Body pages. There must be at least 5 of these, where you adapt your paper. Remember, fewer words
are better. You certainly cannot use the entire text of your paper.
There must be:

at least one image per page, including title page, but excluding works cited and explanation page

at least one hypertext link per page (leading to some location other than your own project), but
excluding title page and explanation page (you’ll probably find links useful on the works cited page)

at least one sound file for the entire project

at least one instance of animation

at least one instance of a rollover

a navigation bar of some type
In terms of revisions from the paper, you must also correct all grammatical and stylistic problems, and
address all citation errors. When possible, you must also address lapses in argument and evidence that I point
out.
Final Paper or Project
You will have the option of doing either a final paper or project.
Final Paper
The final paper will be 5-7 pages in length and will be due Monday, May 6, by 5PM. You can
email the papers to me as an attachment, using either a Microsoft Word format or rich text
format.
Unlike the midterm paper, the final paper does not have to be a research paper. It should
deal with at least one book from the course, or the play Monster, and cannot deal with a
book you discuss in your midterm paper. The final paper can also deal with a book you use
in your group project, BUT ONLY if the nature of the discussion is substantively different.
English 449 – page 6
Following are some topics. Remember that you must narrow the topic down to something
more specific, what Chris Gilman calls an issue. If these topics are not satisfactory, you are
free to come up with one of your own. The topics have multiple questions. Not all the
questions need to be answered. If the questions for each of the topics are not sufficient, you
can use others.
Topics
1.
2.
3.
4.
5.
6.
7.
8.
The “nation” is a category we often take for granted as we imagine ourselves in
relationship to the world. Events like war obviously make national identity much more
visible to us. Answer some of the following questions: what does national identity enable
and/or limit in terms of political and personal action? Are there other ways of imagining
collective political or cultural identity that are more useful than the nation, and in what
contexts? Is the nation still relevant in the age of global capitalism, and if so, how?
Consider the role of violence in our texts. We have seen various depictions of anti-Asian
violence and intra-Asian violence (by “Asian,” I mean both Asian and Asian American
and any combination of anti- and intra- involving those identities). We have also seen
intra-generational and intra-familial violence. Here are some questions: how are ethnic
and national violence related to individual violence? How does violence define and
complicate the coalition politics of Asian Americans? How does international violence
(war, imperialism, colonialism) shape Asian Americans? How does individual or personal
violence function in the texts?
Each of the major characters struggles with their gender roles. Consider some of the
following questions. According to the texts, and maybe according to texts outside of the
course, how is gender (masculinity and/or femininity) constructed? How does it relate to
other identities, such as sexuality, race, class, or nationality? Is gender enabling and/or
limiting? How do same-sex gender relationships become significant (father/son,
mother/daughter, male/male, female/female) in the literature, and in what ways? Is
gender necessarily tied to sexuality?
“Monstrousness” is a major theme in Monster and also, arguably, in Blu’s Hanging as
well. Discuss one or both texts and demonstrate the function of monstrosity in them—in
relation to race, gender, nation, sexuality, class, or the inexplicable.
Religion plays a major role in at least Jasmine, Dictee and No No Boy. What are the uses
of religion in these texts? Is religion employed differently by people of different
generations, or by immigrants versus American-born people? Is religion a site of cultural
unification or a site of cultural conflict? Can religion be a tool of political organization or
social movement in a secular society?
Language is obviously important to literature, but some of our texts foreground
language in particular ways. In some cases, language is treated experimentally (Dictee);
in other cases, language is used to exclude or include, depending on the reader/viewer
(Blu’s Hanging, Monster); and in still other cases, language is rendered visible through a
heightened sense of style (The Woman Warrior). Discuss the role of language in one or
more of these texts, and in particular the aesthetic and/or political uses of language.
Asian America is composed of both immigrants and American-born people. Are the
experiences of immigrants substantially different than American-born Asians? Is
immigration the site of assimilation into American society or the site of contradiction
between the promise of democracy and the actual experiences of racism, capitalism,
sexism, etc.? Does the model of immigration fit all Asian Americans, or are there
competing models that might work better for some—“exile,” “diaspora,” “sojourner,”
etc.?
Consider the importance of form to content, as in how a story is told versus what the
story is about. The formal strategies of No No Boy are obviously quite distinct from
Jasmine, and both are distinct from those of The Woman Warrior. How does form
influence content? How can content help dictate form? What kinds of literary genres or
English 449 – page 7
styles are being referenced by these and other texts in the course, such as Dictee, and
experimented with?
Grading
Papers will be graded using the following four criteria: originality, argument, evidence, and
style. Originality means that the ideas are your own. That does not mean no one else in
the world has to have thought of them. It only means that in the context of the class, you
have come up with these ideas by yourself, and that they are not recycled from the class.
One way to be original, for example, is to discuss two texts rather than just one, allowing
you to come up with new combinations and contrasts not possible with just one text. If you
simply repeat issues dealt with in class, you cannot expect more than a B. The argument is
both the thesis of your paper and how it is presented structurally. Is the paper logical?
Does one idea lead to the next? Are there contradictions? Do you account for possible
objections? The evidence is the quality and quantity of support you pull together to support
your argument, and comes from both the text in question and, possibly, the context (for
example, historical evidence). Style is hard to define but easy to recognize. It includes
your grasp of the basic mechanics of grammar and syntax, but also your ability to write
well-constructed, fluid sentences.
Final Project Option
You can choose to create a multimedia project in place of a final paper.
You will have until midnight MAY 10 to turn in the project, instead of May 7 for the paper.
The project should address one of the topics above. Plus, the project must be text-centered (must deal
substantively with at least one book from the course, and of course that book must not be something you
have dealt with before).
The final multimedia project is different, however, than the midterm multimedia project. That midterm project
was a translation of a pre-existing paper, and was graded as such (i.e., the fact that many midterm projects
were close to being illustrated papers was overlooked by me). The final project must be designed as a
multimedia project from the beginning, which means that it must do something that a paper cannot do (i.e.,
multimedia, in the form of pictures, sounds, or video, cannot simply be tacked on—the project must be
structurally/conceptually multimedia, which means it must exhibit one or some or all of the following:
interactivity, nonlinearity, hypertextuality, visuality). Any questions, please be sure to see me.
Like the midterm project, however, the project must speak to a general audience, not to the class, and
therefore you must figure out how to balance the specific types of analyses you do in the project with the
“hook” for the general audience.
Requirements
All requirements listed are the minimum for the project; you can, of course, do more.
The final project must have at least 8 pages, including:

A title, topic, and author page. This page can have no more than 100 words of text, and preferably
less, the fewer the better. It will serve as your hook for a general audience, foregrounding your topic
(and not necessarily your issue or argument). Remember that you only have a moment to catch the
attention of a typical web surfer. Also, include your name and how to contact you. A biography and
photo are not required, but you certainly can include them. If necessary, you can have the author
page separate.

Works cited and sources page. This page is the same as your bibliography, but must also include all
the information in terms of where you found your additional assets (images, pictures, sound files) for
the multimedia project.

Explanation page. This page is your rationale for why you designed your project the way you did.

Body pages. There must be at least 5 of these, where you adapt your paper. Remember, fewer words
are better. You certainly cannot use the entire text of your paper.
English 449 – page 8
There must be:

at least one image per page, including title page, but excluding works cited and explanation page

at least one hypertext link per page (leading to some location other than your own project), but
excluding title page and explanation page (you’ll probably find links useful on the works cited page)

at least one sound file for the entire project

at least one instance of animation

at least one instance of a rollover

a navigation bar of some type
Grading
Grading will be carried out according to the criteria used in the website project evaluation
you filled out earlier in the semester—these cover technical proficiency and design. In
addition, content will also be graded, using basically the same criteria as for a paper:
originality, argument, and evidence. Style will be less of an issue—technical proficiency and
design replace style.
***
FINAL PROJECT
Group Multimedia Projects and Presentations
It’s time to start thinking about your final projects and presentations, which will be group-based tasks. The
relevant dates you have to keep in mind are:
Week
Week
Week
Week
12
14
16
17
April 2-4
April 16-18
April 19 Monday
May 7 Tuesday
Group project abstracts due in lab
Groups pitch projects in lab
Group projects due—no extensions
Group projects screened at Leavey Auditorium (during
your final exam period), attendance mandatory
Multimedia
The projects have to be multimedia-based. For the purposes of this course, multimedia is
broadly defined to include computer-based projects (websites and CD-Roms), real-time
(theater, performance and installation art), or video (films and animation). If you can think
of anything else, please feel free to suggest it. You are constrained only by time and
expertise (very important considerations—balance ambition and vision with practicality). If
you choose to use media that are not immediately web-accessible, you must also figure out
how to document the project so that results can be posted on the web (for example, if you
construct installation art, you may make a video documentary on the evolution of the
project and how people react to it, and then make that video available on the web). All
projects will be posted on the Multimedia Literacy Project’s website and on our course
website where they will be part of an ongoing archive of projects that come out of this and
future classes on Asian American literature. You should review other final projects from the
previous version of this class to get a sense of what worked and what didn’t.
The Projects
The projects will explore the basic theme of the course: the way storytelling shapes (Asian) American culture.
There are also two sub-themes in the course that should become important: the relationship between text and
context, and the relationship between literature and history.
You should regard your project itself as an act of storytelling. Now that you have read these stories about
America, what story do you want to tell about (Asian) America? The projects will be centered on one or more
book-length texts from the course. You will situate the text(s) in a context(s) of your choice. Inevitably, by
bringing in the context, you will also be forced to deal with the history of that context. Finally, you will use
your story about America to frame your choices of text and context, literature and history.
English 449 – page 9
Example: a hypothetical group can take Jasmine and situate it in relationship to the experiences of actual
Indian immigrants to the United States. The group can conduct research on the various experiences of these
immigrants, depending on who they are, when they came, what American locale they arrived, etc. The group
can also conduct interviews with emigrants on audio and/or video, and introduce other video materials, such
as excerpts from films, documentaries or television shows, that deal with the Indian immigrant experience.
The stories you can tell are endless. I leave them up to your imagination. The contexts are also endless, but
I will suggest a few possibilities:






Genres or literary traditions: novels, plays or autobiographies have particular features these texts
adapt and alter; the texts also respond to literary traditions such as American literature, postcolonial
literature, women’s literature, regional literature, proletarian literature.
Communities: these texts are all produced from and read by particular groupings of people, whether
those be families, ethnic minorities, nationalities, genders, classes, or others.
Places: foreign nations, American regions, the big city, the countryside, the midwest, small towns,
houses.
Historical moments, incidents or sets of incidents: the Depression, World War II, the Cold War, the
Viet Nam War, the Korean War, the Reagan era
Political ideologies or political formations: marxism, conservatism, liberalism, nationalism, colonialism,
imperialism, feminism, sexism, racism (and of coruse, all of these involve particular incidents you can
focus on)
Projects about the internment are discouraged unless your group thinks it has a particularly powerful
story to tell, or a powerful method of telling that story.
Timeline
Week 11
Groups are formed; groups are based in labs, so there’s not
too much flexibility here. I’ve composed groups to produce new relationships,
which hopefully will lead to different kinds of ideas
Week 12 April 2-4
Group project ideas due in lab. Each group must turn in either a list of ideas
from which I will choose one that the group will work on, or one idea everyone has agreed on. In the
former case, the ideas must be fairly detailed (see example above). In the latter case, the group must
present a much more detailed proposal: an abstract of 300-600 words explaining their idea (the
content) and their presentation of that idea (the form). The abstract should also list the types of
media that will be used, and the responsibilities of each group member. This is a tentative plan,
subject to revision. I just want you to start thinking in concrete ways about what you are going to do.
Week 14 April 16-18
Week 16 April 29 Monday
Week 17 May 7 Tuesday
Groups pitch projects in lab. As with the previous pitches, you will receive
feedback from myself and your peers. The pitch must be VISUAL, and detailed.
No 8.5x11 papers and no drawing on the blackboard.
Group projects due—no extensions. Yes, these must be due
on this day. As we have all seen, every project has glitches. You will have over
a week to tinker with the project for the screening.
Group projects screened at Leavey Auditorium (during
your final exam period), attendance mandatory. You will have the chance, for
about ten-fifteen minutes, to showcase your project and lead the audience
through it. Students, staff, faculty, and administrators will be present.
Grading
Projects will be graded on technical proficiency, design and content. Technical proficiency and design will be
assessed using the web evaluation form (see attached). Content is everything else that goes into the project.
If you are using media that is not computer-based, that is the content that you will record and then transfer to
the web. Regardless of the media, what is absolutely important to note about content is that it will be
evaluated with the following subcriteria: originality, argument, and evidence—the same criteria used to
evaluate your papers. This means that glitz and flash are not the things you should worry about, but
substance. Does the project do something that other multimedia sites do not (originality)? Does the project
have some point it’s trying to make, and does it do so logically and consistently, within the confines of its
media (argument)? Does the project convince us about its point with an assortment of evidence?
English 449 – page 10
Two questions that bridge content and design are the following: Are there elements of the project that cannot
be accomplished with a text-based paper? Is the end user clearly identified? This issue of the end user is an
implicit question; you do not have to state who the end user is, but in your own mind as you design the
project, you should know your audience, whose expectations shall shape the form and content of your project.
Finally, group work is very important. You are graded as a group, and while you are not graded on group
work per se, whether or not your group works well together or not will affect everything else. That is why I
ask you to define each person’s responsibilities in the abstract. Spell them out clearly so everyone knows
what they have to do. If there are revisions to these responsibilities, update us. If someone is not pulling
their weight, sit down and talk with them first, and if that does not work, inform us immediately. The mantra
for group work is communicate, communicate, communicate.
Requirements
All requirements listed are the minimum for the project; you can, of course, do more.
The group project must have at least 18 pages, including:

A title, topic, and authors page. This page can have no more than 100 words of text, and preferably
less, the fewer the better. It will serve as your hook for a general audience, foregrounding your topic
(and not necessarily your issue or argument). Make it sexy! Remember that you only have a moment
to catch the attention of a typical web surfer. Also, include your names and how to contact you.
Biographies and photos are not required, but you certainly can include them. If necessary, you can
have the authors page separate.

Works cited and sources page. This page is the same as your bibliography, but must also include all
the information in terms of where you found your additional assets (images, pictures, sound files) for
the multimedia project.

Explanation page. This page is your rationale for why you designed your project the way you did.

Body pages. There must be at least 15 of these.
There must be:

at least one image per page, including title page, but excluding works cited and explanation page

at least one hypertext link per page (leading to some location other than your own project), but
excluding title page and explanation page (you’ll probably find links useful on the works cited page)

at least one sound file for the entire project

at least one video file for the entire project

at least three instances of animation

at least three instances of a rollover

a navigation bar of some type

consistency of visual design—even though there are three people working on the project, it should not
look like it was designed by three people!

Research requirements: the project shall use at least six sources that are not from the internet and
that are not newspapers or magazine articles. They must be sources that are academic in nature, e.g.,
scholarly books or essays. All research cited must address the argument and content of the project.
If, for example, you use a research source only to mention the author’s birthdate and birthplace, and
that information does not have a direct bearing on your argument, that does not constitute a
legitimate use of a research source.